¹ sn Both Moses and Aaron came from this line (6:16-20). During the Hebrew monarchy this branch of the line of Levi was exemplary in music (1 Chr 6:33-48). They were also helpful to Hezekiah in his reforms (1 Chr 29:12-14).

¹ tn Or “in charge of the singing,” i.e., was the director or conductor of music. The difficulties are: 1) the meaning of “lifting up,” 2) where to supply the verb “to be,” 3) choosing which elements of context to rely on. 1) The verb נָשָׂא (nasaʾ; “to lift, carry”) can mean to carry a load, but is also used in many idiomatic expressions, including to “raise” the voice. The noun מַשָּׂא (massaʾ) most often means a load or a prophetic announcement. DCH, a recent major dictionary, includes “perhaps music” under מַשָּׂא I, while noting that מַשָּׂא II is used at Qumran specifically as an “utterance or praise.” So מַשָּׂא likely refers either to carrying [the ark of the covenant] or to raising the voice/sound (קוֹל; qol) [of music]. A third possibility is that the expression is a technical term, a shorthand for the raising of hands in the conducting of music. 2) As a noun clause, the verb “to be” must be understood at some point, either “Kenaniah was leader of the Levites in [the] lifting up, an instructor in lifting up” or “Kenaniah, leader of the Levites in [the] lifting up, was an instructor in lifting up. 3) There are a four primary contextual considerations. A) Chapter 15 is about transporting the ark; verse 2 (but not 12-13) uses the root נָשָׂא (nasaʾ). B) Identifying what transporting activity Kenaniah would be trained/wise in and instructor of. They were no longer moving the tabernacle from place to place. C) Verse 16 appears to set the agenda for vss 19-22; it identifies musical instruments that Levites are appointed to in 19-21. Verse 16 last lists “causing the voice/sound (קוֹל; qol) to rise with joy.” The Hebrew root is רוּם (rum; “to be/make high”) not נָשָׂא, but this may only be due to the Hiphil stem. נָשָׂא is a very common verb but only occurs twice in the Hiphil, possibly due to a preference to switch verbs for the causative concept. D) A Kenaniah mentioned in 1 Chr 26:29 is in charge of external responsibilities, officers and judges. If this is the same Kenaniah, that would represent a significant change in responsibilities for an instructor of musical conducting, but may embrace oversight of transportation.

¹ tn The Hebrew text adds עַל שִׁגְיֹנוֹת (ʿal shigyonot, “upon [or, “according to”] shigyonot”). The meaning of this word is uncertain. It may refer to the literary genre of the prayer or to the musical style to be employed when it is sung. The NEB leaves the term untranslated; several other modern English versions transliterate the term into English, sometimes with explanatory notes (NASB, NRSV “according to Shigionoth”; NIV “On shigyonoth”).

¹ tn The meaning of Aramaic דַּחֲוָה (dakhavah) is a crux interpretum. Suggestions include “music,” “dancing girls,” “concubines,” “table,” “food”—all of which are uncertain. The translation employed here, suggested by earlier scholars, is deliberately vague. A number of recent English versions follow a similar approach with “entertainment” (e.g., NASB, NIV, NCV, TEV, CEV, NLT). On this word see further, HALOT 1849-50 s.v.; E. Vogt, Lexicon linguae aramaicae, 37.

³ tn Or “praise.” The antithetical parallelism between “rebuke” (גַּעֲרַת, gaʿarat) and “song” (שִׁיר, shir) suggests that the latter is figurative (metonymy of association) for praise/flattery which is “music” to the ears: “praise of fools” (NEB, NJPS) and “flattery of fools” (Douay). However, the collocation of “song” (שִׁיר) in 7:5 with “laughter” (שְׂחֹק, s^ekhoq) in 7:6 suggests simply frivolous merrymaking: “song of fools” (KJV, NASB, NIV, ASV, RSV, NRSV).

² tn The precise meaning of the Hebrew term שִׁגָּיוֹן (shiggayon; translated here “musical composition”) is uncertain. Some derive the noun from the verbal root שָׁגָה (shagah, “swerve, reel”) and understand it as referring to a “wild, passionate song, with rapid changes of rhythm” (see BDB 993 s.v. שִׁגָּיוֹן). But this proposal is purely speculative. The only other appearance of the noun is in Hab 3:1, where it occurs in the plural.

