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Tyndale Open Bible Dictionary

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MUSICAL INSTRUMENTS

Stringed, wind, and percussion instruments used to make music.

In contrast to the detailed accounts of liturgical music in the OT, the descriptions of the musical instruments themselves are rather sparse. Because of the injunction of the second commandment, interpreted by the Hebrews as discouraging pictorial representations, there are few drawings of Hebrew instruments. In addition to the instruments used in the temple, the book of Daniel lists six instruments played in King Nebuchadnezzar’s court.

The ancient Hebrews made certain distinctions among the instruments, not on musical but on ethical grounds. Some instruments were considered “unclean” and were not allowed in temple worship.

Stringed Instruments

The stringed instruments were favored by the Jewish people. In many ancient civilizations the strings were considered the most masculine and noble (e.g., David playing the lyre); the Jews considered them the most suitable for accompaniment in the temple service. The term minim is used in Psalm 150:4 to designate the entire family of stringed instruments used in the praise of God.

Asor appears three times in the book of Psalms (Pss 33:2; 92:3; 144:9). Although the word derives from a Hebrew root meaning “ten,” the actual description of the instrument remains unclear. The most common theory identifies it with the Phoenician zither having ten strings; it is perhaps the lute.

Kathros was a stringed instrument included in the list of those played at Nebuchadnezzar’s court and was probably a kind of lyre (Dn 3:5, 7, 10, 15 OET DAN 3:5 · OET DAN 3:7 · OET DAN 3:10 · OET DAN 3:15).

Kinnor is the most frequently mentioned instrument in the Bible, found in 42 places. It is often called David’s harp and is the most beloved instrument of the Jewish people. We can say with reasonable certainty that it was a lyre and not a harp. The strings, the number of which is not clear, were made of sheep tripe and the sounding box was at the bottom of the instrument. It is not certain whether it was played with a plectrum or with bare hands, but the specific comment that David “played it with his hand” (1 Sm 16:23, rsv) may have implied that this was not the common practice. The biblical descriptions of the sound of the kinnor include “pleasant” and “sweet” (Ps 81:2). The kinnor was played mainly in worship but also in celebrations (Is 5:12), for state occasions (1 Sm 10:5; 2 Sm 6:5), and by shepherds (1 Sm 16:16).

Nebel was another stringed instrument (literally meaning “skin” or “skin bottle”) mentioned 27 times in Scripture. Its shape was probably similar to a bottle, with the belly-shaped sounding box on the bottom. It definitely belongs to the family of harps (2 Sm 6:5; 1 Kgs 10:12; Neh 12:27; Ps 57:8; Am 5:23) and may have been influenced by similar Egyptian instruments. The nebel was probably played without a plectrum and was a larger and louder instrument than the kinnor. It is translated as “harp” in most modern English translations, compared to the KJB (“psaltery,” or “viol”).

Psantrin or pesanterin was a Greek instrument, mentioned in the description of King Nebuchadnezzar’s orchestra. It may have resembled a dulcimer, having strings played with hammers (Dn 3:5-15).

Sabcha or sabbeka, identical with the Greek sambyke and the Roman sambuca, was a stringed instrument (rsv “trigon,” KJB “sackbut”) played in the Babylonian court. It was a triangle with four strings, having a high and harsh tone (Dn 3:5-15).

Wind Instruments

The wind instruments can be divided into two groups: pipes and horns.

Halil is mentioned only six times in the Bible but was referred to frequently by postbiblical writers. This kind of piped instrument was similar to the Greek aulos (Mt 9:23; 1 Cor 14:7; Rv 18:22), a primitive oboe, rendered “flute” in many translations. The root word halal means “to pierce,” thus the meaning “hollow tube.” The early pipes were made from reedlike plants. The halil had a double-reed mouthpiece and probably produced a shrill and penetrating sound. It was connected with joyful events such as banquets (Is 5:12) and prophetic frenzies (1 Sm 10:5), but its tone was also associated with wailing and mourning (Jer 48:36).

Hatzotzrot was a sort of trumpet. Modern scholars have more information about this horn than many of its ancient Hebrew counterparts. The triumphal arch built by Titus in Rome includes depictions of the captured implements of the temple, among which are two trumpets. The form of these horns may have been influenced by the Israelites’ knowledge of Egyptian trumpets. Similar instruments were also known in Assyria, in the Hittite Empire, and in Greece. Moses was commanded to make two silver trumpets (Nm 10:2); playing these instruments became the exclusive privilege of the descendants of Aaron. These trumpets were made of silver or gold, about a yard (.9 meter) long, but narrow, with a pronounced bell. The descendants of the hatzotzrot are the herald trumpets. Numbers 10:10 says the trumpets were used “for a memorial before . . . God.” Trumpets and horns were used to signal the gathering of the congregation to the tent of meeting, to sound alarm, to alert the camps to move forward, and to announce when war was at hand. The hatzotzrot became an important part of the temple service. There were at least two trumpets in the daily services, but at high holidays the number could be increased indefinitely (1 Chr 15:28; 2 Chr 15:14; Ps 98:6; Dn 3:5-15; Hos 5:8).

