{"id":127844,"date":"2025-10-30T14:36:41","date_gmt":"2025-10-30T13:36:41","guid":{"rendered":"https:\/\/www.iemj.org\/piyyout-et-chanson-contemporaine\/"},"modified":"2026-01-21T15:49:48","modified_gmt":"2026-01-21T14:49:48","slug":"piyyout-et-chanson-contemporaine","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/","title":{"rendered":"Piyyut and contemporary Israeli song"},"content":{"rendered":"\n<!--more-->\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Piyyut \u2022 \u05e4\u05d9\u05d5\u05d8<\/strong><\/h2>\n\n\n\n<p><em>Derived from Latin and, through it, from Greek, this term is the first in Hebrew to refer to poetry proper. Initially used exclusively in a liturgical context (from the 5th to the 9th century CE), its meaning broadened in Judeo-Andalusian culture (between the 10th and 14th centuries CE) to also include secular Hebrew poetry.<\/em><\/p>\n\n\n\n<p><em>Today, the word piyyut mainly refers to religious (liturgical or paraliturgical) and collective singing, often performed in a community or family setting.<\/em><\/p>\n\n\n\n<p><em>In the following, we will present an outline of the influence of this traditional song-poetry on contemporary Israeli song.<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Adaptation of piyyutim to music<\/strong><\/h2>\n\n\n\n<p>The reinterpretation of piyyutim in contemporary Israeli music takes various forms. Some artists preserve the traditional melodies as they are, as in the famous <em>Im nin\u02bbalu<\/em> performed by Ofra Haza (1957\u20132000). Others, however, incorporate original compositions. For example, Beri Sakharof (1957-) developed a project entitled <em>Adume ha-Sefatot<\/em> based on Ibn Gabirol&#8217;s poems, while Etti Ankri (1963-) revisited the writings of Yehuda ha-Levi. Meir Banai (1960-2017) also played a crucial role in the evolution of this musical trend.<\/p>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Ofra Haza - Im Nin&#039;Alu (1988)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/9RL8h046EBQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Im nin\u2019alu<\/em> by Ofra Haza<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"\u05d9\u05d3\u05d9\u05d3\u05d9 \u05d4\u05e9\u05db\u05d7\u05ea\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/8fh7J9X2-Tc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Yedidi hashakha\u1e25ta<\/em> (text by Yehuda ha-Levi) to music by Etti Ankri<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>Over the years, the creation of events dedicated to traditional Jewish song\u2014such as the Hasidic Song Festival\u2014has made a significant contribution to the development of this music.<\/p>\n\n\n\n<p>This tradition is currently experiencing a significant resurgence, encouraged by a rise in religiosity in Israeli society, which has led to fruitful collaborations between contemporary artists and <em>paytanim <\/em>(performers of piyyutim). It should be noted that most of these projects are based on texts written in the tradition of Andalusian Hebrew poetry. Thanks to its rigorous and regular meter, this tradition is particularly well suited to musical adaptations.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Texts inspired by piyyutim<\/strong><\/h2>\n\n\n\n<p>Beyond covers, some Israeli songwriters, who have a broad knowledge of classical literature, create songs inspired by piyyutim. These works sometimes include references to Hebrew liturgical poetry.<\/p>\n\n\n\n<p>Perhaps the best-known example is <a href=\"https:\/\/www.iemj.org\/en\/shemer-naomi-1930-2004\/\" target=\"_blank\" rel=\"noreferrer noopener\">Naomi Shemer<\/a>&#8216;s song <a href=\"https:\/\/www.iemj.org\/en\/yeroushalayim-shel-zahav-jerusalem-dor\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Yerushalaim Shel Zahav<\/em><\/a>. In addition to the nod in the first words of the chorus (see, for example, Avot de-Rabbi Natan 6:3), there is the last sentence of the chorus: <em>lekhol shirayikh ani kinnor<\/em> (<em>&#8220;I am, to all your melodies, a lute<\/em>&#8220;), which is a direct reference to Yehuda ha-Levi&#8217;s poem: \u1e62iion halo&#8217; ti\u0161&#8217;ali (\u201cO Zion, will you not ask?\u201d).<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img fetchpriority=\"high\" decoding=\"async\" width=\"757\" height=\"135\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN.jpg\" alt=\"\" class=\"wp-image-127873\" style=\"width:1024px;height:auto\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN.jpg 757w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN-300x54.jpg 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN-600x107.jpg 600w\" sizes=\"(max-width: 757px) 100vw, 757px\" \/><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Another example is the song <em>Had Gadya<\/em> by Chava Alberstein (1947-), in which the singer-songwriter delivers a political message by diverting the lyrics and theme of the piyyut to renew its meaning.