³ tn Heb “song.” The noun שִׁיר (shir) may refer to a musical song that was sung (Exod 15:1; Num 21:17; Ps 33:3; Isa 42:10) or a poetic composition that was simply read (Deut 31:19, 21, 22; 30; 32:44) (BDB 1010 s.v. שׁיר). Several factors suggest that the Song of Songs was poetry to be read and enjoyed rather than sung: (a) its sheer length, (b) absence of musical notations or instrumental instructions, (c) testimony of Jewish tradition and interpretation, (d) lack of evidence of its musical performance in the history of Israel, and (e) comparison with ancient Egyptian love poetry. The term שִׁיר here probably refers to love poetry (e.g., Isa 5:1) (BDB 1010 s.v. 1; W. L. Holladay, Concise Hebrew and Aramaic Lexicon, 368). The Song appears to be a collection of individual love songs rather than a single multistanza poem. For comparison of the Song of Songs with ancient Egyptian loves songs, see M. V. Fox, The Song of Songs and the Ancient Egyptian Love Songs, and J. B. White, Language of Love in the Song of Songs and Ancient Egyptian Poetry (SBLDS).

¹ sn The word zither (Aramaic קִיתָרוֹס [qitaros]), and the words for harp (Aramaic פְּסַנְתֵּרִין [p^esanterin]) and pipes (Aramaic סוּמְפֹּנְיָה [sumpon^eyah]), are of Greek derivation. Though much has been made of this in terms of suggesting a date in the Hellenistic period for the writing of the book, it is not surprising that a few Greek cultural terms, all of them the names of musical instruments, should appear in this book. As a number of scholars have pointed out, the bigger surprise (if, in fact, the book is to be dated to the Hellenistic period) may be that there are so few Greek loanwords in Daniel.

¹ tn Heb “and they were praising the Lord day by day, the Levites and the priests with instruments of strength to the Lord.” The phrase בִּכְלֵי־עֹז (bikhle ʿoz, “with instruments of strength”) might refer to loud sounding musical instruments (NASB “with loud instruments”; NEB “with unrestrained fervour”). The present translation assumes an emendation to בְּכָל־עֹז (b^ekhol ʿoz, “with all strength”); see 1 Chr 13:8, as well as HALOT 805 s.v. I עֹז and BDB 739 s.v. עֹז).

³ tn In the Hebrew text the psalm ends with the words עַל־מוּת (ʿal-mut, “upon [unto?] dying”), which make little, if any, sense. M. Dahood (Psalms [AB], 1:293) proposes an otherwise unattested plural form עֹלָמוֹת (ʿolamot; from עוֹלָם, ʿolam, “eternity”). This would provide a nice parallel to עוֹלָם וָעֶד (ʿolam vaʿed, “forever”) in the preceding line, but elsewhere the plural of עוֹלָם appears as עֹלָמִים (ʿolamim). It is preferable to understand the phrase as a musical direction of some sort (see עַל־מוּת [ʿal-mut] in the superscription of Ps 9) or to emend the text to עַל־עֲלָמוֹת (ʿal ʿalamot, “according to the alamoth style”; see the heading of Ps 46). In either case it should be understood as belonging with the superscription of the following psalm.

³ sn The instructions are not clearly spelled out here. But the trumpets were to be made of silver ingots beaten out into a sheet of silver and then bent to form a trumpet. There is archaeological evidence of silver smelting as early as 3000 b.c. Making silver trumpets would have been a fairly easy thing for the Israelites to do. The trumpet would have been straight, with a tapered form, very unlike the “ram’s horn” (שׁוֹפָר, shofar). The trumpets were used by the priests in Israel from the outset, but later were used more widely. The sound would be sharp and piercing, but limited in scope to a few notes. See further C. Sachs, The History of Musical Instruments.

¹ sn Eph 5:19-21. In Eph 5:18 the author gives the command to be filled by means of the Holy Spirit. In 5:19-21 there follows five participles: (1) speaking; (2) singing; (3) making music; (4) giving thanks; (5) submitting. These participles have been variously interpreted, but perhaps the two most likely interpretations are (1) the participles indicate the means by which one is filled by the Spirit; (2) the participles indicate the result of being filled by the Spirit. The fact that the participles are present tense and follow the command (i.e., “be filled”) would tend to support both of these options. But it seems out of Paul’s character to reduce the filling of the Spirit to a formula of some kind. To the extent that this is true, it is unlikely then that the author is here stating the means for being filled by the Spirit. Because it is in keeping with Pauline theology and has good grammatical support, it is better to take the participles as indicating certain results of being filled by the Spirit. See ExSyn 639.

