UNDERSTANDING THE SUPERSCRIPTIONS OF THE PSALMS€¦ · Web viewII Chronicles 30:22 and Nehemiah 8:8,13 shows that this word is employed of one who can give understanding of God’s

UNDERSTANDING THE SUPERSCRIPTIONS AND AUTHORSHIP OF THE PSALMS

THE RELIABILITY OF THE SUPERSCRIPTIONS

SUPERSCRIPTIONS IN EARLY EXTRA-BIBLICAL LITERATURE. Before Abram left Ur, the Sumerians and Egyptians used hundreds of poems in the temple worship of their gods. These songs often had headings that referenced the author, the musical instrument employed for accompaniment, the tune to which the poem or song was to be sung, and the king of the musical composition. So superscriptions and subscriptions of the type found in the Hebrew Psalter were prevalent among the poetry of other countries even in the time of Abraham.

SUPERSCRIPTIONS IN BIBLICAL LITERATURE OUTSIDE THE PSALMS. Superscriptions or headings were use early (before 1000 B.C.) among the Hebrew people for their poetry (Ex. 15:1; Deut. 31:30; 33:1; Jud. 5:1; I Sam. 2:1; II Sam. 1:17.)

LITTLE REFERENCE TO THE CAPTIVITY AND AFTER. There are only a few psalms that could have been written during or after the captivity, such as Psalm 137, 74 and 79. Any political references to a king such as, satrap, sagan, or pahath which were used in Babylon, do not appear in the Psalms. These terms do appear in a captivity book such as Daniel.

VARIATIONS IN THE SEPTUAGINT AND OTHER VERSIONS. Some scholars consider the superscriptions to be post exilic and unreliable additions to the Psalter on the basis of discrepancies between the titles in the Septuagint (a Greek translation of the Old Testament, hereafter referred to as the LXX) and the Masoretic Text. However, these discrepancies may instead support the genuineness and antiquity of the titles. The difficulty which the LXX translators experienced with the translation of the Psalm titles is a good argument that the meanings were lost in some cases before the third century B.C.1

AUTHORSHIP OF THE PSALMS.

The intention of this article is to deal with the final, fixed form of the text as we have it in the Masoretic Text. We will not deal extensively with the issue of authorship of the Psalms, but a perspective on authorship can be helpful to the reader.

1 ?Gleason L. Archer, A SURVEY OF OLD TESTAMENT INTRODUCTION, (Chicago, Illinois: Moody Press, 1974). p.443

Understanding the Superscriptions 2

DAVID. Seventy-three Psalms have “of (by) David” with the Hebrew preposition lamed (l) in front of his name (dwdl). The lamed preposition was also used for Asaph (Pss. 50, 73-83), two for Solomon (Pss. 72, 123), one for Moses (Ps. 90), one for Heman the Ezrahite (Ps. 88), and one for Ethan the Ezrahite (Ps. 89). This same preposition is used in the superscriptions to show the Psalm was given “to the Chief Musician,” or “for the Sons of Korah.” The basic use of the preposition is “denoting direction towards, or reference to.”2

Similar use of the lamed are found in Isaiah 38:9 and Habakkuk 3:1 to indicate authorship.3 The Scripture shows that David was a writer of sacred poetry (2 Sam. 23:1; I Chron. 16:8-36). Reviewing the Samaria Ostraca or the Lachish Letter, potsherds and dockets from the time of the divided monarchy seems to indicate the possibility of a lamed preposition used as authorship. There the preposition is used for a sender “by” to the addressee. When we look at Phoenician coins using the lamed, we see it is used in the sense of "belonging to the Sidonians." Hebrew also uses the lamed to show possession when put on the front of a name like Maharshalalhasheal (Isaiah 8:1). While we cannot prove Davidic authorship beyond a shadow of a doubt, it is reasonably certain that the Psalms bearing the Davidic superscription, with the lamed preposition, represent authentic Davidic authorship.4 J.F.A. Sawyer summarizes: “In the Chronicler’s day... it can scarcely be doubted that the meaning of ldwd was ‘by David’...Any attempt to distinguish l dawid from the others, or to say that none of them refers to authorship at all, is unsupported by the early evidence and flies in the face of all that we know of early rabbinic methods.”5

2 ?Francis Brown, S.R. Driver, and Charles A. Briggs, A HEBREW AND ENGLISH LEXICON OF THE OLD TESTAMENT (Oxford: At the Clarendon Press, 1959), p. 510. Here after referred to as BDB.

3 ?The Hebrew letter l in front of a proper name is understood as indicating the author of the Psalm, E.Kautzch,GENSENIUS HEBREW GRAMMAR, trans. A. E. Cowley, 2nd Ed. (Oxford: Clarendon Press, 1910, p. 419. Here after referred to as GKC. BDB, s.v. “l“ sec. 5b(b), p. 513. Here after GKC. B.K. Waltke and M. O’Connor, INTRODUCTION TO BIBLICAL HEBREW SYNTAX (Winona Lake, Indiana: Eisenbrauns, 1990) 11.2.10d. Authorship cannot be decided solely by the grammatical interpretation of the use of the lamed, but upon usage of the preposition. Otto Eissfeldt notes that elsewhere in Semitic literature the lamed is also capable of meaning “concerning.” He observes that in certain Ugaritic tablets the inscriptions ib’l, lkrt, and l’ght are found at the beginning of the texts to indicate the subject of predominate character of the work. In these instances, the lamed is followed by the hero of the poem, Baal, Keret and Aquat, not the author. Otto Eissfeldt, THE OLD TESTAMENT: AN INTRODUCTION, p. 452

4 ?Archer provides a survey and refutation of the principal critical arguments opposing the authorship of the Davidic Psalms. Gleason L. Archer, A SURVEY OF OLD TESTAMENT INTRODUCTION, (Chicago, Illinois: Moody Press, 1974), 440-445. Brevard Childs proposes the superscriptions developed after the Chronicler due to them not appearing in Chronicles. Brevard Childs, “Psalm Titles and Midrishic Exegesis, “ JOURNAL OF SEMITIC STUDIES, 16(1971): 148. Brevard Childs, INTRODUCTION TO THE OLD TESTAMENT AS SCRIPTURE, PUBLISHER???, p. 520.

5 ?J.F.A. Sawyer, GLASGOW ORIENTAL SOCIETY TRANSACTIONS 22 (1970) 26.


SOLOMON. As stated above, two Psalms are attributed to Solomon, 72 and 127. No historical notices are stated in the superscription. I Kings 4:32 states that Solomon composed 3,000 proverbs and 1,005 songs, therefore Solomon was quite capable of writing songs.

Critical scholars rarely assign authorship to Solomon because of the belief that wisdom tradition in Israel did not reach its developed form until the post-exilic period. Some scholars deleted the superscription found in the MT of Psalm 127 because it was not included in the LXX.6 However, the superscription is found in some manuscripts of Origen, in the Syro-Hexaplar,7 and in the Coptic (Sahidic and Boharic), as well as the Old Latin, the last two of which are probably base on the Greek versions.8 The superscription is also found in the Psalm Scroll 11QPs from Qumran.9 Thus, to say that the superscription is not found in the LXX is not precise, since the LXX tradition is varied at this point.

