In this essay, the varieties of refrain structures used in the body of Jewish Palestinian Aramaic poetry from late antiquity provide a laboratory for examining the intersection of acclamation structures and piyyutim. The fact that these poems were written in the vernacular of the community rather than in Hebrew complicates our understanding of their performative setting but at the same time may make it easier to consider a variety of potential modes of community engagement, as we are not constrained by the potential norms of a fixed liturgical setting. The analysis offered here, tentative as it may be, helps us understand both the auditory world of Late Antiquity and the active participation of Jews in the shaping of their soundscape.

在本文中，古代晚期的犹太巴勒斯坦阿拉姆诗歌中使用的各种各样的隐蔽结构为检验鼓掌结构与piyyutim的相交提供了一个实验室。这些诗歌是用社区的语言而不是希伯来语写的，这使我们对它们的表演环境的理解变得复杂，但同时也使人们更容易考虑各种潜在的社区参与模式，因为我们不受束缚。固定手术环境的潜在规范。此处提供的分析（可能是初步的）有助于我们了解古代晚期的听觉世界以及犹太人在其声景塑造中的积极参与。