Music was an important element of both temple and synagogue worship. Undoubtedly this music and its forms influenced the form and use of music in the early Christian church. Both Jews and Christians revere a transcendent God and both give honor to Scripture. For these reasons and others, Jewish synagogue worship and modern Christian services are similar in content and spirit.
Through almost three thousand years of Hebrew/Christian history, music has been inseparable from worship, and the Bible contains much of our early heritage of worship song. The Psalms come from many periods of the ancient Jewish culture, and they were augmented by canticles that date back to Israel’s deliverance from Egypt.
Synagogue worship probably developed among the Jews as a result of their dispersion in the fifth century before Christ. With its emphasis on the reading and explanation of Scripture, prayers, and the singing of psalms and canticles, it was very significant in the framing of early Christian worship. Music in the synagogue was led by cantors—soloists who may have been trained in the temple Levitical ministry—and included some congregational participation.
The New Testament era began with the canticles surrounding Christ’s birth, recorded in the Gospel of St. Luke. The new faith and its expression were supported with several types of music—“psalms and hymns and spiritual songs” according to the apostle Paul. The epistles do contain some general principles: the Scriptures were to be read and the gospel was to be preached, certain types of prayer were encouraged, and believers were expected to celebrate the Eucharist or Communion.
The Early Traditions
The first biblical reference to musical experience is a narrative of musical thanksgiving, led by Moses and his sister Miriam after the Israelites had been delivered from the Egyptians: Then Moses and the Israelites sang this song to the Lord: “I will sing to the Lord, for he is highly exalted. The horse and its rider he has hurled into the sea.… ” Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: “Sing to the Lord, for he is highly exalted. The horse and its rider he has hurled into the sea” (Exod. 15:1, 20–21).
This performance was both instrumental and vocal, involved both men and women, and was accompanied by expressive movement. The song was a prototype of the expressions of praise to God that are found throughout the Old Testament, particularly in the Psalms.
Erik Routley has reminded us that there are two musical worship traditions in the Old Testament: one was spontaneous and ecstatic, the other formal and professional (Church Music and the Christian Faith, p. 6). The first of these is mentioned as part of Saul’s preparation to become king of Israel; the prophet Samuel was giving the instructions:
After that you will go to Gibeah of God … as you approach the town, you will meet a procession of prophets coming down from the high place with lyres, tambourines, flutes, and harps being played before them, and they will be prophesying. The Spirit of the Lord will come upon you in power, and you will prophesy with them, and you will be changed into a different person. (1 Sam. 10:5–6)
In this early period, music was apparently expected to assist the worshiper’s experience of God. The same idea is expressed in connection with an occasion when the Prophet Elisha foretold God’s judgment: “But now bring me a harpist.” While the harpist was playing the hand of the Lord came upon Elijah and said, “This is what the Lord says” (2 Kings 3:15–16). The expectation that music can affect human behavior (ethos) was common in Scripture times and has persisted through history. The Bible also records an early use of music in therapy: whenever the spirit from God came upon Saul, David would take his harp and play. Then relief would come to Saul; he would feel better, and the evil spirit would leave him (see 1 Samuel 16:23).
Music in the Temple
The second Old Testament musical tradition—the music for the temple—was formal and professional, and was initiated by Israel’s shepherd-king who was himself a musician and hymn composer: David told the leaders of the Levites to appoint their brothers as singers to sing joyful songs, accompanied by musical instruments: lyres, harps, and cymbals (1 Chron. 15:16).
As priest-musicians, these performers gave full time to their musical service. They were chosen on the basis of their talent (1 Chron. 15:22) and were thoroughly trained, serving five years of apprenticeship before being admitted to the regular chorus. The Jewish choir was organized under at least three composer-conductors—Asaph, Herman, and Jeduthun (2 Chron. 5:12). The singing was accompanied by many kinds of instruments—lyres, pipes, harps, trumpets, and cymbals—and was also associated with dance (Ps. 150:4).