In both Psalm 72 and 127, there are word parallels to Solomon’s time. Compare “Tarshish” (72:10a) with II Chron. 9:21 Tarshish. Compare Sheba (72:10b) with I Kings 10:1f. Likewise, compare the description of the size of the kingdom in 72:8 with Solomon’s prayer in I Kings 8:40. In Psalm 127, the appellative “beloved” in verse 2 is the designation which Nathan, the prophet, gave to Solomon at his birth. Verse one discusses the building of Yahweh’s house, the temple, which was the task of Solomon.10

The evidence put forward to deny Solomonic authorship of Psalm 127 and 72 are unconvincing. There is no evidence to question the tradition that Solomon was himself the author of these Psalms. Although, authorship of these two Psalms cannot be absolutely proven beyond a shadow of a doubt.

6 ?Charles A. Briggs and Emilie C. Briggs, A CRITICAL AND EXEGETICAL COMMENTARY ON THE PSALMS, ICC. 2 vols. 2:458. Sigmond Mowinckel, THE PSALMS IN ISRAEL’S WORSHIP, 2 vols., 2:102-3.

7 ?Fredericus Field, ORIGENIS HEXAPLA, 2 vols., 2:279.

8 ?Ernst Wurthwein, THE TEXT OF THE OLD TESTAMENT, pp. 87, 96.

9 ?J. H. Sanders, “The Psalm Scroll of Qumran 11,” in DISCOVERIES IN THE JUDAEAN DESERT OF PALESTINE IV, p. 25.

10 ?Of course, one could argue that word parallels were the reason for assigning the name Solomon to these two Psalms. Briggs, 2:458.


MOSES. Psalm 90 is uniquely the only Psalm that is ascribed to Moses. Consequently, it is possible that this poem may be one of the oldest Psalms in the Psalter. Moses was certainly capable of writing poetry or psalms as shown in Exodus 15 and Deut. 32, 33.

There are similarities between Psalm 90 and Deuteronomy 32 and 33. Consider the following: (1) the phrase “Moses the man of God” (90:1; Deut. 33:1), (2) the noun “dwelling place” (90: 2, Deut. 33:27), (3) the verb “bring forth” (90:2, Deut. 32:18); and (4) the rare plural form of the noun “days” and “years” (90:15; Deut. 32:7). Although the literary similarities certainly allow for the supposition that Moses composed Psalm 90, they should not be interpreted as conclusive.11

Scholars contend that the conditions depicted in the psalm are incompatible with Mosaic authorship. Since Israel, as a nation, came into existence some thirty eight years later at Mount Sinai, how can the Lord be a dwelling place throughout each generation (Ps. 90:1)? 12 Although the covenant between Israel and Yahweh was instituted at Sinai, the loyalty and care which the Lord has demonstrated toward His chosen people preceded the covenant at Sinai (Gen. 12:1-3; 17:1-8). The lengthy period of time implied in verse 1 is not merely limited to the Lord’s relationship with Israel since Sinai. His faithful care for their forefathers is in view as well (cf. Deut. 32:7-9).

Verses 13 and 15 of Psalm 90 imply the crisis the nation was experiencing has taken place over a considerable length of time. Therefore, the critic concludes that such a scenario could scarcely apply to that generation of Israelites who had wandered in the wilderness for the brief time of thirty-eight years.13

11 ?In his examination of the linguistic features of Psalm 90 David A. Robertson concludes that Psalm 90 is a late work. However, Robertson himself concedes that if later poetic forms were already present in early Hebrew poetry, then their occurrence in a poem could not discredit an early dating of the Psalm. He also recognizes the limitations of dating of individual psalms on the basis of a linguistic study. He states that “the dating of individual psalms is a most precarious undertaking. Usually all that can be said is that nothing absolutely prohibits a dating in such and such a time; positive evidence favoring such a date is seldom forthcoming.” Therefore, while a study of the linguistic features of Psalm 90 poses difficulties for Mosaic authorship, the ambiguities associated with such a study would suggest that its conclusions are not infallible. David A. Robertson “Linguistic Evidence in Dating Early Hebrew Poetry.” Ph.D. dissertation, Yale University, 1966.

12 ?A. F. Kirkpatrick, THE BOOK OF PSALMS, (The Cambridge Bible for Schools and Colleges. Cambridge: The University Press., 1906), p. 547.

13 ?E. W. Hengstenberg, COMMENTARY ON THE PSALMS. 4th ed. 3 vols. Translated by P. Fairbairn and J. Thompson. (Edinburgh: T.& T. Clark, 1869). 3: 120.


However, it is possible for an individual who had witnessed the unrelenting suffering and destruction of his kinsmen over a period of 38 years to couch his lament in such figurative language. The nation suffered extreme affliction and intense judgment during the wanderings in the wilderness (Num. 14:32,33; 16:49; 25:9). Suffering and judgment is often expressed in hyperbolic language. Thus the wanderings can be construed as a lengthy period of national distress.

The preceding objections to Mosaic authorship of Psalm 90 offer no substantial reasons for discrediting Moses as the author of this ancient psalm. Therefore, Mosaic authorship will be assumed for Psalm 90.

HEMAN, THE EZRAHITE. Psalm 88 is the only Psalm attributed to Heman, the Ezrahite. The problem is there are two men named Heman in the Bible: (1) Heman, the Ezrahite, of the tribe of Judah (I Kings 4:31 and I Chron. 2:6); and (2) Heman, the Levite, a temple musician (I Chron. 6:33; 15:17,19; 16:41,42; 25:1,4-6; 2 Chron. 5:12; 29:14 35:15). The LXX translated “Ezrahite” as “Israelite” understanding the Hebrew word as meaning “a native Israelite.14

Although the reference to Heman, the temple musician, is inticing, the fact that he is of the tribe of Levi militates against his also being Heman, the Ezrahite, a descendant of Zerah of the tribe of Judah. Therefore, the man referred to in the superscription of Psalm 88 is the same man as mentioned in I Kings 4:31 and I Chronicles 2:6. In these passages, Heman is the brother of Ethan, the Ezrahite, Chalcol, and Darda. He is also a wise man along with Solomon, so he probably wrote many songs and proverbs as did Solomon (I Kings 4: 31ff). Based on this evidence, Heman could have composed Psalm 88.

ETHAN, THE EZRAHITE. Ethan composed Psalm 89. He is the brother of Hemen (I Kings 4:31; I Chron. 2:6). He is a wise man, as well as, Heman and Solomon. So, he is fully qualified to be the composer of Psalm 89.

ASAPH. Twelve Psalms bear the name Asaph as the author. The Old Testament uses the name Asaph during three different time periods:

14 ?BDB, p. 280


NAME SCRIPTURE FUNCTION TIME PERIOD

Asaph I Chron. 15:17 Son of BerechiahA singer before the Ark

2 Chron. 29:30 A seer, prophet, composerI Chron 16: 5 The Chief Musician Reign of David

1000 B.C.Asaph 2 Kings 18:18 Father of Joah Reign of Hezekiah

700 B.C.Asaph Neh. 2:8 Keeper of the King’s Returning Babylonian

forest captives. 550 B.C.

