In music, hocket is a rhythmic and linear technique involving the alternation of notes, pitches, or chords. In medieval practice, a single melody is shared between two (or occasionally more) voices such that one voice sounds while the other rests, creating a staggered, interlocking texture.
History
In European music, hocket (or hoquet) was prominent in vocal and choral compositions of the 13th and early 14th centuries. It was a defining feature of the Notre Dame school during the ars antiqua period, appearing in sacred vocal music and string compositions. By the 14th century, it was more common in secular vocal music. Though the term originates in medieval French motets, similar techniques appear globally under different names.
In seculumExample of hocket (In seculum d'Amiens longum), French, late 13th century. Observe the quick alternation of sung notes and rests between the upper two voices. While this example is textless, the hocket was usually done on a vowel sound.
A sikuri, a traditional Andean music form, is played in hocket. Computer-generated file.
Contemporary artists often integrate hocketing with other compositional techniques, such as alternating melodies, interlocking patterns, and stereo separation. While the term hoquet is antiquated, its principles are widely adapted in modern music production and performance.
The group Dirty Projectors prominently use hocketing in both instrumental and vocal arrangements. Frontman Dave Longstreth has expressed fascination with the medieval origins of these experimental techniques.[3]
Etymology
The term derives from the French hoquet (also hocquet, hoket, or ocquet in Old French), meaning "shock, sudden interruption, hitch, hiccup".[4] Related onomatopoeic terms appear in Celtic, Breton, and Dutch. Latinized forms include hoquetus, (h)oketus, and (h)ochetus. Earlier theories of Arabic origin are no longer favored.[5]
↑The Oxford English Dictionary defines Hocket as: “(in medieval music) an interruption of a voice-part (usually of two or more parts alternately) by rests, so as to produce a broken or spasmodic effect; used as a contrapuntal device.”
