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HEBREW POETRY.

second is already a little longer (vs. 3-7), the third very long (vs. 8-17). The correctness of the division is shown by the choruses, which begin in each case with the word therefore. One point more claims to be noticed before we leave this part of our subject. The fact that the existence of strophes can often be proved, and is sometimes reasonably surmised even where not proved, suggests a further possibility, viz. that the Psalms were sung antiphonally (somewhat as our own chants are divided between the two halves of the choir), one strophé being uttered in answer to another strophé. The refrain was doubtless sung by the whole congregation; compare 2 Chron. vii. 3, "all the children of Israel the LORD, saying, For he is good, for his mercy endureth praised forever"-the latter words being the refrain of Ps. cxxxvi. Compare also Ps. lxviii. 26. It need hardly be added that the singing was accompanied with music (compare Ps. xxxiii. 2; lxviii. 25; cxxxvii. 2; cl. 3-5); but the subject of Hebrew music demands separate consideration.

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On the single remaining style of Hebrew poetry not much has to be said. A certain number of the Old Testament poems have the peculiarity of being "acrostic" or alphabetic," that is, they are arranged alphabetically by the initial Hebrew letters of the verses. are Psalms xxv., xxxiv., xxxvii., cxi., cxii., cxix., cxlv.; These Prov. xxxi. 10-31; Lam. i., ii., iii., iv. Psalms ix. and x. are also very imperfect specimens of this style. In Psalm cxix. the Bible version makes the arrangement intelligible to every one by placing the initial Hebrew letter of each group of verses at the beginning of the group. It is probable that this kind of composition became more popular in the Babylonian and Persian periods of Jewish history. There is no reason why these like the other Psalms should not have been sung in divine service.

The earliest Hebrew songs which we possess appear to bave been called forth by passing events. A dark deed of revenge is commemorated in the song ascribed to Lamech (Gen. iv. 23, 24); the prowess of the confederate tribes in an ironical fragment (Num. xxi. 27-30), and, above all, in the song of Deborah (Judg. v.). water-drawers' (Num. xxi. 17, 18) preserves a tradition The song of the of the mutual trust between rulers and people which preTailed in the prehistoric age of Israel. It is not improbably a song which the Hebrew women sang in the intervals of drawing water, as if to coax' the well to 'spring up,' i.e. to yield water from its depths. The triumphal ode ascribed to Moses (Ex. xv. 1-18) is, as we should expect, more elaborate than the more popular songs. It consists of a prelude (v. 1) and four stanzas, of which the first two and the fourth consist of twelve lines each, the second of only six. The student will find it a useful exercise to verify this statement for himself by writing out the several stanzas in parallel lines. The whole concludes with the chorus, "The LORD shall reign for ever and ever" (v. 18). "The Song of Deborah is a glorious witness to the martial spirit of the Hebrews. But it allows us to see also how easily the aspirations of the nation might have turned altogether to the glory of conquest and empire, and how much some gentler influence was needed to counteract the wild spirit of revenge.' " Such an influence was donbtless exerted by the schools of the prophets. in which sacred minstrelsy appears to have been cultivated (1 Sam. x. 5), and afterwards by the psalmists. Great doubt, however, exists as to the precise date of the religious lyrics or Psalms. In the headings they are mostly ascribed to David, but these, which are the only authority for so ascribing them, did not arise till during or after the Captivity. They must consequently be tested in each case by their agreement with the contents of the Psalms, and with the information as to the state of religion in David's time given elsewhere in the sacred writings. Happily the beautiful lamentation over Saul and Jonathan (2 Sam. i. 19-27) has never had its Davidic origin questioned. But for artistic skill and variety of contrast nothing in the Old Testament equals the song (or perhaps the songs) of the

fitly conclude this note. It will be at once seen that the poetess Deborah, with a new translation of which we may song was intended to be sung partly by Deborah and Barak, partly by a chorus; also that here and there occurs parallelism) which may be called the progressive, a phrase a peculiarly striking rhythm (sometimes combined with in one line being repeated in the next with some addition, so as to form a kind of climax or progression if not in the 19, 20, 27, 30. For other examples of the same rhythm ideas at any rate in the language; see especially vs. 3, 4, see Ps. xxix., cxxi., exxiv.

PART I.
Prelude.
1.2. For the leaders' leading in Israel,
For the self-offering of the people,
Bless ye the LORD!

1.

Retrospect of the Exodus.

3. Hear, O ye kings! give ear. O ye princes! 1, even I, will sing unto the LORD;

I will sing praises to the LORD, the God of Israel.

4. LORD! when thou wentest out of Seir,

When thou marchedst out of the country of Edom,
The earth trembled, and the heavens dropped,
The clouds also dropped water;

5. Mountains melted before the LORD,

Yonder Sinal, before the LORD, the God of Israel. 2.

