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Psalmi 75

¹ (Către mai marele cântăreţilor. ,,Nu nimici.`` Un psalm al lui Asaf. O cântare.) Te lăudăm, Dumnezeule, Te lăudăm; noi, cari chemăm Numele Tău, vestim minunile Tale!

² ,,Atunci când va veni vremea hotărâtă,`` zice Domnul, ,,voi judeca fără părtinire.

³ Poate să se cutremure pământul cu locuitorii lui: căci Eu îi întăresc stâlpii.`` -(Oprire).

⁴ Eu zic celor ce se fălesc: ,,Nu vă făliţi!`` Şi celor răi: ,,Nu ridicaţi capul sus!``

⁵ Nu vă ridicaţi capul aşa de sus, nu vorbiţi cu atâta trufie!

⁶ Căci nici dela răsărit, nici dela apus, nici din pustie, nu vine înălţarea.

⁷ Ci Dumnezeu este Cel ce judecă: El scoboară pe unul, şi înalţă pe altul.

⁸ În mâna Domnului este un potir, în care fierbe un vin plin de amestecătură. Când îl varsă, toţi cei răi de pe pământ sug, îl sorb şi-l beau până în fund!

⁹ Eu însă voi vesti pururea aceste lucruri; voi cânta laude în cinstea Dumnezeului lui Iacov.

¹⁰ Şi voi doborî toate puterile celor răi: puterile celui neprihănit însă se vor înălţa.

{"verseMap":{"1":[{"id":1186,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Al-Taschith*","title_en":"Al-Taschith*","content_ro":"<h3>AL-TASCHITH*<\/h3>\nHebrew phrase in the titles of Psalms 57, 58, 59, and 75 (kjv<\/span>), translated “Do Not Destroy!”; perhaps a familiar ancient melody to which the psalms were performed. See<\/em> Music.<\/p>","content_en":"<h3>AL-TASCHITH*<\/h3>\nHebrew phrase in the titles of Psalms 57, 58, 59, and 75 (kjv<\/span>), translated “Do Not Destroy!”; perhaps a familiar ancient melody to which the psalms were performed. See<\/em> Music.<\/p>","summary_ro":"AL-TASCHITH* Hebrew phrase in the titles of Psalms 57, 58, 59, and 75 (kjv), translated “Do Not Destroy!”; perhaps a familiar ancient melody to which the psalms were performed. See Music.","summary_en":"AL-TASCHITH* Hebrew phrase in the titles of Psalms 57, 58, 59, and 75 (kjv), translated “Do Not Destroy!”; perhaps a familiar ancient melody to which the psalms were performed. See Music.","source":"Articles\/A.xml","external_url":null,"has_map":false,"has_picture":false},{"id":26623,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Music","title_en":"Music","content_ro":"<h3>MUSIC<\/h3>\nA 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>\nThe 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>\nThe 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>\nPreview<\/p>\n• Music in the Old Testament<\/p>\n• Music in the Psalms<\/p>\n• Music in the New Testament<\/p>\nMusic in the Old Testament<\/p>\nThe first musician mentioned in the Bible is “Jubal, the first musician—the inventor of the harp and flute” (Gn 4:21, 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>shophar<\/span>)<\/em> was an early instrument of the Jewish people and was significant in signaling important events.<\/p>\nFor 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>\nIn 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>\nAs Jerusalem became the religious center of the Hebrew people (950–850 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>\nThe 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>\nSince 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>\nThe 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 Lord<\/span>, all who were skilful, was two hundred and eighty-eight” (1 Chr 25:1, 7, 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>\nAccording 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>\nA 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>\nFrom 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>\nThe 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>\nMusic in the Psalms<\/p>\n<h5>Musical Psalm Titles<\/h5>\nThe 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>\nThe 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>\nWhile 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 (rsv<\/span>).<\/p>\nEven 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>\nThe 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>\nThe 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>\nOriginally, 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>\nAll 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>\nNumerous musical terms are included in the superscriptions to cue the kind of instrumental accompaniment, mood, and style of performance for the psalm.<\/p>\nAlamoth<\/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 Alamoth<\/span> is “flutes,” perhaps describing the kind of musical accompaniment for the performance of the psalm.<\/p>\nGittith<\/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>\nMahalath<\/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 mahaleh<\/span> “sickness” or mahot<\/span> “dance,” though neither of these words can be related to the psalm texts. Another explanation is a musical one. Mahalath<\/span> may come from the word halal<\/span> meaning “to pierce,” implying that the psalm was to be accompanied with pipes.<\/p>\nMaskil<\/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 sakal<\/span>,<\/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>\nMenazzeah<\/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” (rsv<\/span>), “to the choir director” (nasb<\/span>, nlt<\/span>), “to the director of music” (niv<\/span>), “to the chief Musician” (kjv<\/span>, nkjv<\/span>). The word is derived from the Hebrew verb nazzah<\/span>,<\/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. 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 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>\nMiktam<\/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>\nMizmor<\/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>\nNeginah<\/span> appears in the superscriptions of Psalms 4, 6, 54–55, 61, 67, and 76. The term neginah<\/span> and its plural neginoth<\/span> are found in Psalm 77:7, Lamentations 5:14, Isaiah 38:20, and Habakkuk 3:19. Neginah<\/span>,<\/em> from the Hebrew root naggen<\/span>,<\/em> “to touch the strings,” instructs that stringed instruments accompany the singing.<\/p>\nNehiloth<\/span> is found only in the introduction to Psalm 5 (kjv<\/span>). The origin of the word is problematic. It could come from the verb nahal<\/span>,<\/em> “to possess or inherit,” or more feasibly from halal<\/span>,<\/em> meaning “to pierce.” The latter implies the idea of a pierced instrument (the flute or pipe) to be used for accompaniment.<\/p>\nSheminith<\/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 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 alamoth<\/span> and in verse 21 to play the lyres according to sheminith<\/span>.<\/em> Here the terms alamoth<\/span> and sheminith<\/span> seem to be used in opposition. If alamoth<\/span> implies a register of the female voice, then 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>\nSome of the notes in the psalm headings are indications of the type or variety of psalm.<\/p>\nHazkir<\/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 askara<\/span> and is translated “for a memorial offering.”<\/p>\nLammed<\/span> appears in the superscription of Psalm 60 in the phrase le-lammed<\/span>,<\/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>\nShiggaion<\/span> is in the heading of Psalm 7 and also in Habakkuk 3:1. The word probably comes from the Hebrew verb shagah<\/span>,<\/em> “to wander,” but may also be connected with the Assyrian liturgical term shigu<\/span>,<\/em> which represented a plaintive song in several stanzas. Biblical scholars have assumed shiggaion<\/span>,<\/em> plural shigionoth<\/span>,<\/em> was a lament or penitential song.<\/p>\nShir<\/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 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>\nShir Hamaalot<\/span> and Shir Lamaalot<\/span> occur in the headings of Psalms 120–134, which are often referred to as the Psalms of Ascent (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>\nShir 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>\nShir-yedidot<\/span> appears only in Psalm 45. It refers to a love song that was probably sung at wedding ceremonies.<\/p>\nTefillah<\/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>\nSelah<\/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 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 menazzeah<\/span> in their superscriptions, which implies that they were sung by a soloist and choir. Most commonly, 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, 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 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.” Selah<\/span>,<\/em> then, would be an instruction for the musicians that the singing was to cease and the instrumentalists were to play.