ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book shows how Robert Armin has become an increasingly dominant factor. It argues that Armin was hired to be a tryout singer, as Silence, Balthasar (Much Ado About Nothing), and Amiens. The book notices resonance between the songs' surrounding dialog and Armin's own writing. Here, this activity has been ancillary, in order to support Armin's involvement with the songs. In further study, it would be interesting to investigate all 80 sung songs, not just the ones with extant early modern music. Similarly, it would be productive to examine all of Armin's writing, word-for-word, in terms of a possible correlation with dialog in all of Shakespeare's plays. The book shows that Armin's involvement, although nowhere near the same level as that of a co-author such as John Fletcher, went far beyond having Shakespeare change the way he wrote the comic parts.
