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Music of the Ancient Hebrew Bible
by Tara Wise
4/25/2013
MUSC 331
Dr. Brent Yorgason
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From ancient times, music has been an integral part of every discovered culture.
Musicologists have spent the last several hundred years piecing together the musical history of
our world, culture by culture. They have discovered that many of the same concepts from music
in the modern world originated long ago in some of these ancient civilizations. Songs of love, of
religious devotion, and of celebration all originated in ancient times. From the instruments that
were used by these societies to the subject matter of their songs, we can draw many connections
between ancient cultures and our own.
One of these, the society of ancient Israel, had many similarities to today’s culture. The
songs they left behind are songs of praise, of mourning, for dancing, for celebrating, and many
other uses. Their culture’s musical traditions were preserved in a series of books, known today as
the Old Testament, or the Hebrew Bible. The music that has been preserved in the ancient
Hebrew Bible took many forms and served many purposes within the complex society and
religion in a very similar manner to today’s society. Comparing these forms and purposes to
those of our society today is crucial to understanding how music has developed and changed
since Biblical times.
The social structure of the ancient Hebrews was quite different from what is considered
the norm today. Instead of the widely differing socioeconomic and cultural groups in the society
of the modern world, each member of Hebrew society belonged to one of twelve tribes, which
were descended from the twelve children of Jacob, one of the patriarchs of ancient Israel. In
order of birth, these are Reuben, Simeon, Levi, Judah, Dan, Naphtali, Gad, Asher, Issachar,
Zebulun, Joseph, and Benjamin (ESV Bible). There was, however, no tribe of Joseph. His two
sons Mannasseh and Ephraim became the heads of the future tribes (“Twelve Tribes”). The tribe
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of Levi also became separate from the original group as their role in society changed, bringing
the number back to twelve (Judaism 101).
Each tribe eventually developed into their own distinct group, each with its own
specialization within the society. The tribe of Levi, for instance, developed into the priests of the
ancient Hebrew temple, as well as providing religious music for the Israelites. The tribe of
Benjamin became one known for its skill in times of war, as the men were taught techniques to
confuse their enemies in battle. King Saul came from this tribe, which may account for his skills
as a military leader. The tribe of Judah is the tribe that the group we know today as the Jews
descended from. Thus, not all Israelites are Jews, but all Jews are Israelites (Keyway.ca). The
tribe of Judah eventually had members that were extremely important in the future of the Jewish
and Christian traditions: David, king of the Jews, and Jesus, whom Christians believe was the
son of God, sent to save the chosen people from sin.
The Hebrews did not have distinct social classes like many other ancient societies. There
was no aristocracy or upper class that had distinct powers over the lower classes as in the Greek
or Roman system. There were, however, rich and poor members of the tribes. In this time, all
wealth came from the land, so landowners were wealthier than those without their own land.
These landowners hired non-landowners to work in their fields and to be their servants. Some
landowners also owned slaves, as slavery was common in this era. The slaves were either
captured enemies or simply poor people who owed money to the wealthy, and they were put into
slavery until they could pay their debts. Slaves were treated fairly well in this society, however.
Biblical landowners often had amicable relationships with their slaves, and they made sure they
were well fed so that they could continue their work (De Vaux 84). Wealthy landowners were
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also able to hire professional musicians to play in their households. Ezra 2:65 and Nehemiah
7:67 both mention singing men and women in wealthy households (Garen 68).
Another group of people among the Israelites was the craftsmen. These men were masters
of their trade, and they were paid for their work by other members of the society. Some of these
trades included the making of wine and beer, baking, and making wheels and barrels. Craftsmen
were very important to keeping the society running smoothly and maintaining certain standards
of living among the common people. Craftsmen usually taught their sons the trade, keeping
specific families running certain businesses for generations. Some craftsmen worked for richer
members of society, but were not considered “lesser” citizens, because every member of this
society was necessary for its function and survival (De Vaux 102). Craftsmen were also
responsible for making the musical instruments that were played throughout the nation, so this
was a special role for them.
There was one group of people that was separate from the rest, however. The Hebrews
had a family of royalty that produced the Kings of Israel. They lived a more lavish lifestyle than
the rest of the people, and had many servants and their own craftsmen. The king was chosen
from among the twelve tribes by a prophet, and he and his sons led the nation of Israel until a
prophet chose a new king. Normally, the king’s eldest son would take the throne after his death
unless the prophets announced that Yahweh had chosen another. The king was felt to be a divine
figure, chosen by Yahweh to be the leader of his people (De Vaux 100-113).