The Musical Sound
In ancient Hebrew worship, the words of Scripture were never spoken without melody; to do so was considered to be inappropriate. They were always sung in a fervent cantillation. (“Shout to God with loud songs of joy!” Ps. 47:1). They were accompanied by instruments in what is believed to have been a sort of heterophony, in which the instruments provided embellishments of the vocal melody. As in most early cultures, Hebrew instruments were of three basic types:
- String—kinnor (“lyre,” related to the Greeks’ kithara) and nebhel (“harp” with up to ten strings, sometimes called “psaltery” in kjv).
- Wind—shophar (a ram’s horn), halil (a double-reed, like the oboe), hazozerah (a metal trumpet), and ugabh (a vertical flute, used mainly in secular music).
- Percussion—toph (tambourine, or hand drum), zelzelim (cymbals), and mena an im (a sistrum). (See The New Oxford History of Music, vol. 1, 295–296, and footnoted references.)
In Old Testament worship antiphonal singing was probably the norm, as evidenced by the fact that many of the Psalms are couched in a responsorial pattern. In modern liturgical church practice, each verse is divided into a versicle and response.
V: God be merciful unto us, and bless us;
R: And cause his face to shine upon us. (Psalm 67:1, KJV)
V: O give thanks unto the Lord; for he is good:
R: For his mercy endureth for ever. (Psalms 136:1, KJV)
It is natural for us to try to guess what this ancient music sounded like. Some Jewish worship musicians insist that they still retain much of the original character of their chants, even though they may have been originally preserved only by oral tradition. Recent musicologists have reasoned that the early Christian chant styles were patterned after Jewish antecedents. It is probable that certain traditions in the Byzantine chant of the Greek, Antiochian, and Palestinian churches carry some remnants of the original sounds. Eric Werner says that all the foremost authorities (Curt Sachs, A. Z. Idelsohn, and R. Lachman) agree that the chants were based on four-note (tetra-chordal) melodic motives, and that “the archetype of chant was similar to ancient Gregorian tunes, which means that they were based upon small melodic patterns of a rather narrow range, usually not exceeding a fourth or a fifth” (Eric Werner, Jewish Music, 623).
Within the last few years, French musician and scholar Suzanne Haik Vantoura released the results of her four years of research in the book La Musique de la Bible Revelee (The Music of the Bible Revealed). She is convinced that mysterious signs scattered throughout the Hebrew scriptures, both above and below the letters, are actually a system of musical notation, and not punctuation or accent marks as has been traditionally believed. Furthermore, she has reduced these signs to a system of notation, and has transcribed and recorded the melodies for approximately three hours of Bible music.
Werner also describes the musical performance in the Jews’ Second Temple: The morning sacrifice was accompanied by three trumpet blasts; the cymbals clashed, signaling the beginning of the Levitical chant. At the end of each portion the trumpets joined the singing to indicate to the congregation the moment when they were to prostrate themselves. Every song was probably divided into three portions. (Werner, 623)
Most scholars agree that music in the temple was almost completely professional and sacerdotal (performed by priests). The Jewish people participated principally as listeners. It is reasoned that they may have frequently joined in the traditional responses “amen” and “alleluia,” and possibly in an antiphonal refrain like “for his steadfast loves endures for ever” (Ps. 136).
The book of Psalms has been called the “hymnal of Israel.” The Psalms were sung in regular sequences following the morning and evening sacrifice on specified days of the week and were accompanied by instruments that occasionally indulged in an interlude indicated by the word Selah.
Psalms offered specific types of worship expression:
- Praise: For it is good to sing praises to our God; for he is gracious, and a song of praise is seemly (Ps. 147:1).
- Petition: Give ear, O Shepherd of Israel, thou who leadest Joseph like a flock! Thou who art enthroned upon the cherubim, shine forth before Ephraim and Benjamin and Manasseh! Stir up thy might, and come to save us! (Ps. 80:1–2).
- Thanksgiving: I love the Lord, because he has heard my voice and my supplications (Ps. 116:1).
