Ever since antiquity, music transcription has been the intrinsic way of visual representation of sound, sometimes in detail and sometimes in the form of a guide. Throughout time, the visual capture of music has been the only way to store and preserve it over time, but also the exclusive means of reproducing it. In any case, visual transfer should be considered as an auxiliary tool, since oral dissemination and storage in the memory of artists have been the most timeless techniques for the diffusion of music through time and space. During Europe's so-called "classical" musical period, with its most powerful centers of production, such as today's Austria, Germany, France and Italy, and especially in its path towards Romanticism, music transcription, that is, the musical score, was considered by some composers as the very embodiment of their work.

Understandably, in the modern capitalist world, music transcription, as the primary tool for the substantialization of music, brought under its purview repertoires that were not connected, were not disseminated, and did not function on the basis of their transcription. This offered to the music product sales centers an additional tool to expand their action network: non-scholar musics acquired a convenient way of circulating them, enhancing their popularity, even in places very far from those of their original creation. At the end of the 19th century, however, the phenomenon of sound recording and reproduction rearranged relationships and disrupted the status quo of publishing houses, claiming a share of the market, offering a product that was extremely complete and immediate. The publishing houses tried to react with legal measures, but it became impossible to stop the dynamics of the new phenomenon: the prevalence of commercial discography was now a fact, for most of the 20th century.

As far as non-scholar music is concerned, commercial printed musical scores were publications of the musical texts of songs or instrumental pieces (for the publishing activity in Greece see Lerch-Kalavrytinos, 2003: 4-5). For the needs of musical scores, the songs were arranged mainly (but not only) for piano or for piano and voice, generally without complex performance requirements. Multi-instrumental or technically demanding orchestrations were systematically avoided. The lyrics were printed below the notes of the melodic development of the singing parts and, sometimes, their translations into other languages. For the most part, the musical scores were two or four pages long, and came with a themed front and back cover.

This four-page musical score includes the song "Mi me tyragneis kai klaio" with piano or orchestral accompaniment, harmonized by Manolis Kalomoiris. It is part of the collection "Eikosi dimotika tragoudia" (Twenty folk songs), about which Giorgos Sakallieros (2005: 27) writes the following: "Publisher Z. Makris asked M. Kalomoiris to harmonize 20 folk songs. The composer completed only ten in total, with a promise to finish the remaining ones later (according to information from Foivos Anogeianakis), something he ultimately did not fulfill. The work was published under the above title and this particular inaccuracy remained.".

The following is also mentioned on the monochrome cover: Manolis Kalomoiris, "Eikosi Dimotika tragoudia me synodeia pianou i orchistras" (Twenty Folk songs with piano or orchestral accompaniment) in both Greek and French, the titles of ten songs and the publisher. The title of this particular musical score is marked with serial number 2, catalog number 432, and is underlined.

The musical text is included in a musical score with a system of three staffs (two for the piano and one for voice), accompanied by lyrics in Greek and Italian. Beneath the title (also written in Greek and Italian), the designation "Erotiko" (Romantic) is noted.

Autographed and handwritten musical scores of the song in an arrangement for voice and orchestra are uploaded to the Great Music Library of Greece "Lilian Voudouri", where the Manolis Kalomoiris Archive is kept (see here).

Regarding performances, noteworthy recordings include the 1983 recording by Ioanna Sfika-Karvela with Nelly Semitekolo on piano [LP "Manolis Kalomoiris. Tragoudia gia foni kai piano" (Manolis Kalomoiris. Songs for voice and piano), Concert Athens - 07/84], the live recording for the Third Program of the Hellenic Radio at the Holy Monastery of Daphni on September 5, 1995, with Martha Arapi and Dimitris Giakas on piano (see here), and the performance by Athina Smerdi with Marios Kazas on piano at the National Conservatory of Athens' tribute concert to its founder Manolis Kalomoiris, held at the Athens Concert Hall on February 22, 2024 (see here).

Kalomoiris' musical score shows minimal differences in the melodic section compared to the version of the song recorded by Bourgault-Ducoudray in his 1876 collection "Trente mélodies populaires de Grèce et d'Orient" listed as number 22 (see here).

In Greek historical discography, an instrumental version of this tune is found in the recording "O Agapitikos tis voskopoulas I", performed by the Philharmonic Orchestra of the Municipality of Piraeus in Athens, in 1907-1908 (Odeon GX-96 – 65074). This instrumental medley occupies both sides of the record (see here and here) and comprises melodies from Bourgault-Ducoudray's collection.

Modern recording of the song is included in the CD "Melodies tis anatolis, Tragoudia tis Smyrnis (19os aionas)" [Melodies of the East, Songs of Smyrna (19th century)] ("Ma ti to thelei i mana sou", The Hellenic Music Archive – FM Records – FM 800, Athens, 1997), which contains 20 of the melodies collected by Bourgault-Ducoudray, with different harmonic - rhythmic accompaniment and orchestration. The song is performed by Katerina Papadopoulou.