The royal household was a large one, and usually consisted of the king, his wife or wives,
and his children. They lived in a lavish palace, which had both public and private spaces. There
were separate spaces for the children, the wives, and the king himself. The king could have
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several wives, sometimes marrying them to make political bonds with other empires. The group
of wives and concubines was referred to as the royal harem. However, one of these women was
always the king’s chosen one. She sat at his side on the throne and usually bore his heirs. The
eldest male child of his chosen wife became the new king after his death, unless the prophet
decided otherwise (De Vaux 120). For example, David’s oldest son Adonias did not become king
after his death. Instead, the prophet Nathan chose Solomon as the next leader of the Israelites
(ESV Bible). The royal household also sponsored musicians, and they played for the
entertainment of the royals. They were also responsible for playing for royal ceremonies and
rituals (De Vaux 118).
Women also had a distinctive role in the Hebrew society. However, this role was not one
that most women today would find enviable. Women were simply wives and mothers. They ran
the household and raised their children. In essence, women were owned by their husbands. They
could not own property or make decisions about their families or their own life. They could not
be educated beyond what they needed to know for those roles and religious regulations. These
regulations were very strict, and included very specific rules about cleanliness and purity
(jewfaq.org).
Women had three commandments within the Hebrew culture that were reserved for
women. They were called Nerot, Challah, and Niddah. Nerot referred to the lighting of the
candles at the beginning of the Sabbath or the holidays. Challah was the privilege of separating a
portion of dough from bread before baking it, which comes from the book of Numbers, chapter
15, verse 20, where the Jews are commanded to set aside dough for the Kohein, or the priests.
The final commandment was the one that many women today would find shocking. During her
menstrual period, a woman could not come into contact with her husband at any time. She also
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had to have a mikvah, or ritual bath, at the end of her cycle before she could reenter the family
(Matthews).
Women’s music in the ancient Hebrew culture was very different from the conservative
temple music. Because women were unclean, their music was considered unclean and thus
banned in the temple (Garen 143). They reserved their music for secular occasions, such as
festivals and celebrations (Garen 38). When men would come home from battle, the women
welcomed them home with singing and the playing of instruments (Garen 39). The most
prevalent instrument played by women was a small hand drum called the timbrel, which could
also have jingles on it, similar to today’s tambourine (The Old and New Testament Student 114).
Each of these different social groups had their own role in the music of the society. The
craftsmen produced the instruments that the musicians needed for performance, while the richer
population and the royalty employed the musicians. Slaves were also musicians, playing music
for their masters as well as singing while they worked. Women were not allowed to play
instrumental music in the temple due to their “impurities”, but were important in the
congregational singing and in secular musical traditions. The tribal divisions were also
important, as the Levites became the official musicians at the temple of the Israelites (De Vaux
81, 123, 166, 360).
Musicians played an important role in all aspects of Israelite society. Music was played at
rituals, in the Temple, at celebrations, and at many of the events that we have in our lives today,
such as weddings, funerals, and festivals. Many members of the general public were musicians
themselves, taking up a drum or a simple lyre to accompany their singing and dancing. This was
mostly in a secular setting, as there were dedicated temple musicians that led worship
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ceremonies. However, there were also professional musicians that were hired for more important
secular occasions, such as professional lamenters at funerals, as well as at royal ceremonies (De
Vaux 132).
One of the twelve tribes, the tribe of Levi, had a very important role in ancient Hebrew
music. Known as the Levites, this group was chosen by Moses after the Exodus from Egypt to be
the priests for the Hebrews. They were considered suitable for this role because when the people
created a golden calf to worship when they lost their faith in Yahweh, the Levites refused to
worship it. Levite men served in the temple as priests and musicians, among other duties. They
were the only people that were permitted to touch the Ark of the Covenant, the special box that
contained the broken pieces of the original Ten Commandments (ESV Bible).
