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 the song "To Lenio", transcribed by Andreas Seiller.

The monochrome cover features an artistic composition dominated by a young woman with wings, holding a lyre in her right hand and a laurel wreath in her left, evoking the image of an ancient Muse. The composition is complemented by depictions of the Acropolis of Athens and the publisher’s logo (in the upper right corner). The title is printed in Greek and French, along with the phrase "Di' asma kai kleidokymvalon" (For voice and piano), the transcriber’s name accompanied by their title ("Epitheoritou ton Stratiotikon Mousikon en Elladi" - Inspector of Military Bands in Greece), and the publisher’s name. It also bears a stamp indicating "Timatai drch.2" (Price: 2 drachmas). The back cover is blank.

This is a musical score with a system of three staffs (two for piano and one for singing). The code "G. 384 F." is written at the bottom of the pages of the music text.

The musical score is a faithful reproduction of the melodic section, transposed down by a minor third, from melody no. 28 in Louis-Albert Bourgault-Ducoudray's collection "Trente mélodies populaires de Grèce et d'Orient".

Ιn 1940–1941, the German-Jewish composer Berthold Goldschmidt (Hamburg, January 18, 1903 – London, October 17, 1996) completed the "Greek Suite" for orchestra. The eight-movement suite consists of arrangements of Greek popular melodies which come from the publication "Trente mélodies populaires de Grèce et d'Orient". The melody of this song is included among them. The following are the movements of the work and the corresponding songs from Bourgault-Ducoudray's collection, which the composer worked on:

– Alla marcia: songs number 27 and 7.
– Andante: number 15 and 21.
– Allegretto. Scherzando: number 4.
– Allegro marziale: number 23.
– Allegretto grazioso: number 30 entitled "To filima" and the song number 20.
– Lento: number 9.
– Allegretto: this song, under number 28 and number 1.
– Allegretto moderato: number 25.