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Background in Ethnomusicology. The organological transformation of the lira fiddle of the Aegean has been associated with the rapid urbanization of the first half of the 20th century (Liavas, 1986). New instruments, (i.e. the violin), have 'inherited' the potentials, the repertoire, as well as the aesthetics of their predecessors (Sarris, 2007). A study of the instrumental repertoire combining an insider's and an outsider's perspective may reveal an enlightening view of potentials, techniques and influences (Sarris, Kolydas, & Tzevelekos, 2010). Background in Music Performance. The Ghléndi (fest) in the village of Olymbos, Karpathos, has been highlighted by ethnographic research as the symbolical place for communication and interaction between the community's members (Kavouras, 1990; 1992). In a context of rapid social transformations, the challenge for the musicians is to balance between the music of the 'old world' and the new music streams of the Aegean, which are often heavily criticized by some Olymbits. Aims. In this study, we try to shed light on the Páno Chorós dance phenomenon in the context of the social transformation of Olymbos in recent decades. Using Parataxis (Sarris, Kolydas, & Tzevelekos, 2010) we examine a given recording both from the perspectives of organology and music performance. Main contribution. Based on Parataxis framework we try to perform a multilateral analysis of our recording. From the perspective of organology, using music network analysis, we can see the interconnection of musical instruments. From a native's perspective a whole world of evaluations and interpretations emerges based upon the history of Olymbos, the social transformations, the experiences of the musicians, hence indicating music as a tool for the negotiation of the identity for the modern Olymbits. Implications. This case study can hopefully act as a pattern for the multilateral analysis of instrumental music following the technique of parataxis. Data from structural analysis combined with organological data and performative practices may result in a 'holographic depiction' of the music under analysis. [ABSTRACT FROM AUTHOR]