In the time of King David, the Levite musicians led public worship and were in charge of
making sure that ritual music was played in the proper manner. These men were chosen by a
committee of tribal leaders to become full-time musicians in the temple. Both singers and
instrumentalists were chosen. These musicians were then trained by other members of the tribe,
and were not permitted to perform until their skills were up to par. Temple musicians were paid
from tithes paid by the Israelite worshippers (Garen 113-115). Levite musicians also had an
important role in times of war. When going to battle, the Levites carried the Ark of the Covenant,
sang, shouted, and played instruments, which included trumpets, cymbals, psalteries, and harps
(Spero 413).
Instrumental music was a very important part of the ancient Hebrew culture. From the
beginning of their civilization, instruments were used for celebrations, for dance, and for
worship. The first known instrumental musician mentioned in the Bible was named Jubal.
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Genesis 4:21 states “his... name was Jubal; he was the father of all those who play the lyre and
pipe” (ESV Bible). “Lyre and pipe” is a general term referring to all instruments used to make
music, and infers that Jubal is the father of all instrumental music (Treybig). Just as we have
today, the Israelite instruments were divided into three major categories: strings, winds, and
percussion. There was also a division between woodwind and brass instruments. Each of the
different instruments had a distinct purpose within the society, being used for either sacred or
secular situations, as well as being played by specific people.
The string family contains the first instrument mentioned in the Bible: the kinnor. It was a
member of the lyre family, and came in many sizes. The most common form was a small,
handheld instrument with 6-10 strings. However, the size could range anywhere from 6-47
strings. The instrument could be played with or without a pick, but playing without a pick
indicated higher skill levels (dianedew.com). King David himself was a player of the kinnor, and
he is said to have played without a pick, making him a very talented player. Some scholars
suggest that this instrument was used mainly for accompanying song, which is supported by the
fact that it can play very melodically and was played by many of the “famous” biblical
songwriters (Kolyada 33-41).
Another commonly used string instrument was the psaltery. This was a plucked string
instrument of varying size, and was typically large and angular. The name of the instrument
comes from an unusual place- from a type of collapsible water bottle used by the Hebrews. The
body of the instrument is similar in shape to these bottles (bibarch.com). Some scholars believe
that the term refers to several different harp-like instruments. It typically had a hollow body for
resonance, and had either 10 or 12 strings. It was larger than the kinnor, so it produced a great
deal more sound and was more resonant. The psaltery was also lower in pitch than the kinnor.
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The psaltery was used mainly for religious purposes, as it was played at both the first and second
temples. Within the temple, it was used to accompany the voices as they worshipped Yahweh
(Wolf 244).
The wind instruments used by the Hebrews were very simple in construction, but often
produced pleasing sounds. The first wind instrument was mentioned in the same verse as the first
string instrument, Genesis 4:21 (ESV Bible). The term “pipe” was used to describe several
different woodwind instruments throughout the Bible. However, modern scholars have divided
the pipe instruments into several different categories: the ugab, the flute, and the chalil.
Also known as the ‘ugav, the ugab was first mentioned in Genesis 4:21. It is contrasted
with string instruments each time it was mentioned throughout the Bible. It was a small
instrument with a gentle, pleasant sound, though it may have had a “rather flat timbre” (Kolyada
97). The instrument was constructed of a simple, end-blown pipe that had up to five holes for
changing pitches. Sound was produced by striking the tongue against the mouth hole while
blowing air through it. This type of pipe was often associated with love charms, which is a use
not mentioned directly in the Bible (Kolyada 97-99).
Another type of pipe instrument was the flute. Like many other ancient flutes, this was an
end-blown instrument that looks similar to a modern day recorder. The Hebrews may have also
had a transverse, or side-blown, flute. It was a simple tube with holes, and may have come in
forms that look like the pan-pipe. It had a beaked mouthpiece in its most common form, which
produced sound by striking air against a plane. The flute is only mentioned in one book, in one
chapter of the Bible: Daniel 3, verses 7, 10, and 15 (Lockyear 51).
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The chalil, or halil in some translations, was another instrument sometimes referred to as
the “pipe.” It was a double reed instrument, somewhat similar to the modern day oboe. It had
both sacred and secular uses within the Bible, as its sharp, piercing tone was useful in both
certain temple services and in secular celebrations (Wolf 252-254). The construction of the chalil
was of wood, but they were also made of metal, which produced a much less pleasing sound.
