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 songs "Apo to spiti sou perno" (page 2) and "Vangelitsa"(page 3) with music and lyrics by Giannis Papaioannou.

The monochrome cover is adorned with a visual composition that includes a man playing the flute, a woman, in a round frame, both in folklore costumes, and a tree. The titles of the songs, the author, the publisher and "Δρχ. 14" (14 drachmas) are also listed. "Rich. Fretsas" is written on the third page, and the back cover is blank.

The musical text of the song "Vangelitsa" consists of a musical score with a three-staff system (two for the piano and one for voice) and is accompanied by the lyrics.

The song was recorded in Athens in 1938 by Yiannis Papaioannou – Apostolos Hatzichristos (Odeon GO 3143 – GA 7157 and Decca GO 3143 – 31114) and by Stratos Pagioumtzis – Stellakis Perpiniadis (Columbia C.G. 1878 – D.G. 6440).

The song is found in British discography with the cover “Pes mou ti (Just tell me)” by the Welshman Donald Swann, who became more widely known for his participation in the British comedy duo Flanders and Swann. The song was recorded by tenor Jeffrey Cresswell in London on February 22–23, 1996, with orchestration and conducting by John Jansson. It is included in the CD "The Isles of Greece" (The Divine Art 2-5010), a collection of music and songs composed and collected over a period of fifty years, from the time Swann lived in Greece as a member of the Friends Ambulance Unit (FAU), between 1944-46, until his last visit at the end of August 1992. The fruits of this long-standing relationship with Greece are his arrangements of Greek songs (see, for example here, here and here), his original compositions to the verses of Greek poets, such as Kostis Palamas (see here) and Ioannis Gryparis (see here), and the cycle of eight songs entitled "The Casos sonetts" to his own verses (see here and here).