In this article, the author discusses the principal Soviet experiments in music–kinetic art. As can be judged from the available literature, most of these experiments still remain ‘blank spaces’ for Western readers. This article testifies to the existence of long-standing traditions that have inspired the Soviet school of music-kinetic art and have contributed to its original features. Perhaps the results have not always been as successful or as extensive as one would want them to be, but the prospects for future developments look promising, if only on the basis of the theoretical foundations that were laid in Russia itself in the beginning of this century. To provide a context for his discussion of music-kinetic art considered in this review, the author has included an article (see Appendix) in which he examines the history of the idea of ‘seeing music’ in Russia in previous centuries.