According to the Talmud, there was once an extremely beautiful sounding chalil at the temple,
but when they decided to cover the instrument with gold to enhance its appearance, it lost its
beautiful timbre. The wooden halils were much more pleasing to the ear, and were thus more
common in the temple. The metal halils were reserved for outdoor occasions, as they could be
heard from very far away (Kolyada 89-92).
The other type of wind instrument, the brass instrument, originally was not made of brass
at all. The first “brass” instruments were made of bull, goat, or ox horns. These were used for
celebrations and rituals, such as coronations and large festivals. These natural horns were known
for “power, might, and supernatural strength” (Kolyada 67). Because they were made from the
natural animal horn, the horns came in many different shapes and sizes, curved and straight, and
from miniature to large. As the instrument developed, the Hebrews began to experiment with
straightening the natural curves of the horns. Eventually, different types of horns were used for
different purposes and gained different names (Braun).
The instrument that was referred to as the trumpet originated, as all horns did, in natural
animal horns. However, as time passed, they began to experiment with making this instrument
out of various metals. In Numbers, Yahweh ordered Moses to make two trumpets out of silver,
and these were to be used in the temple. These were very simple, shaped like a straightened
natural horn, and produced only three or four notes in all. The pitch was indefinite with many
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overtones. Trumpets were mainly used for sounding blasts or calls to summon people to the
temple or to begin services (Kolyada 81-84).
The other main “brass” instrument that was used by the Israelites was the shofar. This
was a holy instrument, made from a ram’s horn, and was often used in the temple. It was also
used in holy rituals and ceremonies on holidays, such as Yom Kippur, the Day of Atonement,
and the feasts of Sukkot, Shavuot, and Purim (Stuhlman 111). The role of the shofar is to
announce the eve of the Sabbath and the ends of Sabbaths and feast days. It was also blown at
the end of specific prayers, which signified their acceptance by Yahweh. As a holy instrument,
the shofar had to be kept clean, and people other than the priests were not permitted to touch it. If
it became unclean, the shofar must be cleansed in a specific ritual and prayers must be said to
make it clean again (Kolyada 68-70).
The shofar also had a specific role in the conduct of war. When the Israelites marched to
battle, the shofar was sounded to signal the start of the battle. It had a special significance to the
Hebrews, as it was meant to signify that Yahweh was with them as they marched, and that the
battle was dedicated to him. The shofar, along with the Ark of the Covenant, was the main
connection in times of war to the deity who was watching over them and ensuring their victory
(Kolyada 72-75).
The final category of instruments was the percussion family. These instruments were
very similar to modern day instruments, in both their construction and their uses. They were used
for both sacred and secular purposes, but most of the instruments were only played outside the
temple. Percussion instruments, as today, could quickly create an upbeat, happy atmosphere, and
could be played by a wide variety of people, whether they were trained or not. Some of the
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instruments have not changed much at all in construction, such as the frame drum, cymbals, and
tambourine.
Percussion instruments are divided into two categories, known as membranophones and
idiophones. Membranophones are instruments that are played by striking a membrane, or drum
head, that is pulled tightly over a frame or hollow space. Modern day drums are still known as
membranophones. Idiophones, by contrast, produce their sound by the vibration of the entire
instrument, such as cymbals or shakers. Hebrew percussion instruments were constructed of
primarily natural materials, such as animal skins, wood, and pebbles (inside the shakers).
However, metal and pottery elements were also used for some of the instruments (Kolyada 107).
The simplest membranophones were known as toph or tof drums. This term refers mainly
to a very simple handheld frame drum that was played most frequently by adult women.
However, young girls were also encouraged to join the performances, and there are accounts of
the toph being played by men. The toph was typically used for happy times, as it naturally
created an upbeat atmosphere. It was also often associated with dancing. The word toph has also
been translated as tambourine, so there is some confusion over whether basic frame drums were
modified with added jingles to turn them into tambourines (Kolyada 109-111).
Most of the other percussion instruments played by the Israelites were idiophones,
instruments that produce by the body of the instrument itself vibrating. The simplest idiophones
were shakers, which were used both for festive celebrations and for simple, everyday purposes.
In times of celebration, these simple pottery instruments filled with pebbles or dried beans were
used to increase the festive atmosphere by providing rhythm, like Latin American maracas. For
everyday use, they were used as children’s toys or rattles (Kolyada 112).