To compound the problem, Psalm 74 and 79, which are attributed to Asaph, speak of events that no contemporary of David could have seen. The burning destruction of the temple took place during the exilic period 400 years after Asaph the contemporary of David (586 B.C.).

Perhaps, there are two authors named Asaph, one who is David’s contemporary, and the other an eyewitness of 586 B.C. Both of these men composed Psalms which have become a part of the Psalter.

Asaph is probably not a designation for a guild of Levitical temple musicians. A group or musician guild is referred to by the use of the term “sons,” such as, “sons of Korah.”

The superscriptions bearing the name Asaph refer to 3 individuals with the same name. Asaph, the Chief Musician (a term discussed below) and a contemporary of David, composed most of the Psalms bearing his name, unless there is internal evidence to suggest otherwise, such Psalm 74 and 79.

TYPES OF PSALMS

SONG (ryv) is a common term for both religious and secular songs. It is most often employed with relation to vocal music praising God (I Samuel 18:6; II Samuel 19:35; I Chronicles 16:9,23; 15:16,19,27; II Chronicles 5:12,13; 23:13; 29:28; 35:15; Psalms 33:3; 87:7; 105:2; 137:3 and 144:9.) The word is used to distinguish singers from players of instruments in Psalm 87:7. In Isaiah 23:16 and Amos 6:5; 8:10 shir is used to designate a secular song.


In the Psalter, shir is mostly coupled with mizmor, five times immediately before, (Pss 48; 66; 83; 88; 108) and eight times after this latter term (Pss.30; 65; 67; 68; 75; 76; 87; 92). By itself, it appears in Psalm 46 and in a slightly changed form as shirah, in Psalm 18. The Midrash interprets mizmor as a psalm accompanied by instruments, and shir mizmor as a psalm sung by a choral group alone.15 Whether the Midrash contains the correct meaning of these two terms for the Psalms is uncertain. If mizmor is a technical cultic term, perhaps shir mizmor refers to spiritual songs and shir, alone, refers to a more general song.

Shir is the general Hebrew word for “a song,” emphasizing primarily the vocal aspects of a song, though it can be used of vocal singing with musical accompaniment.

MASKIL (lyKc]m) The word is used thirteen times in the Psalms (Pss. 32; 42; 44; 45; 52-55; 74; 78; 88; 89; 142). Its means “to be prudent, to look at, give attention, teach, give insight.”16 The Aramaic means “to understand” or “to instruct”. Assyrian connotes “to be clever”. Psalm 32: 8 employs the meaning “instruct”, and Psalm 47:7 uses the word in relation to singing praises with understanding and skill.17 II Chronicles 30:22 and Nehemiah 8:8,13 shows that this word is employed of one who can give understanding of God’s Word or who has an understanding of God.18 The LXX translates the term with the same meaning “understanding” or “to an instruction.” In conclusion, Maskil, has the meaning of a contemplative poem which is to cause one to understand and be instructed. Since, most of the Psalms using this term are lament psalms, perhaps the term is used to remind the readers that there is a lesson to be learned in the suffering of the Psalmist.

MIKTAM (µ<T…k]m) The heading of six Psalms contain the term Miktam (Pss. 16; 56; 57; 58; 59; 60), the meaning of which is disputed. The following are the interpretations:

15 ?Midrash, TEHILLIM (ed. Buber, 1891), XXIV: 7, p. 204.

16 ?BDB, s. v. “lykvm“p. 968. Lidwig Koehler, Water Baumgartner, LEXICON IN VETERIS TESTAMENTI LIBROS (Leiden, Netherlands: E.J. Brill, 1958), “lykvm“. p. 571 says the term's meaning is uncertain. Here after referred to as KBL.

17 ?“Skill” could be another possible nuance for this word. 2 Chron. 30:22 could be translated “to show skill in music.” Jeremiah 50:9 may also have the meaning “skillful” (a hiphil participle).

18 ?Marvin E. Tate, WORD BIBLICAL COMMENTARY (Dallas, Texas: Word Books, 1990), vol. 20 p. 33. Tate says the term refers to a group of Levitical priests called maskilim, skilled in music and festival worship (II Chron 30:22). But the term is singular and not plural in the Psalms.


(1) “TO CONCEAL.” This interpretation comes from the Arabic cognate meaning “to cover” or “conceal”. Thus Mowinckel concludes that theses Psalms are “atonement songs.”19

The only use of the verb in Jeremiah 2:22 has the basic meaning “to mark” which argues against Mowinckel.

(2) “ GUILDED POEMS.” Some interpreters trace the word back to the root ketem (gold) and not katam. Luther translated the term “a guilded gem”. Some have advanced a hypothesis that on some special occasions at the Jerusalem Temple, the Psalms termed miktam were written on guilded letters and suspended in the sanctuary.20 This meaning is doubtful, since there is no support for this practice in the Old Testament.

(3) “SCRIPTURE, POEM OR SONG.” Here the root katam is changed to katab, meaning “scripture”. Since there is no textual evidence to change the lettering of this word, the meaning is very unlikely.

(4) “TO MARK OR INSCRIBE”. This meaning is from the root katab "to stain" or perhaps "to inscribe." Delitzsch says that in all of these Psalms there is a pithy saying or inscription or a motto-like word or phrase that is repeated and brought prominently forward for emphasis. 21 A quick examination of the Psalms bearing this word will show numerous repeated phrases. Such as, Psalm 16 the emphatic concept of the Lord's preservation is magnified in verses 1,5,7,8,10, and 11. In Psalm 56 one discovers the repetitive phrase, “In God (I will praise His Word), In God have I put my trust, I will not be afraid; what can flesh do to me?” in verse 5,10, and 11. In Psalm 57 the phase “Be thou exalted...” is set forth in verse 5 and 11. Psalm 58 stresses righteous judgment in verse 1 and builds upon it until verses 10 and 11. Psalm 59 repeats “they return at evening, they howl like a dog (vv. 6, 14) and “for God is my high tower” (vv. 9, 17). Psalm 60 begins with “O God, thou hast cast us off” and reiterates it in verse 10 in the form of a question.

19 ?Mowinckel, II, p. 209. Gensenius also holds this view. Wilhelm Gensenius, A HEBREW AND ENGLISH LEXICON OF THE OLD TESTAMENT, INCLUDING THE BIBLICAL CHALDEE (Grand Rapids, Michigan: Baker Book House Publishing), p. 508.

20 ?S.T. Horne, AN INTRODUCTION TO THE CRITICAL STUDY AND KNOWLEDGE OF THE HOLY SCRIPTURES (New York, 1856), II, p. 242.

21 ?C.F. Keil and Franz Delitzsch, BIBLICAL COMMENTARY OF THE OLD TESTAMENT: THE PSALMS (Grand Rapids: Wm. B. Eerdmans Publishing Company, 1959), p. 218. Peter C Craige, WORD BIBLICAL COMMENTARY (Waco, Texas: Word Books, 1983), vol. 19, p. 154. Tate, p. 66 suggests that miktam could mean a letter prayer or inscription written to God which was common in Summerian literature. The LXX translates the word as “(a poem) to be inscribed on a stele.”


