The KJV rendering of the Hebrew words mazu (Ps. 144:13) and ’otsar (Joel 1:17) and the Greek word apothēkē (Matt. 3:12 // Luke 3:17), referring to barns or granaries.

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

References to lightning play a significant role in various theologically rich portrayals of God. God is sovereign over all creation and thus in control of the lightning. As one of God’s servants, lightning obeys his commands (e.g., Job 36:32; 37:15; 38:24–25; Pss. 18:12–14; 135:7). Lightning is also called upon to give praise to God (Ps. 148:7–8). God’s use of lightning against his enemies (Exod. 9:23–24; 2 Sam. 22:13–15; Pss. 78:48; 144:6) forms part of the OT picture of God as warrior. (Artwork from other ancient Near Eastern civilizations depicts their deities as making war on their enemies and holding lightning bolts in their hands, ready to hurl them down to the earth.)

Various theophanies (appearances of God) are accompanied by lightning (Exod. 19:16; 20:18). In other visionary theophanies, lightning is used either to describe the appearance of God’s attendant creatures or to describe God’s own appearance (Ezek. 1:4, 13–14; Dan. 10:6; Matt. 24:27; Luke 9:29; 17:24). God’s judgments are described either as being accompanied by lightning or as being like lightning (Hos. 6:5; Zech. 9:14; Rev. 4:5; 8:5; 11:19; 16:18).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

A type of training, generally referred to in the NIV as “discipline” (Prov. 3:11–12; 15:5; Heb. 12:5, 7, 10). For children, it encompasses the cultivation of the mind and morals, which includes essential corrections, reproofs, punishment, and restraint that exhibits godly character toward Christian growth (Eph. 6:4). For adults, Scripture has a role in this “training in righteousness” (2 Tim. 3:16). Even as earthly fathers discipline their children, God “disciplines the one he loves” (Heb. 12:6). Disciplinary sufferings are a demonstration of sonship (Heb. 12:5–11). Nurturing is also a type of care that can be shown to plants, akin to the proper care of children (Ps. 144:12).

In ancient Israel and surrounding cultures, pillars were used in every kind of architectural construction, from simple houses (Prov. 9:1) to palaces (Ps. 144:12) and temples (Judg. 16:29; 1 Kings 7:15–22). One of the distinctive features of Israelite domestic architecture was the division of the ground floor of the house into two, three, or four rooms divided by rows of pillars. Such pillars rested on stone foundations that often survived even when the rest of the building had been destroyed, thus allowing modern archaeologists to identify many remains of pillared houses.

Stone pillars were used in religious worship in ancient Israel, such as those erected by Jacob (Gen. 28:18, 22; 35:14). A pillar could also commemorate a covenant (Gen. 31:45; Exod. 24:4; Josh. 24:26; 2 Chron. 34:31) or a tomb (Gen. 35:20). In later stories, pillars are viewed negatively, as in 2 Kings 18:4, where Hezekiah is credited with destroying Asherah pillars as part of a broad religious reform (see also Jer. 43:13). Archaeologists have discovered cultic pillars in the temple at Tell Arad, among other places.

The temple of Solomon at Jerusalem incorporated two highly decorated pillars, Jakin and Boaz (1 Kings 7:21), made of bronze and reported to be 18 cubits (27 feet) high and 12 cubits (18 feet) in circumference, with an additional height of 5 cubits (7.5 feet) including the capital (1 Kings 7:16; cf. 2 Kings 25:17). When Jerusalem fell to the Babylonians in 586 BC, the bronze pillars were destroyed, and their bronze was taken to Babylon (2 Kings 25:13).

In ancient cosmology, the earth and the heavens were thought to be supported by pillars (Job 9:6; 26:11; Ps. 75:3).

In the NT, the pillar is used as a metaphor for leaders in the church (Gal. 2:9) or the church itself (1 Tim. 3:15).

