The Book – Part two

The book of praises The Hebrew title of the Psalms is Sepher Tehillim, “Book of Praises.” Our English title comes from the LXX — the Greek Psalterion — “Book of Songs.” The Psalms are distinguished for their expressions of praise to Almighty God, and they represent the most sublime poetry. The Greek word psalmos and the Hebrew mizmor, used in the headings of many of the Psalms, indicate a poem sung to the accompaniment of stringed instruments. The Psalms were set to music and became part of the communal worship in Israel from the time of David. They have lifted the spirits of men and women of God in every generation since they were written.

The author

Many of the Psalms were written by David, while others were authored by Moses, Asaph, Solomon and Hezekiah. The compilation of the Psalms was begun by David himself and was probably completed by Hezekiah. The character of David is certainly revealed in his Psalms, and in reading them we learn why he was called “a man after God’s own heart.” There can be no better exercise for the “mind of the spirit” than in pondering the Psalms of David.

Structure

In some versions the Psalms are divided into five books, and this arrangement accords with the Hebrew text. David himself may have been responsible for the structure of the Psalms, though it is probable that King Hezekiah arranged the book in the form in which we now have it. The division of the Psalms into five books was likely intended to equate to the five books of Moses, the scriptures with which David and Hezekiah were familiar.

Superscription’s and subscriptions

Many of the Psalms have remarks which appear at the beginning. They often include musical direction and information as to author and setting. These notations are part of the Hebrew text. Some writers argue that in copying the Psalms the distinction between superscription’s (titles) and subscriptions (postscripts) was eventually confused. “The musical subscription of a given Psalm was [mistakenly] prefixed to the literary superscription of the Psalm immediately following it” (International Standard Bible Encyclopedia, Vol. IV, p.2488). Taking Habakkuk 3 as a model, we see that the superscription is a literary notation or title and the subscription is a musical reference. The title is thus, “A Prayer of Habakkuk the prophet upon Shigionoth,” and the end notation is, “For the Chief Musician, on my stringed instruments.” The prayer of Hezekiah in Isaiah 38:9-20 also follows this rule. It is likely, as J. W. Thirtle has suggested in The Titles of the Psalms that the Psalms were structured the same way. He feels the musical notation properly belongs to the preceding Psalm.

Titles of the Psalms

Many of the Psalms are simply titled “A Psalm of David.” Some add comments to indicate the event the Psalmist is recalling. Psalm 3, for instance, adds to the title, “when he fled from Absalom his son.” The seventh Psalm has this title: “Shiggaion of David, which he sang unto the LORD, concerning the words of Cush the Benjamite.” Shiggaion means “a loud cry,” and it reveals the intense feeling and the unreserved importunity of the Psalm.

Several Psalms are titled, “Michtam of David.” This expression seems to derive from the word for engrave -­some sources translate it “golden Psalm.” These Psalms are engraved on the heart; they are personal and direct. “I have set the LORD always before me: because He is at my right hand, I shall not be moved. Therefore my heart is glad, and my glory rejoiceth: my flesh shall rest in hope” (Psa. 16:8-9).

Psalm 32 has the title, “A Psalm of David, Maschil.” There are 13 of the Maschil Psalms; the term signifies “instruction.” And these Psalms provide just that — they give instruction to the chil­dren of God. “Blessed is he whose transgression is forgiven, whose sin is covered. Blessed is the man unto whom the LORD imputeth not iniquity” (Psa. 32:1-2).

Choral Psalms

Some Psalms are dedicated to “the Chief Musician.” Asaph conducted with cymbals and four of his sons were appointed to conduct detachments of the great chorus (II Chr. 5:12). The “Sons of Asaph,” along with the other courses of singers and musicians, continued to lead true worship in Israel.