⁵ tn The exact meaning of this Hebrew verb is uncertain. The exact connotation of the verb הָמוּ (hamu) in 5:4 is debated. The verb הָמָה (hamah, “to murmur, growl, roar, be boisterous”) is related to the noun הָמוֹן (hamon, “sound, murmur, roar, noisy crowd”), הֶמְיָה (hemyah, “sound, music”), and perhaps even הָמֻלָה (hamulah, “noise, noisy crowd, crowd”). The Hebrew root המה is related to Aramaic המא (“to roar; to be agitated”). The Hebrew verb הָמָה has a basic two-fold range of meanings: (1) literal: “to make a noise” of some kind and (2) figurative: “to be in commotion, uproar” (e.g., often associated with noise or a noisy crowd). The lexicons suggest six distinct categories: (1) “to make a noise” or “to be in commotion,” particularly by a tumultuous crowd (1 Kgs 1:41; Pss 39:7; 46:7; Prov 1:21; Is 22:2; Mic 2:12); (2) “to roar,” of the sea and sea-waves (Isa 17:12; 51:15; Jer 5:22; 6:23; 31:35; 50:42; 51:55; Ps 46:4); (3) “to make a sound,” e.g., bear growling (Isa 59:11), dog barking (Ps 59:7, 15), bird chirping (Ps 102:8), dove cooing (Ezek 7:16); (4) “to moan,” (Pss 39:7; 55:18; Prov 1:21; Lam 2:18; Ezek 7:16; Zech 9:15); (5) “to be turbulent, boisterous” (Prov 7:11; 9:13; 20:1; Zech 9:5); and (6) figuratively of the internal organs: “to murmur, be restless, be turbulent,” used in reference to pity (Isa 16:11; Jer 4:19; 31:20; 48:36), discouragement (Pss 42:6, 12 HT [42:5, 11 ET]; 43:5), and murmuring in prayer (Pss 55:18; 77:4) (HALOT 250 s.v. המה; BDB 242 s.v. הָמָה). HALOT suggests “to be turbulent” for Song 5:4 (HALOT 250 s.v. 4), while BDB suggests “the thrill of deep-felt compassion or sympathy” (BDB 242 s.v. 2). Commentators offer a spectrum of opinions from the Beloved feeling agitation, pity, compassion, sexual arousal, or a revival of her love for him. A survey of the translations reveals the same lack of consensus: “my bowels were moved for him” (KJV), “my bowels stirred within me” (NEB), “my heart was thrilled within me” (RSV), “I trembled to the core of my being” (JB), “my heart trembled within me” (NAB), “my heart was stirred for him” (JPS, NJPS), “my feelings were aroused for him” (NASB), and “my heart began to pound for him” (NIV). While the precise meaning may never be agreed upon, whatever she was feeling she roused herself from her indifferent apathetic inactivity to arise and open for her beloved in 5:5. The phrase is used similarly elsewhere in OT, rousing the subject to irresistible action (Jer 4:19). The simplest course of action is to nuance this term metonymically (cause for effect), e.g., “my feelings were stirred up for him.”

¹ tn The verb תָּפַשׂ (taphas) means “to sieze, grab.” In all other examples this action is done against another person’s will, as in being captured, arrested, attacked, or grabbed with insistence (e.g. 1 Sam 23:26; 1 Kgs 13:4; 18:40; 2 Kgs 14:13; 25:6; Isa 3:6; Jer 26:8; 34:3; 37:13; 52:9; Ps 71:11; 2 Chr 25:23.) So it may be that the man is forcing himself on her, which is what leads the NIV to translate the next verb as “rape,” although it is a neutral euphemism for sexual relations. However, this is the only case where the object of תָּפַשׂ is a woman and the verb also also refers to holding or handling objects such as musical instruments, weapons, or scrolls. So it possible that it has a specialized, but otherwise unattested nuance regarding sexual or romantic relations, as is true of other expressions. Several contextual clues point away from rape and toward a consensual relationship. (1) The verb which seems to express force is different from the verb of force in the rape case in v. 25. (2) The context distinguishes consequences based on whether the girl cried out, an expression of protest and a basis for distinguishing consent or force. But this case law does not mention her outcry which would have clarified a forcible act. While part of what is unique in this case is that the girl is not engaged, it is reasonable to expect the issue of consent to continue to apply. (3) The penalty is less than that of a man who slanders his new wife and certainly less than the sentence for rape. (4) The expression “and they are discovered” at the end of v. 28 uses the same wording as the expression in v. 22 which involves a consensual act. (5) Although from a separate context, the account of the rape of Dinah seems to express the Pentateuch’s negative attitude toward forcible rape, not in advocating for Simeon and Levi’s actions, but in the condemnation included in the line Gen 34:7 “because he has done a disgraceful thing in Israel.” This is very like the indictment in v. 21 against the consenting woman, “because she has done a disgraceful thing in Israel.” (6) The penalty of not being allowed to divorce her sounds like v. 19, where the man is punished for disgracing his wife unfairly. His attempted divorce fails and he must provide for her thereafter (the probable point of not being allowed to divorce her.) Here too, if his holding her is not forced, but instead he has seduced her, he is not allowed to claim that his new wife is not pure (since he is the culprit) and so he must take responsibility for her, cannot divorce her, and must provide for her as a husband thereafter.

