Singing and Music

† [שִׁיר86] vb. sing (denom. according to NöZMG xxxvii (1883), 537 Gerb172, but, if so, an old one);— Qal49 Pf. 3 ms. שָׁר ψ 7:1; Impf. 3 ms. יָשִׁיר Ex 15:1 Nu 21:17 (read יָשִׁר Jb 33:27 for יָשׁר, √ II. שׁוּר, so SS Bu Gerb; in this sense also Ew De Di RV and all mod.); 3 fs. וַתָּ֫שַׁר Ju 5:1, etc.; Imv. mpl. שִׁירוּ Ex 15:21 +; Inf. cstr. לָשׁוּר 1 S 18:6 Kt (לָשִׁיר, so Bu; 𝔊B om., cf. Dr KitKau HPS Now); Pt. שָׁר Pr 25:20; pl. שָׁרִים 2 S 19:36 +; f. שָׁרוֹת 2 S 19:36 + 2 times + Am 8:3 (read for שִׁירוֹת; v. שִׁירָה);—sing, c. acc. שִׁיר Is 42:10 ψ 33:3 + 5 times; שִׁירָה Ex 15:1; Nu 21:17 (E) Is 5:1; שׁ׳ בשׁרים Pr 25:20; מִשִּׁיר צִיּוֹן ψ 137:3; שׁגיון 7:1 (𝔊 מזמור), תהלה 106:12; c. acc. of theme 59:17; 89:2; abs. Ju 5:1; 1 S 18:6; c. לְ ψ 13:6; 96:1, 2 = 1 Ch 16:23, Ex 15:1, 21; Je 20:13; ‖ זמּר ψ 68:5, 33; 101:1; 104:33; 105:2 = 1 Ch 16:9; Ju 5:3; + זמּר abs. ψ 57:8 = 108:2; c. acc. theme 21:14; c. לְ pers. 27:6; of nature 65:14 (after הַתְרוֹעֵעַ); על אנשׁים Jb 33:27 (v. supra); pt. שָׁרִים singers 2 S 19:36 1 K 10:12 + 6 times (Ez 40:44 read שְׁתַּיִם 𝔊 Hi Co mod.); שָׁרוֹת songstresses 2 S 19:36; 2 Ch 35:25; Ec 2:8 + Am 8:3 (v. supra).—ψ 138:5 read וְיָשִׂיחוּ. Pōʿl.36 Pf. 3 mpl. שֹׁרְרוּ Jb 36:24; Impf. 3 ms. יְשׁוֹרֵר Zp 2:14; Pt. מְשׁוֹרֵר 1 Ch 6:18; 2 Ch 29:28; pl. מְשֹׁרְרִים Ezr 2:65 +, etc.;—sing: birds Zp 2:14; men Jb 36:24; elsewhere pt. of Levitical singers 1 Ch 6:18; 9:33 + 31 times, + fpl. Ezr 2:65 songstresses = Ne 7:67. †Hoph. be sung: Impf. יוּשַׁר הַשִׁיר הַזֶּה Is 26:1.

