notes4u

[david johnson]

from 'cantus spiritus'
xqwizit publishers, 2002
by yours truly

dj
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Musicians of the Bible

The director of music

Pss 4, 5, 6, 8, 9, 11, 12, 13, 14, 18,
19, 20, 21, 22, 31, 36, 39, 40, 41, 42,
44, 45, 46, 47, 49, 51, 52, 53, 54, 55,
56, 57, 58, 59, 60, 61, 62, 64, 65, 66,
67, 68, 69, 70, 75, 76, 77, 80,
84, 85, 88, 109, 139, 140

Hab 3
The designation “director of music” could apply to the Levite who fulfilled the music administration capacities of scheduling the rotation service for singers and instrumentalists supervising instrument maintenance, instrument construction, and training musicians. This man could also be charged with entering the indicated psalm into the repertory or determining which pre-existing tunes or melodic formula to use in performance. The director would also function as leader of the Levitical choir and guide worshipers in their responses.

Jubal
Gen 4:21
The first musician mentioned in the Old Testament is Jubal, son of Lamech and Adah, a resident of Nod where his ancestor Cain had settled. The names of Jubal and his brothers, Jabal and Tubal–Cain, derive from Hebrew verbs meaning “To bring, carry, or lead”.
Jubal’s designation as the “father of all who play the harp and flute” indicates that professional music activities, at least in Nod, began with him.
It’s easy for a musician to visualize what was required to carry on this work. Jubal’s “shop” would have contained rolls of gut for lyre strings, half–finished lyre and harp frames, broken instruments to be repaired, bones and cane for woodwind instruments, drills and borers for finger holes, hides for tof heads, and trainees to help with the work.
Jubal also had to be a pedagogue, one who developed and passed on playing techniques to aspiring musicians. Since it seems music notation was still in the future, Jubal needed a good memory, a good ear, and vocal skills.

Trumpeters

1 Ch 15:24, 16:6

Shebaniah
Joshaphat
Nethanel
Amasa
Zechariah
Benaiah
Eliezer
Jahaziel

These men are both priests and trumpeters. Scripture notes that some of them played continuously at certain events. This indicates they practiced for endurance and embouchure flexibility. (See section on melodic formulae and trumpets). These primitive instruments had a limited range that could be extended by trained players. The hours spent on the march as they preceded the Ark bearers were not whiled away playing one pitch, but with fanfares of varied rhythm and pitch to announce the approach of The Ark of God.

Lyrists

1 Ch 15:20, 16:5

Zechariah
Aziel
Shemiramoth
Jehiel
Unni
Eliab
Maaseiah
Benaiah

Harpists

1 Ch 15:20, 16:5

Mattithiah
Elipheleu
Mikneiah
Obed–Edom
Jeiel
Azaiah

Per orders of King David:
These musicians were selected by the chiefs of the Levitical families to provide music for the Ark’s entry into Jerusalem and it’s placement within the city. As noted in the section on string instruments, lyres were built with a resonator box to amplify their sound. Harps were built without a resonator.

Choirs

1 Ch 15:21-27
Neh 12:30-43

For the ceremony mentioned in 1 Ch 15, the choirs wore robes of fine linen, as did David. The choirs in Nehemiah performed antiphonally (in echo fashion) as they marched to the top of the wall and, coming from opposite directions, met at their assigned places in the “house of God”.
Nehemiah’s singers formed a regional ensemble, called together from the music communities of the Netophathites; Beth Gigal, Geba, and Azmaveth; villages around Jerusalem that the singers themselves had built.
David’s chorus master was Kenaniah the head Levite, selected because of his great musical skill.
Nehemiah’s choirs were directed by Jezrahiah.

Asaph

1 Ch 6:39
1 Ch 15:17, 19
1 Ch 16:5, 7, 37
1 Ch 5:6, 9
Neh 12:46

Pss
50:1, 73:1, 74:1, 75:1, 76:1, 77:1
78:1, 79:1, 80:1, 81:1, 82:1, 83:1

Asaph, son of Berekiah, began his liturgical music career as an associate of another musician, Heman. Heman and Asaph, along with Ethan, were percussionists in the service of King David. These men specialized in using cymbals in processional and temple music. By the time of 1 Ch 16:5, Asaph has been moved from associate to chief, but still functions as percussionist. In verse 7 of that book, David presents Asaph, who now has associates of his own, with a psalm. Asaph is later charged with ministering regularly before the Ark of the covenant. By chapter 25, he is under the king’s direct supervision.
In addition to being a chief musician, Asaph is called a seer. His sayings and prophecy are presented in twelve psalms listed previously.