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

A shadow may refer to shade generally, darkness, or to a specific shadow cast by something; “shadow” and “shade” also have other uses by extension. Perhaps because shade is a protection from the heat of the sun, shade and shadow are metaphors for protection (Pss. 91:1; 121:5; Isa. 49:2), as in the phrase “shadow of [God’s] wings” (Pss. 17:8; 36:7; 57:1; 63:7). Since shadows change through the day and pass away, shadow becomes a metaphor for brevity, particularly the brevity of life (1 Chron. 29:15; Job 8:9; 14:2; Pss. 102:11; 109:23; 144:4), and for change (James 1:17 [though this text has other interpretations]). As darkness, shadow sometimes refers to a place to hide (Job 34:22) or to gloom or danger (Pss. 44:19; 107:10, 14; Isa. 9:2; Jer. 2:6). The “land of darkness and deep shadow” appears to be a reference to death (Job 10:21 ESV, NASB). And since a shadow’s shape resembles the outline of what casts the shadow, shadow may refer to that similarity as a copy, however imperfect (Col. 2:17; Heb. 8:5; 10:1).

Two miracles involved shadows. God gave Hezekiah a miraculous sign by moving the shadow on the steps backward (2 Kings 20:9–11). As people believed the apostles’ message, they brought the sick to Solomon’s Colonnade, where they were healed when Peter’s shadow fell on them (Acts 5:12–16).

The Hebrew word for “deep darkness,” tsalmawet, was seen as two words by LXX translators and rendered as “shadow of death” (skia thanatou). This wording came into the NT as a quotation or allusion (Matt. 4:16; Luke 1:79). Texts discovered from around the time of the judges in Ugaritic, a language closely related to Hebrew, have shown that tsalmawet is one word, meaning “deep darkness” or “gloom.” Modern translations have tended to change the rendering of this word, but some may leave “shadow of death” in Ps. 23:4 because of the popularity of this traditional wording.

Old Testament and Jewish Literature

In the OT, the phrase “son of man” usually refers to humanity in general or to a specific individual. The general use of “son of man” occurs in poetic texts in which the phrase functions as a synonym for “man” or “human being” (Num. 23:19; Isa. 51:12; Pss. 144:3; 146:3). In Ps. 8:4 (ESV) the psalmist asks, “What is man that you are mindful of him, and the son of man that you care for him?” Echoing the creation of man in Gen. 1, “man” and “son of man” in this psalm have a royal status: being “crowned with glory and honor” and receiving dominion over all of God’s creation (Ps. 8:5–6). Later, in Ps. 80:17, “son of man” refers to the nation of Israel. The psalmist supplicates that God would make strong for himself the “son of man” over Israel’s enemies (80:12–16). In Ezekiel, God addresses the prophet himself as “son of man,” possibly indicating his human status compared with God or, alternatively, highlighting his unique status as God’s prophet in contrast with the rest of humanity.

One of the most crucial OT “son of man” texts is Dan. 7 because of its influence on the “Son of Man” in the Gospel tradition. Scholars debate the date of the composition of this chapter. While some argue for the sixth century BC, others prefer a second-century BC date during the oppressive reign of Antiochus IV Epiphanes. The first half of the chapter records Daniel’s vision (7:1–14), while the second half contains its interpretation (7:15–27). In the vision Daniel sees “one like a son of man, coming with the clouds of heaven” (7:13). This exalted figure contrasts with the first three beasts, which are “like a lion” (7:4), “like a bear” (7:5), and “like a leopard” (7:6). The fourth beast is so gruesome that it defies comparison with any species of the animal kingdom (7:7). Many agree that the beasts likely refer to ancient world empires; however, the referent of “one like a son of man” has given rise to much debate. The figure may refer to earthly Israel, since at this figure’s vindication he is endowed with authority and glory. This is precisely what “the holy people of the Most High” receive in v. 27. In this way, the “one like a son of man” is a symbol for the persecuted, earthly saints. Alternatively, the exalted figure could be a heavenly being such as the archangel Gabriel (Dan. 9:21) or Michael (Dan. 10:13; 12:1). Here “one like a son of man” is the heavenly counterpart and leader of suffering Israel and fights a cosmic battle on its behalf.

