Music in The Bible PDF

United Church of God, an International Association
. . . . . . . .
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Music in the Bible
Doctrinal Study Paper
Approved by the Council of Elders

December 2003
All scriptures are quoted from The Holy Bible, New King James Version (© 1988 Thomas Nelson, Inc.,
Nashville, Tennessee) unless otherwise noted.
MUSIC IN THE BIBLE
Table of Contents… Page

Overview and Purpose of Music ...........................................................................3
What Is Proper Music in the Church?.................................................................5
Genesis Through Deuteronomy ............................................................................6
Joshua Through Ruth ..........................................................................................10
Samuel Through Chronicles ...............................................................................12
Ezra Through Job ................................................................................................21
Psalms Through Song of Solomon ......................................................................22
Isaiah Through Malachi ......................................................................................26
Old Testament Summary ....................................................................................29
Matthew Through Revelation .............................................................................29
Summary of the New Testament ........................................................................33
Conclusion ............................................................................................................33
1. What Is the Fruit?.....................................................................................34
2. Godly Music Will Reflect God’s Character............................................34
3. God’s Law Judges Right and Wrong ......................................................35
4. A New Song................................................................................................36
5. A Balance of Quality Music .....................................................................37
6. Offense vs. Tolerance ................................................................................38
7. Education ...................................................................................................38
Appendix A—Instrument Table .............................................................40
Appendix B—Scripture Index ................................................................56
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M usic is an important part of the worship services of the United Church of God, an
International Association. Different opinions exist regarding music because it is such a
subjective topic. Most of these divergent and controversial opinions revolve around
the question of what kind of music is appropriate for worshipping God. The only way to answer
this question is to turn to God’s Word, the Holy Scriptures.
A task force was created to study the subject of music in the Scriptures, to lay the proper
foundation for answering questions and to prepare the way for the production of a new hymnal
for the United Church of God. The material that follows is the result of that research.
Overview and Purpose of Music
Music is an important part of life. From joy and celebration to sadness and mourning,
many deep emotional experiences have been expressed musically throughout history. Because of
its nature and capacity to communicate feelings and emotions, music is often able to convey
what is inexpressible in words alone.
God’s Word instructs us to express our praise and to worship Him with singing,
instruments and dancing (1 Chronicles 6:31; Psalm 105:2; Psalms 138, 149, 150; Ephesians
5:19). We should not underestimate the significance of music as a vital part of church services.
From the early days of our history music has played an important role, even though at
times, it has been controversial. Members have always had strong individual and differing
musical tastes and preferences, which has made it difficult to define and reach agreement about
what is most appropriate for church services, and establish a standard that is both godly and
acceptable to everyone. Most people know what they enjoy when they hear it, but to define
appropriate music for services has always been a challenging proposition. But there is one
principle upon which we must build our presentation. Music that was used in worshipping God
was for that purpose—to worship and praise God. It was not just for entertainment. There is
nothing wrong with music and singing as entertainment, but in the context of worship there is a
difference. This doesn’t mean that our music cannot be entertaining, but if that is our goal—to
entertain ourselves—then we have missed a significant point in the overall concept of music
during church services.
The central purpose of music in our church services is to praise and worship our great
God. Hebrews 2:12 quotes David’s Psalm 22 stating, “I will declare your name to my brothers;
in the presence of the congregation I will sing your praises” (NIV). In Psalm 22:25 we are told,
“My praise shall be of You in the great assembly; I will pay My vows before those who fear
Him.”
When David placed the ark in the tabernacle that he had erected in Jerusalem for that
purpose, he instructed Israel to “sing to Him, sing psalms to Him; talk of all His wondrous
works! . . . Sing to the LORD, all the earth; proclaim the good news of His salvation from day to
day . . . Oh, worship the LORD in the beauty of holiness!” (1 Chronicles 16:9, 23, 29). David also
wrote, “Give unto the LORD the glory due to His name; worship the LORD in the beauty of
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holiness” (Psalm 29:2). These verses certainly confirm the importance of music and singing
within the context of worshipping God.
Music in the Church is important for the purpose of inspiration, encouragement and
instruction. Psalm 40:3 shows that musical expressions of our faith can inspire others: “He put a
new song in my mouth, a hymn of praise to our God. Many will see and fear and put their trust in
the LORD” (NIV). The significance of music was also evident in the last hours of Jesus’ life. He
sang a hymn with His disciples before the agonizing death He was about to suffer (Matthew
26:30).
It is also interesting to note that music can play a part in teaching and preaching the
gospel. In Colossians 3:16 we are instructed, “Let the word of Christ dwell in you richly in all
wisdom, teaching and admonishing one another in psalms and hymns and spiritual songs,
singing with grace in your hearts to the Lord.” Not only can music teach the great stories of the
Bible, but it can also instruct, remind and warn (Romans 15:9; Exodus 15:1).
Music can support our faith by helping to comfort and reassure us in times of trial. When
Paul and Silas were beaten and imprisoned, they were strengthened by both prayers and singing
(Acts 16:25). Perhaps their songs and prayers played a part in bringing the Philippian jailer to
ask in verse 30, “Sirs, what must I do to be saved?”
Music even has a part to play in our fellowship. Ephesians 5:18-20 states, “Be filled with
the Spirit, as you sing psalms and hymns and spiritual songs among yourselves, singing and
making melody to the Lord in your hearts, giving thanks to God the Father at all times and for
everything in the name of our Lord Jesus Christ” (NRSV). Music can be a part of our spiritual
conversations by comforting, encouraging and motivating even when exact scripture and verse
do not come to mind. Few things can bring to mind God’s teaching more than an inspiring song.
These scriptures along with many others teach the important principle that worshipful
singing and praise should be done in a manner and style that illustrates and conveys the concept
of holiness, that is, the lovely, righteous attitude and spirit of God Himself. This principle must
form the basis for music in order for it to properly honor and praise God.
Jesus amplified this principle in John 4:23-24 by stating: “But the hour is coming, and
now is, when the true worshipers will worship the Father in spirit and truth; for the Father is
seeking such to worship Him. God is Spirit, and those who worship Him must worship in spirit
and truth.”
Therefore, if a musical style brings the worshipper back into the spirit and associations of
the world, it is not fulfilling a godly purpose and is not appropriate for worship. The apostle John
instructed, “Do not love the world or the things in the world. If anyone loves the world, the love
of the Father is not in him” (1 John 2:15). As Christians we must always be careful when
selecting music not to cater to the world or the world’s entertainment, but to select material that
fits within the context of worshipping and praising God.
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Music in our services must be used to promote a relationship with God. It is for praise,
worship and inspiration. Worldliness and false religion can easily enter our services under the
guise of music if we are not diligent in selecting appropriate music and finding those who can
perform that music in an appropriate manner. We must not be like the world, even though we
continue to live in the world. As our society (and its churches) moves further away from the
purity of worshipping God, this will be one of the greatest challenges facing the Church.
What Is Proper Music in Church?
What kind of music honors God? Should we only sing words from the Psalms in church?
Is only “classical” music appropriate? Are songs with lyrics not directly quoted from the Bible
suitable? These are questions that must be considered. We have already seen that a godly spirit
of holiness must pervade the services.
Unfortunately, we don’t exactly know what the music described in the Bible may have
sounded like—we have not heard the angels’ songs praising God and we don’t have any
preserved recordings of the psalms from David’s time. However, it is significant that God’s
Word validates a variety of musical expression from simple solo singing (James 5:13) to voices
with large, loud orchestras playing “with all their might” (2 Samuel 6:5; 1 Chronicles 13:8; 2
Chronicles 30:21), to choirs accompanied by musical instruments (2 Chronicles 30:21), to group
singing by the brethren (Matthew 26:30; Ephesians 5:19; Colossians 3:16).
It would be an error to believe that music does not have an effect upon its listeners. We
simply have to decide what effect we are looking for when it comes to music in the Church. Dr.
Samuele Bacchiocchi emphasizes this point in his book titled The Christian and Rock Music: A
Study on Biblical Principles of Music.
“‘What rules the heart, forms the art.’ Stefani shows with compelling logic that musical
styles are not neutral, but value-laden. ‘They are veritable embodiments of beliefs.’
“The non-neutrality of music is clearly recognized by musicians themselves. For

example, Howard Hanson, famous composer and former head of the Eastman School of
Music in Rochester, New York, said: ‘Music is made up of many ingredients and,
according to the proportion of these components, it can be soothing or invigorating,
ennobling, or vulgarizing, philosophical or orgiastic. It has the power for evil as well as
good.”1
The Bible nowhere indicates that there is only one type of music that is appropriate for
the Church. New songs and hymns with fresh melodies, harmonies, rhythms and lyrics are
appropriate in the worship of our God who makes all things new (Revelation 21:5), provided that
they are in keeping with God’s spirit of holiness. If we limit our songs and hymns to only one
type of music, we are more restrictive than the Bible.
1
Samuele Bacchiocchi, The Christian and Rock Music (Berrien Springs, MI: Biblical Perspectives, 2000), p. 23.
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We are faced with choices in our modern daily lives on how to worship God. We use
modern translations of the Bible for enhanced comprehension—not just the King James Version.
We show our respect for God by dressing in appropriately modest, yet modern styles of
clothing—without feeling compelled to wear the robes of ancient times. Our approach to music
should be the same. However, we must be careful not to go to the other extreme of ignoring
music that has been “tried and tested,” completely replacing it with newer, more modern hymns
simply for the sake of change or to be more “modern.”
We should not develop our music programs to appeal to any particular group of people in
our congregation—young or old. Our music must be representative of God’s way and it must be
for worshipping and praising Him and edifying His people. If our goal is to worship and praise
the great God of this universe every time we come together on the Sabbath or Holy Day, then all
our music must be filtered through this foundational principle. Is it truly worshipful and
praiseworthy? Does it assist us in praising God or does it hinder us?
With the preceding points in mind, our music must be representative of God’s laws, mind
and spirit. If it is focused on praising and worshipping God, it will be acceptable and pleasing to
Him and it will fulfill the function for which it was created.
In the Old Testament music was found in the temple—both instrumental and singing. The
exact nature of this music is difficult to know with certainty, but the issue of secular versus
religious can be established. We must be careful in the Church that we not blend the two to the
point of being offensive to God. The decision as to the appropriateness will have to be made by
the Church when it comes to questionable styles and in determining what will be used and what
will not be used. We must always strive to represent the mind of Christ in these matters.
As in any case of our doctrines and teachings, we must ask the first and most important
question—what does the Bible have to say about this subject? To give a more comprehensive
picture of what the Bible says about music, the following pages will take us through the
Scriptures to address that question. In the appendix are listed all the scriptures that reference
music or singing in the Bible. The body of this paper will provide highlights of this study. For
this review we have divided the Bible into seven sections: (1) Genesis through Deuteronomy; (2)
Joshua through Ruth; (3) Samuel through Chronicles; (4) Ezra through Job; (5) Psalms through
Song of Solomon; (6) Isaiah through Malachi; and (7) Matthew through Revelation.
Genesis Through Deuteronomy
Genesis is a Greek word meaning “origin,” “source,” “generation” or “beginning.” The