<\/p>\nThe term higgaion selah<\/span> appears once, in Psalm 9:16. The word higgaiaon<\/span> comes from the root hagah<\/span>,<\/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 selah<\/span>.<\/em><\/p>\n<h5>Ancient Melodies in the Titles<\/h5>\nMany 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>makams<\/span>)<\/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>\nAijeleth Shahar<\/span>,<\/em> in Psalm 22 (kjv<\/span>), is translated “according to The Hind of the Dawn” (rsv<\/span>), and “To the tune of ‘The Doe of the Morning’ ” (niv<\/span>), “To the tune ‘Doe of the Dawn’ ” (nlt<\/span>).<\/p>\nAl-taschith<\/span>,<\/em> in Psalms 57–59 and 75 (kjv<\/span>), is translated “To the tune ‘Do Not Destroy!’ ” (nlt<\/span>).<\/p>\nJonath-elem-rechokim<\/span>,<\/em> in Psalm 56 (kjv<\/span>), is translated “according to The Dove on Far-off Terebinths” (rsv<\/span>), and “To the tune ‘Dove on Distant Oaks’ ” (nlt<\/span>).<\/p>\nMahalath Leannoth<\/span>,<\/em> in Psalm 88, is translated “To the tune ‘The Suffering of Affliction’ ” (nlt<\/span>).<\/p>\nMuthlabben<\/span>,<\/em> in Psalm 9, is translated “To the tune ‘Death of the Son’ ” (nlt<\/span>).<\/p>\nShoshannim<\/span>,<\/em> in Psalms 45 and 69 (kjv<\/span>), is translated “To the tune ‘Lilies’ ” (nlt<\/span>).<\/p>\nShoshannim-Eduth<\/span>,<\/em> in Psalm 80 (kjv<\/span>), is translated “To the tune ‘Lilies of the Covenant’ ” (nlt<\/span>).<\/p>\nShushan-eduth<\/span>,<\/em> in Psalm 60, is translated “To the tune ‘Lily of the Testimony’ ” (nlt<\/span>).<\/p>\nThese melody types appear only in the first three books of the Psalter, and this may imply that these popular makams<\/span> had fallen into disuse by the time the final books of the Psalter were written. Other 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>\nMusic in the New Testament<\/p>\n<h5>First-Century Influences<\/h5>\n<h6>The Synagogue<\/h6>\nBy 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>\nInformation 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>\nPsalm 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>\nWhile 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>\nWhile 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>\nOne 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\nMost 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>\nThe 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>\nFrom 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>\nIn 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>\nIt 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>\nA 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>\nThe 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>\nThe 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>\nPreview<\/p>\n• Music in the Old Testament<\/p>\n• Music in the Psalms<\/p>\n• Music in the New Testament<\/p>\nMusic in the Old Testament<\/p>\nThe first musician mentioned in the Bible is “Jubal, the first musician—the inventor of the harp and flute” (Gn 4:21, 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>shophar<\/span>)<\/em> was an early instrument of the Jewish people and was significant in signaling important events.<\/p>\nFor 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>\nIn 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>\nAs Jerusalem became the religious center of the Hebrew people (950–850 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>\nThe 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>\nSince 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>\nThe 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 Lord<\/span>, all who were skilful, was two hundred and eighty-eight” (1 Chr 25:1, 7, 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>\nAccording 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>\nA 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>\nFrom 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>\nThe 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>\nMusic in the Psalms<\/p>\n<h5>Musical Psalm Titles<\/h5>\nThe 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>\nThe 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>\nWhile 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 (rsv<\/span>).<\/p>\nEven 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>\nThe 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>\nThe 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>\nOriginally, 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>\nAll 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>\nNumerous musical terms are included in the superscriptions to cue the kind of instrumental accompaniment, mood, and style of performance for the psalm.<\/p>\nAlamoth<\/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 Alamoth<\/span> is “flutes,” perhaps describing the kind of musical accompaniment for the performance of the psalm.<\/p>\nGittith<\/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>\nMahalath<\/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 mahaleh<\/span> “sickness” or mahot<\/span> “dance,” though neither of these words can be related to the psalm texts. Another explanation is a musical one. Mahalath<\/span> may come from the word halal<\/span> meaning “to pierce,” implying that the psalm was to be accompanied with pipes.<\/p>\nMaskil<\/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 sakal<\/span>,<\/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>\nMenazzeah<\/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” (rsv<\/span>), “to the choir director” (nasb<\/span>, nlt<\/span>), “to the director of music” (niv<\/span>), “to the chief Musician” (kjv<\/span>, nkjv<\/span>). The word is derived from the Hebrew verb nazzah<\/span>,<\/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. 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 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>\nMiktam<\/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>\nMizmor<\/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>\nNeginah<\/span> appears in the superscriptions of Psalms 4, 6, 54–55, 61, 67, and 76. The term neginah<\/span> and its plural neginoth<\/span> are found in Psalm 77:7, Lamentations 5:14, Isaiah 38:20, and Habakkuk 3:19. Neginah<\/span>,<\/em> from the Hebrew root naggen<\/span>,<\/em> “to touch the strings,” instructs that stringed instruments accompany the singing.<\/p>\nNehiloth<\/span> is found only in the introduction to Psalm 5 (kjv<\/span>). The origin of the word is problematic. It could come from the verb nahal<\/span>,<\/em> “to possess or inherit,” or more feasibly from halal<\/span>,<\/em> meaning “to pierce.” The latter implies the idea of a pierced instrument (the flute or pipe) to be used for accompaniment.<\/p>\nSheminith<\/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 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 alamoth<\/span> and in verse 21 to play the lyres according to sheminith<\/span>.<\/em> Here the terms alamoth<\/span> and sheminith<\/span> seem to be used in opposition. If alamoth<\/span> implies a register of the female voice, then 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>\nSome of the notes in the psalm headings are indications of the type or variety of psalm.<\/p>\nHazkir<\/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 askara<\/span> and is translated “for a memorial offering.”<\/p>\nLammed<\/span> appears in the superscription of Psalm 60 in the phrase le-lammed<\/span>,<\/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>\nShiggaion<\/span> is in the heading of Psalm 7 and also in Habakkuk 3:1. The word probably comes from the Hebrew verb shagah<\/span>,<\/em> “to wander,” but may also be connected with the Assyrian liturgical term shigu<\/span>,<\/em> which represented a plaintive song in several stanzas. Biblical scholars have assumed shiggaion<\/span>,<\/em> plural shigionoth<\/span>,<\/em> was a lament or penitential song.<\/p>\nShir<\/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 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>\nShir Hamaalot<\/span> and Shir Lamaalot<\/span> occur in the headings of Psalms 120–134, which are often referred to as the Psalms of Ascent (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>\nShir 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>\nShir-yedidot<\/span> appears only in Psalm 45. It refers to a love song that was probably sung at wedding ceremonies.