Definition of psalm - Merriam-Webster's Student Dictionary sälm Function: noun Etymology: Old English psealm "psalm," from Latin psalmus (same meaning), from Greek psalmos "psalm," literally, "twanging of a harp," from psallein "to pluck, play a stringed musical instrument" 1 : a sacred song or poem 2 capitalized : one of the hymns that make up the Old Testament Book of Psalms Word History The Greek word psallein originally meant "to pull" or "to pluck." It then came to be used with the meaning "to play a stringed musical instrument." From this verb came the noun psalmos, which literally meant "the twanging of a harp." Since harp music often accompanied singing, psalmos took on the meaning of "a song sung to harp music" and later simply "a song or poem." It was borrowed into Latin as psalmus and came into English as psalm.

Psalms, Making Melody And Instrumental Music | cofcnet Psalms, Making Melody And Instrumental Music A Study Of Ephesians 5:19 And Related Passages 1. The Basic Argument: Eph. 5:19 (Those who believe in the use of instrumental music in worship to God sometimes make two arguments based on this verse in defense of instrumental music. They are as follows.) A. Speaking To Yourselves In Psalms: It is alleged that the Greek noun psalmos, translated "psalms" means a song performed with musical accompaniment. Therefore, the New Testament authorizes the use of instrumental music in worship to God. B. Making Melody In Your Heart: The phrase "making melody" translates the Greek verb psallo. This is the word from which psalmos is derived. It is alleged that psallo means to pluck a stringed instrument. Therefore, the New Testament authorizes the use of instrumental music in worship to God.) 2. What These Words Mean: A. Lexicons: (The following lexical definitions of psalmos will reflect the original meaning of the term and how its meaning evolved through the years.

As with many words, its original, literal meaning and its later applications often differed. Thus, the question becomes not just what it meant originally, but what it means in 1 Cor. 14:15, Eph. 5:19, and Col. 3:16. Note below that Zodhiates speaks of the evolution of its meaning. Vincent contrasts its original signification with its use in the New Testament. The lexical definition of psallo will not be dealt with here since it is so similar to psalmos. Its meaning and usage is addressed in different places throughout this writing.) 1.) Strong's: #5568 "...A set piece of music, i.e. a sacred ode [accompanied with the voice, harp or other instruments; a 'psalm']; collectively the book of the Psalms..." 2.) Zodhiates': Lexical Aids To The New Testament, pg. 1769 "...Actually a touching, and then a touching of the harp or other stringed instruments with the finger or with the plectrum; later known as the instrument itself, and finally it became known as the song sung with the musical accompaniment.

This latest state of its meaning, 'psalm,' was adopted in the Septuagint. In all probability the psalms of Ephesians 5:19; Colossians 3:16 are the inspired psalms of the Hebrew Canon. The word certainly designates these on all other occasions when it occurs in the New Testament, with the one possible exception of I Corinthians 14:26..." 3.) Thayer's: Greek-English Lexicon Of The New Testament, pg. 675 "...a striking, twanging... a striking the chords of a musical instrument... hence a pious song, a psalm...one of the songs of the book of the Old Testament..." 4.) Vincent's: Word Studies Of The New Testament, Vol. III, pg. 269-270 "...The noun psalm (Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to this verb (psallo in 1 Cor. 14:15 DEM), is used in the New Testament of a religious song in general, having the character of an Old Testament psalm...

Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment... But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise." B. Root Meaning Vs. Context: (More needs to be said to establish that the meaning of a term changes and evolves through the years. Furthermore, we must illustrate where a term can take on a meaning in a given context that vastly differs from its original meaning.) 1.) Giveth: "Giveth" in 1 Pet. 4:11 (KJV) comes from a word which means; to be a chorus-leader, lead a chorus, to furnish the chorus at one's own expense, to procure and supply all things necessary to fit out the chorus.

In time, through the ordinary evolution of definitions, it come to mean; to supply, furnish abundantly. See Strong's #5524 in Strong's, Thayer's, etc. Obviously, the original meaning of the term doesn't fit the context of 1 Pet. 4:11. Thus we assign to it a later applied meaning. The same is true with psalmos in Eph. 5:19. The context must determine its meaning. 2.) Lyric: According to The Century Dictionary of 1889 as quoted by Bales in Instrumental Music And New Testament Worship, pg. 109, lyric meant, "Pertaining or adapted to the lyre or harp... among the ancients, poetry sung to the lyre; in modern usage, poetry composed for musical recitation." This illustrates not only that words change, but that a word once associated with an instrument finally became associated with a song accompanied by an instrument, and then to the words of a song, sung in a lyrical, poetic way with no necessary connection to any instrument. C. Translations: (Credible translations consistently translate psalmos and psallo in such a way that reflects singing.

If the meaning of these terms so obviously involves musical instruments, why aren't main line translations reflecting that? The hundreds of scholars that produced translations such as the KJV, NKJV, NIV, NASV, RSV, etc. reflect our conclusion, that psalmos and psallo do not necessitate instrumental music. To find a translation that does otherwise, you must leave the mainstream and use versions that take great liberties with scripture and frequently betray the original languages. 3. What Early Christians Understood "Psalms" To Mean: (When attempting to define a Bible term, it is helpful to see how people from that general time understood and used the term. The sources cited in this section were Christian writers in the late first, second, third, and early fourth century. If the use of instrumental music is inherent in psalmos, it should be reflected in their usage of that term. If, on the other hand, they apply it to the idea of vocal music, this is a strong indication psalmos was commonly understood to indicate a religious song performed by singing. A. Eusebius Pamphilus: Eusebius' Ecclesiastical History, pg.

213 (early fourth century) speaks of psalms and hymns as simply spiritual songs written by Christian brethren. No mention is made regarding these involving instrumental music in their performance. B. The Instructor: Ante-Nicene Fathers, Vol. II, pg. 249 (possibly late first, likely second century) says the psalm is a melodious and sober blessing. He says Paul called it a spiritual song. Like the other sources, this early writing regards a psalm as simply a religious song. Nothing is said about it necessitating or even involving a musical instrument. C. Tertulian Against Marcion: Ante-Nicene Fathers, Vol. III, pg. 468 (second and early third century) speaks of psalms and hymns being performed vocally while instruments characteristically accompanied drunkenness. This is not to say that instruments by their nature incur revelry. It simply shows that the exclusively vocal performance of psalms was contrasted with instrumental use in secular music. If the use of instruments was inherent in psalms, why did Tertulian place psalms as opposite with songs accompanied with instruments?

