/hok"it/, n.
a technique in medieval musical composition in which two or three voice parts are given notes or short phrases in rapid alternation, producing an erratic, hiccuping effect.
[1250-1300; ME hoket hitch < MF hocquet hiccup, sudden interruption, equiv. to hoc- (imit.) + -et dim. suffix; see HICCUP]

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also spelled  Hoquet, Hoquetus, Hoket, Hocquet, or Ochetus,  

      in medieval polyphonic (multipart) music, the device of alternating between parts, single notes, or groups of notes. The result is a more or less continuous flow with one voice resting while the other voice sounds.

      The hocket was a popular device in the motet and the cantilena (vernacular polyphonic songs) forms of the 13th and 14th centuries. It appears rarely in the early 15th century. Although hocket technique generally is found in short passages (often at the endings of sections or phrases) within a larger composition, it is used pervasively in the 14th-century French composer Guillaume de Machaut's “David,” in which the two upper voices sing in hocket above a slower moving tenor.

      More recently the term has been applied to instrumental textures, for example in works by Anton Webern, characterized by rapid, often single-note, exchanges between different parts.

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Universalium. 2010.

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