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A more elaborate type of idiophone was the sistrum. The instrument consisted of a small
metal frame that held cross bars made of loose metal plates. The instrument was originally used
in Egypt, but over their years of captivity, the Israelites adopted it. It was used at happy
ceremonies as it produced a happy tinkling sound when shook. There was also a type of sistrum
known as the menana. This word has been wrongly translated as “cornet” in some modern
Bibles, which implies a completely different instrument. The term menana comes from the
ancient Hebrew verb nua, which means “shook.” This variation on the sistrum was made by
adding small metal rings around the cross bars of the sistrum (Kolyada 113). This added a little
bit more volume as well as a more vibrant tinkling sound (Wade-Matthews 16, 204).
Another type of idiophone that was used frequently in Biblical times was the cymbal.
These were metal plates made of brass, bronze, or copper that had leather handles attached at the
center. The plates are concave in shape, and are simply crashed together to produce sounds.
Cymbals were well known in ancient Israel, because they were used during the dedication of the
Ark of the Covenant and other religious rituals, as shown in 2 Samuel 7:5 (ESV Bible). This
instrument, like many others, came in several different sizes, and produced slightly different
sounds depending on the size, thickness, and type of metal they were made of. Cymbals were
also used for festive secular ceremonies and rituals, such as the coronation of a new king. They
were thought to increase the atmosphere of joy and emotion anytime they were used (WadeMatthews 198-200).
Other idiophones used by the ancient Hebrew people included bells and many various
rattles and shakers. Bells were used for several different purposes within the society, both
practical and ritual. Some bells were placed around the necks of horses, cattle, and sheep, to
make sure their owners could find them if they were lost. Small bells were also attached to the
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hems of priests’ and kings’ robes, which signified their holy role during rituals and ceremonies.
Women also wore bells around their feet that were designed to attract attention, mentioned in
Isaiah 3:16, 18, and 20. Solomon was also rumored to have installed large gold bells on the roof
of his temple to keep away birds (Lockyear 60).
Very little is known about the actual pitches that were used in the ancient Israelites’
songs and rituals. Some of the notation has survived, but the means to interpret it has not, except
in the very rudimentary and theoretical sense. Some scholars, such as Suzanne Haik-Vantoura,
have been trying to interpret the ancient notations. Using the surviving instruments, the possible
pitches have been determined, but the specific pitches for each song have not (Haik-Vantoura,
Forward). Historians believe that most of the notes were improvised and not always the same for
each song. The rhythm notation, however, is more clearly and easily understood, and scholars
have come to the conclusion that rhythm was the driving force behind all Hebrew music.
Leonard states that the rhythm was not a regular beat like modern western music, but contains
much more complex patterns of time signatures and structure (Leonard).
We do know, however, that most Hebrew music was monophonic, having an
unharmonized melodic line, with ornamentations and instrumental accompaniments. The
melodies were often written in modes similar to the ancient church modes of Western society.
Most of these modes were diatonic, but there was some use of quarter tones besides the whole
and half steps of modern music. Improvisation was also common, as highly trained musicians
were able to compose their own melodies to go along with ritual chants, dances, or other events.
Another style of singing that we know was used by the Hebrews was antiphony, which was used
primarily in group worship in the temple. The trained temple musicians would play or sing a
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statement, and the congregation would give a response. This made the congregation involved
with the service and with the creation of the music (Leonard).
To the Hebrew people, singing was the most important type of sacred music. This music
was developed to help make the scripture more easily understood by all people. In fact, all
scripture was intended to be sung in public worship services. The people used their songs to
serve God and to praise him with sound (Garen 20-22). They sang in joy, in sorrow, and in
praise, depending on the text of the scripture. The melodies were written in a specific manner to
enhance and clarify the text, making the music serve an educational purpose as well (Garen 70).
Though the remnants of notation that have survived give little indication of the melodic
structure, some scholars are working to reconstruct the music of this ancient society.
Many of the important characters within the Biblical story have their songs recorded
within its pages. The man who led the Israelites out of Egypt, Moses, made a collection of
Israelite songs during their travels in the wilderness (The Old and New Testament Student, 114).
His sister Miriam led the women in song and dance, improving the morale of the recently freed
people (Exodus 15:20-21). The prophets Isaiah and Ezekiel were both accomplished singers and
composers, and Ezekiel is also described as being a talented instrumentalist (Isaiah 26: 1-6,
Ezekiel 33: 32). The military strategist and prophetess Deborah wrote a victory song, written
down in the book of Judges, chapter 5 (ESV Bible). Another woman who wrote a song to God
was Hannah, the childless wife of Elkanah, who prayed to God to give her a son. However, her
song is of thanksgiving for his many blessings, not a cry of desperation (Lockyear 34-36).