Furthermore, why did he depict psalms being performed vocally, not instrumentally? D. Tertulian To His Wife: Ante-Nicene Fathers, Vol. IV, pg. 48 (second and early third century) speaks of a husband and wife chanting (singing) psalms and hymns together. If instruments inhere in the performance of psalms, why do these early Christians consistently speak of psalms being vocally performed? Though there was a time (under Moses' law) that psalms were performed with instruments, these sources show that the usage of psalmos does not necessarily include or require instruments, especially in New Testament times. 4. Instruments Would Be Mandatory: (If it is true that instrumental music is inherent in psalmos and psallo, passages like Eph. 5:19 would not only allow instrumental music, they would require it! Are musical instruments mandatory when offering musical worship to God? Are the proponents of instrumental music consistent with this argument?) A. Sing Psalms: Jas. 5:13 (In this passage, the KJV translates psallo "sing psalms".

If the meanings of psallo and psalmos demand musical instruments, then we are required to play a musical instrument when we are happy. What of a person who cannot play? Is there no way such a one can express their joy in song? If psallo inheres instruments, that is precisely the case. If we can understand the term to indicate vocal music in Jas. 5:13, why can we not make the same application in Eph. 5:19? B. Commanded To All: Eph. 5:19 (The context of this passage applies to all Christians. All Christians are to abstain from drunkenness. All Christians are to be filled with the Spirit. All Christians are to sing. Since this context applies to all, whatever psalmos and psallo mean/require, they mean/require all to do. If they inhere musical instruments, all are required to use them. Anybody not using an instrument is not performing a psalm, they are not making melody. C. Consistency: Eph. 5:19, Col. 3:16 (If psalms in these verses mean a song accompanied with instruments, do advocates of instrumental music only use instruments when performing psalms?

Do they invariably perform hymns or spiritual songs without instruments? To do otherwise would contradict their contention that a psalm is a special kind of song to be performed with instruments.) 5. You Can Perform A Psalm Without An Instrument: (The information we have examined thus far indicates psalm does not necessarily include instrumental accompaniment. The lexicons testify to this fact. The dynamic nature of definitions testify to this fact. The contexts in which these terms are used prove this fact. We will now illustrate this fact through scriptural examples. We will examine cases where psalms were performed vocally, without musical instruments. This will prove beyond any reasonable doubt that psalmos and psallo do not necessarily involve or allow instruments of music. A. Quoted: Rom. 3:9-18 (This passage contains several quotations from Psalms. If psalms, by their nature are accompanied with music are we to understand Paul played a harp when he recited these passages? Of course not. Though this doesn't speak specifically to the issue of music, it does demonstrate that psalms can be recited without musical accompaniment. B. Read: Mt. 21:42 (Here Jesus quoted Ps.

118:22-23 and spoke of them reading the same. This was a psalm. Did he accompany it with musical instruments? Did they always accompany it with instruments when they read it? Once more, this doesn't speak specifically to the issue of music, but it does demonstrate that psalms can be recited without musical accompaniment, showing that instruments don't inhere in psalmos. C. Sang: Mt. 26:30 (This passage says Jesus and his disciples sang a hymn. The term "hymn" here refers to psalms of praise, especially Psalms 113-118. See Instrumental Music And New Testament Worship, pg. 62, and Vincent's Word Studies Of The New Testament, Vol. III, pg. 269-270. Note that Jesus and his disciples sang these psalms. The Bible doesn't say they played them. We read nothing of them being accompanied with musical instruments. The Bible simply says they sang these psalms. Did Jesus perform these psalms incorrectly? Do those who wish to use instruments of music understand better how to perform a psalm than Jesus? D.

Sang: Mk. 14:26 (This is the same instance as noted above. It shows another passage of scripture which depicts psalms being performed by singing, not playing.) E. Jerome: As quoted in Instrumental Music And New Testament Worship, pg. 64-65 "Whichever way you turn, the plowman holding the plow-handle is singing 'Hallelujah,' the sweating reaper diverts himself with psalms, the vine-dresser pruning the vine with his curved knife is singing something from David." These people had their hands full, yet they performed psalms. Since their hands were busy working they couldn't have accompanied the psalms with instrumental music. They sang these psalms without instrumental music. Though this is not a Bible example, it is valuable in helping us understand the meaning of psalm. Furthermore, it aids in proving that psalms did not necessarily include instrumental accompaniment. 6. How The New Testament Says To Perform Psalms: A. Speaking: Eph. 5:19 (How does the Bible tell us to perform psalms, hymns and spiritual songs in this passage? Paul said these are accomplished by speaking and by singing.

Those who wish to use instruments of music say psalms are to be played. The inspired Apostle Paul said they are to be spoken and sung! Making melody here (psallo) does not indicate playing an instrument. The making of melody here is accomplished in or with the heart. It has to do with singing heartily, with meaning.) B. Understanding: 1 Cor. 14:15 (This passage uses psallo, the verb form of psalmos. Notice the Bible says to sing [psallo] with the understanding. From the immediate context, verses 16 and 19 show that understanding has to do with understanding spoken words. So the singing [psallo-ing] involved spoken words, not mechanical instruments. Some argue that since the root meaning of psallo is to strike or twang something to make it vibrate, such as a stringed instrument, this must involve playing, not singing. However, through the evolution of this terms definition, it has come to indicate singing in the New Testament rather than plucking a string, the vocal chords being the object "plucked" and caused to vibrate. The bottom line is, whatever psallo does, it produces intelligible words in 1 Cor.

14:15. Playing an instrument does no such thing, but singing does. This supplies a Bible definition for psallo [verb], and by implication psalmos [noun]; to sing [verb], or the song that is sung [noun].) C. Teach And Admonish: Col. 3:16 (This passage tells us to teach and admonish with psalms. Whatever a psalm is, it teaches and admonishes. The sounds of an instrument do not teach nor admonish so their use in the performance of a psalm would violate what this passage requires of our musical worship. Furthermore, the verse says this is accomplished by singing. The performance of a psalm, a hymn, or a spiritual song is accomplished by singing. That's what the Bible says.