In subsequent Jewish literature, the “one like a son of man” from Dan. 7 becomes quite active, appearing to be a development of the static image who is “given authority, glory and sovereign power” (Dan. 7:14). In 1 En. 37–71, a text that dates from the last half of the first century BC to the first half of the first century AD, the “Son of Man” is seated upon his throne and will judge “the kings and the mighty” who have persecuted faithful Israel (46:4–8; 62:5). At that point, the faithful ones (i.e., the holy, righteous, and chosen) will be formed into a new congregation. In another Jewish text that dates from the end of the first century AD, there is a strong echo of the Danielic son of man. In 4 Ezra 13, “something like the figure of a man came up out of the heart of the sea” (v. 3a). Unlike in 1 Enoch, this figure is a warrior who destroys with fire those who attempt to wage war on him. These texts indicate that at least two traditions developed and reinterpreted the “one like a son of man” from Dan. 7. He becomes an individual who executes judgment in one tradition, and one who executes destruction in another.

New Testament

In the NT the term “Son of Man” occurs mostly in the Gospels and, with the exception of John 12:34 (where the crowd quotes Jesus), is uttered exclusively by Jesus himself. The phrase, or a variation of it, also occurs in Acts 7:56; Heb. 2:6; Rev. 1:13; 14:14. Unlike in Daniel or 1 Enoch, the epithet occurs in the Gospels with the definite article, likely indicating that the Son of Man was a known figure. Because of this and because the Son of Man in 1 Enoch and 4 Ezra have similar functions, many scholars in the mid-twentieth century speculated that in first-century Judaism many Jews believed that the Son of Man would return at the end as savior and judge. Others suggested that the significance of the phrase is found in its Aramaic background, bar ’enash’a, which in other texts means “I,” “man,” “a man,” or “someone.” Despite these alternatives, the OT provides the most helpful background for understanding the Son of Man in the Gospels.

The Son of Man sayings in the Gospels fall within three categories: earthly, suffering-resurrection, and future-vindication sayings. Starting with the earthly sayings, in Mark 2:10, for example, the Son of Man has “authority on earth to forgive sins,” and in 2:28 he exercises dominion over the Sabbath. Although in Daniel the Son of Man does not receive such authority until his appearance in Yahweh’s presence at his vindication, the Son of Man in the Gospels exercises such authority during his earthly ministry. Jesus also predicts that the Son of Man will suffer, die, and be raised again. In Mark, these suffering-resurrection predictions occur three times (8:31; 9:31; 10:33–34). Echoing Dan. 7, this plight of Jesus recalls the suffering of the holy ones caused by the little horn (v. 21). If the “one like a son of man” represents the holy ones in their vindication, then it is reasonable that he does so in their suffering as well; however, the text of Daniel is silent on this point. Finally, the clearest reference to Dan. 7 occurs in the future-vindication sayings. In Mark 13:26; 14:62 the Son of Man comes with/on the clouds, which points to his vindication over the Sanhedrin, the dominant adversaries of Jesus in Mark. Matthew appears to develop even more than Mark the judicial responsibilities of the Son of Man (Matt. 13:41–43; 25:31–33). Meanwhile, in Luke the church must stay alert and be prepared for the return of the Son of Man (Luke 12:39–40; 17:22–37; 21:34–36).

In Acts, the vision that Stephen witnesses confirms that the Son of Man has indeed been exalted to the right hand of God (Acts 7:56). In the Gospel of John, the epithet is used as the object of the verbs “to lift up” and “to glorify,” so that the death of Jesus is a form of exaltation (John 8:28; 12:23; 13:31), which reflects his current exalted status in early Christian thinking. Finally, the Son of Man in Revelation is in the heavenly temple functioning as both judge and caretaker of the seven churches (Rev. 1:12–20) and reaps the saints while “seated on the cloud” (14:14–16).

