1 Cronici 25
1 David şi căpeteniile oştirii au pus de o parte pentru slujbă pe aceia din fiii lui Asaf, Heman şi Iedutun, cari prooroceau întovărăşiţi de arfă, de alăută şi de chimvale. Şi iată numărul celor ce aveau de îndeplinit lucrarea aceasta.
2 Din fiii lui Asaf: Zacur, Iosif, Netania şi Aşareela, fiii lui Asaf, subt cârmuirea lui Asaf, care proorocea după poruncile împăratului.
3 Din Iedutun, fiii lui Iedutun: Ghedalia, Ţeri, Isaia, Haşabia, Matitia şi Şimei, şase, subt cârmuirea tatălui lor Iedutun, care proorocea cu arfa, ca să laude şi să mărească pe Domnul.
4 Din Heman, fiii lui Heman: Buchia, Matania, Uziel, Şebuel, Ierimot, Hanania, Hanani, Eliata, Ghidalti, Romamti-Ezer, Ioşbecaşa, Maloti, Hotir, Mahaziot,
5 toţi fii ai lui Heman, care era văzătorul împăratului, ca să descopere cuvintele lui Dumnezeu şi să înalţe puterea Lui; Dumnezeu dăduse lui Heman patrusprezece fii şi trei fete.
6 Toţi aceştia erau subt cârmuirea părinţilor lor pentru cântarea în Casa Domnului, şi aveau chimvale, alăute şi arfe pentru slujba Casei lui Dumnezeu. Asaf, Iedutun şi Heman lucrau subt poruncile împăratului.
7 Erau în număr de douăsute optzeci şi opt, cuprinzându-se în acest număr şi fraţii lor deprinşi la cântarea Domnului, toţi cei ce erau meşteri.
8 Au tras la sorţ pentru slujbele lor, mici şi mari, învăţători şi ucenici.
9 Cel dintâi sorţ ieşit, a fost din Asaf, pentru Iosif; al doilea, pentru Ghedalia, el, fraţii şi fiii lui, doisprezece;
10 al treilea, Zacur, fiii şi fraţii săi, doisprezece;
11 al patrulea, pentru Iţeri, fiii şi fraţii săi, doisprezece;
12 al cincilea, pentru Netania, fiii săi şi fraţii săi, doisprezece;
13 al şaselea, Buchia, fiii şi fraţii săi, doisprezece;
14 al şaptelea, pentru Iesareela, fiii şi fraţii săi, doisprezece;
15 al optulea, pentru Isaia, fiii şi fraţii săi, doisprezece;
16 al nouălea, pentru Matania, fiii şi fraţii săi, doisprezece;
17 al zecelea, pentru Şimei, fiii şi fraţii săi, doisprezece;
18 al unsprezecelea, pentru Azareel, fiii şi fraţii săi, doisprezece;
19 al doisprezecelea, pentru Haşabia, fiii şi fraţii săi, doisprezece;
20 al treisprezecelea, pentru Şubael, fiii şi fraţii săi, doisprezece;
21 al patrusprezecelea, pentru Matitia, fiii şi fraţii săi, doisprezece;
22 al cincisprezecelea, pentru Ieremot, fiii şi fraţii săi, doisprezece;
23 al şasesprezecelea, pentru Hanania, fiii şi fraţii săi, doisprezece;
24 al şaptesprezecelea, pentru Ioşbecaşa, fiii şi fraţii săi, doisprezece;
25 al optsprezecelea, pentru Hanani, fiii şi fraţii săi, doisprezece;
26 al nouăsprezecelea, pentru Maloti, fiii şi fraţii săi, doisprezece;
27 al douăzecilea, pentru Eliata, fiii şi fraţii săi, doisprezece;
28 al douăzeci şi unulea, pentru Hotir, fiii şi fraţii săi, doisprezece;
29 al douăzeci şi doilea, pentru Ghidalti, fiii şi fraţii săi, doisprezece;
30 al douăzeci şi treilea, pentru Mahaziot, fiii şi fraţii săi, doisprezece;
31 al douăzeci şi patrulea, pentru Romamti-Ezer, fiii şi fraţii săi, doisprezece;
{"verseMap":{"1":[{"id":2843,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Asaph","title_en":"Asaph","content_ro":"<h3>ASAPH<\/h3>\n<li>1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, <span>tlb<\/span>) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he ministered daily before the ark (1 Chr 16:37; 25:6, 9; 1 Esd 1:15; 5:27, 59). He was also described as David’s private prophet (1 Chr 25:1-2). Asaph’s name appears in the superscriptions of Psalms 50 and 73–83 and in the guild he established, “the sons of Asaph” (1 Chr 25:1; 2 Chr 35:15; Ezr 2:41; Neh 7:44; 11:22).<\/li>\n<li>2. Joah’s father. Joah was the recorder (court historian or royal scribe) in King Hezekiah’s administration (2 Kgs 18:18, 27; Is 36:22).<\/li>\n<li>3. Temple guard or gatekeeper, seemingly the same person as Ebiasaph (1 Chr 9:18).<\/li>\n<li>4. Keeper of the king’s forest in Palestine under Artaxerxes I Longimanus (Neh 2:8). Nehemiah asked this Asaph for timber to rebuild the wall, gates, and structures of Jerusalem.<\/li>","content_en":"<h3>ASAPH<\/h3>\n<li>1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, <span>tlb<\/span>) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he ministered daily before the ark (1 Chr 16:37; 25:6, 9; 1 Esd 1:15; 5:27, 59). He was also described as David’s private prophet (1 Chr 25:1-2). Asaph’s name appears in the superscriptions of Psalms 50 and 73–83 and in the guild he established, “the sons of Asaph” (1 Chr 25:1; 2 Chr 35:15; Ezr 2:41; Neh 7:44; 11:22).<\/li>\n<li>2. Joah’s father. Joah was the recorder (court historian or royal scribe) in King Hezekiah’s administration (2 Kgs 18:18, 27; Is 36:22).<\/li>\n<li>3. Temple guard or gatekeeper, seemingly the same person as Ebiasaph (1 Chr 9:18).<\/li>\n<li>4. Keeper of the king’s forest in Palestine under Artaxerxes I Longimanus (Neh 2:8). Nehemiah asked this Asaph for timber to rebuild the wall, gates, and structures of Jerusalem.<\/li>","summary_ro":"ASAPH 1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, tlb) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he minister...","summary_en":"ASAPH 1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, tlb) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he minister...","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":11243,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Ethan","title_en":"Ethan","content_ro":"<h3>ETHAN<\/h3>\n<li>1. Wise man comparable to Solomon (1 Kgs 4:31) and probably the author of Psalm 89. It is uncertain whether he was a contemporary of Solomon.<\/li>\n<li>2. Descendant of Judah and son of Zerah (1 Chr 2:6), perhaps the same as #1 above. However, they are ascribed different fathers in the two passages.<\/li>\n<li>3. Son of Zimmah, a descendant of Gershon, Levi’s oldest son (1 Chr 6:42).<\/li>\n<li>4. Descendant of Levi through his son Merari, and the son of Kishi (1 Chr 6:44) or Kushaiah (15:17). He was one of three outstanding musicians, along with Heman and Asaph, appointed by David (vv 16-19). It was probably this Ethan whose name is ascribed in the title to Psalm 39 (as “Jeduthun,” which he is called in 1 Chr 16:41; 25:1) as “chief musician”; it is likely that he composed the music for the psalm.<\/li>","content_en":"<h3>ETHAN<\/h3>\n<li>1. Wise man comparable to Solomon (1 Kgs 4:31) and probably the author of Psalm 89. It is uncertain whether he was a contemporary of Solomon.<\/li>\n<li>2. Descendant of Judah and son of Zerah (1 Chr 2:6), perhaps the same as #1 above. However, they are ascribed different fathers in the two passages.<\/li>\n<li>3. Son of Zimmah, a descendant of Gershon, Levi’s oldest son (1 Chr 6:42).<\/li>\n<li>4. Descendant of Levi through his son Merari, and the son of Kishi (1 Chr 6:44) or Kushaiah (15:17). He was one of three outstanding musicians, along with Heman and Asaph, appointed by David (vv 16-19). It was probably this Ethan whose name is ascribed in the title to Psalm 39 (as “Jeduthun,” which he is called in 1 Chr 16:41; 25:1) as “chief musician”; it is likely that he composed the music for the psalm.<\/li>","summary_ro":"ETHAN 1. Wise man comparable to Solomon (1 Kgs 4:31) and probably the author of Psalm 89. It is uncertain whether he was a contemporary of Solomon. 2. Descendant of Judah and son of Zerah (1 Chr 2:6), perhaps the same as #1 above. However, they are ascribed different fathers in the two passages. 3. Son of Zimmah, a descendant of Gershon, Levi’s oldest son (1 Chr 6:42). 4. Descendant of Levi through his son Merari, and the son of Kishi (1 Chr 6:44) or Kushaiah (15:17). He was one of three outs...","summary_en":"ETHAN 1. Wise man comparable to Solomon (1 Kgs 4:31) and probably the author of Psalm 89. It is uncertain whether he was a contemporary of Solomon. 2. Descendant of Judah and son of Zerah (1 Chr 2:6), perhaps the same as #1 above. However, they are ascribed different fathers in the two passages. 3. Son of Zimmah, a descendant of Gershon, Levi’s oldest son (1 Chr 6:42). 4. Descendant of Levi through his son Merari, and the son of Kishi (1 Chr 6:44) or Kushaiah (15:17). He was one of three outs...","source":"Articles\/E.xml","external_url":null,"has_map":false,"has_picture":false},{"id":13694,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Gershonites Gershon","title_en":"Gershonites Gershon","content_ro":"<h3>GERSHON, GERSHONITES<\/h3>\n<p>Levi’s oldest son (also spelled Gershom) who went into Egypt with Israel (Gn 46:11; Nm 3:17; 1 Chr 6:1) and was ancestor of a division of Levites (Gershonites) who came out of Egypt with Moses (Ex 6:16-17; Nm 3:18, 21).<\/p>\n<p>In the list of the allotment of Levitical cities, the Gershonites were listed as one of the largest Levitical groups in Israel (Jos 21:1-7). Some passages indicate that they were at times dominant among the functioning Levitical groups (Gn 46:11; Ex 6:16; Nm 3:17; 26:57; 1 Chr 6:1, 16; 23:6).<\/p>\n<p>According to the book of Numbers, the Gershonites were encamped behind the tabernacle to the west during the wilderness wanderings (Nm 3:23). Early in the second year after the exodus from Egypt, the Gershonite males numbered about 7,500 (v 22). Only those between the ages of 30 and 50 could serve in the tabernacle, which at the time of that early census totaled 2,630 men (4:39-40). They were responsible for the care and transportation of the external furnishings of the tabernacle (3:25-26; 4:24, 27-28) and were given two wagons and four oxen for the purpose, being supervised by Aaron and his sons (4:27).<\/p>\n<p>After the initial settlement of Canaan, the Gershonites were allotted 13 cities among the tribes of Issachar, Asher, Naphtali, and Manasseh in the northern part of Palestine (Jos 21:6).<\/p>\n<p>During the time of King David, they were listed among the Levites appointed to service in the temple (1 Chr 23:6-11). The Gershonite families of Ladan and Jehieli were in charge of the treasury of the house of God (26:20-22). At David’s request, music in the temple was directed in part by Asaph and his family, who were Gershonites (25:1-2). In the reign of King Hezekiah the Gershonites are mentioned among the Levites who cleansed the temple (2 Chr 29:1-6, 12). In the postexilic period the descendants of Asaph celebrated the laying of the temple foundation (Ezr 3:10) and the dedication of the city walls (Neh 12:31-36) with music.<\/p>\n<p><em>See also<\/em> Levi, Tribe of; Priests and Levites.<\/p>","content_en":"<h3>GERSHON, GERSHONITES<\/h3>\n<p>Levi’s oldest son (also spelled Gershom) who went into Egypt with Israel (Gn 46:11; Nm 3:17; 1 Chr 6:1) and was ancestor of a division of Levites (Gershonites) who came out of Egypt with Moses (Ex 6:16-17; Nm 3:18, 21).<\/p>\n<p>In the list of the allotment of Levitical cities, the Gershonites were listed as one of the largest Levitical groups in Israel (Jos 21:1-7). Some passages indicate that they were at times dominant among the functioning Levitical groups (Gn 46:11; Ex 6:16; Nm 3:17; 26:57; 1 Chr 6:1, 16; 23:6).<\/p>\n<p>According to the book of Numbers, the Gershonites were encamped behind the tabernacle to the west during the wilderness wanderings (Nm 3:23). Early in the second year after the exodus from Egypt, the Gershonite males numbered about 7,500 (v 22). Only those between the ages of 30 and 50 could serve in the tabernacle, which at the time of that early census totaled 2,630 men (4:39-40). They were responsible for the care and transportation of the external furnishings of the tabernacle (3:25-26; 4:24, 27-28) and were given two wagons and four oxen for the purpose, being supervised by Aaron and his sons (4:27).<\/p>\n<p>After the initial settlement of Canaan, the Gershonites were allotted 13 cities among the tribes of Issachar, Asher, Naphtali, and Manasseh in the northern part of Palestine (Jos 21:6).<\/p>\n<p>During the time of King David, they were listed among the Levites appointed to service in the temple (1 Chr 23:6-11). The Gershonite families of Ladan and Jehieli were in charge of the treasury of the house of God (26:20-22). At David’s request, music in the temple was directed in part by Asaph and his family, who were Gershonites (25:1-2). In the reign of King Hezekiah the Gershonites are mentioned among the Levites who cleansed the temple (2 Chr 29:1-6, 12). In the postexilic period the descendants of Asaph celebrated the laying of the temple foundation (Ezr 3:10) and the dedication of the city walls (Neh 12:31-36) with music.<\/p>\n<p><em>See also<\/em> Levi, Tribe of; Priests and Levites.<\/p>","summary_ro":"GERSHON, GERSHONITES Levi’s oldest son (also spelled Gershom) who went into Egypt with Israel (Gn 46:11; Nm 3:17; 1 Chr 6:1) and was ancestor of a division of Levites (Gershonites) who came out of Egypt with Moses (Ex 6:16-17; Nm 3:18, 21). In the list of the allotment of Levitical cities, the Gershonites were listed as one of the largest Levitical groups in Israel (Jos 21:1-7). Some passages indicate that they were at times dominant among the functioning Levitical groups (Gn 46:11; Ex 6:16; ...","summary_en":"GERSHON, GERSHONITES Levi’s oldest son (also spelled Gershom) who went into Egypt with Israel (Gn 46:11; Nm 3:17; 1 Chr 6:1) and was ancestor of a division of Levites (Gershonites) who came out of Egypt with Moses (Ex 6:16-17; Nm 3:18, 21). In the list of the allotment of Levitical cities, the Gershonites were listed as one of the largest Levitical groups in Israel (Jos 21:1-7). Some passages indicate that they were at times dominant among the functioning Levitical groups (Gn 46:11; Ex 6:16; ...","source":"Articles\/G.xml","external_url":null,"has_map":false,"has_picture":false},{"id":16197,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Heman","title_en":"Heman","content_ro":"<h3>HEMAN<\/h3>\n<li>1. Lotan’s son, the brother of Hori and a descendant of Seir the Horite (Gn 36:22); alternately spelled Homam in 1 Chronicles 1:39, reflecting a later scribal error.<\/li>\n<li>2. Mahol’s son, descendant of Zerah from Judah’s tribe and one of the sages whose wisdom was surpassed by King Solomon’s (1 Kgs 4:31; 1 Chr 2:6). He is perhaps the Ezrahite and author of Psalm 88.<\/li>\n<li>3. Kohathite Levite, Joel’s son and one appointed, along with Asaph and Ethan (also called Jeduthun), by David to lead the musicians in the sanctuary (1 Chr 6:33; 15:17; 16:41). During the transport of the ark from Obed-edom’s house to Jerusalem, he was responsible for sounding the bronze cymbals (1 Chr 15:19; 2 Chr 5:12). Heman fathered 14 sons and 3 daughters, all of whom served as musicians in the Lord’s house (1 Chr 25:1-6). Later, his descendants participated in the cleansing of the temple during King Hezekiah’s reign (715–686 <span>BC<\/span>; 2 Chr 29:14) and assisted with the Passover celebration initiated by King Josiah (640–609 <span>BC<\/span>; 2 Chr 35:15).<\/li>","content_en":"<h3>HEMAN<\/h3>\n<li>1. Lotan’s son, the brother of Hori and a descendant of Seir the Horite (Gn 36:22); alternately spelled Homam in 1 Chronicles 1:39, reflecting a later scribal error.<\/li>\n<li>2. Mahol’s son, descendant of Zerah from Judah’s tribe and one of the sages whose wisdom was surpassed by King Solomon’s (1 Kgs 4:31; 1 Chr 2:6). He is perhaps the Ezrahite and author of Psalm 88.<\/li>\n<li>3. Kohathite Levite, Joel’s son and one appointed, along with Asaph and Ethan (also called Jeduthun), by David to lead the musicians in the sanctuary (1 Chr 6:33; 15:17; 16:41). During the transport of the ark from Obed-edom’s house to Jerusalem, he was responsible for sounding the bronze cymbals (1 Chr 15:19; 2 Chr 5:12). Heman fathered 14 sons and 3 daughters, all of whom served as musicians in the Lord’s house (1 Chr 25:1-6). Later, his descendants participated in the cleansing of the temple during King Hezekiah’s reign (715–686 <span>BC<\/span>; 2 Chr 29:14) and assisted with the Passover celebration initiated by King Josiah (640–609 <span>BC<\/span>; 2 Chr 35:15).<\/li>","summary_ro":"HEMAN 1. Lotan’s son, the brother of Hori and a descendant of Seir the Horite (Gn 36:22); alternately spelled Homam in 1 Chronicles 1:39, reflecting a later scribal error. 2. Mahol’s son, descendant of Zerah from Judah’s tribe and one of the sages whose wisdom was surpassed by King Solomon’s (1 Kgs 4:31; 1 Chr 2:6). He is perhaps the Ezrahite and author of Psalm 88. 3. Kohathite Levite, Joel’s son and one appointed, along with Asaph and Ethan (also called Jeduthun), by David to lead the music...","summary_en":"HEMAN 1. Lotan’s son, the brother of Hori and a descendant of Seir the Horite (Gn 36:22); alternately spelled Homam in 1 Chronicles 1:39, reflecting a later scribal error. 2. Mahol’s son, descendant of Zerah from Judah’s tribe and one of the sages whose wisdom was surpassed by King Solomon’s (1 Kgs 4:31; 1 Chr 2:6). He is perhaps the Ezrahite and author of Psalm 88. 3. Kohathite Levite, Joel’s son and one appointed, along with Asaph and Ethan (also called Jeduthun), by David to lead the music...","source":"Articles\/H.xml","external_url":null,"has_map":false,"has_picture":false},{"id":18640,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jeduthun","title_en":"Jeduthun","content_ro":"<h3>JEDUTHUN<\/h3>\n<p>Member of the Levitical family of Merar who, along with Asaph and Heman, presided over the music in the sanctuary in David’s reign (1 Chr 25:1; 2 Chr 5:12; called “Ethan” in 1 Chr 6:44; 15:17). Jeduthun is mentioned in the titles of Psalms 39, 62, and 77. Some of his sons were set apart to prophesy with lyres, harps, and cymbals (1 Chr 25:1-3), apparently following the example of their father, who was called “the king’s seer” (2 Chr 35:15). In 1 Chronicles 16:38 and 42, he is listed as Obed-edom’s father.<\/p>","content_en":"<h3>JEDUTHUN<\/h3>\n<p>Member of the Levitical family of Merar who, along with Asaph and Heman, presided over the music in the sanctuary in David’s reign (1 Chr 25:1; 2 Chr 5:12; called “Ethan” in 1 Chr 6:44; 15:17). Jeduthun is mentioned in the titles of Psalms 39, 62, and 77. Some of his sons were set apart to prophesy with lyres, harps, and cymbals (1 Chr 25:1-3), apparently following the example of their father, who was called “the king’s seer” (2 Chr 35:15). In 1 Chronicles 16:38 and 42, he is listed as Obed-edom’s father.<\/p>","summary_ro":"JEDUTHUN Member of the Levitical family of Merar who, along with Asaph and Heman, presided over the music in the sanctuary in David’s reign (1 Chr 25:1; 2 Chr 5:12; called “Ethan” in 1 Chr 6:44; 15:17). Jeduthun is mentioned in the titles of Psalms 39, 62, and 77. Some of his sons were set apart to prophesy with lyres, harps, and cymbals (1 Chr 25:1-3), apparently following the example of their father, who was called “the king’s seer” (2 Chr 35:15). In 1 Chronicles 16:38 and 42, he is listed ...","summary_en":"JEDUTHUN Member of the Levitical family of Merar who, along with Asaph and Heman, presided over the music in the sanctuary in David’s reign (1 Chr 25:1; 2 Chr 5:12; called “Ethan” in 1 Chr 6:44; 15:17). Jeduthun is mentioned in the titles of Psalms 39, 62, and 77. Some of his sons were set apart to prophesy with lyres, harps, and cymbals (1 Chr 25:1-3), apparently following the example of their father, who was called “the king’s seer” (2 Chr 35:15). In 1 Chronicles 16:38 and 42, he is listed ...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":26549,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Music","title_en":"Music","content_ro":"<h3>MUSIC<\/h3>\n<p>A natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship.<\/p>\n<p>The phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human impulse to sing. The injunction “sing to the Lord” was a signal for the people to pour out their praise in song.<\/p>\n<p>The Bible, however, is limited in its treatment of music in ancient Israel. Since there was no written musical notation, the primary record of songs sung by the Hebrews is the collection of texts, particularly the psalms, and a few enigmatic musical instructions. The biblical writers were writing a history not of their culture but of their relationship with God; hence, their comments about music are not critical. Also, the biblical documents cover a long span of history and are grouped according to category rather than in chronological order, thus making it difficult to order the development of musical style with precision. Finally, there is the problem of understanding the biblical descriptions of music and its performance. Only in this century have scholars been able to interpret the information provided in the Bible in terms of Eastern music systems.<\/p>\n<p>Preview<\/p>\n<p>• Music in the Old Testament<\/p>\n<p>• Music in the Psalms<\/p>\n<p>• Music in the New Testament<\/p>\n<p class=\"h2\" id=\"MusicintheOldTestament\">Music in the Old Testament<\/p>\n<p>The first musician mentioned in the Bible is “Jubal, the first musician—the inventor of the harp and flute” (Gn 4:21, <span>nlt<\/span>). The importance of this description of a musician so early in history lies in the equality Jubal is given with his brothers Jabal, the herdsman, and Tubal-cain, the smith. Music making is recognized among the earliest professions of nomadic peoples. The name Jubal is believed to be a derivative from the Hebrew word for “ram.” The ram’s horn <em>(<\/em><span class=\"hebrew\" lang=\"he\">shophar<\/span><em>)<\/em> was an early instrument of the Jewish people and was significant in signaling important events.<\/p>\n<p>For the most part, the music described in early biblical history was of a functional nature. Music gained special significance as it became an important part of temple worship. Many of the descriptions of music making in ancient Israel, before David’s time, are quite utilitarian. There are accounts of music at times of farewell (Gn 31:27), at times of rejoicing and feasting (Ex 32:17-18; Is 5:12; 24:8-9), at military victories (2 Chr 20:27-28), and for work (Nm 21:17, the song of the well diggers; Is 16:10; Jer 48:33). Most of this music was probably rather crude and primitive in nature, especially the music associated with military advances, which was meant to terrify the enemy (Jgs 7:17-20). The music and dancing that greeted Moses as he descended from the mountain was described as if it sounded like “war in the camp” (Ex 32:17-18).<\/p>\n<p>In the early history of the Jewish people, women played an important part in the performance of music. The image of women dancing and singing for joy accompanied by percussion instruments is repeated several times: Miriam led the women in a hymn of thanksgiving after the deliverance from the Red Sea (Ex 15); Jephthah’s daughter welcomed her father in his victory (Jgs 11:34); Deborah joined with Barak in singing a song of victory (Jgs 5); and women hailed David after his defeat of the Philistines (1 Sm 18:6-7). There is little mention of women as musicians following the establishment of the temple in Jerusalem, but there are a few allusions to the fact that women did participate in singing and dancing. The account of the return from exile in Babylon includes both male and female singers (Neh 7:67), confirming that women still took part in musical performance.<\/p>\n<p>As Jerusalem became the religious center of the Hebrew people (950–850 <span>BC<\/span>), the role of the professional musician became more important. The women’s songs became insignificant compared to the pomp and ceremony associated with the temple and the royal court. While the Levitical singers took most of the musical responsibility at the temple, the development of antiphonal singing allowed the people to join in on responses in the singing of psalms.<\/p>\n<h5>Musical Style and Use<\/h5>\n<p>The Jewish people seem to have been especially musical. Of course, they were influenced by other ancient cultures, but there is evidence that they were in demand as musicians by other peoples. According to an Assyrian document, King Hezekiah gave as tribute to King Sennacherib many male and female Jewish musicians. The Babylonians demanded that the captive Jews sing to them and entertain them (cf. Ps 137:3).<\/p>\n<p>Since the OT’s purpose was to narrate the relationship between the Jewish nation and God, most of the references to music deal with its function in worship. However, evidence reveals that there was also a large body of secular musical literature. There may have been guilds of poets and singers early in Jewish history. The kinds of songs recorded in the early part of the OT represent a folklike poetry. The song of thanksgiving to the Lord by Moses and the people of Israel after their escape at the Red Sea is a stirring national song. Many descriptions of the biblical writers reflect the spirit of bardic song. This would be logical, as these stories were meant to be passed on. Marching songs (2 Chr 20:27-28), and songs of triumph (Jgs 5) also indicate a secular body of music.<\/p>\n<h5>Music in Worship<\/h5>\n<p>The singers and musicians for the temple worship were chosen from the tribe of Levi. King David assembled the Levites for a census, and out of the total of 38,000 men over the age of 30, 4,000 were chosen as musicians. These 4,000 were subsequently given specific jobs. “David and the chiefs of the service also set apart for the service certain of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with lyres, with harps, and with cymbals. . . . The number of them along with their brethren, who were trained in singing to the <span>Lord<\/span>, all who were skilful, was two hundred and eighty-eight” (1 Chr 25:1, 7, <span>rsv<\/span>). The singers were further divided into 24 groups of 12 singers, who rotated in participating in the weekday, Sabbath, and high holy day services.<\/p>\n<p>According to a later source, there were minimum and maximum numbers of singers and instrumentalists required at each service. The minimum number of singers was twelve, the maximum was unlimited. There had to be in attendance at least two harps but no more than six, at least two flutes but no more than twelve, a minimum of two trumpets with no maximum, and a minimum of nine lyres with no maximum. There was only one player with a pair of cymbals.<\/p>\n<p>A singer was admitted to the Levitical choir at the age of thirty following a five-year apprenticeship (1 Chr 23:3). Five years is a relatively short time considering the amount of material these singers had to memorize (for there was no notation) and the liturgical ritual they had to master; it is speculated that they actually were in training from childhood. The Levites lived in villages outside the city wall and may have been actively involved in the musical education of their children (Neh 12:29). The Levites performed other duties connected with the sacred service, but the singers were excused from all other duties because they were on duty day and night (1 Chr 9:33). Their skills were an important part of the temple worship, and they were able to devote their entire life to the development of their musical ability. A singer served in the choir for 20 years, from age 30 to 50, and the music was of a high quality due to strict discipline and continuous practice and performance.<\/p>\n<p>From the beginning of Jewish formal worship connected with the tabernacle, music and sound was important. In Exodus 28:34-35 the descriptions of Aaron’s robe include bells attached to the lower hem that sounded as he entered the Holy Place. The first liturgical music mentioned in the OT is found in 2 Samuel 6 in the descriptions of the transfer of the ark: David and the Israelites sang, played instruments, and danced to the glory of the Lord. This music bore little resemblance to the stately ceremony described later in Solomon’s temple. In 2 Chronicles 7:6, David is given recognition for inventing the musical instruments used in the temple. In the postexilic era Levitical singers are mentioned as the descendants of Asaph, the “singing master” appointed by David (Ezr 2:41; Neh 7:44; 11:22-23). From passages such as these, we have a definite indication that liturgical music and organization stemmed from David’s time.