{"id":127847,"date":"2025-10-30T14:36:41","date_gmt":"2025-10-30T13:36:41","guid":{"rendered":"https:\/\/www.iemj.org\/piyyout-et-chanson-contemporaine\/"},"modified":"2025-11-12T13:05:27","modified_gmt":"2025-11-12T12:05:27","slug":"piyyout-et-chanson-contemporaine","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/es\/piyyout-et-chanson-contemporaine\/","title":{"rendered":"El Piyyut y la canci\u00f3n contempor\u00e1nea israel\u00ed"},"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 class=\"wp-block-paragraph\"><em>Nombre com\u00fan masculino, derivado del lat\u00edn y, a trav\u00e9s de este, del griego, este t\u00e9rmino es el primero en hebreo que designa la poes\u00eda estrictamente hablando. Inicialmente de uso exclusivamente lit\u00fargico (entre los siglos V y IX d. C.), se ampli\u00f3 en la cultura judeoandaluza (entre los siglos X y XIV d. C.) para incluir tambi\u00e9n la poes\u00eda hebrea profana.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Hoy en d\u00eda, el t\u00e9rmino piyyut evoca principalmente el canto religioso (lit\u00fargico o paralit\u00fargico) y colectivo, a menudo entonado en comunidad o en familia.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>A continuaci\u00f3n, presentaremos un esbozo de la influencia de esta poes\u00eda-canci\u00f3n tradicional en la canci\u00f3n israel\u00ed contempor\u00e1nea.<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Adaptaci\u00f3n musical de piyyutim<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">La reinterpretaci\u00f3n de los piyyutim en la m\u00fasica israel\u00ed contempor\u00e1nea adopta diversas formas. Algunos artistas conservan las melod\u00edas tradicionales tal cual, como en el famoso <em>Im nin\u02bbalu<\/em> interpretado por Ofra Haza (1957-2000). Otros, en cambio, incorporan composiciones originales. Por ejemplo, Beri Sakharof (1957-) desarroll\u00f3 un proyecto titulado <em>Adume ha-Sefatot<\/em> a partir de los poemas de Ibn Gabirol, mientras que Etti Ankri (1963-) revis\u00f3 los escritos de Yehuda ha-Levi. Meir Banai (1960-2017) tambi\u00e9n desempe\u00f1\u00f3 un papel crucial en la evoluci\u00f3n de esta corriente musical.<\/p>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-8f761849 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> de 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> (texte de Yehuda ha-Levi) sur un air de Etti Ankri<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">A lo largo de los a\u00f1os, la creaci\u00f3n de marcos dedicados a la canci\u00f3n tradicional jud\u00eda, como el Festival de la Canci\u00f3n Jas\u00eddica, ha contribuido de manera importante al desarrollo de este tipo de m\u00fasica.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Esta tradici\u00f3n est\u00e1 experimentando actualmente un importante auge, impulsado por un aumento de la religiosidad en la sociedad israel\u00ed, que ha dado lugar, en particular, a fruct\u00edferas colaboraciones entre artistas contempor\u00e1neos y <em>paytanim <\/em>(int\u00e9rpretes de piyyoutim). Cabe se\u00f1alar que la mayor\u00eda de estos proyectos se basan en textos escritos en la tradici\u00f3n de la poes\u00eda hebrea andaluza. Esta \u00faltima, gracias a su m\u00e9trica rigurosa y regular, se presta especialmente bien a las adaptaciones musicales.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Textos inspirados en piyyutim<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">M\u00e1s all\u00e1 de las versiones, algunos compositores israel\u00edes, dotados de una amplia cultura literaria cl\u00e1sica, crean canciones inspiradas en los piyyutim. Estas obras a veces incluyen gui\u00f1os a la poes\u00eda lit\u00fargica hebrea.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">El ejemplo m\u00e1s conocido es sin duda el de <a href=\"https:\/\/www.iemj.org\/es\/shemer-naomi-1930-2004\/\" target=\"_blank\" rel=\"noreferrer noopener\">Naomi Shemer<\/a> en la canci\u00f3n <a href=\"https:\/\/www.iemj.org\/es\/yeroushalayim-shel-zahav-jerusalem-dor\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Yerushalaim Shel Zahav<\/em><\/a>. Adem\u00e1s del gui\u00f1o en las primeras palabras del estribillo (v\u00e9ase, por ejemplo, Avot de-Rabbi Natan 6: 3), est\u00e1 la \u00faltima frase del estribillo:<em> lekhol shirayikh ani kinnor (\u00abyo soy, para todas tus melod\u00edas, un la\u00fad\u00bb)<\/em>, que es una referencia directa al poema de Yehuda ha-Levi: <em>\u1e62iion halo&#8217; ti\u0161&#8217;ali (\u00abOh, Si\u00f3n, \u00bfno te preguntar\u00e1s?