Psalm 150
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Remember the following three truth’s from our beloved Scriptures!
“Ye shall NOT ADD TO THE WORD which
I command you, neither shall ye diminish from it, that ye may keep the commandments of יְהוָה
אֱלֹהֵיכֶם (the LORD your Eloleichem) which
I command you”. Davarim – Deuteronomy 4:2.
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With Rabbi, Dr, Reuven Ben Avraham-Goossens,
PhD.
Introduction:
Tehillim - Psalm 150 is the jubilant doxology
that closes the Book of Psalms, calling all creation to praise אֱלֹהִים -
Elohim for His ‘mighty deeds’ and ‘excellent greatness’. Short and exuberant,
its six verses names a wide range of musical instruments and bodily expression,
‘trumpets’, ‘lyre’, ‘tambourine’, ‘dance’, ‘cymbals’, and it culminates in the
simple summons:
“Let every thing that hath breath, praise יְהוָה ... הַלְלוּ-יָהּ - HalleluYah” (Verse 6).
It is an apt finale for the Psalter and a fitting benediction for ‘study’, ‘worship, and moments when our hearts have over flown with ‘gratitude’!
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Let us read this Tehillim in Hebrew, which is followed up with the English translation: all sourced from the JPS-1917 version of the Tanakh: the truth there is so much grandeur in this, the final Tehillim - Psalm:
הַלְלוּ-יָהּ
הַלְלוּ-אֵל
בְּקָדְשׁוֹ;
הַלְלוּהוּ,
בִּרְקִיעַ
עֻזּוֹ
1 ... “Praise אֱלֹהִים - Elohim in His Sanctuary; praise Him in the firmament of His power.
הַלְלוּהוּ בִגְבוּרֹתָיו; הַלְלוּהוּ, כְּרֹב גֻּדְלוֹ
2 ... Praise Him for His mighty acts; praise Him according to His abundant greatness.
הַלְלוּהוּ, בְּתֵקַע שׁוֹפָר; הַלְלוּהוּ, בְּנֵבֶל וְכִנּוֹר
3 ... Praise Him with the blast of the horn; praise Him with the psaltery and harp.
הַלְלוּהוּ, בְּתֹף וּמָחוֹל; הַלְלוּהוּ, בְּמִנִּים וְעֻגָב
4 ... Praise Him with the timbrel and dance; praise Him with stringed instruments and the pipe.
הַלְלוּהוּ בְצִלְצְלֵי-שָׁמַע; הַלְלוּהוּ, בְּצִלְצְלֵי תְרוּעָה
5 ... Praise Him with the loud-sounding cymbals; praise Him with the clanging cymbals.
כֹּל הַנְּשָׁמָה, תְּהַלֵּל יָהּ: הַלְלוּ-יָהּ
6 ... Let every thing that hath breath praise יְהוָה. HalleluYah”.
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Tehillim - Psalm 150 so beautifully stands as
the final, exuberant call to ‘worship’ in Tehillim. And it does that in just
six verses. This Tehillim invites every breath and every instrument to join
together in celebrating Elohim’s power and greatness. It also emphasizes that
praise should not be confined to a specific place but is to be offered in the
Sanctuary, the heavens, and across all creation. This universality of praise is
encapsulated in verse 6, which declares,
“Let everything that has breath praise יְהוָה. HalleluYah”.
At the heart of Tehillim 150 we find a rich
imagery of music and dance. Each verse introduces a different instrument, the
‘trumpet’ (Shofar), ‘harp’, ‘lyre’, ‘timbrel’, ‘strings’, ‘pipe’, and ‘cymbals’
each contributing a unique sound to the symphony of praise. This deliberate
mention highlights the belief that worship is a multi HalleluYah sensory
celebration where varied expressions, whether through music, dance, or song
combine to give great honour to the Divine. Such vivid portrayals not only
reflect the cultural and musical traditions of ancient worship but also serve
as a timeless reminder that praise can, and should, be as diverse as the
instruments we choose to wield in our adoration .
Beyond its immediate call for musical praise,
Tehillim 150 also carries a deep theological and philosophical significance. It
encapsulates the idea that worship is both a joyful, spontaneous, and that it
is a profound duty, acknowledging the wonder, might, and benevolence of Elohim,
Blessed be He. Its brevity underscores its power and in just six verses, it
communicates a universal message that echoes across centuries, urging all
living beings to celebrate life and the Divine. For many, this Tehillim acts as
a musical manifesto for the beauty of unbounded worship, where every sound and
every movement is a testament to gratitude and awe!