<\/p>\n<p>The ceremonies in the Jewish temple were organized around the sacrifice. Singing formed an integral part of the sacrificial service and was necessary to validate the sacrificial action. There were special musical settings for each sacrifice; thus the daily burnt, expiatory, and laudatory offerings and libations had individual liturgies. Particular psalms became associated with certain sacrifices as well as with certain days of the week. The psalm of the day was intoned as the high priest started to pour out the drink offering. The psalm was divided into three sections, each signaled by the blowing of the trumpets, on which signal the people would prostrate themselves. This is the only time the trumpets were used together with the other instruments in orchestral fashion on solemn occasions (2 Chr 5:12-13).<\/p>\n<p class=\"h2\" id=\"MusicinthePsalms\">Music in the Psalms<\/p>\n<h5>Musical Psalm Titles<\/h5>\n<p>The collection of 150 lyric poems known as the book of Psalms contains the most information on music making in ancient Israel. The Psalter contains not only religious songs but also songs that have their roots in secular or popular songs, such as work songs, love songs, and wedding songs. The majority are songs of praise, thanksgiving, prayer, and repentance. There are also historic odes that relate great national events—for example, Psalm 30, “a song at the dedication of the temple,” and Psalm 137, which portrays the sufferings of the Jews in captivity.<\/p>\n<p>The psalms were an important part of all the services of the temple; the Psalter became the liturgical hymnal of the Israelites. Worship included an appointed psalm for each day of the week. On the first day of the week, Psalm 24 was sung in remembrance of the first day of creation, Psalm 48 was sung on the second day, Psalm 82 on the third, Psalm 94 on the fourth, Psalm 81 on the fifth, Psalm 93 on the sixth, and Psalm 92 on the Sabbath. After the sacrificial offerings, Psalm 105:1-5 was sung at the morning service and Psalm 96 at the evening service. The Hallel psalms (Pss 113–118, 120–136, 146–148) were sung during the offering of the paschal lamb at the Passover feast.<\/p>\n<p>While most of the liturgical music was performed by Levites, texts of the psalms suggest that there was also congregational participation. The forms of music found both in synagogal and ecclesiastical chant had their source in the forms of the poetic text of the psalms. The simplest is the plain psalmody sung by one person (e.g., Pss 3–5, 46). In responsorial psalmody the soloist is answered by the choir (e.g., Ps 67:1-2; the soloist sang verse 1 and the choir answered with verse 2). Antiphonal psalmody involves two groups singing alternately (e.g., Ps 103:20-22). The congregation would chant a refrain such as appears in Psalm 80: “Restore us, O God; let thy face shine, that we may be saved!” recurs throughout the psalm (<span>rsv<\/span>).<\/p>\n<p>Even though the synagogue had no altar for sacrifice, psalm singing retained an important place. After the Romans destroyed the temple, the worship heritage of the Jews could have been lost if the customs, including musical customs, had not become an integral part of synagogue worship.<\/p>\n<p>The most enigmatic part of the psalms is the headings that are not part of the poetic text. The first question is whether these should even be considered as superscripts. Greek, Latin, Hebrew, and other ancient languages were written in such a way that the text ran together without any break between chapters or paragraphs. This means that the verses, and even the division of the psalms themselves, were partially determined by copyists, chiefly the Masoretes. There is some question as to which psalms the extrapoetic texts actually belong with; they may actually be subscripts instead of superscripts. Sumerian and Babylonian poetry had information such as the name of the author, the musical instrument used for accompaniment, the tune, the purpose, and such listed at the end of the poem. Hence, some of the headings may actually be endings.<\/p>\n<p>The indications at the beginning of a psalm fall into three categories. They are either musical terms giving direction for the actual performance, musical cues designating the tune to which the psalm would be sung, or comments indicating the function of the psalm. These terms have been interpreted in various ways.<\/p>\n<p>Originally, these headings may have been marginal notes for the choir leaders. Realizing that these terms were not related to the psalm text proper, early biblical scribes may not have been overly careful with their placement in the text, which may explain some of the discrepancies among the early manuscripts—why certain words are left out in some and why terms assigned to only a few psalms may originally have been indicated on more of them.<\/p>\n<p>All but 50 of the psalms contain a proper name in the heading. These names possibly indicate the author; other commentators, interpreting the preposition appearing before the names to mean “for,” think the names are a dedication. Thus the title would be “A Psalm for David,” not “A Psalm of David.” This may be the case with the names of Asaph, Heman, Ethan, and especially the sons of Korah, where it would make better sense for the psalm to be written for rather than by the family. Seventy-three psalms have David’s name in the heading, hence the common reference to the Psalter as the Psalms of David. Twelve include the name of Asaph, eleven the children of Korah, two Solomon, and one each contains Moses, Heman, and Ethan.<\/p>\n<h5>Musical Terms in the Psalm Titles<\/h5>\n<p>Numerous musical terms are included in the superscriptions to cue the kind of instrumental accompaniment, mood, and style of performance for the psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Alamoth<\/span> is one of the most controversial terms found in the psalm headings. It appears at the beginning of Psalm 46 and also in 1 Chronicles 15:20. One meaning for the Hebrew word is “maiden,” and musicologists interpret this as an instruction that the psalm should be sung in the range of the female singing voice. The reference in Chronicles is to harps in the range of women’s voices. This interpretation does not seem to fit Psalm 46, but if we look at the preceding psalm and read the term as a subscript, it becomes logical. Psalm 45 is a song of love, actually a nuptial ode; it would be natural for women to sing the second half (vv 10-17). While there is little mention of women singing in the temple, there is speculation that young boys in training may have sung along with the Levitical singers. Also this may be a case where the term appears only once in the modern text but may have been used more often in the original. Another possible meaning for <span class=\"hebrew\" lang=\"he\">Alamoth<\/span> is “flutes,” perhaps describing the kind of musical accompaniment for the performance of the psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Gittith<\/span> is a term found in the superscriptions of Psalms 8, 81, and 84. It may be a musical cue, indicating a mood for the performance of these psalms, but a more common explanation is that it is a collective term for the stringed instruments that would have accompanied them.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Mahalath<\/span> has been left in its original Hebrew form by early translators and is found in the headings of Psalms 53 and 88. It may have roots in the Hebrew <span class=\"hebrew\" lang=\"he\">mahaleh<\/span> “sickness” or <span class=\"hebrew\" lang=\"he\">mahot<\/span> “dance,” though neither of these words can be related to the psalm texts. Another explanation is a musical one. <span class=\"hebrew\" lang=\"he\">Mahalath<\/span> may come from the word <span class=\"hebrew\" lang=\"he\">halal<\/span> meaning “to pierce,” implying that the psalm was to be accompanied with pipes.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Maskil<\/span> (<span>kjv<\/span> “Maschil”) appears in the headings of 13 psalms (Pss 32, 42, 44–45, 52–55, 74, 78, 88–89, 142). The term is probably derived from the verb <span class=\"hebrew\" lang=\"he\">sakal<\/span><em>,<\/em> “to have insight or comprehension,” but there is no agreement among commentators. By looking at the psalms themselves, their didactic nature and the structure of stanzas and refrains, musicologists conclude the term represents a song of praise, possibly sung by a soloist with participation by the choir.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Menazzeah<\/span> appears in the heading of 55 psalms. It appears 52 times in the first three books of Psalms (Pss 1–89), not at all in book four (Pss 90–106), and 3 times in book five (Pss 107–150). The most common modern translations are “to the Choirmaster” (<span>rsv<\/span>), “to the choir director” (<span>nasb<\/span>, <span>nlt<\/span>), “to the director of music” (<span>niv<\/span>), “to the chief Musician” (<span>kjv<\/span>, <span>nkjv<\/span>). The word is derived from the Hebrew verb <span class=\"hebrew\" lang=\"he\">nazzah<\/span><em>,<\/em> appearing in 1 Chronicles 23:4 and Ezra 3:8-9 in the sense of “administering.” In 1 Chronicles 15:21 the word is found in relation to leading or directing song in the temple. <span class=\"hebrew\" lang=\"he\">Menazzeah<\/span> relates to the choirmaster and represents the singer chosen to lead the music who probably was involved in rehearsing and instructing. It is now assumed that <span class=\"hebrew\" lang=\"he\">menazzeah<\/span> indicates the psalm was to be sung partially or entirely by a soloist. This is evidenced by the change in some texts from “I” where the soloist sang, to “we” where the choir or congregation sang. Psalm 5 is an example of a text divided for solo and choral singing: verses 1-3 solo; verses 4-6 choral; verses 7-8 solo; verses 9-10 choral; and verses 11-12 end the psalm with the combined soloist and choir.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Miktam<\/span> (<span>kjv<\/span> “Michtam”) is another term that has no clear musical meaning, due mainly to the fact that its etymology is unknown. It occurs in Psalms 16 and 56–60, all of which have a character of lamentation or supplication. In a musical sense, it probably meant that a certain well-known tune was to be selected as the melody of the psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Mizmor<\/span> (Hebrew, meaning a song sung to instrumental accompaniment) is found nowhere else in the Bible; it is included in the superscriptions of 57 psalms. It probably indicated a song accompanied by melodic instruments as opposed to a dance song accompanied by rhythmic instruments.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Neginah<\/span> appears in the superscriptions of Psalms 4, 6, 54–55, 61, 67, and 76. The term <span class=\"hebrew\" lang=\"he\">neginah<\/span> and its plural <span class=\"hebrew\" lang=\"he\">neginoth<\/span> are found in Psalm 77:7, Lamentations 5:14, Isaiah 38:20, and Habakkuk 3:19. <span class=\"hebrew\" lang=\"he\">Neginah<\/span><em>,<\/em> from the Hebrew root <span class=\"hebrew\" lang=\"he\">naggen<\/span><em>,<\/em> “to touch the strings,” instructs that stringed instruments accompany the singing.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Nehiloth<\/span> is found only in the introduction to Psalm 5 (<span>kjv<\/span>). The origin of the word is problematic. It could come from the verb <span class=\"hebrew\" lang=\"he\">nahal<\/span><em>,<\/em> “to possess or inherit,” or more feasibly from <span class=\"hebrew\" lang=\"he\">halal<\/span><em>,<\/em> meaning “to pierce.” The latter implies the idea of a pierced instrument (the flute or pipe) to be used for accompaniment.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Sheminith<\/span> appears in Psalms 6 and 12 and also in 1 Chronicles 15:21. The Hebrew word means literally “over the eighth.” Some scholars feel it had something to do with an octave, but the Hebrew musical language probably did not include a musical unit divided into eight parts. Other scholars interpret <span class=\"hebrew\" lang=\"he\">sheminith<\/span> as meaning an eight-stringed instrument. A more logical interpretation comes from examining its use in 1 Chronicles. In 15:20 the instructions are for musicians to play the harps according to <span class=\"hebrew\" lang=\"he\">alamoth<\/span> and in verse 21 to play the lyres according to <span class=\"hebrew\" lang=\"he\">sheminith<\/span><em>.<\/em> Here the terms <span class=\"hebrew\" lang=\"he\">alamoth<\/span> and <span class=\"hebrew\" lang=\"he\">sheminith<\/span> seem to be used in opposition. If <span class=\"hebrew\" lang=\"he\">alamoth<\/span> implies a register of the female voice, then <span class=\"hebrew\" lang=\"he\">sheminith<\/span> would imply a lower register. Thus, it may have been an instruction to use a lower pitched instrument for accompaniment.<\/p>\n<h5>Psalm Varieties in the Titles<\/h5>\n<p>Some of the notes in the psalm headings are indications of the type or variety of psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Hazkir<\/span> is found in the headings of Psalms 38 and 70. According to the Targum, this is an indication that the psalm was sung at the sacrificial rite called <span class=\"hebrew\" lang=\"he\">askara<\/span> and is translated “for a memorial offering.”<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Lammed<\/span> appears in the superscription of Psalm 60 in the phrase <span class=\"hebrew\" lang=\"he\">le-lammed<\/span><em>,<\/em> translated “to teach.” According to tradition, this was a psalm, though undoubtedly not the only one, taught to young people as part of their education. This is another example of a term that may have been omitted from other psalms in later versions of the Psalter.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shiggaion<\/span> is in the heading of Psalm 7 and also in Habakkuk 3:1. The word probably comes from the Hebrew verb <span class=\"hebrew\" lang=\"he\">shagah<\/span><em>,<\/em> “to wander,” but may also be connected with the Assyrian liturgical term <span class=\"hebrew\" lang=\"he\">shigu<\/span><em>,<\/em> which represented a plaintive song in several stanzas. Biblical scholars have assumed <span class=\"hebrew\" lang=\"he\">shiggaion<\/span><em>,<\/em> plural <span class=\"hebrew\" lang=\"he\">shigionoth<\/span><em>,<\/em> was a lament or penitential song.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir<\/span> is the simplest word for “song” and was probably used in the headings at an early stage of the Psalter; it is usually found with <span class=\"hebrew\" lang=\"he\">mizmor<\/span> (13 times). Fifteen psalms have this heading. It was probably the term for a specific type of praise song, usually performed by the choir.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir Hamaalot<\/span> and <span class=\"hebrew\" lang=\"he\">Shir Lamaalot<\/span> occur in the headings of Psalms 120–134, which are often referred to as the Psalms of Ascent (<span>kjv<\/span> “Psalms of Degrees”). Most explanations offered relate to the fact that the temple was situated on high ground. Often these 15 psalms are associated with the 15 steps leading from the Court of the Women to the Court of the Israelites. But most contemporary scholars believe the idea of “going up” referred to the pilgrims’ journey to Jerusalem to worship at the temple. These psalms are short, with popular appeal, making them appropriate for singing during the journey.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir Hanukkat Habayit<\/span> is found only in the heading of Psalm 30. This phrase tells that the psalm was to be used for the dedication or rededication of the house of God.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir-yedidot<\/span> appears only in Psalm 45. It refers to a love song that was probably sung at wedding ceremonies.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Tefillah<\/span> is a common term for “prayer” and appears in the headings of Psalms 17, 86, 90, 102, and 142, and also in Habakkuk 3:1. The word probably refers to a specific form of poetic prayer.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Selah<\/span> is one of the most frequently used, but most enigmatic, terms found in the book of Psalms. It occurs in 39 psalms, appearing a total of 71 times in the Psalter—67 times within the text and 4 times at the end of a psalm. It is most frequent in the first three books. In the first book <span class=\"hebrew\" lang=\"he\">selah<\/span> appears in 9 psalms; in the second book, 17 psalms; in the third book, 11 psalms. In the fourth book it is not found at all and in the fifth book in only two psalms. Thirty-one of these psalms also include the term <span class=\"hebrew\" lang=\"he\">menazzeah<\/span> in their superscriptions, which implies that they were sung by a soloist and choir. Most commonly, <span class=\"hebrew\" lang=\"he\">selah<\/span> is interpreted as a signal for a break in the singing and possibly for an instrumental interlude. It never appears at the beginning of a psalm but only in the middle of the text or at the end. The regularity of its appearance within a psalm is not consistent, and in only a few instances do these divisions break the psalm into equal sections. Because of the random placement of the term, some scholars believe that, like the headings, <span class=\"hebrew\" lang=\"he\">selah<\/span> was not always carefully copied into the text. It may have been a note appearing only in the texts of the musicians, which would explain this inconsistency. An explanation of <span class=\"hebrew\" lang=\"he\">selah<\/span> is found in the Talmudic tradition: “Ben Azra clashed the cymbal and the Levites broke forth into singing. When they reached a break in the singing they blew upon the trumpets and the people prostrated themselves; at every break there was a blowing of the trumpet and at every blowing of the trumpet a prostration. This was the rite of the daily whole offering in the service of the House of our God.” <span class=\"hebrew\" lang=\"he\">Selah<\/span><em>,<\/em> then, would be an instruction for the musicians that the singing was to cease and the instrumentalists were to play.<\/p>\n<p>The term <span class=\"hebrew\" lang=\"he\">higgaion selah<\/span> appears once, in Psalm 9:16. The word <span class=\"hebrew\" lang=\"he\">higgaiaon<\/span> comes from the root <span class=\"hebrew\" lang=\"he\">hagah<\/span><em>,<\/em> “to murmur, to growl, to produce a low sound.” This may have been an instruction for the interlude to be more subdued than a normal <span class=\"hebrew\" lang=\"he\">selah<\/span><em>.<\/em><\/p>\n<h5>Ancient Melodies in the Titles<\/h5>\n<p>Many psalms contain headings that are not direct musical references but are cue words to suggest well-known tunes. They probably refer either to names or the first words of popular secular songs <em>(<\/em><span class=\"hebrew\" lang=\"he\">makams<\/span><em>)<\/em> whose melodic patterns were used in singing the psalm. Many biblical scholars have tried to find hidden meaning in these headings, but most musicologists believe these are simply references or introductions to melodies.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Aijeleth Shahar<\/span><em>,<\/em> in Psalm 22 (<span>kjv<\/span>), is translated “according to The Hind of the Dawn” (<span>rsv<\/span>), and “To the tune of ‘The Doe of the Morning’ ” (<span>niv<\/span>), “To the tune ‘Doe of the Dawn’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Al-taschith<\/span><em>,<\/em> in Psalms 57–59 and 75 (<span>kjv<\/span>), is translated “To the tune ‘Do Not Destroy!’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Jonath-elem-rechokim<\/span><em>,<\/em> in Psalm 56 (<span>kjv<\/span>), is translated “according to The Dove on Far-off Terebinths” (<span>rsv<\/span>), and “To the tune ‘Dove on Distant Oaks’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Mahalath Leannoth<\/span><em>,<\/em> in Psalm 88, is translated “To the tune ‘The Suffering of Affliction’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Muthlabben<\/span><em>,<\/em> in Psalm 9, is translated “To the tune ‘Death of the Son’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shoshannim<\/span><em>,<\/em> in Psalms 45 and 69 (<span>kjv<\/span>), is translated “To the tune ‘Lilies’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shoshannim-Eduth<\/span><em>,<\/em> in Psalm 80 (<span>kjv<\/span>), is translated “To the tune ‘Lilies of the Covenant’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shushan-eduth<\/span><em>,<\/em> in Psalm 60, is translated “To the tune ‘Lily of the Testimony’ ” (<span>nlt<\/span>).<\/p>\n<p>These melody types appear only in the first three books of the Psalter, and this may imply that these popular <span class=\"hebrew\" lang=\"he\">makams<\/span> had fallen into disuse by the time the final books of the Psalter were written. Other <span class=\"hebrew\" lang=\"he\">makam<\/span>-types had probably become popular, and the authors, realizing the relatively short life of a popular tune, did not include them in the headings of the Psalms but left the choice up to the performer.<\/p>\n<p class=\"h2\" id=\"MusicintheNewTestament\">Music in the New Testament<\/p>\n<h5>First-Century Influences<\/h5>\n<h6>The Synagogue<\/h6>\n<p>By the time of Christ, the synagogue had become the chief place of worship for the Jewish people. It began as a place for study of the law but gradually became the center of worship for Jews unable to attend the temple. The liturgical service of the temple could not be duplicated in the synagogue as there was no sacrificial rite, and the music could not be exactly reproduced as there were no trained Levitical singers. Scholars do not agree about the amount of continuity between the music of the temple and the music of the synagogue, but there is evidence that certain musical practices did remain constant between the two places of worship.<\/p>\n<p>Information on the customs and rituals of the synagogue come from Talmudic writings. The musical elements of worship in the synagogue were the chanting of Scripture, psalmody, and spiritual songs. The choral singing of the temple was replaced by a single cantor. The cantor was a layman who, according to tradition, had to have the following qualifications: “He had to be well educated, gifted with a sweet voice, of humble personality, recognized by the community, conversant with Scripture and all the prayers; he must not be a rich man, for his prayers should come from his heart.” His most important job was the cantillation of the Law and the Prophets. A series of accents and punctuations, forerunners of actual musical notation, were indications for the cantor in the musical interpretation of the Scripture.<\/p>\n<p>Psalm singing was gradually transplanted from the temple to the synagogue, which in turn influenced the early Christian church. Gregorian psalm tones have their roots in Hebrew psalmody.<\/p>\n<h6>Greek and Roman Cultures<\/h6>\n<p>While both the temple and the synagogue were familiar to the early Christians (Acts 2:46-47; 3:1; 5:42; 9:20; 18:4; etc.), the Greek and Roman cultures also played a major part in shaping the young church. Hellenistic influences by the time of Christ had long been felt in the Middle East, and while it was strongly opposed by some Jewish leaders, the Greek arts had permeated Jewish culture. Greek philosophers considered music a cathartic force that could lead humans into metaphysical knowledge. This understanding led to the belief that music had a moral substance that could influence people to either good or evil. If this philosophy had totally encompassed Judeo-Christian thought, certainly Paul would have encouraged the use of music in the spread of the gospel. However, Paul’s omission of this theory implies that the Judeo-Christian world at that time had rejected the Greek ideal, at least in part.<\/p>\n<p>While the Jewish rabbis considered music an art form for the praise of God, and while the Greek philosophers thought of it as a powerful moral force in creation, the Romans considered music mainly as entertainment. The music of the Roman games was neither religious nor philosophic and, from the accounts of witnesses, it was not technically exceptional. In the Roman Empire musicians were given a lower status and looked on as mere entertainers. One reason the early church did not include instrumental music in their worship was in reaction to the debased secular use of instruments by the Romans.<\/p>\n<h5>In the New Testament Writings<\/h5>\n<p>One of the few mentions of instruments in the NT is the use of flutes at a wake (Mt 9:23). As in the OT, music is associated with feasting and merrymaking (e.g., the return of the prodigal son, Lk 15:25). Five passages mention music metaphorically (Mt 6:2; 11:17; Lk 7:32; 1 Cor 13:1; 14:7-8). The most well known of these is Paul’s celebration of love in 1 Corinthians 13. The denunciation of the gong and cymbals must be understood in light of the attitude of the early Christians toward the music of the Pharisees. Here the signal instruments of the temple were used to represent pompous display of religious pietism.<\/p>\n\n<p>Most references to music are found in the eschatological visions and prophetic passages scattered throughout the NT—most frequently in the book of Revelation (also Mt 24:31; 1 Cor 15:52; 1 Thes 4:16; Heb 12:19). Many of these descriptions have a direct association with musical references in the OT (e.g., the use of harps and trumpets and the singing of the Hallelujah). But the value of many of the passages in Revelation comes from their literary style. These doxological and psalmlike passages were probably spontaneous “spiritual songs” composed by the young church (e.g., Rv 5:9-10).<\/p>\n<p>The passages that mention religious or liturgical music are often more conceptual than literal. Two parallel passages describing the Last Supper (Mt 26:30; Mk 14:26) mention that Christ and his disciples sang a hymn. This is the only direct account of Jesus singing, but it is probable that when he read in the synagogue he did so in the accepted vocal style (Lk 4:16-20). There is much controversy surrounding the actual events at the Last Supper, but we can assume that the hymn sung was a traditional Jewish hymn, probably associated with the Passover.<\/p>\n<p>From the account in Acts 16:25 we know that Paul and Silas sang hymns while in jail. Paul gives instruction for music making in 1 Corinthians 14:15, 26 in terms of a balance between rationalism and emotion. And, as with all the gifts of the Spirit, Paul asks that singing be done for edification.<\/p>\n<p>In two similar passages (Eph 5:19; Col 3:16) Paul groups together three musical terms—psalms, hymns, and spiritual songs. The singing of psalms was an obvious carryover from the synagogue, and we can assume that the early Christian psalm singing followed the Jewish style. The term for “hymns” probably refers to poetic texts, possibly modeled after the psalms, but in praise of Christ. “Spiritual songs” may refer to a spontaneous, ecstatic form of musical prayer, possibly wordless (perhaps related to glossolalia), in a style that was popular in mystical Judaism. These outbursts of song were probably melismatic (sung on one tone) and are perhaps the forerunners of the later Alleluia chant.<\/p>\n<h5>Hymnody in the New Testament<\/h5>\n<p>It can be assumed that the early Christians composed hymns in praise of Christ. Logically, most of the hymns found in the NT are based on Hebrew poetic psalm forms, but there is Greek and Latin influence also. The hymns from the Gospel of Luke have become well-known canticles adopted by the church: the Magnificat (Lk 1:46-55), the Benedictus (1:68-79), the Gloria (2:14) and the Nunc Dimittis (2:29-32). While patterned after the psalms of the OT, these hymns are full of confidence in the salvation of Christ and in his imminent return. Other Christological hymns found in the NT include the prologue to the Gospel of John, Ephesians 2:14-16, Philippians 2:6-11, Colossians 1:15-20, 1 Timothy 3:16, Hebrews 1:3, and 1 Peter 3:18-22.<\/p>","content_en":"<h3>MUSIC<\/h3>\n<p>A natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship.<\/p>\n<p>The phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human impulse to sing. The injunction “sing to the Lord” was a signal for the people to pour out their praise in song.