Psalms Songs of praise

Transcription

1 Psalms Songs of praise What does psalm mean in the scriptures? An obvious answer is that it is a piece of scripture comprising one of the items in the book of psalms. But does the expression psalm carry any meaning other than a reference to one of these scriptures? And if there is further significance to psalm, other than being a reference to the psalms of that book, does this enrich our understanding of psalms and our life in Christ? A common explanation of, or assumption about, the significance of psalm is that it is a piece of Hebrew poetry 1 ; but is this true? Another way of asking this question is to query, does psalm mean poetry? In this exposition we shall explore the meaning of psalm and see that, whilst some of the psalms might be poetic, this is not the significance of psalm. We shall see the meaning of psalm instructs us about singing praise to God. We shall also learn that there is much to be done and much to be gained from increasing our repertoire of psalms, music and instrumentation so that our singing of praise might be performed skilfully with understanding, to the glory of God and for his pleasure. psalm The English word psalm is derived from a Greek word, psalmos, used seven times in the scriptures. Of these three are certainly references to the book of psalms: Luke 20:42; Acts 1:20; 13:33. In Luke 20:42, our Lord refers generally to the book of psalms (psalmos) to locate the words of David in Psalm 110: the Lord said to my Lord. Peter also refers generally to the book of psalms (psalmos) in Acts 1:20 to identify the source of the words of David in Psalm 69: Let his habitation be desolate. Likewise, in Acts 13:33 Paul refers specifically to the second psalm (psalmos) to draw his audience s attention to the origin of the words: You are my son, this day have I begotten you. Another instance of psalmos, all things must be fulfilled, which were written in the law of Moses, and the prophets, and the psalms (psalmos), concerning [Christ] (Lk 24:44), clearly includes the book of psalms but is not necessarily restricted to that book since further studies will show that psalms occur in the scriptures outside the book of psalms 2 to which our Lord could have referred in Luke 24. A further use of psalmos shows that psalms as a genre continued to be part of God s revelation in the ecclesia of God established in Christ; 1 Corinthians 14:26, speaking of the 1 For example, Wikipedia s opening statement in its entry on Psalms ( cited March 28, 2010) states: Taken together, [the book of Psalms ] 150 sacred poems express virtually the full range of Israel's faith (my emphasis). And later, under its entry on authorship and ascriptions, it says: Modern scholars generally conclude that Psalms is a post-exilic collection of poems (my emphasis). It should be noted that this Wikipedia entry also includes statements such as: under etymology : The word psalms is derived from the Greek ψαλµοί (psalmoi), originally meaning songs sung to a harp, from psallein play on a stringed instrument ; and under composition and numbering : The Book of Psalms consists of 150 psalms, each of which constitutes a religious song. But the explanation offered of the relationship of the psalms as poems and these mentions of songs is one of potential use, as opposed to identity: most of the psalms are believed to have been intended for singing. That is, to illustrate the distinction I am drawing here, the Wikipedia entry states that psalms are poems that can be used as songs and not that psalms are songs. Or, for example, see this passing reference to Psalm 1 in an academic book about biblical semantics: There is not the slightest evidence that these associations were in the mind of the poet The etymological associations are used without any inquiry whether they existed in the minds of those who used the poem (my emphasis) (James Barr, The Semantics of Biblical Language, Oxford University Press, 1961, p116). 2 Two very obvious examples are David s words in 2 Samuel 22 (replicated in Psalm 18) and in 1 Chronicles 16:8-36 (parts of which are then used in, at least, Psalms 96; 105 and 106). Peter Heavyside June 2010 Page 1 of 12

2 manifestation of the spirit for the profit of all, mentions that this includes those who have a psalm (psalmos) 3. This conclusion from 1 Corinthians shows that the remaining two uses of psalmos, in Ephesians 5:19 ( psalms ) and Colossians 3:16 ( psalms ), encompass the psalms to which our Lord could have referred in Luke 24 plus any psalms revealed by the spirit working through apostles and prophets in the ecclesia. The references to psalms in Ephesians and Colossians are a helpful point from which to begin our understanding of the meaning of psalm ; a meaning other than it being a reference to an item in the book of psalms. In both instances it is clear that psalms are things that can be sung: speaking to yourselves in psalms (psalmos) and hymns and spiritual songs, singing and making melody with your heart to the Lord (Ep 5:19) teaching and admonishing one another in psalms (psalmos) and hymns and spiritual songs, singing with grace in your hearts to the Lord (Col 3:16) In Ephesians 5, the verbs singing and making melody explain how the speaking of psalms and hymns and spiritual songs is accomplished: psalms, hymns and spiritual songs are to be spoken to ourselves by singing them and making melody in our hearts. The