Historically and literarily, Tehillim 150 has
inspired countless musical compositions and liturgical practices. Composers and
worship leaders have found in its verses a call to create art that transcends
the mundane, elevating communal gatherings into experiences of transformative
joy. In our ancient days there was this kind of worship in ancient rituals,
such as leaving Mizraim - Egypt after having arrived on the other side of the
sea, and Pharaohs’ army and their horses were thrown into the sea.
“And Miryam - Miriam the prophetess, the sister of Acharon - Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances. And Miryam - Miriam sang unto them: Sing ye to יְהוָה - the LORD, for He is highly exalted: the horse and his rider hath He thrown into the sea”. Shemot – Exodus 15:20-21. (JPS-1917).
As we now know, the Torah mentions a blessed
number of instruments, (as stated above), all of these, we know well, and they
were used in the Mishkan - Temple rituals as well as during public
celebrations.
All this wonderful music played a vital role in ancient Hebraic worship, it was used both vocally and instrumentally to enhance religious practices, and that included during Mishkan rituals, public prayers, etc. Vocal music, in particular, was crucial, with solo, unison, and responsive singing all employed.
However, instrumental music, although so important for thousands of years from 2,448 BCE until 70 CE, that is a long 2,378 years of music, with or without the Mishkan, the Temple.
However, believe it or not, some of those self-righteous rabbis did not only remove the use of the blessed Name of אֱלֹהִים יְהוָה - the LORD Elohim, for which אֱלֹהִים cursed them; read Ma’a’chi - Malachi chapter 2: Vv 1 to 4, & 8, but they also had the gall to remove music of praise, even though it was used far back in history! They took their new found power in their hands and forbade music! The truth is, like with the Name they were completely disrespectful unto אֱלֹהִים יְהוָה - the LORD Elohim, blessed be His Sanctified Name!
This Tehillim’s
influence is evident in the way music and art was interwoven into acts of
devotion unto our beloved אֱלֹהִים - Elohim. “Everything
that has breath” and provides joyful and sacred music, will not only praise
as an invitation but it is a profound declaration of life’s inherent call to
celebrate our Elohim!
Reflecting on Tehillim 150 might you may also ask: What “instruments” can be used in our places of worship, such as our Shuls - Synagogues, etc. Of course we have already heard what was used and thus we can use the instruments which were originally played, of course without any electric power, obeying the Mitzvoth of lighting a fire and lights, etc. Therefore these should include traditional hand held instruments, including violin and Piano, for praise and for formal singing.
Having read Tehillim 150, I will now continue
to speak about each instrument.
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Ancient Hebrew musical worship was never based
on simple entertainment, certainly not, but for those in faith it was a
profound expression of their faith and it was a vital way to connect with our אֱלֹהִים
- Elohim during their everyday life. Music was seen as
a Divine gift, one that had the power to elevate the human spirit, and
communicating with the Holy One. It even served as an agent of spiritual
healing. This view is in fact reflected in our beloved Tanakh, especially in
“Tehillim – Psalms”, “Hymns”, and then “Chants” that were not just poetic
expressions but key components of religious ceremonies and national identity.
The instruments played in these contexts were as diverse as they were symbolically potent. Harps (Kinnor) and Iyre’s (Nevel) are among the most frequently mentioned instruments and were integral both in personal expressions of piety and in elaborate temple rituals. Wind instruments such as the Shofar (ram’s horn) signalled important moments be it the onset of battle, the calling together of the community, or marking the passage of sacred festivals. Percussion instruments like Tambourines (Toph) and then Cymbals ("Meziltayim") added a dynamic layer to worship underpinning the rhythm of collective worship. These elements together enabled our ancient Israelites to experience a multi-sensory encounter with their spirituality, where sound was a revered ritual of pure faith!
Organizationally, musical worship was deeply embedded into the fabric of the society. There were the dedicated groups, predominantly the Levites, were tasked with the performance and regulation of musical and liturgical practices. These musicians did not only play during Temple sacrifices and Yom Tovim - festivals, but also in moments of national triumph or mourning, thus weaving music into the very narrative of communal life. This careful integration underscores the ancient belief that music held intrinsic power a kind of communicative bridge between humanity and Elohim, blessed be He!
Moreover, the evolution of Hebrew musical worship reflects an astonishing synthesis of Art, Ritual, and Theology. It was a practice that evolved in tandem with their understanding of the world, adapting to the needs of both the individual and the community. Whether it was soothing or a troubled heart (as King David did with his harp) or when inspiring the faithful during times of uncertainty, music was a vital thread in our religious tapestry with our ancient brethren Yisrael. Today, traces of these traditions continue to influence both Jewish liturgy, testifying to the enduring legacy of these early expressions of sacred worship.