<\/p>\n\n\n\n<p>In recent years, this phenomenon has been growing, particularly in the work of singer-songwriter Ishay Ribo (1990-). Noteworthy is the fact that he sometimes draws inspiration from piyyutim from the <em>piyyu\u1e6d &#8216;ere\u1e63 isr&#8217;aeli<\/em> school (5th\u20139th centuries CE), which are more archaic and obscure.<\/p>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Had Gadya A little Goat \u05d7\u05d3 \u05d2\u05d3\u05d9\u05d0 Chava Alberstein Hebrew+English \u05db\u05ea\u05d5\u05d1\u05d9\u05d5\u05ea \u05d7\u05d5\u05d4 \u05d0\u05dc\u05d1\u05e8\u05e9\u05d8\u05d9\u05d9\u05df\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Zd8d_wN0_v0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Had Gadya<\/em> by<\/strong> <strong>Chava Alberstein<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"\u05d9\u05e9\u05d9 \u05e8\u05d9\u05d1\u05d5 - \u05e1\u05d3\u05e8 \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 | Ishay Ribo - Seder Ha&#039;Avoda\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ECy3CMxShIQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Seder Ha&#8217;Avoda<\/em> by<\/strong> <strong>Ishay Ribo<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-text-align-center\"><strong>*<\/strong><\/p>\n\n\n\n<p>An amusing example of lexical invention in a piyyut, which finds an unexpected echo in a contemporary song, can be found in the poem <em>Adon Olam<\/em>. The text of this prayer contains a peculiar hemistich: <em>a\u1e25are kikhlot hakol<\/em> (literally: After then comes the end of all things), whereas the conventional formulation should be <em>a\u1e25are kelot hakol<\/em> (After the end of all things). This Hebrew expression of liturgical origin has eventually entered everyday language, particularly in modern Hebrew.<\/p>\n\n\n\n<p>In adapting Jacques Brel&#8217;s <em>La chanson des vieux amants<\/em> into Hebrew, Naomi Shemer uses this expression in the following verse:<\/p>\n\n\n\n<p class=\"has-text-align-center\">. \u05d4\u05df \u05d0\u05d7\u05e8\u05d9 \u05db\u05db\u05dc\u05d5\u05ea \u05d4\u05db\u05dc, \u05d4\u05d9\u05d4 \u05dc\u05d9 \u05db\u05d9\u05e9\u05e8\u05d5\u05df \u05d2\u05d3\u05d5\u05dc \u05dc\u05d4\u05d6\u05d3\u05e7\u05df \u05d0\u05d9\u05ea\u05da \u05d1\u05d9\u05d7\u05d3<\/p>\n\n\n\n<p class=\"has-text-align-center\">Hen a\u1e25are kikhlot hakol, haya li kisharon gadol, lehizdaken itakh beya\u1e25ad<\/p>\n\n\n\n<p class=\"has-text-align-center\">All things considered, I was very fortunate to grow old by your side.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"\u05d7\u05d5\u05d4 \u05d0\u05dc\u05d1\u05e8\u05e9\u05d8\u05d9\u05d9\u05df - \u05d0\u05d4\u05d1\u05d4 \u05d1\u05ea \u05e2\u05e9\u05e8\u05d9\u05dd\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/0mcp9JqqJ1k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>La chanson des vieux amants<\/em> translated by Naomi Shemer and performed by Chava Alberstein<\/strong><\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center\"><strong>*<\/strong><\/p>\n\n\n\n<p>Through its themes, ideas, and words, piyyut, which has accompanied Israel&#8217;s spiritual and artistic history for centuries, continues to inspire contemporary songwriters. Its ancient words are sometimes adopted, sometimes modified, to engage with today&#8217;s reality.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":127827,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[950],"tags":[],"technique":[],"squelettes":[],"sujet":[2119],"formation":[],"genre":[1109],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-127844","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-feature-articles-en","sujet-religious-poetry-piyyutim-en","genre-israeli-songs"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Piyyut and contemporary Israeli song - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Piyyut and contemporary Israeli song - Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/\" \/>\n<meta property=\"og:site_name\" content=\"Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MusiquesJuives\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-10-30T13:36:41+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-01-21T14:49:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Logo_Piyyout-et-chanson-contemporaine.