same structure is evident in Colossians 3; singing explains how teaching and admonishing are fulfilled. Thus, Ephesians and Colossians show us that psalms are things that can be sung. This feature of psalms is reinforced in Ephesians 5 because the expression making melody is actually a translation of the verb that is the counterpart to the noun psalmos. Making melody translates psallō which occurs five times in the scriptures and always is translated with meanings related to singing or music. The five uses are as follows (based on the KJV): Romans 15:9 for this cause I will confess to you among the gentiles, and sing (psallō) to your name (quoting Psalm 18:49) 1 Corinthians 14:15 I will sing (psallō) with the spirit and I will sing (psallō) with the understanding (the latter part of this statement quoting Psalm 47:7) Ephesians 5:19 singing and making melody (psallō) with your heart to the Lord James 5:13 is any merry? let him sing psalms (psallō) That psallō is always translated by sing or making melody suggests more than psalms are things that can be sung. It suggests that psalms are songs of some kind and it suggests that psalms are as much songs of some kind as are hymns and spiritual songs. And, just as we might use poetic to describe features of hymns and spiritual songs but ought not confuse them solely as poetry or poems so also we might use poetic to describe features of psalms but ought not confuse them only as poetry or poems. So, our consideration of the Greek words psalmos and psallō suggests that psalm, first and foremost, has the meaning of some kind of song; it suggests that, if there are poetic aspects of psalms, this is one of the characteristics employed in psalms but not that they are poems. Is this borne out by the way psalms are originally spoken of in the book of psalms? the book of psalms The expression psalm is used to translate a Hebrew expression, mzmwr, which is always rendered psalm in the KJV and which is found only in the five books of psalms comprising the book of psalms. Apart from one use, psalm (mzmwr) is always found in the 3 This raises the intriguing question, Are there any new psalms on record in the gospels, Acts, the letters or Revelation? This question will be addressed along with further studies of psalms occurring outside the book of psalms to which our Lord could have referred in Luke 24:44. Peter Heavyside June 2010 Page 2 of 12

3 superscriptions of the psalms; the one exception is its use in the subscription to Psalm Consistent with the association of psalms with songs and music seen in Paul s and James letters, mzmwr is likewise associated with such things. For example, and more will be seen as we proceed, mzmwr is frequently associated with song as illustrated in the tabulation that follows of the KJV renderings of relevant psalm superscriptions and subscriptions: Psalm 30:t a psalm and song at the dedication of the house of David Psalm 48:t a song and psalm for the sons of Korah Psalm 65:t a psalm and song of David Psalm 66:t a song or psalm Psalm 67:t a psalm or song Psalm 68:t a psalm or song of David Psalm 75:t a psalm or song of Asaph Psalm 76:t a psalm or song of Asaph Psalm 83:t a song or psalm of Asaph Psalm 87:t,f a psalm or song for the sons of Korah a song or psalm for the sons of Korah Psalm 92:t a psalm or song for the sabbath day Psalm 108:t a song or psalm of David It is clear from the book of psalms, then, that psalms are things that are associated with songs and music, that they are items that can be sung. But are psalms more than this, are they actually songs of some particular kind? Through the use of quotation in Paul s letters, scripture itself helpfully closes the circle on this question and furthers our understanding of the significance of psalm. It was noted above that the Greek verb, psallō, from the same family as psalmos, is twice used in quotations from the book of psalms. In both cases, Psalms 18:49 and 47:7, the Hebrew used in the scriptures underlying the verbs sing in Romans 15 and 1 Corinthians 14 is zmr. This expression is the verb form associated with the Hebrew for psalm (mzmwr). The KJV of both Psalm 18:49 and Psalm 47:7 translates zmr as sing praises. Indeed, when we examine the KJV translation of zmr we find that, out of forty nine instances: twenty eight times zmr is translated as some form of sing praises ; twelve times zmr is translated as some form of sing ; three times zmr is translated as praise ; and twice zmr is translated as sing psalms. This brief survey manifestly shows that the verb form zmr associated with psalm (mzmwr) is overwhelmingly associated with singing. We also see another significant and particular element of the kind of song a psalm is, that of praise. So, consistent with our findings from Paul s and James letters, the language associated with psalm in the book of psalms shows that psalms are not only things that can be sung, they are things that are to be sung because they are songs. We also see what kind of songs they are, they are songs of praise. The frequent and close association in the book of psalms of psalm (mzmwr) with sing praise (zmr) shows that the meaning of psalm is that it is a song of praise. Psalms refers not only to those things that are found in the book of psalms, there is also significance in it; psalms carries the meaning songs of praise. This 4 All the uses of mzmwr are: Psalms 3:t; 4:t; 5:t; 6:t; 8:t; 9:t; 12:t; 13:t; 15:t; 19:t; 20:t; 21:t; 22:t; 23:t; 24:t; 29:t; 30:t; 31:t; 38:t; 39:t; 40:t; 41:t; 47:t; 48:t; 49:t; 50:t; 51:t; 62:t; 63:t; 64:t; 65:t; 66:t; 67:t; 68:t; 73:t; 75:t; 76:t; 77:t; 79:t; 80:t; 82:t; 83:t; 84:t; 85:t; 87:t; 87:f; 92:t; 98:t; 100:t; 101:t; 108:t; 109:t; 110:t; 139:t; 140:t; 141:t; 143:t. Peter Heavyside June 2010 Page 3 of 12