original Hebrew title Bereshith means “In the Beginning.” The first five books of the Bible
compose the law or the “Torah” and, as a group, are commonly referred to as the “Pentateuch.”
What can we learn in this early stage of human experience about music, worship and our
Creator?
Genesis 4:21: “His brother’s name was Jubal. He was the father of all those who play the
harp and flute.”
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This verse has led many to conclude that Jubal was the inventor of these instruments. The
harp (Hebrew kinnor) is commonly identified as a lyre by most musicologists. This is the only
kind of string instrument mentioned in the Pentateuch. The flute (Hebrew ugab) is a general
word for a pipe-kind of wind musical instrument. Because only these two instruments are
mentioned does not prove that other types of instruments did not exist.
We see that this chapter gives important, foundational information about the history of
early mankind prior to the Flood of Noah’s time. As Genesis 6:5 states, “Then the LORD saw that
the wickedness of man was great in the earth, and that every intent of the thoughts of his heart
was only evil continually.” Therefore it is highly probable that music was also perverted during
this period of time.
The picture is very different after the Flood. Archaeological excavations in southern
Mesopotamia have unearthed a multitude of musical records and instruments, which give a
remarkably clear understanding of musical culture in the early post-Flood world. Such
information is available in sources that describe the following practices.
“All the cities in this region had their temples which worshipped Ishtar and Tammuz. The
priests (precentors) intoned a liturgical cantillation that was developed and formalized
with the astrologers and mathematicians of the day. This is the origin of the ‘weeping for
Tammuz’ ritual that is mentioned in Ezekiel 8:14. This fixed liturgical chant was
endorsed by ‘Ishtar, the patroness of litanies, who understand[s] the measures of the
psalming.’”2
“It was the ‘greatest system of musical ritual in any ancient religion,’”3 which has
influenced religious musical practice down to the present day.
“One cannot doubt the great influence of the Mesopotamian temples upon the late Jewish
Church and upon Christianity. One recalls that the Mesopotamian ‘kalu’ or temple
precentor had to be skilled in an eight-day liturgy, each day of which would have had its
appropriate ‘trope’ or ‘tone’ (‘the octoechos of the Byzantine Church, and the eight
Gregorian tones of the Roman Church’).”4
“Although the Prophet cries ‘Babylon is fallen, fallen,’ the plain chant of the Roman
Church today carries the titles ‘Primus gravis, Secundus tristis, and Tertius mysticus’
which are but ehoidal relics from the ancient Mesopotamian past of probably 6000 years
ago.”5
In summary, the Bible and secular history show that the post-Flood world quickly
followed the degenerative example of pre-Flood Cain and his descendants. Shortly after the
Deluge, mankind established a God-defying, idolatrous civilization—which undoubtedly
2
The New Oxford History of Music, Volume 1, Ancient and Oriental Music.
3
Ibid.
4
Ibid., chapter 5, “The Music of Ancient Mesopotamia,” pp. 228-254.
5
Ibid.
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included the wrong type of music—that has been embraced by much of the world and which
carries on to this day. That is why the Bible calls this modern system and culture “Babylon the
Great” (Revelation 17:5) and why Christ will destroy it when He returns (Daniel 2:44).
Genesis 31:27: “Why did you flee away secretly, and steal away from me, and not tell
me; for I might have sent you away with joy and songs, with timbrel and harp?”
“Timbrel” is translated from the Hebrew tof. The King James Version translates this as
“tabret.” Most modern authorities understand tof to be a general word for a small hand drum or
tambourine.
“Harp” in this verse is translated from the Hebrew kinnor, which is widely understood to
be a lyre that has two vertical arms with an upper horizontal crossbar separating them. The
strings are of the same length but different thickness and are stretched between the lower sound
chamber and the upper crossbar. There are also a few less common asymmetrical varieties.
In contrast, the harp generally has a curved one-sided body upon which strings of uneven
length and thickness are strung. There are also lower horizontally chested varieties, which are
sometimes illustrated in ancient Assyrian and other bas-reliefs.
After Genesis we come to the books of Exodus, Leviticus, Numbers and Deuteronomy,
which describe the development of the nation of Israel and a more formal worship with the
introduction of the Levitical system. Here we find more information about music and its use in
worship.
Exodus 15:1-2: “Then Moses and the children of Israel sang this song to the LORD, and
spoke, saying: ‘I will sing to the LORD, for He has triumphed gloriously! . . . The LORD is
my strength and song . . . He is my God, and I will praise Him.’”
This is the first of many references to singing to the Eternal, and expressing thanks and
praise to Him, which should be one of the main purposes of music.
Exodus 15:20-21: “Then Miriam the prophetess, the sister of Aaron, took the timbrel in
her hand; and all the women went out after her with timbrels and with dances. And
Miriam answered them: ‘Sing to the LORD, for He has triumphed gloriously! The horse
and its rider He has thrown into the sea!’”
This is the first biblical reference to dancing, and is mentioned in the context of
expressing praise and thankfulness to God for His deliverance from the Egyptians at the Red Sea.
This example is similar to Psalm 149:3 and 150:4.
Biblical Hebrew has no less than 12 verbs to express the act of dancing, and scriptures
such as Judges 21:19-21 describe women dancing during “a yearly feast of the LORD.” This is in
addition to the example of David dancing “before the LORD with all his might” (2 Samuel 6:14)
and other verses similar to the Psalms mentioned above.
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This kind of dancing was an expression of emotion in the form of bodily movements.
However, because of the kind of dancing usually done in the modern world, many churches have
prohibited dancing of any kind to avoid bringing secularism and impropriety into worship
services. While dancing is not mentioned as being part of the tabernacle or temple service, we
need to be careful to properly evaluate dancing for religious purposes. The Bible certainly does
not condemn dancing as an appropriate means of expressing thanks.
Exodus 19:13, 16, 19: “When the trumpet sounds long [or very loud] . . .”
All three of these verses have this same phrase. The Hebrew word for “trumpet” in verse
13 is yobal, while the “trumpet” in verses 16 and 19 is shophar. Both Hebrew words refer to a
ram’s horn, which was used for signaling rather than a musical instrument. This was not a part of
worship but a call to assembly.
Exodus 28:33-34; 39:25-26: “. . . bells of gold . . .”
The Hebrew word for “bell” is paamon. These were little golden bells attached to the
lower seam of the high priest’s purple garment. They produced an unobtrusive sound that was
just loud enough to indicate his whereabouts, but not overly loud to interfere with the ceremony
he was performing. They are not considered to be musical instruments.
Exodus 32:18-19: “. . . the voice of those who sing . . . he saw the calf and the
dancing . . .”
Here dancing was involved in the idolatrous and licentious behavior of the children of
Israel, while Moses was on the mountain with God. It was done in a carnal attitude and for an
improper purpose that was condemned by God.
Numbers 10:2-10: “Make two silver trumpets for yourself; you shall make them of
hammered work; you shall use them for calling the assembly and for directing the
movement of the camps . . . the priests, shall blow the trumpets . . . When you go to war
in your land against the enemy who oppresses you, then you shall sound an alarm with
the trumpets . . . You shall blow the trumpets over your burnt offerings and over the
sacrifices of your peace offerings.”
The Hebrew word for “trumpet” in these verses is chatsotserah. This instrument was
made of silver by command. It was a long cylindrical tube, slightly flared at the end, which
lacked the valves of a modern trumpet. It could produce the lower notes of the harmonic series
and was therefore able to sound a number of musical motifs.
Deuteronomy 31:19, 30: “Write down this song for yourselves, and teach it to the
children of Israel; put it in their mouths . . . Then Moses spoke in the hearing of all the
congregation of Israel the words of this song until they were ended.”
This is an example of a song being a poem or narrative, rather than a song in the musical
sense. Notice that Moses spoke—not sang—these words (Deuteronomy 32:45). These were the
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final thoughts, instructions, admonitions and warnings of Moses that he gave to Israel just before
he went to die on Mount Nebo. They are preserved from Deuteronomy 32:1-43 in literary form
for the people’s future, continual reference, so they would be able to prolong their days in the
land which they were about to possess (verse 47).
We can summarize the first five books of the Bible as establishing a foundation for music
in the worship of God. We see a distinct difference between the use of music and dance for
proper praise and thanksgiving to God and that used in worshipping pagan gods. Under the
Levitical system Israel was given very specific guidance to worship God properly and not as the
world worshipped its gods (Deuteronomy 12:31-32).
Joshua Through Ruth
The next section of Scripture takes us through a very difficult time in the history of the
nation of Israel. We follow Israel through the post-Moses/Joshua period when there was often
confusion and difficulty. This was the period of the judges when we are told “everyone did what
was right in his own eyes” (Judges 21:25).
Joshua 6:13: “Then seven priests bearing seven trumpets of rams’ horns before the ark
of the LORD went on continually and blew with the trumpets. And the armed men went
before them. But the rear guard came after the ark of the LORD, while the priests
continued blowing the trumpets.”
“A long blast” was a signal distinct from the continual blowing of trumpets.6 The trumpet
mentioned here is the shofar, or ram’s horn (Joshua 6:4, 6, 8, 13), used for signaling as in times
of attack (Numbers 10:5-10).
“Near the southwest corner of the temple, Professor Mazar found a stone from the
parapet inscribed le beit hat-teai’ah (‘to the place of trumpeting’), which was denoted the
place where the trumpet was blown to mark the beginning of the Sabbath.”7
Judges 5:1: “Then Deborah and Barak the son of Abinoam sang on that day, saying . . .”
“The victory over the Canaanites was also commemorated in a poem of rare beauty.
Called the ‘Song of Deborah,’ this masterpiece expresses heartfelt praise to God for
leading [H]is people in triumph. It is a hymn of thanksgiving, a song of victory like
Exodus 15 or Psalm 68. The poetry itself is magnificent, featuring many examples of
climactic (repetitive) parallelism (vv. 7, 19-20, 27) and onomatopoeia (v. 22). Climactic
parallelism is also well know from Ugaritic, a fact that suits the ancient character of this
song that contains archaic language and a host of difficult forms. Few deny that the ode
was written by an eyewitness soon after the events it celebrates. Deborah is usually
6
Alan Knight, Primitive Christianity in Crisis (Antioch, CA: ARK Research, 2000).
7
Frank E. Gaebelein (ed.), Expositor’s Bible Commentary of the Old Testament (Grand Rapids, MI: Zondervan
Publishing House, 1985).
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considered the author; the connection between prophetess and music is a natural
one . . .”8
“The historical introduction (‘Then sang Deborah and Barak the son of Abinoam on that
day, saying’) takes the place of a heading, and does not mean that the song of Deborah
and Barak which follows was composed by them jointly, but simply that it was sung by
them together, in commemoration of the victory. The poetess or writer of the song,
according to vv. 3, 7, and 12, was Deborah. (from K & D). And, as Miriam took up the
first verse of the song of Moses (Ex 15:21), and sang it as an antiphony, so Barak, with
the chorus of men, answered the song of Deborah by singing Judges 5:2, which is also
exactly suited for an antiphon, summing up as it does the subject matter of the whole
ode.”9
“Judges 5:1. The mode in which it was sung was most probably that adopted by Hebrew
women in celebrating public deliverances (Ex 15:20; 1 Sam 18:6), Deborah, as leader,
giving forth the tuneful utterances, echoed by a chorus of female singers, in presence of
Barak and his victorious troops on their return from the triumphant pursuit.”10
Judges 7:16-20: “Then he divided the three hundred men into three companies, and he
put a trumpet into every man’s hand, with empty pitchers, and torches inside the
pitchers . . . ‘When I blow the trumpet, I and all who are with me, then you also blow the
trumpets on every side of the whole camp, and say, “The sword of the LORD and of
Gideon!”’ So Gideon and the hundred men who were with him came to the outpost of the
camp at the beginning of the middle watch, just as they had posted the watch; and they
blew the trumpets and broke the pitchers that were in their hands. Then the three
companies blew the trumpets and broke the pitchers—they held the torches in their left
hands and the trumpets in their right hands for blowing—and they cried, ‘The sword of
the LORD and of Gideon!’”
“By spreading out around the Midianites, Gideon’s troops would create the impression of
being a much larger army. The ‘trumpets’ (shoparot ‘shofars’) were the same ram’s horn
type used by Ehud and Gideon to summon the troops. Their value was not as musical
instruments but as noise-making devices. Only the leaders would give signals on the
trumpets; so three hundred trumpets normally represented a sizable army. When Joshua
captured Jericho, only seven priests had trumpets (Joshua 6:6). The empty jars were used
to hide the light of the torches until the proper moment arrived. Samson also used torches
to frustrate the enemy in Joshua 15:4-5. The soldiers may have been mystified as to the
actual purpose of such unusual weapons, but their orders were to follow Gideon’s
example carefully (v. 17). After blowing the trumpets, they were to shout the war cry (v.
18), given in its full form in v. 20. The sequence of trumpet blast and war cry was also
used at Jericho.”11
8
Expositors Bible Commentary of the Old Testament.
9
Albert Barnes; Barnes’ Notes on the Old and New Testaments (Grand Rapids, MI: Baker Book House, 1983).
10
Robert Jamieson, A.R. Fausset and David Brown; Jamieson-Fausset-Brown Commentary on the Whole Bible
(Grand Rapids, MI: Zondervan Publishing House).
11
Expositors Bible Commentary of the Old Testament.
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In summary, we see that this section of Scripture contains little information on music as a
form of worship. We discover that musical instruments were widely used for alarm and in
warfare. While these instruments can also be used for music in worship, during this period in the
history of Israel we find little information about such usage.
Samuel Through Chronicles
The next period of time could well be called the “golden age” of Israel. Under David and
Solomon Israel truly became a world power. It was during this time period that the temple was
built and formal worship was again established.
1 Samuel 10:5: “After that you shall come to the hill of God where the Philistine
garrison is. And it will happen, when you have come there to the city, that you will meet
a group of prophets coming down from the high place with a stringed instrument, a
tambourine, a flute, and a harp before them; and they will be prophesying.”
“The [Hebrew] nebel is the Greek equivalent of a harp or lyre. It was an instrument of
twelve strings which were plucked with the fingers (Josephus, Antiquities 7. 12. 3). It was
larger than the kinnôr [lyre] with a deeper tone. The lyre had two arms with a box-shaped
body (a Canaanite version). David played such an instrument. It was the main instrument
in the second temple orchestra. The nebel was the number two instrument and probably
less costly than the kinnôr. In the Mishnah it is stated that there never were less than two
harps or more than six in the orchestra.”12
“Three of the twenty-seven usages indicate its use in godless revelry (Isaiah 5:12), pagan
worship (Isaiah 14:11) and the diluted worship which Amos condemned (Amos 5:23). It
was played by the bands of prophets (1 Samuel 10:5) and David used it for worship (2
Samuel 6:5). Solomon provided harps for temple worship (1 Kings 10:12). Otherwise, the
nebel were always used in worship (Psalm 57:8 [H 9]; Psalm 81:2 [H 3]; et al.). The
important place afforded music in the worship of God shows that God responds favorably
to man’s communication with him in music and that God communicates to man not only
cognitively but also in his emotions.”13
1 Samuel 16:16: “Let our master now command your servants, who are before you, to
seek out a man who is a skillful player on the harp. And it shall be that he will play it
with his hand when the distressing spirit from God is upon you, and you shall be well.”
1 Samuel 18:6: “Now it had happened as they were coming home, when David was
returning from the slaughter of the Philistine, that the women had come out of all the
cities of Israel, singing and dancing, to meet King Saul, with tambourines, with joy, and
with musical instruments.”
12
R. Laird Harris, Gleason L. Archer Jr. and Bruce K. Waltke, Theological Wordbook of the Old Testament
(Chicago, IL: Moody Press, 1980).
13
Ibid.
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1 Samuel 21:11: “And the servants of Achish said to him, ‘Is this not David the king of
the land? Did they not sing of him to one another in dances, saying: “Saul has slain his
thousands, and David his ten thousands”?’”
2 Samuel 6:5 “Then David and all the house of Israel played music before the LORD on
all kinds of instruments of fir wood, on harps, on stringed instruments, on tambourines,
on sistrums, and on cymbals.”
“In 2 Samuel 6:5 we meet with a word that occurs nowhere else, and whose meaning is
quite uncertain. The King James Version translates ‘cornets,’ the Revised Version
(British and American) ‘castanets,’ and in the margin ‘sistra.’ The Hebrew menaànìm
may have been the Hebrew sistrum, an instrument formed of two thin, longish plates,
bent together at the top so as to form an oval frame, and supplied with a handle at the
lower end. One or more bars were fixed across this frame, and rings or disks loosely
strung on these made a jingling noise when the instrument was shaken. This
interpretation is supported by the derivation of the word, the Vulgate, and the rabbins.”14
2 Samuel 6:14, 16: “Then David danced before the LORD with all his might; and David
was wearing a linen ephod . . . Michal, Saul’s daughter, looked through a window and
saw King David leaping and whirling before the LORD; and she despised him in her
heart.”
2 Samuel 22:1: “Then David spoke to the LORD the words of this song, on the day when
the LORD had delivered him from the hand of all his enemies, and from the hand of Saul.”
2 Samuel 22:50: “Therefore I will give thanks to You, O LORD, among the Gentiles, and
sing praises to Your name.”
“To sing, sing praise, make music 1a) (Piel) 1a1) to make music, sing 1a2) to play a
musical instrument. Origin: a primitive root (Strong’s) . . . The people of Israel lift their
voices and their instruments to praise their God as long as they live (Psalm 104:33; Psalm
146:2). Several times this praise is directed toward the ‘name’ of the Lord, for the ‘name’
stands for God himself (Psalm 66:4; Psalm 18:49 [H 50]; Psalm 135:3).”15
Continuing in the book of Kings we read about instruments being made for the temple.
There are references to specific instruments as well as singers and musicians. Music was a very
important part of worship in the temple.
1 Kings 10:12: “And the king made steps of the almug wood for the house of the LORD
and for the king’s house, also harps and stringed instruments for singers. There never
again came such almug wood, nor has the like been seen to this day.”
14
Stanley Morris, (revision ed.) Melvin Grove Kyle, International Standard Bible Encyclopedia (Grand Rapids, MI:
William B. Eerdman’s Publishing Company, 1997).
15
Theological Wordbook of the Old Testament.
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Even though he did not live to see the temple built, David appointed individuals to be
responsible for the music used for worship in the tabernacle as a forerunner to worship in the
temple. The most often used instruments in the temple were the lyre and the harp. These were
made for the singers to use in singing praises to God.
To help uphold and carry out the directives for sacrifices and the reverence of the
sanctuary (Leviticus 19:30; 26:2), David appointed a group of 4,000 men (more than 10 percent)
from the total of 38,000 Levites to praise with music and minister the service of song to God (1
Chronicles 6:31-32 and 23:3-6). Their duty was to help the Aaronic priesthood in the service of
the house of the Lord, during the morning and evening sacrifices of the weekly Sabbaths, new
moons and appointed feasts (1 Chronicles 23:28-32).
To insure the quality of this musical offering, these Levites were full-time professional
musicians, free from other service (1 Chronicles 9:33), who were supported by the tithes of the
people (Numbers 18:24; Nehemiah 12:44-47; 13:5, 10, 12). They were mature, musically trained
individuals, who were required to be at least 30 years old (1 Chronicles 23:3), and whose leaders
and teachers had to have musical understanding and be especially skillful (1 Chronicles 15:22).
So important was this service of music that David and the captains of his army personally
chose the top three leaders—Asaph, who had previously been appointed as chief musician (1
Chronicles 16:5; 25:2), Jeduthun and Heman, all of whom were under the direct authority of the
king. They, in turn, directed their sons (four of Asaph, six of Jeduthun, and fourteen of Heman—
24 in all to match the 24 courses of priests), in the instruction of the songs of the Lord. We see
references to this set-up throughout the two books of Chronicles.
1 Chronicles 6:31-33: “Now these are the men whom David appointed over the service
of song in the house of the LORD, after the ark came to rest. They were ministering with
music before the dwelling place of the tabernacle of meeting, until Solomon had built the
house of the LORD in Jerusalem, and they served in their office according to their order.
And these are the ones who ministered with their sons: Of the sons of the Kohathites
were Heman the singer, the son of Joel, the son of Samuel . . .”
What was this music like? How did it sound? There were singers and instruments used in
worship at the tabernacle and later in the temple itself. It is difficult to know very much about
ancient Hebrew music, but there is some information available. Scholars do not agree as to how
this information should be interpreted and without original sources it becomes extremely
difficult. There are scholars at both extremes—those who claim we can know and those who
claim we cannot know at all. And, of course, there are those who fall somewhere in the middle—
information is available but it is not definitive. Here is one quote from the International Standard
Bible Encyclopedia:
“It is disappointing after all this to have to confess that of the nature of Hebrew music we
have no real knowledge. If any system of notation ever existed, it has been entirely
lost.”16
16
International Standard Bible Encyclopedia.
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Other scholars disagree with the ISBE and clearly see the references in 1 Chronicles 15 to
be about pitch or tone. Here is what Gesenius has to say about the term sheminith:
“. . . eighth (Ex. 22:29; Lev. 9:1, etc. Fem. Octave, in music a word denoting the lowest
and gravest note sung by men’s voice (basso), opp. to [alamoth]; see 1 Ch. 15:21, and
Psalm 6:1; 12:1 (where some incorrectly understand an instrument.”17
1 Chronicles 9:29, 33: “Some of them were appointed over the furnishings and over all
the implements of the sanctuary . . . These are the singers, heads of the fathers’ houses of
the Levites, who lodged in the chambers, and were free from other duties; for they were
employed in that work day and night.”
One of the most spectacular events in the history of Israel was the moving of the ark
during the time of David. The first attempt to move the ark ended in disaster. In preparation for
moving the ark into the Jerusalem, David organized singers and musicians for the journey. This
story is found in 1 Chronicles 13.
1 Chronicles 13:5, 8: “So David gathered all Israel together, from Shihor in Egypt to as
far as the entrance of Hamath, to bring the ark of God from Kirjath Jearim . . . Then
David and all Israel played music before God with all their might, with singing, on harps,
on stringed instruments, on tambourines, on cymbals, and with trumpets.”
Music was important in honoring and praising God during this very special occasion.
This was not a “worship service,” but it was an opportunity to sing praises to God and mark a
special event with music—both singing and instrumental. Music, worship and God are all
intertwined during this time in the Old Testament.
Because of the failure to bring the ark into Jerusalem on this first try, David instructs that
the ark be left in the home of Obed-Edom. We are told that it remained there for three months
before David made a second attempt to bring the ark into the city to the place that had been
prepared. Once again the moving of the ark into the city was accompanied by music and
musicians.
1 Chronicles 15:1-3: “David built houses for himself in the City of David; and he
prepared a place for the ark of God, and pitched a tent for it . . . And David gathered all
Israel together at Jerusalem, to bring up the ark of the LORD to its place, which he had
prepared for it.”
1 Chronicles 15:16-17: “Then David spoke to the leaders of the Levites to appoint their
brethren to be the singers accompanied by instruments of music, stringed instruments,
harps, and cymbals, by raising the voice with resounding joy. So the Levites appointed
Heman the son of Joel; and of his brethren, Asaph the son of Berechiah; and of their
brethren, the sons of Merari, Ethan the son of Kushaiah . . .”
17
H.W.F. Gesenius, Gesenius’ Hebrew-Chaldee Lexicon to the Old Testament (Grand Rapids, MI: Baker Books,
1979).
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During the ceremony marking the bringing of the ark into Jerusalem, David begins
dancing and playing music. His wife sees him and despises him. This was not a “worship
service,” but it was a clear expression of David’s joy and thankfulness to God. Music is used
here to express emotion and praise. It is a good example of the use of music, but does not by
itself prove that dancing and all types of music are acceptable in a worship service. This was a
ceremony marking the arrival of the ark and not worship on a Sabbath or a Holy Day.
1 Chronicles 15:28-29: “Thus all Israel brought up the ark of the covenant of the LORD
with shouting and with the sound of the horn, with trumpets and with cymbals, making
music with stringed instruments and harps. And it happened, as the ark of the covenant of
the LORD came to the City of David, that Michal, Saul’s daughter, looked through a
window and saw King David whirling and playing music; and she despised him in her
heart.”
1 Chronicles 16:41-42: “. . . and with them Heman and Jeduthun and the rest who were
chosen, who were designated by name, to give thanks to the LORD, because His mercy
endures forever; and with them Heman and Jeduthun, to sound aloud with trumpets and
cymbals and the musical instruments of God. Now the sons of Jeduthun were
gatekeepers. Then all the people departed, every man to his house; and David returned to
bless his house.”
What is meant by the expression “musical instruments of God”? Are there special
instruments approved by God? Most translations do not render this phrase as “instruments of
God” which would imply an instrument of divine origin.
“And with them were Heman and Jeduthun with trumpets and cymbals for those who
should sound aloud, and with instruments for the songs of God, and the sons of Jeduthun
for the gate” (NASB).
“And with them Heman and Jeduthun with trumpets and cymbals for those that should
sound aloud, and with instruments for the songs of God; and the sons of Jeduthun to be at
the gate” (ASV).
The Septuagint translates this phrase as “instruments of the songs of God.” The Vulgate
offers this translation—“to sing to God.” The RSV has “instruments for sacred song.” The
Young’s Literal Translation has “instruments of the song of God.” Adam Clarke is quite
emphatic that this verse isn’t describing “godly” versus “ungodly” instruments.
Most commentaries reach the same conclusion. These were instruments that were used
for songs of praise to God.
“None of the versions understand the words [as] implying instruments of music of God,
but instruments employed in the song of God, or to praise God; as also the Targum.”18
18
Adam Clarke, Adam Clarke’s Commentary on the Bible.
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Later we find David taking credit for making instruments to be used in praising God.
Here we also find the number 4,000 for those involved in music.
1 Chronicles 23:5: “And four thousand praised the LORD with musical instruments,
‘which I made,’ said David, ‘for giving praise.’”
1 Chronicles 25:1, 6: “Moreover David and the captains of the army separated for the
service some of the sons of Asaph, of Heman, and of Jeduthun, who should prophesy
with harps, stringed instruments, and cymbals . . . All these were under the direction of
their father for the music in the house of the LORD, with cymbals, stringed instruments,
and harps, for the service of the house of God. Asaph, Jeduthun, and Heman were under
the authority of the king.”
David did not live to see the temple completed and dedicated to the worship of God. The
ceremony that marked the bringing of the ark into the temple was equally as elaborate as what
David had done when the ark was moved into Jerusalem. These events are recorded in 2
Chronicles. Here we are given a glimpse into the celebration that occurred at this most wonderful
moment in the history of Israel. Music played a major role in these festivities.
2 Chronicles 5:12-13: “And the Levites who were the singers, all those of Asaph and
Heman and Jeduthun, with their sons and their brethren, stood at the east end of the altar,
clothed in white linen, having cymbals, stringed instruments and harps, and with them
one hundred and twenty priests sounding with trumpets . . . when the trumpeters and
singers were as one, to make one sound to be heard in praising and thanking the LORD,
and when they lifted up their voice with the trumpets and cymbals and instruments of
music, and praised the LORD, saying: ‘For He is good, for His mercy endures forever,’
that the house, the house of the LORD, was filled with a cloud.”
We have an additional statement confirming that there were instruments to be used in the
temple in the worship of God and that these instruments had been made by David (or at his
direction). These were not “divine” instruments in reference to origin but in reference to use.
They were being used in the temple for praising God.
2 Chronicles 7:6: “And the priests attended to their services; the Levites also with
instruments of the music of the LORD, which King David had made to praise the LORD,
saying, ‘For His mercy endures forever,’ whenever David offered praise by their
ministry.”
Further proof is provided toward the end of 2 Chronicles that the music in the temple was
established by David, which would imply a very specific standard.
2 Chronicles 23:18: “Also Jehoiada appointed the oversight of the house of the LORD to
the hand of the priests, the Levites, whom David had assigned in the house of the LORD,
to offer the burnt offerings of the LORD, as it is written in the Law of Moses, with
rejoicing and with singing, as it was established by David.”
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When Hezekiah brought about reform in Judah, one of his first actions was to cleanse the
temple. In cleansing the temple, once again music was established in a prominent position based
on instructions that had been given previously by David.
2 Chronicles 29:3: “In the first year of his [Hezekiah’s] reign, in the first month, he
opened the doors of the house of the LORD and repaired them.”
2 Chronicles 29:25-30: “And he [Hezekiah] stationed the Levites in the house of the
LORD with cymbals, with stringed instruments, and with harps, according to the
commandment of David, of Gad the king’s seer, and of Nathan the prophet; for thus was
the commandment of the LORD by His prophets. The Levites stood with the instruments
of David, and the priests with the trumpets. Then Hezekiah commanded them to offer the
burnt offering on the altar. And when the burnt offering began, the song of the LORD also
began, with the trumpets and with the instruments of David king of Israel. So all the
assembly worshiped, the singers sang, and the trumpeters sounded; all this continued
until the burnt offering was finished. And when they had finished offering, the king and
all who were present with him bowed and worshiped. Moreover King Hezekiah and the
leaders commanded the Levites to sing praise to the LORD with the words of David and of
Asaph the seer. So they sang praises with gladness, and they bowed their heads and
worshiped.”
David had given explicit orders on where the Levites were to stand and how instruments
were to be used in the worship of God. Even though he never lived to see the temple, David had
a tremendous impact on the way music was used in the worship at the temple. Here we see that
the Levites were stationed “according to the commandment of David, of Gad the king’s seer, and
of Nathan the prophet” and all this was according to “the commandment of the LORD by His
prophets.” David had God’s approval to lay out the design of worship and the part that music
would play in that worship.
Some additional comment is appropriate regarding this section of Scripture. Starting at

