Music

[Easton] Jubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban’s interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). The temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25). [Smith] The most ancient music.—The inventor of musical instruments, like the first poet and the first forger of metals, was a Cainite. We learn from (Genesis 4:21) that Jubal the son of Lamech was “the father of all such as handle the harp and organ,” that is, of all players upon stringed and wind instruments. The first mentioned of music in the times after the deluge is in the narrative of Laban’s interview with Jacob, (Genesis 32:27) so that, whatever way it was preserved, the practice of music existed in the upland country of Syria, and of the three possible kinds of musical instruments two were known and employed to accompany the song. The three kinds are alluded to in (Job 21:12) On the banks of the Red Sea Moses and the children of Israel sang their triumphal song of deliverance from the hosts of Egypt; and Miriam, in celebration of the same event, exercised one of her functions as a prophetess by leading a procession of the women of the camp, chanting in chorus the burden of the song of Moses. The song of Deborah and Barak is cast in a distinctly metrical form, and was probably intended to be sung with a musical accompaniment as one of the people’s songs. The simpler impromptu with which the women from the cities of Israel greeted David after the slaughter of the Philistines was apparently struck off on the spur of the moment, under the influence of the wild joy with which they welcomed their national champion. “the darling of the sons of Israel.” (1 Samuel 18:6,7) Up to this time we meet with nothing like a systematic cultivation of music among the Hebrews, but the establishment of the schools of the prophets appears to have supplied this want. Whatever the students of these schools may have been taught, music was an essential part of their practice. Professional musicians soon became attached to the court. The golden age of Hebrew music . David seems to have gathered round him “singing men and singing women.” (2 Samuel 19:35) Solomon did the same, (Ecclesiastes 2:8) adding to the luxury of his court by his patronage of art, and obtaining a reputation himself as no mean composer. (1 Kings 4:32) But the temple was the great school of music, and it was consecrated to its highest service in the worship of Jehovah. Before, however the elaborate arrangements had been made by David for the temple choir, there must have been a considerable body of musicians throughout the country. (2 Samuel 6:5) (David chose 4000 musicians from the 38,000 Levies in his reign, or one in ten of the whole tribe. Of these musicians 288 were specially trained and skillful. (1 Chronicles 26:6,7) The whole number was divided into 24 courses, each of which would thus consist of a full band of 154 musicians, presided over by a body of 12 specially-trained leaders, under one of the twenty-four sons of Asaph, Heman or Jeduthun as conductor. The leaders appear to have played on the cymbals, perhaps to make the time. (1 Chronicles 15:19; 16:5) All these joined in a special chant which David taught them, and which went by his name. (1 Chronicles 23:5) Women also took part in the temple choir. (1 Chronicles 13:8; 25:5,6) These great choirs answered one to another in responsive singing; thus the temple music most have been grand and inspiring beyond anything known before that time. Character of Hebrew music .—As in all Oriental nations, the music of the Hebrews was melody rather than harmony, which latter was then unknown. All old and young, men and maidens, singers and instruments, appear to have sung one part only in or in octaves. “The beauty of the music consisted altogether in the melody;” but this, with so many instruments and voices, was so charming that “the whole of antiquity is full of the praises of this music. By its means battles were won, cities conquered, mutinies quelled, diseases cured.”—ED.) Uses of music .—In the private as well as in the religions life of the Hebrews music held a prominent place. The kings had their court musicians, (2 Chronicles 35:25; Ecclesiastes 2:8) and in the luxurious times of the later monarchy the effeminate gallants of Israel amused themselves with devising musical instruments while their nation was perishing (“as Nero fiddled while Rome was burning”). But music was also the legitimate expression of mirth and gladness The bridal processions as they passed through the streets were accompanied with music and song. (Jeremiah 7:34) The music of the banquets was accompanied with song and dancing. (Luke 15:26) The triumphal processions which celebrated victory were enlivened by minstrels and singers. (Exodus 15:1,20; Judges 5:1; 11:34) There were also religious songs. (Isaiah 30:29; James 5:13) Love songs are alluded to; in (Psalms 45:1) title, and Isai 5:1 There were also the doleful songs of the funeral procession, and the wailing chant of the mourners. The grape-gatherers sang at their work, and the women sang as they toiled at the