6. In the days of Shamgar, the son of Anath.

In the days of Jael the highways kept holiday,
And the travellers walked on crooked paths;
7. The rulers kept holiday in Israel, kept holiday,
Until that I, Deborah, arose,

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That I arose a mother in Israel.

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Let Israel give thanks!

9. My heart (saith) to the governors of Israel,
(To) those who offered themselves among the people:
Bless ye the LORD!

10. Ye that ride on white she-asses,

Ye that sit on coverings,

And ye that walk by the way, sing!

11. From the voice of archers between the places of drawing water,

There let men rehearse the righteous acts of the LORD,
The righteous acts of His rule in Israel!

Then did the people of the LORD go down against the gates,

PART II. Chorus.

12. Awake, awake, Deborah,

Awake, awake, utter the song!

Arise, Parak, lead forth thy captives, O son of Abinoam!

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The indifference of the rest.

At the streams of Reuben there are great resolves!

Why abodest thou between the sheepfolds-to hear the pipings of the flocks?

By the streams of Reuben there are great deliberations!
17. Gilead abides beyond Jordan,

And Dan-why is he a stranger on shipboard?
Asher sits by the sea-shore,

And abides by his creeks,

18 Zebulun is a people that jeopards his life unto death.
And Naphtali (that dwells) on the heights.

3.

The battle.

19. The kings came, they fought,

Then fought the kings of Canaan,
At Taanach by the waters of Megiddo;
They took not a piece of silver:

20. They fought from heaven,

The stars from their courses
Fought against Sisera;

21. The torrent of Kishon swept them away,

The onward-rushing torrent, the torrent of Kishon.

Chorus

Step on, my soul, with strength.

HEBREW POETRY.

4. After the conflict.

22 Then stamped the hoofs of the horses

With the galloping, the galloping of their mighty ones. 23 "Curse ye Meroz," said the angel of the LORD,

"Curse ye bitterly the inhabitants thereof; Because they came not to the help of the LORD, To the help of the LORD among the heroes!

24 Blessed above women be Jael.

The wife of Heber the Kenite;

Blessed above women in the tent!

5.

The murder of Sisera.

25. He asked water, she gave him milk,

She offered curdled milk in a lordly dish;

26. She put her hand to the tent-peg,

And her right hand to the workmen's hammer.

And with the hammer she smote Sisera, she smote in pieces his head,

She wounded and pierced through his temples.

2. At her feet he bowed, he fell, he lay down,

At her feet he bowed, he fell ;

Where he bowed, there he fell down dead,

6.

The anxiety of the family of Sisera.

28 Through the window she looked out and criedThe mother of Sisera through the lattice; "Why is his chariot so long in coming? Why tarry the wheels of his chariots?"

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NOTES-F 8. The beginning of this verse has probably not been handed down in its original form. We have therefore left in anams lated. The latter part means that bows or agriculturul impe were the only weapons used by the 40,000 volunteers -F. 1. Om en verings, or cloths, ie, either carpets or saddies-F. Li, The struction is suddenly changed in the second line. We should have expected,From the voice, &c., let praise resound' The got those of the enemy, as in r. 8-F. 12 Lead forth, Le, in pros V. 13 Went down, ie, to the battle in the valley, When, LE whose ancestral dwelling, is în Amalek,i.e in that part of Ephraim ! called the hill-country of the Amalekites (Judg x1, 15%-5 In The enroller, i.e. the officer who kept the muster-roll (see 2 Kinus 1. 19).-F. 15. By his feet; for the form of expression, compu Job Ital 8. Resolves (comp, 16, endi Notice the irony: "resolves," but no ) deeds. 20. For the sympathy of the heavenly bodies with buman, fortunes, comp Job xxxviii. 7; Isa, xxiv. 21 The language a jarty symbolical, and means the elements were hostile to the Canaanitish army - 2. The torrents of Palestine are swollen by the amo rains.-V. 24. Women in the tent, Le, women of tribes paraliter the nomad way of life, like the Bedawins-V. 2. Her words, Lelder wo of terror and anxiety in s.

TECHNICAL TERMS CONNECTED WITH HEBREW POETRY AND MUSIC IN THE BIBLE VERSION OF THE

1 AIJELETH SHAHAR, upon. The great Spanish Rabbi, Aben Ezra, who died about 1175 A.D., considers Aijeleth or Aiyyeleth_Shahar to be the first words of a popular song Following him, we should explain the phrase, To (the tune of the song, beginning) Hind of the dawn' (=the rising sun, called gazelle by the Arabs). Ps. xxii. 1.

2. ALAMOTH, upon. For soprano voices. Ps. xlvi. 1. The Hebrew has "on virgin voices,” ala moth being the plural of almah, a virgin or young woman.

PSALMS.

bability. It is no doubt intended to specify some particular kind of lyric poem, but what kind, we have no means of determining. There is nothing like the word in the cognate dialects. Michtam is prefixed to six psalms, riz. xvi, lvi-lx.

