Critical Review - Shelemay

In the Shelemay reading, it is argued that music and memory work together in powerful ways to establish a sense of community in diasporas and to maintain traditions. This is managed via explicit memories (intentional memory) and implicit memories (non-conscious memory), as individuals and as a group. Shelemay primarily discusses pizmonim, a type of Syrian-Jewish song that uses established Arabic melodies as vessels for sung Jewish prayer (in Hebrew). The words to these songs, often prayer based, usually recall specific persons in their lyrics (often the songs are written in dedicated) and certain times and places in their melodies (as the melodies are taken from established Arabic songs), constantly forging a connection between those who participate in singing/listening to the pizmonim and the past that is catalogued within. Though many of the songs are transmitted from generation to generation orally, written texts have also been used to record pizmonim as well as cassette tapes. Often times, the writer of the song's words will insert their name into the opening verse as an acrosstic so that they will be forever affiliated with the song. Pizmonim sung in different Syrian-Jewish communites can vary due to the propensity to adopt songs penned by community members into local repertories, but there are still many pizmonim that are sung throughout the diaspora. For the most part, member of Syrian-Jewish communites will sing the pizmonim they become familiar with growing up, though sometimes the youth of the community will introduce older members to new pizmonim. Ultimately, pizmonim reinforce collective memory while simultaneously uniting Syrian-Jewish communities in song.

Question: would a pizmon be accepted if the words and melody had been authored simultaneously or do pizmonim require that the melody be derived from a preestablished source?