Streets facilitated transportation within a community both in joining residential and public buildings for daily tasks and by linking city fortifications for the timely deployment of troops during a siege. In most large cities, a peripheral street ran along the inside of the city wall, primarily serving for quick defensive access to the wall ramparts. Additional streets bisected the residential and public quarters of the city’s interior. Larger main streets, as well as city gates, served as main places of commerce in ancient cities. Main streets typically led to the center of the city or to any important structures, such as palaces or temples.

The NT period saw a clear dichotomy between Jewish cities and those of Greek or Roman influence. Greco-Roman cities typically were well planned and rectilinear and included colonnaded streets. These typical “main” streets were lined with continuous rows of columns supporting a roof, originally developed to provide shade for marketplaces. Commerce took place under these colonnades or in public plazas. Colonnaded streets were paved and contained sidewalks for pedestrians and furnishings, such as statues of deities. Jewish cities, however, had no formal plan. Rather than being laid out in structured quarters divided by grids of neatly arranged streets, buildings in Jewish cities were constructed randomly over time. Roads were constructed later on and built around existing clumps of buildings as needed.

In the Bible, streets—along with squares and alleys—are often symbolic of public places. In the streets people call out in proclamation (2 Sam. 1:20; Esther 6:9) or in search of others (Song 3:2; Jer. 5:1; Matt. 22:9–10; Luke 14:21), or they wail in grief and distress (Ps. 144:14; Amos 5:16). On the street corners idolaters flaunt worship of false gods (Jer. 44:17; Ezek. 16:25) and hypocrites flaunt their piety (Matt. 6:2, 5). When a city is conquered or punished, the dead and destitute lie in the streets (Isa. 5:25; Lam. 4:5; Ezek. 11:6) or the streets are entirely deserted (Jer. 33:10; Zeph. 3:6). But when a city prospers, the streets are rebuilt (Isa. 58:12) and are filled with playing children (Zech. 8:4–5). Streets are also described as dusty and muddy (2 Sam. 22:43; Lam. 2:21; Mic. 7:10; Zech. 10:5), requiring the washing of feet (cf. John 13).

The Bible depicts war and warlike acts throughout. The arms are both offensive and defensive in nature. The most common types of offensive weapons are swords, axes, spears, bows and arrows, slings, and stones. Defensive weapons include the shield and the helmet. An army’s arsenal was usually kept in a storehouse called an armory (1 Kings 10:17; Isa. 22:8; Neh. 3:19).

Arms

Sword. In the OT, the word “sword” (khereb) appears for the first time in Gen. 3:24 after Adam and Eve have been evicted from the garden of Eden. A flaming sword was placed there “to guard the way to the tree of life.” Thus, the first use of the sword is defensive. Later in Genesis, Jacob’s sons use swords to avenge the rape of their sister Dinah (Gen. 34:25–26). In most cases the word describes the weapon of choice for most of antiquity. Swords were manufactured of iron (1 Sam. 13:19; Joel 3:10). Some were short and easy to maneuver (Judg. 3:16), while others were long and heavy (1 Sam. 21:9). They could be single- or double-edged, and they were worn in a sheath or scabbard (1 Sam. 17:51; 2 Sam. 20:8). The sword was also supported by a girdle made of leather studded with nails (1 Sam. 18:4; 2 Sam. 20:8). Sometimes, the sword was used figuratively to speak of God’s judgment (Lev. 26:6; Isa. 1:20; Jer. 47:6; 50:35–37; Ezek. 21:9, 28; Hos. 11:6). In the NT, the most common word describing a sword is the Greek machaira, which is used to describe the weapons wielded by the mob that came to arrest Jesus (Matt. 26:47, 55; Mark 14:48), as well as the weapon used by Peter to cut off Malchus’s ear (John 18:10). Another Greek word translated “sword” is rhomphaia, which describes a longer sword, generally worn over one’s shoulder (Rev. 1:16; 6:8; 19:21). The word “sword” is also used figuratively in the NT. The word of God is designated as “the sword of the Spirit” (Eph. 6:17) and as a “double-edged sword” (Heb. 4:12).