the beginning of the chapter, Hezekiah is found restoring the temple practices that had been
corrupted by Ahaz and other predecessors. After cleansing and sanctifying God’s house and its
utensils, instruction was given to the Levitical musicians and priests to be stationed according to
the commandment of David, Gad the seer and Nathan the prophet, which “was the
commandment of the LORD by His prophets” (verse 25).
The Levites were to use cymbals (Hebrew, metsiltayim), stringed instruments (Hebrew,
nebel), harps (Hebrew, kinnor), and the priests blew the silver trumpets (Hebrew, chatsotserah).
The instruments the Levites played are termed “instruments of David” in verses 26 and 27.
Hezekiah then commanded them to “sing praise to the LORD with the words of David and of
Asaph the seer” (verse 30).
We see from this example that David and his music played a prominent role in
establishing the music for worship in ancient Israel. In 1 Chronicles chapter 6 we read that the
responsibility for music was given to “men whom David appointed over the service of song in
the house of the LORD,” and we are told that they were “ministering with music” (verses 31-32).
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What can we learn from the music used for worship in the temple? The critical point is
that when it came to formal worship, God (through David, Nathan, Gad and other prophets) gave
direction on how it was to be done. Even the instruments that were used are described in 1 and 2
Chronicles. A further study of music and instruments will show that different types of music and
even instruments were commonly used for secular purposes. The lesson we should learn is one of
distinction.
The accounts of music in the temple can serve to give us insight into the mind of God.
We should therefore give heed to this by making a distinction between popular, secular musical
styles and those that are of higher quality and on a more godly, reverent and worshipful level.
This will require mature musical and spiritual judgment on the part of the Church leadership, as
well as those who are directly responsible for musical production in the Church.
Another question that we should ask as a result of the worship services in the temple is
how much of this should be adapted for our day? We know that today is a different
administration and that the Church is quite different from the temple of the time of ancient Israel.
Neither women nor gentiles were allowed to worship in the temple. But under the New Covenant
“there is neither Jew nor Greek, there is neither slave nor free, there is neither male nor female;
for you are all one in Christ Jesus” (Galatians 3:28). Therefore one must not conclude that
simply because certain instruments are not mentioned as being used in the temple that those
same instruments (or modern descendants of those instruments) are forbidden for use in the
Church today.
Of course, one must ask why certain instruments were not used and whether we should
use them in the Church today. This is a different question that must be handled by the leadership
of the Church in deciding the parameters for music and instruments. It should be based on style
and quality of music and the overall effect upon the Church rather than on an individual’s
personal preference. We cannot duplicate the atmosphere or the rituals that were so intrinsically
a part of the temple and worship of ancient Israel. The New Testament gives us no reason to
even believe that this is necessary. What we can learn is the lesson of quality and respect for our
Creator whenever we gather to worship Him. This should be evident in our music, our speaking,
our praying and our fellowship, regardless of the age we live in.
2 Chronicles 30:21: “So the children of Israel who were present at Jerusalem kept the
Feast of Unleavened Bread seven days with great gladness; and the Levites and the
priests praised the LORD day by day, singing to the LORD, accompanied by loud
instruments.”
When studying music in the Old Testament, we find evidence of all three major
instrument groups (wind, percussion and string) in addition to singing. Here we have an example
of singing “accompanied by loud instruments.”
“[T]he musical instruments employed by the Hebrews included representatives of the

three groups: string, wind, and percussion. The strings comprised the Hebrew kinnor, or
Hebrew nebhel; the winds: the Hebrew shophar, or Hebrew qeren, Hebrew chatsotserah,
Hebrew chalil, and Hebrew ùghabh; percussion: Hebrew toph, Hebrew metsiltayim,
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Hebrew tsltselim, Hebrew menaànìm, Hebrew shalishim. Besides these, we have in