† סֶ֫לָה vb. lift up (voices in ברוך לעולם), or exalt (לעולם י׳) (Imv. of סָלַל (cf. Pr 4:8 ψ 68:5; הִגָּיוֹן סלה 9:17, v. הִגּ׳), properly סֹ֫לָּה, סֶ֫לָה poss. Qr = נֶצַח, Hexapla σελ; but cf. הֶ֫רָה Ew554 Köii 1, 539; 𝔊 Sym Theod διάψαλμα, expl. Suidas μέλους ἐναλλαγή; Theodoret Hippolytus μέλους μεταβολή (cf. Hexapla Hb 3:3 μεταβολὴ διαψάλματος; Syriac Hexapla Aq. עוניתא in 5 ψ ψ, Field in ψ 38:12); 𝔊 adds διάψαλμα, e.g. 2:2; 34:11; 94:15, after final editing of Heb. Psalter; so Psalms of Solomon 17:21; 18:10 on same principles as in MT; used therefore with full knowledge that it indicated some kind of interruption or change in the regular rendering. סלה is used in שמונה עשרה after Benedictions 3, 18, and after other early Jewish prayers, shewing knowledge, c. 100 a.d.; Aq gives ἀεί (Theod. also ψ 9:17); Sexta διαπαντός (except 20:4 εἰς τέλος); Quinta εἰς τοὺς αἰῶνας; Jer. semper, 𝔗 usually לעלמא, לעלמין; but 39:6 לחיי עלמא, 44:9 לעלמי עלמין, 48:9 עד עלמי עלמין, 49:14 לעלמא דאתי; uniform tradition best expl. by closing contents of the Benedictions, מהעולם ועד העולם. So Jer. classes sela with amen and salom; and Jacob of Edessa in Bar Hebr 10:1 cp. Christian Amen of the people after Gloria);—this interpr. agrees with usage: 71 times in 39 ψψ, 3 times Hb 3 (taken from Minor Psalter למנצח, v. נצח); it occurs at end of 3:9; 24:10; 46:12 (om. 𝔊), 9:21 (𝔊 combines 9 and 10); elsewhere at close of strophe, 3:3, 5; 4:3, 5; 7:6; 9:17; 24:6; 32:4, 5, 7; 39:6, 12; 46:4, 8; 47:5; 48:9; 49:13 (so read MT v 14 by error) v 16; 50:6; 52:5, 7; 54:5; 59:6, 14; 61:5; 62:5, 9; 66:4, 7, 15; 67:5; 68:20; 76:4, 10; 77:4, 10, 16; 81:8; 82:2; 83:9; 84:5, 9; 88:8, 11; 89:38, 46; 140:4, 6, 9; 143:6; or where citations have been made, 44:9; 55:8; 57:7; 60:6; 67:2; 68:8, 33; 89:5; Hb 3:3, 9; or where extracts might be made for liturgical purposes, 20:4; 21:3; 55:20; 75:4; 85:3; 87:3, 6; 89:49; so 57:3 (𝔊 for MT v 4) Hb 3:13.—Of ψψ c. סֶלָה, 23 used in Elohistic Psalter, 28 in Director’s Psalter, 39 in final editing of Psalter. These editors found it in earlier Psalters. Davidic Psalter uses 20 of them, so few in proportion that it is not characteristic of this Psalter; but Korahite 9 (out of 12), and Asaph 7 + 80:8 [𝔊] (prob. 8 out of 12); appar. it came into use in time of these editors. In Director’s Psalter musical terms are added to 19 of the 28 it uses (and only to ten others, of which some could hardly use סלה); ψψ with סלה all (except 61, 81) name the kind of ψ in title: 3 מִכְתָּם, 7 מַשְׂכִּיל, 10 שִׁיר, 26 (27) others מִזְמוֹר, Hb 3 תְּפִלָּה; ס׳ is especially frequent with שִׁיר and מַשְׂכִּיל, terms associated with musical rendering. It prob. came into use in late Persian period in connexion with ψψ used with musical accompaniment in public worship, to indicate place of benedictions. It was not added by later editors to other psalms; but was revived in first century b.c., and continued in use for some time (v. JacobZAW xvi (1896), 129 f. BrJBL 1899 EG BriggsAm. J. Sem. Lang. Oct. 1899, 1 ff.).