Others may say that at least psalms also include playing, but the Bible says it is accomplished by singing.) psalm - Wiktionary psalm Etymology[ edit ] From Middle English salm or psalme , from Old English psealm , later reinforced from Old French psalme (modern French psaume ), both from Latin psalmus , from Ancient Greek ψαλμός ‎(psalmós, “the sound emanating from twitching or twanging perhaps with the hands or fingers, mostly of musical strings”) (from ψάλλω ‎(psállō, “to make a sound by striking, touching, plucking, rubbing, twanging, or vibrating”)), but later in New Testament times the meaning of ψαλμός ‎(psalmós) evolved from its Classical meaning of "a tune played to the harp" to a more general tune that could be played with any instrument; even a song sung with or without musical accompaniment. By the Byzantine Period, it lost all of its instrumental nuances. Psalms | Define Psalms at Dictionary.com Psalms noun, (used with a singular verb) 1.

a book of the Bible, composed of 150 songs, hymns, and prayers. Abbreviation: Ps. a sacred song or hymn. 2. (initial capital letter) any of the songs, hymns, or prayers contained in the Book of Psalms. 3. a metric version or paraphrase of any of these. 4. a poem of a similar nature. Origin of psalm Greek 900 before 900; Middle English psalm(e), s(e)alm(e), psame, Old English ps(e)alm, sealm < Late Latin psalmus < Greek psalmós song sung to the harp, orig., a plucking, as of strings, akin to psállein to pluck, pull, play (the harp) Related forms Examples from the Web for Psalms Expand Attending Rabbi Ovadia Yosef’s Funeral as a Secular Jewish Woman Michelle Bubis October 8, 2013 Historical Examples Luther had already translated several fragments of the Holy Scripture; the seven penitential Psalms had been his first task. These might be sentences from the Psalms; they are as religious as anything Hebraic.

Appearances Goldsworthy Lowes Dickinson She liked to hear the chanting—such as it was—and the old Psalms, and to join in the Morning Hymn. British Dictionary definitions for Psalms Expand noun 1. (functioning as sing) the collection of 150 psalms in the Old Testament Full title The Book of Psalms psalm noun 1. (often capital) any of the 150 sacred songs, lyric poems, and prayers that together constitute a book (Psalms) of the Old Testament 2. a musical setting of one of these poems 3. any sacred song or hymn Derived Forms psalmic, adjective Word Origin Old English, from Late Latin psalmus, from Greek psalmos song accompanied on the harp, from psallein to play (the harp) Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd.

1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012 Word Origin and History for Psalms Expand psalm n. Old English psealm, salm, partly from Old French psaume, saume, partly from Church Latin psalmus, from Greek psalmos "song sung to a harp," originally "performance on stringed instrument; a plucking of the harp" (cf. psaltes "harper"), from psallein "play on a stringed instrument, pull, twitch" (see feel (v.)). Used in Septuagint for Hebrew mizmor "song," especially the sort sung by David to the harp. Related: Psalmodize; psalmody. After some hesitation, the pedantic ps- spelling prevailed in English, as it was in many neighboring languages (German, French, etc.), but English is almost alone in not pronouncing the p-.

Online Etymology Dictionary, © 2010 Douglas Harper Psalms in the Bible Expand The psalms are the production of various authors. "Only a portion of the Book of Psalms claims David as its author. Other inspired poets in successive generations added now one now another contribution to the sacred collection, and thus in the wisdom of Providence it more completely reflects every phase of human emotion and circumstances than it otherwise could." But it is specially to David and his contemporaries that we owe this precious book. In the "titles" of the psalms, the genuineness of which there is no sufficient reason to doubt, 73 are ascribed to David. Peter and John (Acts 4:25) ascribe to him also the second psalm, which is one of the 48 that are anonymous. About two-thirds of the whole collection have been ascribed to David. Psalms 39, 62, and 77 are addressed to Jeduthun, to be sung after his manner or in his choir. Psalms 50 and 73-83 are addressed to Asaph, as the master of his choir, to be sung in the worship of God.

The "sons of Korah," who formed a leading part of the Kohathite singers (2 Chr. 20:19), were intrusted with the arranging and singing of Ps. 42, 44-49, 84, 85, 87, and 88. In Luke 24:44 the word "psalms" means the Hagiographa, i.e., the holy writings, one of the sections into which the Jews divided the Old Testament. (See BIBLE .) None of the psalms can be proved to have been of a later date than the time of Ezra and Nehemiah, hence the whole collection extends over a period of about 1,000 years. There are in the New Testament 116 direct quotations from the Psalter.

The Psalter is divided, after the analogy of the Pentateuch, into five books, each closing with a doxology or benediction: (1.) The first book comprises the first 41 psalms, all of which are ascribed to David except 1, 2, 10, and 33, which, though anonymous, may also be ascribed to him. (2.) Book second consists of the next 31 psalms (42-72), 18 of which are ascribed to David and 1 to Solomon (the 72nd). The rest are anonymous. (3.) The third book contains 17 psalms (73-89), of which the 86th is ascribed to David, the 88th to Heman the Ezrahite, and the 89th to Ethan the Ezrahite. (4.) The fourth book also contains 17 psalms (90-106), of which the 90th is ascribed to Moses, and the 101st and 103rd to David.

(5.) The fifth book contains the remaining psalms, 44 in number. Of these, 15 are ascribed to David, and the 127th to Solomon. Ps. 136 is generally called "the great hallel." But the Talmud includes also Ps. 120-135. Ps. 113-118, inclusive, constitute the "hallel" recited at the three great feasts, at the new moon, and on the eight days of the feast of dedication. "It is presumed that these several collections were made at times of high religious life: the first, probably, near the close of David's life; the second in the days of Solomon; the third by the singers of Jehoshaphat (2 Chr. 20:19); the fourth by the men of Hezekiah (29, 30, 31); and the fifth in the days of Ezra." The Mosaic ritual makes no provision for the service of song in the worship of God. David first taught the Church to sing the praises of the Lord. He first introduced into the ritual of the tabernacle music and song.

Divers names are given to the psalms. (1.) Some bear the Hebrew designation _shir_ (Gr. ode, a song). Thirteen have this title. It means the flow of speech, as it were, in a straight line or in a regular strain. This title includes secular as well as sacred song. (2.) Fifty-eight psalms bear the designation (Heb.) _mitsmor_ (Gr. psalmos, a psalm), a lyric ode, or a song set to music; a sacred song accompanied with a musical instrument. (3.) Ps. 145, and many others, have the designation (Heb.) _tehillah_ (Gr. hymnos, a hymn), meaning a song of praise; a song the prominent thought of which is the praise of God. (4.) Six psalms (16, 56-60) have the title (Heb.) _michtam_ (q.v.). (5.) Ps. 7 and Hab. 3 bear the title (Heb.) _shiggaion_ (q.v.). Easton's 1897 Bible Dictionary What does psalm mean?

sing or celebrate in psalms "He psalms the works of God" Wiktionary(0.00 / 0 votes)Rate this definition: psalm(Noun) A sacred song; a poetical composition for use in the praise or worship of God. psalm(Noun) Especially, one of the hymns by David and others, collected into one book of the Old Testament, or a modern metrical version of such a hymn for public worship. psalm(Verb) To extol in psalms; to make music; to sing; as, psalming his praises. Origin: From salm or psalme, from psealm, later reinforced from psalme (modern French psaume), both from psalmus, from ψαλμός (from ψάλλω), but later in New Testament times the meaning of ψαλμός evolved from its Classical meaning of "a tune played to the harp" to a more general tune that could be played with any instrument; even a song sung with or without their accompaniment. By the Byzantine Period, it lost all of its instrumental characteristics.