Daniel: Hebrew mashroqitha', Hebrew cabbekha', Hebrew pecanterin, Hebrew
cumponyah. Further, there are Chaldean forms of Hebrew qeren and Hebrew kithara.
“We have no exact information as to the materials of which these instruments were made.
In 2 Samuel 6:5 the King James Version, mention is made of ‘instruments made of fir
wood’ (the English Revised Version has ‘cypress’), but the text is probably corrupt, and
the reading in 1 Chronicles 13:8 is preferable. According to 1 Kings 10:11 f, Hiram’s
fleet brought from Ophir quantities of Hebrew àlmugh (2 Chronicles 2:8; 9:10, Hebrew
àlgum) wood, from which, among other things, the Hebrew kinnor and Hebrew nebhel
were made. Probably this was red sandal-wood. Josephus (Ant., VIII, iii) includes among
articles made by Solomon for the temple Heb: nebhalim and Hebrew kinnoroth of
electrum. Whether we understand this to have been the mixed metal so named or amber,
the frame of the instrument could not have been constructed of it. It may have been used
for ornamentation.” 19
“The development of ‘professional’ singers is documented in the Bible. But the period of
Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew
poetry. Music was now for the first time systematically cultivated. It was an essential part
of training in the schools of the prophets (1 Samuel 10:5; 19:19-24; 2 Kings 3:15; 1
Chronicles 25:6). There now arose also a class of professional singers (2 Samuel 19:35;
Ecclesiastes 2:8). The temple, however, was the great school of music. In the conducting
of its services large bands of trained singers and players on instruments were constantly
employed (2 Samuel 6:5; 1 Chronicles 5; 16; 23; 1 Chronicles 25:1-6). In private life also
music seems to have held an important place among the Hebrews.”20
“That the Hebrews were in ancient times, as they are at the present day, devoted to the
study and practice of music is obvious to every reader of the Old Testament. The
references to it are numerous, and are frequently of such a nature as to emphasize its
importance. They occur not only in the Psalter, where we might expect them, but in the
Historical Books and the Prophets, in narratives and in declamations of the loftiest
meaning and most intense seriousness. And the conclusion drawn from a cursory glance
is confirmed by a closer study.”21
The place held by music in the Old Testament is unique. Besides poetry, it is the only art
that seems to have been cultivated to any extent in ancient Israel.
From the traces of it extant in the Old Testament, we can infer that the vocabulary of
musical terms was far from scanty. This is all the more significant when we consider the
condensed and pregnant nature of Hebrew. “Song” in our English versions of the Bible
represents at least half a dozen words in the original.
19
20
M.G. Easton, Easton’s Bible Dictionary, 3rd ed., 1897; ASCII ed., Ellis Enterprises, Inc., 1988, public domain.
21
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The events, occasions and occupations with which music was associated were extremely
varied. It accompanied leave-taking with honored guests (Genesis 31:27), celebrated a signal
triumph over the nation’s enemies (Exodus 15:20) and welcomed conquerors returning from
victory (Judges 11:34; 1 Samuel 18:6). Processions, such as marriages and funerals (2 Chronicles
35:25), were regulated in a similar way.
By far the most important evidence of the value attached to music by the Hebrews is
afforded by the place given to it in divine service. It is true that nothing is said of it in the
Pentateuch in connection with the consecration of the tabernacle, or the institution of the various
sacrifices or festivals. In later days, at all events, music formed an essential part of the national
worship, and elaborate arrangements were made for its correct and impressive performance.
These are detailed in the books of Samuel, Kings and Chronicles.
“The books of Samuel, Kings and Chronicles describe singing and instruments in the
temple. All three types of instruments were used—stringed, wind, and percussion. The
purpose in singing and instruments was to praise God. There were professional musicians
and singers who performed this service.”22
Ezra Through Job
Things changed rather dramatically after the captivity of Judah. The temple was
destroyed and formal worship ceased. The restoration of worship was accomplished over a
period of many years and was accompanied by years of struggle. In spite of all the upheavals,
music continued to occupy a key role in the worship of God. Singers were among the first group
of captives to return to Judah after the Babylonian captivity.
Ezra 2:64-65: “The whole assembly together was forty-two thousand three hundred and
sixty, besides their male and female servants, of whom there were seven thousand three
hundred and thirty-seven; and they had two hundred men and women singers.”
When worship was restored in Jerusalem we find the same appeal being made to David’s
direction. This gives us insight into how important and valued the instructions given by David
were regarding music and worship.
Ezra 3:10-11: “When the builders laid the foundation of the temple of the LORD, the
priests stood in their apparel with trumpets, and the Levites, the sons of Asaph, with
cymbals, to praise the LORD, according to the ordinance of David king of Israel. And
they sang responsively, praising and giving thanks to the LORD: ‘For He is good, for His
mercy endures forever toward Israel.’ Then all the people shouted with a great shout,
when they praised the LORD, because the foundation of the house of the LORD was laid.”
When David was not permitted to build the temple, he proceeded, among the last acts of
his life, with the assistance of Zadok and Ahimelech, to organize the priestly and musical
services to be conducted in the house of God. He divided the priests into 24 courses (1
22
Ibid.
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Chronicles 24:1-19); 16 being of the house of Eleazar and eight of Ithamar. Each course was
under a head or chief, and ministered for a week, the order being determined by lot.
The rest of the 38,000 Levites (1 Chronicles 23:4) were divided into 24 courses, each to
render some allotted service in public worship: 4,000 in 24 courses were set apart as singers and
musicians under separate leaders (1 Chronicles 25:1-31); 4,000 as porters or keepers of the doors
and gates of the sanctuary (1 Chronicles 26:1-19); and 6,000 as officers and judges to see to the
administration of the law in all civil and ecclesiastical matters (1 Chronicles 26:20-32). This
arrangement was reestablished by Hezekiah (2 Chronicles 31:2) and afterwards the four
sacerdotal courses which are said to have returned from the captivity were redivided into the
original number of 24 by Ezra (Ezra 6:18).
Nehemiah continued the restoration of Judah and the reestablishment of true worship.
Music is referred to in connection with the celebration that took place when the wall was
dedicated. The giving of offerings and worship in the temple were always accompanied by
music. These books lead up to the time between the Testaments. When the Old Testament closes
chronologically we have a temple in place, which includes worship based on the pattern set down
by David. Music was very important in this structure of worship, but it wasn’t just any music.
Much of this section (Ezra through Job) is filled with instructions for setting up temple
worship. Music was very much a part of this preparation. We find singers and musicians
numbered and appointed a portion of the tithes and offerings along with the Levites. There is a
“chief” among the singers and leading musicians. The instruments are referred to as “the musical
instruments of David the man of God” (Nehemiah 12:36). Ezra made an attempt to duplicate
what David had set up prior to the building of the temple during the time of Solomon. Music was
central to the worship in the temple—both under Solomon and again under Ezra.
Psalms Through Song of Solomon
The very title of the book of Psalms evokes the idea of music and singing. Here are
passages from commentaries on the title “Psalms.”
“The Hebrew title of this book is Tehilim (‘praises’ or ‘hymns’), for a leading feature in
its contents is praise, though the word occurs in the title of only one Psalm (the hundred
forty-fifth). The Greek title (in the Septuagint, a translation made two hundred years
before Christ) is psalmoi, whence our word ‘Psalms.’ This corresponds to the Hebrew
word mizmoi by which sixty-five Psalms are designated in their inscriptions, and which
the Syriac, a language like the Hebrew, uses for the whole book. It means, as does also
the Greek name, an ode, or song, whose singing is accompanied by an instrument,
particularly the harp (compare 1 Chronicles 16:4-8; 2 Chronicles 5:12, 13). To some
Psalms, the Hebrew word (shir) ‘a song,’ is prefixed. Paul seems to allude to all these
terms in Ephesians 5:19 psalms, hymns, and spiritual songs.”23
23
Jamieson-Fausset-Brown Commentary on the Whole Bible.
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“This book is termed in Hebrew Sepher Tehillim, which some learned men derive
from . . . hal or . . . halal, to move briskly, irradiate, shine; and translate, The Book of the
Shinings forth, Irradiations, Manifestations, or Displays . . . But as halal signifies also to
praise, and praise arises from a sense of gratitude, is the expression of inward joy, and
was often exhibited by brisk notes, sprightly music, etc., it may be well denominated The
Book of Praises, as the major part of the Psalms have for their subject the praises of the
Lord . . . A Psalm is called in Hebrew . . . mizmor, from . . . zamar, to cut off, because in
singing each word was separated into its component syllables, each syllable answering to
a note in the music.”24
Psalm 3 Title: “A Psalm of David when he fled from Absalom his son.” (Used 57 times
throughout the Psalms.)
Psalm 3:2, 4, 8: “Selah.” (Used 71 times throughout the Psalms.)
“[Selah] was likely used as a musical marker, but its precise significance in Israel’s
worship remains unclear.”25
“This word [selah], which is found only in the poetical books of the Old Testament,
occurs seventy-one times in the Psalms and three times in Habakkuk. It is probably a
term which had a meaning in the musical nomenclature of the Hebrews, though what that
meaning may have been is now a matter of pure conjecture. (Gesenius and Ewald and
others think it has much the same meaning as our interlude, a pause in the voices singing,
while the instruments perform alone.)”26
In the French book The Music of the Bible Revealed by Suzanne Haik-Vantoura,
however, we find an explanation that seems to fit every use of the word in the Bible. The author,
who is a Jewish music student, concludes that “selah” was part of the sung text and not an
instruction to the players. While she does not define the word itself, her work does suggest that
“selah” is similar to the word “amen” at the end of a prayer. The purpose would be to emphasize
the truth or seriousness of a passage.27
Psalm 4 Title (and 54 other titles throughout the Psalms): “To the Chief Musician. With
stringed instruments. A Psalm of David.” (Also see Psalms 4-6; 8-9; 11-14; 18-22; 31;
36; 39-42; 44-47; 49; 51-62; 64-70; 75-77; 80-81; 84-85; 88; 109; 139-40.)
“‘The Chief Musician’ was the superintendent of the music (compare ‘to oversee,’
1 Chronicles 15:21). ‘To’ prefixed to this means, ‘pertaining to’ in his official character.
This inscription is found in fifty-three Psalms and is attached to Habakkuk’s prayer
(Habakkuk 3:1-19).”28
24
Adam Clarke’s Commentary.
25
The Expositor’s Bible Commentary.
26
William Smith and Ronald Ted Smith, Smith’s Bible Dictionary (Nelsonworld Publishers 1988).
27
Suzanne Haik-Vantoura, John Wheeler ed., The Music of the Bible Revealed (Sheffield Academic Press, 1991).
28
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Psalm 5 Title: “To the Chief Musician. With flutes. A Psalm of David.”
“Only Psalm 5 carries this note. The meaning is uncertain. Mowinckel (Psalms of Israel’s
Worship 2:210) relates it to the Babylonian ‘flute psalms of lamentation.’”29
Psalms 6 and 12 Titles: “To the Chief Musician. With stringed instruments. On an eight-
stringed harp. A Psalm of David.”
Psalm 6 and 12 Titles: “To the Leader: with stringed instruments; according to the
Sheminith” (NRSV).
There is some division among scholars on the exact meaning of the term “sheminith.”
The following quotes will show the various ideas espoused by the scholars.
“[P]erhaps an eight-stringed musical instrument. [P]erhaps a musical notation, i.e. an

octave.”30
“[I]t may denote the manner of singing or musical accompaniment (‘octave’) or possibly
an instrument with eight strings.”31
Psalm 13:6: “I will sing to the LORD, because He has dealt bountifully with me.” (See
also Psalms 7:17; 13:6; 21:13; 27:6; 33:3; 57:7; 59:16; 65:13; 68:4; 68:25; 68:32; 87:7;
89:1; 96:1; 96:2; 98:1; 101:1; 104:33; 105:2; 106:12; 108:1; 137:3; 137:4; 138:5; 144:9;
149:1.)
Psalm 33:2: “Praise the LORD with the harp; make melody to Him with an instrument of
ten strings. Sing to Him a new song; play skillfully with a shout of joy.” (See also Psalms
43:4; 49:4; 57:8; 71:22; 81:2; 92:3; 98:5; 108:2; 137:2; 147:7; 149:3; 150:3.)
Psalm 47:5: “God has gone up with a shout, the LORD with the sound of a trumpet.” (See
also Psalms 47:5; 81:3; 98:6; 150:3.)
The word “trumpet” in the Psalms is literally a ram’s horn (see Strong’s 7782, shofar).
“The most famous wind instruments of the Bible are the trumpet and the horn or (falsely
so-called) “cornet” (Psalm 98:6, KJV). The Hebrew Scriptures mention the chatsotserot
(trumpets made of silver) and the shofarot (horns made of rams’ or antelopes’ horns).
(Both are sometimes called “trumpet” in the KJV, to the confusion of the reader.) The
shofar . . . is often mentioned in Hebrew Scripture as a warning of war and judgment. Yet
it is mentioned . . . as an instrument worthy to be used in the praise of God (Psalm 98:5-
29
30
F. Brown, S. Driver and C. Briggs, Brown-Driver-Briggs Hebrew and English Lexicon (Nashville, TN:
Hendrickson Publishers, Inc., 1996).
31
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6). It was blown on feast days (Psalm 81:3). Both instruments were used when the Ark of
the Covenant was brought to Jerusalem (2 Chronicles 15:28).”32
Psalm 68:25: “The singers went before, the players on instruments followed after;
among them were the maidens playing timbrels.” (See also Psalms 81:2; 149:3; 150:4.)
“Miriam’s timbrel (Heb. toph) is translated nine times a ‘timbrel’ eight times as ‘tabret.’
This has sometimes been rendered as tambournine. It was probably a drum . . . a wooden
hoop and very probably two skins, without any jingling contrivance or sticks . . . like a
tom-tom. It was evidently associated with merrymaking or praise (cf. Exodus 15:20;
Judges 11:34; 1 Samuel 18:6; Psalm 68:25). This instrument played an important part
from patriarchal times through the period of the restoration.”33
Psalm 120 Title: “A Song of Ascents.” (See also the titles of Psalms 121-134.)
“Psalms 120-134 from a collection known as the ‘songs of Ascents,’ which in turn is a
major part of the Great Hallel psalms (120-136). The meaning of the designation ‘song of
ascents’ is not clear, whether ‘Pilgrim Songs,’ ‘Song of Degrees,’ or ‘Gradual Psalms.’
The Misnah links the collection of fifteen songs with the fifteen steps of the temple where
the Levites sang these songs of ascents (Middoth 2.5). It is more likely that the songs
were sung in the three annual festival processions, as the pilgrims ‘ascended’ to
Jerusalem . . . hence the designation ‘songs of ascents.’”34
Psalm 150:1-6: “Praise the LORD! Praise God in His sanctuary; praise Him in His mighty
firmament! Praise Him for His mighty acts; praise Him according to His excellent
greatness! Praise Him with the sound of the trumpet; praise Him with the lute and harp!
Praise Him with the timbrel and dance; praise Him with stringed instruments and flutes!
Praise Him with loud cymbals; praise Him with clashing cymbals! Let everything that
has breath praise the LORD.”
The book of Psalms concludes with a hymn of praise. This psalm is not about
establishing the criteria for religious services. It is all about praising God everywhere—“in His
mighty firmament!” Music for praise can take place at any time and in any place. Dr. Cohen in
his series Soncino Books of the Bible states that this psalm is not about temple worship.
“In His sanctuary. Not at the Temple in Zion, but His holy temple in heaven (xi. 4, cii.
20) as the parallelism shows. From His abode there He rules the earth, and all hearts
should be directed upwards in praise of Him. This explanation is preferable to that which
reads into the verse an invocation to the angels to unite in the praise.
32
From Internet: kingdavidsharp.com.
33
Merrill F. Unger, Unger’s Bible Dictionary (Moody Press, 1981).
34
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“Every thing that hath breath . . . It is uncertain whether the Psalmist intended to include
animals as creatures of God (as in cxlviii. 10); but so far as the human race is concerned
the summons to praise is all-inclusive.”35
Song of Solomon 1:1: “The song of songs . . .”
The title of this book is superlative: the “song of songs” or “greatest of all songs.”
Comparable expressions include “Holy of Holies,” “Lord of Lords” and “King of Kings.” This
book contains a collection of lyrics celebrating love without any reference to music except for
the title.
From here we come to the prophets. No longer do we have explicit references to a system
of music used for worship, but there are musical references.
Isaiah Through Malachi
A survey of this section of Scripture reveals numerous examples of music playing a role
in the daily lives of the people of Israel. We see that music is used for many purposes—worship,
praise, festival celebrations, expressions of emotion, etc. Here are a few examples in the books of
the prophets.
Isaiah 5:12: “The harp and the strings, the tambourine and flute, and wine are in their
feasts; but they do not regard the work of the LORD, nor consider the operation of His
hands.”
Isaiah 12:5 “Sing to the LORD, for He has done excellent things; this is known in all the
earth.”
“[Sing]. A primitive root; properly to touch the strings or parts of a musical instrument,
i.e. play upon it; to make music, accompanied by the voice; hence to celebrate in song
and music; give praise, sing forth praises.”36
Isaiah 24:16: “From the ends of the earth we have heard songs: ‘Glory to the righteous!’
But I said, ‘I am ruined, ruined! Woe to me! The treacherous dealers have dealt
treacherously, indeed, the treacherous dealers have dealt very treacherously.’”
Isaiah 30:29: “You shall have a song as in the night when a holy festival is kept, and
gladness of heart as when one goes with a flute, to come into the mountain of the LORD,
to the Mighty One of Israel.”
Isaiah 38:20: “The LORD was ready to save me; therefore we will sing my songs with
stringed instruments all the days of our life, in the house of the LORD.”
35
Dr. A. Cohen, The Psalms (New York:The Soncino Press, 1985).
36
James Strong, Strong’s Exhaustive Concordance of the Bible (Nashville, TN: Broadman & Holman Publishers,
1999).
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“[Stringed instruments] From Hebrew 5059; properly instrumental music; by implication

a stringed instrument; by extension a poem set to music; specifically an epigram; stringed
instrument, music, song.”37
Isaiah 42:10: “Sing to the LORD a new song, and His praise from the ends of the earth,
you who go down to the sea, and all that is in it, you coastlands and you inhabitants of
them!”
“A new song . . .” The Bible speaks of new songs in the book of Psalms. What are these
new songs? (This topic is further discussed in the conclusion of this paper.) One thing we can
clearly learn from this term is that music is not static. It is appropriate to develop new music, and
this idea is supported by the Scriptures. David’s music would have been new to Moses and so on
down through the years. The purpose and overall approach can be the same, but music can
change and therefore the title “new.”
Ezekiel 28:13: “You were in Eden, the garden of God; every precious stone was your
covering: The sardius, topaz, and diamond, beryl, onyx, and jasper, sapphire, turquoise,
and emerald with gold. The workmanship of your timbrels and pipes was prepared for
you on the day you were created.”
While this verse has been used in the past to establish an improper use of music, in reality
there is nothing inherent in this verse about music or musical instruments. The misunderstanding
comes from a poor King James (and New King James) translation of this verse. The Jewish
Publication Society translates “timbrels and pipes” as “settings and sockets.” The Revised
Standard Version has “settings and engravings” and the New International Version has “settings
and mountings.” What is being described here are the sockets and grooves used as jewelry
settings for the precious stones mentioned in the context that were used for the king of Tyre’s
adornment. The king of Tyre was the personification of Lucifer in this chapter. When properly
understood, it is clear that Ezekiel 28:13 gives no support whatsoever to the concept that Lucifer
is connected with either the creation or initial production of beautiful music. In fact the opposite
is true when it comes to Satan and his influence in this world.
Ezekiel 40:44: “Outside the inner gate were the chambers for the singers in the inner
court, one facing south at the side of the northern gateway, and the other facing north at
the side of the southern gateway.”
The temple described in Ezekiel has a special chamber reserved for the singers. Music
will continue to be a part of worshipping God even into the world tomorrow.
Daniel 3:5, 7, 10, 15: “At the time you hear the sound of the horn, flute, harp, lyre, and
psaltery, in symphony with all kinds of music, you shall fall down and worship the gold
image that King Nebuchadnezzar has set up.”
37
Ibid.
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References to music in Daniel come from the Babylonian musicians. Instruments were
used to announce the worship of an idol. From this example we see that music and musical
instruments can be used for good or bad. This is not an indictment on the music or the
instruments, but on the purpose.
Hosea 2:15: “I will give her her vineyards from there, and the Valley of Achor as a door
of hope; she shall sing there, as in the days of her youth, as in the day when she came up
from the land of Egypt.”
Different translations of this verse reflect a divergence of opinion concerning the

translation of the word ‘anah, but the common translations render it “sing.” There may be a
reference here to Exodus 15:1 when Moses and the Israelites sang after the deliverance at the
Red Sea. The act of singing as a congregation was a natural response of the people to express joy
and thankfulness in song.
Amos 5:23: “Take away from Me the noise of your songs, for I will not hear the melody
of your stringed instruments.”
The context of this verse refers to the activities associated with what God describes as
“your feasts.” It is most likely that these are the feasts of Leviticus 23, but the offerings and
music associated with them were repudiated by God because of the pagan practices that had been
brought into the worship. If and how the music may have been affected is not specified. God
describes their songs as “noise” to Him. The instruments themselves are not criticized or
extolled.
Amos 6:5: “Who sing idly to the sound of stringed instruments, and invent for yourselves
musical instruments like David.”
Amos 6:5: “You strum away on your harps like David and improvise on musical
instruments” (NIV).
The various translations seem to favor the action of strumming, which would indicate
playing a stringed instrument, most likely a form of harp. The most likely interpretation of the
verse applies to improvising or composing music as several translations support rather than
inventing musical instruments. The setting of the verse is a partylike activity of food, drink and
song rather than a musical workshop. The condemnation in the associated verses refers to
ignoring the serious and perilous times and indulging in the physical to avoid facing the sins of
the nation. There is no obvious criticism of the music or instruments themselves.
Habakkuk 3:19: “The LORD God is my strength; He will make my feet like deer’s feet,
and He will make me walk on my high hills. To the Chief Musician. With my stringed
instruments.”
“19 . . . On my stringed instruments—neginoth. This is the prophet’s direction to the