† I. [נָצַח] vb. be pre-eminent, enduring (Ecclus [Pi.] make brilliant 43:5, 13 [?] (cf. Oxford ed.xxxiii); NH נָצַח conquer, etc.; Ph. נצח, Aramaic נְצַח, ܢܨܰܚ shine, be illustrious, pre-eminent, victorious; Arabic نَصَحَ be pure, reliable; Ethiopic ነድሐ be pure, innocent; both classes of meaning prob. derived from shine, be bright, brilliant, v. also Dr 1 S 15:29);— Niph. Pt. act. f. נִצַּ֫חַת Je 8:5 enduring (מְשֻׁבָה apostasy). Piel = act as overseer, superintendent, director, only Chr. and ψ-titles;—Inf. לְנַצֵּחַ 1 Ch 15:21 + 4 times; pt. לַמְנַצֵּחַ Hb 3:19 ψ 4:1 + 54 times ψψ; pl. מְנַצְּחִים 2 Ch 2:1, 17; 34:13;— 1. in building temple 2 Ch 2:1, 17; Ezr 3:8, 9, cf. 2 Ch 34:12, 13. 2. in ministry of house of י׳ 1 Ch 23:4. 3. in liturgical service of song, על־השׁמינית, over the bass voices, leading them with כִּנֹּרוֹת 1 Ch 15:21; לַמְנַצֵּחַ in titles of ψψ has prob. sim. meaning, = musical director or choirmaster; Gk. Vrss. of 2nd cent. a.d., Aq Theod Sym, and so Jer, think of Aramaic victorious, but no clear explan.; 𝔊 εἰς τὸ τέλος (prob. לַמִּנְצָח) follows ordinary meaning of noun נֵצַח, which may be expl. in eschatological sense as referring to end of age of world after Euseb Theod; or for full rendering after De; neither satisfactory. Chr., near in date, gives the clue which is intrinsically prob.: לְ indicates, not assignment (nothing special in these ψψ to suggest it, and assignment of ψψ for such use a matter of course), but that these ψψ were taken by final editor from an older major Psalter known as the Director’s Collection, cf. the still earlier collections known as (ל)דוד, (ל)אסף, (ל)בני קרח. The 55 ψψ with למנצח were taken 39 from Davidic, 9 from Korahite, and 5 from Asaphic Psalters; only 2 anonymous. Hb 3 originally belonged to Director’s Psalter. This and other Director’s ψψ have musical directions in titles. The Director’s Psalter was prob. the prayer-book of synagogue of Gk. period, presupposed by our Hab., the collection of the twelve Minor Prophets, the prophetic canon, and Daniel (v. BrGen. Intr. 123).

† I. [זמר] vb. only Pi. make music in praise of God (י׳), only poet. (Arabic زَمَرَ pipe, play on a reed; Aramaic ܙܡܰܪ, זַמֵּר and deriv.; Ethiopic ዘመረ in der. conjj.; on an orig. meaning hum, murmur, cf. HupZKM iii, (1840) 394 ff. iv, 139 ff. IdPsalm. Einl. § 7, 2 De4 on ψ 3)— Pi. Impf. 3 ms. sf. יְזַמֶּרְךָ ψ 30:13; 1 s. אֲזַמֵּר Ju 5:3 2 S 22:50; (וַ)אֲזַמְּרָה ψ 7:18 + 7 times;, אֲזַמֵּ֑רָה ψ 18:50 + 3 times; sf. אֲזַמֶּרְךָ ψ 57:10; 108:4, אֲזַמְּרֶ֑ךָּ ψ 131:1; 3 mpl. יְזַמְּרוּ ψ 66:4; 149:3; וִיזַמְּרוּ ψ 66:4; 1 pl. נְזַמְּרָה ψ 21:14; Imv. mpl. זַמְּרוּ ψ 9:12 + 14 times, זַמֵּ֑רוּ ψ 47:7(×2); Inf. לְזַמֵּר ψ 92:2, זַמְּרָה ψ 147:1;—make music, melody (only ψψ, except Ju 5:3 Is 12:5);— 1. of singing to (ל) God (Yahweh) Ju 5:3 ψ 27:6; 101:1; 104:33; 105:2 = 1 Ch 16:9 (all ‖ שׁיר vb.), ψ 30:5 (here ‖ הוֹדוּ), 47:7 (לְמַלְכֵּנוּ), 66:4; 71:23 (with תְּרַנֵּנָּה שְׂפָתַי), 9:12; 75:10 (‖ הגיד), 146:2 (‖ הלל); sq. אֶלִ־ 59:1–8, to his name לשׁם, ψ 18:50 = 2 S 22:50 (‖ אודך), ψ 92:2 (‖ לְהֹדוֹת), 135:3 (‖ הללויה); sq. sf. = sing thee, praise thee in song ψ 30:13; 57:10; 108:4; 138:1 (all ‖ אודך); sq. acc. י׳ Is 12:5, אלהים ψ 47:7, אלהינו 147:1, אדני 68:33 (‖ שׁירו), sq. שְׁמוֹ 7:18 (‖ אודה), 9:3; 61:9; 66:4; 68:5 (‖ שׁירו); sq. כְּבוֹד שְׁמוֹ 66:2, גבורתך 21:14 (‖ נשׁירה); sq. acc. of the song, מַשְׂכִּיל ψ 47:8 (v. מ׳ sub שׂכל); abs. 57:8 (‖ אשׁירה), 98:4 (‖ הָרִיעוּ, פִּצְחוּ, רַנֲנוּ), 108:2 (‖ אשׁירה; instrumental accomp. v 3; cf. also v 4 supr.), 47:7(×2). 2. of playing musical instruments בְּנֵבֶל עָשׂוֹר זַמְּרוּ־לוֹ ψ 33:2 (‖ הודו לי׳ בְּכִנּוֹר), cf. 144:9 (‖ אשׁירה); אזמרה לך בכנור 71:22 (‖ אודך בִכְלִי־נֶבֶל); ז׳ לי׳ בכנ֑ור בכנור וקול זמרה 98:5; ז׳ לא׳ בכנור 147:7 (‖ ענו לי׳ בתודה); בְּתֹף וכנור יזמרו־לו 149:3 (‖ יהללו שׁמו בְּמָחוֹל).