4 conclusion does not, of course, preclude that psalms can function as other things too, it is evident that at least some of them do. For example, a number of David s songs of praise are also classified as prayers in their superscriptions: Psalms 17; 86; 142. We have also seen in the table above that a number of the psalms, songs of praise, function also as songs, a distinction we shall not explore here other than recognising that Ephesians and Colossians seem to draw a similar distinction between psalms and hymns and spiritual songs. songs of praise Acceptance of this conclusion, that the meaning of psalm is song of praise, might be hindered for some by consideration of the characteristics of some of the psalms in the book of psalms. Surely, some might think, given the nature of certain psalms which surely renders them unrecognisable as songs of praise, the meaning of psalm cannot be song of praise. Samples from differing kinds of psalms people might have in mind in resisting the above conclusion could include the following; each sample is appended with comments that some might make to challenge the conclusion that psalm means song of praise : Psalm 2 This psalm is a prophecy about rebellion against the Lord s anointed; it does not appear to contain any praise of God who is not even addressed by the psalmist. How can it be a song of praise? Psalm 15 This psalm is solely a description of the one who shall abide in the Lord s tent. Given this is all that the psalm does, how can it be a song of praise? Psalms 38 & 39 Large portions of these psalms describe David s consuming illnesses and frailties of age, illnesses that have come upon him because of the Lord s hot displeasure over David s iniquities; these themes dominate them. How can these be songs of praise? Psalm 49 Here is a psalm addressed to all people to teach them about those who vainly trust in themselves and in wealth and for whom the end is as the beasts. In contrast the psalmist states that it is only God who will redeem his soul from the grave. God is not addressed or praised. Psalm 58 David speaks extensively of the congregation s poisonous works of wickedness and imprecates against them by calling God s judgment upon them. Praise seems wholly absent. Psalm 82 Here is a psalm that addresses the unjust judgment of the congregation and which exhorts those who do judge to care for the poor and fatherless yet prophesying they shall die like men because of ignorance. How can this be a song of praise? Psalm 110 David s prophecy of Christ s exaltation, of his role as an eternal priest and of his judgment of the nations does not address God nor contain any praise. How can it be a song of praise? Psalm 114 This is a very brief historical meditation on Israel s exodus from Egypt and events in the wilderness and God is not addressed; praise seems wholly absent. Psalm 128 This song of ascents focuses on the blessings that come upon the one who fears the Lord, blessings in this life and when peace is upon Israel; the Lord is not addressed so, whilst this is plainly a song, how is this a song of praise to him? Peter Heavyside June 2010 Page 4 of 12

5 Psalm 133 David s song of ascents sings of the goodness and pleasantness of brothers dwelling together in unity; again the Lord is not addressed so, whilst this is a song, how is it a song of praise to the Lord? Perhaps some would include others and exclude some of the above but the main point is that the foregoing list illustrates some psalms that might be regarded as indicative of the thought that psalm cannot mean song of praise. A full analysis of each of these psalms to show that they are, indeed, songs of praise must await exposition of each of them when the challenge can be addressed. Yet we have already seen in the apostle Paul s letters a partial answer, at least, to the challenge, should it be raised. In Ephesians, the apostle writes of speaking in psalms and hymns and spiritual songs to the Lord, giving thanks always for all things to God and the father in the name of our Lord Jesus Christ (Ep 5:19-20). This is, of course, the kind of thing we would expect of songs of praise. And yet Paul introduces this topic by writing that the saints should speak to yourselves in psalms and hymns and spiritual songs (Ep 5:19). It is clear that at least some, if not all, of the psalms listed above accomplish speaking to yourselves in psalms ; but the apostle adds the teaching that when we do this it is to be performed to the Lord, giving thanks always for all things to God. So there is a manner of speaking to ourselves in psalms by which we accomplish songs of praise to the Lord. Perhaps more telling still is the way Paul directs the saints in Colossae to sing with grace in your hearts to the Lord (Col 3:16). In this letter, such singing to the Lord is to be accomplished when the saints teach and admonish one another in psalms and hymns and spiritual songs (Col 3:16). In this case, the speaking to themselves is even more specifically described: teaching and admonition. And the apostle plainly teaches us by this that when saints teach