Easton's Bible Dictionary Jubal was the inventor of musical instruments (Genesis 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 (Genesis 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Exodus 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 Samuel 10:5; 19:19-24; 2 Kings 3:15; 1 Chronicles 25:6). There now arose also a class of professional singers (2 Samuel 19:35; Ecclesiastes 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 Samuel 6:5; 1 Chronicles 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Ecclesiastes 2:8; Amos 6:4-6; Isaiah 5:11, 12; 24:8, 9; Psalm 137; Jeremiah 48:33; Luke 15:25). Music, Instrumental Among instruments of music used by the Hebrews a principal place is given to stringed instruments. These were, (1.) The kinnor, the "harp." (2.) The nebel, "a skin bottle," rendered "psaltery." (3.) The sabbeka, or "sackbut," a lute or lyre. (4.) The gittith, occurring in the title of Psalm 8; 8; 84. (5.) Minnim (Psalm 150:4), rendered "stringed instruments;" in Psalm 45:8, in the form minni, probably the apocopated (i.e., shortened) plural, rendered, Authorized Version, "whereby," and in the Revised Version "stringed instruments." (6.) Machalath, in the titles of Psalm 53 and 88; supposed to be a kind of lute or guitar. Of wind instruments mention is made of, (1.) The `ugab (Genesis 4:21; Job 21:12; 30:31), probably the so-called Pan's pipes or syrinx. (2.) The qeren or "horn" (Joshua 6:5; 1 Chronicles 25:5). (3.) The shophar, rendered "trumpet" (Joshua 6:4, 6, 8). The word means "bright," and may have been so called from the clear, shrill sound it emitted. It was often used (Exodus 19:13; Numbers 10:10; Judges 7:16, 18; 1 Samuel 13:3). (4.) The hatsotserah, or straight trumpet (Psalm 98:6; Numbers 10:1-10). This name is supposed by some to be an onomatopoetic word, intended to imitate the pulse-like sound of the trumpet, like the Latin taratantara. Some have identified it with the modern trombone. (5.) The halil, i.e, "bored through," a flute or pipe (1 Samuel 10:5; 1 Kings 1:40; Isaiah 5:12; Jeremiah 48:36) which is still used in Palestine. (6.) The sumponyah, rendered "dulcimer" (Dan. 3:5), probably a sort of bagpipe. (7.) The maskrokith'a (Dan. 3:5), rendered "flute," but its precise nature is unknown. Of instruments of percussion mention is made of, (1.) The toph, an instrument of the drum kind, rendered "timbrel" (Exodus 15:20; Job 21:12; Psalm 68:25); also "tabret" (Genesis 31:27; Isaiah 24:8; 1 Samuel 10:5). (2.) The paamon, the "bells" on the robe of the high priest (Exodus 28:33; 39:25). (3.) The tseltselim, "cymbals" (2 Samuel 6:5; Psalm 150:5), which are struck together and produce a loud, clanging sound. Metsilloth, "bells" on horses and camels for ornament, and metsiltayim, "cymbals" (1 Chronicles 13:8; Ezra 3:10, etc.). These words are all derived from the same root, tsalal, meaning "to tinkle." (4.) The menaan'im, used only in 2 Samuel 6:5, rendered "cornets" (R.V., "castanets"); in the Vulgate, "sistra," an instrument of agitation. (5.) The shalishim, mentioned only in 1 Samuel 18:6, rendered "instruments of music" (marg. of R.V., "triangles or three-stringed instruments"). The words in Ecclesiastes 2:8, "musical instruments, and that of all sorts," Authorized Version, are in the Revised Version "concubines very many." Noah Webster's Dictionary 1. (n.) The science and the art of tones, or musical sounds, i. e., sounds of higher or lower pitch, begotten of uniform and synchronous vibrations, as of a string at various degrees of tension; the science of harmonic tones which treats of the principles of harmony, or the properties, dependences, and relations of tones to each other; the art of combining tones in a manner to please the ear. 2. (n.) Melody; a rhythmical and otherwise agreeable succession of tones. 3. (n.) Harmony; an accordant combination of simultaneous tones. 4. (n.) The written and printed notation of a musical composition; the score. 5. (n.) Love of music; capacity of enjoying music. 6. (n.) A more or less musical sound made by many of the lower animals. See Stridulation. Int. Standard Bible Encyclopedia INSTRUMENTS OF MUSIC (shalishim): Thus, the Revised Version (British and American) and the King James Version (1 Samuel 18:6), the Revised Version margin "triangles" or "three-stringed instruments." See MUSIC. MUSIC mu'-zik: I. IMPORTANCE 1. The Sole Art Cultivated 2. A Wide Vocabulary of Musical Terms 3. Place in Social and Personal Life 4. Universal Language of Emotions 5. Use in Divine Service 6. Part at Religious Reformations II. THEORY OF MUSIC 1. Dearth of Technical Information 2. Not Necessarily Unimpressive III. MUSICAL INSTRUMENTS 1. Strings 2. Winds 3. Percussion Instruments LITERATURE I. Importance. That the Hebrews were in ancient times, as they are at the present day, devoted to the study and practice of music is obvious to every reader of the Old Testament. The references to it are numerous, and are frequently of such a nature as to emphasize its importance. They occur not only in the Psalter, where we might expect them, but in the Historical Books and the Prophets, in narratives and in declamations of the loftiest meaning and most intense seriousness. And the conclusion drawn from a cursory glance is confirmed by a closer study. 1. The Sole Art Cultivated: The place held by music in the Old Testament is unique. Besides poetry, it is the only art that Art seems to have been cultivated to any extent in ancient Israel. Painting is entirely, sculpture almost entirely, ignored. This may have been due to the prohibition contained in the Second Commandment, but the fidelity with which that was obeyed is remarkable. 2. A Wide Vocabulary of Musical Terms: From the traces of it extant in the Old Testament, we can infer that the vocabulary of musical terms was far from scanty. This is all the more significant when we consider the condensed and pregnant nature of Hebrew. "Song" in our English Versions of the Bible represents at least half a dozen words in the original. 3. Place in Social and Personal Life: The events, occasions, and occupations with which music was associated were extremely varied. It accompanied leave-taking with honored guests (Genesis 31:27); celebrated a signal triumph over the nation's enemies (Exodus 15:20); and welcomed conquerors returning from victory (Judges 11:34 1 Samuel 18:6). It was employed to exorcise an evil spirit (1 Samuel 18:10), and to soothe temper, or excite the inspiration, of a prophet (2 Kings 3:15). The words "Destroy not" in the titles of four of the Psalms (compare Isaiah 65:8) most probably are the beginning of a vintage-song, and the markedly rhythmical character of Hebrew music would indicate that it accompanied and lightened many kinds of work requiring combined and uniform exertion. Processions, as e.g. marriages (1 Maccabees 9:39) and funerals (2 Chronicles 35:25), were regulated in a similar way. The Psalms headed "Songs of Degrees" were probably the sacred marches sung by the pious as they journeyed to and from the holy festivals at Jerusalem. 