2. Wind: (a) the halil or flute ;—the terms nekeb and néhiloth ; (2) the ‘ugab ; (c) the mashrokitha ; (d} the sym horn ; (
Onia; (e) the shophar or keren, the ) the hdzozérah or trumpet.
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ΝΞ 8. Percussion : oe toph or tabret; (Ὁ) the mézil- taim or zelzélim, cymbals; (6) the ména’an'im ; (d) the shdlishim. Literature.
i. OCCASIONS WHEN USED.—The most cursory glance at the books of the OT shows the devotion of the Hebrews to the art of music. It is unlikely that it was so predominantly a sacred art as would at first sight appear from the Bible. The sacred writers look at everything more or less from a religious point of view; but we have quite suffi- cient evidence that music was loved by all classes of the le, and was practised in the home and in the Reids. The favourite instruments had been invented long before the institution of the national religion and its ceremonies (Gn 4”); Laban the Syrian was aggrieved that Jacob had stolen away without the usual song of leave-taking (Gn 31”) ; and Job (2113) refers to the performance of music as a common feature in an unsophisticated prosper- ous life (cf. Νὰ 9117). In the headings of some of the psalms we have probably traces of popular secular songs: thus Ps 45 is to be sung to the tune of ‘The Lilies,’ 60 to that of the ‘ Lily of the Testimony,’ ete. We have references also to vintage songs (Is 658; οὗ, title of Ps 57. 58. 59. 75), which would not always be as sacred as Isaiah’s (Is 5), and to music performed at feasts (Am 6°), and at processions (1 S 18°). Wherever there was a dance, or wherever two or three joined together in some common occupation, the movement would kai rhythm, and rhythm melody. Dancing and music emerged spontaneously, and were prac- tised together under all sorts of conditions. The kinah or wailing song was also familiar to the
ebrews. See LAMENTATIONS (BOOK OF).
But the consecration of music to the service of religion led to its being developed and cultivated with greater zeal and earnestness. Even if we cannot accept all the details in the statements of the historical books, at least as applying to the dates to which they are referred, they are not altogether valueless. We may allow for exag- gerations in respect to figures, and we must transfer descriptions of the worship in the first temple to that of the second, but the tradition reveals the fact that sacred music was raised by the Israelites to the dignity of an art, and was treated accordingly.
It is in Chronicles that we have the fullest account of the musical arrangements in the temple service. According to 1 Ch 15'**, David organized the Levitical chorus and orchestra. Heman, Asaph, and Ethan (? Jeduthun) were ἫΝ pointed chief conductors (under the king himself), giving the beat with their cymbals ; seven Levites played on nebels mody by, i.e. of a high pitch (?; see
. 460°), while six accompanied on kinndérs, whose escription is quite uncertain (myoyr-by, lit. ‘on the eighth’). The whole of the choristers and players were divided into 24 classes, and are said to have been 4000 in number, with 288 leaders. Even the rame of the director of the choral rehearsals is riven. Although such minute details must be un-
istorical, one feature is probably correct for all periods of the history, i.e. the lve roportion of experts (02>) compared with ἢ (ΟὙ 858). The whoie of these forces were employed to add extraordinary impressiveness to the ceremonies at the consecration of Solomon’s Temple (2 Ch 5").
After idolatrous kings had occupied the throne, Hezekiah and Josiah made it an important part of their task to restore ‘ the instruments and songs of David.’ Among the exiles who returned from Babylon, and took part in consecrating the foundations of the second temple and the walls of Jerus., were the descendants of the great Levitical choristers (Neh 12”), and in vy. we
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are informed that from that time divine service was regularly performed as instituted by David, the people contributing the necessary support for the singers.
ii. NATURE OF HEBREW Music.— We know nothing whatever of the nature of the music per- formed by these singers and players. What ancient instruments have been preserved have either been too frail to admit of being handled, or have refused to emit any sound. Besides, even if we could reproduce the ancient harps and flutes, etc., we ἘΣ ΤΗ require to know the method of blowing or of tuning them. Nor can we learn anything from the music still performed in the synagogues. It is possible that the trumpet-calls now in use originated at an early date, but that does not take us far. The hymn-tunes are cer- tainly comparatively modern, and their composi- tion shows traces of the country and seriall in which they have originated. Of a musical nota- tion there is no trace. Much ingenuity has been lavished on the attempt to interpret the accents from a musical point of view. It has been sug- gested that they were signs of musical plirases, or that they were even a kind of figured bass; but these are only far-fetched guesses. Not only were they of late origin, but their purpose was wholly different. They are guides to the proper recitation or cantillation of the text. Even to this extent they do not furnish any reliable information as to ancient usage: meant to preserve tradition, they are themselves subject to tradition, and are inter- preted differently in different synagogues.