and admonish one another in psalms and hymns and spiritual songs, it is to be done with grace in [our] hearts to the Lord thereby singing praises to the Lord. Thus, the conclusion that psalm has the meaning song of praise could call for a reconsideration by us of what it is that constitutes singing praise to God and could affect our approach to the use of psalms in our worship. It could call for a reappraisal of the direction of our mind s engagement when singing psalms and hymns and spiritual songs; it is plain that our singing should be performed both to teach and admonish one another and to make melody to the Lord. music The association of psalms, that is, songs of praise, with music is also evident from frequent examples of singing psalms, of accomplishing songs of praise accompanied by instruments of music. The use of the language of musical instrumentation alongside uses of psalm (mzmwr), sing praise (zmr) or song (zmrh) is summarised in the following table: Exodus 15:2,20 timbrels Psalm 33:2 harp, psaltery, instrument of ten strings Psalm 57:7-9 psaltery, harp Psalm 71:22-23 psaltery, harp Psalm 81:2-3 timbrel, harp, psaltery, trumpet Psalm 92:1-3 instrument of ten strings, psaltery, harp Psalm 98:5-6 harp, trumpets, cornet Psalm 108:1-3 psaltery, harp Psalm 144:9 psaltery, instrument of ten strings Psalm 147:7 harp Peter Heavyside June 2010 Page 5 of 12

6 Psalm 149:3 timbrel, harp One conclusion is immediately clear from this summary. Any attempt to restrict our songs of praise to the Lord to accompaniment by a single instrument, such as a pipe organ or a keyboard, renders ineffective these scriptures. Scripture includes instruments of percussion, string and wind. Indeed, a significant proportion of the psalms that speak of a variety of musical instruments accompanying songs of praise do so within contexts that are commandments to do so. Those that do this are listed below together with comments that highlight this feature: Psalm 33:2 Praise the Lord with harp: sing (zmr) to him with the psaltery and an instrument of ten strings. Praise and sing here are imperatives which show that singing praise to the Lord is commanded to be accomplished by the accompaniment of harp, psaltery and an instrument of ten strings. Psalm 57:7-9 I will sing and give praise (zmr). Awake up, my glory; awake, psaltery and harp: I myself will awake early. I will praise you, O Lord, among the peoples: I will sing (zmr) to you among the nations. Awake, used twice here, is imperative and psaltery and harp are commanded to awake so that David might perform a song of praise; both psaltery and harp are required to accompany singing praise. Psalm 81:2-3 Take a psalm (zmrh), and bring here the timbrel, the pleasant harp with the psaltery. Blow up the trumpet in the new moon, in the time appointed. Alongside the commandment to take a psalm is the imperative to bring the timbrel, harp and psaltery; it is evident that these three instruments are required as accompaniment to this psalm, this song of praise. Note also the association with trumpet. Psalm 98:5-6 Sing (zmr) to the Lord with the harp; with the harp, and the voice of a psalm (zmrh); with trumpets and sound of cornet make a joyful noise before the Lord, the king. Encompassed within the commandment to sing praise to the Lord is the use of harp. Trumpets and cornet and encompassed within the commandment to make a joyful noise before the Lord. Psalm 108:1-3 I will sing and give praise (zmr), even with my glory. Awake, psaltery and harp: I myself will awake early. I will praise you, O Lord, among the peoples: and I will sing praises (zmr) to you among the nations. Awake is imperative and psaltery and harp are commanded to awake so that David might perform a song of praise; both psaltery and harp are required to accompany singing praise. Psalm 147:7 Sing to the Lord with thanksgiving; sing praise (zmr) upon the harp to our God. The commandment to sing praise to our God is here to be fulfilled on the harp. Peter Heavyside June 2010 Page 6 of 12

7 Psalm 149:3 Let them praise his name in the dance: let them sing praises (zmr) to him with the timbrel and harp. Use of the timbrel and harp are here encompassed within the imperative to sing praises to their king. Thus we see a significant number of psalms commanding singing of praise accompanied by use of a variety of percussion, string and wind instruments. This suggests more than that we should avoid limiting musical instrumentation in our songs of praise to, for example, pipe organ or keyboard. It suggests we ought to be seeking actively to add a variety of instrumentation to our songs of praise so that they are the more good, pleasant and comely (Ps 147:1). In passing it is worth mentioning that, in selecting musical instruments to accompany our songs of praise, avoidance of use of a particular instrument because unbelievers use them in performances that are unseemly is not an appropriate judgment. That this is so is evidenced from the fact some of the instruments spoken of in the above psalms were used by unbelievers in unseemly ways. The use of psaltery, harp and cornet in association with the call, falsely, to worship the golden image set up by Nebuchadnezzar (Da 3:5,7,10,15) is a telling illustration of this. It is evident that it is the use of an instrument truly to sing praises to the Lord that sanctifies it, not the nature of the instrument. musical skill One of the psalms