<\/p>\n<p>The Bible, however, is limited in its treatment of music in ancient Israel. Since there was no written musical notation, the primary record of songs sung by the Hebrews is the collection of texts, particularly the psalms, and a few enigmatic musical instructions. The biblical writers were writing a history not of their culture but of their relationship with God; hence, their comments about music are not critical. Also, the biblical documents cover a long span of history and are grouped according to category rather than in chronological order, thus making it difficult to order the development of musical style with precision. Finally, there is the problem of understanding the biblical descriptions of music and its performance. Only in this century have scholars been able to interpret the information provided in the Bible in terms of Eastern music systems.<\/p>\n<p>Preview<\/p>\n<p>• Music in the Old Testament<\/p>\n<p>• Music in the Psalms<\/p>\n<p>• Music in the New Testament<\/p>\n<p class=\"h2\" id=\"MusicintheOldTestament\">Music in the Old Testament<\/p>\n<p>The first musician mentioned in the Bible is “Jubal, the first musician—the inventor of the harp and flute” (Gn 4:21, <span>nlt<\/span>). The importance of this description of a musician so early in history lies in the equality Jubal is given with his brothers Jabal, the herdsman, and Tubal-cain, the smith. Music making is recognized among the earliest professions of nomadic peoples. The name Jubal is believed to be a derivative from the Hebrew word for “ram.” The ram’s horn <em>(<\/em><span class=\"hebrew\" lang=\"he\">shophar<\/span><em>)<\/em> was an early instrument of the Jewish people and was significant in signaling important events.<\/p>\n<p>For the most part, the music described in early biblical history was of a functional nature. Music gained special significance as it became an important part of temple worship. Many of the descriptions of music making in ancient Israel, before David’s time, are quite utilitarian. There are accounts of music at times of farewell (Gn 31:27), at times of rejoicing and feasting (Ex 32:17-18; Is 5:12; 24:8-9), at military victories (2 Chr 20:27-28), and for work (Nm 21:17, the song of the well diggers; Is 16:10; Jer 48:33). Most of this music was probably rather crude and primitive in nature, especially the music associated with military advances, which was meant to terrify the enemy (Jgs 7:17-20). The music and dancing that greeted Moses as he descended from the mountain was described as if it sounded like “war in the camp” (Ex 32:17-18).<\/p>\n<p>In the early history of the Jewish people, women played an important part in the performance of music. The image of women dancing and singing for joy accompanied by percussion instruments is repeated several times: Miriam led the women in a hymn of thanksgiving after the deliverance from the Red Sea (Ex 15); Jephthah’s daughter welcomed her father in his victory (Jgs 11:34); Deborah joined with Barak in singing a song of victory (Jgs 5); and women hailed David after his defeat of the Philistines (1 Sm 18:6-7). There is little mention of women as musicians following the establishment of the temple in Jerusalem, but there are a few allusions to the fact that women did participate in singing and dancing. The account of the return from exile in Babylon includes both male and female singers (Neh 7:67), confirming that women still took part in musical performance.<\/p>\n<p>As Jerusalem became the religious center of the Hebrew people (950–850 <span>BC<\/span>), the role of the professional musician became more important. The women’s songs became insignificant compared to the pomp and ceremony associated with the temple and the royal court. While the Levitical singers took most of the musical responsibility at the temple, the development of antiphonal singing allowed the people to join in on responses in the singing of psalms.<\/p>\n<h5>Musical Style and Use<\/h5>\n<p>The Jewish people seem to have been especially musical. Of course, they were influenced by other ancient cultures, but there is evidence that they were in demand as musicians by other peoples. According to an Assyrian document, King Hezekiah gave as tribute to King Sennacherib many male and female Jewish musicians. The Babylonians demanded that the captive Jews sing to them and entertain them (cf. Ps 137:3).<\/p>\n<p>Since the OT’s purpose was to narrate the relationship between the Jewish nation and God, most of the references to music deal with its function in worship. However, evidence reveals that there was also a large body of secular musical literature. There may have been guilds of poets and singers early in Jewish history. The kinds of songs recorded in the early part of the OT represent a folklike poetry. The song of thanksgiving to the Lord by Moses and the people of Israel after their escape at the Red Sea is a stirring national song. Many descriptions of the biblical writers reflect the spirit of bardic song. This would be logical, as these stories were meant to be passed on. Marching songs (2 Chr 20:27-28), and songs of triumph (Jgs 5) also indicate a secular body of music.<\/p>\n<h5>Music in Worship<\/h5>\n<p>The singers and musicians for the temple worship were chosen from the tribe of Levi. King David assembled the Levites for a census, and out of the total of 38,000 men over the age of 30, 4,000 were chosen as musicians. These 4,000 were subsequently given specific jobs. “David and the chiefs of the service also set apart for the service certain of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with lyres, with harps, and with cymbals. . . . The number of them along with their brethren, who were trained in singing to the <span>Lord<\/span>, all who were skilful, was two hundred and eighty-eight” (1 Chr 25:1, 7, <span>rsv<\/span>). The singers were further divided into 24 groups of 12 singers, who rotated in participating in the weekday, Sabbath, and high holy day services.<\/p>\n<p>According to a later source, there were minimum and maximum numbers of singers and instrumentalists required at each service. The minimum number of singers was twelve, the maximum was unlimited. There had to be in attendance at least two harps but no more than six, at least two flutes but no more than twelve, a minimum of two trumpets with no maximum, and a minimum of nine lyres with no maximum. There was only one player with a pair of cymbals.<\/p>\n<p>A singer was admitted to the Levitical choir at the age of thirty following a five-year apprenticeship (1 Chr 23:3). Five years is a relatively short time considering the amount of material these singers had to memorize (for there was no notation) and the liturgical ritual they had to master; it is speculated that they actually were in training from childhood. The Levites lived in villages outside the city wall and may have been actively involved in the musical education of their children (Neh 12:29). The Levites performed other duties connected with the sacred service, but the singers were excused from all other duties because they were on duty day and night (1 Chr 9:33). Their skills were an important part of the temple worship, and they were able to devote their entire life to the development of their musical ability. A singer served in the choir for 20 years, from age 30 to 50, and the music was of a high quality due to strict discipline and continuous practice and performance.<\/p>\n<p>From the beginning of Jewish formal worship connected with the tabernacle, music and sound was important. In Exodus 28:34-35 the descriptions of Aaron’s robe include bells attached to the lower hem that sounded as he entered the Holy Place. The first liturgical music mentioned in the OT is found in 2 Samuel 6 in the descriptions of the transfer of the ark: David and the Israelites sang, played instruments, and danced to the glory of the Lord. This music bore little resemblance to the stately ceremony described later in Solomon’s temple. In 2 Chronicles 7:6, David is given recognition for inventing the musical instruments used in the temple. In the postexilic era Levitical singers are mentioned as the descendants of Asaph, the “singing master” appointed by David (Ezr 2:41; Neh 7:44; 11:22-23). From passages such as these, we have a definite indication that liturgical music and organization stemmed from David’s time.<\/p>\n<p>The ceremonies in the Jewish temple were organized around the sacrifice. Singing formed an integral part of the sacrificial service and was necessary to validate the sacrificial action. There were special musical settings for each sacrifice; thus the daily burnt, expiatory, and laudatory offerings and libations had individual liturgies. Particular psalms became associated with certain sacrifices as well as with certain days of the week. The psalm of the day was intoned as the high priest started to pour out the drink offering. The psalm was divided into three sections, each signaled by the blowing of the trumpets, on which signal the people would prostrate themselves. This is the only time the trumpets were used together with the other instruments in orchestral fashion on solemn occasions (2 Chr 5:12-13).<\/p>\n<p class=\"h2\" id=\"MusicinthePsalms\">Music in the Psalms<\/p>\n<h5>Musical Psalm Titles<\/h5>\n<p>The collection of 150 lyric poems known as the book of Psalms contains the most information on music making in ancient Israel. The Psalter contains not only religious songs but also songs that have their roots in secular or popular songs, such as work songs, love songs, and wedding songs. The majority are songs of praise, thanksgiving, prayer, and repentance. There are also historic odes that relate great national events—for example, Psalm 30, “a song at the dedication of the temple,” and Psalm 137, which portrays the sufferings of the Jews in captivity.<\/p>\n<p>The psalms were an important part of all the services of the temple; the Psalter became the liturgical hymnal of the Israelites. Worship included an appointed psalm for each day of the week. On the first day of the week, Psalm 24 was sung in remembrance of the first day of creation, Psalm 48 was sung on the second day, Psalm 82 on the third, Psalm 94 on the fourth, Psalm 81 on the fifth, Psalm 93 on the sixth, and Psalm 92 on the Sabbath. After the sacrificial offerings, Psalm 105:1-5 was sung at the morning service and Psalm 96 at the evening service. The Hallel psalms (Pss 113–118, 120–136, 146–148) were sung during the offering of the paschal lamb at the Passover feast.<\/p>\n<p>While most of the liturgical music was performed by Levites, texts of the psalms suggest that there was also congregational participation. The forms of music found both in synagogal and ecclesiastical chant had their source in the forms of the poetic text of the psalms. The simplest is the plain psalmody sung by one person (e.g., Pss 3–5, 46). In responsorial psalmody the soloist is answered by the choir (e.g., Ps 67:1-2; the soloist sang verse 1 and the choir answered with verse 2). Antiphonal psalmody involves two groups singing alternately (e.g., Ps 103:20-22). The congregation would chant a refrain such as appears in Psalm 80: “Restore us, O God; let thy face shine, that we may be saved!” recurs throughout the psalm (<span>rsv<\/span>).<\/p>\n<p>Even though the synagogue had no altar for sacrifice, psalm singing retained an important place. After the Romans destroyed the temple, the worship heritage of the Jews could have been lost if the customs, including musical customs, had not become an integral part of synagogue worship.<\/p>\n<p>The most enigmatic part of the psalms is the headings that are not part of the poetic text. The first question is whether these should even be considered as superscripts. Greek, Latin, Hebrew, and other ancient languages were written in such a way that the text ran together without any break between chapters or paragraphs. This means that the verses, and even the division of the psalms themselves, were partially determined by copyists, chiefly the Masoretes. There is some question as to which psalms the extrapoetic texts actually belong with; they may actually be subscripts instead of superscripts. Sumerian and Babylonian poetry had information such as the name of the author, the musical instrument used for accompaniment, the tune, the purpose, and such listed at the end of the poem. Hence, some of the headings may actually be endings.<\/p>\n<p>The indications at the beginning of a psalm fall into three categories. They are either musical terms giving direction for the actual performance, musical cues designating the tune to which the psalm would be sung, or comments indicating the function of the psalm. These terms have been interpreted in various ways.<\/p>\n<p>Originally, these headings may have been marginal notes for the choir leaders. Realizing that these terms were not related to the psalm text proper, early biblical scribes may not have been overly careful with their placement in the text, which may explain some of the discrepancies among the early manuscripts—why certain words are left out in some and why terms assigned to only a few psalms may originally have been indicated on more of them.<\/p>\n<p>All but 50 of the psalms contain a proper name in the heading. These names possibly indicate the author; other commentators, interpreting the preposition appearing before the names to mean “for,” think the names are a dedication. Thus the title would be “A Psalm for David,” not “A Psalm of David.” This may be the case with the names of Asaph, Heman, Ethan, and especially the sons of Korah, where it would make better sense for the psalm to be written for rather than by the family. Seventy-three psalms have David’s name in the heading, hence the common reference to the Psalter as the Psalms of David. Twelve include the name of Asaph, eleven the children of Korah, two Solomon, and one each contains Moses, Heman, and Ethan.<\/p>\n<h5>Musical Terms in the Psalm Titles<\/h5>\n<p>Numerous musical terms are included in the superscriptions to cue the kind of instrumental accompaniment, mood, and style of performance for the psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Alamoth<\/span> is one of the most controversial terms found in the psalm headings. It appears at the beginning of Psalm 46 and also in 1 Chronicles 15:20. One meaning for the Hebrew word is “maiden,” and musicologists interpret this as an instruction that the psalm should be sung in the range of the female singing voice. The reference in Chronicles is to harps in the range of women’s voices. This interpretation does not seem to fit Psalm 46, but if we look at the preceding psalm and read the term as a subscript, it becomes logical. Psalm 45 is a song of love, actually a nuptial ode; it would be natural for women to sing the second half (vv 10-17). While there is little mention of women singing in the temple, there is speculation that young boys in training may have sung along with the Levitical singers. Also this may be a case where the term appears only once in the modern text but may have been used more often in the original. Another possible meaning for <span class=\"hebrew\" lang=\"he\">Alamoth<\/span> is “flutes,” perhaps describing the kind of musical accompaniment for the performance of the psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Gittith<\/span> is a term found in the superscriptions of Psalms 8, 81, and 84. It may be a musical cue, indicating a mood for the performance of these psalms, but a more common explanation is that it is a collective term for the stringed instruments that would have accompanied them.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Mahalath<\/span> has been left in its original Hebrew form by early translators and is found in the headings of Psalms 53 and 88. It may have roots in the Hebrew <span class=\"hebrew\" lang=\"he\">mahaleh<\/span> “sickness” or <span class=\"hebrew\" lang=\"he\">mahot<\/span> “dance,” though neither of these words can be related to the psalm texts. Another explanation is a musical one. <span class=\"hebrew\" lang=\"he\">Mahalath<\/span> may come from the word <span class=\"hebrew\" lang=\"he\">halal<\/span> meaning “to pierce,” implying that the psalm was to be accompanied with pipes.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Maskil<\/span> (<span>kjv<\/span> “Maschil”) appears in the headings of 13 psalms (Pss 32, 42, 44–45, 52–55, 74, 78, 88–89, 142). The term is probably derived from the verb <span class=\"hebrew\" lang=\"he\">sakal<\/span><em>,<\/em> “to have insight or comprehension,” but there is no agreement among commentators. By looking at the psalms themselves, their didactic nature and the structure of stanzas and refrains, musicologists conclude the term represents a song of praise, possibly sung by a soloist with participation by the choir.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Menazzeah<\/span> appears in the heading of 55 psalms. It appears 52 times in the first three books of Psalms (Pss 1–89), not at all in book four (Pss 90–106), and 3 times in book five (Pss 107–150). The most common modern translations are “to the Choirmaster” (<span>rsv<\/span>), “to the choir director” (<span>nasb<\/span>, <span>nlt<\/span>), “to the director of music” (<span>niv<\/span>), “to the chief Musician” (<span>kjv<\/span>, <span>nkjv<\/span>). The word is derived from the Hebrew verb <span class=\"hebrew\" lang=\"he\">nazzah<\/span><em>,<\/em> appearing in 1 Chronicles 23:4 and Ezra 3:8-9 in the sense of “administering.” In 1 Chronicles 15:21 the word is found in relation to leading or directing song in the temple. <span class=\"hebrew\" lang=\"he\">Menazzeah<\/span> relates to the choirmaster and represents the singer chosen to lead the music who probably was involved in rehearsing and instructing. It is now assumed that <span class=\"hebrew\" lang=\"he\">menazzeah<\/span> indicates the psalm was to be sung partially or entirely by a soloist. This is evidenced by the change in some texts from “I” where the soloist sang, to “we” where the choir or congregation sang. Psalm 5 is an example of a text divided for solo and choral singing: verses 1-3 solo; verses 4-6 choral; verses 7-8 solo; verses 9-10 choral; and verses 11-12 end the psalm with the combined soloist and choir.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Miktam<\/span> (<span>kjv<\/span> “Michtam”) is another term that has no clear musical meaning, due mainly to the fact that its etymology is unknown. It occurs in Psalms 16 and 56–60, all of which have a character of lamentation or supplication. In a musical sense, it probably meant that a certain well-known tune was to be selected as the melody of the psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Mizmor<\/span> (Hebrew, meaning a song sung to instrumental accompaniment) is found nowhere else in the Bible; it is included in the superscriptions of 57 psalms. It probably indicated a song accompanied by melodic instruments as opposed to a dance song accompanied by rhythmic instruments.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Neginah<\/span> appears in the superscriptions of Psalms 4, 6, 54–55, 61, 67, and 76. The term <span class=\"hebrew\" lang=\"he\">neginah<\/span> and its plural <span class=\"hebrew\" lang=\"he\">neginoth<\/span> are found in Psalm 77:7, Lamentations 5:14, Isaiah 38:20, and Habakkuk 3:19. <span class=\"hebrew\" lang=\"he\">Neginah<\/span><em>,<\/em> from the Hebrew root <span class=\"hebrew\" lang=\"he\">naggen<\/span><em>,<\/em> “to touch the strings,” instructs that stringed instruments accompany the singing.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Nehiloth<\/span> is found only in the introduction to Psalm 5 (<span>kjv<\/span>). The origin of the word is problematic. It could come from the verb <span class=\"hebrew\" lang=\"he\">nahal<\/span><em>,<\/em> “to possess or inherit,” or more feasibly from <span class=\"hebrew\" lang=\"he\">halal<\/span><em>,<\/em> meaning “to pierce.” The latter implies the idea of a pierced instrument (the flute or pipe) to be used for accompaniment.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Sheminith<\/span> appears in Psalms 6 and 12 and also in 1 Chronicles 15:21. The Hebrew word means literally “over the eighth.” Some scholars feel it had something to do with an octave, but the Hebrew musical language probably did not include a musical unit divided into eight parts. Other scholars interpret <span class=\"hebrew\" lang=\"he\">sheminith<\/span> as meaning an eight-stringed instrument. A more logical interpretation comes from examining its use in 1 Chronicles. In 15:20 the instructions are for musicians to play the harps according to <span class=\"hebrew\" lang=\"he\">alamoth<\/span> and in verse 21 to play the lyres according to <span class=\"hebrew\" lang=\"he\">sheminith<\/span><em>.<\/em> Here the terms <span class=\"hebrew\" lang=\"he\">alamoth<\/span> and <span class=\"hebrew\" lang=\"he\">sheminith<\/span> seem to be used in opposition. If <span class=\"hebrew\" lang=\"he\">alamoth<\/span> implies a register of the female voice, then <span class=\"hebrew\" lang=\"he\">sheminith<\/span> would imply a lower register. Thus, it may have been an instruction to use a lower pitched instrument for accompaniment.<\/p>\n<h5>Psalm Varieties in the Titles<\/h5>\n<p>Some of the notes in the psalm headings are indications of the type or variety of psalm.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Hazkir<\/span> is found in the headings of Psalms 38 and 70. According to the Targum, this is an indication that the psalm was sung at the sacrificial rite called <span class=\"hebrew\" lang=\"he\">askara<\/span> and is translated “for a memorial offering.”<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Lammed<\/span> appears in the superscription of Psalm 60 in the phrase <span class=\"hebrew\" lang=\"he\">le-lammed<\/span><em>,<\/em> translated “to teach.” According to tradition, this was a psalm, though undoubtedly not the only one, taught to young people as part of their education. This is another example of a term that may have been omitted from other psalms in later versions of the Psalter.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shiggaion<\/span> is in the heading of Psalm 7 and also in Habakkuk 3:1. The word probably comes from the Hebrew verb <span class=\"hebrew\" lang=\"he\">shagah<\/span><em>,<\/em> “to wander,” but may also be connected with the Assyrian liturgical term <span class=\"hebrew\" lang=\"he\">shigu<\/span><em>,<\/em> which represented a plaintive song in several stanzas. Biblical scholars have assumed <span class=\"hebrew\" lang=\"he\">shiggaion<\/span><em>,<\/em> plural <span class=\"hebrew\" lang=\"he\">shigionoth<\/span><em>,<\/em> was a lament or penitential song.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir<\/span> is the simplest word for “song” and was probably used in the headings at an early stage of the Psalter; it is usually found with <span class=\"hebrew\" lang=\"he\">mizmor<\/span> (13 times). Fifteen psalms have this heading. It was probably the term for a specific type of praise song, usually performed by the choir.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir Hamaalot<\/span> and <span class=\"hebrew\" lang=\"he\">Shir Lamaalot<\/span> occur in the headings of Psalms 120–134, which are often referred to as the Psalms of Ascent (<span>kjv<\/span> “Psalms of Degrees”). Most explanations offered relate to the fact that the temple was situated on high ground. Often these 15 psalms are associated with the 15 steps leading from the Court of the Women to the Court of the Israelites. But most contemporary scholars believe the idea of “going up” referred to the pilgrims’ journey to Jerusalem to worship at the temple. These psalms are short, with popular appeal, making them appropriate for singing during the journey.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir Hanukkat Habayit<\/span> is found only in the heading of Psalm 30. This phrase tells that the psalm was to be used for the dedication or rededication of the house of God.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shir-yedidot<\/span> appears only in Psalm 45. It refers to a love song that was probably sung at wedding ceremonies.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Tefillah<\/span> is a common term for “prayer” and appears in the headings of Psalms 17, 86, 90, 102, and 142, and also in Habakkuk 3:1. The word probably refers to a specific form of poetic prayer.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Selah<\/span> is one of the most frequently used, but most enigmatic, terms found in the book of Psalms. It occurs in 39 psalms, appearing a total of 71 times in the Psalter—67 times within the text and 4 times at the end of a psalm. It is most frequent in the first three books. In the first book <span class=\"hebrew\" lang=\"he\">selah<\/span> appears in 9 psalms; in the second book, 17 psalms; in the third book, 11 psalms. In the fourth book it is not found at all and in the fifth book in only two psalms. Thirty-one of these psalms also include the term <span class=\"hebrew\" lang=\"he\">menazzeah<\/span> in their superscriptions, which implies that they were sung by a soloist and choir. Most commonly, <span class=\"hebrew\" lang=\"he\">selah<\/span> is interpreted as a signal for a break in the singing and possibly for an instrumental interlude. It never appears at the beginning of a psalm but only in the middle of the text or at the end. The regularity of its appearance within a psalm is not consistent, and in only a few instances do these divisions break the psalm into equal sections. Because of the random placement of the term, some scholars believe that, like the headings, <span class=\"hebrew\" lang=\"he\">selah<\/span> was not always carefully copied into the text. It may have been a note appearing only in the texts of the musicians, which would explain this inconsistency. An explanation of <span class=\"hebrew\" lang=\"he\">selah<\/span> is found in the Talmudic tradition: “Ben Azra clashed the cymbal and the Levites broke forth into singing. When they reached a break in the singing they blew upon the trumpets and the people prostrated themselves; at every break there was a blowing of the trumpet and at every blowing of the trumpet a prostration. This was the rite of the daily whole offering in the service of the House of our God.” <span class=\"hebrew\" lang=\"he\">Selah<\/span><em>,<\/em> then, would be an instruction for the musicians that the singing was to cease and the instrumentalists were to play.<\/p>\n<p>The term <span class=\"hebrew\" lang=\"he\">higgaion selah<\/span> appears once, in Psalm 9:16. The word <span class=\"hebrew\" lang=\"he\">higgaiaon<\/span> comes from the root <span class=\"hebrew\" lang=\"he\">hagah<\/span><em>,<\/em> “to murmur, to growl, to produce a low sound.” This may have been an instruction for the interlude to be more subdued than a normal <span class=\"hebrew\" lang=\"he\">selah<\/span><em>.<\/em><\/p>\n<h5>Ancient Melodies in the Titles<\/h5>\n<p>Many psalms contain headings that are not direct musical references but are cue words to suggest well-known tunes. They probably refer either to names or the first words of popular secular songs <em>(<\/em><span class=\"hebrew\" lang=\"he\">makams<\/span><em>)<\/em> whose melodic patterns were used in singing the psalm. Many biblical scholars have tried to find hidden meaning in these headings, but most musicologists believe these are simply references or introductions to melodies.<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Aijeleth Shahar<\/span><em>,<\/em> in Psalm 22 (<span>kjv<\/span>), is translated “according to The Hind of the Dawn” (<span>rsv<\/span>), and “To the tune of ‘The Doe of the Morning’ ” (<span>niv<\/span>), “To the tune ‘Doe of the Dawn’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Al-taschith<\/span><em>,<\/em> in Psalms 57–59 and 75 (<span>kjv<\/span>), is translated “To the tune ‘Do Not Destroy!’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Jonath-elem-rechokim<\/span><em>,<\/em> in Psalm 56 (<span>kjv<\/span>), is translated “according to The Dove on Far-off Terebinths” (<span>rsv<\/span>), and “To the tune ‘Dove on Distant Oaks’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Mahalath Leannoth<\/span><em>,<\/em> in Psalm 88, is translated “To the tune ‘The Suffering of Affliction’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Muthlabben<\/span><em>,<\/em> in Psalm 9, is translated “To the tune ‘Death of the Son’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shoshannim<\/span><em>,<\/em> in Psalms 45 and 69 (<span>kjv<\/span>), is translated “To the tune ‘Lilies’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shoshannim-Eduth<\/span><em>,<\/em> in Psalm 80 (<span>kjv<\/span>), is translated “To the tune ‘Lilies of the Covenant’ ” (<span>nlt<\/span>).