Jeduthun

1 Ch 16:41, 42
1 Ch 25:3, 6, 12
2 Ch 5:12
2 Ch 35:15
Pss 39, 62, 77

Jeduthun was multi-talented. His responsibilities included organizing brass, percussion, and string players for use in sacred song. Jedthun was also a harpist who played while praising God. Like Asaph, Jeduthun also prophesied and was called the king’s seer.

The roaming band of prophets

In 1 Sa 10:5 Saul is told to go to his hometown of Gibeah where the Philistines had stationed a garrison of troops. Coming down from the high place would be a group of prophets with a harp, tambourine, flute, and lyre. Obeying his orders, Saul meets with these minstrel prophets. The spirit comes upon him and he joins them in prophesying.

Miriam

Ex. 15:20-21-The sister of Moses and Aaron is herself called a prophetess. She sang and led the women of the exodus in song to the accompaniment of the tofs (tambourine–like hand drums minus jingles).

King David

1 Samuel 16:23
2 Samuel 6:5
2 Samuel 23:1
1 Ch. 16:37
2 Ch. 35:15

Students of scripture will recognize David as a Bard–King. His prowess in music, poetry, and personal combat combine to make him a colorful, royal figure of Israel’s past.
As mentioned earlier in this work, the youthful David was a capable music therapist who soothed the troubled monarch Saul with harp playing.
David’s grand triumphs and personal failings fueled his creative spirit to produce many of the Psalms. He led his people in celebration before the Lord, and Samuel refers to him as Israel’s singer of songs. David appointed gifted musicians to organize and perform music at sacred events. His ideas were followed for many years in the temple Solomon built.

King Solomon

1 Kings 4:32

Solomon (Jedidiah) was David’s second son by Bathsheba. This favorite son of David ascended to the throne of Israel when he was eighteen years old. His reign of forty years was marked by the grand splender associated with wise, wealthy kings.
Extensive construction projects were completed under his direction–the temple, fortifications, whole cities. Artistically, Solomon seems more prone to literature than music, but the king did write 1005 songs and at least two psalms. The bible does not reveal whether the “songs” were just lyrics, or also contained musical directions.

Angels

Chapters 8-11 of Revelation depict John’s vision of angels sounding trumpets to preceed the apocalyptic events of the letter. Although angels have manifested themselves in physical bodies at the will of God, the usual understanding is that they are spiritual beings.
Incorporeal entities would lack the lungs and lips required to produce a trumpet tone. The figurative nature of the Revelation letter and the ancient view that the salpinx (trumpet of Revelation) possessed supernatural power, influence this author to view angels with trumpets as figurative language first and literal events second.

[david johnson]

The Bible and Trumpets

Old Testament


Hasoserah

Numbers 10:2,8-10 & 31:6
2 Kings 9:14 & 12:13
Hosea 5:8
Psalm 98:6
Ezra 3:10
Nehemiah 12:35,41
1 Chronicles 13:12,14, 15:14, 20:20, 23:13, & 29:26-8
Hasoserah is the metal trumpet of the book of Numbers. Numbers chapter two states that God commanded Moses to have two hasoserah made specifically of beaten silver. Josephus describes them as being a narrow tube with a broad bell section, about 40 cm in length.
The events related in Numbers occur not too long after the Hebrew exodus from Egypt. Egyptian culture produced trumpets similar to the Hasoserah. Tutankhamun’s tomb contained a pair of these instruments with wooden mouthpieces. While no clear link between the two trumpets of Moses and the two trumpets of King Tut can be drawn, it is safe to assume that during four centuries of Egyptian bondage, the Hebrews were at least exposed to Egyptian trumpets.
According to extra-biblical literature (Mishnah and Qumran), the Hebrew trumpets were engraved with inscriptions. The music played on these instruments is
described as: A) a long, drawn-out tone
B) a sharp, blasting tone
C) a great warlike noise
4.
These descriptions immediately suggest to the musician that Hebrew trumpeters
were trained in playing fundamentals such as embouchure development, and breath control. It is obvious that these musicians could produce a great volume of commanding tone as often as required in instances of ritual, battle, or royal ceremony. A reading of scripture trumpet references indicates these instruments were used at communal assemblies, feast days, moving the Ark, oath taking, royal accession, and the laying of the temple foundation stone.

