This article addresses some aspects of semantics. Important historical, theoretical and practical landmarks are mentioned in the context of the proposed title. In general, the study of music as a type of language should be considered a separate area, which is undoubtedly related to semiotics, but cannot be reduced to just that. Therefore, the definition of semiotic properties in music should not be associated with a statement of it’s linguistic nature. Apparently, semiotic laws may not have total power in the space of artistic communication. Paradoxical, but by denying semiotics in universalism and it’s full complicity, it may be possible to reveal it’s new explanatory possibilities. In some cases, semiotic models in music have a clear, "open" appearance, in all other situations, they are optional or absent. If in previous stylistic eras the color had at most a structural role, the composers of the twentieth century go beyond this mentality, focusing on the special functionality of the timbre, which has become a main parameter of sound. This direction imposes some changes in the musical language, the formal structures, the compositional techniques, the widening of the possibilities of emitting the sound on the traditional instruments, etc. Theories argued by illustrious musicologists and composers are presented. This article is a part of a more complex research.