Jaloliddin Rumi's poetics in composing creativity

In this article, the reasons of tremendous influence of Sufi,poet and mystic-philosopher Jaloliddin Rumi on modern music art are analysed. The main of these reasons is that music is one of hisdoctrine concepts. In Rumi's poetry and philosophy it is presented as love and means of comprehending God, while Nai (a reed flute)expresses the Sufi symbol of man's aspiration for God. In Mawlawiyah fraternity founded by J. Rumi, the practice of ecstatic danceaccompanied by wonderful music had been established. Here the importance of translations made in the nineties by an American poetK. Barks is underlined, in his helping the active musical comprehending of Rumi's poetry by representatives of the Western (first of all,English-speaking and mass) culture - let us just recall ''Monsters of Grace'' opera (1998) by a minimalist composer Philip Glass and''Turning to the Centre'' symphony for baritone, percussion, clarinet and piano (2002) by Philip Schroeder, as well as some others. Tounderstand the reasons of Rumi's creativity influencing music composing, category of poetics is chosen as a universal aspect. Byanalysing the number of works created by composers of various epochs and directions - i.e. ''Song About Night'' Symphony # 3 by aPolish composer K. Shymanovski (1916); ''Rumi Recitatives'' suite for flute and piano by a Tajik composer T. Shakhidi (1981);''Parables'' - the cycle of four a cappella choirs by a Uzbekistan composer A. Varelas (1986), etc., - the main parameters of J. Rumi'spoetics were singled out, realized in music opuses. Among them is ''sound of silence'' transferred into music with the help of repetitivetechniques, poetical ''double metaphor'' technique in music through interaction of two imagery strata - ''anthropological'' and''cosmological'' one; improvisations based on variant development of one nucleus-leitmotif. Its sources are found in the imagery sphereof Rumi's poetry, in development principles of traditional professional music of the Central and the Middle East, as well as inMawlawiyah Order rituals, in particular. But the leading role here belongs to the vividly expressed dialogue character conditioned by theinfluence of ''sukhbat'' Sufi tradition (communicating on religious- mystical themes). In Rumi's poems we constantly hear what Bakhtincalls ''internally dialoguized words''. With Rumi, this internal dialogue ascends to the conceptual level, where the stream of conversationflows through the man independent of what he is talking or keeping silent about. By example of the number of works we find a wholeset of universal parameters conditioned by both the tendencies of the poetic text (''sukhbat'' principle) and peculiarities of musicdevelopment (''makam'' principle of varying a single nucleus-leitmotif). The sources of the discovered commonality are concentrated inpoetics of J. Rumi's immortal works. Along with this, these compositions reflect both individuality of the authors and peculiarities ofeach particular epoch.

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