Webster Dictionary(0.00 / 0 votes)Rate this definition: Psalm(noun) a sacred song; a poetical composition for use in the praise or worship of God Psalm(noun) especially, one of the hymns by David and others, collected into one book of the Old Testament, or a modern metrical version of such a hymn for public worship Psalm(verb) to extol in psalms; to sing; as, psalming his praises Origin: [OE. psalm, salm, AS. sealm, L. psalmus, psalma, fr. Gr. , , fr. to pull, twitch, to play upon a stringed instrument, to sing to the harp: cf. OF. psalme, salme, F. psaume.] Chambers 20th Century Dictionary(0.00 / 0 votes)Rate this definition: Psalm säm, n. a sacred song.—ns.

Psalm′-book, a book containing psalms for purposes of worship; Psalmist (säm′ist, or sal′mist), a composer of psalms, applied to David and to the writers of the Scriptural psalms.—adjs. Psalmod′ic, -al, pertaining to psalmody.—v.i. Psal′modise, to practise psalmody.—ns. Psal′modist, a singer of psalms; Psalmody (sal′mo-di, or säm′o-di), the singing of psalms, esp. in public worship: psalms collectively.—v.t. to celebrate in psalms.—ns. Psalmog′rapher, Psalmog′raphist, a writer of psalms; Psalmog′raphy, the act or practice of writing psalms; Psalm′-tune, a tune to which a psalm is usually sung.—The Psalms, one of the books of the Old Testament. [A.S. sealm—Low L. psalmus—Gr.

psalmos—psallein, to play on a stringed instrument.] The numerical value of psalm in Chaldean Numerology is: 1 Pythagorean Numerology psalm - definition and meaning psalm from The American Heritage® Dictionary of the English Language, 4th Edition n. A sacred song; a hymn. n. See Table at Bible. transitive v. To sing of or celebrate in psalms. from Wiktionary, Creative Commons Attribution/Share-Alike License n. A sacred song; a poetical composition for use in the praise or worship of God. n. Especially, one of the hymns by David and others, collected into one book of the Old Testament, or a modern metrical version of such a hymn for public worship. v. To extol in psalms; to make music; to sing; as, psalming his praises. from the GNU version of the Collaborative International Dictionary of English n. A sacred song; a poetical composition for use in the praise or worship of God. n.

Especially, one of the hymns by David and others, collected into one book of the Old Testament, or a modern metrical version of such a hymn for public worship. transitive v. To extol in psalms; to sing. from The Century Dictionary and Cyclopedia To sing psalms. To celebrate in psalms; hymn. n. A sacred poem or song, especially one in which expressions of praise and thanksgiving are prominent: usually restricted either to those contained in the Book of Psalms, or to the versifications of these composed for the use of churches, as the Psalms of Tate and Brady, of Watts, etc. n. plural [capitalized] A book of the Old Testament which follows Job and precedes Proverbs, and contains 150 psalms and hymns; more fully, the Book of Psalms. n. plural Among the ancient Jews, the Hagiographa: so called because the Psalms constitute the first book in it. from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved. v. sing or celebrate in psalms n. any sacred song used to praise the deity n.

one of the 150 lyrical poems and prayers that comprise the Book of Psalms in the Old Testament; said to have been written by David Etymologies from The American Heritage® Dictionary of the English Language, 4th Edition Middle English, from Old English, from Latin psalmus, from Greek psalmos, from psallein, to play the harp.

from Wiktionary, Creative Commons Attribution/Share-Alike License From Middle English salm or psalme, from Old English psealm, later reinforced from Old French psalme (modern French psaume), both from Latin psalmus, from Ancient Greek ψαλμός (psalmos, "the sound emenating from twitching or twanging perhaps with the hands or fingers, mostly of musical strings") (from ψάλλω (psallo, "to make a sound by striking, touching, plucking, rubbing, twanging, or vibrating")), but later in New Testament times the meaning of ψαλμός evolved from its Classical meaning of "a tune played to the harp" to a more general tune that could be played with any instrument; even a song sung with or without their accompaniment. By the Byzantine Period, it lost all of its instrumental characteristics. Examples Psalm Synonyms, Psalm Antonyms | Thesaurus.com Cite This Source Word Origin & History psalm O.E. salm, from L. psalmus, from Gk.

psalmos "song sung to a harp," originally "performance on stringed instrument," from psallein "play on a stringed instrument, pull, twitch." Used in Septuagint for Heb. mizmor "song," especially the sort sung by David to the harp. Psalm | Define Psalm at Dictionary.com psalm a sacred song or hymn. 2. (initial capital letter) any of the songs, hymns, or prayers contained in the Book of Psalms. 3. a metric version or paraphrase of any of these. 4. a poem of a similar nature. Origin of psalm Greek 900 before 900; Middle English psalm(e), s(e)alm(e), psame, Old English ps(e)alm, sealm < Late Latin psalmus < Greek psalmós song sung to the harp, orig., a plucking, as of strings, akin to psállein to pluck, pull, play (the harp) Related forms British Dictionary definitions for psalm Expand noun 1.

(often capital) any of the 150 sacred songs, lyric poems, and prayers that together constitute a book (Psalms) of the Old Testament 2. a musical setting of one of these poems 3. any sacred song or hymn Derived Forms psalmic, adjective Word Origin Old English, from Late Latin psalmus, from Greek psalmos song accompanied on the harp, from psallein to play (the harp) Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012 Word Origin and History for psalm Expand n. Old English psealm, salm, partly from Old French psaume, saume, partly from Church Latin psalmus, from Greek psalmos "song sung to a harp," originally "performance on stringed instrument; a plucking of the harp" (cf.

psaltes "harper"), from psallein "play on a stringed instrument, pull, twitch" (see feel (v.)). Used in Septuagint for Hebrew mizmor "song," especially the sort sung by David to the harp. Related: Psalmodize; psalmody. After some hesitation, the pedantic ps- spelling prevailed in English, as it was in many neighboring languages (German, French, etc.), but English is almost alone in not pronouncing the p-. Online Etymology Dictionary, © 2010 Douglas Harper Implications of the Greek Term "Psallo" for Church Music Implications of the Greek Term Psallo for Church Music By David Pyles Though musical instruments are never mentioned in the Bible as being part of New Testament worship, many justify their use in the modern church by saying they are implicitly authorized by a Greek word used in connection with singing in the New Testament. We believe this argument is invalid, and we undertake to prove this is the case in what follows. The Greek word in question is the verb psallo. Controversy over this term also extends to the related noun psalmos.