The historical narrative, exploring the archaeological and literary clues about these practices reveals even more layers for instance, how the Spatial design of the Temple and the organization of the Levitical choirs exemplified a society that revered music as a serious, disciplined art of prayer. Modern scholars are still piecing together these blessed traditions, offering us glimpses into how sound and spirituality intertwined in ways that still resonate within us this very day!
Our ancestors from so long ago being the ancient people of Yisrael viewed music not simply as a series of notes, but as a sacred language but also a means to communicate with Elohim, blessed be He, and to mark the rhythms of community life. Each instrument carried its own role and symbolic meaning, intricately woven into the tapestry of worship and ritual. Below is a more detailed exploration of these roles and their historical context.
Let us now dig
deeper into the Instruments:
Stringed
Instruments: Harp and Lyre:
The Harp (Kinnor):
The “Kinnor” was more than a musical accompaniment; it embodied a loving as well as a healing spirit of worship. As we should all know well, but famously it was closely associated with ‘Melech Dāvīḏ’ - King David whose harp playing soothed both his own spirit and that of troubled souls, the harp provided a reflective counterpoint during moments of meditation and prayer. Its delicate sound was seen as a Divine offering, mirroring the tenderness of Elohim’s mercy and care.
King David - מֶלֶךְ דָּו - Melech Dāvīḏ, was a prolific composer of Tehillim, and his other musical works, were known for their spiritual depth and lyrical beauty, spanned on various themes including praise, narrative history, and personal reflections. They were often accompanied by instruments like the “lyre”. This and the “Harp”, played a significant role in the worship practices of those ancient times right up to the destruction of the Second Temple - בֵּית־הַמִּקְדָּשׁ.
Lyre - Nevel:
It is often mentioned alongside the “Kinnor”, the “Nevel” - “Lyre” carried a deeper, resonant tone that lent itself well to both ecstatic celebrations and solemn temple ceremonies. The Levites, who were the custodians of ritual music, frequently used the lyre to punctuate sacred Tehillim and Hymns, fostering an atmosphere that invited communal participation and introspection. In both instruments, the physical act of playing signified a harmonization between the human spirit and Divine orchestration.
Wind Instruments:
Shofar and Flute:
Shofar (Rams Horn):
The “Shofar” being a ‘Rams Horn’ was perhaps the most symbolically charged of all the instruments used. It was obviously crafted from a ram and its sound it made was for both calling people to repentance as well as an announcement of impending events. In battle, it served as a rallying cry to unite and give the people courage and confidence. In periods of spiritual renewal, the Shofar’s blast was a reminder to awaken us from complacency as it was a sound that resonated deeply within the hearts of the faithful. Its role was dual: marking both the beginning and the climax of sacred ceremonies and communal gatherings.
Flute - Chalil:
Complementing the more ritualistic calls of the Shofar, it was the “Chalil” that offered a lighter more melodious sound, ideal for festivals and celebrations. Its airy notes underscored moments of joy and merriment, enhancing the overall tapestry of Worship with a celebratory quality that balanced the more solemn instruments. Together, these wind instruments cultivated a dynamic sound-capes that signified both warning and welcome.
Percussion Instruments: Being a Tambourine (Toph), Cymbals (“Meziltayim”), and Others:
Tambourine - Toph:
Associated strongly with movement and dance,
the tambourine epitomized the celebration inherent in many Hebrew festivals.
One of the most vivid biblical images is that of Miriam, who famously led the
Israelite women in dance with the tambourine after the crossing of the Red Sea.
Its rhythmic jingles were inseparable from the spontaneous expressions of
gratitude and liberation, reinforcing the connection between physical movement
and spiritual joy.
Cymbals - Meziltayim:
The “Meziltayim” - Cymbals provided a resonant, clashing sound that amplified congregational praise during temple worship. More than just an auditory signal the cymbals’ cadence created a sonic architecture, framing the liturgical space with sounds that proclaimed Divine glory and the majesty of the sacred ceremonies. Their use was often reserved for moments requiring a powerful, uplifting burst a musical exclamation that punctuated prayers and songs.
Additional
Instruments:
Other instruments, such as the “Sistrum” (a type of rattle) and various horns distinct from the Shofar, added further dimensions to the musical ensemble. While the “sistrum’s” exact construction might be less clear, its rhythmic quality contributed to a textured soundscape that resonated with influences from the broader ancient Near East. These instruments underscored a cultural interplay and provided subtle cues about the unity of the community in worship.
Interwoven Roles and Symbolism in Worship:
The roles of these instruments extended well beyond their mechanical function. They were doctrinal signifiers:
Symbolic Language: In the structure of the Tehillim and Hymns, they functioned almost as a secondary language. The timbre of the harp might evoke mercy or consolation, while the resounding blast of a Shofar could signal urgency or change.
