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In music, hocket is the rhythmic linear technique using the alternation of notes, pitches, or chords. In medieval practice of hocket, a single melody is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests.
In European music, hocket or hoquet was used primarily in vocal and choral music of the 13th and early 14th centuries. It was a predominant characteristic of music of the Notre Dame school, during the ars antiqua , in which it was found in sacred vocal music and string compositions. In the 14th century, this compositional device was most often found in secular vocal music. Although the term is in reference to this secular music of the 13th and 14th centuries in France, the technique under other names can be heard in different types of music across the world.
The term originated in reference to medieval French motets, though the technique remains in common use in contemporary music. Examples include Louis Andriessen's Hoketus ; some popular music of the United States (funk, stereo panning, the guitar duos Robert Fripp/Adrian Belew in King Crimson, and Tom Verlaine/Richard Lloyd in Television); the Indonesian gamelan music (interlocking patterns shared between two instruments—called imbal in Java and kotekan in Bali); Andean siku music (two panpipe sets sharing the full number of pitches); Ukrainian and Russian kuvytsi (panpipe) ensembles, Lithuanian skudučiai (panpipe) ensembles, handbell music (tunes being distributed between two or more players), rara music in rara festival street processions in Haiti, as well as in the gagá in the Dominican Republic. Hocket is used in many African cultures such as the Ba-Benzélé (featured on Herbie Hancock's "Watermelon Man," see Pygmy music), Mbuti, Basarwa (Khoisan), the Gumuz tribe from the Blue Nile Province (Sudan), and Gogo (Tanzania). It is also evident in drum and bugle corps drumline music, colloquially known as "split parts" or simply "splits". Segments of the trombone ensemble in Duke Ellington's "Braggin' in Brass" [1] are a rare jazz instance of hocket. [2]
The use of hocketing is in reference to a broken melody line between two or more instruments or vocals, many contemporary artists freely integrate hocketing techniques with other composition devices such as alternating melodies, trading multiple melodic sections, or translating them between instruments or switching intervals of melody, or composing interlocking melodies shared between instruments. Hocket technique typically implied sharing a vocal on the vowels or having a sequence of notes spliced between instruments or vocals with certain notes in the melody being the moments of exchange. Interlocking notes are not a phenomenon in music unique to hocketing, alternating melody techniques have many uses through composition such as enabling certain vocals or instruments to become more audible than others, or effectively combining into a sequential chord, or by splitting the vocals or instruments between audio sources. While hoquet is an antiquated term and in contemporary practice is usually used alongside other melodic compositional devices and experimentation, it has found use in funk, and stereo panning, among other modern techniques typically used in similar style, and in multiple track recordings is often used artificially while editing arrangements of the song.
The group Dirty Projectors have used hocketing and other antiquated techniques prominently as an element of their music, experimenting with instruments as well as vocals in the style of hocketing or melodic intervals, particularly with interlocking or alternating melodies, though not all these techniques are explicitly the "hoquet" method. The group's frontman Dave Longstreth has expressed his interest and surprise in the medieval origins of the experimental techniques in use by the band. [3]
The term comes from the French word hoquet (in Old French also hocquet, hoket, or ocquet) meaning "a shock, sudden interruption, hitch, hiccup," [4] and similar onomatopeic words in Celtic, Breton, Dutch and other languages. The words were Latinized as hoquetus, (h)oketus, and (h)ochetus. Earlier etymologies tried to show derivation from Arabic, but they are no longer favored. [5]
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1000), High (1000–1300), and Late (1300–1400) medieval music.
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the contenance angloise style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period.
In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Who's "Baba O'Riley" (1971), and The Verve's "Bitter Sweet Symphony" (1997).
Klangfarbenmelodie is a musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument, thereby adding color (timbre) and texture to the melodic line. The technique is sometimes compared to "pointillism", a neo-impressionist painting technique.
Organum is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line may be sung on the same text, the melody may be followed in parallel motion, or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody, another singer—singing "by ear"—provided the unnotated second melody. Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
In music, monody refers to a solo vocal style distinguished by having a single melodic line and instrumental accompaniment. Although such music is found in various cultures throughout history, the term is specifically applied to Italian song of the early 17th century, particularly the period from about 1600 to 1640. The term is used both for the style and for individual songs. The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos.
Accompaniment is the musical part which provides the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music. In homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the "beat" for the music and outline the chord progression of the song or instrumental piece.
Gamelan gong kebyar is a style or genre of Balinese gamelan music of Indonesia. Kebyar means "to flare up or burst open", and refers to the explosive changes in tempo and dynamics characteristic of the style.
Kotekan is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others.
Hoketus was an amplified musical ensemble founded by Dutch composer Louis Andriessen in the Netherlands in 1976. The group was originally formed to perform Louis Andriessen's minimal composition Hoketus, but remained together and began to perform music composed for the group by other composers. The group disbanded in 1987.
The agung is a set of two wide-rimmed, vertically suspended gongs used by the Maguindanao, Maranao, Sama-Bajau and Tausug people of the Philippines as a supportive instrument in kulintang ensembles. The agung is also ubiquitous among other groups found in Palawan, Panay, Mindoro, Mindanao, Sabah, Sulawesi, Sarawak and Kalimantan as an integral part of the agung orchestra.
Imbal or imbalan is a technique used in Indonesian Javanese gamelan. It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or kotekan in Balinese gamelan. "A style of playing in which two identical or similar instruments play interlocking parts forming a single repetitive melodic pattern."
This imbal is a method of playing in which the nuclear theme is played by one of the nyaga's 'broken up' into half-values, what time another player beats alternately with the first, but in such a way that his tones, each of which comes between two of his colleague's, are always one step lower than the nuclear theme tone immediately preceding it. From practical considerations this imbal is, if possible, divided over two demungs; if only one such instrument is available, the two players sit facing each other. The player who beats the nuclear theme tones is said to play the gawé (...); the other one, the nginţil (...).
The Bamberg Codex is a manuscript containing two treatises on music theory and a large body of 13th-century French polyphony.
In the years centering on 1600 in Europe, several distinct shifts emerged in ways of thinking about the purposes, writing and performance of music. Partly these changes were revolutionary, deliberately instigated by a group of intellectuals in Florence known as the Florentine Camerata, and partly they were evolutionary, in that precursors of the new Baroque style can be found far back in the Renaissance, and the changes merely built on extant forms and practices. The transitions emanated from the cultural centers of Northern Italy, then spread to Rome, France, Germany, and Spain, and lastly reached England . In terms of instrumental music, shifts in four discrete areas can be observed: idiomatic writing, texture, instrument use, and orchestration.
October is a contemporary piece for concert band that was written by Eric Whitacre in 2000. Based on the guidelines as established by the authors of Teaching Music through Performance in Band, October is a Grade 5 piece.
New York Counterpoint for amplified clarinet and tape, or 9 clarinets and 3 bass clarinets, is a 1985 minimalist composition written by American composer Steve Reich. The piece, intended to capture the throbbing vibrancy of Manhattan, is notable for its ability to imitate electronic sounds through acoustic instrumentation.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism, homophonic polyphony, counter-melody and ostinato-variation. Polyphony is common in African music and heterophony is a common technique as well. Although these principles of traditional African music are of Pan-African validity, the degree to which they are used in one area over another varies. Specific techniques that used to generate harmony in Africa are the "span process", "pedal notes", "rhythmic harmony", "harmony by imitation", and "scalar clusters".
Classical music – Art music of the Western world, considered to be distinct from Western folk music or popular music traditions.