The controverted occurrences of these words are in: Rom 15:9; 1Cor 14:15,26; Eph 5:19; Col 3:16 and Jas 5:13. Advocates of musical instruments in church worship commonly claim that the first means to sing a psalm or hymn with the accompaniment of musical instruments, and that the second refers to a composition to be sung in such manner. We believe these definitions would be correct for earlier forms of Greek, but they are not primary definitions in the common Greek of New Testament times, and are never the intended definitions in the New Testament itself.

The meaning of psallo there is simply "to sing a hymn" or "to sing praises." The meaning of psalmos is simply "a psalm" or "a hymn." These conclusions are based upon several considerations: 1) While nearly all authorities on New Testament Greek offer definitions of psallo allowing the idea of musical accompaniment, the tendency of these authorities, especially the most reputable ones, is to affirm these are not the meanings in the New Testament; rather, they affirm the term there simply means "to sing a hymn" or "to sing praises." In his comments on 1Cor 14:15, A.T. Robertson, one of the most highly acclaimed Greek scholars, explains the meaning of psallo thus: "...originally meant to play on strings, then to sing with an accompaniment, and here apparently to sing without regard to an instrument." Hence, Robertson is of the opinion that the word does not imply instrumental music in the New Testament. He explains that the meaning of the word changed through time.

All authorities seem to agree that the earliest meaning of the word, hundreds of years before the New Testament era, was to "pluck, twitch or twang," as in "pluck" a hair, or "twang" a bowstring, or "twitch" a carpenter's line. At this early stage, the word had no special association with musical instruments. Then, as Roberston explains, the word evolved so that its meaning became to touch or play the strings of a musical instrument. Afterward, it meant to sing in accompaniment with such an instrument. But yet later, in the common Greek of the New Testament period, Robertson and other authorities affirm that the idea of an instrument had been dropped, so that the word simply meant to sing a hymn or to sing praises. The commonalty in all definitions is the idea of vibrating a string or cord. Since the human voice is also created by such vibration, it is possible that the meaning of the term was transferred to the voice along these lines. Whatever the explanation of its etymology, there is absolutely no doubt that the term has experienced the indicated changes. Joseph H.

Thayer, generally thought to be unsurpassed among New Testament Greek lexicographers, states that in the New Testament psallo means "to sing a hymn, to celebrate the praises of God in song." Hence, Thayer and Robertson, both eminent authorities, agree that psallo does not suggest musical accompaniment in the New Testament. The same may be said of Vincent, whose comments on the use of psallo in two controverted verses are: Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment; and Clement of Alexandria, while forbidding the use of the flute in the agapae, permitted the harp. But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise.

- Comments on 1Cor 14:15 The word means, primarily, "to pluck or twitch." Hence, of the sharp "twang" on a bow-string or harp-string, and so "to play upon a stringed instrument." Our word "psalm," derived from this, is, properly, a tune played upon a stringed instrument. The verb, however, is used in the New Testament of singing praise generally. - Comments on Jas 5:13 Then concerning the noun psalmos as used in Col 3:16, Vincent says, "A psalm was originally a song accompanied by a stringed instrument... The idea of accompaniment passed away in usage, and the psalm, in New Testament phraseology, is an Old Testament psalm, or a composition having that character." Several other Greek authorities also express the view that psallo in the New Testament simply means "to sing praises" or "to sing hymns." Vine says it, "denotes, in the N.T., to sing a hymn, sing praise." Bagster says, "in N.T.

to sing praises," and this same definition is given individually by Perschbacher, Green, Wigrim, H.K. Moulton, and Mounce. J.H. Moulton and Milligan define it with, "in the N.T., as in Jas 5:13, sing a hymn." Abbott-Smith say of it, "in the N.T., to sing a hymn, sing praises." Bauer defines it to mean, "to extol by singing praises, to sing praises." Contopoulos says, "to sing, to celebrate." Kittel claims that psallo and the Greek word ado are synonyms, and defines the latter as "to sing." Of the 30 New Testament Greek authorities we considered, only four (i.e. Lampe, Robinson, Donnegan, and Yonge) define psallo in such a way as would necessitate musical instruments. The definite tendency was for the most reputable authorities to define the term as basically meaning "to sing." 2) While some lexicographers (i.e.

Strong; Berry; Bauer, Arndt and Gingrich; Pickering; Groves; Parkhurst; Dunbar; Greenfield; Maltby; Hamilton) define the term to admit either a cappella or accompanied singing, we do not believe musical instruments in worship can be successfully defended by them. Even if accompanied singing were indeed among the abstract definitions of this term, this would not of itself liberate us to interpret it so in the New Testament. Stated generally, if a term has more than one definition in the abstract, we are not then at liberty to draw any conclusion that could be conveyed under the various definitions of the term. Such a hermeneutic would wreak havoc on the most fundamental aspects of theology. For example, the word "all" in biblical usage can mean "without exception" or it can mean "of every manner or kind." When interpreting 1Tim 2:6, the difference between these definitions translates into the vast difference between universal atonement and particular atonement. Who will say that both doctrines should be admissible because both are abstractly implied under the alternate definitions of "all"? Next, consider the expression "fallen from grace" in Gal 5:4.

Under the various definitions of "grace," this expression could mean to fall from eternal grace, or to fall from temporal grace, or to fall from the truth of grace. Who will say that all these ideas should be admissible since all are abstractly implied under the various ways in which "grace" could be interpreted? Also, consider the biblical term "world," which when applied to people can mean all people in the world, or it can mean people from every division of the world. Practically no one, regardless of their theological leaning, would accept the idea that both meanings are equally admissible in verses such as Jn 3:16 or Jn 6:33. It is universally understood that when a term has multiple possible meanings, one must examine context, other scriptures, history, etc., to determine which meaning is intended, and that conclusions implied by all other meanings of the term are to be rejected as false. When this proper approach is applied to psallo and psalmos, we believe the invariable conclusion is that these terms cannot be used to support instrumental music in New Testament worship. There is not the slightest evidence that Christ or the Apostles ever used musical instruments, nor did they ever explicitly authorize their use.

There is no evidence that the New Testament church ever used them, and, as will be shown shortly, there is irrefutable evidence that they were deliberately excluded from church worship for many centuries after the Apostles. Further, the meaning of psallo in New Testament usage may be inferred by comparing two parallel passages: And be not drunk with wine, wherein is excess; but be filled with the Spirit; Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord. - Eph 5:18,19 Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord. - Col 3:16 We believe any objective analyst comparing these two verses would conclude that making melody in your heart means exactly the same thing as singing with grace in your heart. Now the expression making melody is translated from psallo, but the word singing is translated from ado. Hence, these two terms are used as synonyms in the New Testament, as is confirmed by Kittel; however, there is no ambiguity as to the meaning of ado.