precentor (‘chief singer’) as to how the preceding ode (Habakkuk 3:1-19) is to be
performed (compare Psalms 4:1, 6:1, titles). The prophet had in mind a certain form of
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stringed instrument adapted to certain numbers and measures. This formula at the end of
the ode, directing the kind of instrument to be used, agrees with that in the beginning of
it, which directs the kind of melody (compare Isaiah 38:20).”38
Habakkuk was familiar with having a director of music. The exact instruments were
known then and appear to be owned by the prophet, but those details are lost to us now. It
appears that he was a musician himself.
Old Testament Summary
There are numerous references to music and singing in the Old Testament. These verses
support the concept that music was used in worship and that God is pleased with song and
musical instruments. Our challenge in the Church is not whether we should have music and
singing but what type of music and singing is appropriate. Whatever type we choose must meet
the overall concept of praise and worship to God in an appropriate, godly manner. This is the
message that we find throughout the Old Testament.
Matthew Through Revelation
The Old Testament is dominated by the temple and the Levitical system. Music played a
vital role in the worship that took place under this system. Once we arrive at the New Testament
we have a new agreement, called the New Covenant. What part does music play in the Church
under the New Covenant?
Matthew 26:30: “And when they had sung a hymn, they went out to the Mount of
Olives.”
Mark 14:26: “And when they had sung a hymn, they went out to the Mount of Olives.”
This is one of the few examples in the Gospels of music being associated with worship.
In this case Christ and the apostles sang a hymn to conclude the Passover service.
Luke 15:25: “Now his older son was in the field. And as he came and drew near to the
house, he heard music and dancing.”
This is an example of music and dancing outside of a religious setting. It is certainly

appropriate to have music and dancing when celebrating special occasions.
Acts 16:25: “But at midnight Paul and Silas were praying and singing hymns to God, and
the prisoners were listening to them.”
In this case singing is used for praise and worship. It is linked with “praying.” Paul and
Silas are not “celebrating” a joyous occasion, but they are “singing hymns.”
38
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1 Corinthians 14:15: “What is the conclusion then? I will pray with the spirit, and I will
also pray with the understanding. I will sing with the spirit, and I will also sing with the
understanding.”
The context involves worshipping with other believers. Paul instructs that speaking,
praying and singing should only occur when understanding by the participants is possible,
whether through knowledge of the language or through interpretation.
1 Corinthians 14:26: “How is it then, brethren? Whenever you come together, each of
you has a psalm, has a teaching, has a tongue, has a revelation, has an interpretation. Let
all things be done for edification.”
“Verse 26 gives us a short outline of the elements of worship in Corinth: a hymn,

instruction, revelation, a tongue, an interpretation. Some of this is reminiscent of Jewish
worship (cf. Matt 26:30; Luke 4:16-30). All is for strengthening the church. The one
occurrence of hekastos used with each of the following five occurrences of the verb form
echei (‘each one has . . . each one has . . .’) suggests again the unity and diversification of
gifts in the church. One person has this ability, another that one; but all (panta) together
are to be used to build up the church.”39
Ephesians 5:18-21: “And do not be drunk with wine, in which is dissipation; but be
filled with the Spirit, speaking to one another in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord, giving thanks always for all things
to God the Father in the name of our Lord Jesus Christ, submitting to one another in the
fear of God.”
Singing hymns is a manifestation of God’s Spirit working within us. This expression may
convey our thankfulness to God, as well as be part of our communication with brethren reflecting
the other fruit of God’s Spirit (love, joy, peace, longsuffering, kindness, goodness, faithfulness,
gentleness, self-control), which are reflected in our mutual submission to one another. Songs,
hymns and spiritual songs are listed as distinct types of godly musical expression.
Colossians 3:16: “Let the word of Christ dwell in you richly in all wisdom, teaching and
admonishing one another in psalms and hymns and spiritual songs, singing with grace in
your hearts to the Lord.”
Psalms, hymns and spiritual songs are again listed as means to teach and admonish others
in godly wisdom, as well as praising God in our hearts.
“No rigid distinctions should be made between ‘psalms,’ ‘hymns,’ and ‘spiritual songs.’
Paul is simply emphasizing the rich variety in Christian song. Essentially the three terms
heighten the idea of joyousness called for in the passage. If any differences are made,
‘psalms’ may be taken to refer to the OT psalter, ‘hymns’ and ‘spiritual songs’ to
distinctly Christian compositions. The great periods of renewal in Christendom have
39
Expositor’s Bible Commentary of the New Testament, electronic database, 1 Corinthians 14:26.
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always been accompanied by an outburst of hymnology. Armitage Robinson describes

the apostolic age as ‘characterized by vivid enthusiasm’ and as ‘a period of wonder and
delight. The floodgates of emotion were opened: a supernatural dread alternated with an
unspeakable joy’ (St. Paul’s Epistle to the Ephesians, p. 168). Robertson writes that
Christian hymns ‘demand two things above all else. They must express real emotion of
the heart, adoration and worship. They must do it in a way worthy of our Saviour
God.’”40
1 Thessalonians 4:16: “For the Lord himself shall descend from heaven with a shout,
with the voice of the archangel, and with the trump of God: and the dead in Christ shall
rise first” (KJV).
A trumpet is blown at the return of Jesus Christ. In the Old Testament the most common
Hebrew word for “trumpet” was shofar. This was a “ram’s horn.” The Hebrew word shofar is
found 72 times in the Old Testament. It is translated as “trumpet” 68 times and as “cornet” four
times. In the New Testament the Greek word is salpinx and it simply means trumpet. It is found
11 times in the New Testament, but only once in Thessalonians.
Hebrews 2:12: “Saying, I will declare Your name to My brethren; in the midst of the
assembly I will sing praise to You.”
Here we have a quote from the book of Psalms. This supports the consistent thread
throughout the Bible that singing is used to praise God. This verse is quoted from Psalm 22:22.
Hebrews 12:18-19: “For you have not come to the mountain that may be touched and
that burned with fire, and to blackness and darkness and tempest, and the sound of a
trumpet and the voice of words, so that those who heard it begged that the word should
not be spoken to them anymore.”
A trumpet was used at Mt. Sinai to announce the presence of God. In Exodus 19:16 we
read “. . . in the morning, that there were thunderings and lightnings, and a thick cloud on the
mountain; and the sound of the trumpet was very loud, so that all the people who were in the
camp trembled.” The trumpet was blown to give warning and announcement.
James 5:13: “Is anyone among you suffering? Let him pray. Is anyone cheerful? Let him
sing psalms.”
Singing can be a sign of joy and cheerfulness. In this verse James refers to singing
psalms. The Greek word for psalms is psallo and comes from a root that means to “sing to the
music of a harp.”41 Singing with a harp or other musical instrument as an expression of joy is a
good thing.
40
Expositor’s Bible Commentary of the New Testament, electronic database, Colossians 3:16.
41
Strong’s Exhaustive Concordance of the Bible.
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Revelation 5:8-10: “Now when He had taken the scroll, the four living creatures and the
twenty-four elders fell down before the Lamb, each having a harp [actually lyre is a
better translation of the Greek kitharah], and golden bowls full of incense which are the
prayers of the saints. And they sang a new song, saying, ‘You are worthy to take the
scroll. And to open its seals; for You were slain, and have redeemed us to God by Your
blood. Out of every tribe and tongue and people and nation, and have made us kings and
priests to our God; and we shall reign on the earth.’”
Revelation 14:2-3: “And I heard a voice from heaven, like the voice of many waters, and
like the voice of loud thunder. And I heard the sound of harpists playing their harps [lyre
is a better translation]. They sang as it were a new song before the throne, before the four
living creatures, and the elders; and no one could learn that song except the hundred and
forty-four thousand who were redeemed from the earth.”
This scene at the throne of God involves musicians playing their lyres and singers
singing. Here we see evidence of choral groups singing accompanied by a musical instrument.
The Greek word translated “harpists” (kithaodos) refers to someone who plays a stringed
instrument (lyre as opposed to a harp) while singing. The Greek word translated “harp” is
kitharah. The reference is most likely to a lyre and not a harp. The lyre was a stringed instrument
used to play music for worshipping and praising God. The image of people floating on clouds in
heaven playing harps is simply not biblical.
Revelation 15:2-4: “And I saw something like a sea of glass mingled with fire, and those
who have the victory over the beast, over his image and over his mark and over the
number of his name, standing on the sea of glass, having harps [lyres] of God. They sing
the song of Moses, the servant of God, and the song of the Lamb, saying: ‘Great and
marvelous are Your works, Lord God Almighty! Just and true are Your ways, O King of
the saints! Who shall not fear You, O Lord, and glorify Your name? For You alone are
holy. For all nations shall come and worship before You. For Your judgments have been
manifested.’”
In this example we also have singing to the accompaniment of a musical instrument. The
King James and the New King James translate the Greek kitharah as “harp.” This is based upon
the common concept that one goes to heaven when he dies and plays a harp. The real instrument
being referred to here is the lyre. There are two songs being sung here—the song of Moses and
the song of the Lamb. These songs were being sung to praise and worship God, and they were
accompanied by a stringed instrument.
Revelation 18:21-22: “Then a mighty angel took up a stone like a great millstone and
threw it into the sea, saying, ‘Thus with violence the great city Babylon shall be thrown
down, and shall not be found anymore. The sound of harpists, musicians, flutists, and
trumpeters shall not be heard in you anymore. No craftsman of any craft shall be found in
you anymore, and the sound of a millstone shall not be heard in you anymore.’”
This prophecy is an indictment against the Babylonian system. The destruction of

Babylon will be so complete that the musicians will not be playing or singing. This pictures the
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sadness and adversity of this time for Babylon. This verse is not an indictment against music but
against the Babylonian system. Of course, the Babylonian system has been instrumental in
perverting music and musical styles, but this is not the main point of this reference to music.
Summary of the New Testament
There is little about music or singing in the New Testament books. The references that do
exist support the idea that God enjoys music and singing. These activities are used to picture
happiness, joy, worship and praise. We see chorale groups (the 144,000), lyres, trumpets and
flutes referenced in this fashion. We may certainly conclude that music plays a vital role in
worshipping God. There is no specific type or style of music eliminated. There is an emphasis on
the purpose for the music rather than the type. We see that music in worship should be
respectful, reverent and point us to God.
Conclusion
From beginning to end, the Holy Scriptures contain references to music. At creation, “the
morning stars sang together, and all the sons of God shouted for joy” (Job 38:7). The psalmist
declared, “I will sing to the LORD as long as I live; I will sing praise to my God while I have my
being” (Psalm 104:33). The apostle Paul instructed members of the Church to encourage one
another in the faith with “psalms and hymns and spiritual songs” (Colossians 3:16). John records
in his vision of God’s heavenly throne that he “heard the sound of harpists playing their harps.
They sang as it were a new song before the throne, before the four living creatures, and the
elders; and no one could learn that song except the hundred and forty-four thousand who were
redeemed from the earth” (Revelation 14:2-3).
The Bible establishes the vital importance of music and its significant role in the worship
of God. Yet the apostle Paul reminds us in Romans 14:17 that “the kingdom of God is not eating
and drinking, but righteousness and peace and joy in the Holy Spirit.” Although food is not
directly associated with salvation, Paul said that dissension over it was potentially a threat to the
work that God was doing (verse 20). Based on an individual’s actions, food had the potential to
cause problems in others’ spiritual vision. Likewise, controversy over music can be a problem
when it divides brethren. However, the truth of the Bible should produce peace and help edify
(verse 19). So we must also conclude that music is not the Kingdom of God, but an essential help
in our worship of God.
Musical preference is often subjective. Our musical choices and judgments may be based
on personal tastes and likes. If it agrees with our personal preference, we tend to label it “good
music,” and if it does not suit our tastes, we tend to label it “bad music.” If God clearly chose
what types of music were appropriate for our worship service, we would have no dilemma.
There are many subjects we wish God had given us more information about, but He
hasn’t. Perhaps He wants us to learn and grow from the experience of searching out His will in
such matters. “It is the glory of God to conceal a matter, but the glory of kings is to search out a
matter” (Proverbs 25:2). So we must look to biblical principles to make decisions and judgments
in order to arrive at balanced conclusions to the questions we have today.
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We need to ask questions: “What constitutes godly music?” “What kind of music is
appropriate?” “What kind of music honors God?” The following biblical principles can be
helpful in providing answers.
1. What Is the Fruit?
One way of identifying godly music is by its fruit. After reviewing all Scripture on the
subject of music, it becomes evident that the emphasis is on the purpose of the music rather than
on the type of music. Biblical music emphasizes praise and thanksgiving. It expresses joy and
worships God as it inspires and edifies His people.
When considering any type of music, we should ask, “How does the music affect us?”
“Does it have a beneficial, helpful influence or a harmful one?” “Does it have a positive and
beneficial effect or a negative and harmful one?” “Does it excite in some way that is wrong
(sexually, for example) or produce feelings that are inappropriate?”
What if there are no lyrics or the lyrics are not in violation of God’s law? Music, even
without lyrics, can have an effect upon the listener and produce certain fruit. Of course, it would
be impossible to anticipate, perceive and satisfy the perceptions and responses in the minds of
every listener, but this should be a consideration (2 Samuel 6:16).
Despite the subjective nature of these questions, we should pose similar ones as we
consider appropriate music for the Church.
2. Godly Music Will Reflect God’s Character
The Word of God does not contain any command or imperative instruction concerning
the use of specific types of music in worship. References in Scripture focus on the use of
something rather than the thing itself. For example, trees are not evil, but one can do evil by
worshipping them.
We know that God is not a God of confusion (1 Corinthians 14:33). Any music that
produces confusion or the opposite of peace is unacceptable. We are instructed that doing things
“decently and in order” is God’s way (1 Corinthians 14:40). Being “decent” and “in order” must
be considered in selecting music as part of the worship service.
Philippians 4:8 declares an essential quality of God’s character: “Whatever things are
true.” When we apply this principle, music in the worship service must be doctrinally sound.
Some hymns and special music may affirm distinctive beliefs of the Church of God, while others
may express points of faith that we hold in common with other groups, but all must reflect
doctrinal accuracy and truth. Additional characteristics listed in Philippians 4:8 are “noble,”
“just,” “pure,” “lovely” and “of good report.” These provide helpful guidelines in the selection of
appropriate music for worship services.
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3. God’s Law Judges Right and Wrong
How do we judge right and wrong in any area of life? We use God’s law as the standard.
However, as we read through the Ten Commandments and the entire Bible, nowhere are we told
what music is appropriate for church services and what is not. We are to make judgments based
on the principles contained in God’s law.
Any offering made to God must be a righteous offering (Malachi 3:3). Worship service
hymns or special music during Sabbath services are a type of offering to God. These must be in
harmony with God’s laws.
When we consider types of musical instruments that may be used in church services, the
Bible contains no criticism of instruments themselves. In the example of Amos 5:23, God
repudiated Israel’s offerings and music because pagan practices had been brought into the
worship of God. The overall approach was wrong. Even lovely music would not make the pagan
practices acceptable to God. The musical instruments are not criticized or extolled. We have not
found any biblical passages that expressly forbid the use of specific instruments in the worship of
God.
Lyrics are another obvious factor. If a song’s lyrics communicate ideas or attitudes that
violate God’s law, then that piece would be considered unsuitable for performing during church
services.
We know we should sing and praise God with music on the Sabbath (1 Chronicles 16:7-
24; Psalms 68:26; 107:32; 111:1; 149:1; Hebrews 2:12), as well as at the festivals (2 Chronicles
30:21; Isaiah 30:29). But does the Bible give additional clues as to what portion of our service
should be devoted to music?
Evidence is found in Colossians 3:16: “Let the word of Christ dwell in you richly in all
wisdom, teaching and admonishing one another in psalms and hymns and spiritual songs, singing
with grace in your hearts to the Lord.” Ephesians 5:19-20 instructs us to be “speaking to one
another with psalms and hymns and spiritual songs, singing and making melody in your heart to
the Lord, giving thanks always for all things to God the Father, in the name of our Lord Jesus
Christ.”
While these passages do not give particular indication as to how much of a worship
service should be dedicated to music, they do demonstrate that music can be evidence of God’s
Word thoroughly dwelling in us as we always give thanks.
Just as preaching and prayer are a part of the worship service, music is also an
appropriate part of the service. Comparable to preaching and prayer, we are free to establish
traditions and practices regarding music in our worship service. There may be special occasions
when a pastor and congregation would decide to have a significant portion of the service consist
of a musical presentation. An expanded music program would be appropriate at other times as
well. The Bible seems to leave it up to the Church to make those decisions.
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It seems clear from the Scriptures that the main purpose for music in services is to enhance
our worship of God and to inspire the congregation. Special music is a presentation and not a
performance. If our musical perspective is one of praise and worship, and not of entertainment,
then we can more easily arrive at the proper form of music for services. There is nothing wrong
with music for entertainment purposes, but we must not confuse this with worship.
4. A New Song
Today’s ‘sacred’ musical choices come in many styles—from classical to