The fourth interpretation is probably the closest to the meaning of the term miktam. The Psalmist is indicating to us that these Psalms have a motto-like repeated refrain which must be especially noted.

PRAYER (hL%pT]) This is the common term for prayer (Ps. 4:1; 35:13; 42:8; 80:4.) It is used in five Psalms 17; 86; 90; 102 and 142. It is also found in the postscript to Psalm 72:20, summarizing all the Psalms as Prayer. In a technical sense it may denote more than prayer, a Psalm of Lamentation (Hab. 3:1; Jon. 2:1).

PRAISE (hLhT) This word is found only in the superscription of Psalm 145, a Psalm which is at the beginning of the great doxology to the Psalter (Pss. 145-150). This word will be discussed at length later in this book.

A LOVE SONG (tdoydy ryv) This phrase is used in Psalm 45 literally “a song of loves”. It is appropriate to Psalm 45 which is a celebration of the royal wedding.

PRAYER OF THE AFFLICTED WHEN HE PINES AWAY AND POURS OUT HIS COMPLAINT (OR LAMENT) BEFORE YHWH. The general title of Psalm 102 is a personal lament describing the contents and type of psalm it heads. The psalmist's affliction is described in verses 3,6,9 and 11 and his pining away is described in verses 4,5,14, and 24.

THE PERFORMERS OF THE PSALMS

THE DIRECTOR. (jX´nm]l). This term is used in fifty-five Psalms and in Habakkuk 3:19, at the end of the Psalm22. In 2 Chron. 2:2,18; 34:12 it means “overseer” or "supervisor." The word appears in three passages dealing with the building of the Temple I Chron. 23:4; Ezra 3:8,9 and I Chron 15:22. It is used of “presiding” or “administering” or functioning in the music of the Temple as a “leader" or “director of song” (I Chron 15: 22.)

It is surprising that, having at hand such an unmistakable meaning of the word, the early translators missed the meaning. The LXX and the Vulgate both translate the term as “unto the end" from Aramaic stressing the meaning "endurance" and "everlastingness." The same holds 22 ?Because the term is found at the end of the Psalm in Habakkuk 3, it has lead some to believe that the term is a musical notation for the director for the Psalm that precedes the word. See Bruce Waltke, “Superscriptions or Postscriptions or Both.” JOURNAL OF BIBLICAL LITERATURE, 110.4 (Winter 1991): 583-596..


true for the rendering of Aquila “for the victor,” of Symmachos, “song of victory,” and of Theodotion, “for the victory.” Jerome translates it either “for the victor,” or “for the victory,” following obviously the footsteps of his early Greek predecessors.23

The director is the singer chosen to lead the music or to officiate as precentor, who probably also instructed the choir, or at least supervised the rehearsals, and was a specially qualified artist with superior musical knowledge. Perhaps, the Psalms bearing this title indicate solo parts for him, while other Psalms were performed by the choir alone. The first singing master of the Davidic music organization was Chenaniah, of whom the chronicler says: “He was master in the song, because he was skillful” (I Chron. 15:22, 27).24

In the later books of Scripture only two names of leaders of singing are preserved: Matthaniah, of Asaph’s progeny (Neh. 11:17), and Jezrahiah (Neh. 12:42).25

SONS OF KORAH. The Sons of Korah were Levites who were descendants of their leader, Korah (Num. 16, 19) who was killed for his rebellion (Num 26: 10) but his children were spared.26 Their outstanding merit, however, was that a branch of their clan, similar to the Asaphites and Hemanites, distinguished itself in the sacred musical service (I Chron. 9:19; 2 Chron. 20:19). Heman, the Levite, was their leader (I Chronicles 6:16, 18, 22, 33, 37 compare 44.) Their other responsibilities included gatekeeping (1 Chron. 26:1, 19) and baking of sacrificial bread (I Chron. 9:31.)

These Levites were probably performers of the Psalms bearing their name (Psalm 42-49; 84; 85; 87 and 88), and not authors. Psalm 88 has Heman as author (see earlier statement) along

23 ?BDB, s.v. “jxn“pp. 663, 664 indicates the Psalms with this heading are from a "Director's Collection," from a prayer-book of a synagogue from the Greek period, assuming a late date for these Psalms. Also, see Craigie, p. 34.

24 ?KBL, s. v. “jxn“pp. 629, 630 strangely thinks the term is unexplainable.

25 ?I Chron. 16:5 states that Asaph, himself was a Chief (varj), which is not synomous with the term under discussion.

26 ?Michael D. Goulder proposes that the Sons of Korah are a priesthood situated in Dan, thus following Peters thesis. Michael D. Goulder, THE PSALMS OF THE SONS OF KORAH (Sheffield, England: Journal of the Study of the Old Testament Supplement Series, 20.) p. 16-22. 2 Chron. 11:13, 14; 20:19 suggest that some of the sons of Korah, along with other Levites, generally abandoned the north under Jeroboam’s policy forbidding Levitcal participation in the priesthood.


with the sons of Korah. Since it is doubtful that there are two authors of one Psalm, the sons of Korah are probably performer of the Psalm.27

JEDUTHUN. (ˆ/WtydIyl) This term is found in the superscriptions of Psalm 39, 62 and 77. Jeduthun was appointed as chief of one of the three main temple music guilds (I Chron. 16:42,43). He was a prophet or seer (II Chron. 35:15.) and his descendants formed a perpetual guild (I Chronicles 9:16; 25:1, 3, 6, 7; II Chronicles 5:12; 29:14.) Their primary instrument was the harp (I Chron 25:3), although they rendered psalms vocally. Therefore, Jeduthun, as in the case of the Sons of Korah, when mentioned in the superscriptions, probably has reference to the family of musicians who performed that particular psalm. However, the Hebrew preposition (yle['û) which is used in front of the name normally refers to the tune or instrument upon which the psalm is to be played or sung (Ps. 92:3). The name, Jeduthun may have become a way of referring to a tune or melody to be played or sung.

MUSICAL INSTRUMENTATION

PSALM (romzm) The headings of fifty-seven Psalms carry the subtitle mizmor. This term is a technical term because it is not found anywhere else in the Old Testament. The Arabic form of the word means “to pipe, to play on a reed, to flute”.28 The Aramaic connotes “music” or “musician”. Both Akkadian and Ugaritic render the cognate by “sing.” Another meaning of the root is “to pinch” or “to pluck,” and in this sense it implies the action of plucking stringed instruments. Perhaps, this designation implies a song that is accompanied by the plucking of a stringed instrument.29

NEGINOTH. (twnygn) This term appears in Psalms 4, 6, 54, 55, 61, 67 and 76. The word also appears outside the superscriptions in Ps. 69:12; 77:6; Lam 3:15; 5:14; Job 30:9; Is. 38:20 and Hab. 3:19. The term comes from the root naggen, meaning "to touch." No cognate languages use this term. This verb is used of David playing his harp for Saul (I Sam. 16:23; 18:16; 19:9.) Isaiah 23:16 uses the word in association with plucking strings. The word is always connected to the phrase "The Director" (jX´nm]l) and perhaps is an indication of how the Psalm was to be played or recitated.30 Therefore, it is believed that this term refers to the 27 ?The lamed, here, is used in the sense of “belonging to” and not “author of.” BDB, s.v. “l“,p.510.