<\/p>\nTefillah<\/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>\nSelah<\/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 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 menazzeah<\/span> in their superscriptions, which implies that they were sung by a soloist and choir. Most commonly, 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, 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 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.” Selah<\/span>,<\/em> then, would be an instruction for the musicians that the singing was to cease and the instrumentalists were to play.<\/p>\nThe term higgaion selah<\/span> appears once, in Psalm 9:16. The word higgaiaon<\/span> comes from the root hagah<\/span>,<\/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 selah<\/span>.<\/em><\/p>\n<h5>Ancient Melodies in the Titles<\/h5>\nMany 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>makams<\/span>)<\/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>\nAijeleth Shahar<\/span>,<\/em> in Psalm 22 (kjv<\/span>), is translated “according to The Hind of the Dawn” (rsv<\/span>), and “To the tune of ‘The Doe of the Morning’ ” (niv<\/span>), “To the tune ‘Doe of the Dawn’ ” (nlt<\/span>).<\/p>\nAl-taschith<\/span>,<\/em> in Psalms 57–59 and 75 (kjv<\/span>), is translated “To the tune ‘Do Not Destroy!’ ” (nlt<\/span>).<\/p>\nJonath-elem-rechokim<\/span>,<\/em> in Psalm 56 (kjv<\/span>), is translated “according to The Dove on Far-off Terebinths” (rsv<\/span>), and “To the tune ‘Dove on Distant Oaks’ ” (nlt<\/span>).<\/p>\nMahalath Leannoth<\/span>,<\/em> in Psalm 88, is translated “To the tune ‘The Suffering of Affliction’ ” (nlt<\/span>).<\/p>\nMuthlabben<\/span>,<\/em> in Psalm 9, is translated “To the tune ‘Death of the Son’ ” (nlt<\/span>).<\/p>\nShoshannim<\/span>,<\/em> in Psalms 45 and 69 (kjv<\/span>), is translated “To the tune ‘Lilies’ ” (nlt<\/span>).<\/p>\nShoshannim-Eduth<\/span>,<\/em> in Psalm 80 (kjv<\/span>), is translated “To the tune ‘Lilies of the Covenant’ ” (nlt<\/span>).<\/p>\nShushan-eduth<\/span>,<\/em> in Psalm 60, is translated “To the tune ‘Lily of the Testimony’ ” (nlt<\/span>).<\/p>\nThese melody types appear only in the first three books of the Psalter, and this may imply that these popular makams<\/span> had fallen into disuse by the time the final books of the Psalter were written. Other 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>\nMusic in the New Testament<\/p>\n<h5>First-Century Influences<\/h5>\n<h6>The Synagogue<\/h6>\nBy 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>\nInformation 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>\nPsalm 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>\nWhile 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>\nWhile 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>\nOne 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\nMost 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>\nThe 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>\nFrom 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>\nIn 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>\nIt 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":49568,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:1","title_en":"Study Note: Psalmi 75:1","content_ro":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","content_en":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","summary_ro":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","summary_en":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77194,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:1","title_en":"Study Note: Psalmi 75:1","content_ro":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","content_en":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","summary_ro":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","summary_en":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104820,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:1","title_en":"Study Note: Psalmi 75:1","content_ro":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","content_en":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","summary_ro":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","summary_en":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132446,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:1","title_en":"Study Note: Psalmi 75:1","content_ro":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","content_en":"Ps 75<\/strong> This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).<\/p>","summary_ro":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","summary_en":"Ps 75 This hymn of thanksgiving includes two direct messages from God that provide assurance of his justice (75:2-3, 10). The Lord rebukes arrogant people who defy him, promising to forcibly humble them (75:4-8). Together, the community and the psalmist respond with thanksgiving for God’s character (75:1, 9).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"2":[{"id":49569,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:2","title_en":"Study Note: Psalmi 75:2","content_ro":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","content_en":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","summary_ro":"75:2-8 The Lord will bring justice in his own time.","summary_en":"75:2-8 The Lord will bring justice in his own time.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77195,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:2","title_en":"Study Note: Psalmi 75:2","content_ro":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","content_en":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","summary_ro":"75:2-8 The Lord will bring justice in his own time.","summary_en":"75:2-8 The Lord will bring justice in his own time.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104821,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:2","title_en":"Study Note: Psalmi 75:2","content_ro":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","content_en":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","summary_ro":"75:2-8 The Lord will bring justice in his own time.","summary_en":"75:2-8 The Lord will bring justice in his own time.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132447,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:2","title_en":"Study Note: Psalmi 75:2","content_ro":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","content_en":"75:2-8<\/strong> The Lord will bring justice in his own time.<\/p>","summary_ro":"75:2-8 The Lord will bring justice in his own time.","summary_en":"75:2-8 The Lord will bring justice in his own time.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"3":[{"id":9919,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Earth","title_en":"Earth","content_ro":"<h3>EARTH<\/h3>\nTerm used for our inhabited planet; the world, as distinguished from heaven and hell; land; soil; and in several other ways. Biblical usage is as broad as modern usage.<\/p>\nOne Hebrew word translated “earth” is also used generically for “man,” or Adam (Gn 2:7, 19). That word refers to reddish soil from which Adam’s body was made. Another Hebrew word translated “earth” or “land” can refer to a country (21:21). A word translated “dust” can mean simply earth or dry ground (3:19). In the NT one Greek word translated “earth” can refer to a land or country (Mt 27:45). The Greek word from which “ecumenical” is derived refers to the whole inhabited earth (Lk 21:26) or the Roman Empire of those days (2:1).<\/p>\nIn the beginning “God called the dry land Earth, and the waters that were gathered together he called Seas. . . . And God said, ‘Let the earth put forth vegetation’” (Gn 1:10-11, rsv<\/span>). In some passages “the earth” is used in essentially the modern sense for the whole planet (Jb 1:7), hanging in empty space (26:7). References to the earth’s four corners (Is 11:12; Ez 7:2) allude to the points of a compass, not to the earth’s shape. The circle of the earth probably refers to the circumference of the horizon (Is 40:22; cf. Jb 38:13). The earth is sometimes pictured as supported on pillars (Jb 9:6; Ps 75:3) or foundations (Ps 104:5; Prv 8:29; Is 24:18; Jer 31:37). Since many of the biblical usages are found in figurative passages of poetry or prophecy, they reveal little about the Hebrews’ cosmological understanding.<\/p>\n“Earth” sometimes refers to the soil or ground that a farmer works (cf. 2 Kgs 5:17). According to the Bible, the original condition of the earth (Gn 2:6) was affected by the curse of human sinfulness (3:17-19). (Modern ecologists seem to agree that the earth suffers because of human greed and arrogance.) After Abel’s blood was spilled on the ground, Cain’s difficulty in making the soil produce for him was a constant reminder that he had murdered his brother (4:8-12).