4. Universal Language of Emotional: It follows from this that the range of emotion expressed by Hebrew music was anything but limited. In addition to the passages just quoted, we may mention the jeering songs leveled at Job (Job 30:9). But the music that could be used to interpret or accompany the Psalms with any degree of fitness must have been capable of expressing a great variety of moods and feelings. Not only the broadly marked antitheses of joy and sorrow, hope and fear, faith and doubt, but every shade and quality of sentiment are found there. It is hardly possible to suppose that the people who originated all that wealth of emotional utterance should have been without a corresponding ability to invent diversified melodies, or should have been content with the bald and colorless recitative usually attributed to them. This internal evidence is confirmed by other testimony. The Babylonian tyrants demanded one of the famous songs of Zion from their Jewish captives (Psalm 137:3), and among the presents sent by Hezekiah to Sennacherib there were included male and female musicians. In later times Latin writers attest the influence of the East in matters musical. We need only refer to Juvenal iii.62;. 5. Use in Divine Service: By far the most important evidence of the value attached to music by the Hebrews is afforded by the place given to it in Divine service. It is true that nothing is said of it in the Pentateuch in connection with the consecration of the tabernacle, or the institution of the various sacrifices or festivals. But this omission proves nothing. It is not perhaps atoned for by the tradition (The Wisdom of Solomon 18:9) that at the first paschal celebration "the fathers already led the sacred songs of praise," but the rest of the history makes ample amends. In later days, at all events, music formed an essential part of the national worship of Yahweh, and elaborate arrangements were made for its correct and impressive performance. These are detailed in 1 Chronicles. There we are told that the whole body of the temple chorus and orchestra numbered 4,000; that they were trained and conducted, in 24 divisions, by the sons of Asaph, Heman and Jeduthun; and that in each group experts and novices were combined, so that the former preserved the correct tradition, and the latter were trained and fitted to take their place. This is, no doubt, a description of the arrangements that were carried out in the Second Temple, but it sheds a reflex, if somewhat uncertain, light on those adopted in the First. 6. Part at Religious Reformations: We are told by the same authority that every reformation of religion brought with it a reconstruction of the temple chorus and orchestra, and a resumption of their duties. Thus when Hezekiah purged the state and church of the heathenism patronized by Ahaz, "he set the Levites in the house of Yahweh with cymbals, with psalteries, and with harps" (2 Chronicles 29:25). The same thing took place under Josiah (2 Chronicles 34). After the restoration-at the dedication of the Temple (Ezra 3:10) and of the walls of Jerusalem (Nehemiah 12:17)-music played a great part. In Nehemiah's time the descendants of the ancient choral guilds drew together, and their maintenance was secured to them out of the public funds in return for their services. II. Theory of Music. 1. Dearth of Technical Information: It is disappointing after all this to have to confess that of the nature of Hebrew music we have no real knowledge. If any system of notation ever existed, it has been entirely lost. Attempts have been made to derive one from the accents, and a German organist once wrote a book on the subject. One tune in our hymnals has been borrowed from that source, but it is an accident, if not worse, and the ingenuity of the German organist was quite misdirected. We know nothing of the scales, or tonal system of the Hebrew, of their intervals or of their method of tuning their instruments. Two terms are supposed by some to refer to pitch, namely, "upon," or "set to `Alamoth," (Psalm 46), and "upon," or "set to the Sheminith" (Pss 6; 12; compare also 1 Chronicles 15:19-21). The former has been taken to mean "in the manner of maidens," i.e. soprano; the latter "on the lower octave," i.e. tenor or bass. This is plausible, but it is far from convincing. It is hardly probable that the Hebrews had anticipated our modern division of the scale; and the word sheminith or "eighth" may refer to the number of the mode, while `alamoth is also translated "with Elamite instruments" (Wellhausen). Of one feature of Hebrew music we may be tolerably sure: it was rendered in unison. It was destitute of harmony or counterpoint. For its effect it would depend on contrast in quality of tone, on the participation of a larger or smaller number of singers, on antiphonal singing, so clearly indicated in many of the Psalms, and on the coloring imparted by the orchestra. That the latter occasionally played short passages alone has been inferred from the term celah, a word that occurs 71 times in the Psalms. It is rendered in the Septuagint by diapsalmos, which either means louder playing, forte, or, more probably, an instrumental interlude. 2. Not Necessarily Unimpressive: Our knowledge is, therefore, very meager and largely negative. We need not, however, suppose that Hebrew music was necessarily monotonous and unimpressive, or, to those who heard it, harsh and barbarous. Music, more than any other of the arts, is justified of her own children, and a generation that has slowly learned to enjoy Wagner and Strauss should not rashly condemn the music of the East. No doubt the strains that emanated from the orchestra and chorus of the temple stimulated the religious fervor, and satisfied the aesthetic principles of the Hebrews of old, precisely as the rendering of Bach and Handel excites and soothes the Christian of today. III. Musical Instruments. The musical instruments employed by the Hebrews included representatives of the three groups: string, wind, and percussion. The strings comprised the kinnor, or nebhel or nebhel; the winds: the shophar, or qeren, chatsotserah, chalil, and `ughabh; percussion: toph, metsiltayim, tsltselim, mena`an`im, shalishim. Besides these, we have in Daniel: mashroqitha', cabbekha', pecanterin, cumponyah. Further, there are Chaldean forms of qeren and kithara. 