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 an arrangement with French lyrics of the American song "Susie (If you knew Susie)" set to music and lyrics by B. G. De Sylva [George Gard "Buddy" DeSylva]. We should note that in some musical scores (see for example here) Joseph Meyer is mentioned as a co-creator, while in recordings of the song (see here for example) Joseph Meyer is mentioned as the composer and B. G. De Sylva as the lyricist. The French lyrics were written by Battaille-Henri.

On the monochrome cover, which depicts musical bars from the musical score of the piece "Ki-Ki-Ko" by O. Tsalatatan (Orestis Tsalapatanis), are written the title of the song "Mistinguett chante et danse au Moulin Rouge avec Earl Leslie et Randall" (Mistinguett sings and dances at the Moulin Rouge with Earl Leslie and Randall), "Le grand succès d'Amérique" (America's Great Success), "fox-trot", the names of the composer and the French lyricist. No information about the publisher is given, and the back cover is blank. 

The musical text (pages 2-3) consists of a system of three staffs (two for piano and one for singing) and is accompanied by lyrics in English and French.

For the recordings of the song in Greek discography, see here.

Research and text: Leonardos Kounadis and Nikos Ordoulidis