speaks of playing instruments skilfully when singing praises to the Lord, indeed the psalmist commands it: Praise the Lord with harp: sing (zmr) to him with the psaltery and an instrument of ten strings. Sing to him a new song; play skilfully (ytb) 5 with a loud noise (Ps 33:2-3). This skilful playing corresponds to it being good (twb) to give thanks to the Lord, and to sing praises (zmr) to the name of the most high (Ps 92:1) and to it being good (twb) to sing praises (zmr) to our God (Ps 147:1). This probably seems obvious to most readers. There are, however, instructive matters that we can conclude from the psalmist s imperative to play skilfully so that our songs of praise are good to the Lord. The first is, again, probably an obvious point. Our approach to performance of songs of praise ought not to be in a spirit of good enough but in a spirit of seeking to perfect our praise, including by bettering our skills in performance. This is not to say the Lord will not accept our songs of praise if they do not attain to that which a skilled choir might accomplish. Of course, the principal matter to which our God will attend is that which is in our hearts (about which more later). But it is clear from the psalmist s imperative that we ought to be seeking to better our skills so that his pleasure might be that much more than if we did not give our heart, soul and might to such improvement. The second point builds upon one already made, the point that a variety of musical instrumentation ought to be sought actively to accompany our songs of praise. How does the psalmist s commandment to play skilfully build upon this conclusion? An illustration of possible circumstances in an ecclesia helps explain this. An ecclesia has one or two members who have some ability to accompany songs of praise on a keyboard or a pipe organ. But their skills are not as accomplished as another member who plays the violin, another member who plays the guitar and yet another member who plays the clarinet. The psalmist s imperative, sing to [the Lord] a new song; play skilfully with a loud noise, clearly calls for those who play the keyboard to seek to improve their skills but it also calls for the ecclesia to seek actively the contribution of those who can accompany songs of praise through skilful playing of violin, guitar and clarinet. This is not in any way intended to belittle the contribution of those who have faithfully played the keyboard for many years for this ecclesia. Rather, sensitively done and in the spirit of seeking the Lord s greater pleasure, the keyboard players would no doubt find themselves discovering a deeper sense of edification 5 Playing the harp skilfully or well (ytb) was something David was able to do: provide for me now a man that can play well (ytb) (1 Sa 16:17). The skill of David s playing was so that it would be good to Saul, so that he would be well (twb) (1 Sa 16:16,23). Peter Heavyside June 2010 Page 7 of 12

8 in their contribution to praise. Playing the keyboard accompanied by other instruments played skilfully could result in their own improved performance. Furthermore, the keyboard players would feel less constraint to accompany those songs of praise that they find most difficult, leaving this to more accomplished players; this would yield an outcome for them whereby they contribute with more skilful outcomes in those songs of praise at which they have better performance. And we must not forget, as was mentioned earlier and as will be dealt with a little later, the heart that the keyboard players have brought and do bring to their musical accompaniment is of greatest significance to our father in heaven. But the truth of this latter point ought not to distract us from seeking to add to our God s pleasure through improving our skilfulness in singing and playing. The third matter to be drawn from the commandment to play skilfully is one of the merits of preparation for our songs of praise; this has a counterpart with regard to the contribution of our hearts to songs of praise to which we shall turn our attention shortly. Preparation for our songs of praise plainly will improve their performance and the increasing skill with which this is accomplished shall bring that much more pleasure to our God. Practice, just as practice improves instrument skills, is obviously a major part of preparation. Without suggesting that spontaneous praise should be avoided, it is obvious that skilful performance is not often perfected by spontaneity alone despite it sometimes being suggested, explicitly or implicitly, that spontaneity is better than preparation. But I think it is also important to state that we should not confuse preparation and formality. Indeed, formality could weigh against skilful performance borne of preparation. A couple of illustrations will elucidate this point. An ecclesia commences a song of praise hesitantly, resulting in the first lines of the song being an uncertain sound. Formality could cause the ecclesia to press on regardless. A strong desire for skilful performance for our God s pleasure could cause the ecclesia to start again so that, from the new beginning, the song of praise is performed better having commenced the song better prepared. In another circumstance an ecclesia concludes a song of praise and yet many of the members know that their performance, having sung through the item once, could be so much improved if sung