The monograph's concept can be summarized in three theses.

1. There is no universal understanding of "colour-sound." This phenomenon was understood differently in different epoches and different countries. The context predisposes to analysis of interconnection between color and sound on the background of history of culture, this approach being proposed for the first time by this author.

2. It was a traditional approach, in use within the period from Aristotle till Geothe, that prevailed in the history of formation of color-sound analogies, revolving around ideas by Newton and Castel. But author reveals existence of a series of attempts to provide different explanations of the analogies. He underscores this fact as evidence for universality of such searches and disproves the accepted opinion that the searches are unique and occasional.

3. The author emphasizes that previous researches featured a mechanistic approach to color-sound theory with automatic transfer on color systems' definitions and concepts only peculiar to sound systems. He accents the fact that synaesthesia, intersensual association phenomenon, played no role in explaining researched analogies between color and sound in the period considered. Though, as B.M. Galeyev proved, synaesthesia is manifest in Castel's works: each octave reproduced in color is associated with higher brightness where the register is higher.

As to the question in the title of monograph: "Is C red?," the author concretely answers: this color-sound analogy, formulated in the middle of XVIII century for the first time, substantinated by Newton and then interpreted in very different ways, is merely a statistical indicator of the preference for seeing C as red (actually connected with synaethesia, in Jewansky's opinion). In spite of author's statement that his monograph features very thorough bibliogrpahical researches it is with sorrow that we have to note the fact that he based his work almost totally on Western European sources. It appears that Russian researches and publications, about 20 titles (this comprising several books), dating from 1742 till end of the 19th century, appeared to be out of reach for the author. (Even the general survey of Russian, Soviet works in Jewanski's book only begins from 1969).

Nevertheless, the publishing of so thorough monograph, and analysis, from cultural and historical point of view, problems of formation of new art forms at the eve of the 21st century is a significant event in the cultural life of the world.