The Instruments in Ps. 150

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Back to Psalm 150.

Exegetical issues for Psalm 150:

Introduction

The Hebrew text of Ps. 150:3–5 reads as follows:[1]

הַֽ֭לְלוּהוּ בְּתֵ֣קַע שׁוֹפָ֑ר
הַֽ֝לְל֗וּהוּ בְּנֵ֣בֶל וְכִנּֽוֹר׃
הַֽ֭לְלוּהוּ בְתֹ֣ף וּמָח֑וֹל
הַֽ֝לְל֗וּהוּ בְּמִנִּ֥ים וְעוּגָֽב׃
הַֽלְל֥וּהוּ בְצִלְצְלֵי־שָׁ֑מַע
הַֽ֝לְל֗וּהוּ בְּֽצִלְצְלֵ֥י תְרוּעָֽה׃

The precise identification and description of each of these instruments is debated.[2] This exegetical, however, will not focus on the individual descriptions of each instrument. Rather, this exegetical issue will focus on the overall function of all of these instruments within the psalm. Specifically, this exegetical issue will explore whether the instruments in vv. 3–5 imply

  1. a temple worship service (either real or imaginary/idealized)
  2. a victory-enthronement celebration.

Argument Maps

Temple worship service

Some scholars (probably a majority) have argued that the instruments in Ps. 150:3–5 imply a temple worship service, either a real worship service or an imaginary/idealized worship service. 


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[Temple worship service]: The instruments in Ps. 150:3–5 imply a worship service in the temple, either an actual worship service (Gunkel 1926 :C:) or an imaginary/idealized worship service (Seidel 1981 :A:; Mathys 2000 :A:). #dispreferred
 + <Priests, Levites, Laity>: The psalm refers first to an instrument which was played by the Priests ('shofar'), then to instruments which were played by the Levites ('lyre and lute'), and finally to instruments which were played by the laity ('drum and dance... strings and flute'). It is easy to imagine how each of these three groups might have begun to play (or to play more loudly) when their instruments were mentioned in the psalm (Gunkel 1926:622 :C:; cf. Baethgen 1904 :C:). #dispreferred
  + [Priests and the shofar]: "Have seven priests carry trumpets of rams’ horns (שׁוֹפְרוֹת) in front of the ark. On the seventh day, march around the city seven times, with the priests blowing the trumpet (יִתְקְעוּ בַּשּׁוֹפָרוֹת)" (Josh. 6:4, NIV). #dispreferred
  + [Levites with lutes and lyres]: "And at the dedication of the wall of Jerusalem they sought the Levites in all their places, to bring them to Jerusalem to celebrate the dedication with gladness, with thanksgivings and with singing, with cymbals, harps, and lyres (מְצִלְתַּיִם נְבָלִים וּבְכִנֹּרוֹת)" (Neh. 12:27, ESV; cf. 1 Chron. 15:16ff; 25:1, 6; 2 Chron. 29:25). #dispreferred
  + [Laity with drums and dance]: E.g., Ex. 15:20; 1 Sam. 18:6. #dispreferred
  + <Division of Priests, Levites, Laity in Psalter>: Other passages in the Psalter distinguish priests, Levites, and laity as distinct participants in worship. #dispreferred
   + [Ps. 135:19–20]: "O family of Israel, praise the Lord. O family of Aaron, praise the Lord. O family of Levi, praise the Lord. You loyal followers of the Lord, praise the Lord" (Ps. 135:19-20, NET). #dispreferred
  - <Use of instruments not restricted>: "A major object against this hypothesis is that the use of the shofar was not reserved for the priests alone and that the harp and lyre were not only played by the Levites." (Human 2011:6 :A:). "None of the instruments in Ps 150 are clearly and solely connected with priests, Levites, or women" (Brodersen 2017:54 :M:).
 - <Shofar>: "The shofar mentioned in Ps 150:3 does not usually appear in a setting of cult and temple, but here it is emphasized at the very start of the list of instruments" (Neumann 2020:162 :A:).
  <_ <Imaginary/idealized temple worship>
 - <No trumpet (חצצרה)>: "The trumpet (חצצרה) as a typical cultic instrument is missing in Ps 150, in contrast to other passages where the trumpet is prominent... If one pictured the whole orchestra of the temple, the mention of the trumpet would be essential" (Neumann 2020:162 :A: ; cf. Ballhorn 2004:351 :M:).
  + [Trumpet (חצצרה)]: E.g., 2 Kgs. 12; 1 Chron. 15–16; 2 Chron. 5.
  <_ <Imaginary/idealized temple worship>
 - <'Everything that has breath' (v. 6)>: "The entirely unlimited inclusion of 'everything that has breath' in the community of worship at the end of Ps 150 does not fit well into the concept of the temple and its cultic setting" (Neumann 2020:162-3 :A:).
  <_ <Imaginary/idealized temple worship>: Ps. 150 is the representation of an imaginary, ideal worship service inspired by actual temple worship but going beyond it and including not only priests and Levites (v. 3), but also the laity, men and women (v. 4), and even the animal world (v. 6) (cf. Seidel 1981 :A:; Mathys 2000 :A:; Human 2011 :A:). #dispreferred
 + <'Holy place' (v. 1)>: The psalm begins with a call for people to praise YHWH 'in his holy place' (i.e., the temple). #dispreferred
  <_ <Heavenly temple>: The 'holy place' in v. 1 refers to the heavenly temple as the place where YHWH dwells, not as the place where others are to worship him (see Exegetical Issue 'Participants and Places in Ps. 150:1').


