Moreh Mystery

8/9/2019 Moreh Mystery

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MUSIC

do to-dzy, in order to produce a high tvemoZo. Ina

similar representation of an Egyptian band, we notea large standing harp, a lyre, a lute, an oblique shoulderharp, and a double flute, all played by women; and onlyone woman clapping her hands (fig. 26). Th e Assyrianband is marching to greet t he victorious monarch ; but

MUSIC

band of prophets) and Is. 512 (at table). Although thecombination of flutes and strings is mentioned onlyrarely in the OT . there is no reason to think that it wasunusual: We must suppose that nearly all theperformers in these Assyrian and Egyptian representa-tions are singing and accompanying themselves (exceptofcourse the flute-players), a fact which the artist didnot represent except in the case of one member of theAssyrian full band. The use of trumpets with otherinstruments does not appear until quite late ( z Ch. 5I Z ~2028 29268) ) .and then they were employed only in thepauses of the song.

It is of course impossible to state anything definiteregarding the origin of the music of the Hebrew-s.la. Develop- According to their own tradition, in-

strumental music was invented by Jubal

Hebrew music. (see CAINITES , 11), who was thefather of all such as handle the lyre

and the double flute (or pan's-pipe) : all who played onstringed and wind instruments (Gen. 421). In earlytimes such instrumental music as there was-songsaccompanied by the hand-drum, flute, or simple formof lyre-was probably purely secular , used as it is to-day among the Bedouins at pastoral merry -makings( F n . 3127 Job211z). The Hebrew, like all otherprimitive music, stood in the closest relation to poetry,as may be inferred from the mention of musical accom-

paniment to s ong (Ex. 1520 I S.186). It was usedextensively at festivities, but does not escape the severecondemnation of the prophets (Am.65 Is.512). Inthe Greek period the popularity of secular music appearsto have greatly increased (Ecclus. 324-6) , nor can thisbe unconnected with the Hellenising movement among

merit of

the Jews. According to Josephus , however (Ant.

xv. 1), it was Herod the Great who first introducedGreek songs accompanied by instruments.Ofthe music in use a t Canaanitish shrines we know

absolutely nothing. Without some notion of that, how-ever, we cannot continue to speak positively as to that

drums, and cymbals, augmented by instruments forshaking. Th e accompanying illustration (fig.24)of an Assyrian quartet of two lyres, a drum, andcymbals should be compared here. On a relief of an

ments with wind and percussion ; but in both instancesthe only wind instrument is the double flute. Analogousto these combinations are the harp, timbrel, flute, andlyre (nZbel, hph, & E M , and Kinnor) of I Sam. 105 (a

FIG. =+-Assyrian Quartet. From SBOT(Eng.)Psalms.Assyrian orchestra (fig. 25). da ting from the time of

Ah-ban i -pa l (668-626 B.C.) , there are seven portableharps, one dulcimer, two double flutes, and a drum,all played by men, but accompanied by women andchildren clapping bands to mark time. One woman isevidently singing in a very shrill tone, as she is com-pressing her throat with her hand just asOriental women

and another in which Greek influence profoundly modi-fied the earlier system (see PSALMS[BOOK], g, ii. ).All that we are concerned to maintain here is that thedevelopment was continuous. We may conjecture that


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