1. Strings: (1) When Used. The chief of these instruments were the kinnor and nebhel (the King James Version, the Revised Version (British and American) "the harp" and "the psaltery" or "viol"). They were used to accompany vocal music. In 1 Samuel 10:5, Saul meets a band of prophets singing inspired strains to the music of the nebhel, "drum," "flute," and kinnor. In the description of the removal of the ark, we are told that songs were sung with kinnoroth, nebhalim, etc. (2 Samuel 6:5). Again, in various passages (1 Chronicles 15:16 2 Chronicles 7:6, etc.) we meet with the expression keleshir, i.e. instruments of, or suitable for accompanying, song. It is evident that only the flute and strings could render melodies. The music performed on these instruments seems to have been mainly of a joyful nature. It entered into all public and domestic festivities. In Psalm 81:2, the kinnor is called "pleasant," and Isaiah 24:8 speaks of the "joy" of the kinnor. Very striking is the invocation Psalm 108:2: the poet in a moment of exhilarations calls upon the two kele shir to echo and share his enthusiasm for Yahweh. Only once (Isaiah 16:11) is the kinnor associated with mourning, and Cheyne infers from this passage "the kinnor was used at mourning ceremonies." But the inference is doubtful; the prophet is merely drawing a comparison between the trembling of the strings of the lyre and the agitation in his own bosom. Again, the Babylonian captives hang their kinnoroth on the willows in their dejection (Psalm 137:2), and the prophets (Isaiah 24:8 Ezekiel 26:13) threaten that as a punishment for sin the sound of the kinnor will cease. (2) Materials. We have no exact information as to the materials of which these instruments were made. In 2 Samuel 6:5 the King James Version, mention is made of "instruments made of fir wood" (the English Revised Version "cypress"), but the text is probably corrupt, and the reading in 1 Chronicles 13:8 is preferable. According to 1 Kings 10:11, Hiram's fleet brought from Ophir quantities of 'almugh (2 Chronicles 2:8; 2 Chronicles 9:10, 'algum) wood, from which, among other things, the kinnor and nebhel were made. Probably this was red sandal-wood. Josephus (Ant., VIII, iii) includes among articles made by Solomon for the temple nebhalim and kinnoroth of electrum. Whether we understand this to have been the mixed metal so named or amber, the frame of the instrument could not have been constructed of it. It may have been used for ornamentation. We have no trace of metal strings being used by the ancients. The strings of the Hebrew (minnim) may have consisted of gut. We read of sheep-gut being employed for the purpose in the Odyssey, xxi. 407. Vegetable fiber was also spun into strings. We need only add that bowed instruments were quite unknown; the strings were plucked with the fingers, or struck with a plectrum. (a) The Kinnor: The Old Testament gives us no clue to the form or nature of the kinnor, except that it was portable, comparatively light, and could be played while it was carried in processions or dances. The earliest authority to which we can refer on the subject is the Septuagint. While in some of the books kinnor is rendered by kinnura, or kinura-evidently a transliteration-in others it is translated by kithara. We cannot discuss here the question of the trustworthiness of the Septuagint as an authority for Hebrew antiquities, but considering the conservatism of the East, especially in matters of ritual, it seems at least hasty to say offhand, as Wellhausen does, that by the date of its production the whole tradition of ancient music had been lost. The translation, at all events, supplies us with an instrument of which the Hebrews could hardly have been ignorant. The kithara, which in its general outlines resembled the lyre, consisted of a rectilinear-shaped sound box from which rose two arms, connected above by a crossbar; the strings ran down from the latter to the sound-box, to which, or to a bridge on which, they were attached. The most ancient copy of a kithara in Egypt was found in a grave of the XIIth Dynasty. It is carried by one of a company of immigrant captive Semites, who holds it close to his breast, striking the strings with a plectrum held in his right hand, and plucking them with the fingers of the left. The instrument is very primitive; it resembles a schoolboy's slate with the upper three-fourths of the slate broken out of the frame; but it nevertheless possesses the distinctive characteristics of the kithara. In a grave at Thebes of a somewhat later date, three players are depicted, one of whom plays a kithara, also primitive in form, but with slenderer arms. Gradually, as time advanced, the simple board-like frame assumed a shape more like that afterward elaborated by the Greeks. Numerous examples have been found in Asia Minor, but further developed, especially as regards the sound-box. It may be noted that, in the Assyrian monuments, the kithara is played along with the harp, as the kinnor was with the nebhel. The evidence furnished by Jewish coins must not be overlooked. Those stamped with representations of lyre-shaped instruments have been assigned to 142-135 B.C., or to 66-70 A.D. On one side we have a kithara-like instrument of 3 or more strings, with a sound-box resembling a kettle. It is true that these coins are of a late date, and the form of the instruments shown on them has obviously been modified by Greek taste, but so conservative a people as the Jews would hardly be likely to adopt an essentially foreign object for their coinage. One objection raised by Wellhausen to the identification of the kithara with the kinnor may be noted. Josephus undoubtedly says (Ant., VII, xii) that the kinnura was played with a plectrum, and in 1 Samuel 16:23 David plays the kinnor "with his hand." But even if this excludes the use of the plectrum in the particular case, it need not be held to disprove the identity of kinnor and kinnura. Both methods may have been in use. In paintings discovered at Herculaneum there are several instances of the lyre being played with the hand; and there is no reason for supposing that the Hebrews were restricted to one method of showing their skill, when we know that Greeks and Latins were not. Since the ancient VSS, then, render kinnor by kithara, and the kithara, though subsequently developed and beautified by the Greeks, was originally a Semitic instrument, it is exceedingly probable, as Riehm says, "that we have to regard the ancient Hebrew kinnor, which is designated a kithara, as a still simpler form of the latter