Argument Mapn0Temple worship serviceThe instruments in Ps. 150:3–5 imply a worship service in the temple, either an actual worship service (Gunkel 1926 🄲) or an imaginary/idealized worship service (Seidel 1981 🄰; Mathys 2000 🄰). n1Priests and the shofar"Have seven priests carry trumpets of rams’ horns (שׁוֹפְרוֹת) in front of the ark. On the seventh day, march around the city seven times, with the priests blowing the trumpet (יִתְקְעוּ בַּשּׁוֹפָרוֹת)" (Josh. 6:4, NIV). n6Priests, Levites, LaityThe psalm refers first to an instrument which was played by the Priests ('shofar'), then to instruments which were played by the Levites ('lyre and lute'), and finally to instruments which were played by the laity ('drum and dance... strings and flute'). It is easy to imagine how each of these three groups might have begun to play (or to play more loudly) when their instruments were mentioned in the psalm (Gunkel 1926:622 🄲; cf. Baethgen 1904 🄲). n1->n6n2Levites with lutes and lyres"And at the dedication of the wall of Jerusalem they sought the Levites in all their places, to bring them to Jerusalem to celebrate the dedication with gladness, with thanksgivings and with singing, with cymbals, harps, and lyres (מְצִלְתַּיִם נְבָלִים וּבְכִנֹּרוֹת)" (Neh. 12:27, ESV; cf. 1 Chron. 15:16ff; 25:1, 6; 2 Chron. 29:25). n2->n6n3Laity with drums and danceE.g., Ex. 15:20; 1 Sam. 18:6. n3->n6n4Ps. 135:19–20"O family of Israel, praise the Lord. O family of Aaron, praise the Lord. O family of Levi, praise the Lord. You loyal followers of the Lord, praise the Lord" (Ps. 135:19-20, NET). n7Division of Priests, Levites, Laity in PsalterOther passages in the Psalter distinguish priests, Levites, and laity as distinct participants in worship. n4->n7n5Trumpet (חצצרה)E.g., 2 Kgs. 12; 1 Chron. 15–16; 2 Chron. 5.n11No trumpet (חצצרה)"The trumpet (חצצרה) as a typical cultic instrument is missing in Ps 150, in contrast to other passages where the trumpet is prominent... If one pictured the whole orchestra of the temple, the mention of the trumpet would be essential" (Neumann 2020:162 🄰 ; cf. Ballhorn 2004:351 🄼).n5->n11n6->n0n7->n6n8Use of instruments not restricted"A major object against this hypothesis is that the use of the shofar was not reserved for the priests alone and that the harp and lyre were not only played by the Levites." (Human 2011:6 🄰). "None of the instruments in Ps 150 are clearly and solely connected with priests, Levites, or women" (Brodersen 2017:54 🄼).n8->n6n9Shofar"The shofar mentioned in Ps 150:3 does not usually appear in a setting of cult and temple, but here it is emphasized at the very start of the list of instruments" (Neumann 2020:162 🄰).n9->n0n10Imaginary/idealized temple worshipPs. 150 is the representation of an imaginary, ideal worship service inspired by actual temple worship but going beyond it and including not only priests and Levites (v. 3), but also the laity, men and women (v. 4), and even the animal world (v. 6) (cf. Seidel 1981 🄰; Mathys 2000 🄰; Human 2011 🄰). n10->n9n10->n11n12'Everything that has breath' (v. 6)"The entirely unlimited inclusion of 'everything that has breath' in the community of worship at the end of Ps 150 does not fit well into the concept of the temple and its cultic setting" (Neumann 2020:162-3 🄰).n10->n12n11->n0n12->n0n13'Holy place' (v. 1)The psalm begins with a call for people to praise YHWH 'in his holy place' (i.e., the temple). n13->n0n14Heavenly templeThe 'holy place' in v. 1 refers to the heavenly temple as the place where YHWH dwells, not as the place where others are to worship him (see Exegetical Issue 'Participants and Places in Ps. 150:1').n14->n13


