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.

The musical score in question is included 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 and contains, on page 46 and under number 46, the song "Paraponon".

The edition, which has 104 pages, includes, in addition to the musical scores of 62 songs, a foreword, an introduction and a musicological study of 32 pages.

On the color cover, which features a decorative design and a lithography, the following is written: "Lith. G. Chatzi-Savva, Athens", "P. Mathiopoulos", "Typois Epam. Zagkouroglou". There is also the inscription "Timatai Dr. 12" (Cost 12 drachmas), stamps with the authors' signatures, and the back cover is blank.

This is a musical score with a system of two staffs for piano and song. The song's melody is written on the staff for the right hand of the piano, possibly for reasons of economy.

In Greek historical discography, an instrumental version of the tune is found in the recording “O agapitikos tis voskopoulas ΙI”, which was made by the Philharmonic Orchestra of the Municipality of Piraeus in 1907-1908 in Athens (Odeon GX-97 – 65075). It is an instrumental potpourri, which occupies both sides of the disc (see here and here) and consists of melodies found in the Bourgault-Ducoudray collection.

A contemporary 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)] ("Anathema ton po' 'vale", 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. Vasilis Barampoutis sings it.