contemporary—from old to new. Many people tend to consistently listen to and enjoy a limited
repertoire of musical styles. Perhaps we are more familiar with our “old” favorite hymns and
songs and think those are the only ones with true value.
But “old” music is a matter of perspective. For King David, the song of Moses was 400
years old. By the time Handel wrote the Messiah, the Psalms were over 2,000 years old. Most of
our musical preferences are a matter of style and comfort.
God, however, isn’t honored with only the “old” songs. David apparently wrote many
new songs that became most of the book of Psalms. These songs tell of additional aspects of
God’s greatness, His love and His plan. Some were composed to rejoice after a trial. God’s Word
encourages new songs to be written to praise and glorify Him.
It is important to note that nine times the Word of God encourages a “new song” (Psalms
33:3; 40:3; 96:1; 98:1; 144:9; 149:1; Isaiah 42:10; Revelation 5:9; 14:3). The Hebrew word
chadash, which is used in all these verses in the Psalms, indicates something new—a fresh, new
thing. This is very similar to the Greek kainos used in Revelation to mean new—especially
freshness (see Appendix A). God does not want us to stop writing songs to Him. It is evident that
God wants us to worship Him through music, new and old.
“Hadas means ‘new’ both in the sense of recent or fresh (as opposite of old) and in the
sense of something not previously existing.”42
“Sing unto him a new song—Do not wear out the old forms: fresh mercies call for new
songs of praise and gratitude.”43
“A ‘new song’ is one which, in consequence of some new mighty deeds of God, comes
from a new impulse of gratitude in the heart, 40:4, and frequently in the Psalms. The
‘new song’ presupposes new matter. The new song assumes a new form of things. The
new song is an echo of the approaching revelation of salvation and of glory, and this is
also the inexhaustible material of the joyful tidings that go forth from day to day.”44
42
W.E. Vine, Merrill F. Unger and William White Jr., Vine’s Expository Dictionary of Biblical Words (Nashville,
TN: Thomas Nelson Publishers, 1985), p. 160.
43
Adam Clark, Commentary on the Old Testament, electronic edition (Cedar Rapids, IA: Parsons Technology, Inc.,
1999), Psalm 33:3.
44
C.F. Keil and F. Delitzsch, Keil & Delitzsch Commentary on the Old Testament, Vol. 5: Psalms, electronic edition
STEP Files (Omaha, NE: Parsons Church Group, 2000), Psalm 33:1-4; Psalm 33:10-11; Psalm 96:1-3.
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“A new song—resulting from a continual experience of God’s acts, not only in the great
redemptive acts of the past, but as they freshly break into the lives of the present
worshipers. This is a newly constructed response to the present redemptive acts. What God
accomplishes calls for a ‘new song’ to be sung as He begins his reign in Jerusalem . . .
Moses, Miriam, and the Israelites sang a new song after the crossing of the sea.”45
“A new song. That is to say, a new and recent composition on account of recent benefits;
or constantly new songs, song succeeding song as daily new material for divine praise
offers itself to the attentive student of the works of God. Or new, that is, always fresh and
full of life, and renewed as new occasions offer themselves: as Job says, ‘My glory was
fresh in me, and my bow was renewed in my hand.’ Or new, i.e., not common but rare
and exquisite; as the new name in Rev. 2:17; the new commandment, John 13:34. Or this
respects the gospel state, wherein is a new covenant (Heb. 8:8), a new Jerusalem (Rev.
21:2), a new man (Eph. 2:15), and all things new. 2 Cor. 5:17. New, on account of its
matter being unknown of men: as in Rev. 14:3. A new canticle, a beautiful canticle, and
elegantly composed; also a canticle for fresh favours; in like manner, a canticle befitting
men who have been regenerated.”46
“The first hymn (vv. 9-10) is called a ‘new’ song because there was never any like it
before in heaven.”47
The Bible nowhere indicates that there is only one single musical style that is appropriate
for music in the Church. New songs and hymns with fresh melodies and lyrics are beneficial and
appropriate in the worship of our God. What would King David have done if new music were not
allowed in his day? We would not have most of the book of Psalms! David may have even
written new lyrics to popular melodies of his day to honor God. If we limit our songs and hymns
to only one musical style, we are more restrictive than the Bible.
5. A Balance of Quality Music
Certainly we do not want to stop singing our favorite songs. Many of these are powerful
praises in the worship of God and invoke good memories of the past. However, by adding some
new songs to our repertoire we can add new energy, vitality and additional perspective. This can
be a very positive message for the entire Church to send to all portions of the congregation—that
we are willing to add newness and freshness to the songs we sing.
We advocate prudence in introducing new music. There needs to be a clear process for
review and evaluation prior to the introduction of new music. Converted individuals with
musical talent should be called upon to render this special service to the Church. It is important
45
J.D. Douglas (ed.), New Commentary on the Whole Bible: Old Testament Volume (Wheaton, IL: Tyndale House
Publishers, Inc., 1990); electronic edition STEP Files (Parsons Technology, Inc., 1998), Psalm 33:1-3; Psalm
96:1; Isaiah 42:10.
46
Charles H. Spurgeon, The Treasury of David, Psalms 1-57, electronic edition STEP Files (Parsons Technology,
Inc., 1997), Psalm 33:3; Psalm 96:1.
47
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that these issues be resolved at the highest level possible within the Church and not simply at a
local congregational level.
Yes, at times music can be a divisive issue. Perhaps we will never agree 100 percent on
what is acceptable music. Undoubtedly, we cannot bow to the extremes of music nor replace
truth with mere emotionalism. Therefore, the key is utilizing good quality musical compositions
with lyrics that are doctrinally accurate. These characteristics bring honor and glory to God and
characterize good music.
We cannot stop the process of developing music even though some may feel it is
unnecessary. The easy solution is not always the right solution. To simply keep repeating the
same hymns without considering a wider variety would not be in the best interest of the Church.
The Bible does allow a variety of musical instruments, as well as diverse styles and types
of music when worshipping God. Certainly all music used in services must produce the proper
results of peace, pleasure and inspiration through lyrics that are doctrinally correct. Music in the
Church of God should express our praise and thanksgiving to God in a spirit of joy and truth that
is edifying both to old and young worshippers.
6. Offense vs. Tolerance
Music that would be offensive to a large percentage of the congregation should be
avoided. Conversely, we all should be tolerant of a variety of appropriate musical styles that
praise God. “Great peace have they which love thy law: and nothing shall offend them” (Psalm
119:165, KJV).
The apostle Paul reminds us in Romans 14:17 that “the kingdom of God is not eating and
drinking, but righteousness and peace and joy in the Holy Spirit” (NASB). Although food is not
directly associated with salvation, Paul said that dissention over food had the potential to
threaten the work that God was doing (verse 20).
Likewise, controversy over music is a problem when it divides brethren. However,

through the truth of the Bible, music should produce peace and help edify (verse 19).
7. Education
The real answer to the subject of music in the Church is a thorough process of education
for the ministry and the membership. Do our members know the purpose of music in the
Church? Do they consider it entertainment or worship? Are we educating the members about
music? In most cases we are not, but we should be.
If we begin a program of education in the area of music in the Church and show the
members from the Word of God how we should worship and praise God with singing and music,
we will defuse many of the controversies that would arise. If we can assure the membership that
there will be a thorough effort of review and evaluation undertaken prior to the introduction of
new music, we will see the vast majority being supportive. If we do not educate the membership
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while giving them this assurance, there will be apprehension and some confusion as to the
direction of the Church.
Appropriate godly music can be discerned when we apply these biblical principles. By
establishing a comprehensive program of “musical education” in the Church, we should teach
from the Word of God how to worship and praise God with singing and music. Through the
process of education we can defuse many controversies that could arise and see support from the
vast majority.
Music in the Church of God should express our praise and thanksgiving to God in a spirit
of joy and truth that is edifying both to old and young. The Bible does allow for diverse styles
and types of music and for a variety of musical instruments when worshipping God. Certainly all
music used in services must produce the proper results of peace, pleasure and inspiration through
lyrics that are doctrinally correct.
“What is the conclusion then? I will pray with the spirit, and I will also pray with the
understanding. I will sing with the spirit, and I will also sing with the understanding” (1
Corinthians 14:15). We should make every effort to have a balance of inspiring, uplifting and
edifying music in the Church.
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Appendix A—Instrument Table

Instrument Hebrew /
Strong’s Relevant
Type (NKJ Greek Definition
Number Scriptures
English) (transliterated)
“Represents a pair of cymbals, as indicated
by the dual form of the Hebrew…their main
usage seems to have been priestly.”
Interpreter’s Dictionary of the Bible, Vol. 3,
“Musical Instruments” by E. Werner,
P Abington Press, 1962, p. 470.
E 1 Chronicles
R “All written sources confirm the 13:8; 15:16, 19,
C interpretation of the instrument as 28; 16:5, 42;
U metseleth cymbals…In the Bible, it is…a guild 25:1, 6;
cymbals H4700
S instrument of the Levites…played…to 2 Chronicles
S accompany exclusively religious 5:12, 13; 29:25;
I occasions…two texts give a description of Ezra 3:10;
O the instrument: made of copper with a Nehemiah 12:27
N bright sound (1 Chronicles 15:19); and ‘of
metal, large and broad’ (Josephus, 7.12.3).”
The New Grove Dictionary of Music and
Musicians, 2nd ed., Vol. 3, “Biblical
Instruments” by Joachim Braun, Macmillan
Publishers, 2001, p. 528.
“Consisting of two convex pieces of brass
one held in each hand, which were clashed
together to produce a loud clanging sound.”
M. G. Easton, Easton’s Bible Dictionary,
Ellis Enterprises, 1993, “cymbal.”
P
E “A distinction is made in Psalm 150:5
R between two kinds of cymbals…some
C scholars believe the the tziltzela shama were
U tselatsal constructed to produce a loud noise and the 2 Samuel 6:5;
cymbals H6767
S tziltzelay teruah a high-sounding Psalm 150:5
S tone…Curt Sachs is of the opinion that the
I former term refers to a clear sound and the
O latter to a harsh, noisy sound and that the
N shape of the instrument and the manner in
which it was held while being struck (that
is, horizontally or vertically) determined its
sound.”
Macy Nulman, Concise Encyclopedia of
Jewish Music, McGraw-Hill, 1975, p. 55.
A “gong…which was a characteristic
instrument for weddings and similar joyous
occasions.”
kumbalon 1 Corinthians
cymbal G2950 “Musical Instruments” by E. Werner,
13:1
Abington Press, 1962, p. 471.
“These are the familiar Graeco-Roman

cymbals…mentioned with ‘sounding brass,’
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
a term which may denote a gong (Montagu,
P 1965) or signify not a musical instrument
E but a resonating device at the back of a
R stage to amplify the voice of a singer or
C actor (Harris, 1982). This interpretation
U explains the real sense of Paul’s metaphor
S when he compares speaking without love
S and deeper understanding to the noise of
I ‘tinkling cymbals’ and artificial sound
O amplification.”
N The New Grove Dictionary of Music and
Publishers, 2001, pp. 533-534.
“A percussion instrument made of metal
plates that produced a sound when moved.
The plates were probably pierced by metal
rods held in a wooden frame that looked
something like a hand mirror. The Egyptian
sistra was probably very similar.”
P
Ralph Gower, The New Manners and
E
Customs of Bible Times, Moody Press,
R
1987, p. 308.
C
U menana
sistrums H4517 “Mentioned a single time in the Bible, this 2 Samuel 6:5
S
term…is derived from the verb ni’ana’ (‘to
S
shake’)…Bayer’s identification of it (1964)
I
as a pottery rattle is the most convincing. To
O
date archaeological finds have provided
N
over 70 intact specimens of such percussion
instruments of Israelite/Palestinian origin.”
“Tof…Translated timpanon in the
Septuagint and as tympanum in the Vulgate, Genesis 31:27;
tof (pl. tupim) is generally understood to be Exodus 15:20;
a drum…described as a round wooden Judges 11:34;
P
frame drum with a diameter of 20-30 cm, 1 Samuel 10:5,
E
without any attached jingles.” 18:6;
R
The New Grove Dictionary of Music and 2 Samuel 6:5;
C
Musicians, 2nd ed., Vol. 3, “Biblical 1 Chronicles
U toph H8596
timbrel Instruments” by Joachim Braun, Macmillan 13:8;
S (taphaph) (H8608)
Publishers, 2001, pp. 528-529. Job 21:12;
S
Psalms 81:2;
I
“The timbrel was a percussion instrument 149:3; 150:4;
O
which was carried and beaten by hand. Isaiah 5:12;
N
Considered inappropriate for the Temple, it 24:8; 30:32;
was probably played primarily by women Jeremiah 31:4;
(Ps 68:25)…Among the Hebrew people, it Ezekiel 28:13
was associated with merrymaking and (taphaph):
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
processions (Gen 31:27).” Psalms 68:25;
Nelson’s Illustrated Bible Dictionary, 81:2; 149:3;
Thomas Nelson Publishers, 1986, p. 736. 150:4
“It has been described as a small portable

drum that was made of a wooden hoop,
possibly with two membranes and without
jingles or sticks. The player struck the
drumhead with his fingers. From Biblical
sources it is evident, too, that it was most
often played by women.”
“[It] was probably a primitive shepherd’s
pipe or panpipe, though some take it as a
general term for instruments of the flute
kind, a meaning that suits all the passages
cited.”
James Orr (ed.), International Standard
Bible Encyclopedia, electronic ed. STEP
Files, 1998, Parsons Technology, Inc.,
“Music, III. Instruments 2. Winds (1) The
“Ughabh.”
“The ‘ugav appears in the very first mention

of musical instruments in the Bible (Genesis
9:21) and only three times thereafter…the
meaning of ‘organ’…seems plausible…
Interpretations of the word ‘ugav range
from a term denoting a musical instrument
in general to identification as a pipe,
W Genesis 4:21;
bagpipe, lute or harp, none of which can be
I flute Job 21:12;
ugab H5748 supported on either historical or
N (KJ organ) 30:31; Psalm
etymological grounds. Sachs (1940, p. 106)
D 150:4
offers what is currently the only plausible
interpretation: the onomatopoeic effect of
the word (u-u), typical of flutes and the
connotations of love attached to the
instrument suggest that it was a long end-
blown flute of the kind found in
neighboring cultures.”
“Apparently used only for personal or

informal religious expression. The opinions
of ancient and modern commentators are
widely divided with regard to the meaning
of the word. Various translations given are:
“(1) ‘Pipe,’ denoting a kind of wind
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
instrument…the Targum Onkeles translates
the term by the Aramaic abub (pipe). The
Authorized Version, too…translates it by
‘pipe.’
“(2) ‘Organ.’ Tosafot also translates hirdolis
(water organ) by ugab.
“(3) ‘Pandean pipes’ (panpipes) or syrinx.
“(4) ‘Viola da gamba,’ a stringed
instrument.
“(5) ‘Bagpipe,’ an instrument rendered by
sumponyah and according to some scholars,
is identified with the ugab.
“(6) ‘Vertical Flute,’ from agob, meaning
‘lovemaking; flutes were closely associated
with love charms.’”
“This was the most popular of woodwinds
in the Near East. Its Greek counterpart is
noted in Matt. 9:33; 11:17; Luke 7:32; 1
Cor. 14:7; Rev. 18:22. The instrument was
no flute or oboe but a primitive
clarinet...Extremely popular for secular
purposes.”
“No doubt the Hebrews brought it with

them from their Assyrian home. In the
Kouyunjik bas-relief we see players
performing on the double flute. It is
apparently furnished with a beaked 1 Samuel 10:5;
W
mouthpiece; like that of the clarinet or 1 Kings 1:40;
I flute
chaliyl H2485 flageolet. We cannot determine whether the Isaiah 5:12;
N (KJ pipe)
Israelites used the flute with a mouthpiece, 30:29; Jeremiah
D
or one like the nay; and it is futile to guess. 48:36
It is enough to say that they had
opportunities of becoming acquainted with
both kinds, and may have adopted both.”
James Orr (ed.), International Standard Bible
Encyclopedia, electronic ed. STEP Files,
1998, Parsons Technology, Inc., “The
Chalil.”
“The root word (‘to hollow out’ or ‘to bore

