It further provides limited motivation on why Yah deserves praise v. Yah weh is described as El. By creating the firmament Yahweh has established his power as creator Gn But, is this indeed what the text is alluding to? This is clearly not the intension of verse 1a. In ancient times the earthly temple was understood to be a symbolic universe, a meeting place between heaven and earth Hartenstein , 22, These terms include the categories of earthly and heavenly, immanent and transcendent, but also locality beyond these descriptions.
Verse 2 declares why Yah should be praised. This conquering of chaotic powers confirms his infinite greatness and incomparable kingship.
This verse therefore describes both what El has done and who he is. How is God to be praised vv. Verses catalogue the largest list of musical instruments in the whole of the Psalter. Second readings raise new thoughts on the ritual performance of a single combined orchestra.
This literary unit addresses the manner in which God can be praised. Every hemi-stichon is introduced by the imperative form of ll. The preposition is followed by the object or musical instrument. Eight or nine instruments are mentioned which represent wind, string and percussion instruments. The question remains as to whether this repetition of the cymbals indicates different kinds of instruments 30 , or various functions 31 , executed by the cymbals.
The sequence and function of the musical instruments in these verses requires reflection, especially to determine its theological significance. A first possibility allows for a combined temple orchestra as part of a temple worship service Weiser But the presence of profane or non-cultic instruments in the list casts doubt on such a cultic ritual act.
Another group of scholars are convinced that verses divides the participating congregants into three groups. The participants are, according to these psalms, confined to the Israelites , the house of Aaron priests and Levites and ordinary believers. But according to the instruments of Psalm some scholars are convinced that the suggested groups are:. A major objection against this hypothesis is that the use of the sjofar was not reserved for the priests alone and that the harp and lyre were not only played by the Levites.
A suggestion to use spatiality and the structure of the Jerusalem temple to understand the arrangement of the instruments and the theology of Psalm offers a more convincing solution. Relevant for this analogy is the innermost part of the temple, the court of the priests and the outside court for the lay people. Not only cultic groups, but also social groups with their musical activities outside the cult, are summoned to praise God. These instruments performed various functions in- and outside the cult or temple worship.
The sjofar was a signal instrument in cultic and military situations. As the oldest and most used instrument in Old Testament times the sjofar was the horn of a ram or a wild bovine. From the innermost part of the temple the sjofar was blown as the signal to worshippers that God is appearing theophany , or that they should bow down, shout in praise or pray.
The harp and lyre were both stringed instruments. They often appear alone, but are sometimes mentioned together. They were used as musical accompaniment in the both the profane Gn and cultic spheres of life and supported the words of songs and choirs, especially hymns and thanksgiving songs Pss ; ; ; ; ; Hereby they supported the praise of the divine. Both instruments differed in size and shape as well as in the number of strings.
According to the Chronistic History these stringed instruments belonged to the spheres of the Levitical professional musicians 1 Chr , 28; , ; 2 Chr , 20, Harp and lyre therefore belong to the adjacent part of the priestly court. Women were associated with the tambourine and dancing. It was used as the rhythm instrument when women performed ritual dancing in a circle Jr ; Ex ; Is ; Pss ; to celebrate victory or to express joy.
This musical activity happened outside the spheres of the sanctuary and cult Seidel Whether it became part of the temple musical activities during the Second Temple period remains uncertain 1 Chr ; Ezr ; Neh The strings and flute were melody instruments. The nature of both instruments remains unclear Braun These strings were probably not played by cultic musicians, whilst the flute also belonged to the profane sphere where wandering professional musicians performed music from place to place Seidel Both the instruments and activities of women and folk musicians are associated with the spheres of the outer-court or the non-cultic space outside the temple.
Finally the cymbals resound in our musical list. Either two kinds of cymbals, or two different functions performed by them, are described in verse 5. Both the repetition and sound imitation onomatopoeia of yl ec. By producing loud sounds participants of a worship service mediate contact with God, whilst praising and singing under the accompaniment of cymbals and other instruments 2 Chr From the preceding description it becomes evident that not all mentioned musical instruments vv.
It is further clear that music and musical instruments not only sufficed as support or extension of the human voice, but the noisy sounds produced by these instruments and cultic participants served as medium of contact between worshippers and the divine world. Beyond these functions the power of music evokes the aesthetic beauty of sound that creates pleasant feelings of joy and hope, which exceeds the power and function of words.
Who is to praise Yah v 6a. The psalm culminates in the open ended wish that all life should praise Yah. With unconventional Hebrew syntax, which emphasises the subject of praise. All human beings received this gift of vitality Jos ; Dt ; Jos , 14; 1 Ki ; Job ; ; Is Life is not only reserved for human beings, but also given to birds and animals Gn All life originates from El as Creator.
Verse 6 thus not only functions as a summons that all life returns this breath to the creator as a deed of praise, but the verse alludes to the dependence of all living creatures upon God. Relation to Psalm 1 and the Psalter.