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10. MUTHLABBEN, upon. If the text is correct and this title only occurs once, so that we have nɔ means of controlling the reading-the most plausible explana tion is, To the tune of Die for the son; words being supposed to form the opening of some popular song. But it would be unwise to lay any stress on this or any other interpretation. Prefixed to Ps. ix.

3. AL-TASCHITH, upon. To the tune (of the song beginning) Do not destroy.' Pe. lvii. 1, lviii. 1. lix. 1, Ixxv. 1. (This is probably a vintage song, for the first line of which see Isa. Ixv. 8:- As when vineyard- 11. NEGINOTH, upon. With an accompaniment of stringfruit is found in the cluster, one saith, 'Destroy it not, for a blessing is in it.""]

4. GITTITH, upon. For the musical instrument or tune called Gittith, either because brought from Gath, or because used at the vintage. Ps. viii. 1; lxxxiv. 1. The custom of singing at the treading of the winepress was well known to the Hebrews (comp. Isa. xvi. 10; Jer. xlviii. 33). Of course the psalms which bear this heading were not themselves sung at the vintage, though the Septuagint suggests such a view; their contents would be very inappropriate to such an occasion. See the foregoing note. 5. HIGGAION, a peculiar kind of music, probably performed on stringed instruments. Joined with Selah (which see) Ps. ix. 17.

6. JONATH-ELEM-RECHOKIM, upon. Perhaps, To the tune of "The silent dove of those afar." The Septuagint and the Targum, or Western Aramaic translation, suppose the dove to be a figure for the Jewish people in captivity. In this case the word "upon" should rather be "concerning." But it is better to follow Aben Ezra, and suppose a quotation of the initial words of some popular song. By a slight alteration of the vowels (which form no part of the text) we might render, To the tune of The dove of the far-off terebinths," which is certainly much more intelligible. Prefixed to Ps. lvi. 7. MAHALATH, upon. For (a peculiar kind of) stringed instrument. Others explain, To (the tune of the song beginning) Sickness-we may perhaps conjecture that the first line of a song began, “The sickness of thy people heal, O LORD." Ps. liii. 1; Followed in one passage by Leannoth, ie, perhaps, for singing antiphonally. Ps. lxxxviii. 1. 8. MASCHIL. A descriptive title of a peculiar kind of psalm the didactic, or contemplative, or perhaps skilful. Prefixed to Psalms xxxii., xlii., xliv.. xlv., lii, liii, liv. lv, lxxiv. lxxviii., lxxxiii., lxxxix., cxlii.; also found in the Hebrew text of Ps. xlvii. 7b, which runs, "Sing ye a psalm to make one wise (or, a psalm of contemplation, or possibly, in skilful strains); literally, "Sing ye a Maschil."

9. MICHTAM. None of the conjectures offered as to the meaning of this term have the least degree of pro

12.

13.

14.

15.

Ps. v. 1.

ed instruments. Prefixed to Psalms iv., vì, liv, it, lxi., lxviii., lxxvi. NEHILOTH, upon. With an accompaniment of flutes. SELAH. Much useless ingenuity has been expended on this word. All that is quite certain is that it is a musical note. Of ancient opinions the cely one worth mentioning is that of the Greek version of the Psalms included in the Septuagint, for the version of this book, though made in Egypt and possibly not older than the second century BC., may well have reproduced a genuine tradition. Here the word Selah is rendered by diopsima, which means either a musical interlude filling up a passe in the music, or a louder playing of the accompassment (the song, that is being continued). This gives us two distinct views of the meaning of Selah. and each of these has been defended by eminent modern critics. An examination of the passages in which the word occurs seems to show that it stands in some relation to the vehemence of the emotion described. Hence the opinion is on the whole most plausible which regards it as a direetion for the orchestra to fall in, or for the music to assume a maestoso or forte character. In Ps 11! 16 Selah has prefixed to it the word Higgain. Iter ally, sounding, that is, the music of stringed ¦ instruments: it is the word rendered solemn sound' in Ps. xcii. 3. Selah occurs 71 times in the I Psalms, and 3 times in Habakkuk (in 3, 9. 139: st more frequently in the Greek version of the Psalms. SHEMINITH, upon. On the lower octave (Le in the bass), or on the eighth tone. Ps. vi. 1, xn L SHIGGAION. This is generally supposed to mean a song of irregular rhythm, and expressing a great variety of moods; but the most cautious critic hesitate to accept this artificial explanation. The word occurs only in Ps. vii. 1, and in its plural form in Hab. iii. 1.

16. SHOSHANNIM, upon. To (the tune called) Lilies."

Ps. xlv. 1, lxix. 1, lxxx. 1.

17. SHUSHAN-EDUTH, upon. Perhaps this may mean, To the tune of the song "Lily of testimony." Frefixed to Ps. Ix.

MUSIC OF THE BIBLE,

BY JOHN STAINER, M.A., Mus. Doc., Organist of St. Paul's Cathedral.