Thayer says of it, "common in Greek of every period ... 'to sing, chant'." That is, regardless of the Greek era one chooses to examine, the meaning of this word is consistently to sing or chant, without any reference to musical instruments. Further, the Greek authorities, though giving varied meanings for psallo, are in unanimous agreement on ado. Finally, observe that these scriptures describe only two contributories to music in worship; namely, the voice and the heart. Therefore, when one applies the usual methods of discerning between alternate definitions of a word (i.e. context, other scriptures, resolution of the ambiguous with the apparent, historic interpretation, etc.), the meaning of psallo in the New Testament is plainly seen as being "to sing hymns or praises." 3) There is considerable evidence that psallo had no instrumental connotation even in other common Greek literature of the New Testament period. This is seen in the work of a Greek scholar named E.A. Sophocles, a native Grecian, and a professor of Greek language at Harvard University for 38 years. Sophocles was the author of A Greek Lexicon of the Roman and Byzantine Periods (from B.C.

146 to A.D. 1100). He examined 594 Greek authors (255 secular, 339 ecclesiastical) in the development of his lexicon. After this extensive survey, he defined psallo as meaning "to chant, sing religious hymns." He defined psalmos to simply mean "a psalm." Hence, he found no association of these terms with musical instruments in the common Greek of the considered period. As indicated by the title, one purpose of the lexicon of Sophocles was to isolate the common Greek of the Roman and Byzantine period from the Greek of previous times. All scholars agree that the Greek language of the New Testament significantly differs from the so-called "classical" Greek that is identified with the period prior to around 322 B.C. The Greek of the New Testament is generally called koine (i.e. "common") Greek, and is so named because it was the common language of Greek-speaking people after the classical era. In the Preface (pg xi) of the lexicon of Bauer, Arndt and Gingrich, the following explanation is given regarding the differences between classical and koine Greek: The earliest Christian literature ...

is made up of a number of writings which were composed in the Greek language. It is not the Greek of more ancient times, least of all that of the Golden Age of Athens which is now taught in the institutions of higher learning and occupies the most prominent place in the dictionaries used in them. A comparison reveals, on the contrary, differences in phonology and morphology, in syntax and style, and, not the least of all, in the vocabulary as well. Of course, the transition from one form of Greek to another was gradual, and varying in degree from one place to the other. Further, there were some Greek authors who imitated the Greek of former eras. Such factors must be taken into account when ascertaining the etymology of Greek words. In the Preface (pg vi) of the acclaimed lexicon of Liddell and Scott, the following remarks are made concerning these facts: It will be understood, however, that the age of a word does not wholly depend on that of its author.

For, first, many Greek books have been lost; secondly, a word of Attic stamp, first occurring in Lucian, Alciphron, or later imitators of Attic Greek, may be considered as virtually older than those found in the vernacular writers of the Alexandrian age. Further, the language changed differently in different places at the same time; as in the cases of Demosthenes and Aristotle, whom we have been compelled to place in different Epochs. And even at the same place, as at Athens, there were naturally two parties, one clinging to old usages, the other fond of what was new. The Greek of Thucydides and Lysias may be compared in illustration of this remark. Hence, Liddell and Scott observe that certain Greek authors wrote using a noncontemporary form of their language. Sophocles, in recognition of these same considerations, did not cite such authors as Josephus, Plutarch, and Lucian, who, though living within the time frame of his lexicon, wrote using classical Greek rather than koine Greek. This fact partly accounts for his conclusion that psallo and psalmos had no reference to musical instruments in the era he examined.

There were indeed some instances where Greek authors living in the time frame of his work used these terms in such a way as to imply or admit instrumentation, but their writings were conisdered as imitating the older classical Greek, which differs significantly from the koine Greek of the New Testament. Some interesting correspondence relating to this subject is recorded in Bales (pgs 114-116). Bales observes that the lexicon of Bauer, Arndt and Gingrich is a translation and revision by Arndt and Gingrich of a lexicon originally written by Bauer. Bauer defined psallo with, "to extol by singing praises, to sing praises." However, Arndt and Gingrich changed this to, "in accordance with O.T. usage, sing (to the accompaniment of a harp), sing praise ... sing praise in spiritual ecstasy and in full possession of one's mental faculties." Hence, the revised definition did not require musical accompaniment, but it added this possibility to what Bauer had written. When questioned about this change, Gingrich replied, "In our translation of Bauer's lexicon, Dr Arndt and I gave the meaning ... that the singing could be with or without accompaniment.

It seems to me that you cannot exclude the possibility of accompaniment in the New Testament passages, since psallo still means 'play on the harp' in Lucian, who wrote in the second century A.D." This reply is strange, because we have already quoted Liddell and Scott as saying that Lucian imitated the Attic Greek (i.e. the dialect of Athens in the latter part of the classical era), and that his writings were therefore anachronistic, and we quoted Arndt and Gingrich themselves as saying of New Testament Greek, "It is not the Greek of more ancient times, least of all that of the Golden Age of Athens..." Naturally, the findings of Sophocles would come as no small disappointment to those who would seek to justify musical instruments on the basis of these Greek words. In connection with this thought, Kurfees (pgs 58,59) makes the following interesting observation: Before leaving the lexicons, it is deemed proper to state, in this connection, that a number of unavailing attempts have been made, by overzealous advocates of instrumental music, to break the force of the great lexicons of Sophocles and Thayer on the meaning of psallo.

George P. Slade, whose tract on the meaning of this Greek verb was published thirty years ago, soon after the appearance of Sophocles' great work, made an attempt to elicit from the learned author of the lexicon, who was then still living, something that would break or modify the force of what the lexicon says on this word; but the attempt met with a signal failure. For some reason, Brother Slade withheld from his tract his note of inquiry, and gave out only a part of the noted linguist's reply, which was as follows: Cambridge, February 1, 1880. Rev. G.P. Slade. Dear Sir: My lexicon is intended for those who wish to read the authors of the Roman and Byzantine periods of the language. It presupposes a good knowledge of the preceding periods (Alexandrian, Athenian, Ionic) ... Yours truly, E.A. SOPHOCLES. The dots at the close of the foregoing note indicate that something is omitted, but it may be safely assumed that Brother Slade omitted nothing that would favor the use of instrumental music in the worship.

