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 contains two instrumental songs, "Choros Peploforon" (page 2-3) and "Choros Tsakonikos" (back cover), edited by Alekos A. Alvertis.

The titles of the two songs, the description "20 Dimotika tragoudia dia tragoudi kai piano, violi i mantolino" (20 Folk songs for singing and piano, violin or mandolin), the publisher, the editor and the titles of 20 songs from the same series are written on the black and white cover. The titles of the two songs included in this musical score are underlined. This tactic was common in similar cases. Creating a single cover for more than one song significantly reduced the cost of musical scores production.

The black and white back cover includes the musical text of the song "Choros Tsakonikos". "Καθ' υπαγόρευσιν του χοροδιδασκάλου κ. Αγγ. Καραμπέτσου" (at the dictation of the dancing master Ang. Karampetsos) is writen above the title. This is a musical score with a system of two staffs.

In Greek historical discography, the tune was recorded in Chicago in April 1928 by Nikos Xiros (clarinet), G. Vrouvas (santour) and an unknown (zilia) under the title "Tsakonikos choros" (Columbia W-205856 – 56105-F).

Also, Giannis Konstantinidis is inspired by the Kalamatianos dance for the song no. II "Ttsakonikos" of the "Treis Ellinikoi choroi" (Three Greek Dances) which he composed in 1950 for orchestra. The other two dances of the work are I. Tsamikos and III. Syrtos (see here).

In 1975, Gerasimos Miliaresis recorded the LP "Greek Songs and Folk Themes for Guitar" (Lyra - SYLP 3284), which included his composition "Parallages pano se Tsakoniko choro" (Variations on Tsakonian Dance).

In 1943, the Jewish composer Karel Salomon [Salmon] (Heildeberg, November 13, 1897 – Beit Sayit, Israel, January 15, 1974) wrote the “Symphonic Suite on Greek themes” (see here from 00′ 23 to 16′ 41″), which consists of four movements. The first movement, that is, "Andante Sostenuto" or "Syrtos Thrakikos" (see here from 00′ 23″), is based on the melody "Syrtos Thrakikos" (see here), which is found in the collection "Arion. I mousiki ton Ellinon os diesothi apo ton archaiotaton chronon mechri tis simeron" (Arion. The music of the Greeks as preserved from ancient times to the present day) by Adamantios Remantas and Prokopios D. Zacharias. The second movement, that is, "Theme and variations" (see here from 04′ 39″), is based on the present tune. The third movement is titled "The Lemon Tree" (see here from 10′ 11″) and is based on the melody of the song "Lemonaki". The fourth movement is called "Hora Hellenica" (see here at 12′ 54″) and elaborates on the musical theme of "Pentozali". The Symphonic suite on Greek themes was first presented in Israel in 1943 by the Kol Israel Orchestra under the direction of the composer. In the same year, Salmon arranged his work for piano (see here), and a version for two pianos was also found, which was recorded by the Israeli piano duo of Bracha Eden and Alexander Tamir (see here).

In 1956, the American composer of Armenian origin Allan Hovhaness [Alan Vaness Chakmakjian (Աական Հայիկան Պայաներեն), Somerville, Massachusetts, March 8, 1911 – Seattle, June 21, 2000] completed his work "Seven Greek Folk Dances, Op. 150". Hovhaness, who considered the Greek painter Ermolaos Ionidis (better known as Hermon di Giovannno) as his spiritual teacher while visiting Greece in the period 1953 – 1955, arranged seven Greek dances for harmonica and strings (or piano): 1. Hassapiko, 2. The Selybrian Syrtos, 3. Sweet Basil Green, 4. Karagouna, 5. Tsaconian dance, 6. Pastoral, 7. Sousta. The fifth, entitled "Tsaconian dance" draws material from the tune we are examining. The work was presented in 1958 in Berlin by John Sebastian, harmonica, and Renato Josi, piano (see here), in 2001 in Athens by Christos Zerbinos, accordion, and the Athens String Orchestra conducted by Lefteris Kalkanis (see here), in 2003 in Tokyo by the Japanese Joe Sakimoto, harmonica, and Haruki Mino, piano (see here), and in 2013 in Milan by the Italian Gianluca Littera, harmonica, and the Orchestra Stesichoros conducted by Francesco Di Mauro (see here).