MUSIC entered so largely into the private and public life of the Hebrews that its cessation typified utter misery or desolation (e.g. Jer. 25. 10; Ezek. 26. 13). Vocal and instrumental music, often with dancing,' i.e. measured rhythmical movements, accompanied their social gatherings (Isa. 5. 12 & 24. 9; Amos 6. 5; Luke 15. 25), and their processions-whether religious (2 Sam. 6. 5, &c.), triumphal (Ex. 15; Judg. 11. 34, &c.), bridal (Jer. 7. 34), or funeral (Eccl. 12. 4, with Matt. 9. 23). Singing men and women' formed part of David's and Solomon's court (2 Sam. 19. 35; Eccl. 2. 8), and sang dirges for Josiah (2 Chr. 35. 25); hired minstrels emphasized the mourner's grief (Matt. 9. 23, with Jer. 9. 17-20; Amos 5. 16). The winepress was trodden (Jer. 48. 33), and the vintage which closed the harvest was gathered (Isa. 16. 10) with a song; the timbrels and dances' of the daughters of Israel typify ordinary peace and prosperity. See Poetry, Psalms.

But the Bible gives little direct information as to Hebrew music. It probably resembled or comprised the music of Mesopotamia and Egypt (see Gen. 31. 27; Ex. 32. 17, 18, 19), and the inevitable commercial and other intercourse would cause the instruments in use to pass from one nation to another. If not cultivated previously by the Levites for the service of the Tabernacle, music certainly formed part of the training in the schools of the prophets founded by Samuel (1 Sam. 10.5;2 Kin. 3. 15), and being developed (Amos 6. 5; 2 Sa. 6.5; 1 Kin. 10. 5, &c.) by the inspired genius of the musician and poet David attained its highest expression (esp. in connection with the Psalms) in the musical

services organised by him (1 Chr. 15. 16 & 25. 1), and continued in the Temple. Early Hebrew melodies are probably reflected in the modern Asiatic, i.e. slight melodies overlaid with extraneous graces, and would now seem to be in a sort of minor mode. But simple instruments, such as harps, trumpets, cymbals, &c. (see below), when used in large numbers simultaneously (2 Chr. 5. 13) or in alternating masses, are capable of grand musical results, even independently of the awful sublimity of the events and associations connected with the worship of the Temple.

The silence of the Bible obliges us to determine on historical grounds the probable extent and nature of Hebrew musical knowledge. Fortunately ancient music, especially Assyrian and Egyptian, has of late received considerable attention; the various musical instruments represented in sculpture or on coins, and even found in tombs, have been carefully examined as to their capabilities, compared, and classified. And, by analogy, a very sound basis of probability has been found in the comparative history of ancient music on which to describe the general outlines of Bible music.

The study of names of instruments is less safe, and even deceptive. We shall therefore content ourselves with a careful study of the music of the surrounding nations, not neglecting any absolutely reliable infor mation to be gained from the researches of great scholars, leaving the reader to apply the results attained to the various passages of Scripture collected and commented upon below.

VOCAL MUSIC OF THE HEBREWS.

THE tendency of recitation to develope into monotone and an irregular chant or cantillation is illustrated by the history of plain song' in the early Christian Church. The very irregularity of such a chant would be singularly appropriate to poems like the Psalms, the rhythm and form of which being mainly determined by the sense, is complicated and changeful.

The Psalms were without doubt sung to irregular chants or short simple melodies, accompanied by instruments selected as appropriate in tone to the particular Psalm; the whole body of instruments being used in grand bursts of chorus. Alternate singing from side to side, or by choirs of women or boys and

of men, was frequent; the Hebrew word translated answered' (Ex. 15. 21; 1 Sam. 18. 7.) by course (Ezra 3. 11) suggests this; comp. Neh. 12. 24. The Psalms should be studied with reference to this alternate musical treatment; on their strophes or stanzas, chorus, and refrains, &c., see Poetry. Praise the Lord, for he is good: for his mercy endureth for ever,' was apparently a short formula of praise used on solemn occasions e.g. 2 Chr. 5. 13 & 7. 3; Ezra 3. 11. On the Levitical order of “Singers" see 1 Chr. 25; Ezra 2. 41; 2 Chr. 9. 11; Neh. 7.1 & 11. 22, 23 & 12. 29. Vocal music was nearly always accompanied by instruments (2 Sam. 6.5, &c.); performers sang and played too (Ezek. 33. 32).

INSTRUMENTS OF THE OLD TESTAMENT.
(1) HEBREW, (2) BABYLONISH.