<\/p>\n<p><span class=\"hebrew\" lang=\"he\">Shushan-eduth<\/span><em>,<\/em> in Psalm 60, is translated “To the tune ‘Lily of the Testimony’ ” (<span>nlt<\/span>).<\/p>\n<p>These melody types appear only in the first three books of the Psalter, and this may imply that these popular <span class=\"hebrew\" lang=\"he\">makams<\/span> had fallen into disuse by the time the final books of the Psalter were written. Other <span class=\"hebrew\" lang=\"he\">makam<\/span>-types had probably become popular, and the authors, realizing the relatively short life of a popular tune, did not include them in the headings of the Psalms but left the choice up to the performer.<\/p>\n<p class=\"h2\" id=\"MusicintheNewTestament\">Music in the New Testament<\/p>\n<h5>First-Century Influences<\/h5>\n<h6>The Synagogue<\/h6>\n<p>By the time of Christ, the synagogue had become the chief place of worship for the Jewish people. It began as a place for study of the law but gradually became the center of worship for Jews unable to attend the temple. The liturgical service of the temple could not be duplicated in the synagogue as there was no sacrificial rite, and the music could not be exactly reproduced as there were no trained Levitical singers. Scholars do not agree about the amount of continuity between the music of the temple and the music of the synagogue, but there is evidence that certain musical practices did remain constant between the two places of worship.<\/p>\n<p>Information on the customs and rituals of the synagogue come from Talmudic writings. The musical elements of worship in the synagogue were the chanting of Scripture, psalmody, and spiritual songs. The choral singing of the temple was replaced by a single cantor. The cantor was a layman who, according to tradition, had to have the following qualifications: “He had to be well educated, gifted with a sweet voice, of humble personality, recognized by the community, conversant with Scripture and all the prayers; he must not be a rich man, for his prayers should come from his heart.” His most important job was the cantillation of the Law and the Prophets. A series of accents and punctuations, forerunners of actual musical notation, were indications for the cantor in the musical interpretation of the Scripture.<\/p>\n<p>Psalm singing was gradually transplanted from the temple to the synagogue, which in turn influenced the early Christian church. Gregorian psalm tones have their roots in Hebrew psalmody.<\/p>\n<h6>Greek and Roman Cultures<\/h6>\n<p>While both the temple and the synagogue were familiar to the early Christians (Acts 2:46-47; 3:1; 5:42; 9:20; 18:4; etc.), the Greek and Roman cultures also played a major part in shaping the young church. Hellenistic influences by the time of Christ had long been felt in the Middle East, and while it was strongly opposed by some Jewish leaders, the Greek arts had permeated Jewish culture. Greek philosophers considered music a cathartic force that could lead humans into metaphysical knowledge. This understanding led to the belief that music had a moral substance that could influence people to either good or evil. If this philosophy had totally encompassed Judeo-Christian thought, certainly Paul would have encouraged the use of music in the spread of the gospel. However, Paul’s omission of this theory implies that the Judeo-Christian world at that time had rejected the Greek ideal, at least in part.<\/p>\n<p>While the Jewish rabbis considered music an art form for the praise of God, and while the Greek philosophers thought of it as a powerful moral force in creation, the Romans considered music mainly as entertainment. The music of the Roman games was neither religious nor philosophic and, from the accounts of witnesses, it was not technically exceptional. In the Roman Empire musicians were given a lower status and looked on as mere entertainers. One reason the early church did not include instrumental music in their worship was in reaction to the debased secular use of instruments by the Romans.<\/p>\n<h5>In the New Testament Writings<\/h5>\n<p>One of the few mentions of instruments in the NT is the use of flutes at a wake (Mt 9:23). As in the OT, music is associated with feasting and merrymaking (e.g., the return of the prodigal son, Lk 15:25). Five passages mention music metaphorically (Mt 6:2; 11:17; Lk 7:32; 1 Cor 13:1; 14:7-8). The most well known of these is Paul’s celebration of love in 1 Corinthians 13. The denunciation of the gong and cymbals must be understood in light of the attitude of the early Christians toward the music of the Pharisees. Here the signal instruments of the temple were used to represent pompous display of religious pietism.<\/p>\n\n<p>Most references to music are found in the eschatological visions and prophetic passages scattered throughout the NT—most frequently in the book of Revelation (also Mt 24:31; 1 Cor 15:52; 1 Thes 4:16; Heb 12:19). Many of these descriptions have a direct association with musical references in the OT (e.g., the use of harps and trumpets and the singing of the Hallelujah). But the value of many of the passages in Revelation comes from their literary style. These doxological and psalmlike passages were probably spontaneous “spiritual songs” composed by the young church (e.g., Rv 5:9-10).<\/p>\n<p>The passages that mention religious or liturgical music are often more conceptual than literal. Two parallel passages describing the Last Supper (Mt 26:30; Mk 14:26) mention that Christ and his disciples sang a hymn. This is the only direct account of Jesus singing, but it is probable that when he read in the synagogue he did so in the accepted vocal style (Lk 4:16-20). There is much controversy surrounding the actual events at the Last Supper, but we can assume that the hymn sung was a traditional Jewish hymn, probably associated with the Passover.<\/p>\n<p>From the account in Acts 16:25 we know that Paul and Silas sang hymns while in jail. Paul gives instruction for music making in 1 Corinthians 14:15, 26 in terms of a balance between rationalism and emotion. And, as with all the gifts of the Spirit, Paul asks that singing be done for edification.<\/p>\n<p>In two similar passages (Eph 5:19; Col 3:16) Paul groups together three musical terms—psalms, hymns, and spiritual songs. The singing of psalms was an obvious carryover from the synagogue, and we can assume that the early Christian psalm singing followed the Jewish style. The term for “hymns” probably refers to poetic texts, possibly modeled after the psalms, but in praise of Christ. “Spiritual songs” may refer to a spontaneous, ecstatic form of musical prayer, possibly wordless (perhaps related to glossolalia), in a style that was popular in mystical Judaism. These outbursts of song were probably melismatic (sung on one tone) and are perhaps the forerunners of the later Alleluia chant.<\/p>\n<h5>Hymnody in the New Testament<\/h5>\n<p>It can be assumed that the early Christians composed hymns in praise of Christ. Logically, most of the hymns found in the NT are based on Hebrew poetic psalm forms, but there is Greek and Latin influence also. The hymns from the Gospel of Luke have become well-known canticles adopted by the church: the Magnificat (Lk 1:46-55), the Benedictus (1:68-79), the Gloria (2:14) and the Nunc Dimittis (2:29-32). While patterned after the psalms of the OT, these hymns are full of confidence in the salvation of Christ and in his imminent return. Other Christological hymns found in the NT include the prologue to the Gospel of John, Ephesians 2:14-16, Philippians 2:6-11, Colossians 1:15-20, 1 Timothy 3:16, Hebrews 1:3, and 1 Peter 3:18-22.<\/p>","summary_ro":"MUSIC A natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship. The phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human ...","summary_en":"MUSIC A natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship. The phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human ...","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false},{"id":47680,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","content_en":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","summary_ro":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","summary_en":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":47681,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","content_en":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","summary_ro":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","summary_en":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":75306,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","content_en":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","summary_ro":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","summary_en":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":75307,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","content_en":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","summary_ro":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","summary_en":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":102932,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","content_en":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","summary_ro":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","summary_en":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":102933,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","content_en":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","summary_ro":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","summary_en":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":130558,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","content_en":"<p><strong>25:1-7<\/strong> The musicians who served at the time of King <em>David<\/em> are listed according to their membership in <em>the families of Asaph, Heman, and Jeduthun<\/em>.<\/p>","summary_ro":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","summary_en":"25:1-7 The musicians who served at the time of King David are listed according to their membership in the families of Asaph, Heman, and Jeduthun.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":130559,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:1","title_en":"Study Note: 1 Cronici 25:1","content_ro":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","content_en":"<p><strong>25:1<\/strong> <em>Asaph:<\/em> See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• <em>Heman:<\/em> See 1 Chr 6:33-38; Ps 88. • <em>Jeduthun:<\/em> See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.<\/p>","summary_ro":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","summary_en":"25:1 Asaph: See 6:39-40; 15:17-19; 16:5; 2 Chr 29:30; Ezra 2:40-41; Pss 50; 73–-83.• Heman: See 1 Chr 6:33-38; Ps 88. • Jeduthun: See 1 Chr 16:41-42; 2 Chr 5:12; 35:15; Pss 39, 62, 77.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":61304,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Celebration","title_en":"Celebration","content_ro":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","content_en":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","summary_ro":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","summary_en":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":63060,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":88930,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Celebration","title_en":"Celebration","content_ro":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","content_en":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","summary_ro":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","summary_en":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":90686,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":116556,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Celebration","title_en":"Celebration","content_ro":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","content_en":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","summary_ro":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","summary_en":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":118312,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":144182,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Celebration","title_en":"Celebration","content_ro":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","content_en":"<h3>Celebration<\/h3>\n<p>God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16).<\/p>\n<p>David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): <span class=\"hebrew\" lang=\"he\">karar<\/span> (2 Sam 6:14, 16), <span class=\"hebrew\" lang=\"he\">pazaz<\/span> (NLT, “leaping,” 6:16), and <span class=\"hebrew\" lang=\"he\">raqad<\/span> (1 Chr 15:29, “skipping about”). All three words refer to vigorous physical expression beyond the meaning of the Hebrew term for “celebrate” used in David’s first attempt (2 Sam 6:5). Thus, in the first procession, David celebrated; in the second procession he engaged in exultant dancing and extravagant merrymaking with intensified musical expression through the addition of shouting and trumpets.<\/p>\n<p>Musical instruments played a significant role in Temple worship. In 1 Chronicles 25:1-31, David assigned various groups to the ministry of music. Many psalms refer to playing musical instruments in praise and worship of God (see Pss 33:2-3; 57:8; 81:2; 92:1-3; 98:4-6). In Pss 149 and 150, dance and music are combined as a praise offering. Similarly, music and dancing were heard in the father’s house in the parable of the lost son (Luke 15:25), as the son’s return was truly a joyful occasion.<\/p>\n<p>The book of Revelation gives a picture of the eternal celebration that awaits the faithful—a celebration characterized by worship in the presence of God (Rev 4:1-11; 5:8-14; 15:1-4). This celebration is described as a wedding feast, in which the bridegroom (Christ) and the bride (his church) are joined together forever (Rev 19:9; see also Matt 22:1-14).<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Exod 5:1; 12:17; 15:20-21; 1 Sam 18:6; 2 Sam 6:1-15; 2 Chr 7:6-10; Ezra 3:10-11; Pss 30:11; 69:30; 98:4-6; 107:32; 149:1-9; 150:1-6; Isa 30:29; 54:1; Jer 30:18-19; 31:4, 13; Lam 5:14-15; Zeph 3:17; Luke 15:22-25; 1 Cor 5:8; Eph 5:18-20; Col 3:16; Rev 18:20<\/p>","summary_ro":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","summary_en":"Celebration God welcomes exuberant expressions of joy and delight from those who worship and praise him (Isa 30:29; Jer 30:19; 31:13; Zeph 3:17; Eph 5:19; Col 3:16). David’s two attempts to bring the Ark of the Covenant to Jerusalem (2 Sam 6:1-11, 12-23) were marked by celebration. Three Hebrew terms for “danced\/dancing” are found in the account of the second procession of the Ark (see also 1 Chr 15:25-29): karar (2 Sam 6:14, 16), pazaz (NLT, “leaping,” 6:16), and raqad (1 Chr 15:29, “skippin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":145938,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"2":[{"id":2856,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Asarelah","title_en":"Asarelah","content_ro":"<h3>ASARELAH<\/h3>\n<p>Alternate form of Asharelah, Asaph’s son, in 1 Chronicles 25:2. <em>See<\/em> Asharelah.<\/p>","content_en":"<h3>ASARELAH<\/h3>\n<p>Alternate form of Asharelah, Asaph’s son, in 1 Chronicles 25:2. <em>See<\/em> Asharelah.<\/p>","summary_ro":"ASARELAH Alternate form of Asharelah, Asaph’s son, in 1 Chronicles 25:2. See Asharelah.","summary_en":"ASARELAH Alternate form of Asharelah, Asaph’s son, in 1 Chronicles 25:2. See Asharelah.","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":2899,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Asharelah*","title_en":"Asharelah*","content_ro":"<h3>ASHARELAH*<\/h3>\n<p>One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.<\/p>","content_en":"<h3>ASHARELAH*<\/h3>\n<p>One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.<\/p>","summary_ro":"ASHARELAH* One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.","summary_en":"ASHARELAH* One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":20567,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Joseph","title_en":"Joseph","content_ro":"<h3>JOSEPH<\/h3>\n<li>1. Jacob’s 11th son and the firstborn son of Rachel. Rachel named the boy Joseph, meaning “may he add,” expressing her desire that God would give her another son (Gn 30:24).<\/li>\n<p>Nothing more is said about Joseph until, at the age of 17, he is seen tending his father’s flocks with his brothers (Gn 37:2). Joseph was the favorite of his father, since he was the son of his old age (v 3) and the firstborn son of his favorite wife. Because of this, his brothers hated Joseph. This envy was magnified when Jacob gave Joseph a ground-length, long-sleeved, multicolored robe (vv 3-4). (This type of garment is illustrated by the paintings in the Asiatic tombs of Khnumhotep II at Beni Hasan and of the nobles at Gurneh, near Luxor.) The animosity of his brothers increased still more when Joseph revealed to them his dreams of dominion over them (vv 5-11). Subsequently, when Joseph was sent to check on his brothers and the flocks near Shechem, his brothers sold him to a caravan of traders going down to Egypt (vv 25-28). His brothers then took his robe, dipped it in goat’s blood, and brought it to Jacob, who concluded that Joseph had been killed by wild animals (vv 31-33); Jacob was overwhelmed with grief (vv 34-35).<\/p>\n<p>In Egypt, Joseph was sold to Potiphar, an Egyptian officer of the guard (Gn 37:36; 39:1), who eventually put Joseph in charge of his entire household. However, trouble arose from Potiphar’s wife, who was attracted to the young Hebrew and tried to seduce him (39:6-10). He steadfastly resisted her advances, protesting that to comply with her wishes would be a disservice to his master and a sin against God (v 9). One day she seized his garment, but he left the garment behind and fled. Potiphar’s wife accused Joseph of attempted rape; her report was believed, and Joseph was incarcerated in the king’s prison (v 20), where Pharaoh’s butler and baker were also confined. While in prison, Joseph, with the Lord’s help, interpreted these men’s troublesome dreams. As Joseph had foretold, the baker was executed and the butler was restored to royal favor (ch 40).<\/p>\n<p>Two years later Pharaoh had two dreams that his magicians and wise men could not interpret. The butler, remembering Joseph, had him summoned from prison. God revealed to Joseph that the dreams foretold seven years of abundance, followed by seven years of famine (Gn 41:25-36). Pharaoh, impressed with Joseph’s interpretation, made him ruler of Egypt, second only to himself (vv 39-44). Joseph was given a new name, Zaphenath-paneah, and a wife, Asenath, the daughter of Potiphera (v 45).<\/p>\n<p>Joseph was 30 years old when he became ruler of Egypt. During the seven years of prosperity, he gathered the good supplies for the seven years of famine to come (Gn 41:53-56). When the famine eventually became severe in Palestine, Jacob sent all his sons, except Benjamin, his youngest son, to Egypt to purchase grain. Appearing before Joseph in Egypt, they did not recognize him. But he knew them and remembered his dreams of years before (42:8-9). After listening to the report of their family, he accused them of being spies (vv 9-14) and insisted that they leave one of their brothers as hostage and return with Benjamin to verify the truthfulness of their report (vv 19-20). Thus Simeon was bound and left in Egypt (v 24).<\/p>\n<p>After the famine worsened in Palestine, Jacob asked his sons to go back to Egypt to buy more grain (Gn 43:1-2); reluctantly agreeing to the conditions that the Egyptian administrator had placed on them, Jacob allowed Benjamin to go with them (vv 11-13). When they arrived in Egypt, they were taken to Joseph’s house, where Simeon was restored to them (v 23) and a meal was prepared for them (v 33). Joseph at last disclosed his identity and declared that God had sent him before them to preserve their lives (45:4-8). Arrangements were then made to send for Jacob; wagons were provided, along with provisions for the journey (v 21). When Jacob came to Goshen in the Nile Delta, Joseph went out to meet him, and another great reunion took place (46:28-29). He also presented his father and brothers to Pharaoh, who let them live in the land of Goshen (47:6).<\/p>\n<p>Upon learning that his father was ill, Joseph took his two sons, Manasseh and Ephraim, to him for his blessing. He presented the sons so that the older would be at Jacob’s right hand and the younger at his left in order that Manasseh would receive the blessing of the firstborn. Jacob, however, crossed his hands and with his right hand on Ephraim gave him the greater blessing (Gn 48:14-20). He also gave to Joseph the land that he had taken from the Amorites (v 22). At Jacob’s death, Joseph made the funeral arrangements; and after the customary funerary practices were carried out, a great funeral procession went to Canaan, where Jacob was buried by his sons in the cave of Machpelah near Hebron (50:1-12).<\/p>\n<p>When Joseph was 110 years old, he called his brothers and told them that he was about to die. He made them take an oath that when they returned to Canaan they would take his bones with them. So he died, was embalmed, and was placed in a coffin in Egypt (Gn 50:26). Many years later, during the exodus, Moses took the bones of Joseph with him from Egypt (Ex 13:19). Joseph’s remains were eventually interred at Shechem in the parcel of land that Jacob had bought from Hamor, the father of Shechem (Gn 33:18-20; Jos 24:32). <em>See<\/em> Israel, History of; Patriarchs, Period of the.<\/p>\n<li>2. Igal’s father from Issachar’s tribe. Igal was one of the 12 spies sent by Moses to search out the land of Canaan (Nm 13:7).<\/li>\n<li>3. Asaph’s second son and the leader of the first course of priests serving in the sanctuary during David’s reign (1 Chr 25:2, 9).<\/li>\n<li>4. One of Binnui’s descendants who was encouraged by Ezra to divorce his foreign wife during the postexilic era (Ezr 10:42).<\/li>\n<li>5. Priest and family leader from Shebaniah’s line during the days of Joiakim, the high priest (Neh 12:14).<\/li>\n<li>6. Descendant of David (Mt 1:16; Lk 3:23) and the husband of Mary, the mother of Jesus. Joseph was betrothed to Mary, a young woman of the city of Nazareth. Mary had learned from the angel Gabriel that she was to bear the Son of God, whom she was to name Jesus (Lk 1:31) and that this conception was to be a work of the Holy Spirit (v 35). Joseph was not aware of this, so when he learned that Mary was pregnant, he decided to divorce her quietly, for he was a just man and did not want to humiliate her publicly (Mt 1:19). An angel subsequently appeared to him in a dream to tell him what was happening (Mt 1:21; cf. Is 7:14). The text of Matthew makes it clear that there was no sexual union between Joseph and Mary until after Jesus was born (Mt 1:18, 25; see also Lk 1:34-37).<\/li>\n<p>When Caesar Augustus issued a decree that everyone had to register in his native city for purposes of taxation, Joseph and Mary returned to Bethlehem, where Jesus was subsequently born (Lk 2:1-6). Later, Joseph and Mary took the infant Jesus to the temple to present him to the Lord (vv 22, 33). After the visit of the wise men, an angel appeared to Joseph in a dream and instructed him to take Jesus and Mary to Egypt to protect the child from King Herod (Mt 2:13). Upon the death of Herod, an angel similarly advised him to return to Israel, so the family went to live in Nazareth. The last recorded event that involves Joseph is the incident of Jesus at the temple at age 12 (Lk 2:41-51). Joseph is not mentioned by name, but Mary told Jesus that she and his father had been looking for him anxiously.<\/p>\n<p>Jesus was identified by people around Nazareth as “Joseph’s son” (Lk 4:22; Jn 1:45; 6:42). It is only through references identifying Jesus that we learn of Joseph’s trade. Twice Jesus is referred to as “the carpenter’s son” (Mt 13:55; Mk 6:3). Joseph was not a carpenter in our sense of the word, for houses were built mostly of stone and earth. He was a woodworker or artificer in wood, and probably most of his work was with furniture and agricultural implements.<\/p>\n<p>During the ministry of Jesus, it was his mother and his brothers who came to look for him (Mt 12:46-50; Mk 3:31-35), so it is assumed that by this time Joseph was dead. Joseph was most likely the father of James, Joseph, Simon, Judas, and unnamed sisters (Mt 13:55; Mk 6:3).<\/p>\n<p><em>See also<\/em> Brothers of Jesus; Genealogy of Jesus Christ.<\/p>\n<li>7. Joseph and Mary’s son and the brother of Jesus (Mt 13:55); alternately called Joses in Mark 6:3. <em>See<\/em> Brothers of Jesus.<\/li>\n<li>8. Native of Arimathea and the follower of Jesus who provided for his burial. He was a rich man from the town of Arimathea and a respected member of the Sanhedrin, or council (Mk 15:43). He was a good and righteous man and did not go along with the decision to crucify Jesus (Lk 23:50-51). Joseph had been a secret follower of Jesus because he was afraid of the Jews (Jn 19:38), but after the Crucifixion he took courage and went to Pilate to ask for Jesus’ body. He and Nicodemus took the body, treated it with spices, and wrapped it in linen cloths, according to the Jewish burial customs. In a nearby garden was Joseph’s own new rock-cut tomb in which no one had ever been buried. Here they placed Jesus and sealed the tomb with a large stone.<\/li>\n<li> 9. Mattathias’s son and an ancestor of Jesus (Lk 3:25). <em>See<\/em> Genealogy of Jesus Christ.<\/li>\n<li>10. KJV rendering of Josech, an ancestor of Jesus, in Luke 3:26. <em>See<\/em> Josech.<\/li>\n<li>11. Jonam’s son and an ancestor of Jesus (Lk 3:30). <em>See<\/em> Genealogy of Jesus Christ.<\/li>\n<li>12. Disciple of Jesus who was “called Barsabbas” and “surnamed Justus” (Acts 1:23). Joseph was one of the candidates put forward by the 11 apostles to replace Judas Iscariot. It was Matthias, however, who was chosen.<\/li>\n<li>13. Cypriot Levite who sold a field and gave the proceeds to the apostles. He was surnamed “Barnabas,” meaning “son of encouragement,” by the apostles (Acts 4:36). <em>See<\/em> Barnabas.<\/li>","content_en":"<h3>JOSEPH<\/h3>\n<li>1. Jacob’s 11th son and the firstborn son of Rachel. Rachel named the boy Joseph, meaning “may he add,” expressing her desire that God would give her another son (Gn 30:24).<\/li>\n<p>Nothing more is said about Joseph until, at the age of 17, he is seen tending his father’s flocks with his brothers (Gn 37:2). Joseph was the favorite of his father, since he was the son of his old age (v 3) and the firstborn son of his favorite wife. Because of this, his brothers hated Joseph. This envy was magnified when Jacob gave Joseph a ground-length, long-sleeved, multicolored robe (vv 3-4). (This type of garment is illustrated by the paintings in the Asiatic tombs of Khnumhotep II at Beni Hasan and of the nobles at Gurneh, near Luxor.) The animosity of his brothers increased still more when Joseph revealed to them his dreams of dominion over them (vv 5-11). Subsequently, when Joseph was sent to check on his brothers and the flocks near Shechem, his brothers sold him to a caravan of traders going down to Egypt (vv 25-28). His brothers then took his robe, dipped it in goat’s blood, and brought it to Jacob, who concluded that Joseph had been killed by wild animals (vv 31-33); Jacob was overwhelmed with grief (vv 34-35).<\/p>\n<p>In Egypt, Joseph was sold to Potiphar, an Egyptian officer of the guard (Gn 37:36; 39:1), who eventually put Joseph in charge of his entire household. However, trouble arose from Potiphar’s wife, who was attracted to the young Hebrew and tried to seduce him (39:6-10). He steadfastly resisted her advances, protesting that to comply with her wishes would be a disservice to his master and a sin against God (v 9). One day she seized his garment, but he left the garment behind and fled. Potiphar’s wife accused Joseph of attempted rape; her report was believed, and Joseph was incarcerated in the king’s prison (v 20), where Pharaoh’s butler and baker were also confined. While in prison, Joseph, with the Lord’s help, interpreted these men’s troublesome dreams. As Joseph had foretold, the baker was executed and the butler was restored to royal favor (ch 40).