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In the mid-'60s, Stockhausen began to be influenced by non-European meditative practices and musics in his composition - for example "Stimmung" with overtone singing on a low Bb tone like Tibetan Buddhist chant and the use of "magic names" to give mouth positions, etc., the 15 conceptual pieces known as "Aus dem Sieben Tagen" (From the Seven Days), performances of "Kurzwellen" (Shortwaves) in the dark, etc. "Inori" is based around rhythmic variations on a single note center, like a chant. Surrounding this are reiterated and rhythmically varied tones which change their basic pitches, timbres and overtone structures over various time cycles. Gradually these pitches take on the character of quasi-melodic gestures which include sliding tones. There is a brilliant variety of orchestral colors and combinations and uses of profound silences - the overall effect is that of a grand meditative ceremony that leads into deep psychological states.

Inori-Formel review by allmusic.com