Psalm 150 - Praise Him in song
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Instrumental music
(non electric) and the voice could be part of our worship!
With Rabbi, Dr.
Reuven Ben Avraham-Goossens, PhD.
“אֱלֹהֶיךָ hwhy (The LORD God) is in the midst of thee, a Mighty One
who will save; He will rejoice over thee with joy, He will be silent in His
love, He will joy over thee with singing”. Tsefanyah - Zephaniah 3:17. (MEC).
It amazes me, that rabbis have very much
destroyed the way we give praise our beloved Elohim. First of all they have
lengthened prayers, in fact so much so, that we repeat a number of items again
and again during our services. However, as we can clearly read in the Torah,
there was another way we used to praise hwhy Elohim, blessed be His Sanctified Name!
Tehillim - Psalm 150 provides us how it can be done.
In Ivrit - Hebrew, and
English:
הַלְלוּיָהּ
הַלְלוּ-אֵל
בְּקָדְשׁוֹ;
הַלְלוּהוּ,
בִּרְקִיעַ
עֻזּוֹ
Verse 1. Hallelujah. Praise Elohim in His Sanctuary; praise Him in the firmament of His power.
הַלְלוּהוּ
בִגְבוּרֹתָיו;
הַלְלוּהוּ,
כְּרֹב
גֻּדְלוֹ
Verse 2. Praise Him for His mighty acts; praise Him according to His abundant greatness.
הַלְלוּהוּ,
בְּתֵקַע
שׁוֹפָר;
הַלְלוּהוּ, בְּנֵבֶל
וְכִנּוֹר
Verse 3. “Praise Him with the blast of the horn; praise Him with the psaltery and harp.”
הַלְלוּהוּ,
בְּתֹף
וּמָחוֹל;
הַלְלוּהוּ,
בְּמִנִּים
וְעֻגָב
Verse 4. Praise Him with the timbrel and dance; praise Him with stringed instruments and the pipe.
הַלְלוּהוּ
בְצִלְצְלֵי-שָׁמַע;
הַלְלוּהוּ,
בְּצִלְצְלֵי
תְרוּעָה
Verse 5. Praise Him with the loud-sounding cymbals; praise Him with the clanging cymbals.
הַנְּשָׁמָה,
תְּהַלֵּל
יָהּ:
הַלְלוּ-יָהּ
Verse 6. Let every thing that hath breath praise hwhy. Hallelujah. Tehillim - Psalm 150. (MEC).
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Tehillim - Psalms 150 stands so beautifully as the final exuberant call to worship, and amazingly 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 hwhy, HalleluYah”.
Did you note that the word ‘Praise’ (HalleluYah) is mentioned 12 times in these six verses, and that actually equates to our 12 Tribes.
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What we need today in a world touched by wars and countless troubles, thus its time to bring back what our forefathers had, and that was making music and sing sacred songs which praised our beloved Creator with joy!
At the heart of Tehillim 150 we find a rich imagery of music and dance. As we already know each verse introduces a different instrument, all of which contributes to a unique sound to a symphony of glorious Praise. This deliberate mention highlights the belief that worship is a multi sensory celebration where varied expressions can be made, whether it is through music, dance, or song it combines to give great honour to אֱלֹהִים - Elohim (G-d). Such vivid portrayals do not only reflect the cultural and musical traditions of our ancient worship, but it will 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, הוּא- בָּרוּךְ- Blessed be He. Song and music creates a kind of power thus it will communicate a universal message that echoes across centuries urging all living beings to celebrate life and He is our Divine אֱלֹהִים-יְהוָה. For 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 of אֱלֹהִים-hwhy - (the LORD G-d)!
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 our rituals, such as when we left Mizraim (Egypt) after having arrived on the other side of the sea, and Pharaohs’ army and their horses were drowned in the sea.
“And Mir’yam - 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 Miriam
sang unto them: Sing ye to hwhy, for He is highly exalted: (for) the horse
and his rider hath He thrown into the sea”. Shemot - Exodus
15:20-21. (MEC).
