The central idea of the architectural composition originates from creating an acoustic thread through the design of "acoustic bells" that accompany the narrative of the museum's historical route through 6 stations. The narrative is complemented by three thematic sections that include the "timeline," "social circumstances” and “musical instruments.

" The connection is achieved through the reflection of the mirror, linking history with the present, "obstacles and difficulties" through carefully crafted texts, images, and sounds, and finally, the "anthology of songs" through the representation of the interior of a living room in a Greek (Hebrew) middle-class home from the interwar period. Music and song, timeless and universal means of expression, embrace the anxieties, joys, sorrows, dreams, and stories of humanity. Traditional and folk music have their resources open and harmoniously incorporate many elements into their flow.

Although Sephardic religious music is mainly chanted in Hebrew, there are hymns in the Sephardic language as well. Elements of Turkish and Byzantine musical traditions are also present, as close relations with Muslim and Greek communities resulted in such musical interactions. The title of the work comes from the verb "endechar," meaning to lament or sing - these are the lamentations. Some "romansas" were also sung as laments.