 Stockhausen 's conception of opera was based significantly on ceremony and ritual , with influence from the Japanese Noh theatre ( Stockhausen , Conen , and Hennlich 1989 , 282 ) , as well as Judeo @-@ Christian and Vedic traditions ( Bruno 1999 , 134 ) . In 1968 , at the time of the composition of Aus den sieben Tagen , Stockhausen had read a biography by Satprem about the Bengali guru Sri Aurobindo ( Guerreri 2009 ) , and subsequently he also read many of the published writings by Aurobindo himself . The title of Licht owes something to Aurobindo 's theory of " Agni " ( the Hindu and Vedic fire deity ) , developed from two basic premises of nuclear physics ; Stockhausen 's definition of a formula and , especially , his conception of the Licht superformula , also owes a great deal to Sri Aurobindo 's category of the " supramental " ( Peters 2003 , 227 ) . Similarly , his approach to voice and text sometimes departed from traditional usage : Characters were as likely to be portrayed by instrumentalists or dancers as by singers , and a few parts of Licht ( e.g. , Luzifers Traum from Samstag , Welt @-@ Parlament from Mittwoch , Lichter @-@ Wasser and Hoch @-@ Zeiten from Sonntag ) use written or improvised texts in simulated or invented languages ( Kohl 1983 – 84b , 499 ; Moritz 2005 ; Stockhausen 1999 , 18 – 25 ; Stockhausen 2001b , 20 ; Stockhausen 2003 , 20 ) . 