I. All ancient nations apparently possessed instru- | ments of three kinds :-(1) String; (2) Wind; (3) Percussion. The tone is produced in string-instruments by getting their strings into vibration (e.g. harp, piano): in wind-instruments, by setting the column of air in them into vibration (a) by the lips directly (e.g. trumpet, horn), or (b) by blowing into a tube having a "reed" or "lip" duly placed (e.g. flute, oboe). The tone of instruments of percussion is produced by striking (a) a

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stretched membrane (e.g. tambourine, drums), or (b) a rod of metal or other hard substance (e.g. triangle, glass-harmonica); the vibrations of the substance struck being imparted to the surrounding air. The mistranslation of Hebrew musical terms and the translation of the same Hebrew word by different English words render it necessary to Anglicise the original, and to deal with the several instruments under their Hebrew names. The following table will prove a key. MODERN COUNTERPART.

..Guitar, lyre, or small harp..

Viol (Lute' P.B.V. of Psalms).. Harp...
Ten-stringed lute,..

Instrument of 10 strings........ Harp (special sort)..

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.Pan's pipe, primitive organ...
Oboe...

Cow's horn...

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STRING INSTRUMENTS. KINNOR, A. V. Harp (Guitar, Lyre).-Each of the most ancient nations had apparently under various names its national guitar. Much circumstantial evi

HEBREW NAME.

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MUSIC-INSTRUMENTS.

ment mentioned in the Pentateuch. So that long previous to any Egyptian intercourse the Hebrews had their national string instrument (possibly derived indirectly from remote Asiatic sources). To a wandering pastoral people, a guitar is specially convenient, being portable and easily tuned. It will interest those who believe the kinnor to have been a small harp to notice the shape of the instruments in Figs. 48, 49, 50 of Engel's Music of the Most Ancient Nations, which might justly be called either harps or guitars. Such were used by the ancient Egyptians as still among the negroes (manga). But if the kinnor were of this form, guitar would describe it better than harp.

NEBEL, A.V. Psaltery usually (Lute,' P.B.V.), Viol (when used for secular purposes, Isa. 5. 12 & 14. 11; Amos 5.23 & 6. 5). First mentioned in 1 Sa. 10. 5, and perhaps of Sidonian origin (Athenæus iv. 4). Large, yet portable, and probably the most important if not the largest of the harp family used by the Hebrews; the chief religious instrument. Its shape and number of strings cannot be determined; but in ancient harps the strings almost always form the third side. Unwary commentators have identified it with a dulcimer (often called 'psaltery'); but the recorded occasions of its use show nebel to have been almost without doubt a harp. ASOR, rather NEBEL ASOR, A. V. 'psaltery [and instrument] of ten strings,' Ps. 33. 2 & 82. 2 & 144. 9). Probably a ten-stringed harp, as usually translated; a variety of nebel (connected with it in the Hebrew), asor referring to the number of strings. That asor was a distinct instrument is a scantily supported assumption, nor does the application of the name to some of the Assyrian harps seem justifiable. Nebel asor is always translated in the Psalms as if two distinct instruments. N.B. David made both kinnors & nebels of fir'; Solomon, of almug' wood. See Plants. MAHALATH. See Poetry, Technical terms, No. 7. MINNIM, A.V. 'stringed instruments,' only in Ps. 150. 4; and in 45. 8, Heb. (shortened into minni), where A. V. whereby they" should probably be "stringed instru ments," or, music." Minnim is traced to a root signifying distribution, hence strings.

NEGINOTH, A. V. * stringed instruments,' Hab. 3. 19.
See Poetry, Technical terms, No. 11.
NEGINIM, A. V. 'stringed instruments,' Isa. 38. 20;
Ps. 68. 25.

WIND INSTRUMENTS.
UGAB or GHUGAB, A.V. “Organ.”—The wind in-
strument mentioned first in the Bible (with kinnor),
Gen. 4. 21; Job 21. 12, & 30. 31, and (with minnim),
Psalm 150. 4, only. Probably in its simplest form merely
a collection of pipes, i.e. the ancient and universal
Pan's pipe, Gk. syrinx, but in process of time so im-
proved as to mechanical construction and number of
pipes as to justify the A.V. rendering "organ."

HALIL or KHALIL, A. V. Pipe (Oboe), traceable to a root meaning 'bored' and usually regarded as indeed a pipe,' was probably an oboe, a sort of flageolet or of oboe, and used, like it, at festivals and funerals (Matt. 9. 23, below), and by shepherds and travellers, especially pilgrims (Is. 30. 29). Coarse oboes are known and used freely among Eastern nations, and are found amongst modern Egyptians, and throughout Europe. The small oboe-like reed-instrument of Italian pifferari may be accepted as the halil's modern representative. NEKEB, A.V. "Pipe", from a Heb. root meaning 'hollow'; possibly the double flute (), which was known to Oriental nations long before its use by the Greeks and Romans; (Ezek. 28. 13 only).

SHOPHAR, A.V. "Trumpet," a cow-horn; the usual trumpet employed, as still by the Jews, on solemn occasions, and for military purposes. Its mention in Job 39. 24 shows that the horn chronologically preceded the chatzozerah or metal trumpet.