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"500\" \/>\n\t<meta property=\"og:image:height\" content=\"500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jacqueline ROTEN\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jacqueline ROTEN\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/\"},\"author\":{\"name\":\"Jacqueline ROTEN\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#\\\/schema\\\/person\\\/358e26c18aca017fcc4cc15437f7279c\"},\"headline\":\"Piyyut and contemporary Israeli song\",\"datePublished\":\"2025-10-30T13:36:41+00:00\",\"dateModified\":\"2026-01-21T14:49:48+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/\"},\"wordCount\":709,\"publisher\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.iemj.org\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/Logo_Piyyout-et-chanson-contemporaine.jpg\",\"articleSection\":[\"Feature articles\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/\",\"url\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/\",\"name\":\"Piyyut and contemporary Israeli song - Institut Europ\u00e9en des Musiques Juives\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.iemj.org\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/Logo_Piyyout-et-chanson-contemporaine.jpg\",\"datePublished\":\"2025-10-30T13:36:41+00:00\",\"dateModified\":\"2026-01-21T14:49:48+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#primaryimage\",\"url\":\"https:\\\/\\\/www.iemj.org\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/Logo_Piyyout-et-chanson-contemporaine.jpg\",\"contentUrl\":\"https:\\\/\\\/www.iemj.org\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/Logo_Piyyout-et-chanson-contemporaine.jpg\",\"width\":500,\"height\":500},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/piyyout-et-chanson-contemporaine\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Piyyut and contemporary Israeli song\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/\",\"name\":\"Institut Europ\u00e9en des Musiques Juives\",\"description\":\"Des traditions musicales \u00e0 la port\u00e9e de tous\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#organization\",\"name\":\"Institut Europ\u00e9en des Musiques Juives\",\"url\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.iemj.org\\\/wp-content\\\/uploads\\\/2021\\\/09\\\/Logo-IEMJ-Paypal.jpg\",\"contentUrl\":\"https:\\\/\\\/www.iemj.org\\\/wp-content\\\/uploads\\\/2021\\\/09\\\/Logo-IEMJ-Paypal.jpg\",\"width\":150,\"height\":50,\"caption\":\"Institut Europ\u00e9en des Musiques Juives\"},\"image\":{\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/MusiquesJuives\\\/\",\"https:\\\/\\\/www.instagram.com\\\/musiquesjuives\\\/\",\"https:\\\/\\\/www.youtube.com\\\/user\\\/musiquesjuives\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.iemj.org\\\/en\\\/#\\\/schema\\\/person\\\/358e26c18aca017fcc4cc15437f7279c\",\"name\":\"Jacqueline ROTEN\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/5964256d6c6957de3a3505278957e0fb2a35119ac47ea41827a65301213c810b?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/5964256d6c6957de3a3505278957e0fb2a35119ac47ea41827a65301213c810b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/5964256d6c6957de3a3505278957e0fb2a35119ac47ea41827a65301213c810b?s=96&d=mm&r=g\",\"caption\":\"Jacqueline ROTEN\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Piyyut and contemporary Israeli song - Institut Europ\u00e9en des Musiques Juives","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/","og_locale":"en_US","og_type":"article","og_title":"Piyyut and contemporary Israeli song - Institut Europ\u00e9en des Musiques Juives","og_url":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/","og_site_name":"Institut Europ\u00e9en des Musiques Juives","article_publisher":"https:\/\/www.facebook.com\/MusiquesJuives\/","article_published_time":"2025-10-30T13:36:41+00:00","article_modified_time":"2026-01-21T14:49:48+00:00","og_image":[{"width":500,"height":500,"url":"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Logo_Piyyout-et-chanson-contemporaine.jpg","type":"image\/jpeg"}],"author":"Jacqueline ROTEN","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Jacqueline ROTEN","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#article","isPartOf":{"@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/"},"author":{"name":"Jacqueline ROTEN","@id":"https:\/\/www.iemj.org\/en\/#\/schema\/person\/358e26c18aca017fcc4cc15437f7279c"},"headline":"Piyyut and contemporary Israeli song","datePublished":"2025-10-30T13:36:41+00:00","dateModified":"2026-01-21T14:49:48+00:00","mainEntityOfPage":{"@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/"},"wordCount":709,"publisher":{"@id":"https:\/\/www.iemj.org\/en\/#organization"},"image":{"@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#primaryimage"},"thumbnailUrl":"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Logo_Piyyout-et-chanson-contemporaine.jpg","articleSection":["Feature articles"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/","url":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/","name":"Piyyut