The strange Hebrew terms we see at the end of various Psalms usually relate to the musical instruments that were to be used to accompany the singing. Nehiloth (end of Psa. 4), for instance, indicates “wind instruments” and Neginoth means “stringed instruments.” Sheminith seems to indicate male voices whereas Alamoth calls for female voices. The grandeur, beauty and diversity of the choral worship of Israel are indicated in the use of these various terms.

A new beginning

The use of singing with musical accompaniment did not originate with David. We are familiar with the “Song of Moses” and we recall the occasion when Miriam and the women sang with timbrels and dances as they gave praise to the Lord for Israel’s deliverance.

The foundation for Israel’s communal worship is laid in I Chronicles 16. It was the occasion of the bringing up of the ark of God. As it was placed in the tent David had prepared, burnt sacrifices and peace offerings were made. Asaph and the other musicians were there with psalteries and harps, cymbals and trumpets “continually before the ark of the covenant of God.” And there follows (vs. 8-36) a magnificent Psalm composed by David for the occasion.

Israel praises the Lord

David’s worship was uninhibited, as we learn from I Chronicles 15. His spirit of enthusiasm would have been infectious, and communal worship under his leadership was surely both lively and melodious. Looking at Psalm 98, we can envision the singers and musicians coming before the ark of God to lead the people in worship.

“0 sing unto the LORD a new song; for He hath done marvelous things…Make a joyful noise unto the LORD, all the earth: make a loud noise, and rejoice, and sing praise. [Crescendo] Let the sea roar, and the fullness thereof; the world and they that dwell therein. Let the floods clap their hands: let the hills be joyful together before the LORD; for He cometh to judge the earth: with right­eousness shall He judge the world, and the people with equity.”

In later times

Choral worship continued after David to be the centerpiece of Israel’s spiritual life, and the good kings encouraged it. The Levites, particularly the sons of Asaph, were assigned their roles in the services of praise, and they carried out their duties through many subsequent generations. They appear during the reigns of Solomon and Hezekiah, and they are still available to lead the people in praising God during the time of Ezra and Nehemiah.

When Solomon finished the house of the Lord and had brought in the ark of the covenant, there was a magnificent service of praise. “The Levities which were the singers, all of them of Asaph, of Heman, of Jeduthun, with their sons and their brethren, being arrayed in white linen, having cymbals and psalteries and harps, stood at the east end of the altar, and with them an hundred and twenty priests sounding with trumpets: It came even to pass, as the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the LORD, and they lifted up their voice with the trumpets and cymbals and instruments of music, and praised the LORD saying, Tor He is good; for His mercy endureth for ever” (II Chr. 5:11-13). The scene reoccurred when Hezekiah cleansed the temple. “And when the burnt offering began, the song of the LORD began also with the trumpets, and with the instruments ordained by David king of Israel. And all the congregation worshiped, and the singers sang, and the trumpeters sounded…Moreover Hezekiah the king and the princes commanded the Levities to sing praise unto the LORD with the words of David, and of Asaph the seer. And they sang praises with gladness, and they bowed their heads and worshiped” (II Chr. 29: 27-30).

Praise in Christ

The Hymn Book in Israel was the Book of Psalms, and so it was for the disciples of Christ. On the occasion of the last supper, they concluded with a hymn which was surely a Psalm. Psalms 115-118 were often sung at the end of the Passover meal, and the words of these Psalms would have been particularly appropriate. “The stone which the builders refused is become the head stone of the corner. It is the LORD’S doing; it is marvelous in our eyes.”

Sing to the Lord

It is fitting that the Christadelphian Hymn Book begins with a collection of the Psalms set to music. (Some Psalms also appear as anthems.) Our use of the Psalms in worship binds us to believers in all past ages. In singing them we should “sing praises with understanding” (Psa. 47).

Praise in the kingdom

Surely one of the greatest joys of the kingdom will be experienced in the music. The sound of immortal voices singing praises to our Heavenly Father will be more magnificent than we can imagine. We are quite sure, too, that the words of the Psalms will still find their place in the songs of the redeemed.