The Musicians of Israel

Sing unto him, sing psalms unto him, talk ye of all his wondrous works.—1 Chronicles 16:9

A verse by verse study in 1 Chronicles 25

Music has always played an important part in worship. As Albert Edersheim writes in his Bible History of the Old Testament, "the effect of music is to detach [us] from surrounding circumstances [and] to call forth strong feelings." Additionally, in a society where many were illiterate, music served as a memory aid. Songs sung in the temple worship services were thus not only devotional, but often instructional as well.

The earliest memories of a Jewish child would include the songs heard at the temple steps. Again, quoting Edersheim, "on those steps that led up to the innermost sanctuary the priests had lifted their hands and spoken over the people the words of blessing; and then, while the drink-offering was poured out, the Levites’ chant of psalms had risen and swelled into a mighty volume; the exquisite treble of the Levite children’s voices being sustained by the rich round notes of the men, and accompanied by instrumental music. The Jewish child knew many of these words. They had been the earliest songs he had heard — almost his first lesson when clinging as a "taph" to his mother." (Sketches of Jewish Life, page 87.) It was probably the mnemonic effect of the songs that made it an accompaniment to the messages of the prophets (1 Samuel 10:5).

The earliest mention of music in the Bible pre-dates the Noahic flood. The Bible informs us that Jubal, a descendant of Cain, "was the father of all such as handle the harp and organ" (Genesis 4:21). At least twelve different words are used in the Old Testament to describe the various instruments—two among the strings, five each in wind instruments and percussion. In later times, four additional instruments are found in the book of Daniel.

The use of the Hebrew words alamoth ("in the manner of maidens") and sheminith ("in the lower octave") in the title of the psalms indicates that certain songs were composed for female voices and others for the masculine tenor and bass tones (International Standard Bible Encyclopedia). Though both sopranos and basses sang together, their singing was antiphonal with each part carrying the melody line.

Harmonization was a development of far later times. Since the word sheminith indicates an eighth, or octave, it suggests that the Hebrews used the eight-note scale that is common to most music today. The word Selah, so common in the psalms, is evidently a musical notation indicating either a pause or a musical interlude. Some of the psalms were written for one kind of instrument, and others for another. The same was true in the selection of voices for the singing of the psalms.

Although David is often thought of as the author of the psalms, many of them were written by other hands. Some date back as early as Moses, others to Hezekiah, and still others appear to be post-exilic, notably Psalm 137 which speaks of the Israelite’s exile in Babylon. The most prolific song-writer appears to be King Solomon who is credited with writing some 1,005 songs, probably including the Song of Solomon (1 Kings 4:32).

It was King David, however, who formalized the use of music into the worship services of Israel. The Levites were the temple employees. They numbered 36,000. More than ten percent of the Levites were assigned to the task of performing music in the temple. There were four thousand singers. These were supported from the tithing of the children of Israel and from the temple tax. At today’s minimum wage, the budget for singers alone would be over $40 million dollars annually. However, since they were ordered into twenty-four courses, it is probable that they were only paid for the time involved in temple service. The rest of the time they would farm the areas surrounding the Levitical cities (Leviticus 25:34). The appointment of these singers is the subject matter of 1Chronicles chapter 25.

The Appointment of the Singers—Verses 1 to 6

Moreover David and the captains of the host separated to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was: Of the sons of Asaph; Zaccur, and Joseph, and Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph, which prophesied according to the order of the king. Of Jeduthun: the sons of Jeduthun; Gedaliah, and Zeri, and Jeshaiah, Hashabiah, and Mattithiah, six, under the hands of their father Jeduthun, who prophesied with a harp, to give thanks and to praise the LORD. Of Heman: the sons of Heman; Bukkiah, Mattaniah, Uzziel, Shebuel, and Jerimoth, Hananiah, Hanani, Eliathah, Giddalti, and Romamtiezer, Joshbekashah, Mallothi, Hothir, and Mahazioth: All these were the sons of Heman the king’s seer in the words of God, to lift up the horn. And God gave to Heman fourteen sons and three daughters. All these were under the hands of their father for song in the house of the LORD, with cymbals, psalteries, and harps, for the service of the house of God, according to the king’s order to Asaph, Jeduthun, and Heman.

Three families are placed in charge of the temple musicians. These correspond to the three sons of Levi himself: Asaph being a descendent of Gershom, Jeduthun of Merari, and Heman of Kohath. It is also interesting to note that Heman is the grandson of the prophet Samuel (1 Chronicles 6:33). His father, Joel, was Samuel’s firstborn and noted for his wickedness (1 Samuel 8:2,3). Heman, however, appears to have reverted to the righteous ways of his grandfather and was known as one of the wisest of men in the days of Solomon (1 Kings 4:30,31). He was also the most blessed with children, having fourteen sons and three daughters. Presumably these were also assigned to temple singing.

In his commentary, Matthew Henry says "it is probable that Heman, Asaph, and Jeduthun, were bred up [tutored] under Samuel, and had their education in the schools of the prophets which he was the founder and president of; then they were pupils, now they came to be masters." This may explain why each of the three, in addition to the title of musician, also bears the title of seer, or prophet.

Specific psalms are attributed to each of these three heads of the families of the singers. In this regard, Asaph is the most prominent, with twelve psalms to his credit (Psalms 50 and 73 to 83). Jeduthun is mentioned in Psalms 39 and 77, while Heman is only mentioned in the title of Psalm 88. It is probable, however, that these were not the composers of these particular psalms but rather they were composed to be sung or played by their musicians. A strong indication of this is that Psalm 74, ascribed to Asaph, appears to have been written during the Babylonian captivity, several hundred years after the death of Asaph. Psalm 74:7,8 refers to the temple sanctuary being put to the flames. The only time this happened in the biblical record was by the forces of Nebuchadnezzar (Jeremiah 52:13).

