THE STILLNESS OF THE SILENT SOUND: A TANTRIC ANALYSIS OF KARLHEINZ STOCKHAUSEN'S AUS DEN SIEBEN TAGEN Mihai Ioan Popean A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2015 Committee: Marilyn Shrude, Advisor Patricia E. Sharp Graduate Faculty Representative Mikel Kuehn Mary Natvig © 2015 Mihai Popean All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor The music of German composer Karlheinz Stockhausen (August 22, 1928 – December 5, 2007) continues to be the focus of intense scholarly research. However, due to the special characteristics of what Stockhausen labeled as intuitive music, it represents a period of his compositional output that has yet to be thoroughly analyzed. This document proposes an analysis of Stockhausen’s cycle of intuitive music, Aus den sieben Tagen (From the Seven Days), from the perspective of the ancient Indo-Tibetan tantric theory and praxis of sound, as propagated through Vajrayāna Tibetan Buddhism. After discussing the proper context for the composer, the composition, and the proposed analytical model of the tantric maṇḍala template found in Nāda Yoga Tantra praxis, an in-depth, multi-layered analysis is presented that includes significant features of the cycle, including architectural and layout design, semantic and literary fields, esoteric aspects, and a maṇḍala– based tantric analysis. The particularities of each layer of analysis are examined using principles of sacred geometry, mathematical concepts, and esoteric praxis that result in a set of meaningful conclusions about the cycle as an artifact based on tantric principles. These conclusions are a synthesis of analytical data obtained through score study, research concerning Stockhausen’s cultural background, personal experience with the tantric methods alluded to in this cycle, and pre-existing scholarly literature on the subjects of Aus den sieben Tagen, intuitive music, and Tantra. Supportive evidence is comprised of tabular data as well as graphical representations and iv logical inferences based on the mathematical, geometrical, and esoteric principles discussed therein. A comprehensive analysis shows the tantric maṇḍala template as the underlying principle at the core of Aus den sieben Tagen, which illustrates Stockhausen’s preoccupation with the notions of enlightenment, transcendence, and the functional aspects of music composition at the time at which Aus den sieben Tagen was written. This work is not a metaphor for, nor a representation of tantric practice, but is in itself a tantric practice. v Dedicated to Marilyn Shrude, my enduring role model of utmost excellence as a composer and mentor. vi ACKNOWLEDGMENTS This research was made possible through the remarkable contributions of several groups of individuals whom I would like to recognize and thank at this time. First and foremost I would like to thank my advisor, Distinguished Artist Professor Dr. Marilyn Shrude, for her outstanding performance as my teacher and mentor throughout my residency as a graduate student at Bowling Green State University. I would also like to thank my committee members, Drs. Patricia Sharp, Mikel Kuehn, and Mary Natvig for their invaluable feedback and suggestions, and also for being my excellent teachers throughout these years. The success of this research was in part dependent upon requesting, receiving, and studying under proper guidance the very rare teachings, initiations, commentaries, and explanations of Vajrayāna. For that I would like to thank His Eminence Garchen Rinpoche and His Eminence Dzongsar Khyentse Rinpoche, Venerables Traga, Thubten Nyima, Ontul, and Tharchin Rinpoche, as well as Drs. Barbara Du Bois and Nida Chenagtsang. As research for this dissertation demanded a great deal of resources, I would also like to thank Adam, Amanda, Smaranda, as well as all other members of Chandrasurya Sangha. Their invaluable support made possible retreats completed on behalf of this research in California, Arizona, Michigan, Ohio, and Vermont. For unending support, love, and care throughout the many challenges which became the history of this process, I want to extend a special thank you to my beloved Caitlin Stoner. vii TABLE OF CONTENTS INTRODUCTION .......................................................................................................................... 1 CHAPTER 1. GENERAL FRAME OF REFERENCE .................................................................. 5 1.1. Multidimensional Array of Empirical Data ..................................................................5 1.2. Statement of Problem ....................................................................................................8 1.3. Methods and Procedures .............................................................................................10 1.4. Other Relevant Research.............................................................................................13 1.5. Discussion of Sources .................................................................................................21 1.5.1. Karlheinz Stockhausen .................................................................................22 1.5.2. Śri Aurobindo...............................................................................................22 1.5.3. Padmasambhava and Tibetan Buddhism .....................................................23 1.5.4. Indian Theory and Practice of Sound...........................................................25 1.5.5. Maṇḍala, Sacred Geometry, and Mathematics ............................................25 CHAPTER 2. SHIFTING PARADIGMS..................................................................................... 27 2.1. Fields of Referential Knowledge ................................................................................27 2.2. The Advent of Direct Sound .......................................................................................30 2.3. Karlheinz Stockhausen and Śri Aurobindo .................................................................34 2.4. Aus den sieben Tagen .................................................................................................39 2.5. The Transhumanistic Paradigm ..................................................................................40 2.6. Singularity Was Here ..................................................................................................43 2.7. The Technological Solution ........................................................................................46 CHAPTER 3. TANTRA ............................................................................................................... 56 viii 3.1. Definition ....................................................................................................................56 3.2. Brief History ...............................................................................................................60 3.3. Nāda, Nāda Yoga, and Vajrayāna Tantra ...................................................................65 3.4. Tantra as Continuum ...................................................................................................74 3.5. Maṇḍala.......................................................................................................................79 CHAPTER 4. AUS DEN SIEBEN TAGEN: ANALYSIS ........................................................... 86 4.1. General Considerations ...............................................................................................89 4.1.1. Analytical Model: Sources ...........................................................................92 4.1.2. Brief Description of the Cycle .....................................................................98 4.2. Comparative Analysis ...............................................................................................100 4.3. Layout Analysis ........................................................................................................108 4.3.1. Canvas Positioning.....................................................................................116 4.3.2. Text Displacement Matrix .........................................................................118 4.3.3. Layout Displacement Matrix .....................................................................120 4.3.4. Layout Design Visual Matrix.....................................................................126 4.4. Semantic Analysis .....................................................................................................128 4.4.1. Semantic Field Matrix................................................................................131 4.4.2. Patterns of Word Occurrence .....................................................................136 4.4.3. Kurzwellen .................................................................................................141 4.4.4. Binary Code ...............................................................................................147 4.4.5. Digital Root ................................................................................................148 4.4.6. Music..........................................................................................................153 4.5. Literary Analysis .......................................................................................................156 ix 4.5.1. Right Durations ..........................................................................................156