instrument. The stringed instruments on the Jewish coins are later, beautified forms of the kinnor, intermediate stage Egyptian modifications represent the intermediate stage." (b) The Nebhel: The nebhel has been identified with many instruments. The literal meaning of the word, "wine-skin," has suggested that it was the bagpipe! Others have thought that it was the lute, and this is supported by reference to the Egyptian nfr, which denotes a lute-like instrument frequently depicted on the monuments. The derivation of "nbl" from "nfr" is, however, now abandoned; and no long-necked instrument has been found depicted in the possession of a Semite. The kissar was favored by Pfeiffer. Its resonance-box is made of wood, and, the upper side, being covered tightly by a skin, closely resembles a drum. From this rise two arms, connected toward the top by a crossbar; and to the latter the strings are attached. The kissar has, however, only 5 strings, as opposed to 12 ascribed by Josephus to the nebhel, and the soundbox, instead of being above, as stated by the Fathers, is situated below the strings. The supposition that the nebhel was a dulcimer is not without some justification. The dulcimer was well known in the East. An extremely interesting and important bas-relief in the palace at Kouyunjik represents a company of 28 musicians, of whom 11 are instrumentalists and 15 singers. The procession is headed by 5 men, 3 carrying harps, one a double flute, and one a dulcimer. Two of the harpists and the dulcimer-player appear to be dancing or skipping. Then follow 6 women; 4 have harps, one a double flute, and one a small drum which is fixed upright at the belt, and is played with the fingers of both hands. Besides the players, we see 15 singers, 9 being children, who clap their hands to mark the rhythm. One of the women is holding her throat, perhaps to produce the shrill vibrate affected by Persian and Arabian women at the present day. The dulcimer in this picture has been regarded by several Orientalists as the nebhel. Wettstein, e.g., says "This instrument can fairly be so designated, if the statement of so many witnesses is correct, that nablium and psalterium are one and the same thing. For the latter corresponds to the Arabic santir, which is derived from the Hebrew pecanterin, a transliteration of the Greek psalterion." And the santir is a kind of dulcimer. This is not conclusive. The word psalterion was not always restricted to a particular instrument, but sometimes embraced a whole class of stringed instruments. Ovid also regarded the nabla as a harp, not a dulcimer, when he said (Ars Am. iii.329): "Learn to sweep the pleasant nabla with both hands." And, lastly, Josephus tells us (Ant., VII, xii) that the nebhel was played without a plectrum. The translation of nebhel by psalterion does not, therefore, shut us up to the conclusion that it was a dulcimer; on the contrary, it rather leads to the belief that it was a harp. Harps of various sizes are very numerous on the Egyptian monuments. There is the large and elaborate kind with a well-developed sound-box, that served also as a pediment, at its base. This could not be the nebhel, which, as we have seen, was early portable. Then we have a variety of smear instruments that, while light and easily carried, would scarcely have been sonorous enough for the work assigned to the nebhel in the temple services. Berries, the more we learn of the relations of Egypt and Israel, the more dearly do we perceive how little the latter was influenced by the former. But the evidence of the Fathers, which need not be disregarded in a matter of this kind, is decisive against Egyptian harps of every shape and size. These have without exception the sound-box at the base, and Augustine (on Psalm 42) says expressly that the psalterium had its sound-box above. This is confirmed by statements of Jerome, Isidore, and others, who contrast two classes of instruments according to the position above or below of the sound-box, Jerome, further, likens the nebhel to the captial Greek letter delta. All the evidence points to the nebhel having been the Assyrian harp, of which we have numerous examples in the ruins. We have already referred at length to the bas-relief at Kouyunjik in which it is played by 3 men and 4 women. It is portable, triangular, or, roughly, delta-shaped; it has a sound-box above that slants upward away from the player, and a horizontal bar to which the strings are attached about three-fourths of their length down. The number of the strings on the Assyrian harp ranges from 16 upward, but there may quite well have been fewer in some cases. (c) Nebhel `asor: In Psalm 33:2; Psalm 144:9, "the psaltery of ten strings" is given as the rendering of nebhel 'asor; while in Psalm 91:3 'asor is translated "instrument of ten strings." No doubt, as we have just said above, there were harps of less and greater compass-the mention of the number of strings in two or three instances does not necessarily imply different kinds of harps. (d) Gittith: The word gittith is found in the titles of Psalm 8; Psalm 81; Psalm 81 84. It is a feminine adjective derived from Gath, but its meaning is quite uncertain. It has been explained to denote (i) some Gittite instrument; the Targum, on Psalm 8, gives "on the kithara which was brought from Gath"; or (ii) a melody or march popular in Gath. The Septuagint renders "concerning the vintage," and may have regarded these psalms as having been sung to a popular melody. Seeabove. (e) The Shalishim: Shalishim occurs in 1 Samuel 18:6, where it is rendered "instruments of music," the Revised Version margin "triangles, or three stringed instruments." The word seems from the context to represent a musical instrument of some sort, but which is very uncertain. Etymology points to a term involving the number three. The small triangular harp, or trigon, has been suggested, but it would hardly have made its presence felt among a number of drums or tambourines. If the shalishim was a harp, it might very well be the nebhel, which was also triangular. There is no evidence that the triangle was used by Semitic people, or we might have taken it to be the instrument referred to. If it was a percussion instrument, it might possibly be a three-ringed or three-stringed sistrum. (f) The Cabbekha': Among the instruments mentioned in Daniel 3:5, 7, 10 occurs the cabbekha' translated in the King James Version and the Revised Version (British and American) "sackbut," i.e. a trombone, why, it is impossible to say. The Septuagint renders the word by sambuke, and this is an instrument frequently mentioned by Greek and Latin writers. Though it is nowhere described, it was no doubt a harp, probably of high pitch. It was a favorite of dissolute women, and we frequently see in their hands in mural pictures a small triangular harp, possibly of a higher range than the trigon. (g) Neghinoth: The word neghinoth occurs in the title of 6 psalms, and in the singular in two others; it is also found elsewhere in the Old Testament. Derived from naghan, "to touch," especially to play on a stringed instrument (compare Psalm 68:25, where the players, noghenim, are contrasted with the singers, harim), it evidently means stringed instruments in general. 