The mentioning of three specific instruments in 1 Chronicles 25:1,6 is probably meant to stand for all the instruments then extant—the cymbals for percussion, the harp for the strings, and the psalteries (probably a primitive form of the bagpipe) for the winds. The sons of Jeduthun appear to have specialized in the strings and those of Heman in the wind instruments.

While the Bible does not record where this temple singing was to take place, Edersheim in his Sketches of Jewish Life, places them on the steps to the sanctuary. These are the predecessors for the cantors in many of today’s Jewish worship services.

Teachers and Students—Verses 7 and 8

So the number of them, with their brethren that were instructed in the songs of the LORD, even all that were cunning, was two hundred fourscore and eight. And they cast lots, ward against ward, as well the small as the great, the teacher as the scholar.

The Revised Standard Version translates verse 8, "And they cast lots for their duties, small and great, teacher and pupil alike." The selection was to be done by lot to avoid any favoritism by the ones doing the choosing. All were to be used, whether prominent or not, whether skilled teachers or novice students. Although the Hebrew word mishmeret, translated "ward" in the KJV, usually refers to guards or watchmen, the lexicon by Brown, Driver, and Riggs lists "function" as one meaning of the word.

The 288 "cunning men" are apparently the most skilled in the musical arts. The remaining 3,712 Levitical singers were under their direction. We might think of the smaller number as choir-masters or conductors. Since these were divided into the same 24 divisions as their teachers, there were approximately 155 individuals assigned to sing in the temple at all times.

The Twenty-Four Courses—Verses 9 to 31

Now the first lot came forth for Asaph to Joseph: the second to Gedaliah, who with his brethren and sons were twelve: The third to Zaccur, he, his sons, and his brethren, were twelve: The fourth to Izri, he, his sons, and his brethren, were twelve: The fifth to Nethaniah, he, his sons, and his brethren, were twelve: The sixth to Bukkiah, he, his sons, and his brethren, were twelve: The seventh to Jesharelah, he, his sons, and his brethren, were twelve: The eighth to Jeshaiah, he, his sons, and his brethren, were twelve: The ninth to Mattaniah, he, his sons, and his brethren, were twelve: The tenth to Shimei, he, his sons, and his brethren, were twelve: The eleventh to Azareel, he, his sons, and his brethren, were twelve: The twelfth to Hashabiah, he, his sons, and his brethren, were twelve: The thirteenth to Shubael, he, his sons, and his brethren, were twelve: The fourteenth to Mattithiah, he, his sons, and his brethren, were twelve: The fifteenth to Jeremoth, he, his sons, and his brethren, were twelve: The sixteenth to Hananiah, he, his sons, and his brethren, were twelve: The seventeenth to Joshbekashah, he, his sons, and his brethren, were twelve: The eighteenth to Hanani, he, his sons, and his brethren, were twelve: The nineteenth to Mallothi, he, his sons, and his brethren, were twelve: The twentieth to Eliathah, he, his sons, and his brethren, were twelve: The one and twentieth to Hothir, he, his sons, and hisbrethren, were twelve: The two and twentieth toGiddalti, he, his sons, and his brethren, were twelve: The three and twentieth to Mahazioth, he, his sons, and his brethren, were twelve: The four and twentieth to Romamtiezer, he, his sons, and his brethren, were twelve.

All of the Levitical services were divided by David into twenty-four consecutive courses. It isunclear whether their terms were two weeks each once a year or one week each twice a year. There were 24 courses of the priesthood and 24 courses of the porters (guards or door-keepers) as well as the 24 courses of the singers. (Thesame number is picked up in the book of Revelation as 24 elders.) Only the 6,000 appointed as "officers and judges" (1Chronicles 23:4) apparently served year round. The number is curious since it does not evenly divide into the 52 weeks of the year nor into the traditional 30-day month used by the Hebrews. It is, however, exactly twice the number of tribes of Israel, and thus is suggestive of a shadow representation of restoration to the 12 tribes.

The selection of the courses was done by lot. Probably the lots were not totally random, but seem to have been three urns for the lots—one each for Asaph, Jeduthun, and Heman. This would account for the orderly course of progression between the three families. Asaph received the first, third, fifth and seventh places, alternating with Jeduthun, who had the second and fourth lots as well as the eighth, twelfth, and fourteenth. This alternated him with Heman who had the sixth, ninth, eleventh, and thirteenth places. The balance of lots fell to Heman because he was the only one with descendents sufficient to fill them. This division is illustrated in the chart on the previous page.

The use of music, then, became a major feature of temple services. In the New Testament, the apostles admonish the Christian to not only employ music in his worship but to carry the matter still deeper—to have melody in the heart. "Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord" (Ephesians 5:19). James states that, if any is merry, "let him sing psalms" (James 5:13). But songs need not be reserved for times of joy. We note the strength of faith of Paul and Silas who sang in their prison chains. "And at midnight Paul and Silas prayed, and sang praises unto God: and the prisoners heard them" (Acts 16:25).

What rejoicing shall there be to those who, singing in joys and singing in sorrows, finally secure their victory and join in a choir of 144,000 to sing God’s praises for eternity. "And I saw as it were a sea of glass mingled with fire: and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, having the harps of God. And they sing the song of Moses the servant of God, and the song of the Lamb, saying, Great and marvelous are thy works, Lord God Almighty; just and true are thy ways, thou King of saints. Who shall not fear thee, O Lord, and glorify thy name? for thou only art holy: for all nations shall come and worship before thee; for thy judgments are made manifest." —Revelation 15:2-4