28 ?J.G. Hava, ARABIC-ENGLISH DICTIONARY (Beirut: Catholic Press, 1951), p. 295.

29 ?Sigmond Mowinckel, THE PSALMS IN ISRAEL’S WORSHIP. (New York: Abingdon Press, 1962 ) II: 208.

30 ?Mowinckel, vol. 2. p. 210.


playing of the psalm upon a stringed instrument, primarily a harp.31 The term could also refer to a melodic pattern or song (Ps. 77:6; 69:12).

MUSICAL MELODIES.

SHIGGAYON (ˆ/oyGv) Used only once, in Psalm 7, this word is obscure. A variation of this word is used in Habakkuk 3:1. Here are a number of interpretations:

(1) “ERROR OR TRANSGRESSION.” All the early Greek and Latin translators interpreted shiggayon as a synonym for shegi’ot, “error,” “fault” (Ps. 19:12). The Midrash follow the same idea, speaking of “David’s transgression.” This meaning is difficult to connect with the text of the Psalm. Nothing in the text states anything about David’s transgression or error. In fact, he asks that his life be trampled if he has sinned (Ps. 7:5.)

(2) “TO GO ASTRAY, TO REEL, TO WANDER.” The etymology of the word is evidently connected with the verb shagah, “to wander”. According to this, shiggayon would mean a Psalm with changing meter or a changing melody.32 While it true that both Habakkuk and Psalm 7 have a heptasyllabic meter with three distinct parallels in each verse, there are other Psalms with the same pattern but are not labeled with shiggayon..

(3) “A DIRGE.” From this meaning, is derived a “plaintive song” or “an elegy.” Thus this is a Psalm for the error and delusions of the miserable and grieving.33

(4) “A SONG OF WANDERINGS.” According to this view, David wrote the Psalm during his years of wandering when, as a fugitive, he tried to escape from Saul’s pursuits (I Samuel 24).

(5) “ODE, OR A WILD, PASSIONATE SONG WITH RAPID CHANGES OF RHYTHM.” Here, the word is connected to the Assyrian liturgical term shigu, which means “to rave, “to lament vehemently.”

31 ?BDB, p. 618. GKC para. 124 f also indicates the meaning "to play upon a string instrument."

32 ?Delitzsch, pp 138, 139.

33 ?KBL, p. 948 from the Akkadian “segu". William Holladay says it means “Lamentation”, THE PSALMS THROUGH THREE THOUSAND YEARS, p.73


(6) “THE SECRET OR UNWITTING SIN.” The word comes from the root shagag . The Psalm was to be sung in connection with the sacrifice of the sin-offering.34 In this case, term would not indicate a type of Psalm but the liturgical use of the Psalm.

Shiggayon is a difficult word to understand because of its limited use in the Scriptures. Perhaps the word is connected to the meaning of “wandering”, as in it melody, or “ a wild and loud lament, “ referring to how the Psalm is to be sung, but this is only conjecture. 35

ALAMOTH. (tomlu lu) This word is found in only one superscription (Psalm 46) and in I Chronicles 15:20. This term was problematic for early translators because of two possible roots (1) young maiden or (2) to conceal. The LXX translates it "upon the secrets," Aquila says "upon youth," Symmachos "upon the eternities" which the Midrash follows. The Vulgate translates the word "for the secrets" and "after the melody young maidens." Based on general usage the term is related to "young maidens" or "young women" (Isaiah 7:14). Here it is used in the plural.

The term is connected with "harps" in I Chron. 15:20, which is parallel to "lyres" and "sheminith" in 15:21. A lyre is a larger instrument than the harp and therefore lower in tone. 36

Since the lyres are tuned to the eight string instrument or octave (see sheminith below), therefore, by parallel analogy, the harp is no doubt tuned to the soprano voices of young women. The phrase in the superscription of Psalm 46 refers to the tuning of the singing of the psalm to the high pitched voices of women.

SHEMINITH. (tynymV]h lu) This musical term is found in Psalm 6 and 12, also in I Chron, 15:21. The literal meaning in Hebrew is "over" or "on the eighth." In I Chron. 15:21 the term is joined with lyres, "...lyres tuned to the sheminith." There are two possible interpretations of the word:

34 ?John P. Peters, THE PSALMS AS LITURGIES (New York: The Macmillan Company, 1922), p. 40.

35 ?BDB, p.998.

36 ?W.O.E. Oesterley, THE PSALMS (London, England: S.P.C.K., 1953), p. 16. Alfred Sendrey, MUSIC IN ANCIENT ISRAEL (New York, New York: Philosophical Library, Inc. 1969), pp. 282, 283. Senfrey has provided an exhaustive study on the subject of music in ancient Israel.


(1) AN EIGHT STRING LYRE. Arguing from analogies with Babylonian instrumental nomenclature. Langdon supposes that a sheminith is an eight string harp-like instrument.37 We know that the lyre (Kinnor) had ten strings in the first century time period. 38 It is quit possible there existed a larger, and consequently lower sounding type of string instrument with only eight strings. Therefore in I Chron. 15:21 the lyres were tuned to an eight string lyre, perhaps to a lower set of tones.

(2) AN EIGHTH TONE OR OCTAVE. This would indicate a key or change in pitch. Practically, the melody was sung, or doubled, perhaps in a lower range.39 It has been argued that an octave (an 8 tone scale) was not known to ancient Israel, but an eighth tone or mode might have been used.40

If sheminith is an instrument, the psalm was to be played on the eight string lyre. If sheminith is a tone or octave, the psalm was to be sung in a lower range. But in I Chron. 15:20, if the harps are set to the higher tone of womens' voices, by parallel analogy, the lyres are probably also, set to a tone and not an instrument. Although this is not conclusive.

NEHILOTH. (tol%yjNh la) This word is probably a technical term, since it is used only once in the Old Testament, Psalm 5. The LXX and Theodotion translate the expression as "for the heritage," the Vulgate "for that which follows the heritage," Aquila "for the distribution (by lot)," Symmachos, "for the alotment," and Jerome "for the inheritances." Luther rendered it, "for the hereditament." Most of these translators think the word comes from the Hebrew word for "inheritance (ljn) as a noun, or "to get" or "take a possession," as a verb.41

37 ?Stephen Herbert Langdon, Babylonian and Hebrew Musical Terms.” JRAS, Part II, April, 1921, p. 181.

38 ?Josephus, ANTIQUITIES OF THE JEWS, VII, 12:3.

39 ?Delitzsch, p. 131. Craige, p. 90, and BDB, p. 1033. Although BDB thinks this is "wholly dubious."

40 ?E. Werner, "Music," THE INTERPRETER'S DICTIONARY OF THE BIBLE (Nashville, TN: Abingdon Press, 1962) Vol. 3, p. 459. Here after: IBD.