again. Formality could cause the ecclesia to press on to the next item in the order of service regardless. An ecclesia with a strong desire for skilful performance in praise of the Lord sings the song again. sing praises with understanding This contribution of our hearts, of singing praises with understanding, is a counterpart to playing skilfully. We will see this from examination, first, of a couple of scriptures that use a Hebrew term for skilfulness in song and music that is also used about understanding scripture; and we will then see that this first Hebrew term is found within the same semantic field of usage as another Hebrew expression used in the commandment to sing praises with understanding (mśkyl) (Ps 47:7). The two scriptures which speak about the skilfulness of those participating in singing and music using a Hebrew term that is also used about understanding scripture are: The number of them, with their brothers that were instructed in the songs of the Lord, even all that were cunning (byn), was two hundred and eighty eight (1 Ch 25:7). The Levites, all who were skilful (byn) with instruments of music (2 Ch 34:12). The Hebrew expression translated skilful or cunning is a common word, as we shall see, for understanding. In the contexts of each of the verses quoted it is understandable why it is translated as about skills with instruments, music and song. But there are clearly overtones of understanding the significance of the songs and music otherwise, as in Psalm 33, the Hebrew expression ytb, meaning well or skillfully could have been used without any such overtone. This is especially so in the context which speaks of skills, or understanding, of songs (1 Ch 25:7) since, as was noted in the tabulation of psalm superscriptions which associate psalm and song, at least some of the songs in which the sons of Asaph, Heman Peter Heavyside June 2010 Page 8 of 12

9 and Jeduthun (1 Ch 25:1 6 ) were cunning included scripture. Thus, the songs about which those with skill and understanding were instructed would include understanding of scripture. So these two contexts, whilst many English versions understandably translate them to speak of musical skills, also carry overtones of understanding scripture. Use of the verb form of byn ( to understand ) in relation to understanding scripture illustrates this conclusion; Psalm 119, for example, repeatedly teaches this: Make me to understand (byn) the way of your precepts (Ps 119:27; see also 119:34,73,95 ( consider ),100,104,125, 130,144,169). So, what these scriptures in Chronicles teach us is that playing skilfully, or singing well, corresponds to and is associated with understanding what it is that we are singing in praise to the Lord. The commandment to sing praises with understanding appears within a couple of verses that have the densest use of the Hebrew verb for singing praise (zmr) in all of the scriptures: Sing praises (zmr) to God, sing praises (zmr), sing praises (zmr) to our king, sing praises (zmr). For God is the king of all the earth; sing praises (zmr) with understanding (mśkyl) 7 (Ps 47:6-7) The expression here translated understanding (mśkyl) is related to Hebrew words for to be wise or wisdom which occur a number of times alongside the expression for skilful or understanding (byn) considered earlier from 1 and 2 Chronicles. These coincidences can be seen in the following scriptures from the KJV 8 : O that they were wise, that they understood (śkl) this, that they would consider (byn) their latter end! (Dt 32:29) So they read in the book in the law of God distinctly, and gave the sense (śkl), and caused them to understand (byn) the reading (Ne 8:8) Understand (byn), you brutish among the people: and you fools, when will you be wise (śkl)? (Ps 94:8) They have not known nor understood (byn): for he has shut their eyes, that they cannot see; and their hearts, that they cannot understand (śkl) (Is 44:18) These scriptures show that understanding (byn), the expression also for skills with instruments, music and song, is associated with wisdom (śkl) or understanding (śkl). From this association we have a reinforcement of the earlier conclusion about skills with instruments, music and song (1 Ch 25:7; 2 Ch 34:12) carrying overtones of understanding the scriptures being sung in praise to God. And it also confirms that the commandment in Psalm 47:7, sing praises (zmr) with understanding (mśkyl), is indeed a counterpart to the commandments we have seen that the music performed to accompany singing praises to God should be accomplished skilfully. From this we see a lovely expression of the need for fellowship in singing praises to our God the king of all the earth 9. Since we are commanded to sing praises accompanied by skilful 6 Note that the separation of these sons of Asaph, Heman and Jeduthun for song in the house of the Lord and who were instructed in the songs of the Lord (1 Ch 25:6,7) commences with a statement that they would prophesy (1 Ch 25:1). Some of the results of this work are seen in psalms associated with these men, with Asaph, Heman and Jeduthun (also called Ethan (1 Ch 6:44; 15:17,19)). This reinforces the point made in the body of the exposition that the songs in which the men had understanding included scripture. 7 The fairly common use of this expression understanding (mśkyl) in the titles of a good number of psalms, transliterated maschil in the KJV, shows the weight of the need for understanding in singing songs of praise. Those titles employing this expression are: Ps 32:t; 42:t; 44:t; 45:t; 52:t; 53:t; 54:t; 55:t; 74:t; 78:t; 88:t; 89:t; 142:t. 8 See also Daniel 1:4,17; 9:22; 11:33; 12:10. 9 See Peter Heavyside, Psalm 108: A song of the lamb and of the lion, in which the use of harp is shown to speak of the Peter Heavyside June 2010 Page 9 of 12