There were special psalms associated with festival occasions—royal psalms to honor the kings (e.g., 21, 45, 101), processional psalms (e.g., 24, 95, 100), and penitential psalms for periods of national repentance (e.g., 130). The “Egyptian Kings” Psalms (113–118) were very significant in the observance of the Passover and other times of national penitence.
There were at least four different modes of presentation:
1. A simple psalm (e.g., 46:1), sung by one person alone.
2. A responsive psalm (e.g., 67:1, 2), in which a choir answers the solo chant.
3. An antiphonal psalm, with several lines beginning or ending with the same phrase (e.g., 103:1, 2, 20–22), sung by two choirs in alternation.
4. A litany (e.g., 80:2, 3, 6, 7, 18, 19), which included a repeated refrain (Werner, 621–623).
Eric Werner also gives four design types: (Eric Werner, The Sacred Bridge, p. 133.)
1. The plain, direct psalm—no strophic arrangement.
2. The acrostic psalm—phrases in alphabetical sequence (e.g., 119).
3. The refrain psalm—each verse ending with the same refrain (e.g., 136).
4. The Hallelujah psalm—begins or closes with the ecstatic exclamation (e.g., 145–150).
In addition to the Psalms, a number of important biblical canticles were used regularly by the Hebrews in worship, and have been carried over into many Christian traditions as well. These are the best known:
1. Moses’ (and Miriam’s) song of victory over Pharaoh (Exod. 15).
2. Moses’ prayer before his death (Deut. 32).
3. The song of Hannah (1 Sam. 2), a prototype of Mary’s song in Luke 1:46–55.
4. The song of Habakkuk (Hab. 2).
5. Isaiah’s song (Isa. 26).
6. The prayer of Jonah in the fish’s belly (Jonah 2).
7. The prayer of Azariah—Benedictus es, Domine (Daniel 3, Douay version; Vulg., 3:26–49, Apocrypha).
8. The song of the three Hebrew children in the furnace—Benedicite omnia opera Domini (Dan. 3, Douay version; Vulg. 3:52–90, Apocrypha).
Worship and the Calendar
Historic Jewish worship acknowledged that God is the Lord of times and seasons in the ebb and flow of life. The sacrifices were observed in both the morning and evening every day in the tabernacle and later, in the temple. In addition, the Jewish family regularly offered prayers at home at stated hours and at mealtime. The Sabbath was a time for more exacting expressions of worship; it commemorated God’s rest from the acts of creation and was observed in obedience to his command. Finally, there were times of intensely celebrative or penitential worship: Passover, to commemorate their deliverance from Egypt; the Day of Atonement, at the beginning of the New Year; Pentecost, associated with the giving of the Law, at the corn harvest; and the Feast of Booths (tabernacles) as “harvest home.” As we will see later, most of these practices based on the calendar have been fulfilled in Christ and transformed into Christian worship.
Worship Music and the Experience of God
The Hebrews shared richly symbolic worship that appealed strongly to the senses. The music which accompanied the sacrifices was a conspicuous part of the sensory experience. Musical sound revealed the presence of God, as evidenced in the accounts of the ecstatic moments of Saul and Elisha, and also in the requirement that song-chant would always be the vehicle of the holy scriptures.
One occasion when God was pleased to reveal his presence through musical performance was the dedication of Solomon’s temple: Now when the priests came out of the holy place (for all the priests who were present had sacrificed themselves, without regard to their divisions; and all the Levitical singers, Asaph, Heman, and Jeduthun, their sons and kinsmen, arrayed in fine linen, with cymbals, harps, and lyres, stood east of the altar with a hundred and twenty priests who were trumpeters; and it was the duty of the trumpeters and singers to make themselves heard in unison in praise and thanksgiving to the Lord), and when the song was raised, with trumpets and cymbals and other musical instruments, in praise to the Lord, “For he is good, for his steadfast love endures for ever,” the house, the house of the Lord, was filled with a cloud, so that the priests could not stand to minister because of the cloud; for the glory of the Lord filled the house of God (2 Chron. 5:11–14).