<\/p>\nThe Israelites were instructed to let the land rest every seventh year (Ex 23:10-12; Lv 25:4-5), allowing the soil to replenish nutrients used up by crops. After seven such “sabbath years,” in the 50th “jubilee year” the land reverted back to original family holdings (Lv 25:10-17). That provision not only reminded the people of God’s ultimate ownership but kept potential “land barons” from amassing huge estates.<\/p>\nThe Mosaic law instructed the Israelites that the land’s condition would be a spiritual barometer of their relationship with God. Drought or lack of productivity was a sign that the relationship had been broken (Lv 26; Dt 28). Israel was warned that their wickedness could become so great that the Lord would evict them from his land (cf. Lv 26:37; Dt 28:64). Even if that happened, however, God would eventually restore his people so they could again be “wedded” to the land (Is 62:4).<\/p>\nMany passages point to a “coming age,” when the earth will be set free from its “bondage to decay,” a deliverance for which the whole creation is said to be “groaning” in anticipation (Rom 8:19-23). The Bible pictures a period of prodigious renewal of the earth’s fertility (Ez 47; Jl 3:18; Am 9:13-15; Zec 14:6-9). One day, however, “the heavens will pass away with a loud noise, and the elements will be dissolved with fire, and the earth and the works that are upon it will be burned up” (2 Pt 3:10, rsv<\/span>). Yet in the apostle John’s apocalyptic vision, he saw “a new heaven and a new earth, for the old heaven and the old earth had disappeared” (Rv 21:1, nlt<\/span>).<\/p>\nSee also<\/em> New Heavens and New Earth.<\/p>","content_en":"<h3>EARTH<\/h3>\nTerm used for our inhabited planet; the world, as distinguished from heaven and hell; land; soil; and in several other ways. Biblical usage is as broad as modern usage.<\/p>\nOne Hebrew word translated “earth” is also used generically for “man,” or Adam (Gn 2:7, 19). That word refers to reddish soil from which Adam’s body was made. Another Hebrew word translated “earth” or “land” can refer to a country (21:21). A word translated “dust” can mean simply earth or dry ground (3:19). In the NT one Greek word translated “earth” can refer to a land or country (Mt 27:45). The Greek word from which “ecumenical” is derived refers to the whole inhabited earth (Lk 21:26) or the Roman Empire of those days (2:1).<\/p>\nIn the beginning “God called the dry land Earth, and the waters that were gathered together he called Seas. . . . And God said, ‘Let the earth put forth vegetation’” (Gn 1:10-11, rsv<\/span>). In some passages “the earth” is used in essentially the modern sense for the whole planet (Jb 1:7), hanging in empty space (26:7). References to the earth’s four corners (Is 11:12; Ez 7:2) allude to the points of a compass, not to the earth’s shape. The circle of the earth probably refers to the circumference of the horizon (Is 40:22; cf. Jb 38:13). The earth is sometimes pictured as supported on pillars (Jb 9:6; Ps 75:3) or foundations (Ps 104:5; Prv 8:29; Is 24:18; Jer 31:37). Since many of the biblical usages are found in figurative passages of poetry or prophecy, they reveal little about the Hebrews’ cosmological understanding.<\/p>\n“Earth” sometimes refers to the soil or ground that a farmer works (cf. 2 Kgs 5:17). According to the Bible, the original condition of the earth (Gn 2:6) was affected by the curse of human sinfulness (3:17-19). (Modern ecologists seem to agree that the earth suffers because of human greed and arrogance.) After Abel’s blood was spilled on the ground, Cain’s difficulty in making the soil produce for him was a constant reminder that he had murdered his brother (4:8-12).<\/p>\nThe Israelites were instructed to let the land rest every seventh year (Ex 23:10-12; Lv 25:4-5), allowing the soil to replenish nutrients used up by crops. After seven such “sabbath years,” in the 50th “jubilee year” the land reverted back to original family holdings (Lv 25:10-17). That provision not only reminded the people of God’s ultimate ownership but kept potential “land barons” from amassing huge estates.<\/p>\nThe Mosaic law instructed the Israelites that the land’s condition would be a spiritual barometer of their relationship with God. Drought or lack of productivity was a sign that the relationship had been broken (Lv 26; Dt 28). Israel was warned that their wickedness could become so great that the Lord would evict them from his land (cf. Lv 26:37; Dt 28:64). Even if that happened, however, God would eventually restore his people so they could again be “wedded” to the land (Is 62:4).<\/p>\nMany passages point to a “coming age,” when the earth will be set free from its “bondage to decay,” a deliverance for which the whole creation is said to be “groaning” in anticipation (Rom 8:19-23). The Bible pictures a period of prodigious renewal of the earth’s fertility (Ez 47; Jl 3:18; Am 9:13-15; Zec 14:6-9). One day, however, “the heavens will pass away with a loud noise, and the elements will be dissolved with fire, and the earth and the works that are upon it will be burned up” (2 Pt 3:10, rsv<\/span>). Yet in the apostle John’s apocalyptic vision, he saw “a new heaven and a new earth, for the old heaven and the old earth had disappeared” (Rv 21:1, nlt<\/span>).<\/p>\nSee also<\/em> New Heavens and New Earth.<\/p>","summary_ro":"EARTH Term used for our inhabited planet; the world, as distinguished from heaven and hell; land; soil; and in several other ways. Biblical usage is as broad as modern usage. One Hebrew word translated “earth” is also used generically for “man,” or Adam (Gn 2:7, 19). That word refers to reddish soil from which Adam’s body was made. Another Hebrew word translated “earth” or “land” can refer to a country (21:21). A word translated “dust” can mean simply earth or dry ground (3:19). In the NT one...","summary_en":"EARTH Term used for our inhabited planet; the world, as distinguished from heaven and hell; land; soil; and in several other ways. Biblical usage is as broad as modern usage. One Hebrew word translated “earth” is also used generically for “man,” or Adam (Gn 2:7, 19). That word refers to reddish soil from which Adam’s body was made. Another Hebrew word translated “earth” or “land” can refer to a country (21:21). A word translated “dust” can mean simply earth or dry ground (3:19). In the NT one...","source":"Articles\/E.xml","external_url":null,"has_map":false,"has_picture":false}],"4":[{"id":49570,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:4","title_en":"Study Note: Psalmi 75:4","content_ro":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","content_en":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","summary_ro":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","summary_en":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77196,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:4","title_en":"Study Note: Psalmi 75:4","content_ro":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","content_en":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","summary_ro":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","summary_en":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104822,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:4","title_en":"Study Note: Psalmi 75:4","content_ro":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","content_en":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","summary_ro":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","summary_en":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132448,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:4","title_en":"Study Note: Psalmi 75:4","content_ro":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","content_en":"75:4-5<\/strong> The wicked<\/em> arrogantly defy the heavens<\/em>—the dwelling place of God. Through their boasting<\/em> they insist that they are wiser than God.<\/p>","summary_ro":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","summary_en":"75:4-5 The wicked arrogantly defy the heavens—the dwelling place of God. Through their boasting they insist that they are wiser than God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"6":[{"id":49571,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:6","title_en":"Study Note: Psalmi 75:6","content_ro":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","content_en":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","summary_ro":"75:6 No creature has the right to rebel against its Creator.","summary_en":"75:6 No creature has the right to rebel against its Creator.