† [נָגַן] vb. touch (strings), play a stringed instrument (NH Pi.; Aramaic נְגַן Pa.);— Qal Pt. נֹגְנִים ψ 68:26 players (‖ שָׁרִים, עֲלָמוֹת תּוֹפֵפוֹת). Pi. Pf. וְנִגֵּן 1 S 16:16 (consec.), v 23; Impf. 1 pl. נְנַגֵּן Is 38:20; Inf. cstr. נַגֵּן 1 S 16:17 + 5 times; Pt. מְנַגֵּן 1 S 16:16 + 4 times;—play בַּכִּנּוֹר 1 S 16:16; בְּיָדוֹ v 16, 23 (כִּנּוֹר in context), 18:10; 19:9; c. acc. cogn. Is 38:20; in sim. מֵטִב נַגֵּן Ez 33:32 (‖ שִׁיר עֲגָבִים יְפֵה־קוֹל); אִישׁ מֵיטִיב לְנ׳ 1 S 16:17, cf. ψ 33:3 Is 23:16 (both ‖ שִׁיר), יָדַע נ׳ 1 S 16:18; also 2 K 3:15; Pt. = player, minstrel (cf. Qal) 2 K 3:15(×2); cf. also אִישׁ יֹדֵעַ מְנַגֵּן בַּכִּנּוֹר 1 S 16:16 (Ges§ 120 b).

† [נְגִינָה] n.f. music;—abs. נְגִינַת ψ 61:1 (v. infr.); sf. נְגִינָתִי ψ 77:7; נְגִינָתָם Jb 30:9 + 2 times; pl. נְגִינוֹת ψ 4:1 + 6 times; נְגִינוֹתַי Is 38:20; -תָ֑י Hb 3:19;— 1. music (of stringed instr.) acc. cogn. Is 38:20; as occupation La 5:14; especially בִּנְגִינוֹת in ψ-titles; ψ 4:1; 6:1; 54:1; 55:1; 67:1; 76:1; so Hb 3:19; cf. עַל־נְגִינַת ψ 61:1 (read perhaps pl. Ges§ 80 f.). 2. song (with string accomp.?) ψ 77:7; subject of mocking song Jb 30:9 (‖ מִלָּה, ψ 69:13 (נ׳ שׁוֹתֵי שֵׁכָר), La 3:14 (‖ שְׂחֹק).

† [תַּעֲנִית] n.f. humiliation, by fasting (cf. √ Pi.Hithp.; NH ת׳ = fasting), sf. תַּעֲנִיתִי Ezr 9:5.

ποι-ητής, οῦ, ὁ, maker, μηχανημάτων Refs 5th c.BC+; ζῴων, of the painter, Refs; inventor, θεῶν Refslawgiver, Refs __2 workman, Refs 3rd c.BC+ __II composer of a poem, author, π. κωμῳδίας Refs 5th c.BC+: absolutely, poet, Refs 5th c.BC+; Homer was called ὁ π., Refs 5th c.BC+; so also Hesiod, Refs 5th c.BC+ __II.b composer of music, Refs 5th c.BC+ __II.2 author of a speech, opposed to deliverer of it, π. λόγων Refs 5th c.BC+