10 instrumentation and to sing praises with understanding there is a clear need for labouring together 10 to accomplish these outcomes. Are there not many amongst us that are skilled in music and instruments? Are there not many amongst us who are able to give the sense and cause us to understand the psalms? There is a plain call to action in the psalms that these brothers and sisters should work together 11 so that our singing of praise might be skilfully performed with understanding, to the glory of God and for his pleasure. Consider the number of psalms that are used amongst us in singing praise: of the psalms and hymns and spiritual songs commonly performed by us, only a small proportion of them are psalms and most of those associated with the psalms are meditations on or derivations from the psalms not the psalms, the words of scripture, themselves 12. Consider the number of songs that are used amongst us that have musical settings other than for keyboard or pipe organ. Given the psalmists call to sing praises whilst performing skilfully with understanding and given the weighty guidance that we ought to be seeking actively to add a variety of instrumentation to our songs of praise so that they are the more good, pleasant and comely (Ps 147:1), there is much work that can be done and much to be gained. Like the commandment to play skilfully demanding preparation so also the commandment to sing with understanding. Singing songs of praise with understanding will clearly be accomplished in a better fashion by preparation of our hearts in understanding that which we are singing. This calls for personal meditation upon and exposition of the meaning of the psalms and also for working together to accomplish the same so that our voices rise together with a common understanding of that which we sing in praise to our God. This has further practical significance which can be illustrated by consideration of a scenario in an ecclesia s gathering for the breaking of bread. The brother leading a gathering has selected a particular psalm with which the ecclesia shall sing praise to the Lord. But one or more brothers have edified, exhorted and comforted the ecclesia by exposition that yields a better and shared understanding of a different psalm. An understanding of the conclusions reached in this exposition means the brother sets aside his prior choice, the ecclesia understands why, and, singing together, voices of understanding are raised to the glory of our God. pleasantness of unity and the performance of songs to the Lord is shown to be creative of the unity of the spirit. 10 The Hebrew expression for sing praise (zmr) has a homonym used of pruning: Six years you shall sow your field, and six years you shall prune (zmr) your vineyard in the seventh year you shall neither sow your field, nor prune (zmr) your vineyard (Le 25:3,4). Understandably, a related term, another homonym of a Hebrew expression for songs of praise (zmrh in, for example, Exodus 15:2 ( song ) and Isaiah 12:2 ( song )), is used of the best fruit of the land, the results of skilful pruning and agricultural labour: their father Israel said to them, If it must be so now, do this: take of the best fruits (zmrh) in the land in your vessels (Ge 43:11). There is also a use of the homonym zmr in Isaiah 5:6, I will lay it waste; it shall not be pruned (zmr), in the context of a song, Now I will sing to my wellbeloved a song of my beloved touching his vineyard (Is 5:1-5). The song speaks of the owner of the vineyard, having diligently cared for it, seeking grapes only to find wild grapes. The judgment that the vineyard would not be pruned is the consequence of this failure to bear fruit despite the owner s diligent care. Given this use of the homonym zmr ( prune ) in association with what is arguably a psalm it seems likely that scripture, through homonymical pun, associates the diligent labour involved with bringing forth the best fruit with the diligent labour needed to sing praises with understanding and to accompany such singing by skilful playing of instruments. 11 In an age of web-collaboration, geographic distance is no longer a barrier per se to brothers and sisters working together on such an endeavour. 12 For example: (a) in Christadelphian Hymn Book, Christadelphian Magazine and Publishing Association Ltd, 2003, of a total of 438 pieces, only 75 directly reference the psalms; and of these only 55 of a total of 150, or so, psalms in the book of psalms are employed (a number of psalms have multiple entries, eg. Psalm 23); (b) in Praise the Lord, Hoddesdon Christadelphian Services, 2000, only 73 of the psalms are referenced in some fashion. Peter Heavyside June 2010 Page 10 of 12