Spear. Four main words in the Bible are translated as “spear” or “javelin.” The Hebrew word romakh is translated “spear” or “javelin,” and it appears fifteen times in the OT. The spear was made of iron (Joel 3:10), and those who fell prey to it never survived its penetration (Num. 25:7; 1 Kings 18:28). The other Hebrew word used for the spear is khanit, which appears about fifty times in the OT. It is used to describe Goliath’s spear when he fought David (1 Sam. 17:7), Saul’s spear when he hurled it at David (1 Sam. 18:10–11), and the Assyrian-made “glittering” spear (Nah. 3:3). The third word is khidon, which appears about ten times in the OT. It describes a weapon in the arsenals of Joshua (Josh. 8:18, 26), Goliath (1 Sam. 17:6), and the Babylonians (Jer. 6:23). In the NT, the word “spear” (Gk. longchē) occurs only once, referring to the weapon used to pierce Jesus’ side at his crucifixion (John 19:34).

Bow and arrow. The bow and arrow was an important offensive weapon in Israel and the surrounding cultures. In the Bible, bow and arrow, either in combination or individually, appear in both a literal (2 Kings 9:24; Isa. 37:33) and a figurative sense (Pss. 11:2; 64:7; Isa. 49:2; Lam. 3:12; Zech. 9:13). There is extrabiblical evidence suggesting that the Egyptians and the Syrians also used the bow and arrow as part of their military arsenal.

Sling. Primitive but effective, the sling was used not only in Israel but also in Egypt and Babylon. Easy to manufacture, it used stones as ammunition; thus it was the weapon of choice for those lacking raw material to build weapons made of metal. Besides David’s use of the sling in his encounter with Goliath (1 Sam. 17:40), men from the tribe of Benjamin used the sling with remarkable accuracy (Judg. 20:16).

Ax. Besides its primary role for cutting down trees (Deut. 19:5; Judg. 9:48; Jer. 10:3), the ax probably was used in war as well. (See also Ax, Ax Head.)

Armor

Shield. The shield is one of the most ancient defense weapons. Two Hebrew words are used to depict a shield. The magen appears for the first time in Gen. 15:1, where it is used figuratively to speak of God’s protection of Abraham. It is used in the same manner one other time, in Deut. 33:29. It is frequently used as a figure of speech by the psalmists to denote the same idea of divine protection (Pss. 3:3; 7:10; 18:2, 30; 28:7; 33:20; 59:11; 84:9, 11; 115:9–11; 119:114; 144:2). When used literally, the term refers to a shield made of wood and sometimes overlaid with leather. Solomon used gold to manufacture shields (1 Kings 10:17), while Rehoboam manufactured them of bronze (1 Kings 14:27). This type of shield was used as a defensive weapon by the Israelites throughout their history (Judg. 5:8; 1 Chron. 5:18; 2 Chron. 9:16; 14:8; 17:17; 23:9; Neh. 4:16). It was also used by the Syrians (Isa. 22:6), Assyrians (Isa. 37:33), Egyptians (Jer. 46:3), and Persians (Ezek. 27:10). The other Hebrew term translated “shield” is tsinnah. This was larger than the magen and was meant to cover the fighter’s entire body. It was the type of shield carried by Goliath’s shield bearer (1 Sam. 17:7, 41), manufactured by King Solomon (1 Kings 10:16), used by the Gadites who joined David while fleeing from Saul (1 Chron. 12:8), and used by Israel’s army during the reigns of Rehoboam (2 Chron. 11:12) and Asa (2 Chron. 14:8). The Greek word thyreos is the LXX rendering of the Hebrew tsinnah, and it appears only once in the NT. Paul uses the word figuratively when speaking about the “shield of faith” (Eph. 6:16).

Helmet. The helmet had the obvious defensive purpose of protecting a combatant’s head. It was made of leather or light metal, such as bronze (1 Sam. 17:5, 38). In both Testaments, salvation is spoken of figuratively as a “helmet” (Isa. 59:17; Eph. 6:17; 1 Thess. 5:8).