Victory-enthronement celebration (preferred)

Other scholars have argued against the idea that the instruments in Ps. 150 imply a worship service and have argued instead for other interpretations of the instruments. One possibility is that the instruments imply a victory-enthronement celebration, in which YHWH has defeated his enemies and become king of the world. 


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[Victory-enthronement]: The instruments in Ps. 150 imply the celebration of YHWH as the victorious king of the world.
 + <'Shofar...shout' frame>: The first 'instrument' to be mentioned in Ps. 150:3–5 is the shofar, and one of the functions of the shofar was to signal the enthronement of a new king (cf. Neumann 2020:163-4 :A:). Similarly, the last word to be mentioned in Ps. 150:3–5 (תרועה) is associated with the shofar and the proclamation of kingship. Thus, the whole section (vv. 3–5) is framed by concepts which are especially appropriate to the celebration of a new king.
  + [1 Kgs. 1:34]: "And let Zadok the priest and Nathan the prophet there anoint him king over Israel. Then blow the trumpet (וּתְקַעְתֶּם בַּשּׁוֹפָר) and say, ‘Long live King Solomon!’" (1 Kgs 1:34 ESV; cf. 1 Kgs. 1:39; 2 Kgs. 9:13).
  + [Ps. 47:6-9]: "God has gone up with a shout (בִּתְרוּעָה), YHWH with the sound of a trumpet (בְּקוֹל שׁוֹפָר)... God has become king over the nations; God has sat upon his holy throne" (Ps. 47:6, 9).
 + <2 Samuel 6>: Psalm 150:3–5 alludes to 2 Samuel 6, the story where David brings the ark into Jerusalem (cf. Neumann 2020:167 :A:), and this event is associated with the idea of YHWH's victorious kingship (cf. Ps. 24).
  + <2 Sam. 6:5>: Four of the instruments in Ps. 150 appear in 2 Sam. 6:5, including the 'cymbals' (צלצלים) which appear only in these two passages (cf. Neumann 2020:167ff :A:).
   + [2 Sam. 6:5]: וְדָוִ֣ד׀ וְכָל־בֵּ֣ית יִשְׂרָאֵ֗ל מְשַֽׂחֲקִים֙ לִפְנֵ֣י יְהוָ֔ה בְּכֹ֖ל עֲצֵ֣י בְרוֹשִׁ֑ים וּבְכִנֹּר֤וֹת וּבִנְבָלִים֙ וּבְתֻפִּ֔ים וּבִמְנַֽעַנְעִ֖ים וּֽבְצֶלְצֶלִֽים׃
