Other Composers
Pierre Boulez describes his composition Rituel, in memoriam Bruno Maderna (1975) as a "ceremony of memory", based on "numerous repetitions of the same formulas", and it has been seen as an analogue to Stockhausen's formula compositions—especially to Inori, because of the shared ritual character of the two compositions (Blumröder 1982, 183–84).
York Höller, who studied with Stockhausen in 1971–72, uses a similar method, which he names Klanggestalt (literally, "sound-shape"), and at least one writer has used the expression "formula composition" to describe it (Stenzl 1991, 12–15). Finbar O'Súilleabháin, however, while accepting there are parallels between the techniques in Höller's opera The Master and Margarita (1984–85) and Stockhausen's Licht cycle (1977–2003), concludes that Höller's conception is "perfectly distinct" (O'Súilleabháin 1992).
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“More significant than the fact that poets write abstrusely, painters paint abstractly, and composers compose unintelligible music is that people should admire what they cannot understand; indeed, admire that which has no meaning or principle.”
—Eric Hoffer (1902–1983)