<\/p>\n<p>Two years later Pharaoh had two dreams that his magicians and wise men could not interpret. The butler, remembering Joseph, had him summoned from prison. God revealed to Joseph that the dreams foretold seven years of abundance, followed by seven years of famine (Gn 41:25-36). Pharaoh, impressed with Joseph’s interpretation, made him ruler of Egypt, second only to himself (vv 39-44). Joseph was given a new name, Zaphenath-paneah, and a wife, Asenath, the daughter of Potiphera (v 45).<\/p>\n<p>Joseph was 30 years old when he became ruler of Egypt. During the seven years of prosperity, he gathered the good supplies for the seven years of famine to come (Gn 41:53-56). When the famine eventually became severe in Palestine, Jacob sent all his sons, except Benjamin, his youngest son, to Egypt to purchase grain. Appearing before Joseph in Egypt, they did not recognize him. But he knew them and remembered his dreams of years before (42:8-9). After listening to the report of their family, he accused them of being spies (vv 9-14) and insisted that they leave one of their brothers as hostage and return with Benjamin to verify the truthfulness of their report (vv 19-20). Thus Simeon was bound and left in Egypt (v 24).<\/p>\n<p>After the famine worsened in Palestine, Jacob asked his sons to go back to Egypt to buy more grain (Gn 43:1-2); reluctantly agreeing to the conditions that the Egyptian administrator had placed on them, Jacob allowed Benjamin to go with them (vv 11-13). When they arrived in Egypt, they were taken to Joseph’s house, where Simeon was restored to them (v 23) and a meal was prepared for them (v 33). Joseph at last disclosed his identity and declared that God had sent him before them to preserve their lives (45:4-8). Arrangements were then made to send for Jacob; wagons were provided, along with provisions for the journey (v 21). When Jacob came to Goshen in the Nile Delta, Joseph went out to meet him, and another great reunion took place (46:28-29). He also presented his father and brothers to Pharaoh, who let them live in the land of Goshen (47:6).<\/p>\n<p>Upon learning that his father was ill, Joseph took his two sons, Manasseh and Ephraim, to him for his blessing. He presented the sons so that the older would be at Jacob’s right hand and the younger at his left in order that Manasseh would receive the blessing of the firstborn. Jacob, however, crossed his hands and with his right hand on Ephraim gave him the greater blessing (Gn 48:14-20). He also gave to Joseph the land that he had taken from the Amorites (v 22). At Jacob’s death, Joseph made the funeral arrangements; and after the customary funerary practices were carried out, a great funeral procession went to Canaan, where Jacob was buried by his sons in the cave of Machpelah near Hebron (50:1-12).<\/p>\n<p>When Joseph was 110 years old, he called his brothers and told them that he was about to die. He made them take an oath that when they returned to Canaan they would take his bones with them. So he died, was embalmed, and was placed in a coffin in Egypt (Gn 50:26). Many years later, during the exodus, Moses took the bones of Joseph with him from Egypt (Ex 13:19). Joseph’s remains were eventually interred at Shechem in the parcel of land that Jacob had bought from Hamor, the father of Shechem (Gn 33:18-20; Jos 24:32). <em>See<\/em> Israel, History of; Patriarchs, Period of the.<\/p>\n<li>2. Igal’s father from Issachar’s tribe. Igal was one of the 12 spies sent by Moses to search out the land of Canaan (Nm 13:7).<\/li>\n<li>3. Asaph’s second son and the leader of the first course of priests serving in the sanctuary during David’s reign (1 Chr 25:2, 9).<\/li>\n<li>4. One of Binnui’s descendants who was encouraged by Ezra to divorce his foreign wife during the postexilic era (Ezr 10:42).<\/li>\n<li>5. Priest and family leader from Shebaniah’s line during the days of Joiakim, the high priest (Neh 12:14).<\/li>\n<li>6. Descendant of David (Mt 1:16; Lk 3:23) and the husband of Mary, the mother of Jesus. Joseph was betrothed to Mary, a young woman of the city of Nazareth. Mary had learned from the angel Gabriel that she was to bear the Son of God, whom she was to name Jesus (Lk 1:31) and that this conception was to be a work of the Holy Spirit (v 35). Joseph was not aware of this, so when he learned that Mary was pregnant, he decided to divorce her quietly, for he was a just man and did not want to humiliate her publicly (Mt 1:19). An angel subsequently appeared to him in a dream to tell him what was happening (Mt 1:21; cf. Is 7:14). The text of Matthew makes it clear that there was no sexual union between Joseph and Mary until after Jesus was born (Mt 1:18, 25; see also Lk 1:34-37).<\/li>\n<p>When Caesar Augustus issued a decree that everyone had to register in his native city for purposes of taxation, Joseph and Mary returned to Bethlehem, where Jesus was subsequently born (Lk 2:1-6). Later, Joseph and Mary took the infant Jesus to the temple to present him to the Lord (vv 22, 33). After the visit of the wise men, an angel appeared to Joseph in a dream and instructed him to take Jesus and Mary to Egypt to protect the child from King Herod (Mt 2:13). Upon the death of Herod, an angel similarly advised him to return to Israel, so the family went to live in Nazareth. The last recorded event that involves Joseph is the incident of Jesus at the temple at age 12 (Lk 2:41-51). Joseph is not mentioned by name, but Mary told Jesus that she and his father had been looking for him anxiously.<\/p>\n<p>Jesus was identified by people around Nazareth as “Joseph’s son” (Lk 4:22; Jn 1:45; 6:42). It is only through references identifying Jesus that we learn of Joseph’s trade. Twice Jesus is referred to as “the carpenter’s son” (Mt 13:55; Mk 6:3). Joseph was not a carpenter in our sense of the word, for houses were built mostly of stone and earth. He was a woodworker or artificer in wood, and probably most of his work was with furniture and agricultural implements.<\/p>\n<p>During the ministry of Jesus, it was his mother and his brothers who came to look for him (Mt 12:46-50; Mk 3:31-35), so it is assumed that by this time Joseph was dead. Joseph was most likely the father of James, Joseph, Simon, Judas, and unnamed sisters (Mt 13:55; Mk 6:3).<\/p>\n<p><em>See also<\/em> Brothers of Jesus; Genealogy of Jesus Christ.<\/p>\n<li>7. Joseph and Mary’s son and the brother of Jesus (Mt 13:55); alternately called Joses in Mark 6:3. <em>See<\/em> Brothers of Jesus.<\/li>\n<li>8. Native of Arimathea and the follower of Jesus who provided for his burial. He was a rich man from the town of Arimathea and a respected member of the Sanhedrin, or council (Mk 15:43). He was a good and righteous man and did not go along with the decision to crucify Jesus (Lk 23:50-51). Joseph had been a secret follower of Jesus because he was afraid of the Jews (Jn 19:38), but after the Crucifixion he took courage and went to Pilate to ask for Jesus’ body. He and Nicodemus took the body, treated it with spices, and wrapped it in linen cloths, according to the Jewish burial customs. In a nearby garden was Joseph’s own new rock-cut tomb in which no one had ever been buried. Here they placed Jesus and sealed the tomb with a large stone.<\/li>\n<li> 9. Mattathias’s son and an ancestor of Jesus (Lk 3:25). <em>See<\/em> Genealogy of Jesus Christ.<\/li>\n<li>10. KJV rendering of Josech, an ancestor of Jesus, in Luke 3:26. <em>See<\/em> Josech.<\/li>\n<li>11. Jonam’s son and an ancestor of Jesus (Lk 3:30). <em>See<\/em> Genealogy of Jesus Christ.<\/li>\n<li>12. Disciple of Jesus who was “called Barsabbas” and “surnamed Justus” (Acts 1:23). Joseph was one of the candidates put forward by the 11 apostles to replace Judas Iscariot. It was Matthias, however, who was chosen.<\/li>\n<li>13. Cypriot Levite who sold a field and gave the proceeds to the apostles. He was surnamed “Barnabas,” meaning “son of encouragement,” by the apostles (Acts 4:36). <em>See<\/em> Barnabas.<\/li>","summary_ro":"JOSEPH 1. Jacob’s 11th son and the firstborn son of Rachel. Rachel named the boy Joseph, meaning “may he add,” expressing her desire that God would give her another son (Gn 30:24). Nothing more is said about Joseph until, at the age of 17, he is seen tending his father’s flocks with his brothers (Gn 37:2). Joseph was the favorite of his father, since he was the son of his old age (v 3) and the firstborn son of his favorite wife. Because of this, his brothers hated Joseph. This envy was magnif...","summary_en":"JOSEPH 1. Jacob’s 11th son and the firstborn son of Rachel. Rachel named the boy Joseph, meaning “may he add,” expressing her desire that God would give her another son (Gn 30:24). Nothing more is said about Joseph until, at the age of 17, he is seen tending his father’s flocks with his brothers (Gn 37:2). Joseph was the favorite of his father, since he was the son of his old age (v 3) and the firstborn son of his favorite wife. Because of this, his brothers hated Joseph. This envy was magnif...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":27364,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Nethaniah","title_en":"Nethaniah","content_ro":"<h3>NETHANIAH<\/h3>\n<li>1. Elishama’s son, father of Ishmael and a member of the royal family of Judah (2 Kgs 25:23-25; Jer 40:8-15; 41:1-18).<\/li>\n<li>2. One of Asaph’s four sons and the leader of the fifth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:2, 12).<\/li>\n<li>3. One of the Levites sent by King Jehoshaphat of Judah to teach the law in the cities of Judah (2 Chr 17:8).<\/li>\n<li>4. Shelemiah’s son and the father of Jehudi. Jehudi served in the court of King Jehoiakim of Judah (Jer 36:14).<\/li>","content_en":"<h3>NETHANIAH<\/h3>\n<li>1. Elishama’s son, father of Ishmael and a member of the royal family of Judah (2 Kgs 25:23-25; Jer 40:8-15; 41:1-18).<\/li>\n<li>2. One of Asaph’s four sons and the leader of the fifth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:2, 12).<\/li>\n<li>3. One of the Levites sent by King Jehoshaphat of Judah to teach the law in the cities of Judah (2 Chr 17:8).<\/li>\n<li>4. Shelemiah’s son and the father of Jehudi. Jehudi served in the court of King Jehoiakim of Judah (Jer 36:14).<\/li>","summary_ro":"NETHANIAH 1. Elishama’s son, father of Ishmael and a member of the royal family of Judah (2 Kgs 25:23-25; Jer 40:8-15; 41:1-18). 2. One of Asaph’s four sons and the leader of the fifth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:2, 12). 3. One of the Levites sent by King Jehoshaphat of Judah to teach the law in the cities of Judah (2 Chr 17:8). 4. Shelemiah’s son and the father of Jehudi. Jehudi served in the court of King Jehoiakim of Juda...","summary_en":"NETHANIAH 1. Elishama’s son, father of Ishmael and a member of the royal family of Judah (2 Kgs 25:23-25; Jer 40:8-15; 41:1-18). 2. One of Asaph’s four sons and the leader of the fifth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:2, 12). 3. One of the Levites sent by King Jehoshaphat of Judah to teach the law in the cities of Judah (2 Chr 17:8). 4. Shelemiah’s son and the father of Jehudi. Jehudi served in the court of King Jehoiakim of Juda...","source":"Articles\/N.xml","external_url":null,"has_map":false,"has_picture":false},{"id":38853,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Zaccur","title_en":"Zaccur","content_ro":"<h3>ZACCUR<\/h3>\n<li>1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4).<\/li>\n<li>2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26).<\/li>\n<li>3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27).<\/li>\n<li>4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr 25:10). Descendants of Zaccur were present at the dedication of the city wall following the exile (Neh 12:35).<\/li>\n<li>5. One of the descendants of Bigvai who returned to Jerusalem with Ezra (Ezr 8:14).<\/li>\n<li>6. Son of Imri who worked on repairing Jerusalem’s wall in the vicinity of the Sheep Gate (Neh 3:2).<\/li>\n<li>7. One of the Levites who signed Nehemiah’s covenant to obey the law of God (Neh 10:12).<\/li>\n<li>8. Son of Mattaniah and father of Hanan, the assistant to the storehouse treasurers during Nehemiah’s time (Neh 13:13). Some have suggested that he is the same as #7 above.<\/li>","content_en":"<h3>ZACCUR<\/h3>\n<li>1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4).<\/li>\n<li>2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26).<\/li>\n<li>3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27).<\/li>\n<li>4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr 25:10). Descendants of Zaccur were present at the dedication of the city wall following the exile (Neh 12:35).<\/li>\n<li>5. One of the descendants of Bigvai who returned to Jerusalem with Ezra (Ezr 8:14).<\/li>\n<li>6. Son of Imri who worked on repairing Jerusalem’s wall in the vicinity of the Sheep Gate (Neh 3:2).<\/li>\n<li>7. One of the Levites who signed Nehemiah’s covenant to obey the law of God (Neh 10:12).<\/li>\n<li>8. Son of Mattaniah and father of Hanan, the assistant to the storehouse treasurers during Nehemiah’s time (Neh 13:13). Some have suggested that he is the same as #7 above.<\/li>","summary_ro":"ZACCUR 1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4). 2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26). 3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27). 4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr ...","summary_en":"ZACCUR 1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4). 2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26). 3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27). 4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr ...","source":"Articles\/Z.xml","external_url":null,"has_map":false,"has_picture":false},{"id":47682,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:2","title_en":"Study Note: 1 Cronici 25:2","content_ro":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","content_en":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","summary_ro":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","summary_en":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":75308,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:2","title_en":"Study Note: 1 Cronici 25:2","content_ro":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","content_en":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","summary_ro":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","summary_en":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":102934,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:2","title_en":"Study Note: 1 Cronici 25:2","content_ro":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","content_en":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","summary_ro":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","summary_en":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":130560,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:2","title_en":"Study Note: 1 Cronici 25:2","content_ro":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","content_en":"<p><strong>25:2-3<\/strong> <em>Asaph<\/em> and <em>Jeduthun<\/em> . . . <em>proclaimed God’s messages<\/em><em>,<\/em> meaning they were prophets as well as musicians.<\/p>","summary_ro":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","summary_en":"25:2-3 Asaph and Jeduthun . . . proclaimed God’s messages, meaning they were prophets as well as musicians.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"3":[{"id":13321,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Gedaliah","title_en":"Gedaliah","content_ro":"<h3>GEDALIAH<\/h3>\n<li>1. Ahikam’s son, and grandson of Shaphan (King Josiah’s royal scribe). In 586 <span>BC<\/span> Nebuchadnezzar, the Babylonian king, appointed Gedaliah as governor over the Jews remaining in Israel to work the fields, vineyards, and orchards (2 Kgs 25:12, 22).<\/li>\n<p>Gedaliah established his headquarters at Mizpah, where he was joined by the prophet Jeremiah and the Jewish commanders and their guerrilla forces who had escaped capture during the fall of Jerusalem (Jer 40:6-8). Gedaliah assured them that if they would settle down and live in peaceful subjection to Babylon, all would be well (2 Kgs 25:23-24; Jer 40:9-10). On the basis of that assurance, many of the Jews who were dispersed in the Transjordan and other countries returned to Israel to work the land into great productivity (Jer 40:11-12).<\/p>\n<p>Though warned about a plot against him by Ishmael, Gedaliah entertained the schemer at a meal and was killed (2 Kgs 25:25; Jer 40:11-12; 41:1-3). Along with some pilgrims visiting the temple, Ishmael fled with hostages to Ammon, escaping the vengeance of Johanan (Jer 41:10-15).<\/p>\n<li>2. Temple musician in the time of King David (1 Chr 25:3, 9).<\/li>\n<li>3. Jeshua’s son and one called to divorce his foreign wife during Ezra’s reforms (Ezr 10:18).<\/li>\n<li>4. Pashhur’s son and one of the Jerusalem officials who urged King Zedekiah to put the prophet Jeremiah to death for his pro-Babylonian prophetic pronouncements (Jer 38:1).<\/li>\n<li>5. Amariah’s son, grandson of King Hezekiah, and grandfather of the prophet Zephaniah (Zep 1:1).<\/li>","content_en":"<h3>GEDALIAH<\/h3>\n<li>1. Ahikam’s son, and grandson of Shaphan (King Josiah’s royal scribe). In 586 <span>BC<\/span> Nebuchadnezzar, the Babylonian king, appointed Gedaliah as governor over the Jews remaining in Israel to work the fields, vineyards, and orchards (2 Kgs 25:12, 22).<\/li>\n<p>Gedaliah established his headquarters at Mizpah, where he was joined by the prophet Jeremiah and the Jewish commanders and their guerrilla forces who had escaped capture during the fall of Jerusalem (Jer 40:6-8). Gedaliah assured them that if they would settle down and live in peaceful subjection to Babylon, all would be well (2 Kgs 25:23-24; Jer 40:9-10). On the basis of that assurance, many of the Jews who were dispersed in the Transjordan and other countries returned to Israel to work the land into great productivity (Jer 40:11-12).<\/p>\n<p>Though warned about a plot against him by Ishmael, Gedaliah entertained the schemer at a meal and was killed (2 Kgs 25:25; Jer 40:11-12; 41:1-3). Along with some pilgrims visiting the temple, Ishmael fled with hostages to Ammon, escaping the vengeance of Johanan (Jer 41:10-15).<\/p>\n<li>2. Temple musician in the time of King David (1 Chr 25:3, 9).<\/li>\n<li>3. Jeshua’s son and one called to divorce his foreign wife during Ezra’s reforms (Ezr 10:18).<\/li>\n<li>4. Pashhur’s son and one of the Jerusalem officials who urged King Zedekiah to put the prophet Jeremiah to death for his pro-Babylonian prophetic pronouncements (Jer 38:1).<\/li>\n<li>5. Amariah’s son, grandson of King Hezekiah, and grandfather of the prophet Zephaniah (Zep 1:1).<\/li>","summary_ro":"GEDALIAH 1. Ahikam’s son, and grandson of Shaphan (King Josiah’s royal scribe). In 586 BC Nebuchadnezzar, the Babylonian king, appointed Gedaliah as governor over the Jews remaining in Israel to work the fields, vineyards, and orchards (2 Kgs 25:12, 22). Gedaliah established his headquarters at Mizpah, where he was joined by the prophet Jeremiah and the Jewish commanders and their guerrilla forces who had escaped capture during the fall of Jerusalem (Jer 40:6-8). Gedaliah assured them that if...","summary_en":"GEDALIAH 1. Ahikam’s son, and grandson of Shaphan (King Josiah’s royal scribe). In 586 BC Nebuchadnezzar, the Babylonian king, appointed Gedaliah as governor over the Jews remaining in Israel to work the fields, vineyards, and orchards (2 Kgs 25:12, 22). Gedaliah established his headquarters at Mizpah, where he was joined by the prophet Jeremiah and the Jewish commanders and their guerrilla forces who had escaped capture during the fall of Jerusalem (Jer 40:6-8). Gedaliah assured them that if...","source":"Articles\/G.xml","external_url":null,"has_map":false,"has_picture":false},{"id":15420,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Hashabiah","title_en":"Hashabiah","content_ro":"<h3>HASHABIAH<\/h3>\n<li> 1. Ancestor of Ethan, a Levite and descendant of Merari. Ethan was a musician in the temple during the reign of David (1 Chr 6:45).<\/li>\n<li> 2. Ancestor of a group of Levites who helped rebuild the temple after the Babylonian exile (1 Chr 9:14; Neh 11:15).<\/li>\n<li> 3. Jeduthun’s son, a Levite and musician in the temple during the time of David (1 Chr 25:3, 19).<\/li>\n<li> 4. Head of a group of Hebronites who was given the position of overseer of Israel west of the Jordan. He was in charge of both political and religious activities (1 Chr 26:30).<\/li>\n<li> 5. Kemuel’s son, a Levite and head of a household during the reign of David (1 Chr 27:17).<\/li>\n<li> 6. Chief of the Levites who participated in the Passover kept by King Josiah in the kingdom of Judah (640–609 <span>BC<\/span>; 2 Chr 35:9).<\/li>\n<li> 7. Merarite Levite who returned to Jerusalem from Babylon with Ezra (Ezr 8:19).<\/li>\n<li> 8. Priest who returned to Jerusalem from Babylon with Ezra (Ezr 8:24); perhaps the same person as #7 above.<\/li>\n<li> 9. Parosh’s son, who obeyed Ezra’s exhortation to divorce his pagan wife after the exile (Ezr 10:25); possibly the same as Asibias (1 Esd 9:26).<\/li>\n<li>10. Ruler over half the district of Keilah (a city of Judah in the Shephelah district of Libnah-mareshah) who participated in rebuilding the Jerusalem wall for his district after the exile (Neh 3:17).<\/li>\n<li>11. Levite who signed Ezra’s covenant of faithfulness to God (Neh 10:11).<\/li>\n<li>12. Ancestor of Uzzi, an overseer of Levites in Jerusalem after the exile (Neh 11:22).<\/li>\n<li>13. Priest and head of a household in Palestine after the exile during the time of the high priest Joiakim (Neh 12:21).<\/li>\n<li>14. Chief of the Levites and a temple musician after the exile during the time of Joiakim the high priest (Neh 12:24); perhaps the same person as #11 above.<\/li>","content_en":"<h3>HASHABIAH<\/h3>\n<li> 1. Ancestor of Ethan, a Levite and descendant of Merari. Ethan was a musician in the temple during the reign of David (1 Chr 6:45).<\/li>\n<li> 2. Ancestor of a group of Levites who helped rebuild the temple after the Babylonian exile (1 Chr 9:14; Neh 11:15).<\/li>\n<li> 3. Jeduthun’s son, a Levite and musician in the temple during the time of David (1 Chr 25:3, 19).<\/li>\n<li> 4. Head of a group of Hebronites who was given the position of overseer of Israel west of the Jordan. He was in charge of both political and religious activities (1 Chr 26:30).<\/li>\n<li> 5. Kemuel’s son, a Levite and head of a household during the reign of David (1 Chr 27:17).<\/li>\n<li> 6. Chief of the Levites who participated in the Passover kept by King Josiah in the kingdom of Judah (640–609 <span>BC<\/span>; 2 Chr 35:9).<\/li>\n<li> 7. Merarite Levite who returned to Jerusalem from Babylon with Ezra (Ezr 8:19).<\/li>\n<li> 8. Priest who returned to Jerusalem from Babylon with Ezra (Ezr 8:24); perhaps the same person as #7 above.<\/li>\n<li> 9. Parosh’s son, who obeyed Ezra’s exhortation to divorce his pagan wife after the exile (Ezr 10:25); possibly the same as Asibias (1 Esd 9:26).<\/li>\n<li>10. Ruler over half the district of Keilah (a city of Judah in the Shephelah district of Libnah-mareshah) who participated in rebuilding the Jerusalem wall for his district after the exile (Neh 3:17).<\/li>\n<li>11. Levite who signed Ezra’s covenant of faithfulness to God (Neh 10:11).<\/li>\n<li>12. Ancestor of Uzzi, an overseer of Levites in Jerusalem after the exile (Neh 11:22).<\/li>\n<li>13. Priest and head of a household in Palestine after the exile during the time of the high priest Joiakim (Neh 12:21).<\/li>\n<li>14. Chief of the Levites and a temple musician after the exile during the time of Joiakim the high priest (Neh 12:24); perhaps the same person as #11 above.<\/li>","summary_ro":"HASHABIAH 1. Ancestor of Ethan, a Levite and descendant of Merari. Ethan was a musician in the temple during the reign of David (1 Chr 6:45). 2. Ancestor of a group of Levites who helped rebuild the temple after the Babylonian exile (1 Chr 9:14; Neh 11:15). 3. Jeduthun’s son, a Levite and musician in the temple during the time of David (1 Chr 25:3, 19). 4. Head of a group of Hebronites who was given the position of overseer of Israel west of the Jordan. He was in charge of both political and ...","summary_en":"HASHABIAH 1. Ancestor of Ethan, a Levite and descendant of Merari. Ethan was a musician in the temple during the reign of David (1 Chr 6:45). 2. Ancestor of a group of Levites who helped rebuild the temple after the Babylonian exile (1 Chr 9:14; Neh 11:15). 3. Jeduthun’s son, a Levite and musician in the temple during the time of David (1 Chr 25:3, 19). 4. Head of a group of Hebronites who was given the position of overseer of Israel west of the Jordan. He was in charge of both political and ...","source":"Articles\/H.xml","external_url":null,"has_map":false,"has_picture":false},{"id":18148,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Izri*","title_en":"Izri*","content_ro":"<h3>IZRI*<\/h3>\n<p>Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, <span>nlt<\/span> mg). He is called Zeri in 1 Chronicles 25:3.<\/p>","content_en":"<h3>IZRI*<\/h3>\n<p>Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, <span>nlt<\/span> mg). He is called Zeri in 1 Chronicles 25:3.<\/p>","summary_ro":"IZRI* Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, nlt mg). He is called Zeri in 1 Chronicles 25:3.","summary_en":"IZRI* Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, nlt mg). He is called Zeri in 1 Chronicles 25:3.","source":"Articles\/I.xml","external_url":null,"has_map":false,"has_picture":false},{"id":19314,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jeshaiah","title_en":"Jeshaiah","content_ro":"<h3>JESHAIAH<\/h3>\n<li>1. Hananiah’s son; the father of Rephaiah and a descendant of David through Zerubbabel’s line, who lived in postexilic Palestine (1 Chr 3:21).<\/li>\n<li>2. Jeduthun’s son and the leader of the eighth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:3, 15).<\/li>\n<li>3. Rehabiah’s son and one of the Levites in charge of the temple treasury during David’s reign (1 Chr 26:25).<\/li>\n<li>4. Son of Athaliah from the house of Elam, who returned with Ezra to Judah following the Babylonian captivity (Ezr 8:7).<\/li>\n<li>5. Levite of the family of Merari, who returned with Ezra to Jerusalem after the exile (Ezr 8:19).<\/li>\n<li>6. Benjamite, Ithiel’s father, and an ancestor of Sallu. Sallu resettled in Jerusalem during the postexilic era (Neh 11:7).<\/li>","content_en":"<h3>JESHAIAH<\/h3>\n<li>1. Hananiah’s son; the father of Rephaiah and a descendant of David through Zerubbabel’s line, who lived in postexilic Palestine (1 Chr 3:21).<\/li>\n<li>2. Jeduthun’s son and the leader of the eighth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:3, 15).<\/li>\n<li>3. Rehabiah’s son and one of the Levites in charge of the temple treasury during David’s reign (1 Chr 26:25).<\/li>\n<li>4. Son of Athaliah from the house of Elam, who returned with Ezra to Judah following the Babylonian captivity (Ezr 8:7).<\/li>\n<li>5. Levite of the family of Merari, who returned with Ezra to Jerusalem after the exile (Ezr 8:19).<\/li>\n<li>6. Benjamite, Ithiel’s father, and an ancestor of Sallu. Sallu resettled in Jerusalem during the postexilic era (Neh 11:7).<\/li>","summary_ro":"JESHAIAH 1. Hananiah’s son; the father of Rephaiah and a descendant of David through Zerubbabel’s line, who lived in postexilic Palestine (1 Chr 3:21). 2. Jeduthun’s son and the leader of the eighth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:3, 15). 3. Rehabiah’s son and one of the Levites in charge of the temple treasury during David’s reign (1 Chr 26:25). 4. Son of Athaliah from the house of Elam, who returned with Ezra to Judah followin...","summary_en":"JESHAIAH 1. Hananiah’s son; the father of Rephaiah and a descendant of David through Zerubbabel’s line, who lived in postexilic Palestine (1 Chr 3:21). 