Hence, as the matter stands, the reply of the eminent Harvard Professor gave forth nothing in support of any other meaning of psallo than that given in his lexicon. 4) The modern Greek definitions of psallo and psalmos have no connection with instrumentation whatsoever. According to Divry's dictionary of modern Greek, psallo means "I sing, I chant," and psalmos means "a psalm, a chant, or a hymn." The same dictionary defines the related term psalta to mean "in a singing voice." Hence, the work of Sophocles indicates that the words psallo and psalmos have basically retained the same meanings from the Roman era to modern times. 5) It has been claimed by some that psallo must imply musical accompaniment because when Paul quotes from Ps 18:49 in Rom 15:9, the Hebrew word zamar is replaced with psallo in the Greek, yet the Hebrew word, it is claimed, implies musical accompaniment. However, authorities on Old Testament Hebrew define zamar as admitting musical accompaniment but not as implying it.

That is, the word can refer to singing either with or without accompaniment, yet most authorities claim the primary definition is simply "to sing." The following is a list of such authorities along with the definitions they give for zamar: Brown, Driver and Briggs - make music in praise to God, 1) of singing to God, 2) of playing musical instruments. Gesenius - 1) to sing, 2) to play on a musical instrument (or to sing so accompanied), 3) to dance. Harris, Archer and Waltke - sing, sing praise, make music. Girdlestone - to sing praise to God. Wilson - to sing in set composition of words and music; to sing praises, psalms. Pick - to sound, sing praises. Zodhiates - to play; to make music; to sing, sing praises; to celebrate.

Since zamar primarily means "to sing," the fact that this word in Ps 18:49 was translated as psallo in Rom 15:9 only strengthens the case that psallo means "to sing." 6) The evolution of psallo from its earlier meaning to sing with accompaniment to its New Testament definition of simply "to sing" is clearly seen in the Septuagint, a Greek translation of the Old Testament generally thought to have been written around 250 B.C. Three Hebrew words were translated psallo in the Septuagint. These were nagan and zamar and shir. The first means to play an instrument, but does not imply singing. The second means to play an instrument, or to sing with or without an instrument. The third simply means to sing. Now if psallo had retained its earliest definition of "pluck, twitch or twang," or had it evolved no further than its later definition of singing to an instrument, then it could not have possibly served as a substitute for all three of these Hebrew words. Therefore, as of around 250 B.C., the word had evolved to the point that it included the idea of a cappella singing.

This shows that the idea of musical instruments was not inherent to the term as of that time. Since the term was sometimes applied to a cappella singing, one could not conclude that it had reference to musical instruments in the Septuagint unless the context indicated such. Of course, the New Testament would not be written until about 300 years later, when, according to Sophocles and other eminent authorities, the suggestion of musical instruments had been dropped, and the word simply referred to vocal singing. The word also had the meaning of "to sing" or "to sing praise" in the "Psalms of Solomon," a collection of Jewish hymns from the first century B.C., thought to have been written by the Pharisees. 7) The King James translators and other ancient translators chose to translate psallo and psalmos in such a way as to convey the idea of vocal music only. If the providence of God has had anything to do with communicating the word of God to English-speaking people, then we should be reasonable in assuming this providence has been exerted with greatest force in the translation of the Bible itself, and we believe there is much evidence to support this assumption.

If we are to place such confidence in the work of the translators, then we are bound to affirm with much confidence that psallo and psalmos do not convey the idea of musical instruments in the New Testament. But even if we were to allow that the translators were influenced by personal prejudices in their work, this would only strengthen the case against associating these terms with musical instruments, because all of the translators were of the Church of England (some were of the Puritan faction) whose general practice was to use musical instruments. Therefore, if any charge of predisposition could be successfully made against the translators, it is clear that the evidence against a translation suggesting musical instruments was more than they could deny. Other ancient translations followed the same policy, including the translations of Luther, Wickliffe and Tyndale. 8) What can be said of the King James translators in this regard also applies to modern scholarship. In none of the most popular revised versions (i.e.

New International, Revised Standard, American Standard, New King James) are these words ever translated to suggest the idea of instrumental accompaniment, and this is in spite of the fact that practically all of the modern translators were of denominations using musical instruments; therefore, had they been predisposed one way or the other, it would have been toward translating these words so as to admit or imply accompaniment. Since they did not, it may be reasonably inferred that the evidence was not cooperative with their predispositions. 9) The meanings of words in any particular era may be inferred both from the way in which the words were used and by the way in which they were interpreted. The historical evidence resoundingly indicates that the early Christians, many of whom were conversant in the Greek language, did not understand psallo and psalmos as admitting musical instruments. The number of historians attesting to the fact that music in the early church was exclusively vocal, and that musical instruments were prohibited, is practically endless. The following is but a sample: There can be no doubt that originally the music of the divine service was every where entirely of a vocal nature. (Emil Nauman, The History of Music, Vol. 1, p.

177) We have no real knowledge of the exact character of the music which formed a part of the religious devotion of the first Christian congregations. It was, however, purely vocal. Instrumental music was excluded, at first, as having been used by the Romans at their depraved festivities; and everything reminding them of heathen worship could not be endured by the new religionists. (Frederic Louis Ritter, History of Music from the Christian Era to the Present Time, p. 28) In view of the controversies over the use of instrumental music in worship, which have been so violent in the British and American Protestant churches, it is an interesting question whether instruments were employed by the primitive Christians. We know that instruments performed an important function in the Hebrew temple service and in the ceremonies of the Greeks. At this point, however, a break was made with all previous practice, and although the lyre and flute were sometimes employed by the Greek converts, as a general rule the use of instruments in worship was condemned. Many of the fathers, speaking of religious song, make no mention of instruments; others, like Clement of Alexandria and St. Chrysostom, refer to them only to denounce them.

Clement says: "Only one instrument do we use, viz. the word of peace wherewith we honor God, no longer the old psaltery, trumpet, drum, and flute." Chrysostom exclaims: "David formerly sang in psalms, also we sing today with him; he had a lyre with lifeless strings, the church has a lyre with living strings. Our tongues are the strings of the lyre, with a different tone, indeed, but with a more accordant piety." St. Ambrose expresses his scorn for those who would play the lyre and psaltery instead of singing hymns and psalms; and St. Augustine adjures believers not to turn their hearts to theatrical instruments. The religious guides of the early Christians felt that there would be an incongruity, and even profanity, in the use of the sensuous nerve-exciting effects of instrumental sound in their mystical, spiritual worship. Their high, religious and moral enthusiasm needed no aid from external stimulus; the pure vocal utterance was the more proper expression of their faith. (Edward Dickinson, Music in the History of the Western Church, p.