Worship in the Synagogue and the Jewish Home
The tradition of synagogue worship is of uncertain origin. Some scholars surmise that Jewish laypersons gathered in remote parts of Palestine at the time of the regular sacrifices in the temple at Jerusalem; others guess that the practice may have begun among Jews who were captives in other lands. Because the traditional sacrifices could only be offered in the temple, “sacrifices of praise and prayer” were substituted for offerings of animals and grain. Synagogue worship was in full flower during the lifetime of Jesus and the early days of the Christian church. It is not surprising then that early Jewish Christians modeled their worship partly on what they had experienced in the synagogue.
Synagogue worship was essentially a Service of the Word; it centered on the ceremonial reading of the Scripture, especially the Torah and the prophets, followed by an explanation of their meaning in a homily. It should be understood that the synagogue service was essentially congregational; though the position of the rabbi (teacher) developed in its context, it was essentially a meeting of laypersons, who probably participated in the prayers, and also in the free discussion which might follow the Scripture lection (see Acts 17:17).
These then are the component parts of synagogue worship, most of which have come down to us from the earliest traditions.
- Scripture Readings (Torah; the Prophets)
- Homily, followed by discussion
- Psalmody
- The Kedusha, “Holy, Holy, Holy,” (Isa. 6:3)
- Prayers (The Yotzer and the Ahabah, emphasizing the creative acts of God and his love for his people, ending with the Shema—“Hear, O Israel; the Lord our God is one Lord,” etc., a declaration of faith and a glad benediction, from Deut. 6:4–9, 11:13–21; Numbers 15:37–41)
- The Eighteen Benedictions (expressions of praise, petitions for material and spiritual blessings, and intercessions for many people, concluded with a united “amen”)
It is not known when music entered synagogue worship, but it is surmised that certain Levitical singers may have continued to practice their art in the lay-oriented gathering. We do know that only one or two solo singers (cantors) were involved in a service. They chanted the Scripture readings, the Psalms, the post-biblical prayers (Benedictions), and, according to some scholars, certain “melismatic” songs which may have been similar both to the ecstatic music of earlier days and to the “spiritual songs” mentioned in Colossians 3:16 and Ephesians 5:19. The musical style must have been related to that of temple worship, though presumably no instruments were involved since they were associated only with animal sacrifices. It is also surmised that, in the congregational character of this gathering, all the worshipers joined in the psalms which they knew, and very frequently in a repeated refrain, a “Hallelujah” and an “amen.”
We make this latter assumption partly on the witness of Mark (14:26): “And when they had sung a hymn, they went out to the Mount of Olives.” On the occasion of the last supper of our Lord with his disciples, the hymn sung was possibly one of the “Egyptian Kings” Psalms (113–118), traditionally used in the observance of Passover. In the custom of a typical Jewish home, Jesus pronounced a blessing over a loaf of bread, broke it, and gave portions to all those around the table. Similarly, at the end of the meal, a Jewish host would take a cup of wine mixed with water, give thanks, and then pass it around for all to drink. So it was that at the Upper Room supper, Jesus transformed this traditional act of thanksgiving and made it new, instituting the Lord’s Supper, or Eucharist, which many Christians believe to be the most significant single act of worship. The full order of historic Christian liturgy was developed by uniting the pattern of Jewish synagogue worship with the Eucharist.
Modern Jewish services continue in synagogues, without significant change in the basic elements. (In the orthodox Jewish tradition, the singing is still largely cantoral and unaccompanied.) The feasts are still observed as in ancient times, with one significant addition: Hanukkah, “the festival of lights,” is celebrated in December to commemorate the rededication of the temple in the second-century b.c., following the victory over the Syrians under Antiochus IV. In connection with the cycle of annual worship centering in the festivals, a regular schedule of Scripture readings (the lectionary), psalms, and prayers was developed to support the emphasis of each season. (The close relationship between Jewish and early Christian activity in the developing of “propers” for daily worship is related in Werner, 50–101.)