2. Winds: (1) The `Ughabh. The first mention of a wind instrument occurs in Genesis 4:21, where we are told that Jubal was the "father of all such as handle the harp and pipe." The Hebrew word here translated "pipe" is `ughabh. It occurs in 3 other places: Job 21:12; Job 30:31 Psalm 150:4. In the Hebrew version of Daniel 3:5 it is given as the rendering of sumponyah, i.e. "bagpipe." Jerome translations by organon. The `ughabh was probably a primitive shepherd's pipe or panpipe, though some take it as a general term for instruments of the flute kind, a meaning that suits all the passages cited. (2) The Chalil. The chalil is first mentioned in 1 Samuel 10:5, where it is played by members of the band of prophets. It was used (1 Kings 1:40) at Solomon's accession to the throne; its strains added to the exhilaration of convivial parties (Isaiah 5:12), accompanied worshippers on their joyous march the sanctuary (Isaiah 30:29), or, in turn, echoed the feelings of mourners (Jeremiah 48:36). In 1 Maccabees 3:45, one of the features of the desolation of the temple consisted in the cessation of the sound of the pipe. From this we see that Ewald's assertion that the flute took no part in the music of the temple is incorrect, at least for the Second the Temple. As we should expect from the simplicity of its construction, and the commonness of its material, the flute or pipe was the most ancient and most widely popular of all musical instruments. Reeds, cane, bone, afterward ivory, were the materials; it was the easiest thing in the world to drill out the center, to pierce a few holes in the rind or bark, and, for the mouthpiece, to compress the tube at one end. The simple rustic pattern was soon improved upon. Of course, nothing like the modern flute with its complicated mechanism was ever achieved, but, especially on the Egyptian monuments, a variety of patterns is found. There we see the obliquely held flute, evidently played, like the Arabic nay, by blowing through a very slight paring of the lips against the edge of the orifice of the tube. Besides this, there are double flutes, which, though apparently an advance on the single flute, are very ancient. These double flutes are either of equal or unequal length, and are connected near the mouth by a piece of leather, or enter the frame of the mouthpiece. Though the flutes of the East and West resembled each other more closely than the strings, it is to the Assyrian monuments that we must turn for the prototypes of the chalil. The Greeks, as their myths show, regarded Asia Minor as the birthplace of the flute, and no doubt the Hebrews brought it with them from their Assyrian home. In the Kouyunjik bas-relief we see players performing on the double flute. It is apparently furnished with a beaked mouthpiece; like that of the clarinet or flageolet. We cannot determine whether the Israelites used the flute with a mouthpiece, or one like the nay; and it is futile to guess. It is enough to say that they had opportunities of becoming acquainted with both kinds, and may have adopted both. (3) Nechiloth. Nechiloth occurs only in the title of Psalm 5. The context suggests that it is a musical term, and we explain neginoth as a general term for strings, this word may comprehend the wood-winds. the Revised Version margin renders "wind instruments." (4) Neqebh. In Ezekiel 28:13 the King James Version, the Revised Version (British and American), neqabhim is rendered pipes. This translation is supported by Fetis: the double flute; Ambros: large flutes; and by Jahn: the nay or Arab flute. It is now, however abandoned, and Jerome's explanation that neqebh means the "setting" of precious stones is generally adopted. (5) The Mashroqitha'. Mashroqitha', found in Daniel 3:5, etc., is also referred to the wood-winds. The word is derived from sharaq, "to hiss" (compare Isaiah 5:26, where God hisses to summon the Gentiles). The Septuagint translates surigx or panpipes, and this is most probably the meaning. (6) The Cumponyah. Cumponyah (in Chaldaic sumponia) is another name for a musical instrument found in Daniel 3:5, etc. It is generally supposed to have been the bagpipe, an instrument that at one time was exceedingly popular, even among highly civilized peoples. Nero is said to have been desirous of renown as a piper. (7) The Shophar Qeren. The shophar was a trumpet, curved at the end like a horn (qeren), and no doubt originally was a horn. The two words shophar and qeren are used synonymously in Joshua 6:4, 5, where we read shophar ha-yobhelim and qeren ha-yobhel. With regard to the meaning of hayobhel, there is some difference of opinion. The Revised Version (British and American) renders in text "ram's horn," in the margin "jubilee." The former depends on a statement in the Talmud that yobhel is Arabic for "ram's horn," but no trace of such a word has been found in Arabic. A suggestion of Pfeiffer's that yobhel does not designate the instrument, but the manner of blowing, is advocated by J. Weiss. It gives a good sense in the passages in which yobhel occurs in connection with shophar or qeren. Thus in Joshua 6:5, we would translate, "when the priests blow triumph on the horn." The shophar was used in early times chiefly, perhaps exclusively, for warlike purposes. It gave the signal "to arms" (Judges 6:34 1 Samuel 13:3 2 Samuel 20:1); warned of the approach of the enemy (Amos 3:6 Ezekiel 33:6 Jeremiah 4:5; Jeremiah 6:1); was heard throughout a battle (Amos 2:2, etc.); and sounded the recall (2 Samuel 2:28). Afterward it played an important part in connection with religion. Read Complete Article...