ἀείδω, Ionic dialect and poetry form used by Refs 8th c.BC+, and sometimes in Trag. and Comedy texts (even in trimeter, Refs 5th c.BC+, also in Ionic dialect Prose; contraction ᾄδω (also Refs 6th c.BC+: imperfect ἤειδονRefs 8th c.BC+, Epic dialect ἄειδονRefs 8th c.BC+; Trag. and Attic dialect ᾖδονRefs 5th c.BC+: future ἀείσομαιRefs 8th c.BC+; rarely in active form ἀείσω, Refs 7th c.BC+, and late Poets, as Refs 5th c.BC+; still more rarely ᾄσω, Refs 2nd c.AD+; Doric dialect ᾀσεῦμαιRefs 3rd c.BC+: aorist ἤεισαRefs 8th c.BC+ —middle, aorist ἀεισάμην (in active sense) Refs:—passive, ἀείδομαιRefs 5th c.BC+: poetry imperfect ἀείδετοRefs 5th c.BC+aorist ᾔσθην, see below 11.1: perfect ᾖσμαιRefs 5th c.BC+: but ᾱ for the sake of meter Refs 8th c.BC+:— sing, Refs 8th c.BC+: hence of all kinds of vocal sounds, crow as cocks, Refs 5th c.BC+ hoot as owls, Refs 4th c.BC+; croak as frogs, Refs 4th c.BC+; οἱ τέττιγες χαμόθεν ᾄσονται Stes. cited in Refs 4th c.BC+:—of other sounds, twang, of the bow-string, Refs 8th c.BC+; whistle, of the wind through a tree, Refs 2nd c.BC+; ring, of a stone when struck, Refs 3rd c.BC+ —proverbial, πρὶν νενικηκέναι ᾄδειν 'to crow too soon', Refs 5th c.BC+ —Constr.:—ἀ. τινί sing to one, Refs 8th c.BC+; also, vie with one in singing, Refs 3rd c.BC+; ᾄ. πρὸς αὐλὸν ἢ λύραν sing to.., Refs 4th c.BC+ __II transitive, __II.1 with accusative of things, sing of, chant, μῆνιν ἄειδεRefs 8th c.BC+; κλέα ἀνδρῶν, νόστον,Refs 8th c.BC+, sing an air of.., ΦρυνίχουRefs 5th c.BC+ to sing in one's praise, Refs 8th c.BC+: later, simply ={καλεῖν}, Refs 2nd c.AD+:—passive, of songs, to be sung, Refs 5th c.BC+; ᾆσμα καλῶς ᾀσθέν, opposed to λόγος καλῶς ῥηθείς, Refs 5th c.BC+; ᾄδεται λόγος the story runs, Refs 1st c.AD+ __II.2 of persons, places, etc., sing, praise, celebrate, Refs 5th c.BC+ —passive, ἀείδεται θρέψαισ᾽ ἥρωας is celebrated as the nurse of heroes, Refs 5th c.BC+ __II.3 passive, to be filled with song, ἀείσετο πᾶν τέμενος.. θαλίαιςRefs 5th c.BC+

ψάλλω, future ψᾰλῶ LXX+NT: aorist ἔψηλα LXX+5th c.BC+:—pluck, pull, twitch, ψ. ἔθειραν pluck the hair, Refs 4th c.BC+ twang them, Refs 5th c.BC+; ἐκ κέραος ψ. βέλος send a shaft twanging from the bow, Refs; so μιλτοχαρὴς σχοῖνος ψαλλομένη a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, Refs 5th c.BC+ __II mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron, ψῆλαι καὶ κρούειν τῷ πλήκτρῳ Refs 5th c.BC+ [same place], et ibi Refs 4th c.BC+; opposed to κιθαρίζω, Refs 5th c.BC+; πρὶν μέν σ᾽ ἑπτάτονον ψάλλον (i.e. τὴν λύραν) Ion Eleg.3.3: absolutely, Refs 5th c.BC+ —Prov., ῥᾷον ἤ τις ἂν χορδὴν ψήλειε 'as easy as falling off a log', Refs 2nd c.AD+ __II.2 later, sing to a harp, LXX+NT; τῷ πνεύματι NT __II.3 passive, of the instrument, to be struck or played, ψαλλομένη χορδή Refs 4th c.BC+; also of persons, to be played to on the harp, Refs 3rd c.BC+

