Hocket

In Hoquetus ( other spellings: Hoketus, Hochetus ) is a compositional technique of polyphonic movement, later also own genre in music. This hoquetieren two of the votes, that is, they change in a fast pace (usually from note to note ) from each other, so that a singing or playing, while the other paused. This interweaving of voices leads to a complementary supplement. The two voices usually come further, continuous voices. It is a virtuosic and expressive music with a strong rhythmic element.

The beginnings of Hoquetus as sentence structure can be traced back to the Notre- Dame school about the year 1200. In the 13th century it developed the genre reached its importance in the 14th century its peak. A Hoquetus is mostly used at this time of the composer at key points in a composition. After the 14th century, this genus plays only a minor role. In the new music, there are some examples that use this compositional technique again and thus render her a late reverence.

The origin of the name " Hoquetus " is not clearly established. Long time it was a derivation from the Old French from (French hoquet = shock, sob, hiccup ). Meanwhile, a home is seen more from Latin, where ( h) occ (it) are " cut time and again - harrow " means.

Compositions that use the Hoquetus technology:

Guillaume de Machaut ( 1300-1305 *, † April 13, 1377 ): Hoquetus David ( 3-part )
Louis Andriessen: Hoketus (1975 ) for two groups of five instrumentalists ( pan flute, tenor saxophone ad libitum, bass guitar, piano, electric piano, conga )
Sofia Gubaidulina: Quasi Hoquetus ( 1984-85 ) for viola, bassoon (or cello) and piano
György Ligeti: Concerto for Violin and Orchestra (1990-1992), 2nd movement " Aria, Hoquetus, Choral"
Harrison Birtwistle: Hoquetus Peter (1995 ) for two flutes and piccolo trumpet

Gyorgy Kurtag: Hoquetus for Two Pianos in: Játékok, first part