2. Jeduthun’s son and the leader of the eighth of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:3, 15). 3. Rehabiah’s son and one of the Levites in charge of the temple treasury during David’s reign (1 Chr 26:25). 4. Son of Athaliah from the house of Elam, who returned with Ezra to Judah followin...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":24868,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Mattithiah","title_en":"Mattithiah","content_ro":"<h3>MATTITHIAH<\/h3>\n<li>1. Levite and Shallum’s firstborn son, who was in charge of making the baked cakes that accompanied the offerings in the temple (1 Chr 9:31).<\/li>\n<li>2. Musician appointed by the Levites to play the lyre, along with five others, when the ark was brought to Jerusalem in David’s time (1 Chr 15:18, 21; 16:5).<\/li>\n<li>3. One of Jeduthun’s six sons, who was a musician in David’s time (1 Chr 25:3, 21); perhaps identifiable with #2 above.<\/li>\n<li>4. Nebo’s son, who divorced his foreign wife as commanded by Ezra (Ezr 10:43).<\/li>\n<li>5. One who stood to Ezra’s right when Ezra read the law to the people after the exile (Neh 8:4).<\/li>","content_en":"<h3>MATTITHIAH<\/h3>\n<li>1. Levite and Shallum’s firstborn son, who was in charge of making the baked cakes that accompanied the offerings in the temple (1 Chr 9:31).<\/li>\n<li>2. Musician appointed by the Levites to play the lyre, along with five others, when the ark was brought to Jerusalem in David’s time (1 Chr 15:18, 21; 16:5).<\/li>\n<li>3. One of Jeduthun’s six sons, who was a musician in David’s time (1 Chr 25:3, 21); perhaps identifiable with #2 above.<\/li>\n<li>4. Nebo’s son, who divorced his foreign wife as commanded by Ezra (Ezr 10:43).<\/li>\n<li>5. One who stood to Ezra’s right when Ezra read the law to the people after the exile (Neh 8:4).<\/li>","summary_ro":"MATTITHIAH 1. Levite and Shallum’s firstborn son, who was in charge of making the baked cakes that accompanied the offerings in the temple (1 Chr 9:31). 2. Musician appointed by the Levites to play the lyre, along with five others, when the ark was brought to Jerusalem in David’s time (1 Chr 15:18, 21; 16:5). 3. One of Jeduthun’s six sons, who was a musician in David’s time (1 Chr 25:3, 21); perhaps identifiable with #2 above. 4. Nebo’s son, who divorced his foreign wife as commanded by Ezra ...","summary_en":"MATTITHIAH 1. Levite and Shallum’s firstborn son, who was in charge of making the baked cakes that accompanied the offerings in the temple (1 Chr 9:31). 2. Musician appointed by the Levites to play the lyre, along with five others, when the ark was brought to Jerusalem in David’s time (1 Chr 15:18, 21; 16:5). 3. One of Jeduthun’s six sons, who was a musician in David’s time (1 Chr 25:3, 21); perhaps identifiable with #2 above. 4. Nebo’s son, who divorced his foreign wife as commanded by Ezra ...","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false},{"id":35118,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Shimei","title_en":"Shimei","content_ro":"<h3>SHIMEI<\/h3>\n<li>1. Son of Gershon, the grandson of Levi, and the brother of Libni (Ex 6:17; Nm 3:18; 1 Chr 6:17). He was the father of four sons and the founder of the Shimeite family (Nm 3:21; 1 Chr 23:7, 10; Zech 12:13).<\/li>\n<li>2. Benjaminite, and the son of Gera from the house of Saul. He met King David at the village of Bahurim during the king’s journey from Jerusalem to Mahanaim. Here Shimei bitterly opposed David, cursing him for the ruin of Saul’s house (2 Sm 16:5-13). Later, Shimei repented of his shameful behavior, entreated David’s forgiveness, and received the king’s pardon (19:16-23). After David’s death, King Solomon ordered Shimei to settle in Jerusalem and never to leave the city for any reason. Shimei disobeyed the decree and was killed (1 Kgs 2:8, 36-44).<\/li>\n<li> 3. Brother of David and the father of Jonathan (2 Sm 21:21); alternately called Shammah in 1 Samuel 16:9. <em>See<\/em> Shammah #2.<\/li>\n<li> 4. One of David’s court officials who did not support Adonijah’s attempt to set himself up as king (1 Kgs 1:8).<\/li>\n<li> 5. Benjaminite, the son of Ela and one of King Solomon’s officials who oversaw the royal household (1 Kgs 4:18); perhaps identical with #4 above.<\/li>\n<li> 6. Judahite, the son of Pedaiah, the brother of Zerubbabel, and a descendant of David through Solomon’s line (1 Chr 3:19).<\/li>\n<li> 7. Simeonite, the son of Zaccur and the father of 16 sons and 6 daughters (1 Chr 4:26-27).<\/li>\n<li> 8. Reubenite, the son of Gog and the father of Micah (1 Chr 5:4).<\/li>\n<li> 9. Son of Libni, the father of Uzzah, and a descendant of Levi through Merari’s line (1 Chr 6:29).<\/li>\n<li>10. Gershonite Levite, the son of Jahath, the father of Zimmah, and an ancestor of Asaph who served as a leader of the musicians in the sanctuary during David’s reign (1 Chr 6:42).<\/li>\n<li>11. Benjaminite, the father of nine sons and a head of his father’s house (1 Chr 8:21); alternately called Shema in verse 13. <em>See<\/em> Shema (Person) #3.<\/li>\n<li>12. Gershonite Levite, and the father of three sons in the house of Ladan (1 Chr 23:9).<\/li>\n<li>13. Son of Jeduthun and the leader of the 10th of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:3, 17).<\/li>\n<li>14. Ramathite, and a member of King David’s staff who had charge of David’s vineyards (1 Chr 27:27).<\/li>\n<li>15. Son of Heman, the brother of Jehuel, and one of the Levites selected to cleanse the house of the Lord during King Hezekiah’s reign (715–686 <span>BC<\/span>; 2 Chr 29:14).<\/li>\n<li>16. Levite, and the brother of Conaniah appointed by King Hezekiah of Judah to oversee the administration of the temple contributions in Jerusalem (2 Chr 31:12-13).<\/li>\n<li>17–19. Three men, a Levite, Hashum’s son, and Binnui’s son, who were encouraged by Ezra to divorce their foreign wives during the postexilic era (Ezr 10:23, 33, 38)<\/li>\n<li>20. Son of Kish and grandfather of Mordecai (Est 2:5).<\/li>","content_en":"<h3>SHIMEI<\/h3>\n<li>1. Son of Gershon, the grandson of Levi, and the brother of Libni (Ex 6:17; Nm 3:18; 1 Chr 6:17). He was the father of four sons and the founder of the Shimeite family (Nm 3:21; 1 Chr 23:7, 10; Zech 12:13).<\/li>\n<li>2. Benjaminite, and the son of Gera from the house of Saul. He met King David at the village of Bahurim during the king’s journey from Jerusalem to Mahanaim. Here Shimei bitterly opposed David, cursing him for the ruin of Saul’s house (2 Sm 16:5-13). Later, Shimei repented of his shameful behavior, entreated David’s forgiveness, and received the king’s pardon (19:16-23). After David’s death, King Solomon ordered Shimei to settle in Jerusalem and never to leave the city for any reason. Shimei disobeyed the decree and was killed (1 Kgs 2:8, 36-44).<\/li>\n<li> 3. Brother of David and the father of Jonathan (2 Sm 21:21); alternately called Shammah in 1 Samuel 16:9. <em>See<\/em> Shammah #2.<\/li>\n<li> 4. One of David’s court officials who did not support Adonijah’s attempt to set himself up as king (1 Kgs 1:8).<\/li>\n<li> 5. Benjaminite, the son of Ela and one of King Solomon’s officials who oversaw the royal household (1 Kgs 4:18); perhaps identical with #4 above.<\/li>\n<li> 6. Judahite, the son of Pedaiah, the brother of Zerubbabel, and a descendant of David through Solomon’s line (1 Chr 3:19).<\/li>\n<li> 7. Simeonite, the son of Zaccur and the father of 16 sons and 6 daughters (1 Chr 4:26-27).<\/li>\n<li> 8. Reubenite, the son of Gog and the father of Micah (1 Chr 5:4).<\/li>\n<li> 9. Son of Libni, the father of Uzzah, and a descendant of Levi through Merari’s line (1 Chr 6:29).<\/li>\n<li>10. Gershonite Levite, the son of Jahath, the father of Zimmah, and an ancestor of Asaph who served as a leader of the musicians in the sanctuary during David’s reign (1 Chr 6:42).<\/li>\n<li>11. Benjaminite, the father of nine sons and a head of his father’s house (1 Chr 8:21); alternately called Shema in verse 13. <em>See<\/em> Shema (Person) #3.<\/li>\n<li>12. Gershonite Levite, and the father of three sons in the house of Ladan (1 Chr 23:9).<\/li>\n<li>13. Son of Jeduthun and the leader of the 10th of 24 divisions of musicians trained for service in the sanctuary during David’s reign (1 Chr 25:3, 17).<\/li>\n<li>14. Ramathite, and a member of King David’s staff who had charge of David’s vineyards (1 Chr 27:27).<\/li>\n<li>15. Son of Heman, the brother of Jehuel, and one of the Levites selected to cleanse the house of the Lord during King Hezekiah’s reign (715–686 <span>BC<\/span>; 2 Chr 29:14).<\/li>\n<li>16. Levite, and the brother of Conaniah appointed by King Hezekiah of Judah to oversee the administration of the temple contributions in Jerusalem (2 Chr 31:12-13).<\/li>\n<li>17–19. Three men, a Levite, Hashum’s son, and Binnui’s son, who were encouraged by Ezra to divorce their foreign wives during the postexilic era (Ezr 10:23, 33, 38)<\/li>\n<li>20. Son of Kish and grandfather of Mordecai (Est 2:5).<\/li>","summary_ro":"SHIMEI 1. Son of Gershon, the grandson of Levi, and the brother of Libni (Ex 6:17; Nm 3:18; 1 Chr 6:17). He was the father of four sons and the founder of the Shimeite family (Nm 3:21; 1 Chr 23:7, 10; Zech 12:13). 2. Benjaminite, and the son of Gera from the house of Saul. He met King David at the village of Bahurim during the king’s journey from Jerusalem to Mahanaim. Here Shimei bitterly opposed David, cursing him for the ruin of Saul’s house (2 Sm 16:5-13). Later, Shimei repented of his sh...","summary_en":"SHIMEI 1. Son of Gershon, the grandson of Levi, and the brother of Libni (Ex 6:17; Nm 3:18; 1 Chr 6:17). He was the father of four sons and the founder of the Shimeite family (Nm 3:21; 1 Chr 23:7, 10; Zech 12:13). 2. Benjaminite, and the son of Gera from the house of Saul. He met King David at the village of Bahurim during the king’s journey from Jerusalem to Mahanaim. Here Shimei bitterly opposed David, cursing him for the ruin of Saul’s house (2 Sm 16:5-13). Later, Shimei repented of his sh...","source":"Articles\/S.xml","external_url":null,"has_map":false,"has_picture":false},{"id":39265,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Zeri","title_en":"Zeri","content_ro":"<h3>ZERI<\/h3>\n<p>One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).<\/p>","content_en":"<h3>ZERI<\/h3>\n<p>One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).<\/p>","summary_ro":"ZERI One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).","summary_en":"ZERI One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).","source":"Articles\/Z.xml","external_url":null,"has_map":false,"has_picture":false}],"4":[{"id":5817,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Bukkiah","title_en":"Bukkiah","content_ro":"<h3>BUKKIAH<\/h3>\n<p>Heman’s eldest son, who served with his father and 13 brothers as a temple musician (1 Chr 25:4, 13).<\/p>","content_en":"<h3>BUKKIAH<\/h3>\n<p>Heman’s eldest son, who served with his father and 13 brothers as a temple musician (1 Chr 25:4, 13).<\/p>","summary_ro":"BUKKIAH Heman’s eldest son, who served with his father and 13 brothers as a temple musician (1 Chr 25:4, 13).","summary_en":"BUKKIAH Heman’s eldest son, who served with his father and 13 brothers as a temple musician (1 Chr 25:4, 13).","source":"Articles\/B.xml","external_url":null,"has_map":false,"has_picture":false},{"id":10531,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Eliathah","title_en":"Eliathah","content_ro":"<h3>ELIATHAH<\/h3>\n<p>Son of Heman appointed to assist in the temple service during David’s reign (1 Chr 25:4, 27).<\/p>","content_en":"<h3>ELIATHAH<\/h3>\n<p>Son of Heman appointed to assist in the temple service during David’s reign (1 Chr 25:4, 27).<\/p>","summary_ro":"ELIATHAH Son of Heman appointed to assist in the temple service during David’s reign (1 Chr 25:4, 27).","summary_en":"ELIATHAH Son of Heman appointed to assist in the temple service during David’s reign (1 Chr 25:4, 27).","source":"Articles\/E.xml","external_url":null,"has_map":false,"has_picture":false},{"id":13796,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Giddalti*","title_en":"Giddalti*","content_ro":"<h3>GIDDALTI*<\/h3>\n<p>Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, <span>nlt<\/span> mg).<\/p>","content_en":"<h3>GIDDALTI*<\/h3>\n<p>Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, <span>nlt<\/span> mg).<\/p>","summary_ro":"GIDDALTI* Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, nlt mg).","summary_en":"GIDDALTI* Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, nlt mg).","source":"Articles\/G.xml","external_url":null,"has_map":false,"has_picture":false},{"id":15209,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Hanani","title_en":"Hanani","content_ro":"<h3>HANANI<\/h3>\n<li> 1. Seer who rebuked King Asa for giving treasure to Ben-hadad of Syria to persuade him to attack Israel. Hanani was imprisoned for his preaching (2 Chr 16:1-10). Hanani was the father of the prophet Jehu, who made protests against Baasha, king of Israel (1 Kgs 16:1-7), and Jehoshaphat, king of Judah (2 Chr 19:2).<\/li>\n<li> 2. Heman’s son, David’s seer, and a musician in the temple (1 Chr 25:4, 25).<\/li>\n<li> 3. Priest who obeyed Ezra’s exhortation to divorce his pagan wife after returning from exile (Ezr 10:20).<\/li>\n<li> 4. Brother of Nehemiah who induced him to act on behalf of the Jews when he reported the state of Jerusalem and Judah (Neh 1:2). Hanani was later given responsibility for the city of Jerusalem (7:2).<\/li>\n<li> 5. Priest and musician who participated in the dedication of the rebuilt walls of Jerusalem (Neh 12:36).<\/li>","content_en":"<h3>HANANI<\/h3>\n<li> 1. Seer who rebuked King Asa for giving treasure to Ben-hadad of Syria to persuade him to attack Israel. Hanani was imprisoned for his preaching (2 Chr 16:1-10). Hanani was the father of the prophet Jehu, who made protests against Baasha, king of Israel (1 Kgs 16:1-7), and Jehoshaphat, king of Judah (2 Chr 19:2).<\/li>\n<li> 2. Heman’s son, David’s seer, and a musician in the temple (1 Chr 25:4, 25).<\/li>\n<li> 3. Priest who obeyed Ezra’s exhortation to divorce his pagan wife after returning from exile (Ezr 10:20).<\/li>\n<li> 4. Brother of Nehemiah who induced him to act on behalf of the Jews when he reported the state of Jerusalem and Judah (Neh 1:2). Hanani was later given responsibility for the city of Jerusalem (7:2).<\/li>\n<li> 5. Priest and musician who participated in the dedication of the rebuilt walls of Jerusalem (Neh 12:36).<\/li>","summary_ro":"HANANI 1. Seer who rebuked King Asa for giving treasure to Ben-hadad of Syria to persuade him to attack Israel. Hanani was imprisoned for his preaching (2 Chr 16:1-10). Hanani was the father of the prophet Jehu, who made protests against Baasha, king of Israel (1 Kgs 16:1-7), and Jehoshaphat, king of Judah (2 Chr 19:2). 2. Heman’s son, David’s seer, and a musician in the temple (1 Chr 25:4, 25). 3. Priest who obeyed Ezra’s exhortation to divorce his pagan wife after returning from exile (Ezr ...","summary_en":"HANANI 1. Seer who rebuked King Asa for giving treasure to Ben-hadad of Syria to persuade him to attack Israel. Hanani was imprisoned for his preaching (2 Chr 16:1-10). Hanani was the father of the prophet Jehu, who made protests against Baasha, king of Israel (1 Kgs 16:1-7), and Jehoshaphat, king of Judah (2 Chr 19:2). 2. Heman’s son, David’s seer, and a musician in the temple (1 Chr 25:4, 25). 3. Priest who obeyed Ezra’s exhortation to divorce his pagan wife after returning from exile (Ezr ...","source":"Articles\/H.xml","external_url":null,"has_map":false,"has_picture":false},{"id":15216,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Hananiah","title_en":"Hananiah","content_ro":"<h3>HANANIAH<\/h3>\n<li> 1. Zerubbabel’s son and a descendant of David (1 Chr 3:19, 21).<\/li>\n<li> 2. Benjamite and the son of Shashak (1 Chr 8:24).<\/li>\n<li> 3. Heman’s son and the leader of the 16th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:4, 23).<\/li>\n<li> 4. One of the commanders of King Uzziah’s army (2 Chr 26:11).<\/li>\n<li> 5. Bebai’s son, who returned with the exiles from Babylon and was later encouraged by Ezra to divorce his foreign wife (Ezr 10:28).<\/li>\n<li> 6. Perfumer who helped Nehemiah rebuild the Jerusalem wall (Neh 3:8).<\/li>\n<li> 7. Shelemiah’s son, who with Hanun repaired a section of the Jerusalem wall during the days of Nehemiah (Neh 3:30). He is perhaps identical with #6 above.<\/li>\n<li> 8. Commander of the citadel of Jerusalem who was assigned by Nehemiah to rule the city jointly with Hanani, Nehemiah’s brother. Hananiah, described as a faithful and God-fearing man, was appointed the task of seeing that the city walls and gates were regularly guarded (Neh 7:2-3).<\/li>\n<li> 9. One of the leaders of the people who set his seal on the covenant of Ezra (Neh 10:23).<\/li>\n<li>10. Head of the priestly family of Jeremiah during the days of Joiakim, the high priest, in postexilic Jerusalem (Neh 12:12).<\/li>\n<li>11. One of the priests who blew a trumpet at the dedication of the Jerusalem wall during the days of Nehemiah (Neh 12:41).<\/li>\n<li>12. Gibeonite and the son of Azzur. Hananiah prophesied during the fourth year of King Zedekiah of Judah’s reign (597–586 <span>BC<\/span>). He openly declared in the temple that in two years the Lord would break the yoke of Nebuchadnezzar, king of Babylon (605–562 <span>BC<\/span>), from the neck of Judah and return its exiles and sacred possessions to Palestine. Told by the Lord that Hananiah’s prophecy was false, Jeremiah reproached Hananiah for lying and foretold his imminent death. Hananiah died two months later (Jer 28).<\/li>\n<li>13. Father of Zedekiah, an official of King Jehoiakim of Judah (609–598 <span>BC<\/span>; Jer 36:12).<\/li>\n<li>14. Grandfather of Irijah, the captain of the guards, who arrested Jeremiah at Jerusalem’s Gate of Benjamin for apparently deserting to the Babylonians (Jer 37:13).<\/li>\n<li>15. One of the three Jewish friends of Daniel exiled in Babylon. He was assigned the Babylonian name Shadrach (Dn 1:6-19; 2:17).<\/li>\n<p><em>See also<\/em> Shadrach, Meshach, and Abednego.<\/p>","content_en":"<h3>HANANIAH<\/h3>\n<li> 1. Zerubbabel’s son and a descendant of David (1 Chr 3:19, 21).<\/li>\n<li> 2. Benjamite and the son of Shashak (1 Chr 8:24).<\/li>\n<li> 3. Heman’s son and the leader of the 16th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:4, 23).<\/li>\n<li> 4. One of the commanders of King Uzziah’s army (2 Chr 26:11).<\/li>\n<li> 5. Bebai’s son, who returned with the exiles from Babylon and was later encouraged by Ezra to divorce his foreign wife (Ezr 10:28).<\/li>\n<li> 6. Perfumer who helped Nehemiah rebuild the Jerusalem wall (Neh 3:8).<\/li>\n<li> 7. Shelemiah’s son, who with Hanun repaired a section of the Jerusalem wall during the days of Nehemiah (Neh 3:30). He is perhaps identical with #6 above.<\/li>\n<li> 8. Commander of the citadel of Jerusalem who was assigned by Nehemiah to rule the city jointly with Hanani, Nehemiah’s brother. Hananiah, described as a faithful and God-fearing man, was appointed the task of seeing that the city walls and gates were regularly guarded (Neh 7:2-3).<\/li>\n<li> 9. One of the leaders of the people who set his seal on the covenant of Ezra (Neh 10:23).<\/li>\n<li>10. Head of the priestly family of Jeremiah during the days of Joiakim, the high priest, in postexilic Jerusalem (Neh 12:12).<\/li>\n<li>11. One of the priests who blew a trumpet at the dedication of the Jerusalem wall during the days of Nehemiah (Neh 12:41).<\/li>\n<li>12. Gibeonite and the son of Azzur. Hananiah prophesied during the fourth year of King Zedekiah of Judah’s reign (597–586 <span>BC<\/span>). He openly declared in the temple that in two years the Lord would break the yoke of Nebuchadnezzar, king of Babylon (605–562 <span>BC<\/span>), from the neck of Judah and return its exiles and sacred possessions to Palestine. Told by the Lord that Hananiah’s prophecy was false, Jeremiah reproached Hananiah for lying and foretold his imminent death. Hananiah died two months later (Jer 28).<\/li>\n<li>13. Father of Zedekiah, an official of King Jehoiakim of Judah (609–598 <span>BC<\/span>; Jer 36:12).<\/li>\n<li>14. Grandfather of Irijah, the captain of the guards, who arrested Jeremiah at Jerusalem’s Gate of Benjamin for apparently deserting to the Babylonians (Jer 37:13).<\/li>\n<li>15. One of the three Jewish friends of Daniel exiled in Babylon. He was assigned the Babylonian name Shadrach (Dn 1:6-19; 2:17).<\/li>\n<p><em>See also<\/em> Shadrach, Meshach, and Abednego.<\/p>","summary_ro":"HANANIAH 1. Zerubbabel’s son and a descendant of David (1 Chr 3:19, 21). 2. Benjamite and the son of Shashak (1 Chr 8:24). 3. Heman’s son and the leader of the 16th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:4, 23). 4. One of the commanders of King Uzziah’s army (2 Chr 26:11). 5. Bebai’s son, who returned with the exiles from Babylon and was later encouraged by Ezra to divorce his foreign wife (Ezr 10:28). 6. Perfumer who helped Nehemiah rebuild the Je...","summary_en":"HANANIAH 1. Zerubbabel’s son and a descendant of David (1 Chr 3:19, 21). 2. Benjamite and the son of Shashak (1 Chr 8:24). 3. Heman’s son and the leader of the 16th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:4, 23). 4. One of the commanders of King Uzziah’s army (2 Chr 26:11). 5. Bebai’s son, who returned with the exiles from Babylon and was later encouraged by Ezra to divorce his foreign wife (Ezr 10:28). 6. Perfumer who helped Nehemiah rebuild the Je...","source":"Articles\/H.xml","external_url":null,"has_map":false,"has_picture":false},{"id":16900,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Hothir","title_en":"Hothir","content_ro":"<h3>HOTHIR<\/h3>\n<p>Levite and the head of the 21st of 24 divisions of priests for sanctuary service, formed during David’s reign (1 Chr 25:4, 28).<\/p>","content_en":"<h3>HOTHIR<\/h3>\n<p>Levite and the head of the 21st of 24 divisions of priests for sanctuary service, formed during David’s reign (1 Chr 25:4, 28).<\/p>","summary_ro":"HOTHIR Levite and the head of the 21st of 24 divisions of priests for sanctuary service, formed during David’s reign (1 Chr 25:4, 28).","summary_en":"HOTHIR Levite and the head of the 21st of 24 divisions of priests for sanctuary service, formed during David’s reign (1 Chr 25:4, 28).","source":"Articles\/H.xml","external_url":null,"has_map":false,"has_picture":false},{"id":19107,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jeremoth","title_en":"Jeremoth","content_ro":"<h3>JEREMOTH<\/h3>\n<li>1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions.<\/li>\n<li>2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14).<\/li>\n<li>3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30.<\/li>\n<li>4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:22, <span>nlt<\/span> mg). Here and also in 1 Chronicles 25:4 his name is spelled Jerimoth.<\/li>\n<li>5. Azriel’s son and the chief official of Naphtali’s tribe during David’s reign (1 Chr 27:19). His name is spelled Jerimoth in some texts.<\/li>\n<li>6. One of Elam’s descendants who was encouraged by Ezra to divorce his foreign wife during the postexilic period (Ezr 10:26).<\/li>\n<li>7. One of Zattu’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:27).<\/li>\n<li>8. One of Bani’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:29). He is named “Ramoth” in the <span>kjv<\/span>.<\/li>","content_en":"<h3>JEREMOTH<\/h3>\n<li>1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions.<\/li>\n<li>2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14).<\/li>\n<li>3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30.<\/li>\n<li>4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:22, <span>nlt<\/span> mg). Here and also in 1 Chronicles 25:4 his name is spelled Jerimoth.<\/li>\n<li>5. Azriel’s son and the chief official of Naphtali’s tribe during David’s reign (1 Chr 27:19). His name is spelled Jerimoth in some texts.<\/li>\n<li>6. One of Elam’s descendants who was encouraged by Ezra to divorce his foreign wife during the postexilic period (Ezr 10:26).<\/li>\n<li>7. One of Zattu’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:27).<\/li>\n<li>8. One of Bani’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:29). He is named “Ramoth” in the <span>kjv<\/span>.<\/li>","summary_ro":"JEREMOTH 1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions. 2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14). 3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30. 4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in...","summary_en":"JEREMOTH 1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions. 2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14). 3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30. 4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":19152,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jerimoth","title_en":"Jerimoth","content_ro":"<h3>JERIMOTH<\/h3>\n<li>1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7).<\/li>\n<li>2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. <em>See<\/em> Jeremoth #1.<\/li>\n<li>3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5).<\/li>\n<li>4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. <em>See<\/em> Jeremoth #3.<\/li>\n<li>5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. <em>See<\/em> Jeremoth #4.<\/li>\n<li>6. Alternate spelling of Jeremoth, Azriel’s son, in 1 Chronicles 27:19. <em>See<\/em> Jeremoth #5.<\/li>\n<li>7. David’s son and Mahalath’s father. Mahalath was married to King Rehoboam of Judah (2 Chr 11:18).<\/li>\n<li>8. One of the Levites who assisted with the administration of the temple contributions during King Hezekiah’s reign (2 Chr 31:13).<\/li>","content_en":"<h3>JERIMOTH<\/h3>\n<li>1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7).<\/li>\n<li>2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. <em>See<\/em> Jeremoth #1.<\/li>\n<li>3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5).<\/li>\n<li>4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. <em>See<\/em> Jeremoth #3.<\/li>\n<li>5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. <em>See<\/em> Jeremoth #4.<\/li>\n<li>6. Alternate spelling of Jeremoth, Azriel’s son, in 1 Chronicles 27:19. <em>See<\/em> Jeremoth #5.<\/li>\n<li>7. David’s son and Mahalath’s father. Mahalath was married to King Rehoboam of Judah (2 Chr 11:18).<\/li>\n<li>8. One of the Levites who assisted with the administration of the temple contributions during King Hezekiah’s reign (2 Chr 31:13).<\/li>","summary_ro":"JERIMOTH 1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7). 2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. See Jeremoth #1. 3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5). 4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. See Jeremoth #3. 5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. See Jeremoth #4. 6. Alternate spelling of Je...","summary_en":"JERIMOTH 1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7). 2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. See Jeremoth #1. 3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5). 4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. See Jeremoth #3. 5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. See Jeremoth #4. 6. Alternate spelling of Je...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":20604,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Joshbekashah","title_en":"Joshbekashah","content_ro":"<h3>JOSHBEKASHAH<\/h3>\n<p>Heman’s son and head of the 17th of 24 divisions of priestly musicians for ministry in the sanctuary during David’s reign (1 Chr 25:4, 24).<\/p>","content_en":"<h3>JOSHBEKASHAH<\/h3>\n<p>Heman’s son and head of the 17th of 24 divisions of priestly musicians for ministry in the sanctuary during David’s reign (1 Chr 25:4, 24).<\/p>","summary_ro":"JOSHBEKASHAH Heman’s son and head of the 17th of 24 divisions of priestly musicians for ministry in the sanctuary during David’s reign (1 Chr 25:4, 24).","summary_en":"JOSHBEKASHAH Heman’s son and head of the 17th of 24 divisions of priestly musicians for ministry in the sanctuary during David’s reign (1 Chr 25:4, 24).","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":23951,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Mahazioth","title_en":"Mahazioth","content_ro":"<h3>MAHAZIOTH<\/h3>\n<p>One of the 14 sons of Heman the Kohathite, and head of the 23d course of tabernacle musicians who ministered with cymbals, harps, and lyres (1 Chr 25:4, 30).