Music and Time Annotation << Back Between Paint and Tone: About Color-Sound Parallels in the Art of the XX Century A.S. Lokteva In the XX century, an active convergence of color and sound begins. This is manifested through the identifi cation of the immanent principles of each of the arts, their interchange of definitions, concepts, and terms – the variation, fugue, tone, color, tonality (N. Kulbin, A. Yavlensky, M. Churlenis). the penetration of dynamics, movement, and the time component into painting (K. Malevich, R. Delaunay, O. Rozanova), the study of the relationship between color and sound, in the first attempts to build color-sound concepts (J. Hauer, V. Kandinsky, I. Vyshnegradsky). In the second half of the century, this process is increasing, as evidenced by the creation of new light-sound compositions, and the changing attitude of musicians to the category of color. Color in the utterances of composers becomes one of the ways of expressing sound (O. Messiaen, D. Ligeti), pictorial structures, and sketches – the basis for musical compositions (K. Saariaho, E. Denisov, H. Bertwistle). The movement of the arts towards each other and the changing consciousness of the creators leads to the blurring of the boundaries between the arts and the consolidation of a new type of composition. Keywords: color, sound, Scriabin, Messiaen, painting. Pp. 31-36.