mill, and on every occasion the land of the Hebrews during their national prosperity was a land of music and melody. [Nave] –Teachers of 1Ch 15:22 ; 25:7 , 8 ; 2Ch 23:13 –Physical effect of, on man 1Sa 6:15 , 16 –Discoursed during the offering of sacrifices 2Ch 29:27 , 28 –Precentor Ne 12:42 –Chief musician Ne 12:42 ; Hab 3:19 –Chambers for musicians in the temple, in Ezekiel’s vision Eze 40:44 –In heaven Re 5:8 , 9 ; 14:2 , 3 ; 15:2 , 3 –INSTRUMENTS OF .Invented by Jubal Ge 4:21 .Invented by David 1Ch 23:5 ; 2Ch 7:6 ; 29:26 ; Am 6:5 .Made by Solomon 1Ki 10:12 ; 2Ch 9:11 ; Ec 2:8 .Made by Tyrians Eze 28:13 .CORNET Da 3:5 , 7 , 10 .See TRUMPET .CYMBAL .See CYMBAL .DULCIMER, a double pipe Da 3:5 , 10 , 15 .FLUTE Da 3:5 , 7 , 10 , 15 .GITTITH, a stringed instrument Ps 8 ; 81 ; 84 .HARP .See HARP .ORGAN, probably composed of pipes furnishing a number of notes Ge 4:21 ; Job 21:12 ; 30:31 ; Ps 150:4 .PIPE .See PIPE .PSALTERY .See PSALTERY .SACKBUT, a harp Da 3:5 , 7 , 10 , 15 .TABRET .See TIMBREL .TIMBREL, a tambourine .See TIMBREL .TRUMPET .See TRUMPET .VIOL, a lyre Isa 5:12 ; 14:11 ; Am 5:23 ; 6:5 –SYMBOLS USED IN –ALAMOTH .(Literally virgins) .A musical term which appears in 1Ch 15:20 .And in the title of Ps 46:1 .(It seems to indicate the rendering of the song by female voices, possibly soprano) -AL-TASCHITH .It appears in the titles of Ps 57:1 ; 58:1 ; 59:1 ; 75:1 .(it seems to have been used to indicate the kind of ode, or the kind of melody in which the ode should be sung.) –HIGGAION Ps 92:3 .(According to Gesenius, it signifies the murmuring tone of a harp, and hence that the music should be rendered in a plaintive manner.) Ps 9:16 .(Combined with “Selah,” it may have been intended to indicate a pause in the vocal music while the instruments rendered an interlude.) Ps 19:14 .(Mendelssohn translates it “meditation, thought.” Hence, the music was to be rendered in a mode to promote devout meditation.) –MAKALATH, MASCHIL, LEANNOTH .These terms are found in the titles of Ps 53:1 ; 88:1 .(Authorities grope in darkness as to their signification. They may indicate the instruments to be played, or the melody to be sung) –MASCHIL .This musical sign occurs in the titles of Ps 32:1 ; 42:1 ; 44:1 ; 45:1 ; 52:1 ; 53:1 ; 54:1 ; 55:1 ; 74:1 ; 78:1 ; 88:1 ; 89:1 ; 142:1 .(The meaning is obscure. But its signification where it occurs elsewhere than in the titles of Psalms is equivalent to the English word “instruction,” or to become wise by instruction; hence, Ps 47:7 : “Sing ye praises with understanding.”) –MICAHTAM .A musical term in the titles of Ps 16:1 ; 56:1 ; 57:1 ; 58:1 ; 59:1 ; 60:1 .(Luther interprets this as “golden,” that is, “precious.” Ewald interprets it as signifying a plaintive manner.) –MUTH-LABBEN .In the title of Ps 9:1 .(Authorities, ancient and modern, differ as to the probable signification. Gesenius and De Wette interpret it, “with the voice of virgins, by boys.” Others derive the word from a different Hebrew root, and interpret it as indicating that the Psalm was a funeral ode.) –NEGINAH and NEGINOTH .Appear in the titles of Ps 4:1 ; 54:1 ; 55:1 ; 61:1 ; 67:1 ; Hab 3:19 .(Its use seems to have been to indicate that the song should be accompanied by stringed instruments.) -NEHILOTH .Appears in the title of Ps 5:1 .(It seems to indicate, according to Gesenius, that when this Psalm was sung it was to be accompanied by wind instruments.) -SELAH .(This term appears frequently in the Psalms. Its use is not known. Possibly it signified a pause in the vocal music while an instrumental interlude or finale was rendered.) –SHEMINITH .In the titles of Ps 6:1 ; 12:1 .(Translated “eighth,” probably indicates the measure, movement, or pitch.) –SHIGGAION .In the title of Ps 7:1 .And its plural, SHIGIONOTH, in the title of Hab 3:1 .(Supposed to be a musical term to guide in rendering the song. At the close of the chapter, the author refers the ode “to the chief musician, on my stringed instruments.” The term may suggest the movement in interpreting the music set to it.) –SHOSHANNIM and SHUSHAN-EDUTH .In the titles to Ps 45:1 ; 60:1 ; 69:1 ; 80:1 .(Seems to indicate the manner in which these Psalms were to be rendered. Kimchi, Tremellius, and Eichhorn render it “hexachorda,” that is, that in singing these Psalms instruments of six strings were to accompany.) –UNCLASSIFIED SCRIPTURES RELATING TO Ge 31:27 ; Ex 15:1 , 20 , 21 ; 21:17-20 ; Jud 5:1-3 ; 11:34 ; 1Sa 18:6 , 7 ; 2Sa 19:35 ; 1Ki 1:40 ; 1Ch 6:31 , 32 ; 15:16-22 , 24 , 27 , 28 ; 16:4-39 , 41 , 42 ; 22:3 , 5 , 6 , 27 , 30 ; 25:1 , 5 , 6 , 7 , 8 ; 2Ch 5:12 , 13 ; 20:19 , 21 , 22 , 28 ; 23:13 , 18 ; 29:25-28 ; 31:2 ; 35:15 , 25 ; Ezr 2:64 ; 3:10 , 11 ; Neh 12:24 , 27-31 ; Job 21:12 ; 30:31 ; Ps 33:1-4 ; 68:4 , 25 , 26 , 32-35 ; 81:1-3 ; 87:7 ; 92:1-3 ; 95:1 , 2 ; 98:1-8 ; 104:33 ; 105:2 ; 135:1 , 2 , 3 ; 137:1-6 ; 144:9 ; 149:1-3 , 6 ; 150:1-6 ; Pr 25:20 ; Ec 2:8 ; Isa 5:12 ; 14:11 ; 16:10 ; 23:16 ; 24:8 , 9 ; 30:29 , 32 ; Jer 31:4 ; Eze 26:13 ; 33:32 ; Da 3:4 , 6 , 7 ; Am 6:5 ; 8:10 ; Mt 9:23 ; 11:17 ; Mr 14:26 ; 1Co 14:15 ; Eph 5:19 ; Col 3:16 ; Heb 2:12 ; Re 14:2 , 3 ; 18:22 –See PRAISE –See PSALMS