\u00bb).-tu donc pas \u00bb)<\/em>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><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-127877\" 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 class=\"wp-block-paragraph\">Otro ejemplo es la canci\u00f3n <em>Had Gadya<\/em> de Chava Alberstein (1947-), en la que la autora e int\u00e9rprete transmite un mensaje pol\u00edtico, desviando la letra y el tema del piyyut para renovar su significado.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En los \u00faltimos a\u00f1os, este fen\u00f3meno ha experimentado una expansi\u00f3n, especialmente en la obra del autor e int\u00e9rprete Ishay Ribo (1990-). Cabe destacar que, en ocasiones, se inspira en piyyutim de la escuela del <em>piyyu\u1e6d &#8216;ere\u1e63 isr&#8217;aeli<\/em> (siglos V-IX d. C.), que son m\u00e1s arcaicos y oscuros.<\/p>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-8f761849 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> de 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> de Ishay Ribo<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>*<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Un ejemplo divertido de invenci\u00f3n l\u00e9xica en un piyyut, que encuentra un eco inesperado en una canci\u00f3n contempor\u00e1nea, se puede encontrar en el poema <em>Adon Olam<\/em>. El texto de esta plegaria contiene una hemistiquio particular: <em>a\u1e25are kikhlot hakol<\/em> (literalmente: Despu\u00e9s, cuando llegue el fin de todas las cosas), mientras que la formulaci\u00f3n convencional deber\u00eda ser <em>a\u1e25are kelot hakol<\/em> (Despu\u00e9s del fin de todas las cosas). Esta expresi\u00f3n hebrea de origen lit\u00fargico acab\u00f3 entrando en el lenguaje corriente, especialmente en el hebreo moderno.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Al adaptar <em>La chanson des vieux amants<\/em> (La canci\u00f3n de los viejos amantes) de Jacques Brel al hebreo, Naomi Shemer utiliza esta expresi\u00f3n en el siguiente verso:<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">. \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 wp-block-paragraph\">Hen a\u1e25are kikhlot hakol, haya li kisharon gadol, lehizdaken itakh beya\u1e25ad <\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">A fin de cuentas, he tenido mucho talento para envejecer a tu lado.<\/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> traducida por Naomi Shemer e interpretada por Chava Alberstein.<\/strong><\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong>*<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Con sus temas, ideas y palabras, el piyyut, que ha acompa\u00f1ado durante siglos la historia espiritual y art\u00edstica de Israel, sigue inspirando a los letristas contempor\u00e1neos. Sus palabras milenarias son a veces adoptadas, a veces modificadas, para entrar en di\u00e1logo con la realidad actual.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":127830,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"footnotes":"","_tec_slr_enabled":"","_tec_slr_layout":""},"categories":[1408],"tags":[],"technique":[],"squelettes":[],"sujet":[2120],"formation":[],"genre":[1881],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-127847","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articulos-de-fondo-es","sujet-poesias-religiosas-piyyutim-es","genre-cancion-israeli-es"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>El Piyyut y la canci\u00f3n contempor\u00e1nea israel\u00ed - 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\/es\/piyyout-et-chanson-contemporaine\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El Piyyut y la canci\u00f3n contempor\u00e1nea israel\u00ed - Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.iemj.org\/es\/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\/\" 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