ABSTRACT
This chapter explores a case study in detail the Syrian Jewish paraliturgical hymn tradition known as the pizmonim. It follows established patterns for the historiography of women in interrogating religious ideology, social process and repertory. The chapter explores selected pizmon texts for insights into how women are represented within the songs, while the fourth will present ethnographic data providing new insights into female roles which may escape notice if inquiry is restricted only to music making in public domains or within performance events. It also proposes that in situations where women are excluded from composing and performing music, particularly in sacred styles with sex segregation, repertory analysis and ethnographic interviews can provide surprising revelations, exposing the intimate knowledge that women acquire of musical traditions in which they do not obviously participate. The interest and knowledge of Syrian Jewish women concerning Arab music has been one of the most active ways in which they participate in the pizmon tradition.