41 ?BDB, p.636. They say it is an unknown term, probably related to a melody. KBL, p.606 says it is an unexplained hymnical or musical term, perhaps connected with a flute.


Another possible root for this word is the Hebrew word for flute (lylh)?, meaning a "pierced instrument" such as a flute or pipe. Thus the term in Psalm 5 would refer to performing the psalm in the flute or pipes.42

The Talmud thinks the word comes from the Hebrew word for bees (lyjn). Here the song would have a melody which is similar to the buzzing of bees. How pleasant a sound this would be is debatable. This term will have to remain a mystery. It could refer to a tune that was popular at that time.

GITTITH. (tyT%Gh lu) The word occurs in the superscriptions of Psalm 8, 81 and 84 and nowhere else. Here are the interpretations:

(1) A NAME OF A JOYFUL TUNE OR SETTING. The meaning would signify a melody that should be used in theses three psalms.43

(2) A MUSICAL INSTRUMENT FROM GATH. As we know, David has stayed for some time in the Philistine city of Gath (I Sam 27:2-3; 29:3), and so he might well have brought an indigenous instrument (a sort of lute) to his own country.

(3) A WINEPRESS. The LXX follows this meaning and translates the word "for the wine-treaders." Jerome, Aquila and the Midrash have likewise adopted this idea. By analogy, wine pressing is associate with autumn. The feast of tabernacles is an autumn feast. Therefore, it is concluded, by some, Psalms 8, 81 and 84 are related to the feast of tabernacles. But only Psalm 81 and 84 could be related to the feasts of tabernacles. Psalm 8 is quite removed from this context.44

To stretch "winepress" to mean the feast of tabernacles is highly improbable and unlikely. In conclusion, the word gittit in Psalm 8, 21, and 84 probably refers to a musical instrument or melody which was used in performing these psalms.

42 ?Leonard J. Coppes, "ljn," THEOLOGICAL WORDBOOK OF THE OLD TESTAMENT, ed. R. Laird Harris, Gleason L. Archer, r. and Bruce K. Waltke (Chicago, Ill: Moody Press, 1980,) II, 569. Here after TWOT.

43 ?Delitzsch, p. 148. He also states that the word could refer to a Phoenician or Carian flute.

44 ?Mowinckel, Vol II, p 215, relates the word to "Gittith" Obed-edom in 2 Sam. 6:10f and a festive procession of some kind.


SHOSHANIM. (µ<yNvov lu) In the superscriptions of Psalm 45, 60, 69 and 80, one finds this term. The term is plural in all but Psalm 60. The basic meaning of the term is "lily." 45

It is amazing how differently the early Greek and Latin translators rendered the term. The LXX has "those who will be changed" (Ps. 60) confusing the Hebrew with the root (hnv, KBL, p. 996-97) meaning “to change”, and "on 'the changing testimony' (for Asaph)," Aquila "on 'the testimony of the flowers,'" the Vulgate "for those who will be changed,' and Jerome "on 'lilies of the testimony.'" The Targum relates the word to "teachers" (shonim.) It renders Psalm 45 and 80 as "the members of the Sanhedrin," and Psalm 69 as "the captivity of the Sanhedrin." Luther's rendering departs from the meaning of shusham, "lily;" he uses instead "of the roses" (Psalms 45, 69, and 80) and "of the rose of the testimony" for Psalm 60.

The etymology of the word indicates that it is a loan word from Eqyptian or Ugaritic (BDB, p. 1004; KBL, p. 958). The noun is used extensively in the Song of Songs in similes and metaphors to signify exquisite beauty. In Kings 7:19, 22, 26, the noun describes the lily shaped brim of the “sea” of the temple.

In examining the number of cola and the meter of these four psalms, one is immediately struck by the fact that in both the number of cola and in the number of beats in the meter, Psalm 45 and 80 are almost identical and Psalm 69 is almost double these two in both areas. Only Psalm 60 is irregular, but it is also the Psalm which renders the term in the singular. Therefore, this term, shoshanim, probably refers to a popular tune to which these four psalms was to be sung.46 In Psalm 69, the tune, designated by the plural, of Psalms 45 and 80 was sung through twice. The singular term "lily" refers to a distinct and separate tune for Psalm 60.

EDUTH. (tWd=u) Only Psalm 60 and 80 contain this term. The basic meaning is "testimony."47 It is used in reference to the tablets of the Law (Ex. 31:18; 32:15; 34:29). In Psalm 60, the term is connected to shoshanim, which is probably a popular tune (see above). Since both psalms deal with the Law, perhaps this term served a reminder to receive instruction from the psalms, much like the term for "instruction" in Psalm 60.48

45 ?BDB, p.1004 although they admit that the meaning is unclear. KBL, p. 958 says it means "six-sided" connecting the word to the Hebrew word for 6 shesh;perhaps referring to a 6 stringed instrument.

46 ?BDB, p. 754, II, i. e. (a) “lu“ used of. . .

47 ?BDB, p. 730. KBL, p. 683, refers to the term as a "monitory sign," "reminder" or "exhortation" given by YHWH.

48 ?Kirkpatrick, p. xxviii, sees this word "instruction" meaning "to memorize" (cf. Deut 31:19; 2 Sam 1:18). Mowinckel, II, p. 212, suggests that it refers to encouraging people with the psalm. The term also has the idea of a


MAHALATH. (tl%j}m lu) The headings of Psalms 53 and 88 contain the indication mahalath. The meaning of this term was not clear to the early translators of the Bible, for which reason they did not attempt to render it in their respective languages, but transliterated the word.49 Aquila, Symmachos, Theodotion and Jerome all relate the term to the word "dance." Modern translators of the NASB relate the term to the Hebrew word for "sick" hence a sad tune, or perhaps a tune that begins with “The Illness of so and so..”.

Once again, as the number of cola and the meter is examined, it is discovered that Psalm 88 has almost twice as many cola and beat as Psalm 53. This would imply that the two psalms were sung to the same tune, only that it was sung through twice for Psalm 88. It is concluded, sung "upon" the tune "mahalath."

The term leanoth (toN=ul) in Psalm 88 is connected to mahalath.. Leanoth means "to sing."50 Perhaps it refers to singing with instruments (I Sam. 18:7; 21:11; and 29:5.) If the word is connected to the meaning "oppression" or "weakness" (one of 4 roots in BDB), perhaps it means to bring down or perform in a reduced voice. This is only speculation.

JONATH ELEM REHOKIM (µ<yqjr <µla´ tnoy lu). This term is reserved for the superscription of Psalm 56. It literally means the "silent dove of the distances." 51 The LXX says "on 'the people which is removed from the Holy Life' (or: 'from the sanctuary')." The Vulgate expresses a similar thought, "for the people that is far away from sacred places." The Targum, however, follows another idea: "for the assembly of Israel which is like a silent dove at the time when it is far from its cities." The translators understood the Hebrew word for dove (Jonath) as referring to Israel and the word for distance (elem) repointed to the word for "God."52

warning which the Law is conveying (2Kings 17:15; Neh. 9:34) see TWOT II 649, 650.