Coat of mail. Body armor was used for the protection of the warrior not only in Israel but also in other ancient Near Eastern nations. The Hebrew term shiryon is variously translated as “coat of mail” (ESV, RSV, NRSV), “coat of scale armor” (NIV), or “habergeon” (KJV). Goliath wore this type of body armor (1 Sam. 17:5, 38), and his was manufactured of bronze. Despite wearing a shiryon, Israel’s king Ahab was fatally wounded in battle (1 Kings 22:34). In an attempt to strengthen Judah’s military power, King Uzziah also provided coats of mail for his army (2 Chron. 26:14). It was also used during postexilic times, Nehemiah’s workers having benefited from its protection (Neh. 4:16). Shiryon (Gk. thorax) is used figuratively to speak of a “breastplate” of righteousness and of love (Isa. 59:17; Eph. 6:14; 1 Thess. 5:8).

The Bible depicts war and warlike acts throughout. The arms are both offensive and defensive in nature. The most common types of offensive weapons are swords, axes, spears, bows and arrows, slings, and stones. Defensive weapons include the shield and the helmet. An army’s arsenal was usually kept in a storehouse called an armory (1 Kings 10:17; Isa. 22:8; Neh. 3:19).

Arms

Sword. In the OT, the word “sword” (khereb) appears for the first time in Gen. 3:24 after Adam and Eve have been evicted from the garden of Eden. A flaming sword was placed there “to guard the way to the tree of life.” Thus, the first use of the sword is defensive. Later in Genesis, Jacob’s sons use swords to avenge the rape of their sister Dinah (Gen. 34:25–26). In most cases the word describes the weapon of choice for most of antiquity. Swords were manufactured of iron (1 Sam. 13:19; Joel 3:10). Some were short and easy to maneuver (Judg. 3:16), while others were long and heavy (1 Sam. 21:9). They could be single- or double-edged, and they were worn in a sheath or scabbard (1 Sam. 17:51; 2 Sam. 20:8). The sword was also supported by a girdle made of leather studded with nails (1 Sam. 18:4; 2 Sam. 20:8). Sometimes, the sword was used figuratively to speak of God’s judgment (Lev. 26:6; Isa. 1:20; Jer. 47:6; 50:35–37; Ezek. 21:9, 28; Hos. 11:6). In the NT, the most common word describing a sword is the Greek machaira, which is used to describe the weapons wielded by the mob that came to arrest Jesus (Matt. 26:47, 55; Mark 14:48), as well as the weapon used by Peter to cut off Malchus’s ear (John 18:10). Another Greek word translated “sword” is rhomphaia, which describes a longer sword, generally worn over one’s shoulder (Rev. 1:16; 6:8; 19:21). The word “sword” is also used figuratively in the NT. The word of God is designated as “the sword of the Spirit” (Eph. 6:17) and as a “double-edged sword” (Heb. 4:12).

Spear. Four main words in the Bible are translated as “spear” or “javelin.” The Hebrew word romakh is translated “spear” or “javelin,” and it appears fifteen times in the OT. The spear was made of iron (Joel 3:10), and those who fell prey to it never survived its penetration (Num. 25:7; 1 Kings 18:28). The other Hebrew word used for the spear is khanit, which appears about fifty times in the OT. It is used to describe Goliath’s spear when he fought David (1 Sam. 17:7), Saul’s spear when he hurled it at David (1 Sam. 18:10–11), and the Assyrian-made “glittering” spear (Nah. 3:3). The third word is khidon, which appears about ten times in the OT. It describes a weapon in the arsenals of Joshua (Josh. 8:18, 26), Goliath (1 Sam. 17:6), and the Babylonians (Jer. 6:23). In the NT, the word “spear” (Gk. longchē) occurs only once, referring to the weapon used to pierce Jesus’ side at his crucifixion (John 19:34).