Multi-Version Concordance Music (143 Occurrences) Matthew 11:17 We made music for you and you did not take part in the dance; we gave cries of sorrow and you made no signs of grief. (BBE) Luke 7:32 They are like children who are seated in the market-place, crying out to one another, and saying, We made music for you, but you did not take part in the dance; we gave cries of sorrow, but you were not sad. (BBE) Luke 15:25 "Now his elder son was in the field. As he came near to the house, he heard music and dancing. (WEB KJV WEY ASV BBE DBY WBS YLT NAS RSV NIV) Ephesians 5:19 speaking to one another in psalms, hymns, and spiritual songs; singing, and making melody in your heart to the Lord; (See NIV) Revelation 5:8 And when he had taken the book, the four beasts and the four and twenty rulers went down on their faces before the Lamb, having every one an instrument of music, and gold vessels full of perfumes, which are the prayers of the saints. (BBE) Revelation 14:2 And I heard music from Heaven which resembled the sound of many waters and the roar of loud thunder; and the music which I heard was like that of harpists playing upon their harps. (WEY BBE) Revelation 15:2 And I saw a sea which seemed like glass mixed with fire; and those who had overcome the beast and his image and the number of his name, were in their places by the sea of glass, with God's instruments of music in their hands. (BBE) Revelation 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; (Root in KJV BBE DBY WBS YLT NAS NIV) Genesis 4:21 And his brother's name was Jubal: he was the father of all players on instruments of music. (BBE) Genesis 31:27 Why did you make a secret of your flight, not giving me word of it, so that I might have sent you away with joy and songs, with melody and music? (BBE NIV) Exodus 15:20 And Miriam, the woman prophet, the sister of Aaron, took an instrument of music in her hand; and all the women went after her with music and dances. (BBE) Judges 5:3 "Hear, you kings! Give ear, you princes! I, even I, will sing to Yahweh. I will sing praise to Yahweh, the God of Israel. (See NIV) Judges 11:34 Then Jephthah came back to his house in Mizpah, and his daughter came out, meeting him on his way with music and with dances; she was his only child; he had no other sons or daughters. (BBE) 1 Samuel 16:16 Now give orders to your servants who are here before you to go in search of a man who is an expert player on a corded instrument: and it will be that when the evil spirit from God is on you, he will make music for you on his instrument, and you will get well. (BBE) 1 Samuel 16:23 And whenever the evil spirit from God came on Saul, David took his instrument and made music: so new life came to Saul, and he got well, and the evil spirit went away from him. (BBE) 1 Samuel 18:6 It happened as they came, when David returned from the slaughter of the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet king Saul, with tambourines, with joy, and with instruments of music. (WEB KJV ASV BBE WBS NAS RSV) 1 Samuel 18:10 Now on the day after, an evil spirit from God came on Saul with great force and he was acting like a prophet among the men of his house, while David was making music for him, as he did day by day: and Saul had his spear in his hand. (BBE) 1 Samuel 19:9 And an evil spirit from the Lord came on Saul, when he was seated in his house with his spear in his hand; and David made music for him. (BBE) 1 Kings 10:12 And from the sandal-wood the king made pillars for the house of the Lord, and for the king's house, and instruments of music for the makers of melody: never has such sandal-wood been seen to this day. (BBE NIV) 2 Kings 3:15 But now, get me a player of music, and it will come about that while the man is playing, the hand of the Lord will come on me and I will give you the word of the Lord: and they got a player of music, and while the man was playing, the hand of the Lord was on him. (BBE) 1 Chronicles 6:31 And these are those whom David made responsible for the music in the house of the Lord, after the ark had rest. (BBE NIV) 1 Chronicles 6:32 They ministered with song before the tabernacle of the Tent of Meeting, until Solomon had built the house of Yahweh in Jerusalem: and they waited on their office according to their order. (See NIV) 1 Chronicles 9:33 And these were those who had the ordering of the music and songs, heads of families of the Levites, who were living in the rooms, and were free from other work, for their work went on day and night. (BBE NIV) 1 Chronicles 13:8 Then David and all Israel made melody before God with all their strength, with songs and corded instruments of music, and with brass instruments and horns. (BBE) 1 Chronicles 15:16 David spoke to the chief of the Levites to appoint their brothers the singers, with instruments of music, stringed instruments and harps and cymbals, sounding aloud and lifting up the voice with joy. (WEB KJV JPS ASV BBE DBY WBS NAS RSV NIV) 1 Chronicles 15:22 And Chenaniah, chief of the Levites, was master of the music: he gave directions about the song, because he was expert. (BBE DBY RSV) 1 Chronicles 15:24 And Shebaniah and Joshaphat and Nethanel and Amasai and Zechariah and Benaiah and Eliezer, the priests, made music on the horns before the ark of God; and Obed-edom and Jehiah were door-keepers for the ark. (BBE) 1 Chronicles 15:27 And David was clothed with a robe of byssus, and all the Levites that bore the ark, and the singers, and Chenaniah chief of the music of the singers; and David had upon him a linen ephod. (DBY RSV) 1 Chronicles 15:28 Thus all Israel brought up the ark of the covenant of Yahweh with shouting, and with sound of the cornet, and with trumpets, and with cymbals, sounding aloud with stringed instruments and harps. (See RSV) 1 Chronicles 16:5 Asaph the chief, and second to him Zechariah, Uzziel and Shemiramoth and Jehiel and Mattithiah and Eliab and Benaiah and Obed-edom and Jeiel, with corded instruments of music; and Asaph, with brass instruments sounding loudly; (BBE NAS) 1 Chronicles 16:42 And with them Heman and Jeduthun with trumpets and cymbals for those that should make a sound, and with musical instruments of God. And the sons of Jeduthun were porters. (Root in KJV BBE DBY WBS RSV) 1 Chronicles 25:6 All these, under the direction of their father, made music in the house of the Lord, with brass and corded instruments, for the worship of the house of God; Asaph, Jeduthun, and Heman being under the orders of the king. (BBE RSV NIV) 1 Chronicles 25:7 The number of them, with their brothers who were instructed in singing to Yahweh, even all who were skillful, was two hundred eighty-eight. (See NIV) 2 Chronicles 5:12 And the Levites who made the music, all of them, Asaph, Heman, Jeduthun, and their sons and brothers, robed in fair linen, were in their places with their brass and corded instruments at the east side of the altar, and with them a hundred and twenty priests blowing horns;) (BBE NIV) 2 Chronicles 5:13 it happened, when the trumpeters and singers were as one, to make one sound to be heard in praising and thanking Yahweh; and when they lifted up their voice with the