54,55) One of the features which distinguishes the Christian religion from almost all others is its quietness; it aims to repress the outward signs of inward feeling. Savage instinct, and the religion of Greece also, had employed the rhythmic dance and all kinds of gesticulatory notions to express the inner feelings... The early Christians discouraged all outward signs of excitement, and from the very beginning, in the music they used, reproduced the spirit of their religion - an inward quietude. All the music employed in their early services was vocal. (Frank Landon Humphreys, Evolution of Church Music, p. 42) Both sexes joined in singing, but instruments of every kind were prohibited for a long time. (Thomas Tapper, Essentials of Music History, p. 34) The general introduction of instrumental music can certainly not be assigned to a date earlier than the 5th and 6th centuries; yea, even Gregory the Great, who towards the end of the 6th century added greatly to the existing church music, absolutely prohibited the use of instruments.

Several centuries later the introduction of the organ in sacred service gave the place to instruments as accompaniments for Christian song, and from that time to this they have been freely used with few exceptions. The first organ is believed to have been used in the Church service in the 13th century. (McClintock and Strong, Cyclopaedia of Biblical Literature, Vol 6, p. 759) 10) Further, it is a well established fact that Baptist churches opposed musical instruments until modern times. This should say something of what the Holy Spirit intends by the words psallo and psalmos. If true churches have been in error on this point for centuries, then it is difficult to see how the church could be the pillar and ground of the truth (1Tim 3:15). While we readily agree that the Bible, not church history, should be the standard by which all doctrines and practices are judged, it is nonetheless the case that the historically held position of sound Christians should contribute to our understanding in matters concerning Bible interpretation.

After Paul stated his position regarding length of hair, he then affirmed, But if any man seem to be contentious, we have no such custom, neither the churches of God (1Cor 11:16); therefore, he appealed to the authority of tradition in sound churches. Upon this same principle, we believe the following quotes should speak with authority on the issue at hand: For years the Baptists fought the introduction of instrumental music into the churches... Installation of the organ brought serious difficulties in many churches. (Wm. B. Posey, The Baptist Church In The Lower Mississippi Valley) The history of the church during the first three centuries affords many instances of primitive Christians engaging in singing, but no mention, (that I recollect) is made of instruments. (If my memory does not deceive me) it originated in the dark ages of popery, when almost every other superstition was introduced. At present, it is most used where the least regard is paid to primitive simplicity. (Andrew Fuller, Complete works of Andrew Fuller, Vol 3, p.

520) David appears to have had a peculiarly tender remembrance of the singing of the pilgrims, and assuredly it is the most delightful part of worship and that which comes nearest to the adoration of heaven. What a degradation to supplant the intelligent song of the whole congregation by the theatrical prettiness of a quartet, bellows, and pipes. We might as well pray by machinery as praise by it. (Charles Spurgeon, Commentary on Psalm 42) In my earliest intercourse among this people, congregational singing generally prevailed among them... This instrument (i.e. the organ), which from time immemorial has been associated with cathedral pomp and prelatical power, and has always been the peculiar favorite of great national churches, at length found its way into Baptist sanctuaries, and the first one ever employed by the denomination in this country, and probably in any other, might have been standing in the singing gallery of the Old Baptist meeting house in Pawtucket, about forty years ago, where I then officiated as pastor (1840) ...

Staunch old Baptists in former times would as soon tolerated the Pope of Rome in their pulpits as an organ in their galleries, and yet the instrument has gradually found its way among them... How far this modern organ fever will extend among our people, and whether it will on the whole work a RE- formation or DE- formation in their singing service, time will more fully develop. (Benedict, Fifty Years Among the Baptists, pgs. 204-207) We believe that in view of these many considerations, musical instruments in church worship cannot be defended by psallo and psalmos. Such a defense reverts to a form of Greek which scholars unanimously affirm is not the Greek of the New Testament, and it interprets Greek words in ways which scriptural context and historic interpetation will not support. An examination of the available evidence as to the meanings of these terms in the New Testament, particularly an examination of the New Testament itself, gives sufficient evidence that we may we say with confidence that these terms make no suggestion of instrumental accompaniment. Bibliography Bales, James D.; Instrumental Music and New Testament Worship; James D. Bales; Searcy, Arkansas.

Ferguson, Everett P.; A Cappella Music, 2ond ed.; ACU Press, Abilene, Texas. Ferguson, Everett, Jack P. Lewis & Earl West; The Instrumental Music Issue; Gospel Advocate Company; Nashville, Tennessee. Girardeau, John L.; Instrumental Music in Public Worship; New Covenant Publication Society; Havertown, Pennsylvania. Guess, Zack; Instrumental Music in the New Testament Worship Service . Kurfees, M.C.; Instrumental Music in the Worship; Gospel Advocate Company, Nashville, Tennessee. Shelly, Rubel; A Case for A Cappella Music as Worship Today; 20th Century Christian; Nashville, Tennessee. Wright, Cecil N.; Outline of Instrumental Music Studies . Greek Lexicographers: Abbott-Smith, G.; A Manual Greek Lexicon of the New Testament. Bagster, Samuel; The Analytical Greek Lexicon. Bauer, Walter; A Greek-English Lexicon of the New Testament and Other Early Christian Literature. Bauer, Walter; William Arndt & F. Wilbur Gingrich; A Greek-English Lexicon of the New Testament.

Berry, George Ricker; Berry's Greek-English New Testament Lexicon with Synonymns. Donnegan, James, A New Greek and English Lexicon. Green, Thomas S.; A Greek-English Lexicon to the New Testament. Kittel, Gerhard; Theological Dictionary of the New Testament. Lampe, G.W.H.; A Patristic Greek Lexicon. Liddell, H.G. & R. Scott; A Greek-English Lexicon. Moulton, Harold K.; The Analytical Greek Lexicon Revised. Moulton, James H. & George Milligan; The Vocabulary of the Greek Testament. Mounce, William D.; The Analytical Lexicon to the Greek New Testament. Perschbacher, Wesley J.; The New Analytical Greek Lexicon. Robertson, A.T.; Word Pictures in the New Testament. Robinson, Edward; Greek and English Lexicon of the New Testament. Sopholcles, E.A.; Greek Lexicon of the Roman and Byzantine Periods. Strong, James; Exhaustive Concordance of the Bible. Thayer, Joseph H.; A Greek-English Lexicon of the New Testament. Vincent, Marvin R.; Word Studies in the New Testament.

Vine, W.E.; An Expository Dictionary of New Testament Words. Wigram, George V.; The Analytical Greek Lexicon of the New Testament. The following authorities are quoted from Kurfees: Contopoulos, Yonge, Pickering, Groves, Parkhurst, Dunbar, Greenfield, Maltby, Hamilton. Hebrew Lexicographers:

Question: The word psalm derives from meaning a song sung to what instrument?
Answer: Harp