ὑμν-έω, Epic dialect ὑμνείω Refs 8th c.BC+; Epic dialect 3rd.pers. plural ὑμνεῦσιν Refs; feminine participle ὑμνεῦσα Refs 8th c.BC+; Aeolic dialect infinitive ὔμνην to be restored for ὑμνεῖν in Refs 7th c.BC+; Laconian dialect 1st pers. plural subjunctive ὑμνίωμες Refs 5th c.BC+: Aeolic dialect 3rd.pers. plural imperfect ὔμνην Refs 7th c.BC+: future ὑμνήσω Refs 5th c.BC+: (ὕμνος): __I with accusative of person or thing sung of, sing of, first in Refs 8th c.BC+, frequently in Hymni Homerici (Hymnus ad ApollinemRefs 7th c.BC+: also in Prose, celebrate in a hymn, commemorate, Ὦπιν NT+5th c.BC+; of the hymn itself, οὔτε.. μέ τις ὕμνος ὕμνησεν Refs 5th c.BC+ the points wherein I praised our city, Refs 5th c.BC+:—passive, to be celebrated in hymns, of gods, Refs 3rd c.BC+; also Ἀργεῖοι.. τὰ πολλὰ πάντα ὑμνέαται (Ionic dialect for -ηνται) are everywhere praised, Refs 5th c.BC+famous, LXX+5th c.BC+ foul songs were sung, Refs __I.2 descant upon, in song or speech, ἐν κατηρεφεῖ στέγῃ.. ὑμνήσεις κακά Refs 5th c.BC+; τὰν ἐμὰν ὑμνεῦσαι (Doric dialect for -οῦσαι) ἀπιστοσύναν ever singing of my want of faith, Refs 5th c.BC+:— passive, Ἐτεοκλέης ἂν.. ὑμνοῖτο.. φροιμίοις πολυρρόθοις Refs 4th c.BC+ __I.3 with accusative cognate, sing, ᾆσμα, ὕμνον, Refs 5th c.BC+ __II tell over and over again, harp upon, repeat, recite, Refs 5th c.BC+; ὡς.. Refs; τὸν νόμον ὑμνεῖν recite the form of the law, Refs —passive, ὁ δ᾽ εἶπε πρός με βαί᾽, ἀεὶ δ᾽ ὑμνούμενα (Refs 5th c.BC+ __III intransitive, sing, chant, ὡς ποιηταὶ ὑμνήκασι περὶ αὐτῶν Refs 5th c.BC+; ὑμνῶν οὔποτ᾽ ἔληγεν ὡς.. Refs 5th c.BC+ __III.2 in passive sense, φῆμαι.. ὑμνήσουσι περὶ τὰ ὦτα will ring in their ears, Refs 5th c.BC+

† [זְמָר] n.[m.] music (cf. BH I. [זָמַר]);—emph. זְמָרָא Dn 3:5, 7, 10, 15.

† [צָפַף] vb. Pilp. chirp, peep (onomatop.; NH Pilp. id.; JAram. צַפְצֵף chirp; Arabic صُفْصُفٌ sparrow, etc.);—Impf. 3 fs. תְּצַפְצֵף Is 29:4, 1 s. אֲצַפְצֵף 38:14; Pt. מְצַפְצֵף 10:14, pl. הַמְצַפְצְפִים 8:19;—chirp, peep: 1. of birds Is 10:14 (fig. of conquered peoples); of mourning, כְּסוּס … אֲצ׳ 38:14 (‖ אֶהְגֶּה כַּיּוֹנָה). 2. of spirits, ghosts Is 8:19 (+ הַמַּהְגִּים), מֵעָפָר אִמְרָתֵךְ תְּצ׳ 29:4 (like a spirit’s).

† גִּתִּית f. of foregoing (si vera l.) only in phr. עַל־הַגִּתִּית in three ψ-titles: ψ 8:1; 81:1; 84:1; upon the Gittite (lyre) so 𝔗, to the Gittite (melody) Ew Ol De, or either of these Hup Pe; 𝔊 𝔙 הַגִּתֹּת wine-presses, whence Bae al. at the wine-presses, i.e. (Bae) a song for the feast of booths.

שְׁמִינִי, ית —ִ31 adj.num. eighth;—בַּיּוֹם הַשְּׁמִינִי Ex 22:29 + 16 times; הַחֹדֶשׁ הַשּׁ׳ 1 K 6:38 + 4 times; n.m. om. 1 Ch 24:10 + 4 times; הַשָּׁנָה הַשְּׁמִנִת Lv 25:22; elsewhere only phr., עַל־הַשְּׁמִינִית 1 Ch 15:21, and titles ψ 6:1; 12:1, usually acc. to the eighth key, or on the octave, but wholly dubious.