Singing is mentioned countless times in the Bible. Psalm 69:30 states that singing is more
pleasing to God than sacrifice, which was one of the main Israelite religious rites. Psalm 135:3
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says “praise the Lord, for the Lord is good; sing praises unto his holy name, for it is pleasant to
him.” Proverbs 29:6 tells the reader that the righteous sing and rejoice with song, showing that
singing was considered to be an important part of each person’s personal righteousness. In the
book of Isaiah, the whole earth is commanded to sing, saying “Sing, O heavens, for the Lord has
done it; shout, O depths of the earth; break forth into singing, O mountains, O forest, and every
tree in it!” These verses show the true depth of the importance of song in the ancient Israelite
culture (ESV Bible).
Monophonic music was not only used in group worship settings, but also for personal
devotions by individual worshippers. The most famous group of these individual worship songs
is known today as the book of Psalms. This is a collection of 150 songs to Yahweh, most of them
believed to be written by King David, one of the most recognizable names of the Old Testament
(McCorkle). The word Psalm is a term that refers to a Jewish cantillation for voice and
instruments (Garen 32). Some of the notation for this music survives, but it mainly dictates the
rhythm of the music, and many of the melodies have been lost.
David was a highly skilled musician, playing many instruments and, according to the
book of Samuel, having a fine singing voice. He put both of these skills, as well as compositional
and poetic skills, together to form the Psalms. As a powerful leader, he had a large influence on
every aspect of society, but he had a unique ability to express an appropriate response to any
event in words and music (Spero 419). Each Psalm has its own unique message, but they are all
worshipping the god of the Hebrews (Psalms, Samuel, ESV).
The songs of David were typically vocal with instrumental accompaniment. The melodic
line of the song was played on the instrument along with the singer, and the same instrument or
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others could accompany the piece. These instruments accompanied voices not only in song, but
also in shouts of praise, as they were meant to bring the people closer to their god. The
instruments supported and embellished this vocal expression, heightening the experience and
making the worship time more powerful (Wright 205). David’s songs are discussed in multiple
books of the Bible, but the most detailed account is in 2 Samuel chapter 6. Many instruments are
listed in this chapter, including lyres, cymbals, hand drums, rattles, and clappers. Multiple types
of lyres were used to play the melody and embellishments, while the percussion instruments
added excitement and intensified the experience for the worshippers (Wright 202).
King David was the first leader to establish that regularly praising God with new songs of
praise with the voice and instruments was not only acceptable, but valued, and used the appeal of
musical expression to lead other worshippers into communication with Yahweh (Spero 411,
412). He organized the first temple orchestra, and instituted a regular worship service before the
Ark, consisting of singing hymns both morning and evening. He also organized the training of
families of musicians among the Levites, and they in turn trained the future generations, keeping
the musicians as a tightly knit family group (Garen 121). This process was written down in the
books of Chronicles (Spero 411).
The musicians were full time workers in the temple, and they were organized into shifts,
which were led by Asaph, a Levite, the chief musician of David’s temple orchestra (Leonard).
Some of the musicians were also set apart for choral service, to sing during the transportation of
the Ark of the Covenant as well as during regular worship services (De Vaux 391). Three
families of the Levites made up the singers. These were the families of Asaph, Heman, and
Ethan, descended from the three sons of Levi. 1 Chronicles 25 details the organization of the
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musicians by King David, and it tells us that of the 4000 musicians, there were 288 members of
the Levite tribe who were dedicated to singing the Lord’s praises in the temple (ESV Bible).
Music was a vital part of public worship. Vocal music was thought to carry and interpret
thoughts and feelings in relation to worship (Garen 129). In the temple, the musicians stood at
the front of the Ark of the Covenant to play songs of praise as the people sang (Garen 133).
Because the sacred music was much less rhythmic than the secular music of the time (Garen
131), chironomy was used to dictate the changes in pitch and durations of notes. This primitive
form of conducting consisted of a system of hand signals to indicate the notes of the melodies.