<\/p>","content_en":"<h3>MAHAZIOTH<\/h3>\n<p>One of the 14 sons of Heman the Kohathite, and head of the 23d course of tabernacle musicians who ministered with cymbals, harps, and lyres (1 Chr 25:4, 30).<\/p>","summary_ro":"MAHAZIOTH One of the 14 sons of Heman the Kohathite, and head of the 23d course of tabernacle musicians who ministered with cymbals, harps, and lyres (1 Chr 25:4, 30).","summary_en":"MAHAZIOTH One of the 14 sons of Heman the Kohathite, and head of the 23d course of tabernacle musicians who ministered with cymbals, harps, and lyres (1 Chr 25:4, 30).","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false},{"id":24117,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Mallothi","title_en":"Mallothi","content_ro":"<h3>MALLOTHI<\/h3>\n<p>One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).<\/p>","content_en":"<h3>MALLOTHI<\/h3>\n<p>One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).<\/p>","summary_ro":"MALLOTHI One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).","summary_en":"MALLOTHI One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false},{"id":24646,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Mattaniah","title_en":"Mattaniah","content_ro":"<h3>MATTANIAH<\/h3>\n<li> 1. Last king of Judah, whom King Nebuchadnezzar of Babylon enthroned in place of his nephew Jehoiachin; his name subsequently was changed to Zedekiah (2 Kgs 24:17), and as such he was known in the other references to him in 2 Kings, 2 Chronicles, and Jeremiah. <em>See<\/em> Zedekiah.<\/li>\n<li> 2. Asaph’s descendant, named among the Levites living in postexilic Jerusalem (1 Chr 9:15; Neh 11:17, 22; 12:8, 35).<\/li>\n<li> 3. Heman’s son, who helped lead music in the sanctuary during David’s reign (1 Chr 25:4, 16).<\/li>\n<li> 4. Levite of the sons of Asaph, who was an ancestor of Jahaziel, a messenger of God in the days of King Jehoshaphat (2 Chr 20:14).<\/li>\n<li> 5. Another Levite of the sons of Asaph who helped cleanse the temple during King Hezekiah’s reign (2 Chr 29:13).<\/li>\n<li> 6–9. Four men of Israel who were exhorted by Ezra to divorce their foreign wives during the postexilic era (Ezr 10:26-27, 30, 37).<\/li>\n<li>10. One of the gatekeepers at the time of the dedication of the reconstructed wall of Jerusalem in Nehemiah’s day (Neh 12:25).<\/li>\n<li>11. Grandfather of Hanan, a treasurer of the temple storehouse in Nehemiah’s day (Neh 13:13).<\/li>","content_en":"<h3>MATTANIAH<\/h3>\n<li> 1. Last king of Judah, whom King Nebuchadnezzar of Babylon enthroned in place of his nephew Jehoiachin; his name subsequently was changed to Zedekiah (2 Kgs 24:17), and as such he was known in the other references to him in 2 Kings, 2 Chronicles, and Jeremiah. <em>See<\/em> Zedekiah.<\/li>\n<li> 2. Asaph’s descendant, named among the Levites living in postexilic Jerusalem (1 Chr 9:15; Neh 11:17, 22; 12:8, 35).<\/li>\n<li> 3. Heman’s son, who helped lead music in the sanctuary during David’s reign (1 Chr 25:4, 16).<\/li>\n<li> 4. Levite of the sons of Asaph, who was an ancestor of Jahaziel, a messenger of God in the days of King Jehoshaphat (2 Chr 20:14).<\/li>\n<li> 5. Another Levite of the sons of Asaph who helped cleanse the temple during King Hezekiah’s reign (2 Chr 29:13).<\/li>\n<li> 6–9. Four men of Israel who were exhorted by Ezra to divorce their foreign wives during the postexilic era (Ezr 10:26-27, 30, 37).<\/li>\n<li>10. One of the gatekeepers at the time of the dedication of the reconstructed wall of Jerusalem in Nehemiah’s day (Neh 12:25).<\/li>\n<li>11. Grandfather of Hanan, a treasurer of the temple storehouse in Nehemiah’s day (Neh 13:13).<\/li>","summary_ro":"MATTANIAH 1. Last king of Judah, whom King Nebuchadnezzar of Babylon enthroned in place of his nephew Jehoiachin; his name subsequently was changed to Zedekiah (2 Kgs 24:17), and as such he was known in the other references to him in 2 Kings, 2 Chronicles, and Jeremiah. See Zedekiah. 2. Asaph’s descendant, named among the Levites living in postexilic Jerusalem (1 Chr 9:15; Neh 11:17, 22; 12:8, 35). 3. Heman’s son, who helped lead music in the sanctuary during David’s reign (1 Chr 25:4, 16). 4...","summary_en":"MATTANIAH 1. Last king of Judah, whom King Nebuchadnezzar of Babylon enthroned in place of his nephew Jehoiachin; his name subsequently was changed to Zedekiah (2 Kgs 24:17), and as such he was known in the other references to him in 2 Kings, 2 Chronicles, and Jeremiah. See Zedekiah. 2. Asaph’s descendant, named among the Levites living in postexilic Jerusalem (1 Chr 9:15; Neh 11:17, 22; 12:8, 35). 3. Heman’s son, who helped lead music in the sanctuary during David’s reign (1 Chr 25:4, 16). 4...","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false},{"id":33200,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Romamti-Ezer","title_en":"Romamti-Ezer","content_ro":"<h3>ROMAMTI-EZER<\/h3>\n<p>Heman’s son and a musician appointed by King David to serve in the sanctuary (1 Chr 25:4, 31).<\/p>","content_en":"<h3>ROMAMTI-EZER<\/h3>\n<p>Heman’s son and a musician appointed by King David to serve in the sanctuary (1 Chr 25:4, 31).<\/p>","summary_ro":"ROMAMTI-EZER Heman’s son and a musician appointed by King David to serve in the sanctuary (1 Chr 25:4, 31).","summary_en":"ROMAMTI-EZER Heman’s son and a musician appointed by King David to serve in the sanctuary (1 Chr 25:4, 31).","source":"Articles\/R.xml","external_url":null,"has_map":false,"has_picture":false},{"id":34742,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Shebuel","title_en":"Shebuel","content_ro":"<h3>SHEBUEL<\/h3>\n<li>1. Gershon’s son and Moses’ grandson from Levi’s tribe (1 Chr 23:15-16); father of Jehdeiah (24:20, “Shubael”). He was the chief officer in charge of the treasuries (26:24).<\/li>\n<li>2. Levite, Heman’s son and a musician in the tabernacle (1 Chr 25:4, 20, “Shubael”).<\/li>","content_en":"<h3>SHEBUEL<\/h3>\n<li>1. Gershon’s son and Moses’ grandson from Levi’s tribe (1 Chr 23:15-16); father of Jehdeiah (24:20, “Shubael”). He was the chief officer in charge of the treasuries (26:24).<\/li>\n<li>2. Levite, Heman’s son and a musician in the tabernacle (1 Chr 25:4, 20, “Shubael”).<\/li>","summary_ro":"SHEBUEL 1. Gershon’s son and Moses’ grandson from Levi’s tribe (1 Chr 23:15-16); father of Jehdeiah (24:20, “Shubael”). He was the chief officer in charge of the treasuries (26:24). 2. Levite, Heman’s son and a musician in the tabernacle (1 Chr 25:4, 20, “Shubael”).","summary_en":"SHEBUEL 1. Gershon’s son and Moses’ grandson from Levi’s tribe (1 Chr 23:15-16); father of Jehdeiah (24:20, “Shubael”). He was the chief officer in charge of the treasuries (26:24). 2. Levite, Heman’s son and a musician in the tabernacle (1 Chr 25:4, 20, “Shubael”).","source":"Articles\/S.xml","external_url":null,"has_map":false,"has_picture":false},{"id":37976,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Uzziel","title_en":"Uzziel","content_ro":"<h3>UZZIEL<\/h3>\n<li>1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshiah, who were chiefs among the Levites during the reign of Solomon (1 Chr 15:10; 23:20).<\/li>\n<li>2. Son of Ishi who was one of the leaders of the Simeonite warriors who defeated the Ammonites at Seir during the reign of Hezekiah (1 Chr 4:42). As a result of defeating the Amalekites, who had not been defeated earlier by Saul or David, the Simeonites inherited the land.<\/li>\n<li>3. Benjaminite clan chief who is listed as the son of Bela, the son of Benjamin (1 Chr 7:7).<\/li>\n<li>4. Son of Heman of the Levite clan of Asaph (1 Chr 25:4). A variant name is Azarel (v 18, <span>nlt<\/span> mg).<\/li>\n<li>5. Levite who participated in the reconsecration of the temple under Hezekiah (2 Chr 29:14), listed as the son of Jeduthun.<\/li>\n<li>6. Goldsmith who worked on rebuilding the gates of Jerusalem (Neh 3:8). His name indicates that he was likely a priest who had the responsibility of making and repairing the temple instruments and vessels (cf. 1 Chr 9:29).<\/li>","content_en":"<h3>UZZIEL<\/h3>\n<li>1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshiah, who were chiefs among the Levites during the reign of Solomon (1 Chr 15:10; 23:20).<\/li>\n<li>2. Son of Ishi who was one of the leaders of the Simeonite warriors who defeated the Ammonites at Seir during the reign of Hezekiah (1 Chr 4:42). As a result of defeating the Amalekites, who had not been defeated earlier by Saul or David, the Simeonites inherited the land.<\/li>\n<li>3. Benjaminite clan chief who is listed as the son of Bela, the son of Benjamin (1 Chr 7:7).<\/li>\n<li>4. Son of Heman of the Levite clan of Asaph (1 Chr 25:4). A variant name is Azarel (v 18, <span>nlt<\/span> mg).<\/li>\n<li>5. Levite who participated in the reconsecration of the temple under Hezekiah (2 Chr 29:14), listed as the son of Jeduthun.<\/li>\n<li>6. Goldsmith who worked on rebuilding the gates of Jerusalem (Neh 3:8). His name indicates that he was likely a priest who had the responsibility of making and repairing the temple instruments and vessels (cf. 1 Chr 9:29).<\/li>","summary_ro":"UZZIEL 1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshi...","summary_en":"UZZIEL 1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshi...","source":"Articles\/U.xml","external_url":null,"has_map":false,"has_picture":false}],"6":[{"id":2840,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Asaph","title_en":"Asaph","content_ro":"<h3>ASAPH<\/h3>\n<li>1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, <span>tlb<\/span>) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he ministered daily before the ark (1 Chr 16:37; 25:6, 9; 1 Esd 1:15; 5:27, 59). He was also described as David’s private prophet (1 Chr 25:1-2). Asaph’s name appears in the superscriptions of Psalms 50 and 73–83 and in the guild he established, “the sons of Asaph” (1 Chr 25:1; 2 Chr 35:15; Ezr 2:41; Neh 7:44; 11:22).<\/li>\n<li>2. Joah’s father. Joah was the recorder (court historian or royal scribe) in King Hezekiah’s administration (2 Kgs 18:18, 27; Is 36:22).<\/li>\n<li>3. Temple guard or gatekeeper, seemingly the same person as Ebiasaph (1 Chr 9:18).<\/li>\n<li>4. Keeper of the king’s forest in Palestine under Artaxerxes I Longimanus (Neh 2:8). Nehemiah asked this Asaph for timber to rebuild the wall, gates, and structures of Jerusalem.<\/li>","content_en":"<h3>ASAPH<\/h3>\n<li>1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, <span>tlb<\/span>) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he ministered daily before the ark (1 Chr 16:37; 25:6, 9; 1 Esd 1:15; 5:27, 59). He was also described as David’s private prophet (1 Chr 25:1-2). Asaph’s name appears in the superscriptions of Psalms 50 and 73–83 and in the guild he established, “the sons of Asaph” (1 Chr 25:1; 2 Chr 35:15; Ezr 2:41; Neh 7:44; 11:22).<\/li>\n<li>2. Joah’s father. Joah was the recorder (court historian or royal scribe) in King Hezekiah’s administration (2 Kgs 18:18, 27; Is 36:22).<\/li>\n<li>3. Temple guard or gatekeeper, seemingly the same person as Ebiasaph (1 Chr 9:18).<\/li>\n<li>4. Keeper of the king’s forest in Palestine under Artaxerxes I Longimanus (Neh 2:8). Nehemiah asked this Asaph for timber to rebuild the wall, gates, and structures of Jerusalem.<\/li>","summary_ro":"ASAPH 1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, tlb) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he minister...","summary_en":"ASAPH 1. Berechiah’s son, an important tabernacle musician during King David’s reign (1 Chr 6:31-32, 39). Along with Heman, the head singer, and Ethan, Asaph was appointed to sound bronze cymbals during the ceremony when the ark was brought to the new tabernacle (1 Chr 15:1-19). David appointed Asaph to serve “by giving constant praise and thanks to the Lord God of Israel” (1 Chr 16:4-5, tlb) and to lead Israel in a special psalm of praise (1 Chr 16:7-36). Along with his relatives he minister...","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":30817,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Biblical Poetry","title_en":"Biblical Poetry","content_ro":"<h3>POETRY, B<span>iblical<\/span><\/h3>\n<p>Poetic language in Scripture.<\/p>\n<p class=\"h2\" id=\"IntheOldTestament\">In the Old Testament<\/p>\n<p>The OT contains all that we know of the poetry of Israel, and what we have occupies an important place in that literature. It was presumably well known throughout the ancient Near East, for its fame had spread even to Babylon (Ps 137:3). Much of the OT is poetic in spirit and structure—a feature of the prophetic writings as well as the poetic literature. In the former are found passages of elevated poetry, studded with brilliant gems of imagery. The movement is rhythmical, with meter, parallelism, and strophic arrangement, as in the poetry books.<\/p>\n<p>The English Revised Version of the Bible (1881) first rendered a great service to English readers by printing OT poetry in parallel lines. Where this is not done in the prophetic literature, the poetic quality of these books is obscured. Note that besides the OT books recognized as poetry—the Psalms, Job, Lamentations, Song of Songs, and Proverbs—Ecclesiastes and the Prophets consist of prose and poetry. The historical books also contain fine examples of poetry.<\/p>\n<p>The Hebrew language was an ideal instrument for expressing poetic speech. Its simplicity of form combined intensity of feeling and pictorial power and allowed great play of imagination. Figures, metaphors, and hyperboles are extremely common. In its powerful imagery the genius of Hebrew poetry comes to its finest expression.<\/p>\n<p>The normal unit of Hebrew verse is the couplet of two parallel lines. But this is not the only grouping of lines in Hebrew poetry. Units of three (Pss 1:1; 5:11; 45:1-2), four (Pss 1:3; 55:21; Prv 27:15-16), five (Ps 6:6-7; Prv 24:23-25), six (Ps 99:1-3; Prv 30:21-23), and even larger combinations of parallel lines occur.<\/p>\n<p>As far as can be determined, meter is absent from biblical poetry. Certainly there is little concern for the careful meter that marks classic Greek and Latin, as well as much of English, poetry. The only exception is found in wailing songs or laments (Jer 9:18-20; Lam 1–4). This is called the lamentation meter, where the verse is in two parts. Rhyme also is so rare as to be almost nonexistent.<\/p>\n<p>On the other hand, Hebrew poetry is rhythmical—one of its distinguishing features. Its rhythm recurs with stressed and unstressed syllables in relatively regular succession. There are usually three or four accents or beats to a line, but the rhythmic unit is not uniform. Rhythm in Hebrew poetry, however, is not confined to the balance of accents or beats in a line. The meaning of the words and their position in the line are also significant—a feature called parallelism. This distinguishing characteristic was first clearly recognized by Dr. Robert Lowth, who in 1753 developed the principle of parallelism.<\/p>\n<p>He distinguished three types. The first is <em>synonymous parallelism,<\/em> where the thought expressed in the first part of the verse is repeated in the second part, in different but equivalent terms (Pss 2:4; 19:1; 36:1-2; 103:11-12; Prv 3:13-18). The second is <em>antithetic parallelism,<\/em> where the thought in the first part of the verse is contrasted with its opposite in the second (Ps 1:6; Prv 10:1-4, 16-18; 13:9). The third is <em>synthetic parallelism,<\/em> where the idea expressed in the first line of a verse is developed and completed in the following lines (Pss 1:1; 3:5-6; 18:8-10; Prv 26:3). There are more complicated forms of parallelism, but these three are the most common.<\/p>\n<p>Another characteristic of biblical poetry is the use of the letters of the Hebrew alphabet. Psalms in which verses are linked together by this means are called acrostic. Today, an acrostic is formed by taking a name and beginning the successive lines of the short poem with the letters that make up the name. The Hebrews took only the alphabet and arranged the lines of the poem according to the succession of the letters.<\/p>\n<p>Each line of a psalm may begin with a different letter, as in Psalm 25. Or each of the stanzas may begin with the same letter until all 22 letters of the alphabet are exhausted, as in Psalm 119. However, this psalm, which is the most conspicuous example of a Hebrew acrostic poem, is quite complicated in its arrangement. Not only does each stanza begin with a letter, but each of the eight lines of every stanza begins with the same letter, so that eight alphabetic arrangements move through the psalm in parallel lines. Other elaborate acrostics are Psalms 9, 10, 34, 37, 111, 112, and 145.<\/p>\n<p>The first four chapters of Lamentations also follow an acrostic arrangement. This example of acrostic arrangement is less noticeable to the English reader because the names of the Hebrew letters do not mark the beginning of the stanzas. In Lamentations 3 each letter of the alphabet begins three successive lines numbered as verses. Another acrostic occurs in Proverbs 31:10-31. It is an alphabetic description of the virtuous woman.<\/p>\n<p>Another poetic device giving unity to a poem and marking its divisions is the refrain. Psalm 136 is an outstanding example of this arrangement. The refrain is “His faithful love endures forever” and is used to conclude every verse.<\/p>\n<p>The meter of Hebraic poetry is dependent on accentuation; the unit is the couplet, in which the members may be of equal or varying length. Couplets are often arranged into strophes. The fundamental category of Hebrew poetry is the song or lyric. The song was accompanied by music (Gn 31:27; Ex 15:20; 1 Chr 25:6; Is 23:16; 30:29; Am 6:5) and could be associated with dance (Ex 15:20-21).<\/p>\n<p>Some complete poems in the OT are embedded in the narrative books and represent various types of Hebrew poems. The first recorded poem in the Bible is a battle song (Gn 4:23-24). Other famous examples of this type are the Song of Moses (Ex 15:1-18) and the Song of Deborah (Jgs 5:1-31). Then there is the Taunt Song (Nm 21:27-30), the Song of the Well (vv 17-18), and songs of blessing. Of this latter type, well-known examples are the Blessing of Jacob (Gn 49:1-27), the Blessing of Moses (Dt 33:2-29), and the four Blessings of Balaam (Nm 23:7-10; 23:18-24; 24:3-9; 24:15-24). There are also laments for the dead (2 Sm 1:19-27) and didactic poems that warn against improvidence (Prv 6:6-11) and drunkenness (23:29-35). Common throughout all of these various types of poems is religious emotion and fervor. The songs of Moses and Deborah praise God as the giver of victory.<\/p>\n<p>Most poems of distinctively religious fervor characterize the worship of the sanctuary. The psalms are religious poems sung with musical accompaniment. Many are private prayers, while others were composed for public worship, especially hymns of thanksgiving sung at the tabernacle or temple. It is in the Psalter that the soaring spirit of Hebrew poetry rises to a level never achieved by Israel’s pagan neighbors; the Hebrews worshiped God in spirit and in truth, and as they did so, they were giving expression to a personal experience of the living God in their soul.<\/p>\n<p>The internal qualities of Hebrew poetry are in part influenced by the age, social conditions, and environment in which the writers lived. Although the OT is of divine authorship, it also comes within the scope of literature and should be appreciated as such. Though the Holy Spirit inspired the message of the Hebrew writers, their individual writing styles remain clearly evident. Using simple and vivid diction, figures of speech, and literary devices, each poet expressed a wealth of religious thought, experience, and emotion; simile, metaphor, allegory, hyperbole, personification, irony, and wordplay all variously enhanced each writer’s pattern of thinking. Hebrew poetry is the expression of the poet’s human spirit, and it is the literature of revelation—the Word of God to humankind.<\/p>\n<p class=\"h2\" id=\"IntheNewTestament\">In the New Testament<\/p>\n<p>The NT has a limited number of poetical passages. Probably the NT contains less poetry than the OT (relatively speaking) because the early Christians found the OT Psalter (in the Hebrew and LXX) adequate for their devotional purposes. All the writers of the NT were Jews, except Luke. He has given us some memorable poems: the Magnificat (Lk 1:46-55), the Benedictus (vv 68-79), and the Nunc Dimittis (2:29-32). Interestingly, these poems are strongly Hebraic in form, character, and content. Matthew has given us the poetic Beatitudes (Mt 5:3-12). These Beatitudes have the parallelism that is common in OT poetry—specifically, synthetic parallelism (where the second line of each verse completes the meaning of the first line). There is also a definite rhythmic quality in Matthew 11:28-30. John’s Prologue to his Gospel of John (1:1-18) is a fine example of Hellenistic poetry.<\/p>\n<p>The NT Epistles contain a number of poetic passages, especially in the doxologies (see, for example, Rom 16:25-27; Jude 1:24-25). Other sections are distinctly poetry and\/or early Christian hymns. These include Philippians 2:6-11 (“The Humility of Christ” hymn\/ poem); Colossians 1:15-20 (“The Preeminence of Christ” hymn\/poem); and 1 Timothy 3:16 (“The Incarnation” hymn\/poem). The writer to Hebrews also produced a noteworthy poetic prologue (1:1-3). Other sections of Paul’s writings display poetic language, where rhythm and exalted diction are prominent (see, for example, 1 Cor 13; 15:54-57).<\/p>\n<p>The book of Revelation also contains a number of poems of praise as well as hymns (see Rv 5:9-10, 12-13; 7:12; 11:17-18; 15:3-4).<\/p>\n<p><em>See also<\/em> Ecclesiastes, Book of; Job, Book of; Lamentations, Book of; Music; Proverbs, Book of; Psalms, Book of; Song of Solomon; Wisdom; Wisdom Literature.<\/p>","content_en":"<h3>POETRY, B<span>iblical<\/span><\/h3>\n<p>Poetic language in Scripture.<\/p>\n<p class=\"h2\" id=\"IntheOldTestament\">In the Old Testament<\/p>\n<p>The OT contains all that we know of the poetry of Israel, and what we have occupies an important place in that literature. It was presumably well known throughout the ancient Near East, for its fame had spread even to Babylon (Ps 137:3). Much of the OT is poetic in spirit and structure—a feature of the prophetic writings as well as the poetic literature. In the former are found passages of elevated poetry, studded with brilliant gems of imagery. The movement is rhythmical, with meter, parallelism, and strophic arrangement, as in the poetry books.<\/p>\n<p>The English Revised Version of the Bible (1881) first rendered a great service to English readers by printing OT poetry in parallel lines. Where this is not done in the prophetic literature, the poetic quality of these books is obscured. Note that besides the OT books recognized as poetry—the Psalms, Job, Lamentations, Song of Songs, and Proverbs—Ecclesiastes and the Prophets consist of prose and poetry. The historical books also contain fine examples of poetry.<\/p>\n<p>The Hebrew language was an ideal instrument for expressing poetic speech. Its simplicity of form combined intensity of feeling and pictorial power and allowed great play of imagination. Figures, metaphors, and hyperboles are extremely common. In its powerful imagery the genius of Hebrew poetry comes to its finest expression.<\/p>\n<p>The normal unit of Hebrew verse is the couplet of two parallel lines. But this is not the only grouping of lines in Hebrew poetry. Units of three (Pss 1:1; 5:11; 45:1-2), four (Pss 1:3; 55:21; Prv 27:15-16), five (Ps 6:6-7; Prv 24:23-25), six (Ps 99:1-3; Prv 30:21-23), and even larger combinations of parallel lines occur.<\/p>\n<p>As far as can be determined, meter is absent from biblical poetry. Certainly there is little concern for the careful meter that marks classic Greek and Latin, as well as much of English, poetry. The only exception is found in wailing songs or laments (Jer 9:18-20; Lam 1–4). This is called the lamentation meter, where the verse is in two parts. Rhyme also is so rare as to be almost nonexistent.<\/p>\n<p>On the other hand, Hebrew poetry is rhythmical—one of its distinguishing features. Its rhythm recurs with stressed and unstressed syllables in relatively regular succession. There are usually three or four accents or beats to a line, but the rhythmic unit is not uniform. Rhythm in Hebrew poetry, however, is not confined to the balance of accents or beats in a line. The meaning of the words and their position in the line are also significant—a feature called parallelism. This distinguishing characteristic was first clearly recognized by Dr. Robert Lowth, who in 1753 developed the principle of parallelism.<\/p>\n<p>He distinguished three types. The first is <em>synonymous parallelism,<\/em> where the thought expressed in the first part of the verse is repeated in the second part, in different but equivalent terms (Pss 2:4; 19:1; 36:1-2; 103:11-12; Prv 3:13-18). The second is <em>antithetic parallelism,<\/em> where the thought in the first part of the verse is contrasted with its opposite in the second (Ps 1:6; Prv 10:1-4, 16-18; 13:9). The third is <em>synthetic parallelism,<\/em> where the idea expressed in the first line of a verse is developed and completed in the following lines (Pss 1:1; 3:5-6; 18:8-10; Prv 26:3). There are more complicated forms of parallelism, but these three are the most common.<\/p>\n<p>Another characteristic of biblical poetry is the use of the letters of the Hebrew alphabet. Psalms in which verses are linked together by this means are called acrostic. Today, an acrostic is formed by taking a name and beginning the successive lines of the short poem with the letters that make up the name. The Hebrews took only the alphabet and arranged the lines of the poem according to the succession of the letters.<\/p>\n<p>Each line of a psalm may begin with a different letter, as in Psalm 25. Or each of the stanzas may begin with the same letter until all 22 letters of the alphabet are exhausted, as in Psalm 119. However, this psalm, which is the most conspicuous example of a Hebrew acrostic poem, is quite complicated in its arrangement. Not only does each stanza begin with a letter, but each of the eight lines of every stanza begins with the same letter, so that eight alphabetic arrangements move through the psalm in parallel lines. Other elaborate acrostics are Psalms 9, 10, 34, 37, 111, 112, and 145.<\/p>\n<p>The first four chapters of Lamentations also follow an acrostic arrangement. This example of acrostic arrangement is less noticeable to the English reader because the names of the Hebrew letters do not mark the beginning of the stanzas. In Lamentations 3 each letter of the alphabet begins three successive lines numbered as verses. Another acrostic occurs in Proverbs 31:10-31. It is an alphabetic description of the virtuous woman.<\/p>\n<p>Another poetic device giving unity to a poem and marking its divisions is the refrain. Psalm 136 is an outstanding example of this arrangement. The refrain is “His faithful love endures forever” and is used to conclude every verse.<\/p>\n<p>The meter of Hebraic poetry is dependent on accentuation; the unit is the couplet, in which the members may be of equal or varying length. Couplets are often arranged into strophes. The fundamental category of Hebrew poetry is the song or lyric. The song was accompanied by music (Gn 31:27; Ex 15:20; 1 Chr 25:6; Is 23:16; 30:29; Am 6:5) and could be associated with dance (Ex 15:20-21).<\/p>\n<p>Some complete poems in the OT are embedded in the narrative books and represent various types of Hebrew poems. The first recorded poem in the Bible is a battle song (Gn 4:23-24). Other famous examples of this type are the Song of Moses (Ex 15:1-18) and the Song of Deborah (Jgs 5:1-31). Then there is the Taunt Song (Nm 21:27-30), the Song of the Well (vv 17-18), and songs of blessing. Of this latter type, well-known examples are the Blessing of Jacob (Gn 49:1-27), the Blessing of Moses (Dt 33:2-29), and the four Blessings of Balaam (Nm 23:7-10; 23:18-24; 24:3-9; 24:15-24). There are also laments for the dead (2 Sm 1:19-27) and didactic poems that warn against improvidence (Prv 6:6-11) and drunkenness (23:29-35). Common throughout all of these various types of poems is religious emotion and fervor. The songs of Moses and Deborah praise God as the giver of victory.