The Influence of Choral Elements on the Formation and Development of the Piyyût Genres (Hebrew)

In the Talmudic period the vocal participation of the congregation in the prayers was minimal. It is excluded by the early Palestinian piyyûtim, which are in continuous-flow forms. Subsequently there appear, in certain genres of the piyyût, sections which contrast with the main body in both structure and metre. The only convincing explanation of this phenomenon is the presence of an institutionalized choir, at least in the form of a small group of proficient singers attached to the hazzan in order to complement and lend variety to his soloistic performance. The innovation appears 'embryonically' at the time of Yannai, and fully-fledged in the Kalliric generation. It develops first within the qedussah and qerovah genres, and is then also taken over into the yozer complex (first into the zulat, later into the ofan). The choral element also assumes a new and standardized form, which includes a refrain strophe (pizmon). In the 9th century, newly composed 'choral pieces' begin to be inserted into older non-choral qedussah hymns. The process turns into hyper-tropy, and a reaction ensues- in which not the recent additions but the old components are discarded, and piecemeal at that, from these poetic complexes. When the lead in piyyut composition passes from the Near East to Spain, the solo-and-choir structures are not taken over. This accords with the explicitly documented efforts of the authorities to have the congregation participate in the service and to reduce the exclusive and showy role of the hazzan (thus also of the choir). The same attitude also prevailed in Italy and in the Ashkenazic area, and is similarly reflected by the piyyûtim created there.