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77197,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:6","title_en":"Study Note: Psalmi 75:6","content_ro":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","content_en":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","summary_ro":"75:6 No creature has the right to rebel against its Creator.","summary_en":"75:6 No creature has the right to rebel against its Creator.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104823,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:6","title_en":"Study Note: Psalmi 75:6","content_ro":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","content_en":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","summary_ro":"75:6 No creature has the right to rebel against its Creator.","summary_en":"75:6 No creature has the right to rebel against its Creator.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132449,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:6","title_en":"Study Note: Psalmi 75:6","content_ro":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","content_en":"75:6<\/strong> No creature has the right to rebel against its Creator.<\/p>","summary_ro":"75:6 No creature has the right to rebel against its Creator.","summary_en":"75:6 No creature has the right to rebel against its Creator.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"7":[{"id":49572,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:7","title_en":"Study Note: Psalmi 75:7","content_ro":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","content_en":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","summary_ro":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","summary_en":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77198,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:7","title_en":"Study Note: Psalmi 75:7","content_ro":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","content_en":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","summary_ro":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","summary_en":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104824,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:7","title_en":"Study Note: Psalmi 75:7","content_ro":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","content_en":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","summary_ro":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","summary_en":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132450,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 75:7","title_en":"Study Note: Psalmi 75:7","content_ro":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","content_en":"75:7-8<\/strong> The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).<\/p>","summary_ro":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","summary_en":"75:7-8 The Lord alone is the Judge, with the power to exalt and humble (see 1 Sam 2:7; Luke 1:52).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"8":[{"id":8282,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Cup","title_en":"Cup","content_ro":"<h3>CUP<\/h3>\nThe word may refer either to the vessel itself or to its contents and may be intended literally or figuratively.<\/p>\n1. A small drinking vessel, made of various materials (leather, metal, or pottery), sizes, and designs.<\/p>\n<li>2. A figure of speech to represent one’s portion of or participation in something. It is associated with consolation (Jer 16:7), demons (1 Cor 10:21), divination (Gn 44:2, 5), drunkenness (Prv 23:31), immorality (Rv 17:4; 18:6), inheritance (Ps 16:5), judgment (Pss 11:6; 75:8; Is 51:17, 22; Jer 49:12; Ez 23:33; Zec 12:2; Rv 14:10; 16:19; 18:6), the Lord (1 Cor 10:21), prosperity or blessing (Ps 23:5), salvation (Ps 116:13), suffering (Mt 20:22; 26:39; Mk 10:39; 14:36; Lk 22:42; Jn 18:11), and thanksgiving (1 Cor 10:16).<\/li>\nSee also<\/em> Cup of Blessing.<\/p>","content_en":"<h3>CUP<\/h3>\nThe word may refer either to the vessel itself or to its contents and may be intended literally or figuratively.<\/p>\n1. A small drinking vessel, made of various materials (leather, metal, or pottery), sizes, and designs.<\/p>\n<li>2. A figure of speech to represent one’s portion of or participation in something. It is associated with consolation (Jer 16:7), demons (1 Cor 10:21), divination (Gn 44:2, 5), drunkenness (Prv 23:31), immorality (Rv 17:4; 18:6), inheritance (Ps 16:5), judgment (Pss 11:6; 75:8; Is 51:17, 22; Jer 49:12; Ez 23:33; Zec 12:2; Rv 14:10; 16:19; 18:6), the Lord (1 Cor 10:21), prosperity or blessing (Ps 23:5), salvation (Ps 116:13), suffering (Mt 20:22; 26:39; Mk 10:39; 14:36; Lk 22:42; Jn 18:11), and thanksgiving (1 Cor 10:16).<\/li>\nSee also<\/em> Cup of Blessing.<\/p>","summary_ro":"CUP The word may refer either to the vessel itself or to its contents and may be intended literally or figuratively. 1. A small drinking vessel, made of various materials (leather, metal, or pottery), sizes, and designs. 2. A figure of speech to represent one’s portion of or participation in something. It is associated with consolation (Jer 16:7), demons (1 Cor 10:21), divination (Gn 44:2, 5), drunkenness (Prv 23:31), immorality (Rv 17:4; 18:6), inheritance (Ps 16:5), judgment (Pss 11:6; 75:8...","summary_en":"CUP The word may refer either to the vessel itself or to its contents and may be intended literally or figuratively. 1. A small drinking vessel, made of various materials (leather, metal, or pottery), sizes, and designs. 2. A figure of speech to represent one’s portion of or participation in something. It is associated with consolation (Jer 16:7), demons (1 Cor 10:21), divination (Gn 44:2, 5), drunkenness (Prv 23:31), immorality (Rv 17:4; 18:6), inheritance (Ps 16:5), judgment (Pss 11:6; 75:8...","source":"Articles\/C.xml","external_url":null,"has_map":false,"has_picture":false},{"id":22948,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Lees*","title_en":"Lees*","content_ro":"<h3>LEES*<\/h3>\nThick substance, or dregs, that forms at the bottom of a wine container as fermentation takes place.<\/p>\nThe term appears in three different situations in the OT, each apparently representing a particular phase of fermentation. Isaiah 25:6 refers to wine at its best (“well-aged,” nlt<\/span>) after a proper fermentation: strong, clear, and filtered. “Wines on the lees” in context refers to the blessings of peace and plenty that God’s people will enjoy in the age to come. Jeremiah 48:11 and Zephaniah 1:12 refer to wine that is overfermented, having become syrupy in appearance and weak and bland in taste. Figuratively, the term applies to the Jews and Moabites about to receive impending judgment for having allowed themselves to be lulled into an ungodly indolent and indifferent life style. Psalm 75:8 uses “dregs” to refer to the bitter sediments and grounds left after the wine has been poured out, which the ungodly will be forced to consume.<\/p>","content_en":"<h3>LEES*<\/h3>\nThick substance, or dregs, that forms at the bottom of a wine container as fermentation takes place.<\/p>\nThe term appears in three different situations in the OT, each apparently representing a particular phase of fermentation. Isaiah 25:6 refers to wine at its best (“well-aged,” nlt<\/span>) after a proper fermentation: strong, clear, and filtered. “Wines on the lees” in context refers to the blessings of peace and plenty that God’s people will enjoy in the age to come. Jeremiah 48:11 and Zephaniah 1:12 refer to wine that is overfermented, having become syrupy in appearance and weak and bland in taste. Figuratively, the term applies to the Jews and Moabites about to receive impending judgment for having allowed themselves to be lulled into an ungodly indolent and indifferent life style. Psalm 75:8 uses “dregs” to refer to the bitter sediments and grounds left after the wine has been poured out, which the ungodly will be forced to consume.<\/p>","summary_ro":"LEES* Thick substance, or dregs, that forms at the bottom of a wine container as fermentation takes place. The term appears in three different situations in the OT, each apparently representing a particular phase of fermentation. Isaiah 25:6 refers to wine at its best (“well-aged,” nlt) after a proper fermentation: strong, clear, and filtered. “Wines on the lees” in context refers to the blessings of peace and plenty that God’s people will enjoy in the age to come. Jeremiah 48:11 and Zephania...","summary_en":"LEES* Thick substance, or dregs, that forms at the bottom of a wine container as fermentation takes place. The term appears in three different situations in the OT, each apparently representing a particular phase of fermentation. Isaiah 25:6 refers to wine at its best (“well-aged,” nlt) after a proper fermentation: strong, clear, and filtered. “Wines on the lees” in context refers to the blessings of peace and plenty that God’s people will enjoy in the age to come. Jeremiah 48:11 and Zephania...","source":"Articles\/L.xml","external_url":null,"has_map":false,"has_picture":false},{"id":38424,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Wine","title_en":"Wine","content_ro":"<h3>WINE<\/h3>\nBeverage made from fermented grape juice.