trumpets and cymbals and instruments of music, and praised Yahweh, saying, For he is good; for his loving kindness endures forever; that then the house was filled with a cloud, even the house of Yahweh, (WEB KJV JPS ASV BBE DBY WBS NAS RSV) 2 Chronicles 7:6 The priests stood, according to their offices; the Levites also with instruments of music of Yahweh, which David the king had made to give thanks to Yahweh, (for his loving kindness endures for ever), when David praised by their ministry: and the priests sounded trumpets before them; and all Israel stood. (WEB KJV JPS ASV BBE DBY WBS NAS RSV NIV) 2 Chronicles 9:11 And with the sandal-wood the king made steps for the house of the Lord and for the king's house, and instruments of music for the makers of melody; never before had such been seen in the land of Judah. (BBE NIV) 2 Chronicles 23:13 and she looked, and, behold, the king stood by his pillar at the entrance, and the captains and the trumpets by the king; and all the people of the land rejoiced, and blew trumpets; the singers also played on instruments of music, and led the singing of praise. Then Athaliah tore her clothes, and said, Treason! treason! (WEB KJV JPS ASV BBE DBY WBS NAS RSV NIV) 2 Chronicles 29:25 Then he put the Levites in their places in the house of the Lord, with brass and corded instruments of music as ordered by David and Gad, the king's seer, and Nathan the prophet: for the order was the Lord's, given by his prophets. (BBE) 2 Chronicles 34:12 The men did the work faithfully: and the overseers of them were Jahath and Obadiah, the Levites, of the sons of Merari; and Zechariah and Meshullam, of the sons of the Kohathites, to set it forward; and others of the Levites, all who were skillful with instruments of music. (WEB KJV JPS ASV BBE DBY WBS NAS RSV NIV) Ezra 2:65 As well as their men-servants and their women-servants, of whom there were seven thousand, three hundred and thirty-seven: and they had two hundred men and women to make music. (BBE) Nehemiah 7:67 As well as their men-servants and their women-servants, of whom there were seven thousand, three hundred and thirty-seven; and they had two hundred and forty-five men and women to make music. (BBE) Nehemiah 10:39 For the children of Israel and the children of Levi are to take the lifted offering of the grain and wine and oil into the rooms where the vessels of the holy place are, together with the priests and the door-keepers and the makers of music: and we will not give up caring for the house of our God. (BBE) Nehemiah 12:27 And when the time came for the wall of Jerusalem to be made holy, they sent for the Levites out of all their places to come to Jerusalem, to keep the feast with joy, and with praise and melody, with brass and corded instruments of music. (BBE NIV) Nehemiah 12:46 For in the days of David and Asaph in the past, there was a master of the music, and songs of blessing and praise to God. (BBE) Job 21:12 They make songs to the instruments of music, and are glad at the sound of the pipe. (BBE NIV) Job 30:31 And my music has been turned to sorrow, and the sound of my pipe into the noise of weeping. (BBE) Psalms 4:1 For the Chief Musician; on stringed instruments. A Psalm by David. Answer me when I call, God of my righteousness. Give me relief from my distress. Have mercy on me, and hear my prayer. (Root in WEB JPS BBE DBY WBS NIV) Psalms 5:1 For the Chief Musician, with the flutes. A Psalm by David. Give ear to my words, Yahweh. Consider my meditation. (Root in WEB BBE DBY WBS NIV) Psalms 6:1 For the Chief Musician; on stringed instruments, upon the eight-stringed lyre. A Psalm by David. Yahweh, don't rebuke me in your anger, neither discipline me in your wrath. (Root in WEB JPS BBE DBY WBS NIV) Psalms 8:1 For the Chief Musician; on an instrument of Gath. A Psalm by David. Yahweh, our Lord, how majestic is your name in all the earth, who has set your glory above the heavens! (Root in WEB BBE DBY WBS NIV) Psalms 9:1 For the Chief Musician. Set to "The Death of the Son." A Psalm by David. I will give thanks to Yahweh with my whole heart. I will tell of all your marvelous works. (Root in WEB BBE DBY WBS NIV) Psalms 11:1 For the Chief Musician. By David. In Yahweh, I take refuge. How can you say to my soul, "Flee as a bird to your mountain!" (Root in WEB BBE DBY WBS NIV) Psalms 12:1 For the Chief Musician; upon an eight-stringed lyre. A Psalm of David. Help, Yahweh; for the godly man ceases. For the faithful fail from among the children of men. (Root in WEB BBE DBY WBS NIV) Psalms 13:1 For the Chief Musician. A Psalm by David. How long, Yahweh? Will you forget me forever? How long will you hide your face from me? (Root in WEB BBE DBY WBS NIV) Psalms 14:1 For the Chief Musician. By David. The fool has said in his heart, "There is no God." They are corrupt. They have done abominable works. There is none who does good. (Root in WEB BBE DBY WBS NIV) Psalms 18:1 For the Chief Musician. By David the servant of Yahweh, who spoke to Yahweh the words of this song in the day that Yahweh delivered him from the hand of all his enemies, and from the hand of Saul. He said, I love you, Yahweh, my strength. (Root in WEB BBE DBY WBS NIV) Psalms 19:1 For the Chief Musician. A Psalm by David. The heavens declare the glory of God. The expanse shows his handiwork. (Root in WEB BBE DBY WBS NIV) Psalms 20:1 For the Chief Musician. A Psalm by David. May Yahweh answer you in the day of trouble. May the name of the God of Jacob set you up on high, (Root in WEB BBE DBY WBS NIV) Psalms 21:1 For the Chief Musician. A Psalm by David. The king rejoices in your strength, Yahweh! How greatly he rejoices in your salvation! (Root in WEB BBE DBY WBS NIV) Psalms 22:1 For the Chief Musician; set to "The Doe of the Morning." A Psalm by David. My God, my God, why have you forsaken me? Why are you so far from helping me, and from the words of my groaning? (Root in WEB BBE DBY WBS NIV) Psalms 27:6 Now my head will be lifted up above my enemies around me. I will offer sacrifices of joy in his tent. I will sing, yes, I will sing praises to Yahweh. (See NIV) Psalms 31:1 For the Chief Musician. A Psalm by David. In you, Yahweh, I take refuge. Let me never be disappointed. Deliver me in your righteousness. (Root in WEB BBE DBY WBS NIV) Psalms 33:2 Give praise to the Lord on the corded instrument; make melody to him with instruments of music. (BBE NIV) Psalms 36:1 For the Chief Musician. By David, the servant of Yahweh. An oracle is within my heart about the disobedience of the wicked: "There is no fear of God before his eyes." (Root in WEB BBE DBY WBS NIV) Psalms 39:1 For the Chief Musician. For Jeduthun. A Psalm by David. I