Bow and arrow. The bow and arrow was an important offensive weapon in Israel and the surrounding cultures. In the Bible, bow and arrow, either in combination or individually, appear in both a literal (2 Kings 9:24; Isa. 37:33) and a figurative sense (Pss. 11:2; 64:7; Isa. 49:2; Lam. 3:12; Zech. 9:13). There is extrabiblical evidence suggesting that the Egyptians and the Syrians also used the bow and arrow as part of their military arsenal.

Sling. Primitive but effective, the sling was used not only in Israel but also in Egypt and Babylon. Easy to manufacture, it used stones as ammunition; thus it was the weapon of choice for those lacking raw material to build weapons made of metal. Besides David’s use of the sling in his encounter with Goliath (1 Sam. 17:40), men from the tribe of Benjamin used the sling with remarkable accuracy (Judg. 20:16).

Ax. Besides its primary role for cutting down trees (Deut. 19:5; Judg. 9:48; Jer. 10:3), the ax probably was used in war as well. (See also Ax, Ax Head.)

Armor

Shield. The shield is one of the most ancient defense weapons. Two Hebrew words are used to depict a shield. The magen appears for the first time in Gen. 15:1, where it is used figuratively to speak of God’s protection of Abraham. It is used in the same manner one other time, in Deut. 33:29. It is frequently used as a figure of speech by the psalmists to denote the same idea of divine protection (Pss. 3:3; 7:10; 18:2, 30; 28:7; 33:20; 59:11; 84:9, 11; 115:9–11; 119:114; 144:2). When used literally, the term refers to a shield made of wood and sometimes overlaid with leather. Solomon used gold to manufacture shields (1 Kings 10:17), while Rehoboam manufactured them of bronze (1 Kings 14:27). This type of shield was used as a defensive weapon by the Israelites throughout their history (Judg. 5:8; 1 Chron. 5:18; 2 Chron. 9:16; 14:8; 17:17; 23:9; Neh. 4:16). It was also used by the Syrians (Isa. 22:6), Assyrians (Isa. 37:33), Egyptians (Jer. 46:3), and Persians (Ezek. 27:10). The other Hebrew term translated “shield” is tsinnah. This was larger than the magen and was meant to cover the fighter’s entire body. It was the type of shield carried by Goliath’s shield bearer (1 Sam. 17:7, 41), manufactured by King Solomon (1 Kings 10:16), used by the Gadites who joined David while fleeing from Saul (1 Chron. 12:8), and used by Israel’s army during the reigns of Rehoboam (2 Chron. 11:12) and Asa (2 Chron. 14:8). The Greek word thyreos is the LXX rendering of the Hebrew tsinnah, and it appears only once in the NT. Paul uses the word figuratively when speaking about the “shield of faith” (Eph. 6:16).

Helmet. The helmet had the obvious defensive purpose of protecting a combatant’s head. It was made of leather or light metal, such as bronze (1 Sam. 17:5, 38). In both Testaments, salvation is spoken of figuratively as a “helmet” (Isa. 59:17; Eph. 6:17; 1 Thess. 5:8).

Coat of mail. Body armor was used for the protection of the warrior not only in Israel but also in other ancient Near Eastern nations. The Hebrew term shiryon is variously translated as “coat of mail” (ESV, RSV, NRSV), “coat of scale armor” (NIV), or “habergeon” (KJV). Goliath wore this type of body armor (1 Sam. 17:5, 38), and his was manufactured of bronze. Despite wearing a shiryon, Israel’s king Ahab was fatally wounded in battle (1 Kings 22:34). In an attempt to strengthen Judah’s military power, King Uzziah also provided coats of mail for his army (2 Chron. 26:14). It was also used during postexilic times, Nehemiah’s workers having benefited from its protection (Neh. 4:16). Shiryon (Gk. thorax) is used figuratively to speak of a “breastplate” of righteousness and of love (Isa. 59:17; Eph. 6:14; 1 Thess. 5:8).