⁴ tn The meaning of the superlative construction שִׁדָּה וְשִׁדּוֹת (shiddah v^eshiddot) is uncertain because the term שִׁדָּה (shiddah) occurs only here in the OT. There are four basic approaches to the phrase: (1) Most scholars suggest that it refers to a royal harem and that it is in apposition to “the sensual delights of man” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם, v^etaʿanugot b^ene haʾadam). There are four variations of this approach: (a) There is a possible connection to the Ugaritic sht “mistress, lady” and the Arabic sitt “lady” (HALOT 1420 s.v. שִׁדָּה). (b) German scholars relate it to Assyrian sadadu “love” (Delitzsch, Konig, Wildeboer, Siegfried); however, BDB questions this connection (BDB 994 s.v. שׁדה). (c) Ibn Ezra relates it to II שַׁד (shad) “plunder; spoil” or שׁדה “[women] taken by violence,” and suggests that it refers to the occupants of the royal harem. (d) BDB connects it to the Hebrew noun I שַׁד (shad, “breast”; e.g., Isa 28:9; Ezek 16:7; 23:3, 21, 34; Hos 2:4; 9:14; Song 1:13; 4:5; 7:4, 8, 9; 8:1, 8, 10; Job 3:12) adding that שׁדה is related to the cognate Arabic and Aramaic roots meaning “breast” (BDB 994 s.v.). This would be a synecdoche of part (i.e., breast) for the whole (i.e., woman), similar to the idiom “one womb, two wombs” (רַחַם רַחֲמָתַיִם, rakham rakhamatayim) where “womb” = woman (Judg 5:30). This is the approach taken by most English versions: “many concubines” (NASB, RSV, NRSV), “a wife and wives” (YLT), “mistresses galore” (MLB), “many a mistress” (Moffatt), and “a harem” (NIV). This is the approach suggested by the Hebrew Old Testament Text Project: “une femme et des femmes” = one or two women (e.g., Judg 5:30); see D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:566. (2) The NJPS connects it to the Mishnaic Hebrew noun שִׁדָּה which became שִׁידָּה (“a strong box, chest”; Jastrow 1558 s.v. שִׁידָּה) and renders the phrase “coffers and coffers of them” in apposition to the phrase “the luxuries of commoners” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (3) KJV and ASV take the phrase in apposition to “male and female singers” and translate it as “musical instruments.” However, there is no known Hebrew term that would justify this approach. (4) The LXX related the term to the Aramaic root שׁדא (“to pour out [wine]”) and rendered the phrase as οἰνοχόον καὶ οἰνοχόας (oinochoon kai oinochoas), “a male-butler and female cupbearers.” Aquila took a similar approach: κυλίκιον καὶ κυλίκια (kulikion kai kulikia), “wine cups and wine vessels.” This is reflected in the Vulgate and Douay: “cups and vessels to serve to pour out wine.” Although the semantic meaning of the term שִׁדָּה וְשִׁדּוֹת (“a breast and breasts”) is uncertain, the grammatical/syntactical form of the phrase is straightforward: (1) It is in apposition to the preceding line, “the delights of the son of men” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (2) The phrase is a superlative construction. When the second word is plural and it follows a noun from the same root which is singular, it indicates the best or most outstanding example of the person or thing so described. In addition to the Judg 5:30 parallel cited above, see the expression “a generation, generations” in Pss 72:5; 102:25; Isa 51:8. Unlike, Eccl 2:8, this juxtapositioning of the singular and plural to express the superlative usually involves a construct form. See קֹדֶשׁ הַקֳּדָשִׁים (qodesh haqqodashim, “the holy of holies,” i.e., the most holy place”; Exod 26:33), שִׁיר הַשִּׁירִים (shir hashirim, “the song of songs,” i.e., “the most excellent song”; Song 1:1), אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הַאֲדֹנִים (ʾelohe haʾelohim vaʾadone haʾadonim, “the God of gods and Lord of lords,” i.e., “the Highest God and the Supreme Lord”; Deut 10:17), and עֶבֶד עֲבָדִים (ʿeved ʿavadim, “a slave of slaves,” i.e., “the most abject slave”; Gen 9:25). See GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 17-18, §80; IBHS 154 §9.5.3j. If the semantic meaning of the terms שִׁדָּה וְשִׁדּוֹת denotes “a breast (among) breasts” or “a lady (among) ladies” (Eccl 2:8, but see the previous note on the phrase “a man’s sensual delights”), the superlative construction may connote “the most beautiful breasts” (metonymy of part for the whole) or “the most beautiful woman.” This might refer to a harem of concubines or to one woman (the wife of the king?) who was the most beautiful woman in the land.