"Harp." Stainer & Barrett, Dictionary of Musical Terms. A Lute differs from a guitar only in the shape or length of the body and neck. A Fiol (whence violin,' &c.), was usually played with a bow.

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CHATZOZERAH KHATSOTSRAH, A. V. "Trumpet," of metal, probably straight, with a bel mouth (Josephus), and closely allied to the modern trumpet or clarion. The single or repeated (alara blasts of the 2‘silver trumpets' of the priests form the first code of signals on record (see Num. 10. 2, 6, low). They were also blown, apparently by przesta only, at sacred festivals, including coronations, and in war (Num. 31. 6; 2 Chr. 13. 12. & 20. 28 Seven are mentioned under Joshua and David, and 120 m Solomon's reign.

KEREN, A.V. Trumpets of ram's horns, Heb. alara Dan. trumpets (Josh. 6. 5.), horn (1 Chr. 25. 5, cornet 3. 5). A curved trumpet (Lat. cornu); if not the shophar, probably very like it.

N.B.-Hebrew trumpets (without slides, dr.), could produce only a single series of natural harmons. NEHILOTH (Ps. 5. title) Possibly the double flute, or the collective term for wind-instruments. Poetry, Technical terms, No. 12.)

MACHOL, A. V. dances, dancing; generally combined with toph, timbrels (Ex. 15. 20; Judg. 11. 34; 1 Sam. 29. 5; Ps. 30. 11 & 150. 4; Jer. 31. 4, 13). A small flute or a dance, according to the Heb. derivations proposed; possibly a flute and timbrel, like the English pipe and tabor,' accompanied national dances.

INSTRUMENTS OF PERCUSSION. TOPH. A. V. Tabret, Timbrel.-A tambourine, mentioned first by Laban (Gen. 31. 7). Probabir used to mark the time, simultaneously with measured rhythmical movements, A. V. 'dances' (Exod. 15. 29

TZELTZELIM (TSELTSELIM), METZILLOTH, A. V. Cymbals, (Bells Zech. 14. 20).-Ancient cymbals were frequently more like a small basis Gr. Ambalm, i.e. practically bells: see Ex. 28. 33; one kind was conscal with handles. Arabs still use two distinct cymbals. ' large and small (ep. Ps. 150. 5). Cymbals appear in the Bible in religious ceremonies only (see below, esp. 1 Chr. 16).

MENAANEIM, A. V. Cymbals (2 Sam. 6. 5 only, incorrectly, as tzeltzelim (A.V. cornets) is the premions word. Probably a seistrum, an instrument consisting of a handle and loop of metal, either with transverse metal bars or with loose rings upon it, the famar "rattles" borne in the hands of women in processions on Egyptian monuments, &c.-both the Hebrew and Greek names being derived from roots meaning to

shake'.

SHALISHIM, A. V. “instruments of maric" 1 Sam. 18.6 only), in margin "three-stringed instruments." The association of the root with the number tree i suggests that triangles or seistra [MENAANZIE whether with three bars or with three rings on each bar, added to the joyful tumult with which Dand was received on his return from conquering Gobath. | Stringed instruments could hardly have been in general use, or have been made audible.

II. BABYLONISH INSTRUMENTS.
(Dan. 3. 5).

Space excludes the arguments which go to prove
the real nature of the instruments used at the Three
(See the author's Music
Childrens' trial of faith.
of the Bible (Cassell's), Engel's Music of the most
Ancient Nations, and Chappell's History of Music,
where reasons are shewn for believing that the Baby-
lonian musicians played on the following instruments
(1) Cow's horn (keren), Gk. salpinz, A. V. cornet;"
(2) Pan's-pipe or small organ (mashrokitha, Gk, sprist
[UGAB], A. V. flute;' (3) Guitar (kitkros), Gk. kithara,
A. V. harp', large, and probably fixed on a stand;
large Oriental harp (sabbeca), Gk. sambuke, A. V. 'sack-
but; (5) Dulcimert psanterin), Gk. psalterion. A V.
'psaltery;' (6) Bag-pipe (symphonia), A. V. ‘dulcimer."

+A Dulcimer is a stringed instrument without a neck, played with little hammers, the original of the pianoforte. A Sickbut is a tube with a slide, the trombone.

PASSAGES OF SCRIPTURE RELATING TO MUSIC.
The Hebrew terms are explained in the preceding list of musical instruments.

Gen. 4. 21. KINNOR, UGAB. (Job 21. 12).
A. V. Harp and Organ. Probably string and
wind instruments generically, as if invented by
Jubal.

Gen. 31. 27. KINNOR, TOPH.

A.V. Tabret, Harp, with songs. Laban would give Jacob a Mesopotamian farewell. Two of the 3 pos sible kinds of musical instruments are mentioned as used to accompany song.

MUSIC-PASSAGES OF SCRIPTURE.