11 singing praise with your heart to the Lord I stated earlier that I would come to the matter that the principal thing to which our God will attend is what is in our hearts and this is how we will conclude our consideration of the significance of psalm. The commandment to sing praises with understanding, already considered from Psalm 47, is cited in the apostle s first letter to the Corinthians: if I pray in a tongue, my spirit prays, but my understanding is unfruitful. What is it then? I will pray with the spirit, and I will pray with the understanding also: I will sing (psallō) with the spirit, and I will sing (psallō) with the understanding also (1 Co 14:14-15). The expression I will sing with the understanding plainly uses the commandment of the sons of Korah in Psalm 47:7. Now note the apostle Paul returns to the matter of doing things with understanding a few verses later and does so by lifting understanding above an alternative: in ecclesia I had rather speak five words with my understanding, that I might teach others also, than ten thousand words in a tongue (1 Co 14:19). When we recall that through speaking psalms and hymns and spiritual songs to one another (Ep 5:19) we are commanded to teach and admonish one another (Col 3:16) we can see how it is that at least some of the apostle s preference to speak five words with understanding is accomplished by singing praises. And this aspect of instruction is what we saw from Paul s use of the commandment of the sons of Korah: I will sing with the understanding (1 Co 14:15; Ps 47:7). Recall also that the apostle s use of the commandment of the sons of Korah to sing praises with understanding is set within a context whose whole tenor is of the primacy of pursuing edification of the ecclesia. He opens his argument and appeal for edification in this chapter that the Corinthian saints desire spiritual things but rather that you may prophesy (1 Co 14:1) and moves on to explain that this is because he that prophesies speaks to men edification, and exhortation, and comfort (1 Co 14:3). And again, to emphasise this preference, he sets out further contrasts to amplify the desire for prophecy s profit: He that speaks in a tongue edifies himself; but he that prophesies edifies the ecclesia. I would that you all spoke with tongues, but rather that you prophesied: for greater is he that prophesies than he that speaks with tongues, except he interpret, that the ecclesia may receive edifying (1 Co 14:4-5). This, then, is why the apostle says: in ecclesia I had rather speak five words with my understanding, that I might teach others also, than ten thousand words in a tongue (1 Co 14:19). Through speaking with his understanding, the ecclesia is edified through the things they are taught; edifying understanding is accomplished in the ecclesia 13. It is because of this preference, this greatness, of the one who prophesies for the edification of the ecclesia through teaching them understanding that I stated earlier that the principal matter to which our God will attend in taking pleasure in our songs of praise is what is in our hearts. For sure, the psalms have taught us that we should pursue skilfulness in the music and instrumentation accompanying our songs of praise. But we learn from 1 Corinthians 14 that the commandment of the sons of Korah to sing praises with understanding (mśkyl) (Ps 47:7) is the greater thing, the preferred aspect of our songs of praise. And scripture teaches that this understanding abides in our hearts: the heart of the wise teaches (yśkyl, causes to understand ) his mouth, and adds learning to his lips (Pr 16:23) Thus, the heart in which our God will take the greater pleasure is the heart that understands the song of praise being performed and accompanied skilfully. Again this conclusion has practical significance. Consider the earlier scenario in which the brother leading the choice of psalms and hymns and spiritual songs concludes that the ecclesia now, as a consequence of the exposition provided by one or more brothers, has a better understanding in their hearts of a quite different psalm to his prior choice. Yet the brother is also conscious that the keyboard player is not confident about playing skilfully the 13 See Peter Heavyside, Corinthian chaos: speaking edification, not sermons, available from the author. Peter Heavyside June 2010 Page 11 of 12

12 music associated with this different psalm. What should he do? The preference for singing with understanding in our hearts informs us: he should change from his prior choice so that the ecclesia can join in singing praise to our God with improved, shared understanding; the ecclesia and the keyboard player understand why. The keyboard player could play the melody alone, rather than the harmony, to circumvent the difficulties he or she faces in accomplishing the latter. Yet also, given the earlier conclusions about instrumentation, is there not amongst the ecclesia a brother or sister who can perform the music of this different psalm skilfully on an instrument other than the keyboard? In conclusion, the apostle Paul clearly has such singing with understanding in our hearts to the Lord in the two letters in which he provides instruction about our singing of praises and it is with these verses that we conclude. Hopefully this is now with an increased desire to accomplish these things more skilfully and, better still, that we do so with better understanding: speaking to yourselves in psalms and hymns and spiritual songs, singing and psalming 14 with your heart to the Lord (Ep 5:19) let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord (Col 3:16). Issue 1 June KJV making melody (Ep 5:19) renders psallō, a verb related to the expression for psalm, psalmos. Peter Heavyside June 2010 Page 12 of 12