ἀλᾰλ-άζω, future -άξομαι variant in Refs 5th c.BC+, -άξωLXX: aorist ἠλάλαξαRefs 5th c.BC+:—middle, Refs 5th c.BC+: —raise the war-cry, τῷ Ἐνυαλίῳ ἠλάλαξαν (as variant for{ἠλέλιξαν}) Refs 5th c.BC+; middle, Arr.[same place]: with accusative cognate, νίκην ἀλαλάζειν shout the shout of victory, Refs 5th c.BC+ __2 generally, cry, shout aloud, Pi.[same place], Refs 5th c.BC+; especially in orgiastic rites, Refs 4th c.BC+; of Bacchus and Bacchae, Refs 5th c.BC+; ὠλόλυξαν αἱ γυναῖκες, ἠλάλαξαν δὲ οἱ ἄνδρεςRefs 3rd c.AD+ __3 rarely of a cry of pain or grief, ἠλάλαζε δυσθνἥσκων φόνὡNT+5th c.BC+ __II rarely also of other sounds than the voice, sound loudly, ψαλμὸς δ᾽ ἀλαλάζειNT+5th c.BC+

† שִׁגָּיוֹן doubtful word, ψ 7:1 (title), Ew De al. from √ שׁגה go astray, reel, i.e. wild, passionate song, with rapid changes of rhythm; cf. LagBN 201 f. who cp. שִׁגָּעוֹן, √ שׁגע; 𝔊 ψαλμός, read prob. מִזְמוֹר; pl. שִׁגְיֹנוֹת Hb 3:1 (title), read נְגִינוֹת, so 𝔊.

ἐξηχ-έω, sound forth, LXX+2nd c.BC+ sound forth the swan's song, i.e. give vent to dying prayers, Refs 2nd c.BC+:—passive, NT+5th c.AD+ __II utter senseless sounds, of idiots, Refs

ἠχ-έω, Aeolic dialect and Doric dialect ἀχέω [ᾱ]: __I intransitive, sound, ring, peal, ἠχεῖ δὲ κάρη.. Ὀλύμπου Refs 8th c.BC+; of metal, ἠχέεσκε ὁ χαλκὸς τῆς ἀσπίδος Refs 5th c.BC+; of the grasshopper, chirp, Refs 7th c.BC+; of the ears, tingle, ἠχήσει τὰ ὦτα LXX; διὰ τί ἠχεῖ ἢ διὰ τί ἐμφαίνετα; impersonal, of anecho, Refs 4th c.BC+ __I.2 suffer from noises in the ears, Refs 1st c.AD+ __II with accusative cognate, ἀχεῖν (ἰαχεῖν codices) ὕμνον to let it sound, Refs 5th c.BC+; χαλκέον ἄχει sound the cymbal! Refs 3rd c.BC+; ἐφεξῆς ἠχοῦντα αὐτά (i.e. τὰ φωνήεντα) Refs 4th c.BC+ —middle, ἀχεῖσθαί τινα to sound his praises, uncertain in Refs 5th c.BC+ — passive, ἠχεῖται κτύπος a sound is made, Refs 5th c.BC+