Ex. 15. 20. TOPH. (See Judg. 11. 34). A. V. Timbrel, with which inspired Miriam led the procession of women, their dances, and responsive refrain (cp. Neh. 12. 24, & Ps. 186) in the intervals of the hymn sung by the men in chorus under Moses' guidance. Comp. Ps. 68. 25, & see Poetry.

Ex. 32. 6, 18, 19.

The worship, probably Egyptian, of the golden calf in Horeb, included loud singing and dancing, with instrumental accompaniment (play', see 1 Sam. 18. 6). Ex. 19. 16, 19 & 20. 18. SHOPHAR. A.V. Trumpet, heard 'exceeding loud' when Jehovah descended on Sinai: see Isa. 58. 1 (shophar).

Num. 10. 2, 8-10. CHATZOZERAH.

A. V. Trumpets (rather, clarions)' of silver of a whole piece', Heb. of beaten work, (so Ps. 98. 6, LXX.), with which the priests direct the movements of the camp and summon the princes or people. The 'alarm' was a series of repeated blasts; blow with one' means a long sustained single blast.

Lev. 25. 9. SHOPHAR.

A.V. Trumpet of the Jubilee, rather of alarm, (Num. 2.5) announcing the Day of Atonement (49th year). Josh. 6. 4, 6, 8, 13. SHOPHAR, KEREN, A.V. Trumpets of ram's horns, rather, alarm trumpets. Heb. jobel, here used with shophar, refers probably to a special trumpet-call at Jericho's perambulation. Judg. 3. 27 & 6. 34 & 7. 8. SHOPHAR.

A. V. Trumpet, the battle-call of Ehud, Gideon, &c. Judg. 11. 34. TOPH (with MACHOL). A. V. Timbrels and dances, with which Jephthah's daughter welcomes his victorious return. [MACHOL.] 1 Sam. 10. 5. NEBEL, TOPH, HALIL, KINNOR. A.V. Psaltery (harp), Tabret, Pipe (oboe), harp (guitar), with which a school of prophets welcomes Saul; moved thereby, he prophesies (v. 10, see 2 Kings 3. 15).

1 Sam. 13. 3. SHOPHAR.

A. V. Trumpet. Saul's call to arms: see Judg. 3. 27. 1 Sam. 16. 16, 23. KINNOR.

A.V. Harp. David the shepherd playing on the primitive kinnor (guitar) removes Saul's evil spirit.

1 Sam. 18. 6. TOPH, SHALISHIM (here only). A. V. Tabrets, instruments of music (triangles), where

with the Israelite women welcome victorious Saul. Played', in Hebrew, means to dance with vocal and instrumental music' (cp. Ex. 15. 20).

2 Sam. 2. 28 & 18. 16. SHOPHAR. A. V. Trumpet, with which Joab stops the pursuit. 2 Sa. 6.5. KINNOR, NEBEL, TOPH, TZELTZELIM. A. V. instruments made of fir; harps (guitars), psalteries (harps), timbrels (tabrets), cornets (cymbals, rather, castanets), cymbals (MENAANEIM here only, Gk. seistra, rattles). Playing on these, and 'with singing', David and Israel (see 1 Chr. 15. 2, 16) essayed to bring the ark to the city of David from Abinadab's house 'in the hill', i.e. Kirjath-jearim (see 1 Chr. 13.8). 2 Sam. 15. 10 & 20. 1, 22. SHOPHAR.

A. V. Trumpet. Sheba's call to arms. Joab's signal to raise the siege of Abel of Bethmaachah.

1 Kin. 1. 34. SHOPHAR; v. 40. HALIL. (Isa. 30. 29.) A.V. Trumpet. Blown by Zadok at Solomon's coronation; A.V. pipes, played by the people for gladness. 1 Kin. 10. 12. KINNOR, NEBEL. (2 Chr. 9. 11). A. V. Harps and Psalteries for singers, made of sandal wood by Solomon: usually of 'fir'; see 2 Sam. 6. 5, and Plants (ALMUG, FIR).

2 Kin. 3. 15; (1 Sam. 10. 10; 1 Chr. 25; Ps. 49. 4.) Elisha uses a minstrel when seeking counsel of God. 2 Kin. 9. 13. SHOPHAR. (2 Sam. 15. 10). A. V. Trumpets proclaim Jehu (so Absalom) king. 2 Kin. 11. 14 (2 Chr. 23. 18). CHATZOZERAH. A. V. Trumpets, with which the singers with instru ments of music, leading the chant of (A. V. such as taught to sing) praise, proclaim Joash in the Temple. 2 Kings 12. 13. CHATZOZERAH. A.V. Trumpets. Usually made of offerings of silver. 1 Chr. 15. 11-28. NEBEL, KINNOR, TZELTZELIM, CHATZOZERAH, SHOPHAR. (Cp. 2 Sam. 6. 15). By David's order, before moving the ark from Obededom's honse, the Levites appoint some of their number to accompany it with songs and instruments, psalteries (guitars), harps, and cymbals, (rather) 'playing aloud to swell the sound for joy'; esp. (v. 19) the singers, Heman, Asaph, and Ethan, to sound with cymbals of brass,' others (v. 20) to play psalteries on Alamoth (i.e. probably, soprano); and others (v. 21)