<\/p>\nOrigin<\/p>\nNoah was among the first to produce wine (Gn 9:21), presumably on the slopes of Mt Ararat. But wine making was not confined to that region, because Egypt, and later Greece, had a fondness for the juice. In fact, wine making was known to have existed in the prehistoric period of Mesopotamia and was brought to Egypt before 3000 BC<\/span>.<\/p>\nThe word “wine” may be identified with words for vine, vineyard, and black grapes. The vine, which brings forth the wine, was often identified in the Near Eastern world with the “tree of life.” In both Egypt and Mesopotamia a goddess was thought to protect the vine. The “mistress of the heavenly tree of life,” the goddess Siris, lived in the mountains of northwestern Assyria. First Enoch 32:4 calls the vine the tree of knowledge. According to Jewish tradition, the vine was saved from the Flood by Noah.<\/p>\nProduction of Wine<\/p>\nFew ancient documents are extant on the art of wine making. Experience and the interests of a few early botanists appear to be the only source of knowledge available about the early vine growers. Aristotle’s gifted student Theophrastus of Eresos wrote a book entitled Enquiry into Plants<\/em> showing a blend of practical experience and theory. Later, he followed with On the Life of Plants,<\/em> a work giving detailed observations about wine making. His ideas on when to plant, how to prune, statements against grafting, and how to care for the vine demonstrate the Greek genius. They raised viticulture to a science that has changed little in the last 2200 years.<\/p>\nGreat care was taken by Greek vine growers to ensure the success of their crops. The vines were close to the ground instead of being propped. In view of this, mice and foxes were especially undesirable, and much hoeing was needed to keep the soil free of weeds. But their method, overall, was very effective.<\/p>\nIn early September the grapes were collected in the plains, and at the end of the month in the hills. With an initial festival of song and dance, the workers brought the bunches of grapes to the winepresses, low cement vats inclined toward one corner. After this, workers trod the grapes. The first must<\/em> (juice from the crushing) was highly valued because it provided the choicest wines. The remaining juice was extracted by wringing the trodden grapes in a bag press usually made of cloth. A third class of wine was produced by mixing or even cooking the remaining grapes with some water and expressing the mixture. This type of wine was drunk only by the poor.<\/p>\nAt a later time the Greeks invented a beam press in which a long beam, having a turning portion at one end and heavy stones on the other, compressed layers of grapes. The ancient Near East had these different methods of extracting wine, but the treading of grapes, even in Greece, was always the favorite method.<\/p>\nIn Greece the fermentation period was usually six months, during which the liquid was constantly skimmed. However, in the ancient Near East the fermentation process was usually over in three or four days, the optimum growth temperature being 77 degrees. The ancients knew that any further fermentation would produce acid.<\/p>\nAfter desired fermentation, the wine was transferred to skins or pottery jars for transport or sale. The handles and stoppers were stamped to indicate the brand, the origin, and the vintage. At this time the wine was strained through perforated metal sieves or cloth to eliminate contaminates such as grit or insects.<\/p>\nKinds of Wine<\/p>\nAncient poets discuss many different brands of wine, with Athenaeus mentioning 85 different varieties. Galen cites 60; Pliny mentions 150; and Strabo, 30. Wines are distinguished by different colors (black, red, white, or yellow) and by their taste (dry, harsh, light, or sweet). The biblical account enumerates various kinds of wine, such as the wines of Lebanon and Helbon. Hebron and Samaria were famous for their wine making. The Hebrew language has at least nine different words for wine, and the Greek has four that are mentioned in the NT.<\/p>\nNature of Wine<\/p>\nFew would question that at least some wine of the OT was fermented. Some scholars argue, however, that certain forms of wine in the ancient world were unfermented. They contrast two Hebrew words for wine, concluding that one particular Hebrew word that refers to fresh wine meant only grape juice (Prv 3:10; Hos 9:2; Jl 2:24; Mi 6:15). The inconclusiveness of these arguments may be seen from the following points: (1) the Hebrew word is found in primarily neutral contexts; (2) often that particular word is found in contexts definitely including a fermented beverage (e.g., Gn 27:28; Hos 4:11; Mi 6:15); (3) the Ugaritic parallel to the term in question refers with certainty to a fermented wine; (4) the Septuagint equivalents refer to fermented wine; (5) fermentation in the ancient Near East, unlike Greece, took only about three days; and (6) the Mishnah provides no such evidence of the practice of having unfermented wine. There seems to have been no attempts to preserve wine in an unfermented state; it may have been a near-impossible task. A careful examination of all the Hebrew words (as well as their Semitic cognates) and the Greek words for wine demonstrates that the ancients knew little, if anything, about unfermented wine.<\/p>\nAmple evidence is available to demonstrate that wine, though always fermented, was usually mixed with water in the classical and Hellenistic world. The wine was stored in large jugs called amphorae<\/span>,<\/em> from which the wine was poured through a strainer into a large mixing bowl called a krater<\/span>.<\/em> In the krater the wine was mixed with water. Then the drinking bowls or cups were filled.<\/p>\nThe amount of wine per volume varied. The mixture that represented the greatest amount of water to wine was 20 to 1, apparently because the wine was so strong (Homer, Odyssey<\/em> 10.208).<\/p>\nIn the western Mediterranean world, the term “wine” referred to the mixture of wine and water. If one desired to mention wine without water, it was necessary to add the word “unmixed.” For the Greeks, to drink wine unmixed was regarded as barbaric. The evidence, however, seems to indicate that in the OT era wine was used without being mixed with water. The terminology of mixing water and wine is strikingly unattested. Wine diluted with water was symbolic of spiritual adulteration (Is 1:22). By Roman times, this attitude had changed. The Mishnah assumes a ratio of two parts of water to one part wine; however, later Talmudic sources speak of three to one. A natural, nondistilled wine could reach as high as 15 percent alcohol content. If watered down three parts water to one part wine, the alcohol content would be 5 percent and still fairly potent.<\/p>\nWine was mixed not only with water but also with other ingredients, similar to mixed drinks today. An example of this is seen in the Homeric “Hymn to Demeter,” where the goddess rejects straight wine and desires the drink mixed with meal, water, and a soft mint. Often strong wine was mixed into weak wine, resulting in a stronger drink. This is what is meant by “mixture” in the Bible (Ps 75:8; Is 5:22; Rv 18:6; 19:13-15). At times the fresh wine, high in sugar content, was evaporated, and this concentrated must<\/em> was mixed with wine to obtain a higher alcohol content.<\/p>\nThere is no mention of wine being mixed with water to make it safe for drinking, as is commonly accepted. Modern examples of pollution were not common in the ancient world, although this problem appeared occasionally. Examples are myriad concerning the fresh wells, springs, and moving bodies of water in biblical times, and methods were available to purify any impure water.<\/p>\nWine in the Old Testament<\/p>\nThe evidence, as seen above, suggests that wine in the OT was not mixed with water and was looked on with favor when taken in moderation. Judges 9:13 presents wine as that “which cheers God and men.” Psalm 104:15 portrays wine similarly: “wine which makes man’s heart glad” (cf. also Est 1:10; Eccl 10:19; Is 55:1-2; Zec 10:7). The temperate use of wine was a normal and accepted part of life (Gn 14:18; Jgs 19:19; 1 Sm 16:20). Levitical priests in service at the temple (Lv 10:8-9), Nazirites (Nm 6:3), and the Recabites (Jer 35:1-6) were forbidden to drink wine.