Piyyut

(pl. Piyyutim)

   Liturgical hymns of the Jewish tradition. Originally written to enhance prayers, they eventually became detached as those prayers became more and more the province of the professional hazan (cantor) by the sixth century. The classical piyyut flourished in Palestine from the sixth to 11th centuries, characterized by isosyllabic, non-rhyming texts based on the Talmud and Midrash. Some authorities, notably Maimonides, protested their introduction into the liturgy. The earliest notated piyyutim date from c. 1100. Another branch of piyytim flourished in Spain from the 10th to 14th centuries, heavily influenced by the dominant Arabic culture. Here poets turned to Biblical sources and adopted rhymed and eventually strophic poetry. Some piyyutim are contrafacta of popular Arabic songs. In general, the melodies are metric, except those with strictly Biblical texts, in contrast to the classical {}piyyutim, which are believed to have been chanted in the manner of prayers.

   Piyyutim may be sung by one or more soloists, by a chorus, or in some combination with the congregation contributing brief responses such as "Amen" or Halleluya. Traditionally, only men sing, but in modern Western communities women may also perform.

   See also Lekha Dodi; Pizmon.