  + [Ps. 24:7–8]: "Lift up your heads, O gates! And be lifted up, O ancient doors, that the King of glory may come in. Who is this King of glory? The Lord, strong and mighty, the Lord, mighty in battle!" (Ps. 24:7–8, ESV)
 + <Dancing with tambourines>: The center of Ps. 150:3–5 mentions dancing with tambourines, which was associated especially with victory in battle.
  + [Ex. 15:20]: "Then Miriam the prophet, Aaron’s sister, took a timbrel (הַתֹּף) in her hand, and all the women followed her, with timbrels and dancing (בְּתֻפִּים וּבִמְחֹלֹת)" (Ex. 15:20, ESV; cf. 1 Sam. 18:6).
 + <Musical celebration of kingship>: The enthronement of a king involved a musical celebration, beginning with the shofar.
  + [1 Kgs. 1:39–40]: "There Zadok the priest took the horn of oil from the tent and anointed Solomon. Then they blew the trumpet (וַיִּתְקְעוּ בַּשּׁוֹפָר), and all the people said, 'Long live King Solomon!' And all the people went up after him, playing on pipes, and rejoicing with great joy, so that the earth was split by their noise" (1 Kgs. 1:39–40, ESV).
 + <Ps. 149>: The previous psalm (Ps. 149) explicitly connects the use of instruments (lyre, tambourines, and dancing) with the celebration of YHWH's kingship.
  + [Ps. 149:2–3]: יִשְׂמַ֣ח יִשְׂרָאֵ֣ל בְּעֹשָׂ֑יו בְּנֵֽי־צִ֝יּ֗וֹן יָגִ֥ילוּ בְמַלְכָּֽם׃ יְהַֽלְל֣וּ שְׁמ֣וֹ בְמָח֑וֹל בְּתֹ֥ף וְ֝כִנּ֗וֹר יְזַמְּרוּ־לֽוֹ׃
 + <vv. 1-2>: The first part of the psalm (vv. 1–2) presents YHWH as a great king (cf. Mays 1994 :C:).
  + <גְּבוּרֹת>: The word for 'accomplishments' (גְּבוּרֹת) is associated especially with kings and, specifically, with fighting wars and construction of public works.
   + ['Accomplishments']: E.g., 1 Kgs. 22:46; 2 Kgs. 13:12; 14:15, 28; Est. 10:2
  + <קֹדֶשׁ...רָקִיעַ>: YHWH's heavenly temple (קֹדֶשׁ) is associated with his universal kingship (cf. Ps. 11:4) and the firmament (רָקִיעַ) is considered as the "base supporting the throne of YHWH" (cf. Ezek. 1) (DCH :L:).
   + [Ps. 11:4ab]:יְהוָ֤ה׀ בְּֽהֵ֘יכַ֤ל קָדְשׁ֗וֹ יְהוָה֮ בַּשָּׁמַ֪יִם כִּ֫סְא֥וֹ
   + [Ezek. 1:26a]: וּמִמַּ֗עַל לָרָקִ֙יעַ֙ אֲשֶׁ֣ר עַל־רֹאשָׁ֔ם כְּמַרְאֵ֥ה אֶֽבֶן־סַפִּ֖יר דְּמ֣וּת כִּסֵּ֑א