Ritual Synchronization: In temple settings, the carefully orchestrated interplay of string, wind, and percussion instruments was designed to synchronize the hearts and minds of the worshippers. The spatial arrangement of the Levitical choirs and the acoustics of the temple itself enhanced these auditory cues, making the collective worship experience a holistic, immersive ritual.
Community Identity: Each instrument carried with it layers of historical memory. For instance, the use of the Shofar at the fall of Jericho became emblematic of Divine intervention, a moment of national unity and identity that was recalled with each subsequent religious celebration.
In essence, music and instrumentation in ancient Hebrew worship were expressions of a broader vision. The chosen instruments, their sounds, and their roles all reinforced a deep-seated belief of harmony between the human and the Divine a belief that played a crucial role in forging the communal, moral, and spiritual identity of ancient Israel .
Continuing Legacy
and Reflection:
The profound integration of musical instruments into ancient Hebrew worship continues to inspire both some modern Judaism as does the study of ethnomusicology. Scholars today use both textual references and archaeological evidence to reconstruct how these instruments functioned within the broader spectrum of ancient ritual life. This research not only deepens our understanding of historical practices but also invites contemporary communities to reflect on how music can serve as a bridge between the sacred and the everyday.
The legacy of these ancient musical traditions is enduring. They remind us that every note played in a sacred context carries with it centuries of meaning and emotion a musical heritage that still reverberates in modern liturgical practices and even in secular expressions of joy and sorrow.
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In Conclusion,
a Question to Deepen the Conversation:
Which part of the
Tanakh study, or possibly a particular line or statement within it
has touched you the most? And how do you feel about spending more
time studying our beloved Tanakh? I pray that you are doing well as a faithful
Hebrew, and אֱלֹהִים -
Elohim willing you are upholding as many of our blessed Mitzvoth’s?
Dear reader, please remember
this, pray for peace and solitude in your life, and then work on keeping
as calm as possible and learn to improve your life, for אֱלֹהִים - בָּרוּךְ
אֱלֹהִים - Bless Elohim, He
is always there and ready to help and guide you!
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This site was
originally created, for those who desired to return to our blessed and
wonderful faith. Thus be wise and work on your faith and pray at least two or
three times a day (if possible) and always seek אֱלֹהִים -
Elohim’s guidance! For interest, as you may have discovered, this site has become
very much a teaching one!
Remember what אֱלֹהִים - Elohim, blessed be
He, said the following, via a number of our prophets...
“Return unto Me, and I will return unto you, saith צְבָאוֹת- יְהוָה- the LORD of hosts”. Mal’a’chi -
Malachi 3:7. MEC).
And Remember ...
Enjoy
your Sabbath Rest, Shabbat Shalom!
אֲנִי יְהוָה
אֱלֹהֵיכֶם, בְּחֻקּוֹתַי
לֵכוּ; וְאֶת-מִשְׁפָּטַי
שִׁמְרוּ, וַעֲשׂוּ
אוֹתָם
וְאֶת-שַׁבְּתוֹתַי, קַדֵּשׁוּ; וְהָיוּ
לְאוֹת, בֵּינִי
וּבֵינֵיכֶם-לָדַעַת, כִּי
אֲנִי יְהוָה אֱלֹהֵיכֶם
“I am אֱלֹהֵיכֶם יְהוָה (the LORD your Eloheichem); walk in My statutes, and keep Mine ordinances, and do them; and
hallow My Sabbaths, and they shall be a sign between Me and you, that ye may
know that I am אֱלֹהֵיכֶם יְהוָה - YaHVaH your Eloheichem”.
Yechezkel - Ezekiel 20:19-20. (JPS).
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“Hebraic Studies” motto is as
follows;
For אֱלֹהִים יְהוָה - the LORD Elohim, Blessed be His Sanctified Name,
He is the one who gave us our Life!”
May the שָׁלוֹם - Shalom = Peace of צְבָאוֹת- יְהוָה= the LORD of hosts. be with
you, and please always uphold our blessed שַׁבָּת - Shabbat, as well as the ‘מוֹעֲדִים - Mo’a’dim -
Feasts, and continue saying your daily תְּפִלָּה - Tefeelah’s (Prayers)
and regular בְּרָכָה - Be’ra’chah’s
(blessings)
before food and drinks, etc!
שָׁלוֹם
עֲלֵיכֶם - Shalom
Aleichem - Peace be with you!
Rabbi,
Dr. Reuven Ben Avraham-Goossens, PhD.
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