The previous chapters have offered a revisionist account of the intertextual refrain. In Chapter 1, we saw that the transmission and distribution of intertextual refrains in musical sources did not support the notion that refrains originated in or were closely related to an oral song genre called the rondet de carole. This evidence challenged assumptions that persisted until the late twentieth century that refrains represented quotations of a lost repertoire of orally transmitted popular songs. Across most of the extant musical concordances of intertextual refrains, we saw that composers often took great care to preserve the refrain's melodic identity, demonstrating that many refrains circulated as stable musical entities mutually defined by words and melody. The quotation of a refrain often represented a deliberate reference to a written musical artifact. Unlike proverbs, clichés, and axioms, which are globally known and untraceable, intertextual refrains frequently circulated within a specific, localized generic or geographical context such as the motet genre or in songs and motets connected to the city of Arras. Further, the many examples explored in Chapters 2, 3, and 4 all demonstrated that intertextual refrain quotation was common among clerical composers. The usage of refrains in specifically clerical manuscripts such as the proverb collection and vernacular translation of Ovid was explored in Chapter 2. The clerical motet repertory also featured extensive refrain quotation. In these learned contexts, refrains were interpreted through textual exegesis; they often functioned as vernacular auctoritates or were reinterpreted using the hermeneutic techniques of the monasteries and universities.