<\/p>\nWine had many uses in the OT world. The “drink offering” was wine (Ex 29:40; Lv 23:13), and the worshiper regularly brought wine when offering sacrifice (1 Sm 1:24). In addition, a supply of wine was kept in the temple for sacrificial purposes (1 Chr 9:29). At times, wine was used in helping the weak and sick (2 Sm 16:2; Prv 31:6).<\/p>\nThe strong drink of the OT seems to be closely related to Mesopotamian date wine. This same date wine, high in sugar content, must have also been high in alcohol content. One Hebrew word is consistently used as strong drink (Lv 10:9; Dt 29:6; 1 Sm 1:15; Prv 20:1; 31:6; Is 29:9). There is an equivalent word to this in Ugaritic, translated “drunk,” which parallels the normal word for wine.<\/p>\nNegative reactions to intemperate wine drinking abound in the OT. Isaiah condemned those who drank wine to excess (Is 28:1-8). Many admonitions of drinking wine in excess are given in the Scriptures (Prv 20:1; 21:17; 23:20-21; 23:32-34).<\/p>\nWine in the New Testament<\/p>\nWine in the NT was a fermented beverage that was mixed with various amounts of water. It was also mixed with gall (Mt 27:34) and myrrh (Mk 15:23). Evidence strongly suggests that the wine used at the Lord’s Supper was a mixture of water and wine, probably three to one in agreement with the dictates of the Mishnah. The phrase “fruit of the vine” (Mt 26:27-29) is often interpreted to mean fresh grape juice. However, fresh grape juice would be all but impossible to find.<\/p>\nThe NT, as the OT, argues forcefully against the unrestrained use of wine. The biblical admonition is not to be drunk with wine (Eph 5:18; 1 Pt 4:3). Leaders in the church were to practice moderation in the use of wine (1 Tm 3:3, 8; Ti 1:7); the Greek says that they should “not be addicted to wine.”<\/p>\nSee also<\/em> Vines, Vineyard; Winepress.<\/p>","content_en":"<h3>WINE<\/h3>\nBeverage made from fermented grape juice.<\/p>\nOrigin<\/p>\nNoah was among the first to produce wine (Gn 9:21), presumably on the slopes of Mt Ararat. But wine making was not confined to that region, because Egypt, and later Greece, had a fondness for the juice. In fact, wine making was known to have existed in the prehistoric period of Mesopotamia and was brought to Egypt before 3000 BC<\/span>.<\/p>\nThe word “wine” may be identified with words for vine, vineyard, and black grapes. The vine, which brings forth the wine, was often identified in the Near Eastern world with the “tree of life.” In both Egypt and Mesopotamia a goddess was thought to protect the vine. The “mistress of the heavenly tree of life,” the goddess Siris, lived in the mountains of northwestern Assyria. First Enoch 32:4 calls the vine the tree of knowledge. According to Jewish tradition, the vine was saved from the Flood by Noah.<\/p>\nProduction of Wine<\/p>\nFew ancient documents are extant on the art of wine making. Experience and the interests of a few early botanists appear to be the only source of knowledge available about the early vine growers. Aristotle’s gifted student Theophrastus of Eresos wrote a book entitled Enquiry into Plants<\/em> showing a blend of practical experience and theory. Later, he followed with On the Life of Plants,<\/em> a work giving detailed observations about wine making. His ideas on when to plant, how to prune, statements against grafting, and how to care for the vine demonstrate the Greek genius. They raised viticulture to a science that has changed little in the last 2200 years.<\/p>\nGreat care was taken by Greek vine growers to ensure the success of their crops. The vines were close to the ground instead of being propped. In view of this, mice and foxes were especially undesirable, and much hoeing was needed to keep the soil free of weeds. But their method, overall, was very effective.<\/p>\nIn early September the grapes were collected in the plains, and at the end of the month in the hills. With an initial festival of song and dance, the workers brought the bunches of grapes to the winepresses, low cement vats inclined toward one corner. After this, workers trod the grapes. The first must<\/em> (juice from the crushing) was highly valued because it provided the choicest wines. The remaining juice was extracted by wringing the trodden grapes in a bag press usually made of cloth. A third class of wine was produced by mixing or even cooking the remaining grapes with some water and expressing the mixture. This type of wine was drunk only by the poor.<\/p>\nAt a later time the Greeks invented a beam press in which a long beam, having a turning portion at one end and heavy stones on the other, compressed layers of grapes. The ancient Near East had these different methods of extracting wine, but the treading of grapes, even in Greece, was always the favorite method.<\/p>\nIn Greece the fermentation period was usually six months, during which the liquid was constantly skimmed. However, in the ancient Near East the fermentation process was usually over in three or four days, the optimum growth temperature being 77 degrees. The ancients knew that any further fermentation would produce acid.<\/p>\nAfter desired fermentation, the wine was transferred to skins or pottery jars for transport or sale. The handles and stoppers were stamped to indicate the brand, the origin, and the vintage. At this time the wine was strained through perforated metal sieves or cloth to eliminate contaminates such as grit or insects.<\/p>\nKinds of Wine<\/p>\nAncient poets discuss many different brands of wine, with Athenaeus mentioning 85 different varieties. Galen cites 60; Pliny mentions 150; and Strabo, 30. Wines are distinguished by different colors (black, red, white, or yellow) and by their taste (dry, harsh, light, or sweet). The biblical account enumerates various kinds of wine, such as the wines of Lebanon and Helbon. Hebron and Samaria were famous for their wine making. The Hebrew language has at least nine different words for wine, and the Greek has four that are mentioned in the NT.<\/p>\nNature of Wine<\/p>\nFew would question that at least some wine of the OT was fermented. Some scholars argue, however, that certain forms of wine in the ancient world were unfermented. They contrast two Hebrew words for wine, concluding that one particular Hebrew word that refers to fresh wine meant only grape juice (Prv 3:10; Hos 9:2; Jl 2:24; Mi 6:15). The inconclusiveness of these arguments may be seen from the following points: (1) the Hebrew word is found in primarily neutral contexts; (2) often that particular word is found in contexts definitely including a fermented beverage (e.g., Gn 27:28; Hos 4:11; Mi 6:15); (3) the Ugaritic parallel to the term in question refers with certainty to a fermented wine; (4) the Septuagint equivalents refer to fermented wine; (5) fermentation in the ancient Near East, unlike Greece, took only about three days; and (6) the Mishnah provides no such evidence of the practice of having unfermented wine. There seems to have been no attempts to preserve wine in an unfermented state; it may have been a near-impossible task. A careful examination of all the Hebrew words (as well as their Semitic cognates) and the Greek words for wine demonstrates that the ancients knew little, if anything, about unfermented wine.<\/p>\nAmple evidence is available to demonstrate that wine, though always fermented, was usually mixed with water in the classical and Hellenistic world. The wine was stored in large jugs called amphorae<\/span>,<\/em> from which the wine was poured through a strainer into a large mixing bowl called a krater<\/span>.<\/em> In the krater the wine was mixed with water. Then the drinking bowls or cups were filled.<\/p>\nThe amount of wine per volume varied. The mixture that represented the greatest amount of water to wine was 20 to 1, apparently because the wine was so strong (Homer, Odyssey<\/em> 10.208).<\/p>\nIn the western Mediterranean world, the term “wine” referred to the mixture of wine and water. If one desired to mention wine without water, it was necessary to add the word “unmixed.” For the Greeks, to drink wine unmixed was regarded as barbaric. The evidence, however, seems to indicate that in the OT era wine was used without being mixed with water. The terminology of mixing water and wine is strikingly unattested. Wine diluted with water was symbolic of spiritual adulteration (Is 1:22). By Roman times, this attitude had changed. The Mishnah assumes a ratio of two parts of water to one part wine; however, later Talmudic sources speak of three to one. A natural, nondistilled wine could reach as high as 15 percent alcohol content. If watered down three parts water to one part wine, the alcohol content would be 5 percent and still fairly potent.