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Iwith harps on the Sheminith' (rather, on the octave, i.e. in the bass) to lead' (A. V. excel). [See Hebrew Poetry-Technical Terms. V.22 may refer to the porters only (margin).] The priests blow the trumpets (chatzozerah) before the ark, which is accompanied into the City of David with shouting, the cornet (shophar), the religious instruments, & a special psalm (ch. 16.7), David [himself] in a priest's ephod dancing before it. 1 Chr. 16. 4-7. NEBEL, KINNOR, TZELTZELIM, CHATZOZERAH.

plays the cymbals, other Levites psalteries and harps, David organises perpetual musical services; Asaph and priests blow the trumpets before the ark in his new tent' at Jerusalem; (vs. 39-41) Heman, Jeduthun, &c., play trumpets and cymbals, and (v. 42, rather) instruments of Divine song, in the tabernacle at Gibeon. 1 Chr. 23. 5.

4,000 Levites use the 'instruments of David' (2 Chr. 29. 26; Neh. 12. 36; Amos 6. 5), i.e. harps, psalteries, and cymbals, improved or invented by him.

1 Chr. 25. 1, 3, 5, 6. KINNOR, NEBEL, KEREN,
TZELTZELIM.

David, &c. divide the musicians into 24 courses, Heman, who prophesy, i.e. perform the service of under three 'seers,' Asaph, Jeduthun (Ethan), and song' (1 Chr. 6. 31), as directed by David, with cymbals, psalteries, harps. The 24 band leaders (ep. Neh. 12. 46) of 4000, (A. V.) 'instructed in the songs of the Lord'. and their bands amount to 288 trained musicians, part Lift up the horn' may belong to the next clause, and mean to increase Heman's dignity: keren being usually a metaphor for strength.

2 Chr. 5. 12. 13. TZELTZELIM, NEBEL,
KINNOR, CHATZOZERAH.

Solomon brings the ark into the Temple. The 3 orders of singers in white linen play after David's ordinance (1 Chr. 25): viz. Heman and the Kohathites in the centre, with Asaph and the Gershonites on his right, and Ethan (Jeduthun) and the Merarites on his left (1 Chr. 6.31-44), and 120 priests blowing trumpets. When all standing in their place at the east end of the altar, 'make one sound' of praise and thanks. giving-God visibly takes possession of the Temple. 2 Chr. 13. 12, 14. CHATZOZERAH. The priests with trumpets of alarm (Num. 10. 9), A.V. sounding,' attend Abijah's army at Mt. Zemaraim. 2 Chr. 15. 14. SHOPHAR, CHATZOZERAH. At Asa's reformation, the people swear to the Covenant 'with a loud voice..shouting, trumpets, and cornets.' NEBEL, KINNOR,

2 Chr. 20. 21, 28.

CHATZOZERAH. (See ch. 13. 12). Jehoshaphat's army is preceded by 'singers to praise in holy adornment' (A. V. the beauty of holiness") with psalteries, harps, and trumpets-and so returns, headed by the king, to give thanks in the Temple. Jahaziel who predicts the deliverance, is an Asaphite Levite.

2 Chr. 23. 18. CHATZOZERAH. (2 Kin. 11. 14).

At his coronation in the Temple, Joash stands on the royal platform (A. V. pillar) at the entrance, the trumpets are blown at his side: the singers playing instruments of music, and leading the chant of (A. V. such as taught to sing) praise (cp. 2 Chr. 5. 12 & 29. 25). 2 Chr. 29. 25-28. TZELTZELIM, NEBEL, KINNOR, CHATZOZERAH. (See 2 Chr. 5. 12).

Hezekiah, reopening the Temple, restores David's musical services, here said to have originated with 'Gad the king's seer, and Nathan the prophet.' The 'song of the Lord, the trumpets, and instruments of David,' accompany the opening sacrifice. The Levites praise Jehovah with the words of David and of Asaph the seer.'

2 Chr. 35. 15. See Psalm, 81. 1-3. Josiah, at his great Passover, restores David's musical services.

Ezra 3. 10. CHATZOZERAH, TZELTZELIM. While the Second Temple's foundation was laid, the priests with trumpets, and the Levites the sons of Asaph with cymbals (1 Chr. 16. 5) after David's ordinance sang by course; the people shouted. Cp. Psalm 118.

Neh. 4. 18, 20. SHOPHAR. Nehemiah's signal to the armed restorers of the walls. Neh. 11. 17 & 12. 8-42. TZELTZELIM, NEBEL, KINNOR, CHATZOZERAH. Mattaniah the Asaphite was 'precentor or leader of the choir.' The Levites collected at Jerusalem celebrate

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