κύμβᾰλον, τό, (κύμβος) cymbal, Refs 5th c.BC+: mostly in plural, LXX+5th c.BC+

μουσῐκός, ή, όν, Doric dialect μωσικός, ά, όν Refs 5th c.AD+:— musical, ἀγῶνες μ. καὶ γυμνικοί Refs 5th c.BC+; τὰ μουσικά music, Refs 5th c.BC+. adverb - κῶς Refs 5th c.BC+; compare {μουσική} __II of persons, skilled in music, musical, X.[same place], etc.; ποιητικοὶ καὶ μ. ἄνδρες Refs 5th c.BC+; lyric poet, opposed to epic, Refs 5th c.BC+; μ., οἱ, professional musicians, Refs 1st c.BC+; μουσικὸς καὶ μελῶν ποητής Refs 2nd c.BC+ __II.2 generally, votary of the Muses, man of letters and accomplishments, scholar, opposed to ἀμαθής, Refs 5th c.BC+; πόλις -ωτάτη most full of liberal arts, Refs 5th c.BC+infinitive, παρ᾽ ὄχλῳ -ώτεροι λέγειν more accomplished in speaking before a mob, Refs 5th c.BC+ __III of things, elegant, delicate, βρώματα Refs 4th c.BC+; harmonious, fitting, τροφὴ μέση καὶ μ., τὸν Δώριον τρόπον τῆς τύχης ὡς ἀληθῶς ἡρμοσμένη Refs 5th c.AD+ adverb -κῶς harmoniously, suitably, οἱ λόγοι οὐ πάνυ μ. λέγονται Refs 5th c.BC+; μ. ἅλας δοῦναι, ὄψον σκευάσαι, Refs 3rd c.BC+: comparative -ωτέρως, λέγειν Refs 4th c.BC+: superlative -ώτατα Refs 5th c.BC+

συμφων-ία, ἡ, concord or unison of sound, τὴν ἐν τῇ ᾠδῇ ἁρμονίαν, ἢ δὴ σ. καλεῖται Refs 5th c.BC+ __2 of two sounds only, musical concord, accord, such as the fourth, fifth, and octave, Refs 5th c.BC+; ἡ διὰ πασῶν σ. Refs 5th c.BC+; distinguished from mere ὁμοφωνία, Refs 4th c.BC+ __3 harmonious union of many voices or sounds, concert, οἱ τῶν σ. λόγοι, the Refs 4th c.BC+ doctrine of the music of the spheres, Refs __II metaphorically, harmony, agreement, Refs 5th c.BC+; μείξας πάντα κατὰ συμφωνίαν, of a cook, Refs 4th c.BC+; unanimily, σ. τῶν ἱστορησάντων Refs 2nd c.AD+ concordance, of theory with observed fact, ἔχειν τοῖς φαινομένοις σ. Refs 4th c.BC+ ={τὸ συμπεφωνημένον} Refs, the amount agreed upon, Refs 1st c.AD+ __III band, orchestra, Ἑλληνικά 1.19 Refs 1st c.AD+, and so perhaps in Refs 2nd c.BC+, but used of a musical instrument in LXX; so Latin symphonia, of a kind of drum, Refs 1st c.AD+; symphoniae et cymbala strepitusque, NT+1st c.AD+

‡ † [דַּחֲוָה] n.f. dub.;—pl. abs. דַּחֲוָן Dn 6:19, Vrss conject.; AV RV instr. of music (so AE, assuming meaning strike [strings] for דְּחָא [BH דָּחָה] thrust; Saad RVm dancing-girls; Bertholdt al. concubines (from sens. obsc. of Arabic دَحَى), but then read prob. לְחֵנָן (5:2, 3, 23) Marti Prince Dr.

† II. זָמִיר n.[m.] trimming, pruning (cf. LgBN 173)—only עֵת הַזָּמִיר Ct 2:12 (> others singing).—i. זמיר v. sub I. זמר supr.

† [זַמָּר K§ 59 d)] n.m. singer;—pl. emph. זַמָּרַיָּא Ezr 7:24.

† [מְנַעֲנֵעַ] n.[m.] appar. a kind of rattle, only וּבִמְנַֽעַנְעִים 2 S 6:5, in list of musical instruments; 𝔊 κύμβαλα, but this usually (12 times) = מְצִלְתַּיִם; 𝔙 sistra; the sistrum (Gr. σεῖστρον, from σείω) was much used in Egypt; it was a small metal frame with loose metal bars carrying loose rings, borne and swung or shaken in the hand, v. WilkinsonAnc. Egyptians (1878), i. 497 ff. NowArch. 1, 273 BenzArch. 278 We ψψ Eng. Trans. p. 233.

—

† [רָנָה] vb. rattle (onomatop.?);— Qal Impf. 3 fs. תִּרְנֶה Jb 39:23 the quiver rattleth.

† II. [שָׁלִישׁ] n.[m.] pl. שָֽׁלִשִׁים, a (three-stringed? three-barred? three-cornered?) mus. instr., perhaps a sistrum (so 𝔙), or ‘triangle’ (RVm: cf. PrinceEB iii. 3228), 1 S 18:6 (+ בְּתֻפִּים).