through’) is widely distributed throughout
the Semitic language area…Modern
editions of the Bible usually translate it as
‘flute,’ although the Septuagint and Vulgate
provide grounds of interpreting it as a
double- or single-reed instrument. The
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
talmudic literature confirms this viewpoint.”
“The Book of Daniel…contains a recurring
phrase listing a group of musical instruments,
often called the ‘Nebuchadnezzar orchestra,’
whose playing served as a signal for the
worship of an idol to begin…The names are
given in a mixture of Greek, Aramaic and
Hebrew…The mashroqita, from the Hebrew
word shrq (‘to pipe’)…it should most likely
be identified with a tongued instrument (of
the zmr type).”
Musicians, 2nd ed., Vol. 3, p “Biblical
W
I mashroqiy “(Chaldee); from a root corresponding to Daniel 3:5, 7,
flute H4953
N H8319; a (musical) pipe (from its whistling 10, 15
D sound):—flute.”
James Strong, A Concise Dictionary of the
Words in the Hebrew Bible, Macdonald
Publishing Co., p. 74.
“Occurs four times in the Aramaic portions

of Daniel; a similar expression (in Judges
5:16) indicates the shepherd’s piping for his
flock. The instrument, made of reeds, wood,
or bones, was as primitive as its tone was
coarse…It was not considered fit for
liturgical purposes.”
“A bezel (for a gem):—pipe.”
“This translation is supported by Fetis: the

double flute; Ambros: large flutes; and by
W neqeb
pipes H5345 Jahn: the nay or Arab flute. It is now, Ezekiel 28:13
I
however abandoned, and Jerome’s
N
explanation that neqebh means the ‘setting’
D
of precious stones is generally adopted.”
Bible Encyclopedia, electronic edition
STEP Files, 1998, Parsons Technology,
Inc., “Neqebh.”
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
“The silver trumpet…[was] capable of
producing notes of only certain
intervals…[and] amplify and channel the
sound made by the rapid buzzing of pursed
lips…The sons of Aaron [were] the sole
players of these silver trumpets…[they]
were not just noisemakers; they
were…implements in the worship of God.”
Frank E. Gaebelein (ed.), Expositor’s Bible
Commentary, Vol. 2, Zondervan Publishing
House, 1990, pp. 778-780.
“[The Hebrew] hasoserah is generally Numbers 10:2,

understood to be a metal trumpet…an 8, 9, 10; 31:6;
instrument of war and rejoicing…played at 2 Kings 11:14;
assemblies…on feast days…when the Ark 12:13;
was borne in procession…taking of an 1 Chronicles
oath…solemn occasions as the king’s 13:8; 15:24, 28;
accession to the throne…and laying the 16:6, 42;
W
foundation stone of the Temple…Two 2 Chronicles
I
trumpet chatsotserah H2689 forms of sound production are 5:12; 13:12, 14;
N
mentioned…a long, strong note (for ‘the 15:14; 20:28;
D
journeying of the camps’ and the assembly 23:13; 29:26,
of army leaders); and…a blaring tone for an 27;
alarm warning of enemy attack or divine Ezra 3:10;
admonition…This is the only instrument Nehemiah
whose construction and material are 12:35, 41;
mentioned in any real detail in the Old Psalm 98:6;
Testament.” Hosea 5:8
“In length it was not quite a yard. It was

composed of a narrow tube somewhat
thicker than a flute, widened slightly at the
mouth to catch the breath, and ended in the
form of a bell, like the common trumpets.”
Josephus, Antiquities of the Jews, Book 3,
chap. 12, sec. 6.
“The shophar was a ram’s horn…(which) Exodus 19:16,
sounded all signals in war and peace; it 19; 20:18;
announced the new moon, the beginning of Leviticus 25:9;
the Sabbath, the death of a notable’; it Joshua 6:4, 5, 6,
warned of approaching danger…Hence, we 8, 9, 13, 16, 20;
trumpet
shofar H7782 must conclude that the function of the Judges 3:27;
(ram’s horn)
shophar was to make noise…but not to 6:34; 7:8, 16,
make music.” 18, 19, 20, 22;
Interpreter’s Dictionary of the Bible, Vol. 3, 1 Samuel 13:3;
“Musical Instruments” by E. Werner, 2 Samuel 2:28;
Abington Press, 1962, pp. 473-474. 6:15; 15:10;
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MUSIC IN THE BIBLE
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Strong’s Relevant
Number Scriptures
18:16; 20:1, 22;
“The shofar, mentioned more frequently 1 Kings 1:34,
than any other instrument in the Old 39, 41;
Testament…is recognized to be the horn of 2 Kings 9:13;
a goat or a ram, and translations such as 1 Chronicles
W salpinx (the Septuagint), tuba (the Vulgate) 15:28;
I and such modern renderings as ‘trumpet’ 2 Chronicles
N are misunderstandings…The two or three 15:14;
D notes (with 2nd and 3rd overtones) produced Nehemiah 4:18,
by the shofar have an alarming tremolo 20;
horn sound described in the Old Testament Job 39:24, 25;
as qol (‘voice’), teqi‘ah (‘blowing of the Psalms 47:5;
trumpet’), teru‘uh (‘rejoicing’), and 81:3; 98:6;
yevavah (‘sobbing’, ‘groaning’).” 150:3;
The New Grove Dictionary of Music and Isaiah 18:3;
Musicians, 2nd ed., Vol. 3, “Biblical 27:13; 58:1;
Instruments” by Joachim Braun, Macmillan Jeremiah 4:5,
Publishers, 2001, pp. 529-530. 19, 21; 6:1, 17;
42:14; 51:27;
Ezekiel 33:3-6;
Hosea 5:8; 8:1;
Joel 2:1, 15;
Amos 2:2; 3:6;
Zephaniah 1:16;
9:14
“In the New Testament the salpinx, the long
straight Roman trumpet, is an instrument of
communication and for the giving of
signals…The instrument becomes a symbol
of supremacy in the praise of God, the Matthew 24:31;
Resurrections and the Last Judgment.” 1 Corinthians
The New Grove Dictionary of Music and 14:8; 15:52;
W
Musicians, 2nd ed., Vol. 3, “Biblical 1 Thessolonians
I
trumpet salpigx G4536 Instruments” by Joachim Braun, Macmillan 4:16;
N
Publishers, 2001, p. 533. Hebrews 12:19;
D
Revelation 1:10;
“Perhaps from G4535 (through the idea of 4:1; 8:2, 6, 13;
quavering or reverberation); a trumpet:— 9:14
trump (-et).”
Words in the Greek Testament, Macdonald
Publishing Co, p. 64.
“The two words shophar and keren are used
synonymously in Josh 6:4-5…The Revised
Version…renders in text ‘ram’s horn,’ in Joshua 6:5;
W the margin ‘jubilee.’ The former depends on 1 Chronicles
I H7161 a statement in the Talmud that yobhel is 25:5;
horn (ram’s) qeren
N H7162 Arabic for ‘ram’s horn,’ but no trace of such Psalm 75:4, 5,
D a word has been found in Arabic. A 10;
suggestion of Pfeiffer’s that yobhel does not Daniel 3:5
designate the instrument, but the manner of
blowing, is advocated by J. Weiss. It gives a
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MUSIC IN THE BIBLE
Instrument Hebrew /
Strong’s Relevant
Number Scriptures
good sense in the passages in which yobhel
occurs in connection with shophar or keren.
Thus in Josh 6:5, we would translate, ‘when
the priests blow triumph on the horn.’”
James Orr (ed), International Standard
Files, 1998, Parsons Technology, Inc., “The
Shophar Keren.”
“The Hebrew term qeren (‘animals horn’)

occurs only once in the sense of a musical
instrument…at the blowing of the qeren ha-
yovel (ram’s horn). Indistinguishable in
practice from the shofar ha-yovel.”
“NEBEL (pl. nebalim). Stringed instrument,
mentioned twenty-seven times in the Bible,
whose exact identification remains
uncertain…The different views given by
scholars and Biblical commentators as to its
meaning are:
“(1) Flavius Josephus regards the kinnor
and the nebel as identical instruments…the
latter having twelve strings and played with 1 Samuel 10:5;
the fingers. The Jerusalem Talmud is also of 2 Samuel 6:5;
the opinion that the nebel and kinnor are the 1 Kings 10:12;
same, except that the former has more 1 Chronicles
S strings. The Babylonian Talmud also agrees 13:8; 15:16, 20,
that nebel and kinnor are identical, and, 28; 25:1, 6;
T corroborating this view, Rabbenu Gershon 2 Chronicles
stringed comments that, since the verse reads 5:12; 9:11;
R instruments;
nebel bekinnor benebel asor and does not use the 20:28; 29:25;
strings H5035
I conjunction ‘and’ between kinnor and Nehemiah
(KJ psaltery) nebel, it can be inferred that the instruments 12:27;
N
are the same…Rashi remarks that the nebel Psalms 33:2;
G had more strings than the kinnor. The 57:8; 81:2;
Mishnah mentions that the entrails of a 92:3; 108:2;
beast are used for the strings of the nebel 144:9; 150:3;
and kinnor. The strings of the nebel were Isaiah 5:12;
thicker than those of the kinnor. It is evident 14:11;
too that the tone of the nebel was louder Amos 5:23; 6:5
than that of the kinnor; thus possibly the
nebel was a larger and lower-pitched
instrument.
“(2) According to the Septuagint and
Vulgate, the nebel is a harp. This meaning
is suggested by the numerous renderings of
nebel in these works by the Greek
psalterion and Latin psalterium.
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MUSIC IN THE BIBLE
Instrument Hebrew /
Strong’s Relevant
Number Scriptures
“(3) The King James Version translates it
by both psaltery and viol.
“(4) Ibn-Ezra comments that the nebel had
ten holes, thus possibly considering it to be
a wind instrument in the form of a pipe.
“(5) It is possible that it denotes a kind of
bagpipe, since nebel in Hebrew also means
a ‘wine bottle’ or ‘skin.’ The Jerusalem
Talmud suggests that the instrument was
called nebel because of its untanned skin.
“(6) Abraham Portaleone identifies it with
the lute called liuto chitarronato (Ger.
Mandoline).
“(7) Bathja Bayer, with archaeological and
pictorial evidence that is not, however,
entirely conclusive, points out that the nebel
of the Biblical and Second Temple period
was a lyre-type instrument.”
“The root nbl can be vocalized in two ways,

nabal and nebel (Heb. and Akkadian nabal:
‘ritually unclean,’ ‘godless,’ ‘a rogue,’ ‘a
carcass’; Heb., Ugaritic and Syrian nebel:
‘pitcher,’ ‘leather bag to contain liquids,’
‘string instrument’; Botterweck, 1973–, v,
185)…The translations given in the
Septuagint and Vulgate are not consistent
(nabla, psaltiron, organon, kinira, lyra,
kithara).
“The function of the nebel was similar to
that of the kinnor…A Levite guild
instrument (1 Chronicles xv.16), it was
played when the Ark was carried in
procession (2 Samuel vi.5), at the dedication
of the wall (Nehemiah xii.27), at victory
celebrations (2 Chronicles xx.28) and as an
accompaniment to prophecy (1 Samuel x.5).
“It resembled the kinnor in being made of
the wood of ‘almug trees’ (1 Kings x.12).
“Unlike the kinnor, the nebel seems to have
had 12 strings and was played with the
fingers (Josephus, vii.12.3) rather than a
plectrum…The strings of the nebel were
made of thick gut and those of the kinnor of
thin gut (Mishnah, Qinnim iii.6); the sound
of the nebel could be loud and noisy (Isaiah
xiv.11). Although the instrument has been
widely interpreted as a harp, this theory is
not supported by archaeological finds…In
the present state of research, the hypothesis
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MUSIC IN THE BIBLE
Instrument Hebrew /
Strong’s Relevant
Number Scriptures
put foward by Bayer (1968) is convicing:
the nebel was a local form of lyre that
underwent very little Hellenization, and had
a resonator resembling the kind of leather
bag used to hold fluids; it produced a loud
sound, had more and thicker strings than the
kinnor, was played without a plectrum and
served as a tenor or bass instrument.
“Recently, a crucial proof of the
interpretation of the biblical nebel as a lyre
has come to light: a stone carving of the
Roman period was discovered at Dion in
Greece, showing the first instance of text
and image side by side: a relief of a lyre
next to the carved wording of a hymn of
praise on the nabla (see Pandermalis, 1998;
Yannou and others, 1998, p. 80).”
“All the evidence points to the nebhel

having been the Assyrian harp, of which we
have numerous examples in the ruins.”
Files, 1998, Parsons Technology, Inc.,
“Music, III. Instruments 2. Strings (2)
Materials (b) The Nebhel.”
“From the fact that ‘nebel’ in Hebrew also

signifies a wine bottle or skin, it has been
conjectured that the term when applied to a
musical instrument denotes a kind of
BAGPIPE…One would not call a guitar by
any term that connotes collapsing when not
in use. But the Hebrew word ‘nebel’
perfectly fits the Scottish and Irish
bagpipes…Who is more likely to have
preserved the instruments and melodies of
David’s Israelite surroundings than the
traditional Israelites, such as the Scots,
Welsh and Irish, who colonized Britain in
the days of ancient Israel and preserved
much of the form of Hebrew music?”
“The Bible Answers Short Questions From
Our Readers,” The Plain Truth, July 1967,
pp. 15-16.
The kinnor “was a stringed instrument Genesis 4:21;
harp kinnor H3658 shaped like a harp (the Sea of Galilee has a 31:27;
similar shape and is often called Kinneret). 1 Samuel 10:5;
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MUSIC IN THE BIBLE
Instrument Hebrew /
Strong’s Relevant
Number Scriptures
The strings were made of stretched 16:16, 23;
sheepgut. It was used in the Temple and 1 Chronicles
S
festivities (Isaiah 5:12), to accompany 13:8; 15:16, 21,
T prophecies (1 Chronicles 25:1), and to 28; 16:5; 25:1,
change moods (1 Samuel 16:23). We do not 3, 6;
R
know the number of strings or whether a 2 Chronicles
I plectrum (pick) was used. 5:12; 9:11;
20:28; 29:25;
N Nehemiah
G 12:27;
Job 21:12;
30:31;
Psalms 33:2;
43:4; 49:4;
57:8; 71:22;
81:2; 92:3;
98:5; 108:2;
137:2; 147:7;
149:3; 150:3;
“Replica of a kinnor from Megiddo dating
Isaiah 5:12;
from circa 1200 B.C.”
16:11; 23:16;
Ralph Gower, The New Manners and
24:8; 30:32;
Customs of Bible Times, Moody Press,
Ezekiel 26:13
1987, p. 306.
“Although the Septuagint and the Vulgate

show uncertainty regarding the translation
of the term…and despite the centuries-old
tradition of depicting, both in writing and
iconography, the kinnor as the ‘harp of
David,’ modern scholars are in no doubt
that the instrument was in fact a lyre…
confirmed by archaeological evidence:
more than 30 depictions of lyres date from
the period relevant to the biblical scriptures,
while not a single find has been discovered
relating to any other kind of string
instrument.”
“The kinnor (or so we are informed by