Argument Mapn0Victory-enthronementThe instruments in Ps. 150 imply the celebration of YHWH as the victorious king of the world.n11 Kgs. 1:34"And let Zadok the priest and Nathan the prophet there anoint him king over Israel. Then blow the trumpet (וּתְקַעְתֶּם בַּשּׁוֹפָר) and say, ‘Long live King Solomon!’" (1 Kgs 1:34 ESV; cf. 1 Kgs. 1:39; 2 Kgs. 9:13).n11'Shofar...shout' frameThe first 'instrument' to be mentioned in Ps. 150:3–5 is the shofar, and one of the functions of the shofar was to signal the enthronement of a new king (cf. Neumann 2020:163-4 🄰). Similarly, the last word to be mentioned in Ps. 150:3–5 (תרועה) is associated with the shofar and the proclamation of kingship. Thus, the whole section (vv. 3–5) is framed by concepts which are especially appropriate to the celebration of a new king.n1->n11n2Ps. 47:6-9"God has gone up with a shout (בִּתְרוּעָה), YHWH with the sound of a trumpet (בְּקוֹל שׁוֹפָר)... God has become king over the nations; God has sat upon his holy throne" (Ps. 47:6, 9).n2->n11n32 Sam. 6:5וְדָוִ֣ד׀ וְכָל־בֵּ֣ית יִשְׂרָאֵ֗ל מְשַֽׂחֲקִים֙ לִפְנֵ֣י יְהוָ֔ה בְּכֹ֖ל עֲצֵ֣י בְרוֹשִׁ֑ים וּבְכִנֹּר֤וֹת וּבִנְבָלִים֙ וּבְתֻפִּ֔ים וּבִמְנַֽעַנְעִ֖ים וּֽבְצֶלְצֶלִֽים׃n132 Sam. 6:5Four of the instruments in Ps. 150 appear in 2 Sam. 6:5, including the 'cymbals' (צלצלים) which appear only in these two passages (cf. Neumann 2020:167ff 🄰).n3->n13n4Ps. 24:7–8"Lift up your heads, O gates! And be lifted up, O ancient doors, that the King of glory may come in. Who is this King of glory? The Lord, strong and mighty, the Lord, mighty in battle!" (Ps. 24:7–8, ESV)n122 Samuel 6Psalm 150:3–5 alludes to 2 Samuel 6, the story where David brings the ark into Jerusalem (cf. Neumann 2020:167 🄰), and this event is associated with the idea of YHWH's victorious kingship (cf. Ps. 24).n4->n12n5Ex. 15:20"Then Miriam the prophet, Aaron’s sister, took a timbrel (הַתֹּף) in her hand, and all the women followed her, with timbrels and dancing (בְּתֻפִּים וּבִמְחֹלֹת)" (Ex. 15:20, ESV; cf. 1 Sam. 18:6).n14Dancing with tambourinesThe center of Ps. 150:3–5 mentions dancing with tambourines, which was associated especially with victory in battle.n5->n14n61 Kgs. 1:39–40"There Zadok the priest took the horn of oil from the tent and anointed Solomon. Then they blew the trumpet (וַיִּתְקְעוּ בַּשּׁוֹפָר), and all the people said, 'Long live King Solomon!' And all the people went up after him, playing on pipes, and rejoicing with great joy, so that the earth was split by their noise" (1 Kgs. 1:39–40, ESV).n15Musical celebration of kingshipThe enthronement of a king involved a musical celebration, beginning with the shofar.n6->n15n7Ps. 149:2–3יִשְׂמַ֣ח יִשְׂרָאֵ֣ל בְּעֹשָׂ֑יו בְּנֵֽי־צִ֝יּ֗וֹן יָגִ֥ילוּ בְמַלְכָּֽם׃ יְהַֽלְל֣וּ שְׁמ֣וֹ בְמָח֑וֹל בְּתֹ֥ף וְ֝כִנּ֗וֹר יְזַמְּרוּ־לֽוֹ׃n16Ps. 149The previous psalm (Ps. 149) explicitly connects the use of instruments (lyre, tambourines, and dancing) with the celebration of YHWH's kingship.n7->n16n8'Accomplishments'E.g., 1 Kgs. 22:46; 2 Kgs. 13:12; 14:15, 28; Est. 10:2n18גְּבוּרֹתThe word for 'accomplishments' (גְּבוּרֹת) is associated especially with kings and, specifically, with fighting wars and construction of public works.n8->n18n9Ps. 11:4abיְהוָ֤ה׀ בְּֽהֵ֘יכַ֤ל קָדְשׁ֗וֹ יְהוָה֮ בַּשָּׁמַ֪יִם כִּ֫סְא֥וֹn19קֹדֶשׁ...רָקִיעַYHWH's heavenly temple (קֹדֶשׁ) is associated with his universal kingship (cf. Ps. 11:4) and the firmament (רָקִיעַ) is considered as the "base supporting the throne of YHWH" (cf. Ezek. 1) (DCH 🄻).n9->n19n10Ezek. 1:26aוּמִמַּ֗עַל לָרָקִ֙יעַ֙ אֲשֶׁ֣ר עַל־רֹאשָׁ֔ם כְּמַרְאֵ֥ה אֶֽבֶן־סַפִּ֖יר דְּמ֣וּת כִּסֵּ֑אn10->n19n11->n0n12->n0n13->n12n14->n0n15->n0n16->n0n17vv. 1-2The first part of the psalm (vv. 1–2) presents YHWH as a great king (cf. Mays 1994 🄲).n17->n0n18->n17n19->n17