<\/p>\nWine was mixed not only with water but also with other ingredients, similar to mixed drinks today. An example of this is seen in the Homeric “Hymn to Demeter,” where the goddess rejects straight wine and desires the drink mixed with meal, water, and a soft mint. Often strong wine was mixed into weak wine, resulting in a stronger drink. This is what is meant by “mixture” in the Bible (Ps 75:8; Is 5:22; Rv 18:6; 19:13-15). At times the fresh wine, high in sugar content, was evaporated, and this concentrated must<\/em> was mixed with wine to obtain a higher alcohol content.<\/p>\nThere is no mention of wine being mixed with water to make it safe for drinking, as is commonly accepted. Modern examples of pollution were not common in the ancient world, although this problem appeared occasionally. Examples are myriad concerning the fresh wells, springs, and moving bodies of water in biblical times, and methods were available to purify any impure water.<\/p>\nWine in the Old Testament<\/p>\nThe evidence, as seen above, suggests that wine in the OT was not mixed with water and was looked on with favor when taken in moderation. Judges 9:13 presents wine as that “which cheers God and men.” Psalm 104:15 portrays wine similarly: “wine which makes man’s heart glad” (cf. also Est 1:10; Eccl 10:19; Is 55:1-2; Zec 10:7). The temperate use of wine was a normal and accepted part of life (Gn 14:18; Jgs 19:19; 1 Sm 16:20). Levitical priests in service at the temple (Lv 10:8-9), Nazirites (Nm 6:3), and the Recabites (Jer 35:1-6) were forbidden to drink wine.<\/p>\nWine had many uses in the OT world. The “drink offering” was wine (Ex 29:40; Lv 23:13), and the worshiper regularly brought wine when offering sacrifice (1 Sm 1:24). In addition, a supply of wine was kept in the temple for sacrificial purposes (1 Chr 9:29). At times, wine was used in helping the weak and sick (2 Sm 16:2; Prv 31:6).<\/p>\nThe strong drink of the OT seems to be closely related to Mesopotamian date wine. This same date wine, high in sugar content, must have also been high in alcohol content. One Hebrew word is consistently used as strong drink (Lv 10:9; Dt 29:6; 1 Sm 1:15; Prv 20:1; 31:6; Is 29:9). There is an equivalent word to this in Ugaritic, translated “drunk,” which parallels the normal word for wine.<\/p>\nNegative reactions to intemperate wine drinking abound in the OT. Isaiah condemned those who drank wine to excess (Is 28:1-8). Many admonitions of drinking wine in excess are given in the Scriptures (Prv 20:1; 21:17; 23:20-21; 23:32-34).<\/p>\nWine in the New Testament<\/p>\nWine in the NT was a fermented beverage that was mixed with various amounts of water. It was also mixed with gall (Mt 27:34) and myrrh (Mk 15:23). Evidence strongly suggests that the wine used at the Lord’s Supper was a mixture of water and wine, probably three to one in agreement with the dictates of the Mishnah. The phrase “fruit of the vine” (Mt 26:27-29) is often interpreted to mean fresh grape juice. However, fresh grape juice would be all but impossible to find.<\/p>\nThe NT, as the OT, argues forcefully against the unrestrained use of wine. The biblical admonition is not to be drunk with wine (Eph 5:18; 1 Pt 4:3). Leaders in the church were to practice moderation in the use of wine (1 Tm 3:3, 8; Ti 1:7); the Greek says that they should “not be addicted to wine.”<\/p>\nSee also<\/em> Vines, Vineyard; Winepress.<\/p>","summary_ro":"WINE Beverage made from fermented grape juice. Origin Noah was among the first to produce wine (Gn 9:21), presumably on the slopes of Mt Ararat. But wine making was not confined to that region, because Egypt, and later Greece, had a fondness for the juice. In fact, wine making was known to have existed in the prehistoric period of Mesopotamia and was brought to Egypt before 3000 BC. The word “wine” may be identified with words for vine, vineyard, and black grapes. The vine, which brings forth...","summary_en":"WINE Beverage made from fermented grape juice. Origin Noah was among the first to produce wine (Gn 9:21), presumably on the slopes of Mt Ararat. But wine making was not confined to that region, because Egypt, and later Greece, had a fondness for the juice. In fact, wine making was known to have existed in the prehistoric period of Mesopotamia and was brought to Egypt before 3000 BC. The word “wine” may be identified with words for vine, vineyard, and black grapes. The vine, which brings forth...","source":"Articles\/W.xml","external_url":null,"has_map":false,"has_picture":false}],"10":[{"id":16686,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Horn","title_en":"Horn","content_ro":"<h3>HORN<\/h3>\n<li>1. Musical instrument frequently made from a ram’s horn. See<\/em> Musical Instruments (Hatzotzrot).<\/li>\n<li>2. Figuratively, a symbol of power (1 Kgs 22:11) expressing dominance over the weak (Ez 34:21), forces of destruction (Zec 1:18-21), and deliverance from oppression (1 Kgs 22:11; 2 Chr 18:10). Thus, the horn has two connotations: rescue and force (2 Sm 22:3; Ps 18:2). The sprouting of the horn referred to in Psalm 132:17 could mean the continuation of the kingly line. Psalm 75:10 declares that the horns of the wicked shall be cut off but those of the righteous exalted. The symbolic imagery in Daniel and Revelation reinforces the use of the horn to represent power and authority (Dn 7–8; Rv 13, 17).<\/li>\n<li>3. A container. The ram’s horn, goat’s horn, and horn of a wild ox were used as containers for liquid. They were also ceremonial receptacles for oil (1 Sm 16:1, 13; 1 Kgs 1:39). Cows’ horns were forbidden for any religious or ceremonial use.<\/li>\n<li>4. Four horn-shaped projections jutting from the four corners of the tabernacle and temple altars (Ex 27:2; 30:2-3). These altar horns were coated with sacrificial blood and denoted an area of sanctuary (Ex 29:12; Lv 4:7, 18; 1 Kgs 1:50-51).<\/li>","content_en":"<h3>HORN<\/h3>\n<li>1. Musical instrument frequently made from a ram’s horn. See<\/em> Musical Instruments (Hatzotzrot).<\/li>\n<li>2. Figuratively, a symbol of power (1 Kgs 22:11) expressing dominance over the weak (Ez 34:21), forces of destruction (Zec 1:18-21), and deliverance from oppression (1 Kgs 22:11; 2 Chr 18:10). Thus, the horn has two connotations: rescue and force (2 Sm 22:3; Ps 18:2). The sprouting of the horn referred to in Psalm 132:17 could mean the continuation of the kingly line. Psalm 75:10 declares that the horns of the wicked shall be cut off but those of the righteous exalted. The symbolic imagery in Daniel and Revelation reinforces the use of the horn to represent power and authority (Dn 7–8; Rv 13, 17).<\/li>\n<li>3. A container. The ram’s horn, goat’s horn, and horn of a wild ox were used as containers for liquid. They were also ceremonial receptacles for oil (1 Sm 16:1, 13; 1 Kgs 1:39). Cows’ horns were forbidden for any religious or ceremonial use.<\/li>\n<li>4. Four horn-shaped projections jutting from the four corners of the tabernacle and temple altars (Ex 27:2; 30:2-3). These altar horns were coated with sacrificial blood and denoted an area of sanctuary (Ex 29:12; Lv 4:7, 18; 1 Kgs 1:50-51).<\/li>","summary_ro":"HORN 1. Musical instrument frequently made from a ram’s horn. See Musical Instruments (Hatzotzrot). 2. Figuratively, a symbol of power (1 Kgs 22:11) expressing dominance over the weak (Ez 34:21), forces of destruction (Zec 1:18-21), and deliverance from oppression (1 Kgs 22:11; 2 Chr 18:10). Thus, the horn has two connotations: rescue and force (2 Sm 22:3; Ps 18:2). The sprouting of the horn referred to in Psalm 132:17 could mean the continuation of the kingly line. Psalm 75:10 declares that ...","summary_en":"HORN 1. Musical instrument frequently made from a ram’s horn. See Musical Instruments (Hatzotzrot). 2. Figuratively, a symbol of power (1 Kgs 22:11) expressing dominance over the weak (Ez 34:21), forces of destruction (Zec 1:18-21), and deliverance from oppression (1 Kgs 22:11; 2 Chr 18:10). Thus, the horn has two connotations: rescue and force (2 Sm 22:3; Ps 18:2). The sprouting of the horn referred to in Psalm 132:17 could mean the continuation of the kingly line. Psalm 75:10 declares that ...","source":"Articles\/H.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"}}

Psalmi 75

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Psalmi 75

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