It is known that Sufism interacted with some non-religious movements in the Islamic geography at the time when its theoretical background first started to form. It is possible to find the traces of this interaction in sufism's discourse on music as well as on many issues that it examines. Gnosticism, one of the aforementioned non-religious movements, draws our attention more in this sense. Because both thoughts make use of mimetic elements in the way they treat the issues and present them in an almost theatrical stage. In this context, the first part of our study fo-cuses on the question of what kind of theoretical contribution Gnostic narratives, which contain mimetic elements, can make to interpret the theatrical depictions of Sufis in music. Afterwards, we focus on the rep-resentational character of music, which we see as a mimesis of the sa-cred in sufi thought. Is music in a religious ritual merely a decorative element that represents the meaning of the lyrics and enriches it, or is it a space of experience that can only be revealed through itself? In the context of such questions, we will discuss the mimetic character of mu-sic which is often performed as a verbal work in sufi rituals; at this point we will make a claim that the Gnostic framework cannot explain the whole aspects of sufi music.