and contemporary Israeli song - Institut Europ\u00e9en des Musiques Juives","isPartOf":{"@id":"https:\/\/www.iemj.org\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#primaryimage"},"image":{"@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#primaryimage"},"thumbnailUrl":"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Logo_Piyyout-et-chanson-contemporaine.jpg","datePublished":"2025-10-30T13:36:41+00:00","dateModified":"2026-01-21T14:49:48+00:00","breadcrumb":{"@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#primaryimage","url":"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Logo_Piyyout-et-chanson-contemporaine.jpg","contentUrl":"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Logo_Piyyout-et-chanson-contemporaine.jpg","width":500,"height":500},{"@type":"BreadcrumbList","@id":"https:\/\/www.iemj.org\/en\/piyyout-et-chanson-contemporaine\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/www.iemj.org\/en\/"},{"@type":"ListItem","position":2,"name":"Piyyut and contemporary Israeli song"}]},{"@type":"WebSite","@id":"https:\/\/www.iemj.org\/en\/#website","url":"https:\/\/www.iemj.org\/en\/","name":"Institut Europ\u00e9en des Musiques Juives","description":"Des traditions musicales \u00e0 la port\u00e9e de tous","publisher":{"@id":"https:\/\/www.iemj.org\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.iemj.org\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.iemj.org\/en\/#organization","name":"Institut Europ\u00e9en des Musiques Juives","url":"https:\/\/www.iemj.org\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.iemj.org\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.iemj.org\/wp-content\/uploads\/2021\/09\/Logo-IEMJ-Paypal.jpg","contentUrl":"https:\/\/www.iemj.org\/wp-content\/uploads\/2021\/09\/Logo-IEMJ-Paypal.jpg","width":150,"height":50,"caption":"Institut Europ\u00e9en des Musiques Juives"},"image":{"@id":"https:\/\/www.iemj.org\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/MusiquesJuives\/","https:\/\/www.instagram.com\/musiquesjuives\/","https:\/\/www.youtube.com\/user\/musiquesjuives"]},{"@type":"Person","@id":"https:\/\/www.iemj.org\/en\/#\/schema\/person\/358e26c18aca017fcc4cc15437f7279c","name":"Jacqueline ROTEN","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/5964256d6c6957de3a3505278957e0fb2a35119ac47ea41827a65301213c810b?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/5964256d6c6957de3a3505278957e0fb2a35119ac47ea41827a65301213c810b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/5964256d6c6957de3a3505278957e0fb2a35119ac47ea41827a65301213c810b?s=96&d=mm&r=g","caption":"Jacqueline ROTEN"}}]}},"_links":{"self":[{"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/posts\/127844","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/comments?post=127844"}],"version-history":[{"count":5,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/posts\/127844\/revisions"}],"predecessor-version":[{"id":129662,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/posts\/127844\/revisions\/129662"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/media\/127827"}],"wp:attachment":[{"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/media?parent=127844"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/categories?post=127844"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/tags?post=127844"},{"taxonomy":"technique","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/technique?post=127844"},{"taxonomy":"squelettes","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/squelettes?post=127844"},{"taxonomy":"sujet","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/sujet?post=127844"},{"taxonomy":"formation","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/formation?post=127844"},{"taxonomy":"genre","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/genre?post=127844"},{"taxonomy":"fonds","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/fonds?post=127844"},{"taxonomy":"tradition","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/tradition?post=127844"},{"taxonomy":"type-de-contenu","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/type-de-contenu?post=127844"},{"taxonomy":"interprete-compositeur","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/interprete-compositeur?post=127844"},{"taxonomy":"frise","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/frise?post=127844"},{"taxonomy":"type-devenement","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/type-devenement?post=127844"},{"taxonomy":"tableaux-liens-externes","embeddable":true,"href":"https:\/\/www.iemj.org\/en\/wp-json\/wp\/v2\/tableaux-liens-externes?post=127844"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}