Tehillim - Psalm 150, mentions a good number
of instruments, including lyres, harps, cymbals, and trumpets
- shofars, all of these we know were used in
the הֵיכָל -
Hei’chal - Temple rituals as well as during Yamim Tovim - ימים
טובים.
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 includes during Temple rituals, public prayers, etc. Vocal music, in particular, was crucial, with solo, unison and responsive singing included.
However, instrumental music, although so important for thousands of years from 2,448 BCE until 70 CE, had a very long 2,378 years of music, and that continued even when there was no Temple!
However, believe it or not, certain self righteous rabbis did not only remove the use of the blessed Name of Elohim, for which Elohim cursed them; read Mal’a’chi - Malachi chapter 2:1 to 4, but they also had the gall to remove musical worship, even though it was used for so many years! Rabbis took their own power in their hands and forbade music! The truth is, like with the Name they were completely disrespectful unto אֱלֹהִיםָ hwhy - (the LORD G-d), blessed be His Sanctified Name!
This Psalm’s influence is evident in the way music and art was interwoven into acts of devotion unto our beloved Elohim. “Everything that has breath” should be able to provide joyful and sacred music and song, for it will not only praise Him, but it will like an invitation that would be a profound declaration of life’s inherent call to celebrate and praise our אֱלֹהִים!
Reflecting on Tehillim 150, you
might also ask: Which “instruments” can be used in our
Shuls - Synagogues, etc. Of course we
have already heard what was used in our ancient times and therefore we can
use instruments that were played in the past, as well as instruments that
do not require any electricity, obeying the Mitzvoth of lighting a fire and
lights, etc. Therefore these should include traditional hand
held instruments, including the cello, violin and
piano for praise and for formal singing praises unto אֱלֹהִים wherever it takes place.
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Music existed even when we were in Mizraim as ancient Hebrew musical worship was just not entertainment, but for those who were still in faith it was a profound expression of their faith, and a blessed way to connect with their 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 (כִּנּוֹר - Kinnor) and Lyre’s (נֵבֶל - 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 (שׁוֹפָר - 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 (תֹּף - Toph) and then Cymbals (מְצִלְתַּ֫יִם - Metz’ee’l’ta’yim) 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, as 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 ‘Yamim Tovim’ - Feasts, but also in moments of national triumph or mourning, thus weaving music into the very narrative of our communal life. This careful integration underscores the ancient belief that music held intrinsic power a kind of communicative bridge between humanity and אֱלֹהִים, 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 can be 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 anther means to communicate with אֱלֹהִים, 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 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”, and 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 (Metzil’tayim - Metz’ee’l’ta’yim):
The “Metzil’tayim” - 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 ‘Shalishim’ (a type of rattle) and various horns distinct from the Shofar, added further dimensions to the musical ensemble. While the “shalishim” exact construction might be less clear, its rhythmic quality contributed to a textured sound-scape that resonated with influences from the broader ancient Near East. These instruments underscored a cultural interplay and provided subtle clues 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 songs, 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 carries 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 (in which the author has been involved with in Yisrael) 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.
In
Conclusion, a Question to Deepen the Conversation:
What line in this
Tehillim resonated with you? And How does the tension between mourning and hope, mirror
any of the struggles in your own life in today’s rather sad and cruel world? We
know there is an answer of hope and joy, sing Him praises!
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“Hebraic Studies” motto is
as follows;
“The More Torah, the More Life”,
For our Elohim is the One who gave us our ... Life!
May the Shalom
(Peace) of צְבָאוֹת hwhy - (YHVH LORD of hosts) be with you, and always continue to uphold our ‘Shabbat’ and the ‘Yom Tovim’
and continue saying your daily תְּפִלָּה - Tefee’lah (Prayers) and regular בְּרָכָה - Be’ra’chah (blessings) before food and drinks, etc!
Rabbi, Dr. Reuven Ben Avraham-Goossens, PhD.
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