Hoquetus

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Hoquetus (other spellings: Hoketus , Hochetus ) is in the European music theory, a set of technology polyphonic set , and later its own genre in music. Here hoquetieren two of the votes, that is, they alternate in rapid pace (usually from grade to grade) to each other from, so one or plays sings while the other paused. This entanglement of the voices leads to a complementary addition. In addition to the two voices, there are usually additional, continuous voices. It is a virtuoso, expressive music with a strong rhythmic element.

Classical music

The beginnings of the Hoquetus as a sentence structure can be traced back to the Notre Dame school around the year 1200. In the 13th century the genre developed from this, the importance of which reached its peak in the 14th century. During this time, a hoquetus is usually used by composers at particularly important points in a composition . After the 14th century, this genus only played a minor role. In New Music there are a few examples that use this compositional technique again and thus pay late tribute to it.

The origin of the name "Hoquetus" is not clearly established. For a long time, a derivation from Old French was assumed (French hoquet = thrust, sob, hiccup). In the meantime, an origin from Latin is seen, where (h) occ (it) are "cut again and again - harrow" means.

Classic compositions using the Hoquetus technique:

  • Guillaume de Machaut (* between 1300 and 1305; † April 13, 1377): Hoquetus David (3 voices)
  • Bohuslav Martinů , The Epic of Gilgamesh (1954/55, premier 1958): Hoquetus sentence for the duel scene between Gilgamesh and Enkidu at the end of the first part
  • Louis Andriessen : Hoketus (1975) for two groups of five instrumentalists (pan flute, tenor saxophone ad libitum, bass guitar, piano, e-piano, conga)
  • Jan Dismas Zelenka : Missa Dei patris (1740/41) for solos, choir and orchestra, Kyrie II
  • 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 Petrus (1995) for two flutes and piccolo trumpet
Les Hoquets du Gardien de la Lune (1987) for orchestra

Non-European music

For African music, JH Kwabena Nketia introduced the English term hocket in 1962 for certain musical forms in traditional African music , which include the yodelling, alternating with the single-tone flute hindewhu of the Central African Ba-Benzele pygmies . Since then, hocket and other terms adopted from European music theory to characterize non-European musical phenomena have become commonplace among ethnomusicologists when it comes to making intercultural comparisons.

Hoquetus-like vocal or instrumental forms are also known from other regions of the world. Similar musical forms in the instrumental music of the Indonesian gamelan hot in Java IMBAL and Bali kotekan . Either two rows of humpback gongs (in Java: bonang , in Bali: reyong ) or two metallophones (in Java: saron , in Bali: gangsa ) are involved. The expressive singing of the Balinese kecak occupies a special position .

See also

Medieval music , ars antiqua , ars nova , motet , organum , rondeau

literature

  • William E. Dalglish: The Hocket in Medieval Polyphony. In: The musical quarterly. 55, 1969, ISSN  0027-4631 , pp. 344-363.
  • William E. Dalglish: The Origin of the Hocket. In: Journal of the American Musicological Society. 31, 1978, ISSN  0003-0139 , pp. 3-20.
  • JH Kwabena Nketia : The Hocket Technique in African Music. In: Journal of the International Folk Music Council. 14, 1962, ISSN  0950-7922 , pp. 44-52.
  • Ernest H. Sanders : Medieval Hocket in Practice and Theory. In: The musical quarterly. 60, 1974, ISSN  0027-4631 , pp. 246-256.

Individual evidence

  1. ↑ Wolf Frobenius: Hoquetus . In: Hans Heinrich Eggebrecht (Ed.): Handbook of musical terminology . Mainz 1988-89; see also: Online version of the State Institute for Music Research Berlin ( memento of the original from February 1, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 78 kB) @1@ 2Template: Webachiv / IABot / www.sim.spk-berlin.de
  2. ↑ Gerhard Kubik : Some basic terms and concepts of African music research. In: Ders .: To understand African music. Lit Verlag, Vienna 2004, pp. 58–60