Conclusion (B)

The instruments in Psalm 150 probably imply a victory-enthronement celebration, in which YHWH has defeated his enemies and become king of the world (cf. 1 Kgs. 1:39–40). This interpretations best accounts for the instruments (and non-instruments) which are mentioned in vv. 3–5. The 'shofar' and the 'shout', both of which functioned to announce the reign of a new king (cf. Ps. 47), frame vv. 3–5, and 'drum and dance', both of which are associated with victory, occupy the central part of vv. 3–5. Furthermore, the whole panoply of instruments evokes the Ark story in 2 Samuel 6 - a story which is strongly associated with YHWH's kingship (cf. Ps. 24). This interpretation of the instruments in Ps. 150 also works well in the immediate context of the psalm (cf. vv. 1–2) and the larger context of Pss. 149–150 (cf. Ps. 149:2–3).

Research

Secondary Literature

Baethgen, Friedrich. 1904. Die Psalmen. Göttingen: Vandenhoeck und Ruprecht.
Ballhorn, Egbert. 2004. Zum Telos Des Psalters: Der Textzusammenhang Des Vierten Und Fünften Psalmenbuches (Ps 90-150). Bonner Biblische Beiträge, Bd. 138. Berlin: Philo.
Braun, Joachim. 2002. Music in Ancient Israel/Palestine: Archaeological, Written, and Comparative Sources. Grand Rapids: William B. Eerdmans Publishing Company.
Brodersen, Alma. 2017. The End of the Psalter: Psalms 146-150 in the Masoretic Text, the Dead Sea Scrolls, and the Septuagint. Beihefte Zur Zeitschrift Für Die Alttestametliche Wissenschaft, Band 505. Berlin ; Boston: De Gruyter.
Gunkel, Hermann. 1926. Die Psalmen. Göttinger Handkommentar Zum Alten Testament 2. Göttingen: Vandenhoeck & Ruprecht.
Human, Dirk. 2011. “‘Praise beyond Words:’ Psalm 150 as Grand Finale of the Crescendo in the Psalter.” Hervormde Teologiese Studies 67 (1).
Mathys, H. P. 2000. “Psalm CL.” Vetus Testamentum 50 (3): 329–44.
Mays, James Luther. 1994. Psalms. Interpretation. Louisville, KY: Westminster John Knox.
Neumann, Friederike. 2020. “Praise beyond Borders: Transformations of Traditions and Universal Worship in Ps. 150.” In “Mit Meinem Gott Überspringe Ich Eine Mauer”: Interreligiöse Horizonte in Den Psalmen Und Psalmenstudien, edited by Erich Zenger and Christian Frevel, 158–74. Herders Biblische Studien, Band 96. Freiburg: Herder.
Seidel, H. 1981. “Ps. 150 Und Die Gottesdienstmusik in Altisrael.” NTT Journal for Theology and the Study of Religion 35 (2): 89–100.

References

150:3, 4, 5

  1. ↑ OSHB.
  2. ↑ In addition to traditional lexical resources, see Braun 2002 and Brodersen 2017 for discussions about the individual instruments.