49 ?BDB, p. 318 says the term is probably a catchword, or name of a song or tune. KBL, p. 513, says it is a technical musical term perhaps related the word for a "round dance" (kyjn) used in Psalms 30:12; 149:3; 150:4.

50 ?BDB. p. 777 says "the sound of distinct singing." KBL, p.719, and 720 says "for singing".

51 ?BDB, p. 48, 401, 935. KBL, p. 885, adds the idea to "distance" as being inapproachable and mysterious.

52 ?If one repoints "elem" to "elim" one gets the interpretation, "dove of distant terebinths"or a big tree like an oak, see Tate, p. 65, note 1b.


The best one can conclude with so scant evidence is that this phrase is referring to a popular song title, though it cannot be proven.

AYYELETH HASHSHAHAR. (rjVh tlYA lu) This phrase is only found in Psalm 22, a lament psalm. A literal translation of the phrase would be "on 'the doe at dawn.'" The LXX rendered the terms as "on 'the apparition in the morning,'" Aquila as "on 'the aid at daybreak.'" The Vulgate's version is "for the mutational action (sacrifices?)," which Mowinckel follows, saying it alludes to an animal offered in sacrifice at dawn.53

Jerome says "for the deer in the morning." Luther amplified this idea by adding the notion of hunting and translated: of the hare hunted at daybreak." All this helps very little. Once again, because of the scarcity of evidence one is forced to conclude that this phrase is also an unknown song title. In no way is it related to the contents of the psalm.

AL-TASHHETTI. (tjv]T la) This term in the superscriptions of Psalms 57, 58, 59 and 75 means "destroy not."54 It is uniformly given this literal translation by the LXX, Aquila and Symmachos. For Psalm 75 alone, Symmachos puts "for immortality." The Vulgate has two variants "disperse not," (Pss. 57, 58, 59) and "destroy not," (Ps.75).

The identical phrase is found three other times in the Old Testament; (1) I Sam. 26:9 where David states that he will not destroy God's anointed King, Saul; (2) Isaiah 65:8 where it is used of God not destroying Israel; and (3) Deuteronomy 9:26 where it is used of Moses praying to God not to destroy Israel. Theses references do not aid in discovering the meaning in their superscriptions.

Psalm 57, 58 and 75 are symmetrical in meter and cola. Psalm 59 contains approximately twice as many cola and one and one-half as many beats, showing that the phrase is probably the title of a popular song, and in the case of Psalm 59, it is sung twice.

ALAMOTH LABBEN. (/ˆB%l tWm l]u) Only Psalm 9's superscription bears this phrase. Many have argued over the pointing and spacing of alamoth. If it is separated into two word "al

53 ?Mowinckel, op. cit., p. 214. It is doubtful that this phrase refers to sacrifices because in the the Old Testament ayyeleth and shar are never used directly of sacrifices.

54 ?BDB, p. 1008. Once again, they say it is a catchword for an old song or melody. KBL, p. 963 says it is an unexplained term.


moth", then it would mean "upon the death of the son," as the LXX translates it. The Vulgate says, "on 'the son's secret."' Aquila states, "the son's youth." Theodotion renders it "on 'the son's flourishing time.'" Jerome says, "on 'the son's death.'" This would make the heading a title of a popular tune. However, the Masoretic text does not separate the word.

Originally, the text was not pointed so it is possible to read w and o, rendering this first term the same as Psalm 46, that is, the tuning of the harps to high pitched female voices. The term ben is a name of one of the Levitical singers in I Chronicles 15:18. Perhaps, the title refers to the performance of this psalm by the family ben.

LITURGICAL TERMS.

THE SABBATH. Psalm 92 superscription contains the phrase "A Song for the Sabbath Day," in the Hebrew text. The LXX has seven psalms to use on the Sabbath week: 24 (Sunday); 48(Monday); 82 (Tuesday); 94 (Wednesday); 93 (Friday); 92 (Saturday). The Fact that Psalm 92 is specified for the Sabbath in the Hebrew Text probably indicates an earlier liturgical use of this Psalm than the others.55

The Sabbath certainty was a time for worship, praise, thanksgiving and offering (I Chron. 23:30-31; 2 Chron. 2:4; 8:13; 31:3). On the Sabbath, the sacrifices were doubled (Num. 28:9-10).

The content of the psalm fits well with the Sabbath. The sacred name of YHWH is found seven times in the Psalm, (v. 1,4,5,8,9,13 and 15), perhaps indicating the seven days of the week.56 The chiastic structure of Psalm 92 has a seven-fold development:

THE STRUCTURE OF PSALM 92

A (1-3) THANKS FOR YHWH'S LOYAL LOVE B (4-6) REJOICING OVER YHWH'S WORKS C (7) THE WICKED GROW

55 ?Tate, p. 465. The Mishnah also contains Sabbath uses of the Psalms, Talmid 7:4.

56 ?Tate, p. 464


D (8) THE MOST HIGH FOREVER C'(9) THE WICKED ARE SCATTERED B'(10-11) EXALTING OVER THE ENEMIESA' (12-15) EXPECTATION FOR YHWH'S JUSTICE57

It is concluded that this term in the superscription of Psalm 92 indicates that this psalm was used specifically with relation to the liturgical service of the Sabbath, where YHWH is to be exalted as the Most High forever.

THE DEDICATION OF TEMPLE. Psalm 30 begins by declaring that this psalm is for "the dedication of the House." A variety of interpretations have been proposed:

(1) The dedication of David's palace after his conquest of Jerusalem (2 Sam. 5:6-11). 58

This historical context seems very remote for Psalm 30 since the psalm speaks of mourning, sackcloth and grieving (Ps. 30:11). This hardly the context of victory as spoken of in 2 Sam. 5:5-12.

(2) The re-consecration of David's palace from the defilement occasioned by Absalom's revolt (2 Sam 20:3).59 There is no connection at all that can be seen with Psalm 30 and 2 Sam 20:3.

(3) The dedication of the second temples in 520 B.C. (Ezra 6:6-18).60 This interpretation assumes a non-Davidic authorship of the psalm, and the mourning, sackcloth and grieving are absent from the Ezra passage.

57 ?Tate, p. 464.

58 ?Perowne, THE PSALMS (Grand Rapids, MI, Kregel Publications, 1989) vol. 1 P. 278. Derek Kidner PSALMS 1-72: AN INTRODUCTION AND COMMENTARY (Downers Grove, Illinois: Intervarsity Press, 1973). p. 128

59 ?John Calvin, COMMENTARY ON THE PSALMS, p. 125.

60 ?A,F, Kirkpatrick, THE BOOK OF PSALMS (Grand Rapids, Michigan: Baker Book House, Reprint, 1982), p. 151.


(4) The rededication of the temple by Judas Maccabeus after it had been defiled by Antiochus Epiphanes (1 Macc. 4:52-61; 2 Macc. 10:1-8).61 Once again, this assumes non-Davidic authorship and a late date for the psalm or, at least, the superscription.