Mashroqita, considered by modern scholars to be a Pan’s pipe similar to the Greek syrinx, is included in the list of orchestral instruments of King Nebuchadnezzar’s court (Dn 3:5, 7, 10, 15 OET DAN 3:5 · OET DAN 3:7 · OET DAN 3:10 · OET DAN 3:15).

Shophar is mentioned in the Bible 72 times, more than any other Hebrew instrument. It is the only instrument of ancient Israel that survives in its original form and is still used in Jewish liturgy. The early shophar was curved like a ram’s horn, but the later form was straight with a bend near the bell of the horn. There is some question whether any of the hornlike instruments can actually be considered musical instruments. The shophar could produce two, maybe three tones, and was used for giving signals, not for playing music. It was used in such religious ceremonies as the transfer of the ark (2 Sm 6:15; 1 Chr 15:28), the renewal of the covenant by King Asa (2 Chr 15:14), thanksgiving to God (Ps 98:6; 150:3), and was blown at the new moon and the beginning of the jubilee year. Its secular use included such royal occasions as Absalom’s accession to the throne (2 Sm 15:10), Solomon’s anointing as king (1 Kgs 1:34), and Jehu’s accession to the throne (2 Kgs 9:13).

Sumponia is an uncertain term included in Daniel 3. Many commentators have interpreted it as a bagpipe (rsv), but musicologists strongly argue that at the time of King Nebuchadnezzar there was no such instrument. It has been suggested that sumponia was not a musical instrument at all but signified the playing of the entire ensemble. This could come from the Greek root symphonia, meaning “sounding together.” The word is also found in Luke 15:25, where it is translated as “music.”

Ugab, a flutelike instrument, is mentioned in Scripture four times (Gn 4:21; Jb 21:12; 30:31; Ps 150:4; KJB mistranslates it as “organ”). It is only in Psalm 150 that the ugab is connected with a sacred occasion.

Percussion Instruments

Most of the accounts of percussion instruments are found in the early history of the Hebrew people. They were gradually eliminated from the temple orchestra, perhaps because of their association with idolatrous practices.

Mena anim was a loud metal rattle, constructed with a frame carrying loose rings. It is included in a list of instruments in 2 Samuel 6:5 (rsv “castanet”; KJB mistranslates as “cornet”). It was likely a form of the sistrum, an Egyptian instrument.

Pamonim were the bells attached to the lower hem of the priest’s garment, described in Exodus 28:33-34 and 39:25-26. They were not loud but indicated the position of the high priest as he entered the sanctuary.

Shalishim, often translated as sistrum or timbrel, is a kind of rattle. It is not clear whether this term actually refers to a musical instrument. It appears in 1 Samuel 18:6 as part of the reception of King Saul and David after the battle with the Philistines.

Toph or tof was an instrument used mainly by women, but there are some indications that men might have played it as well (1 Sm 10:5; KJB “tabret”; 2 Sm 6:5; 1 Chr 13:8). The mention of this kind of hand drum appears 15 times in the Bible. A wooden or metal hoop was covered with the skin of a ram or wild goat and was played with the hand. It is not clear whether the toph had skin on just one side or two. Some commentators have described it as a tambourine or timbrel but there is no indication that it included jangles. The toph was used in merrymaking and was rather loud (Ex 15:20; Ps 81:2).

Zelzelim or meziltayim were cymbals. Both of these words come from the Hebrew root zala, meaning “to resound” or “to tingle,” and the noun forms represent the instrument known as the cymbal. Sometimes these terms are wrongly translated as “castanets.” These were the only percussion instruments included in the temple music and were always referred to in a dual form, suggesting a pair of cymbals, but played by one man. Cymbals made of metal were known to most ancient cultures. They appear for the first time in the Bible when the ark was transferred to Jerusalem (2 Sm 6:5; 1 Chr 13:8). Later they were played in the temple by the leaders of the Levitical singers (1 Chr 15:19). The function of the cymbals was less musical than liturgical, being used as signals for the singing to begin and between the sections of the psalms. Two different kinds of cymbals are mentioned in Psalm 150, but their difference is not clear, probably involving either size or material.