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

A strict division between fortresses and cities was not possible in much of the ancient world, since many major towns were surrounded with protective walls and fortifications. Royal figures, however, did have stand-alone fortresses built within some towns. In 2 Sam. 5:7–9 David captures Zion, a fortress-city, from the Jebusites (see also 1 Chron. 11:5–7). Solomon further enhances the defensive fortifications of Jerusalem (1 Kings 3:1; 2 Chron. 2:1), as do several kings who come after him (e.g., 1 Kings 15:18; 16:18; 18:3; 2 Kings 11:5; 2 Chron. 26:9, 15).

Royal residences, such as those of the pharaohs (Gen. 12:15) and of the kings of Babylon (2 Kings 20:18; Dan. 1:4), Tyre (2 Sam. 24:7), Samaria (2 Kings 15:25), and Persia (Esther 1:5; 5:1; 7:7–8), also served as castles. In Nehemiah’s time, Hananiah is made ruler of the palace fort in Jerusalem (Neh. 2:8; 7:2). Fortified towers also contributed to the defensive equipment of many ancient cities (Gen. 11:1–9; 35:21; Judg. 8:8–9, 17; 9:46, 49; Neh. 3:1; 12:39; Song 4:4; Luke 13:4).

In addition to palaces and fortified cities, numerous smaller castle-type structures are mentioned in the Bible. These forts, usually fairly small, were important for guarding trade routes and major entrance points into a kingdom, and they allowed a ruler to exercise control over a much larger region than would have been possible otherwise. Normally these structures were composed of stone, hardened mud-brick, or a combination of the two, and constituted a tightly packed arrangement of walls, gates, and guard towers. A system of fortresses existed throughout Israel in the time of the unified monarchy, such as those built by David throughout Aram (2 Sam. 8:6) and Edom (2 Sam. 8:14; 1 Chron. 18:13), and those built by Solomon (1 Kings 9:19). Later, Rehoboam expanded this network of forts, which included the strong fortress at Lachish, and further built up the defensive capabilities of many of the towns in Judah (2 Chron. 11:5–11). The later kings Jehoshaphat and Jotham continued this work of fortress building throughout Judah (2 Chron. 17:12; 27:4).

In the four centuries after the conquests of Alexander the Great, new fortresses were built throughout what would become the Roman Empire, including Herod the Great’s palace in Caesarea (Acts 23:35). The Antonia Fortress (see Acts 21:31–37; 22:24; 23:10, 16, 32) overlooked the temple area in Jerusalem and was the headquarters of the Roman army cohort stationed in the city. Herod’s palace on the western hill of Jerusalem may have been the headquarters of Roman governors of Judea, although the Antonia Fortress is also a possible location for this building (see Matt. 27:27; Mark 15:16; John 18:28, 33; 19:9).

The image of a fortress is often invoked in poetic contexts in the Bible to signify God’s unfailing protection (2 Sam. 22:2; Pss. 18:2; 31:2; 46:8; 62:2; 91:2; 144:2; Prov. 14:26; Isa. 25:4; Jer. 16:19). Prophetic denunciation of the fortresses of Israel’s enemies is common in the OT (Isa. 23:11, 13–14; Jer. 49:27; Dan. 11; Amos 1). The destruction of Israel’s own fortresses, especially Jerusalem, is also a common judgment motif in the prophets (Isa. 25:12; Jer. 6:5; 17:27; Hos. 8:14). See also Fort, Fortification.

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

A person who worked with wood at any point from harvesting raw materials to fashioning finished products. Their work was considered honored and skilled work (Ps. 144:12; Jer. 46:22). According to 1 Kings 5–6, woodworkers, or “woodsmen” (see 2 Chron. 2:10), were involved in constructing King Solomon’s temple: cutting trees in the forest (5:6), transporting logs by means of bodies of water (5:9), paneling the interior of the building (6:15), and engraving the walls (6:29). Although chopping wood was used as a punishment for the deceptive Gibeonites (Josh. 9:21), woodcutters in Israel are described as recipients of the covenant (Deut. 29:11).