Professor Lise Manniche) was not a native
Egyptian instrument. Some early kinnorot
portrayed and found in Egypt nevertheless
seem more characteristically Egyptian in
type, with horizontal crossbars and often
heavy construction. Others reflect the
typically lighter construction and slanted
crossbars of the characteristically Semitic
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MUSIC IN THE BIBLE
Instrument Hebrew /
Strong’s Relevant
Number Scriptures
type. These latter kinnorot appear later in
Egyptian history, and were imported from
Syria and the Levant. This change in style
of instruments reflected a change in style of
music, for the later instruments were
capable of greater volume than the earlier
ones.
“Some of the preserved instruments had the
bases of their soundboxes open, allowing
more sound to escape; and other kinnorot
used soundholes, like the mockup [shown
on the Web site] (based on a six-stringed
instrument from Deir el-Medineh, dating
from ca. 1580 BC). This kinnor, given its
slanted crossbar and light construction,
reflected the typical Semitic rather than the
typical Egyptian model.”
From www.kingdavidsharp.com.
“The kinnor, a stringed instrument similar

to the Greek lyre, is…the musical
instrument to which the Bible refers most
often. Sometimes called David’s harp, the
kinnor is not a true harp. Unlike a harp, the
kinnor had strings of even length…
Musicians played the kinnor primarily in
worship services, but also used it on state
occasions. During times of mourning the
instrument remained silent. The kinnor was
popular among shepherds, which explains
David’s familiarity with the instrument.”
“When a Harp Is Not a Harp,” The Plain
Truth, April 1994, p. 28.
“In the Septuagint and the Vulgate, the

majority of the translations of kinnor are,
respectively kithara and cithara, the
interpretation probably being a lyre similar
to the Greek instrument called kithara…It
may thus be deduced that the quality of its
tone was sweet and tender…probably
cypress or sandalwood. There are various
opinions concerning its shape and the
number of strings…although the kinnor was
used for accompaniment ‘it could be very
eloquent when played alone, with the
fingers of both hands sweeping the strings
freely.’”
harp (bekinnor ‘The psaltery of ten strings’ is given as the Psalms 33:2;
benebel) asor H6218 rendering of Heb: nebhel 'asor; while…
(instrument) 92:3; 144:9
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
of 10 strings Heb: 'asor is translated ‘instrument of ten
strings.’ No doubt…there were harps of less
S
and greater compass—the mention of the
T number of strings in two or three instances
does not necessarily imply different kinds
R
of harps.”
I James Orr (ed.), International Standard
N Files, 1998, Parsons Technology, Inc.,
G “Music, III. Instruments 2. Strings (2)
Materials (b) The Nebhel.”
“By abreviation ten strings, and so a

decachord:—(instrument of) ten (strings,
-th).”
phrase listing a group of musical
instruments, often called the
‘Nebuchadnezzar orchestra,’ whose playing
served as a signal for the worship of an idol
to begin…The names are given in a mixture
S of Greek, Aramaic and Hebrew…The
qaytros (from Gk. Kithara) belongs to the
T
tradition of Babylonian military bands
R (lyres accompanied by drums and
Daniel 3:5, 7,
harp qiytharos H7030 cymbals).”
I 10, 15
N Musicians, 2nd ed., Vol. 3, “Biblical
G
“(Chaldee); Of Greek origin [H2788]; a

lyre:—harp.”
“The kithara—a large lyre—may have
acquired a new tonal quality at around this
time as a result of changes in instrument-
making…it is plausible that in the New
S
Testament names of instruments ‘like aulos, 1 Corinthians
T kithara may have been used loosely to refer 14:7;
harp kithara G2788 to more instruments of a general class’ Revelation 5:8;
R
(Smith, 1962).” 14:2; 15:2;
I The New Grove Dictionary of Music and 18:22
N
G Publishers, 2001, p. 533.
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
“Of uncertain affinity; a lyre:—harp.”
Words in the Greek Testament, Macdonald
S “In the NKJV the phrase ‘stringed
instruments’ is often used to refer to all 1 Chronicles
T these instruments in a collective sense: harp, 15:16; 16:42;
R lute, lyre, psaltery…” 23:5;
instruments keliy H3627 Nelson’s Illustrated Bible Dictionary, 2 Chronicles
I Thomas Nelson, 1986, p. 736. 5:13; 7:6;
N 23:13; 29:27;
Nehemiah 12:36
G
“Shalishim occurs in 1 Sam 18:6, where it

is rendered ‘instruments of music,’ the
Revised Version margin ‘triangles, or three
stringed instruments’…The word seems
from the context to represent a musical
instrument of some sort, but which is very
uncertain.”
Files, 1998, Parsons Technology, Inc., “The
Shalishim.”
“Collective term…indicates the

predominant place of stringed
instruments…appear to refer to harps or
S
lyres, in contrast to other priestly
T instruments such [as] trumpets or cymbals.”
R
shaliysh “Musical Instruments” by E. Werner,
instrument H7991 1 Samuel 18:6
I Abington Press, 1962, p. 476.
N
“Shalishim…has been the object of
G conjecture and speculation by Biblical
commentators and scholars. (1) The
Septuagint translates it by ‘cymbals.’
Rashi…and R. David Kimchi have the same
view.
“(2) The Vulgate gives sistra as its
meaning.
“(3) The marginal notation in the
Authorized Version translates it as ‘three-
stringed instruments,’ from the root shalosh,
‘three.’ Thus, some Biblical commentators
have suggested ‘triangular harps’ or ‘three-
stringed lutes.’
“(4) …The instrument is a steel rod bent
into an equilateral triangle, suspended on a
thread, and struck with a metal stick.
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MUSIC IN THE BIBLE
Instrument Hebrew /
Strong’s Relevant
Number Scriptures
“(5) It has been defined as a dance,
according to R. Yosef b. Shimon
Kara…according to Curt Sachs, it is a dance
with ‘three’ (participants).
“(6) F.W. Galpin interprets it to mean a
three-stringed instrument, probably the long
necked guitar or tamboura.
“(7) Some scholars render it ‘noble songs.’”
Jewish Music, McGraw-Hill, 1975, pp. 221-
222.
S of Greek, Aramaic and Hebrew…Sabbekha
is a term of Greek origin…often identified
T
as a lyre, Sach’s suggestion that it was a
R vertically-held angular harp (1940, p. 84)
lyre sabbeka Daniel 3:5, 7,
H5443 seems better founded.”
I (KJ sackbut) 10, 15
N Musicians, 2nd ed., Vol. 3, “Biblical
G
“(Chaldee); from a root corresponding to

H5440; a lyre:—sackbut.”
of Greek, Aramaic and Hebrew…The
pesanterin…has been seen deriving from an
ancient Greek harp-type instrument (Sach’s,
S pesanteriyn 1940, p. 83), although Kolari (1947, p. 78) Daniel 3:5, 7,
psaltery H6460
suggests that it was possibly a zither.” 10, 15
T The New Grove Dictionary of Music and
R Musicians, 2nd ed., Vol. 3, “Biblical
I Publishers, 2001, p. 532.
N
“(Chaldee); a transliteration of the Greek
G (not in lexicon) psalterion; a lyre:—
psaltery.”
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Instrument Hebrew /
Strong’s Relevant
Number Scriptures
Page 55
December 2003
MUSIC IN THE BIBLE
Appendix B—Index of Scriptures Referring to Music
Genesis 4:21 1 Samuel 16:23 2 Chronicles 7:6

Genesis 31:27 1 Samuel 18:6-7 2 Chronicles 9:11
Exodus 15:1 1 Samuel 18:10 2 Chronicles 13:12
Exodus 15: 20 1 Samuel 21:11 2 Chronicles 15:14
Exodus 15:21 1 Samuel 29:5 2 Chronicles 20:21-22
Exodus 20:18 2 Samuel 6:14-16 2 Chronicles 29:25-28
Leviticus 23:24 2 Samuel 18:16 2 Chronicles 34:12
Leviticus 25:9 2 Samuel 19:35 2 Chronicles 35:15
Numbers 10:2-10 2 Samuel 20:1 2 Chronicles 35:25
Numbers 21:17 2 Samuel 20:22 Ezra 2:41
Deuteronomy 31:19 2 Samuel 23:1 Ezra 3:10-11
Deuteronomy 31:21 1 Kings 1:34 Ezra 7:7
Deuteronomy 31:22 1 Kings 1:39-41 Ezra 7:24
Deuteronomy 31:30 1 Kings 4:32 Ezra 10:24
Deuteronomy 32:44 1 Kings 10:12 Nehemiah 4:18
Joshua 6:4-6 2 Kings 3:15 Nehemiah 4:20
Joshua 6:8-9 2 Kings 9:13 Nehemiah 7:1
Joshua 6:13 2 Kings 11:14 Nehemiah 7:44
Joshua 6:16 2 Kings 12:13 Nehemiah 7:67
Joshua 6:20 1 Chronicles 6:31-33 Nehemiah 7:73
Judges 3:27 1 Chronicles 9:33 Nehemiah 10:28
Judges 5:3 1 Chronicles 15:16 Nehemiah 11:22-23
Judges 5:12 1 Chronicles 15:19-22 Nehemiah 12:27-29
Judges 7:8 1 Chronicles 15:27-29 Nehemiah 12:35-36
Judges 7:16 1 Chronicles 16:5-7 Nehemiah 12:38
Judges 7:18-20 1 Chronicles 16:9 Nehemiah 12:40-42
Judges 7:22 1 Chronicles 16:23 Nehemiah 12:45-47
Judges 21:23 1 Chronicles 25:1 Job 21:11-12
1 Samuel 10:5 1 Chronicles 25:3 Job 29:13
1 Samuel 13:3 1 Chronicles 25:5-7 Job 30:9
1 Samuel 16:16-18 2 Chronicles 5:12-13 Job 30:31
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Job 35:10 Psalm 33:2-3 Psalm 61 (Title)

Job 36:24 Psalm 36 (Title) Psalm 61:8
Job 38:7 Psalm 39 (Title) Psalm 62 (Title)
Job 39:24-25 Psalm 39:5 Psalm 62:4
Psalm 3 Title (used 57 times Psalm 39:11 Psalm 62:8
in Psalms) Psalm 40 (Title) Psalm 64 (Title)
Psalm 3:2 (Selah: used Psalm 40:3 Psalm 65 (Title)
71 times in Psalms) Psalm 41 (Title) Psalm 65:13
Psalm 3:4 Psalm 42 Title) Psalm 66 (Title)
Psalm 3:8 Psalm 42:8 Psalm 66:2
Psalm 4 (Title) Psalm 43:4 Psalm 66:7
Psalm 5 (Title) Psalm 44 (Title) Psalm 66:15
Psalm 6 (Title) Psalm 44:8 Psalm 67 (Title)
Psalm 7:5 Psalm 46 (Title) Psalm 68 (Title)
Psalm 9:2 Psalm 47 (Title) Psalm 68:25
Psalm 9:11 Psalm 47:4-7 Psalm 68:32
Psalm 12 (Title) Psalm 49:4 Psalm 70 (Title)
Psalm 13 (Title) Psalm 49:13 Psalm 71:22-23
Psalm 13:6 Psalm 49:15 Psalm 75 (Title)
Psalm 27:6 Psalm 56 (Title) Psalm 81:1-3
Psalm 30 (Title) Psalm 57:6-8 Psalm 82:2
Psalm 31 (Title) Psalm 59:16-17 Psalm 84 (Title)
Psalm 32:4-5 Psalm 60 (Title) Psalm 84:4
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MUSIC IN THE BIBLE
Psalm 85 (Title) Psalm 133 (Title) Isaiah 30:29

Psalm 85:2 Psalm 134 (Title) Isaiah 30:32
Psalm 87 (Title) Psalm 135:3 Isaiah 35:2
Psalm 87:3 Psalm 137:2-4 Isaiah 35:6
Psalm 87:6-7 Psalm 138:1 Isaiah 35:10
Psalm 88:7 Psalm 139 (Title) Isaiah 42:10-11
Psalm 88:10 Psalm 140 (Title) Isaiah 44:23
Psalm 89:1 Psalm 140:3 Isaiah 48:20
Psalm 89:45 Psalm 144:9 Isaiah 52:8-9
Psalm 95:1-2 Psalm 149:1 Jeremiah 4:5
Psalm 96:1-2 Psalm 149:3 Jeremiah 4:19
Psalm 98:1 Psalm 149:5 Jeremiah 4:21
Psalm 98:4-6 Psalm 150:3-5 Jeremiah 6:1
Psalm 100:2 Proverbs 25:20 Jeremiah 6:17
Psalm 101:1 Proverbs 29:6 Jeremiah 20:13
Psalm 104:12 Ecclesiastes 2:8 Jeremiah 31:4
Psalm 105:2 Ecclesiastes 7:5 Jeremiah 31:12-13
Psalm 108 (Title) Song of Solomon 1:1 Jeremiah 48:36
Psalm 108:1-3 Song of Solomon 2:12 Jeremiah 51:27
Psalm 109 (Title) Isaiah 5:1 Jeremiah 51:48
Psalm 118:14 Isaiah 5:12 Lamentations 3:14
Psalm 119:54 Isaiah 12:2 Lamentations 3:63
Psalm 120 (Title) Isaiah 12:5 Lamentations 5:14-15
Psalm 121 (Title) Isaiah 14:7 Ezekiel 7:14
Psalm 122 (Title) Isaiah 14:11 Ezekiel 26:13
Psalm 123 (Title) Isaiah 16:10-11 Ezekiel 28:13
Psalm 124 (Title) Isaiah 18:3 Ezekiel 33:3-6
Psalm 126:2 Isaiah 24:14 Daniel 3:5
Psalm 127 (Title) Isaiah 24:16 Daniel 3:7
Psalm 131 (Title) Isaiah 27:2 Hosea 2:15
Psalm 132 (Title) Isaiah 27:13 Hosea 5:8
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MUSIC IN THE BIBLE
Hosea 8:1 Matthew 6:2 1 Thessalonians 4:16

Joel 2:1 Matthew 9:23 Hebrews 2:12
Joel 2:15 Matthew 11:17 Hebrews 12:19
Amos 2:2 Matthew 14:6 James 5:13
Amos 3:6 Matthew 24:31 Revelation 1:10
Amos 5:23 Matthew 26:30 Revelation 4:1
Amos 6:5 Mark 6:22 Revelation 5:8-9
Amos 8:3 Mark 14:26 Revelation 8:2
Amos 8:10 Luke 7:32 Revelation 8:6-8
Habakkuk 3:3 Luke 15:25 Revelation 8:10
Habakkuk 3:9 Acts 16:25 Revelation 8:12-13
Habakkuk 3:13 Romans 15:9 Revelation 9:1
Habakkuk 3:19 1 Corinthians 13:1 Revelation 9:13-14
Zephaniah 1:16 1 Corinthians 14:7-8 Revelation 10:7
Zephaniah 2:14 1 Corinthians 14:15 Revelation 11:15
Zephaniah 3:14 1 Corinthians 14:26 Revelation 14:2-3
Zephaniah 3:17 1 Corinthians 15:52 Revelation 15:2-3
Zechariah 2:10 Ephesians 5:19 Revelation 18:22
Zechariah 9:14 Colossians 3:16
Page 59
December 2003

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Table of Contents… Page

What Is Proper Music in the Church?.................................................................5

Genesis Through Deuteronomy ............................................................................6

Joshua Through Ruth ..........................................................................................10

Samuel Through Chronicles ...............................................................................12

Ezra Through Job ................................................................................................21

Psalms Through Song of Solomon ......................................................................22

Isaiah Through Malachi ......................................................................................26

Old Testament Summary ....................................................................................29

Matthew Through Revelation .............................................................................29

Summary of the New Testament ........................................................................33

1. What Is the Fruit?.....................................................................................34

2. Godly Music Will Reflect God’s Character............................................34

3. God’s Law Judges Right and Wrong ......................................................35

5. A Balance of Quality Music .....................................................................37

6. Offense vs. Tolerance ................................................................................38

Appendix A—Instrument Table .............................................................40

Appendix B—Scripture Index ................................................................56

Overview and Purpose of Music

What Is Proper Music in Church?

“The non-neutrality of music is clearly recognized by musicians themselves. For

Genesis Through Deuteronomy

Genesis is a Greek word meaning “origin,” “source,” “generation” or “beginning.” The

Exodus 28:33-34; 39:25-26: “. . . bells of gold . . .”

Joshua Through Ruth

Samuel Through Chronicles

Some additional comment is appropriate regarding this section of Scripture. Starting at

“[T]he musical instruments employed by the Hebrews included representatives of the

Hebrew tsltselim, Hebrew mena`an`im, Hebrew shalishim. Besides these, we have in

Ezra Through Job

Psalms Through Song of Solomon

Psalm 3:2, 4, 8: “Selah.” (Used 71 times throughout the Psalms.)

“[P]erhaps an eight-stringed musical instrument. [P]erhaps a musical notation, i.e. an

Song of Solomon 1:1: “The song of songs . . .”

Isaiah Through Malachi

“[Stringed instruments] From Hebrew 5059; properly instrumental music; by implication

Different translations of this verse reflect a divergence of opinion concerning the

“19 . . . On my stringed instruments—neginoth. This is the prophet’s direction to the

Old Testament Summary

Matthew Through Revelation

This is an example of music and dancing outside of a religious setting. It is certainly

“Verse 26 gives us a short outline of the elements of worship in Corinth: a hymn,

always been accompanied by an outburst of hymnology. Armitage Robinson describes

This prophecy is an indictment against the Babylonian system. The destruction of

Summary of the New Testament

1. What Is the Fruit?

2. Godly Music Will Reflect God’s Character

3. God’s Law Judges Right and Wrong

Today’s ‘sacred’ musical choices come in many styles—from classical to

Likewise, controversy over music is a problem when it divides brethren. However,

Appendix A—Instrument Table

“These are the familiar Graeco-Roman

“It has been described as a small portable