The canonical and redaction-historical approaches to reading the psalms require a comparison of these perspectives. In Psalm 1 the individual is addressed and the importance of the Torah is emphasised for the joyful and happy life in the community of Yahweh believers. Psalm is a universal call on all that breathes to praise the same God vigorously. As fifth psalm of the final Hallel and of Book V, Psalm extends ten imperative summonses for praise, a feature which attributes a Decalogue and Torah character to the psalm.
Both psalms thus frame the Psalter with the theolegomenon of the Torah. When reaching Psalm , the believer reader or meditator is fully aware of the kaleidoscope of diverse faith experiences as described throughout the Psalter. The praise of Psalm therefore cannot and does not obliterate pain, doubt, thoughts of vengeance, misfortune and failure. This praise carries the scars of life.
To determine the origin of Psalm is no easy endeavour. Scholars should be hesitant to compromise themselves on a final word about the historical, cultic, or literary settings of Psalm It is true that there are no adequate indications as to its time of origin Eaton Suggestions to date the psalm vary and are sometimes vague and oblique.
This dating of between and BCE 62 does give direction, but is still too broad. More precise settings are suggested and motivated by scholars. This include the period between and BCE in the time of Nehemiah, 63 the period posterior to the trials of Ezra and Nehemiah, 64 a setting after the time of Chronicles 65 and a time period prior to the book of Daniel BCE. If the final redaction of the Psalter is to be dated between and this should give an indication of a setting to date Psalm The psalm surely belongs to the final stages of the formation of Book V and the Psalter.
An awareness of allusions to Genesis ; ; , Ezekiel and 10 , ; and Isaiah 6 can certainly motivate a post-exilic setting for Psalm The symbolism of the numbers 5 and 10 attributes a Torah character to the psalm. In addition to this, the Chronicler creates the awareness of how important a role music had played in the postexilic Yehud community.
The importance of Torah and music is an indication to situate our psalm after Ezra, Nehemiah and Chronicles. Furthermore, the universal trend in the psalm, its indefinite descriptions, and its summarising character all play a decisive role in a choice for a Sitz im Leben after the time of the Chronicler.
This confirms the close distance between these texts. In view of these arguments I would like to suggest a date between BCE for the dating of Psalm Theological significance. During the history of music, Psalm has sufficed as motivation for several musical compositions. Psalm unites all the voices of the Psalter by means of a series of summons to praise El, the Israelite God of cosmos and history. The psalm is therefore not to be read in isolation. The creator God of Israel is to be praised universally: in heaven and on earth, transcendently and immanently, inside and outside the temple and cult, in cosmos and in history.
His surpassing greatness exceeds the concepts of space and time in human understanding. Music and musical instruments not only supply ways of praising God. It is a power that exceeds the praise offered by the singing or speaking or shouting or dancing. Music offers praise beyond words. In Psalm the musical instruments do not only function as signals, accompaniment and support, rhythm and melody, or contact with the divine; they represent worlds and words beyond instruments, spaces, people and social categories.
Everyone and everything that lives should praise God with whatever means: priests, cultic and non-cultic officials, men and women, individuals and communities, lay people and professionals, human beings and animals. The power of music evokes the aesthetic beauty of sound that creates pleasant feelings of joy and hope. This hope is realised through all the varied forms of praise.
And this praise is not ignorant of the sorrow and pain, doubt and hardship, failure and misfortune, or other experiences described in all other psalms.
All encompassing praise reckons with these experiences on the spectrum between lament and hymn. Such praise revives life and is simultaneously an expression of a Torah embedded relationship with this God of the universe. This is a fitting description. Anyone searching for life could respond to this magnum opus.
Hereby the vision of Psalm for obtaining joy and life can be realised. To respond entails a wise deed. I dedicate this article to a friend and colleague, Andries van Aarde, for his friendship and contribution to the Biblical Sciences in South Africa. Allen, L. Musik und musikinstrumente, , in Herausgegeben von K. If you refuse cookies we will remove all set cookies in our domain.
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Please be aware that this might heavily reduce the functionality and appearance of our site. Changes will take effect once you reload the page. Psalms Unlimited praise to the God who is unlimited in His greatness. Let everything that has breath praise the LORD. Pin 3. Share Privacy Policy OK. Cookie and Privacy Settings. How we use cookies. Essential Website Cookies. Check to enable permanent hiding of message bar and refuse all cookies if you do not opt in. We need 2 cookies to store this setting.
Otherwise you will be prompted again when opening a new browser window or new a tab. Google Analytics Cookies. Other external services. Other cookies. Privacy Policy. Nu Ge Praise God in his sanctuary; praise him in his mighty heavens! Praise the Lord! Praise God in his sanctuary: Praise him in the firmament of his power. Praise ye the Lord. Praise God in his sanctuary; praise him in his mighty heaven! Praise God in his Temple; praise him in his mighty heaven.
Praise ye Jehovah. Praise God in his holy place. Praise him in his mighty heavens. Praise him for his immense greatness. Praise him with harps and lyres. Praise him with stringed instruments and flutes.
Praise him with crashing cymbals. Praise God in His sanctuary. Praise Him in His mighty heavens. Praise God in his sanctuary; praise him in his mighty firmament!
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