Qeren-ha-yovel
Joshua 6:5

Animal horn used at the fall of Jericho (see shofar)

Qarna

Daniel 3:5,7,10,15
A Babylonian trumpet probably made of pottery or metal rather than animal horn





Shofar

Exodus 19:16,19 & 20:18
Leviticus 15:9
Joshua 6:4,5,8,9,13,16,20
Judges 3:27, 4:34, & 8:16,18-20,22
1 Samuel 13:3
2 Samuel 2:28, 6:15, 15:10, 18:16, & 20:1,22
1 Kings 1:34,39,41
2 Kings 9:13
1 Chronicles 15:28
2 Chronicles 15:14
Nehemiah 4:18,20
Job 39:24-5
Psalm 47:5, 81:3, 93:6, & 150:3
Isaiah 18:3, 27:13, & 48:1
Jeremiah 4:5,19,21, 6:1,17, 42:14, & 51:27
Ezekiel 33:3-6
Hosea 1:8 & 8:1
Joel 2:1,15
Amos 2:2 & 3:6
Zephaniah 1:16
Zechariah 4:14

The shofar, ram or goat horn, is mentioned more often in the Old Testament than are other instruments and still retains its place in Jewish liturgy.
The two forms of shofar, mentioned once again in Mishnah and Babylonian Talmud are 1) a straight horn with bell overlaid with gold and played at New Year and
2) a curved horn covered in silver for use in festive occasions. Roman illustrations indicate a separate mouthpiece.
Fourth century rabbinical writings describe the shofar as producing long tones, tremolo tones, and broken tones. Bible references show the shofar’s use at Yom Kippur, new moon, penitence, carrying the Ark, war, and victory celebrations.

New Testament


Salpinx

1 Corinthians 15:52
1 Thessalonians 4:16
Revelation 8 & 9

The salpinx is the trumpet of the New Testament, adapted by the Romans from the Greeks. It was long and straight and considered to have supernatural power.

Writings of the fourth century use these terms to describe trumpet playing:
1) Teqi’ah (long tone)
2) Teru’ah (agitated)
3) Shevarim (broken tone)

A realization in modern notation was produced in 1969 displaying the melodic motif and three variations, illustrating the possibility of these primitive instruments generating partials present in the harmonic series – g’ d’ g’ d” and even a chromatic pitch in the form of g#.
.
Proof that simply constructed musical instruments produce recognizable melodic patterns upon demand (music) can be found in the descriptions and notations above as well as Frederick Fennell’s The Drummer’s Heritage published by the Eastman School of Music. Pages 40-63 of that work contain 40 selections for military valveless brass.
Horn virtuoso Dennis Brain of England is listed in the Hoffnung Discography by Richard Warner, Jr. as soloist in a Hoffnung festival recording of a Mozart allegro retitled humorously as Concerto for Hosepipe and Strings. Although done in fun, the recording demonstrates that even a length of garden hose can be used musically.
(URL: www.northhse.demon.6.UK/ashby/afdisclea)
The existence of notated music for a variety of valveless brass instruments from a variety of time periods shows what the performers were required to produce. Musicians do not as a rule play alert sirens. The trumpet calls ordered by God in Numbers 10:7 are required to be different in pitch sequence and / or rhythm from other calls. Different music, in other words. The shofars and hasoserah of the Bible were selected by God to fulfill specific musical requirements. They are genuine musical instruments.

Brass instruments in other translations:
KJV – cornet (reflecting conical bore)
sackbut (trombone; trombones did not exist in Bible-times, but this could be a larger instrument producing deeper tones)