This was a simple way to teach the congregation how to sing the songs, as they were familiar
with the hand signals (Garen 135).
The temple orchestra that accompanied the singers was an important part of celebrating
Israel’s covenant with Yahweh. Winds, percussion, and strings were all used to accompany the
voices, and they sounded simultaneously as a call to worship (Leonard). The orchestra
complemented and accompanied the singing, embellishing the melodies just as the instruments
did for the Psalms (Garen 129). In the first temple, this group of musicians was a fairly small
one, according to 1 Chronicles 15 (ESV Bible). There were approximately 8 stringed
instruments, probably types of lyres, as well as a pair of cymbals. Stringed instruments were felt
to be the best for complementing the voice, as they had a wide melodic capability but were not
too powerful as to overwhelm the voices. The cymbals were used for two main purposes: to start
the music and to mark pauses within the songs. Cymbals were played only by the chief musician,
as their role was so critical in the worship proceedings. Trumpets and the halil were added for
celebrations and large ceremonies. At the second temple, the group of instruments expanded to
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many more players of stringed instruments as well as more wind instruments such as the shofar
and various pipes (Garen 130-131).
The book of Lamentations is also a book of songs, but these are quite different from the
worship songs of the Psalms. In ancient Israel, laments were an important part of society, being
sung at funerals by professional mourners. The best biblical description of this is in 2 Chronicles
35 (ESV Bible). These laments were composed and sung by women, primarily, and was a
tradition passed down from mother to daughter. Fixed forms and stock themes were applied to
each individual, keeping similar melodies and texts overall. They praise the good qualities of the
dead and “bewailed his fate” ( De Vaux 61).
Laments contained deep human emotion, but surprisingly contained no religious
meaning. The book of Lamentations, as the root word “lament” suggests, contains imitations of
these funeral songs, probably written by the prophet Jeremiah after the fall of Jerusalem around
586 BC. There are 5 poem-songs in this book, each with the intent of mourning the misfortunes
of the nation of Israel (De Vaux 60-62). According to the introduction to Lamentations in the
ESV Bible, chapter three of this book shows the true purpose of these songs, which was to
produce a sense of hope for the people in their god (ESV Bible).
Worship music and funeral laments were just two of the important uses of music in the
ancient Hebrew culture. There was also a large demand for festival music. The Hebrews had
frequent festivals within their culture, which were set by law and occurred weekly, monthly, and
yearly (Lockyear 39). On the Sabbath, the day was dedicated to rest and devotion. Families
studied the scriptures together, which were sung to improve comprehension and remembering.
For the monthly New Moon festival, the priests announced the coming with silver trumpets
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(Lockyear 40). The most important monthly festival and feast was the New Year festival, also
known as the Feast of the Trumpets. This was a nationwide occurrence, and the new year was
announced across the whole land with a specific trumpet call, thus giving the festival its name
(Lockyear 43).
All secular special occasions were expressed with song and dance in ancient Israel
(Lockyear 39). The dancing was always accompanied by instruments, such as the timbrel,
tambourine, and other rattles and drums. These instruments were traditionally played by the
women of the village, but men could also take part in the music making. Joyous dance was not a
part of sacred celebrations, but it was definitely an important part of the secular ones. All
members of the town, old and young, rich and poor came together to celebrate and rejoice
together with song and dance (Wright 209). Weddings are a perfect example of this. There were
specific Hebrew wedding psalms that were sung, and then the celebration began with dancing
and joyful singing.
A less happy use of music occurred during times of war. During battles, the Levite priests
would carry the Ark of the Covenant onto the battlefield and would initiate singing amongst the
soldiers. This was both a method of keeping the men’s morale high and to intimidate their
enemies with the large battle choirs that were created (Spero 417). Horns and trumpets were also
used in these battles, and had many uses. According to Wright, horns were used to “summon
people for battle, signal attack, signal retreats or dismissal, and to sound a defensive war alarm”
(Spero 210). Horns were also used to order the end of hostilities (De Vaux 254). Trumpets were
used for signaling as well, for many of the same uses. To not hear the sound of the trumpet was a
synonym for the Hebrews for the battle or war being lost.
