As worship became more solemn, different masters began their journey, who, both when entering the post and when leaving it, presented their indexes of possession of scores, though they used to take their own compositions with them.

The oldest musical document belongs to the period between the 13th and 14th century: Epístoles farcides or with “farcia”
(verses sung with the Valencian translation)

Although it keeps works by many and diverse national composers, such as the Sevillian Francisco Guerrero (1528-1599) and Sebastián Aguilera de Heredia (1561-1627) composer and organist from Zaragoza, and foreigners, the main fond belong to the Cathedral organists, mainly those who achieved worldwide popularity: Gines Pérez (1548?-1600), Comes (1568?-1643), Cabanilles (1644-1711), Ortells (1647-1706), Pradas (1689-1757), Rodríguez Monllor (1690-1760), Pons (1768-1818), Cabo (1768-1832), etc. that added 3.500 works up to the 20th century (*).

Subsequently, there have been several donations that have enriched the archive with a multitude of works from the 19th century and above all with a large collection of especially French organic works.

In addition to the polyphonic works, there are more than one hundred choral books with Gregorian melodies, belonging, in general, to the 18th century. and therefore typical of plain singing.

Cf. Musical fonds of the Valencian Region I. José Climent Barber, Metropolitan Cathedral of Valencia, Institute of Musicology, Alfonso el Magnánimo Institution. Valencia 1979; Orgens y organistes catedralicis de la València del segle XIX, Valencia 2002 and the texts published in the Faculty of Theology San Vicente Ferrer. Musicological Series III: Valencian cathedral composers.