(5) The dedication of the temple site by David after the plague visited upon the people for David's sin of numbering the people had been stayed (I Chron. 21: 25 - 22:1). There are parallel elements in this passage and Psalm 30. Note David's confession (1Chron. 21:8 and Ps. 30:1-5), his reference to God's mercies (1 Chron. 21:13 and Ps. 30:5) and his sackcloth and ashes (1 Chron. 21:16 and Ps. 30:11).

An absolute conclusion cannot be reached concerning how the phrase "dedication of the House" is related to Psalm 30. At present, the 1 Chron. 21 connection seems most plausible. This psalm was possibly sung or recited at any temple dedications as a remembrance of God's deliverance of the city and temple.

FOR A THANKSGIVING OFFERING (hdotl). "For acknowledgement" (more accurate) is the heading on Psalm 100. The Hebrew term for thanksgiving is related to a verb meaning "to acknowledge, confess, give thanks and praise."62 The Thanksgiving Offering was an act of praise to God. In a public declaration the worshipper would bring an animal as an act of thanksgiving for what God had done for him. He would express this thanks freely, spontaneously and publicly (Ps. 35:18; 109:30). He would than offer this animal up a thanksgiving offering. Perhaps a "grateful corporate praise" better captures the essence of this thanksgiving offering. More will be said about this term under the section on praise. Psalm 100 perhaps was a psalm that was used in declaring praise to God while the worshipper offered up his sacrifice.63

FOR A MEMORIAL OR REMEMBRANCE. (ryKzhl) Psalm 38 and 70 bear this heading. The term means "to commemorate" or "to remember."64 These two psalms could be connected to the meal offering (Lev. 2), a handful of fine flour, unbaked, mixed with olive oil, and accompanied 61 ?C. Biggs THE BOOK OF PSALMS (Edinburgh, Scotland: T.T. Clark, 1901) p. 30. A.A. Andersen, THE NEW CENTURY BIBLE COMMENTARY: PSALM (1-72) (Grand Rapids, Michigan: Wm. B. Eerdmans Publishing Company, 1972) p. 239. Sabourin, THE FORMS AND FUNCTIONS OF THE PSALMS (Staten Island, NY: Alba House ) p. 18. Sopherrim, chap 18: par. 2.

62 ?BDB, p. 393. KBL. p. 1020.

63 ?Todah is the normal term for the Thank Offering (Ps. 26:7; 42:4; 50:14,23; 56:12; 69:30-31; 95:2; 116:17-19; 147:7; Lev. 7:12-15; 2 Chron. 29:31.)

64 ?BDB. p. 271.


by incense was burnt on the alter, while the rest went to the priest. The part of the meal offering that was burned up was called the memorial. This may mean that the sacrifice "reminded" God of the worshipper, yielding himself to God, giving the purest and best of God's provision back to God. Perhaps these two lament psalms were recitated at the temple service during such a meal offering. Both psalms fit nicely within the meal offering context. The worshipper asks God to remember his sinfulness and deliver him (Ps. 38). In Psalm 70, the worshipper asks God for a hasty deliverance from evil.65

HISTORICAL INDICATORS TO THE LIFE OF DAVID.

The period of David's life covered in I Sam. 16 through 2 Samuel provides the historical occasions for numerous psalms. A correlation will be helpful in our study:

I Samuel 19:11 Psalm 59I Samuel 21:10-15 Psalm 56I Samuel 21:10-22:2 Psalm 34I Samuel 22:9 Psalm 52I Samuel 23:15-23 Psalm 54I Samuel 23:24-29 (?) Psalm 7I Samuel 24 or 22:1-2 (Ein Gedi or Adullam) Psalm 57I Samuel 24 or 22:1-2 (Ein Gedi or Adullam) Psalm 142I Samuel 8:8, 13; I Chron. 18:9-12 Psalm 60I Samuel 22 Psalm 18I Samuel 11, 12:1-15 Psalm 51I Samuel 15-18 Psalm 3I Samuel 15:23 Psalm 63I Samuel 21:1 - 22:1 or I Samuel 24(?) Psalm 30

Special historical problems will be considered with the study of each psalm that we study.

SUMMARY OF THE SUPERSCRIPTIONS

65 ?Mowinckel, II, p. 212.


The superscriptions are early reliable amendments to the text, added by the author at the writing of the Psalm. The superscriptions could have been added early after the composition of a Psalm by the author or an editor. There are at least 6 authors of the Psalter, probably more: David, Solomon, Moses, Heman, the Ezrahite, Ethan, the Ezrahite and Asaph. Authorship of individual Psalms are designated in ninety-nine superscriptions. Fifty-one Psalms carry no author’s name. While authorship cannot be proven absolutely, there is no compelling evidence to doubt the authorship of an individual Psalm. Special issues of authorship of individual Psalms will be considered with the study of each Psalm.

The superscriptions reveal five aspects of the biblical Psalter: (1) types of psalms (2) performers of psalms (3) musical instrumentation (3) musical melodies (4) liturgical functions and (5) historical indicators to David's life.

There are seven types of psalms indicated in the superscriptions: (1) a Song (2) a Maskil (3) a Miktam (4) a Prayer (5) a Praise (6) a Love Song and (7) a Prayer for the Afflicted... Most of the meanings of these terms are fairly certain. Only Miktam has an uncertain meaning.

The Director, the Sons of Korah and Jeduthun are all performers of numerous psalms. The Director administered the Temple music as a leader. The Sons of Korah were Levites who performed in the sacred musical services. Jeduthun was a chief of one of three main Temple music guilds, of which his descendants were a part.

The terms "Psalm" and "Neginoth" are the only words which indicate the musical instrumentation of the psalms. The term "psalm" is found in fifty-seven psalms and nowhere else in the Old Testament. It is a technical term meaning "to pluck" a string instrument. "Neginoth" is found in seven psalms and also refers to playing a string instrument, like a harp.

There are twelve terms referring to the musical melodies used in performing the psalms: (1) Shiggayon (2) Alamoth (3) Sheminith (4) Nehiloth (5) Gittith (6) Shoshanim (7) Mahalath (8) Jonath Elem Rehokim (9) Ayyeleth Hashshahar (10) Al - Tashheth (11) Almoth Labben and (12) Eduth. All of the meanings of these terms are speculative with very little upon which to base an opinion.

Four terms compose the liturgical or worship functions in the psalms. They are: (1) The Sabbath (2) The Dedication of The Temple (3) A Thanksgiving Offering and (4) a Memorial.


These terms no doubt indicate how and when these psalms were to be used in the worship service of the temple.

Generally, we are not aware of the historical events surrounding the compositions of the psalms, but there are at least fourteen psalms that have, in their superscriptions, references to a historical situation. When these events can be known, they will greatly enhance our understanding of the psalm and its context.

The singing of the psalms in Israel's worship must have been highly organized and very impressive in view of these references to tunes, instruments and guilds. The Psalter is truly the hymn book of Israel.

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UNDERSTANDING THE SUPERSCRIPTIONS OF THE PSALMS€¦ · Web viewII Chronicles 30:22 and Nehemiah 8:8,13 shows that this word is employed of one who can give understanding of God’s