<\/p>\n<p>Most poems of distinctively religious fervor characterize the worship of the sanctuary. The psalms are religious poems sung with musical accompaniment. Many are private prayers, while others were composed for public worship, especially hymns of thanksgiving sung at the tabernacle or temple. It is in the Psalter that the soaring spirit of Hebrew poetry rises to a level never achieved by Israel’s pagan neighbors; the Hebrews worshiped God in spirit and in truth, and as they did so, they were giving expression to a personal experience of the living God in their soul.<\/p>\n<p>The internal qualities of Hebrew poetry are in part influenced by the age, social conditions, and environment in which the writers lived. Although the OT is of divine authorship, it also comes within the scope of literature and should be appreciated as such. Though the Holy Spirit inspired the message of the Hebrew writers, their individual writing styles remain clearly evident. Using simple and vivid diction, figures of speech, and literary devices, each poet expressed a wealth of religious thought, experience, and emotion; simile, metaphor, allegory, hyperbole, personification, irony, and wordplay all variously enhanced each writer’s pattern of thinking. Hebrew poetry is the expression of the poet’s human spirit, and it is the literature of revelation—the Word of God to humankind.<\/p>\n<p class=\"h2\" id=\"IntheNewTestament\">In the New Testament<\/p>\n<p>The NT has a limited number of poetical passages. Probably the NT contains less poetry than the OT (relatively speaking) because the early Christians found the OT Psalter (in the Hebrew and LXX) adequate for their devotional purposes. All the writers of the NT were Jews, except Luke. He has given us some memorable poems: the Magnificat (Lk 1:46-55), the Benedictus (vv 68-79), and the Nunc Dimittis (2:29-32). Interestingly, these poems are strongly Hebraic in form, character, and content. Matthew has given us the poetic Beatitudes (Mt 5:3-12). These Beatitudes have the parallelism that is common in OT poetry—specifically, synthetic parallelism (where the second line of each verse completes the meaning of the first line). There is also a definite rhythmic quality in Matthew 11:28-30. John’s Prologue to his Gospel of John (1:1-18) is a fine example of Hellenistic poetry.<\/p>\n<p>The NT Epistles contain a number of poetic passages, especially in the doxologies (see, for example, Rom 16:25-27; Jude 1:24-25). Other sections are distinctly poetry and\/or early Christian hymns. These include Philippians 2:6-11 (“The Humility of Christ” hymn\/ poem); Colossians 1:15-20 (“The Preeminence of Christ” hymn\/poem); and 1 Timothy 3:16 (“The Incarnation” hymn\/poem). The writer to Hebrews also produced a noteworthy poetic prologue (1:1-3). Other sections of Paul’s writings display poetic language, where rhythm and exalted diction are prominent (see, for example, 1 Cor 13; 15:54-57).<\/p>\n<p>The book of Revelation also contains a number of poems of praise as well as hymns (see Rv 5:9-10, 12-13; 7:12; 11:17-18; 15:3-4).<\/p>\n<p><em>See also<\/em> Ecclesiastes, Book of; Job, Book of; Lamentations, Book of; Music; Proverbs, Book of; Psalms, Book of; Song of Solomon; Wisdom; Wisdom Literature.<\/p>","summary_ro":"POETRY, Biblical Poetic language in Scripture. In the Old Testament The OT contains all that we know of the poetry of Israel, and what we have occupies an important place in that literature. It was presumably well known throughout the ancient Near East, for its fame had spread even to Babylon (Ps 137:3). Much of the OT is poetic in spirit and structure—a feature of the prophetic writings as well as the poetic literature. In the former are found passages of elevated poetry, studded with brilli...","summary_en":"POETRY, Biblical Poetic language in Scripture. In the Old Testament The OT contains all that we know of the poetry of Israel, and what we have occupies an important place in that literature. It was presumably well known throughout the ancient Near East, for its fame had spread even to Babylon (Ps 137:3). Much of the OT is poetic in spirit and structure—a feature of the prophetic writings as well as the poetic literature. In the former are found passages of elevated poetry, studded with brilli...","source":"Articles\/P.xml","external_url":null,"has_map":false,"has_picture":false}],"7":[{"id":63061,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":90687,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":118313,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":145939,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Music in Ancient Israel","title_en":"Music in Ancient Israel","content_ro":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","content_en":"<h3>Music in Ancient Israel<\/h3>\n<p>The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-31).<\/p>\n<p>The first liturgical music mentioned in the Old Testament is in the narrative of the transfer of the Ark—David and the Israelites sang, played instruments, and danced to the glory of the Lord (2 Sam 6:5). David is recognized as making the musical instruments used in the Temple (2 Chr 7:6). In the postexilic era, the Levitical singers that are mentioned were the descendants of Asaph, the chief musician appointed by David (Ezra 2:41; Neh 7:44; 11:22-23). In short, Israel’s liturgical music and organization originated in the time of David.<\/p>\n<p>The stately ceremony of the later services in Solomon’s Temple contrasts with the enthusiasm and spontaneity of David’s worship (2 Chr 7:1-6). Singers and musicians for worship at the Temple were chosen from the tribe of Levi (1 Chr 25:1, 7). They rotated their participation in the weekday, Sabbath, and high holy day services.<\/p>\n<p><strong>Passages for Further Study<\/strong><\/p>\n<p>Gen 4:21; Exod 28:34-35; 2 Sam 6:5; 2 Chr 7:6; Ps 71:22-23<\/p>","summary_ro":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","summary_en":"Music in Ancient Israel The earliest nomadic peoples made music. The first musician mentioned in the Bible is “Jubal, the first of all who play the harp and flute” (Gen 4:21). Music was significant from the beginning of Israel’s worship in the Tabernacle. In Exodus 28:34-35, Aaron’s robe is described as having bells attached to the lower hem that sounded as he entered the Holy Place. Scripture records several songs created by the people of God (e.g., Exod 15:1-21; Deut 31:30–32:44; Judg 5:1-3...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"8":[{"id":47683,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:8","title_en":"Study Note: 1 Cronici 25:8","content_ro":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","content_en":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","summary_ro":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","summary_en":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":75309,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:8","title_en":"Study Note: 1 Cronici 25:8","content_ro":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","content_en":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","summary_ro":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","summary_en":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":102935,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:8","title_en":"Study Note: 1 Cronici 25:8","content_ro":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","content_en":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","summary_ro":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","summary_en":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":130561,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: 1 Cronici 25:8","title_en":"Study Note: 1 Cronici 25:8","content_ro":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","content_en":"<p><strong>25:8<\/strong> As with the priests, the order of the musicians by families was decided by <em>sacred lots<\/em> so that no preference would be shown (see 24:5, 31).<\/p>","summary_ro":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","summary_en":"25:8 As with the priests, the order of the musicians by families was decided by sacred lots so that no preference would be shown (see 24:5, 31).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"10":[{"id":38854,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Zaccur","title_en":"Zaccur","content_ro":"<h3>ZACCUR<\/h3>\n<li>1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4).<\/li>\n<li>2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26).<\/li>\n<li>3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27).<\/li>\n<li>4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr 25:10). Descendants of Zaccur were present at the dedication of the city wall following the exile (Neh 12:35).<\/li>\n<li>5. One of the descendants of Bigvai who returned to Jerusalem with Ezra (Ezr 8:14).<\/li>\n<li>6. Son of Imri who worked on repairing Jerusalem’s wall in the vicinity of the Sheep Gate (Neh 3:2).<\/li>\n<li>7. One of the Levites who signed Nehemiah’s covenant to obey the law of God (Neh 10:12).<\/li>\n<li>8. Son of Mattaniah and father of Hanan, the assistant to the storehouse treasurers during Nehemiah’s time (Neh 13:13). Some have suggested that he is the same as #7 above.<\/li>","content_en":"<h3>ZACCUR<\/h3>\n<li>1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4).<\/li>\n<li>2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26).<\/li>\n<li>3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27).<\/li>\n<li>4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr 25:10). Descendants of Zaccur were present at the dedication of the city wall following the exile (Neh 12:35).<\/li>\n<li>5. One of the descendants of Bigvai who returned to Jerusalem with Ezra (Ezr 8:14).<\/li>\n<li>6. Son of Imri who worked on repairing Jerusalem’s wall in the vicinity of the Sheep Gate (Neh 3:2).<\/li>\n<li>7. One of the Levites who signed Nehemiah’s covenant to obey the law of God (Neh 10:12).<\/li>\n<li>8. Son of Mattaniah and father of Hanan, the assistant to the storehouse treasurers during Nehemiah’s time (Neh 13:13). Some have suggested that he is the same as #7 above.<\/li>","summary_ro":"ZACCUR 1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4). 2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26). 3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27). 4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr ...","summary_en":"ZACCUR 1. Reubenite and father of Shammua, one of the 12 spies in the reconnaissance of Canaan (Nm 13:4). 2. Simeonite who was the son of Hammuel and the father of Shimei (1 Chr 4:26). 3. One of the descendants of Merari in the record of the divisions of the priests (1 Chr 24:27). 4. One of the sons of Asaph who was assigned responsibility for the temple service (1 Chr 25:2). Zaccur and his sons and brothers were assigned the third lot among the various duties for the temple musicians (1 Chr ...","source":"Articles\/Z.xml","external_url":null,"has_map":false,"has_picture":false}],"11":[{"id":18147,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Izri*","title_en":"Izri*","content_ro":"<h3>IZRI*<\/h3>\n<p>Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, <span>nlt<\/span> mg). He is called Zeri in 1 Chronicles 25:3.<\/p>","content_en":"<h3>IZRI*<\/h3>\n<p>Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, <span>nlt<\/span> mg). He is called Zeri in 1 Chronicles 25:3.<\/p>","summary_ro":"IZRI* Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, nlt mg). He is called Zeri in 1 Chronicles 25:3.","summary_en":"IZRI* Temple musician and head of the 4th of the 24 divisions of priests for service as musicians in the sanctuary (1 Chr 25:11, nlt mg). He is called Zeri in 1 Chronicles 25:3.","source":"Articles\/I.xml","external_url":null,"has_map":false,"has_picture":false},{"id":39266,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Zeri","title_en":"Zeri","content_ro":"<h3>ZERI<\/h3>\n<p>One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).<\/p>","content_en":"<h3>ZERI<\/h3>\n<p>One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).<\/p>","summary_ro":"ZERI One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).","summary_en":"ZERI One of the sons of Jeduthun who prophesied with the lyre in thanksgiving to the Lord (1 Chr 25:3). He may be the same person as Izri (v 11).","source":"Articles\/Z.xml","external_url":null,"has_map":false,"has_picture":false}],"14":[{"id":2900,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Asharelah*","title_en":"Asharelah*","content_ro":"<h3>ASHARELAH*<\/h3>\n<p>One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.<\/p>","content_en":"<h3>ASHARELAH*<\/h3>\n<p>One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.<\/p>","summary_ro":"ASHARELAH* One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.","summary_en":"ASHARELAH* One of Asaph’s four sons appointed by David to assist with prophecy and music in the sanctuary (1 Chr 25:2); alternately called Jesharelah in verse 14.","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":19321,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jesharelah*","title_en":"Jesharelah*","content_ro":"<h3>JESHARELAH*<\/h3>\n<p>A variant for Asharelah or Asarelah, the name of a Levite musician, in 1 Chronicles 25:14 (<span>kjv<\/span>; <span>niv<\/span> “Jesarelah”). <em>See<\/em> Asharelah.<\/p>","content_en":"<h3>JESHARELAH*<\/h3>\n<p>A variant for Asharelah or Asarelah, the name of a Levite musician, in 1 Chronicles 25:14 (<span>kjv<\/span>; <span>niv<\/span> “Jesarelah”). <em>See<\/em> Asharelah.<\/p>","summary_ro":"JESHARELAH* A variant for Asharelah or Asarelah, the name of a Levite musician, in 1 Chronicles 25:14 (kjv; niv “Jesarelah”). See Asharelah.","summary_en":"JESHARELAH* A variant for Asharelah or Asarelah, the name of a Levite musician, in 1 Chronicles 25:14 (kjv; niv “Jesarelah”). See Asharelah.","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false}],"18":[{"id":3258,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Azarel","title_en":"Azarel","content_ro":"<h3>AZAREL<\/h3>\n<li>1. Warrior from Benjamin’s tribe who joined David at Ziklag in his struggle against King Saul. Azarel was one of David’s ambidextrous archers and slingers (1 Chr 12:2, 6).<\/li>\n<li>2. Levite selected by David to assist in the music of the sanctuary (1 Chr 25:18, <span>nlt<\/span> “Uzziel”).<\/li>\n<li>3. Chief of Dan’s tribe appointed by David to be tribal leader during David’s ill-fated census (1 Chr 27:22).<\/li>\n<li>4. Israelite of the family of Binnui who obeyed Ezra’s exhortation to divorce his pagan wife after the exile (Ezr 10:41).<\/li>\n<li>5. Amashsai’s father. Amashsai was a priest of Immer’s family who lived in Jerusalem after the exile (Neh 11:13).<\/li>\n<li>6. Priest who blew a trumpet at the dedication of the wall of Jerusalem after the exile (Neh 12:36).<\/li>","content_en":"<h3>AZAREL<\/h3>\n<li>1. Warrior from Benjamin’s tribe who joined David at Ziklag in his struggle against King Saul. Azarel was one of David’s ambidextrous archers and slingers (1 Chr 12:2, 6).<\/li>\n<li>2. Levite selected by David to assist in the music of the sanctuary (1 Chr 25:18, <span>nlt<\/span> “Uzziel”).<\/li>\n<li>3. Chief of Dan’s tribe appointed by David to be tribal leader during David’s ill-fated census (1 Chr 27:22).<\/li>\n<li>4. Israelite of the family of Binnui who obeyed Ezra’s exhortation to divorce his pagan wife after the exile (Ezr 10:41).<\/li>\n<li>5. Amashsai’s father. Amashsai was a priest of Immer’s family who lived in Jerusalem after the exile (Neh 11:13).<\/li>\n<li>6. Priest who blew a trumpet at the dedication of the wall of Jerusalem after the exile (Neh 12:36).<\/li>","summary_ro":"AZAREL 1. Warrior from Benjamin’s tribe who joined David at Ziklag in his struggle against King Saul. Azarel was one of David’s ambidextrous archers and slingers (1 Chr 12:2, 6). 2. Levite selected by David to assist in the music of the sanctuary (1 Chr 25:18, nlt “Uzziel”). 3. Chief of Dan’s tribe appointed by David to be tribal leader during David’s ill-fated census (1 Chr 27:22). 4. Israelite of the family of Binnui who obeyed Ezra’s exhortation to divorce his pagan wife after the exile (E...","summary_en":"AZAREL 1. Warrior from Benjamin’s tribe who joined David at Ziklag in his struggle against King Saul. Azarel was one of David’s ambidextrous archers and slingers (1 Chr 12:2, 6). 2. Levite selected by David to assist in the music of the sanctuary (1 Chr 25:18, nlt “Uzziel”). 3. Chief of Dan’s tribe appointed by David to be tribal leader during David’s ill-fated census (1 Chr 27:22). 4. Israelite of the family of Binnui who obeyed Ezra’s exhortation to divorce his pagan wife after the exile (E...","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":37977,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Uzziel","title_en":"Uzziel","content_ro":"<h3>UZZIEL<\/h3>\n<li>1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshiah, who were chiefs among the Levites during the reign of Solomon (1 Chr 15:10; 23:20).<\/li>\n<li>2. Son of Ishi who was one of the leaders of the Simeonite warriors who defeated the Ammonites at Seir during the reign of Hezekiah (1 Chr 4:42). As a result of defeating the Amalekites, who had not been defeated earlier by Saul or David, the Simeonites inherited the land.<\/li>\n<li>3. Benjaminite clan chief who is listed as the son of Bela, the son of Benjamin (1 Chr 7:7).<\/li>\n<li>4. Son of Heman of the Levite clan of Asaph (1 Chr 25:4). A variant name is Azarel (v 18, <span>nlt<\/span> mg).<\/li>\n<li>5. Levite who participated in the reconsecration of the temple under Hezekiah (2 Chr 29:14), listed as the son of Jeduthun.<\/li>\n<li>6. Goldsmith who worked on rebuilding the gates of Jerusalem (Neh 3:8). His name indicates that he was likely a priest who had the responsibility of making and repairing the temple instruments and vessels (cf. 1 Chr 9:29).<\/li>","content_en":"<h3>UZZIEL<\/h3>\n<li>1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshiah, who were chiefs among the Levites during the reign of Solomon (1 Chr 15:10; 23:20).<\/li>\n<li>2. Son of Ishi who was one of the leaders of the Simeonite warriors who defeated the Ammonites at Seir during the reign of Hezekiah (1 Chr 4:42). As a result of defeating the Amalekites, who had not been defeated earlier by Saul or David, the Simeonites inherited the land.<\/li>\n<li>3. Benjaminite clan chief who is listed as the son of Bela, the son of Benjamin (1 Chr 7:7).<\/li>\n<li>4. Son of Heman of the Levite clan of Asaph (1 Chr 25:4). A variant name is Azarel (v 18, <span>nlt<\/span> mg).<\/li>\n<li>5. Levite who participated in the reconsecration of the temple under Hezekiah (2 Chr 29:14), listed as the son of Jeduthun.<\/li>\n<li>6. Goldsmith who worked on rebuilding the gates of Jerusalem (Neh 3:8). His name indicates that he was likely a priest who had the responsibility of making and repairing the temple instruments and vessels (cf. 1 Chr 9:29).<\/li>","summary_ro":"UZZIEL 1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshi...","summary_en":"UZZIEL 1. Youngest of the sons of Kohath of Levi’s tribe, who became the head of the Uzzielite division of the Kohathites (Ex 6:18; Nm 3:19, 27, 30; 1 Chr 26:23). He was Aaron’s uncle, and his sons, Mishael and Elzaphan, carried Nadab and Abihu out of the camp when they rebelled against Aaron’s authority (Ex 6:22; Lv 10:4). Several of his descendants were significant during Israel’s history, including Amminadab, who officiated over David’s transfer of the ark to Jerusalem, and Micah and Isshi...","source":"Articles\/U.xml","external_url":null,"has_map":false,"has_picture":false}],"20":[{"id":35221,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Shubael","title_en":"Shubael","content_ro":"<h3>SHUBAEL<\/h3>\n<li>1. Alternate form of Shebuel, Gershon’s son, in 1 Chronicles 24:20. <em>See<\/em> Shebuel #1.<\/li>\n<li>2. Alternate form of Shebuel, Heman’s son, in 1 Chronicles 25:20. <em>See<\/em> Shebuel #2.<\/li>","content_en":"<h3>SHUBAEL<\/h3>\n<li>1. Alternate form of Shebuel, Gershon’s son, in 1 Chronicles 24:20. <em>See<\/em> Shebuel #1.<\/li>\n<li>2. Alternate form of Shebuel, Heman’s son, in 1 Chronicles 25:20. <em>See<\/em> Shebuel #2.<\/li>","summary_ro":"SHUBAEL 1. Alternate form of Shebuel, Gershon’s son, in 1 Chronicles 24:20. See Shebuel #1. 2. Alternate form of Shebuel, Heman’s son, in 1 Chronicles 25:20. See Shebuel #2.","summary_en":"SHUBAEL 1. Alternate form of Shebuel, Gershon’s son, in 1 Chronicles 24:20. See Shebuel #1. 2. Alternate form of Shebuel, Heman’s son, in 1 Chronicles 25:20. See Shebuel #2.","source":"Articles\/S.xml","external_url":null,"has_map":false,"has_picture":false}],"22":[{"id":19106,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jeremoth","title_en":"Jeremoth","content_ro":"<h3>JEREMOTH<\/h3>\n<li>1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions.<\/li>\n<li>2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14).<\/li>\n<li>3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30.<\/li>\n<li>4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:22, <span>nlt<\/span> mg). Here and also in 1 Chronicles 25:4 his name is spelled Jerimoth.<\/li>\n<li>5. Azriel’s son and the chief official of Naphtali’s tribe during David’s reign (1 Chr 27:19). His name is spelled Jerimoth in some texts.<\/li>\n<li>6. One of Elam’s descendants who was encouraged by Ezra to divorce his foreign wife during the postexilic period (Ezr 10:26).<\/li>\n<li>7. One of Zattu’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:27).<\/li>\n<li>8. One of Bani’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:29). He is named “Ramoth” in the <span>kjv<\/span>.<\/li>","content_en":"<h3>JEREMOTH<\/h3>\n<li>1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions.<\/li>\n<li>2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14).<\/li>\n<li>3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30.<\/li>\n<li>4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in the house of the Lord (1 Chr 25:22, <span>nlt<\/span> mg). Here and also in 1 Chronicles 25:4 his name is spelled Jerimoth.<\/li>\n<li>5. Azriel’s son and the chief official of Naphtali’s tribe during David’s reign (1 Chr 27:19). His name is spelled Jerimoth in some texts.<\/li>\n<li>6. One of Elam’s descendants who was encouraged by Ezra to divorce his foreign wife during the postexilic period (Ezr 10:26).<\/li>\n<li>7. One of Zattu’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:27).<\/li>\n<li>8. One of Bani’s descendants who was encouraged by Ezra to divorce his foreign wife (Ezr 10:29). He is named “Ramoth” in the <span>kjv<\/span>.<\/li>","summary_ro":"JEREMOTH 1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions. 2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14). 3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30. 4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in...","summary_en":"JEREMOTH 1. One of Beker’s nine sons and a leader in Benjamin’s tribe (1 Chr 7:8). His name is rendered Jerimoth in some versions. 2. Benjamite, the son of Beriah and head of his family living in Jerusalem (1 Chr 8:14). 3. Levite of the family at Merari and one of Mushi’s three sons registered during David’s reign (1 Chr 23:23). His name is alternately spelled Jerimoth here and in 1 Chronicles 24:30. 4. Heman’s son and the leader of the 15th of 24 divisions of musicians trained for service in...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false},{"id":19153,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Jerimoth","title_en":"Jerimoth","content_ro":"<h3>JERIMOTH<\/h3>\n<li>1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7).<\/li>\n<li>2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. <em>See<\/em> Jeremoth #1.<\/li>\n<li>3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5).<\/li>\n<li>4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. <em>See<\/em> Jeremoth #3.<\/li>\n<li>5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. <em>See<\/em> Jeremoth #4.<\/li>\n<li>6. Alternate spelling of Jeremoth, Azriel’s son, in 1 Chronicles 27:19. <em>See<\/em> Jeremoth #5.<\/li>\n<li>7. David’s son and Mahalath’s father. Mahalath was married to King Rehoboam of Judah (2 Chr 11:18).<\/li>\n<li>8. One of the Levites who assisted with the administration of the temple contributions during King Hezekiah’s reign (2 Chr 31:13).<\/li>","content_en":"<h3>JERIMOTH<\/h3>\n<li>1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7).<\/li>\n<li>2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. <em>See<\/em> Jeremoth #1.<\/li>\n<li>3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5).<\/li>\n<li>4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. <em>See<\/em> Jeremoth #3.<\/li>\n<li>5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. <em>See<\/em> Jeremoth #4.<\/li>\n<li>6. Alternate spelling of Jeremoth, Azriel’s son, in 1 Chronicles 27:19. <em>See<\/em> Jeremoth #5.<\/li>\n<li>7. David’s son and Mahalath’s father. Mahalath was married to King Rehoboam of Judah (2 Chr 11:18).<\/li>\n<li>8. One of the Levites who assisted with the administration of the temple contributions during King Hezekiah’s reign (2 Chr 31:13).<\/li>","summary_ro":"JERIMOTH 1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7). 2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. See Jeremoth #1. 3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5). 4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. See Jeremoth #3. 5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. See Jeremoth #4. 6. Alternate spelling of Je...","summary_en":"JERIMOTH 1. One of Bela’s five sons and a leader in the tribe of Benjamin (1 Chr 7:7). 2. Alternate spelling of Jeremoth, Beker’s son, in 1 Chronicles 7:8. See Jeremoth #1. 3. Benjamite and one of the ambidextrous warriors who came to David’s support at Ziklag (1 Chr 12:5). 4. Alternate spelling of Jeremoth, Mushi’s son, in 1 Chronicles 23:23 and 24:30. See Jeremoth #3. 5. Alternate spelling of Jeremoth, Heman’s son, in 1 Chronicles 25:4 and 25:22. See Jeremoth #4. 6. Alternate spelling of Je...","source":"Articles\/J.xml","external_url":null,"has_map":false,"has_picture":false}],"26":[{"id":24118,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Mallothi","title_en":"Mallothi","content_ro":"<h3>MALLOTHI<\/h3>\n<p>One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).<\/p>","content_en":"<h3>MALLOTHI<\/h3>\n<p>One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).<\/p>","summary_ro":"MALLOTHI One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).","summary_en":"MALLOTHI One of Heman’s 17 children (1 Chr 25:4-5), who became leader of the 19th of 24 divisions of singers for service in the sanctuary during David’s reign (v 26).","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false}],"29":[{"id":13797,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Giddalti*","title_en":"Giddalti*","content_ro":"<h3>GIDDALTI*<\/h3>\n<p>Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, <span>nlt<\/span> mg).<\/p>","content_en":"<h3>GIDDALTI*<\/h3>\n<p>Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, <span>nlt<\/span> mg).<\/p>","summary_ro":"GIDDALTI* Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, nlt mg).","summary_en":"GIDDALTI* Heman’s son and a temple singer appointed by David to serve under the direction of his father (1 Chr 25:4). The 22d of the 24 divisions of service was appointed to Giddalti (1 Chr 25:29, nlt mg).","source":"Articles\/G.xml","external_url":null,"has_map":false,"has_picture":false}]},"labels":{"article":"Articol","map":"Hartă","chart":"Diagramă","textbox":"Notă explicativă","picture":"Imagine","profile":"Profil","study_note":"Notă de studiu","theme_note":"Temă biblică"},"icons":{"article":"📖","map":"🗺️","chart":"📊","textbox":"💡","picture":"🖼️","profile":"👤","study_note":"📝","theme_note":"🎯"},"typeColors":{"article":"#d4af37","map":"#2d7d46","chart":"#3b82f6","textbox":"#8b5cf6","picture":"#ec4899","profile":"#f59e0b","study_note":"#06b6d4","theme_note":"#ef4444"}}
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1 Cronici 25
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1 Cronici 25
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