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The priestly trumpets of the Levites also had a religious significance in times of war. In
Numbers 10, the trumpets are used to not only signal the soldiers, but also to attract the attention
of Yahweh to the battle for protection (Gabriel). An example of this summoning of Yahweh is
the battle that most people think of when they think of Biblical stories, the battle of Jericho,
when the walls of the city were brought down by blaring trumpets and crashing cymbals and the
cries of the people to their god. This is just one instance of the use of battle choirs and
instruments for the Hebrews.
Hymns were also sung at the coronations of kings during this time. There were specific
“enthronement psalms” or “royal” psalms that were sung at each coronation, probably written by
King David. These are Psalms 2, 45, 72, and 110. These and other songs praising the new ruler
were sung by all in attendance. Instruments were also important on these festive occasions,
especially wind instruments such as the flute, halil, and trumpet (De Vaux 109). There is still a
dedicated set of songs that modern people play and sing at similar occasions, such as national
anthems and other patriotic songs at presidential inaugurations.
The music of the ancient Hebrew Bible has many similarities to the music of today. As
Garen stated, “songs of the Bible have topics of love, hate, adultery, abortion, God’s love, law,
judgment, and other issues of life” (Garen 70). The music is used for similar purposes as the
music of today; for worship, for expressing joy and sorrow, for dancing, for special occasions
and events, and even for military purposes. The Hebrews used music for all of these things, and
had music worked into almost every facet of everyday life, just as we do today. By studying their
music, it can give modern musicians a better idea of where their music came from and how to
better use modern music to express similar ideas.
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Works Cited
Braun, Joachim. Music in Ancient Israel/Palestine: Archaeological, Written, and
Comparative Sources. Grand Rapids, MI: William B. Eerdmans, 2002. Print.
De Vaux, Roland. Ancient Israel: Its Life and Institutions. New York: McGraw-Hill,
1965. Print.
Dew, Diane. "The Ministry of Music: A Study in the Scriptures." Music. Web. 2 Feb.
2013.
The English Standard Version Bible. New York: Oxford UP, 2009. Print.
Gabriel, Richard A., PhD. The Military History of Ancient Israel. 1st ed. Praeger, 2003.
Print.
Haïk-Vantoura, Suzanne. The Music of the Bible Revealed. Trans. Dennis Weber. Paris:
Foundation Roi David, 1987. Print.
"Judaism 101: The Role of Women." Judaism 101. Web. 6 Feb. 2013.
"Keyway.ca." Keyway Bible Study. Web. 2 Feb. 2013.
Kolyada, Yelena. A Compendium of Musical Instruments and Instrumental Terminology
in the Bible. Trans. David J. Clark. London: Equinox, 2009. Print.
Leonard, Richard C. "Music and Worship in the Bible." Leonard. Laudemont Ministries.
Web. 2 Feb. 2013. <http://www.Leonard/a-mawitb.htm>.
Lockyer, Herbert. All the Music of the Bible. Peabody, Mass: Hendrickson, 2004. Print.
Matthews, Victor H., PhD. "Music in Ancient Israel." Grace Communion International.
Web. 2 Feb. 2013. <http://www.gci.org/Bible/poetry/music>.
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McCorkle, Dennis. "The Musical Instruments in the Bible - MusicoftheBible.com."
MusicoftheBible.com. Web. 4 Feb. 2013.
"Music in the Old Testament." The Old and New Testament Student (1890): 114. JSTOR.
Web. 4 Feb. 2013. <http://www.jstor.org/stable/3157857>.
Rubin, Norman A. "Musical Instruments." Bibarch.com. Web. 4 Feb. 2013.
Spero, Shubert. "King David, the Temple, and the Halleluyah Chorus." Judaism (2001):
411-23. Web. 4 Feb. 2013.
Stuhlman, Daniel D. "The Translation of the Biblical Word Shofar." Jewish Bible
Quarterly 40.2 (2012): 111-15. Web. 5 Feb. 2013
"The Twelve Tribes of Israel." Jewish Virtual Library. Web. 4 Feb. 2013
Treybig, Ken. "There's Music in the Bible." Vertical Thought. Web. 2 Feb. 2013.
Wade-Matthews, Max. Illustrated Book of Musical Instruments. London: Southwater,
2004. Print.
Wolf, Garen L., I. Music of the Bible in Christian Perspective. Salem, OH: Schmul Co,
1996. Print.
Wright, David P. "Music and Dance in 2 Samuel 6." Journal of Biblical Literature 121.2
(2002): 201-25. Web. 7 Feb 2013