said, "I will watch my ways, so that I don't sin with my tongue. I will keep my mouth with a bridle while the wicked is before me." (Root in WEB BBE DBY WBS NIV) Psalms 40:1 For the Chief Musician. A Psalm by David. I waited patiently for Yahweh. He turned to me, and heard my cry. (Root in WEB BBE DBY WBS NIV) Psalms 41:1 For the Chief Musician. A Psalm by David. Blessed is he who considers the poor. Yahweh will deliver him in the day of evil. (Root in WEB BBE DBY WBS NIV) Psalms 42:1 For the Chief Musician. A contemplation by the sons of Korah. As the deer pants for the water brooks, so my soul pants after you, God. (Root in WEB BBE DBY WBS NIV) Psalms 43:4 Then I will go up to the altar of God, to the God of my joy; I will be glad and give praise to you on an instrument of music, O God, my God. (BBE) Psalms 44:1 For the Chief Musician. By the sons of Korah. A contemplative psalm. We have heard with our ears, God; our fathers have told us, what work you did in their days, in the days of old. (Root in WEB BBE DBY WBS NIV) Psalms 45:1 For the Chief Musician. Set to "The Lilies." A contemplation by the sons of Korah. A wedding song. My heart overflows with a noble theme. I recite my verses for the king. My tongue is like the pen of a skillful writer. (Root in WEB BBE DBY WBS NIV) Psalms 45:8 Your robes are full of the smell of all sorts of perfumes and spices; music from the king's ivory houses has made you glad. (BBE NIV) Psalms 46:1 For the Chief Musician. By the sons of Korah. According to Alamoth.Alamoth is a musical term. God is our refuge and strength, a very present help in trouble. (Root in WEB BBE DBY WBS NIV) Psalms 47:1 For the Chief Musician. A Psalm by the sons of Korah. Oh clap your hands, all you nations. Shout to God with the voice of triumph! (Root in WEB BBE DBY WBS NIV) Psalms 49:1 For the Chief Musician. A Psalm by the sons of Korah. Hear this, all you peoples. Listen, all you inhabitants of the world, (Root in WEB BBE DBY WBS NIV) Psalms 49:4 I will put my teaching into a story; I will make my dark sayings clear with music. (BBE RSV) Psalms 51:1 For the Chief Musician. A Psalm by David, when Nathan the prophet came to him, after he had gone in to Bathsheba. Have mercy on me, God, according to your loving kindness. According to the multitude of your tender mercies, blot out my transgressions. (Root in WEB BBE DBY WBS NIV) Psalms 52:1 For the Chief Musician. A contemplation by David, when Doeg the Edomite came and told Saul, "David has come to Abimelech's house." Why do you boast of mischief, mighty man? God's loving kindness endures continually. (Root in WEB BBE DBY WBS NIV) Psalms 53:1 For the Chief Musician. To the tune of "Mahalath." A contemplation by David. The fool has said in his heart, "There is no God." They are corrupt, and have done abominable iniquity. There is no one who does good. (Root in WEB BBE DBY WBS NIV) Psalms 54:1 For the Chief Musician. On stringed instruments. A contemplation by David, when the Ziphites came and said to Saul, "Isn't David hiding himself among us?" Save me, God, by your name. Vindicate me in your might. (Root in WEB JPS BBE DBY WBS NIV) Psalms 55:1 For the Chief Musician. On stringed instruments. A contemplation by David. Listen to my prayer, God. Don't hide yourself from my supplication. (Root in WEB JPS BBE DBY WBS NIV) Psalms 56:1 For the Chief Musician. To the tune of "Silent Dove in Distant Lands." A poem by David, when the Philistines seized him in Gath. Be merciful to me, God, for man wants to swallow me up. All day long, he attacks and oppresses me. (Root in WEB BBE DBY WBS NIV) Psalms 57:1 For the Chief Musician. To the tune of "Do Not Destroy." A poem by David, when he fled from Saul, in the cave. Be merciful to me, God, be merciful to me, for my soul takes refuge in you. Yes, in the shadow of your wings, I will take refuge, until disaster has passed. (Root in WEB BBE DBY WBS NIV) Psalms 57:7 My heart is steadfast, God, my heart is steadfast. I will sing, yes, I will sing praises. (See NIV) Psalms 57:8 You are my glory; let the instruments of music be awake; I myself will be awake with the dawn. (BBE) Psalms 58:1 For the Chief Musician. To the tune of "Do Not Destroy." A poem by David. Do you indeed speak righteousness, silent ones? Do you judge blamelessly, you sons of men? (Root in WEB BBE DBY WBS NIV) Psalms 59:1 For the Chief Musician. To the tune of "Do Not Destroy." A poem by David, when Saul sent, and they watched the house to kill him. Deliver me from my enemies, my God. Set me on high from those who rise up against me. (Root in WEB BBE DBY WBS NIV) Psalms 60:1 For the Chief Musician. To the tune of "The Lily of the Covenant." A teaching poem by David, when he fought with Aram Naharaim and with Aram Zobah, and Joab returned, and killed twelve thousand of Edom in the Valley of Salt. God, you have rejected us. You have broken us down. You have been angry. Restore us, again. (Root in WEB BBE DBY WBS NIV) Psalms 61:1 For the Chief Musician. For a stringed instrument. By David. Hear my cry, God. Listen to my prayer. (Root in WEB JPS BBE DBY WBS NIV) Psalms 62:1 For the Chief Musician. To Jeduthan. A Psalm by David. My soul rests in God alone. My salvation is from him. (Root in WEB BBE DBY WBS NIV) Psalms 64:1 For the Chief Musician. A Psalm by David. Hear my voice, God, in my complaint. Preserve my life from fear of the enemy. (Root in WEB BBE DBY WBS NIV) Psalms 65:1 For the Chief Musician. A Psalm by David. A song. Praise waits for you, God, in Zion. To you shall vows be performed. (Root in WEB BBE DBY WBS NIV) Psalms 66:1 For the Chief Musician. A song. A Psalm. Make a joyful shout to God, all the earth! (Root in WEB BBE DBY WBS NIV) Psalms 67:1 For the Chief Musician. With stringed instruments. A Psalm. A song. May God be merciful to us, bless us, and cause his face to shine on us. Selah. (Root in WEB JPS BBE DBY WBS NIV) Psalms 68:1 For the Chief Musician. A Psalm by David. A song. Let God arise! Let his enemies be scattered! Let them who hate him also flee before him. (Root in WEB BBE DBY WBS NIV) Psalms 68:25 The makers of songs go before, the players of music come after, among the young girls playing on brass instruments. (BBE NAS NIV) Psalms 69:1 For the Chief Musician. To the tune of "Lilies." By David. Save me, God, for the waters have come up to my neck! (Root in WEB BBE DBY WBS NIV) Psalms 70:1 For the Chief Musician. By David. A reminder. Hurry, God, to deliver me. Come quickly to help me, Yahweh. (Root in WEB BBE DBY WBS NIV) Psalms 71:22 I will give praise to you with instruments of music, O my God, for you are true; I will make songs to you with music, O Holy One of Israel. (BBE) Continued...