Lexical Summary psalló: To sing, to make melody, to play a stringed instrument. Original Word: ψάλλω Strong's Exhaustive Concordance sing, make melodyProbably strengthened from psao (to rub or touch the surface; compare psocho); to twitch or twang, i.e. To play on a stringed instrument (celebrate the divine worship with music and accompanying odes) -- make melody, sing (psalms). see GREEK psocho HELPS Word-studies 5567 psállō – properly, pluck a musical instrument (like a harp); used of "singing along with instruments"; "to make music," or simply sing. NAS Exhaustive Concordance Word Originfrom psaó (to rub) Definition to pull, twitch, twang, play, sing NASB Translation making melody (1), sing (3), sing praises (1). Thayer's Greek Lexicon STRONGS NT 5567: ψάλλωψάλλω; future ψαλῶ; (from ψάω, to rub, wipe; to handle, touch (but cf. Curtius, p. 730)); a. to pluck off, pull out: ἐθειραν, the hair, Aeschylus Pers. 1062. b. to cause to vibrate by touching, to twang: τόξων νευράς χειρί, Euripides, Bacch. 784; specifically, χορδήν, to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate (Aristotle, probl. 19, 23 (p. 919b, 2)); and absolutely, to play on a stringed instrument, to play the harp, etc.: Aristotle, Plutarch, Aratus (in Plato, Lysias, p. 209 b. with καί κρούειν τῷ πλήκτρω added (but not as explanatory of it; the Schol. at the passage says ψῆλαι, τό ἄνευ πληκτρου τῷ δακτύλῳ τάς χορδας ἐπάφασθαι); it is distinguished from κιθαρίζειν in Herodotus 1, 155); the Sept. for נִנֵן and much more often for זִמֵּר; to sing to the music of the harp; in the N. T. to sing a hymn, to celebrate the praises of God in song, James 5:13 (R. V. sing praise); τῷ κυρίῳ, τῷ ὀνόματι αὐτοῦ (often so in the Sept.), in honor of God, Ephesians 5:19 (here A. V. making melody); Romans 15:9; ψαλῶ τῷ πνεύματι, ψαλῶ δέ καί τῷ νοι<, 'I will sing God's praises indeed with my whole soul stirred and borne away by the Holy Spirit, but I will also follow reason as my guide, so that what I sing may be understood alike by myself and by the listeners', 1 Corinthians 14:15. Strong’s Greek 5567 (ψάλλω, psallō) occurs five times in the New Testament and centers on offering vocal or instrumental praise to God. Rooted in Israel’s psalm-singing tradition and extended into the church, the verb gathers up themes of joy, prayer, proclamation, edification, and missionary witness. Old Testament Background In the Septuagint ψάλλω frequently translates Hebrew verbs for playing stringed instruments in temple worship (for example, Psalm 33:2; Psalm 144:9). This heritage positions the word within a covenantal framework of regulated praise, where musical skill and heartfelt devotion unite to magnify the LORD. The Davidic model of ordered yet passionate worship stands behind every New Testament use. Occurrences in the New Testament 1. James 5:13 – private pastoral setting “Is anyone cheerful? He should sing praises.” Individual believers respond to God’s providence with musical thanksgiving. The verb balances the preceding call to prayer for the suffering, showing that praise and petition are twin expressions of faith. 2. Ephesians 5:19 – corporate mutual edification “Speak to one another with psalms, hymns, and spiritual songs. Sing and make music in your hearts to the Lord.” The participle ψάλλοντες links Spirit-filled living with congregational song. Worship is dialogical—directed to God yet edifying “one another.” Melody rises from the heart, guarding against hollow performance. 3. Romans 15:9 – missionary praise among the nations “Therefore I will praise You among the Gentiles; I will sing hymns to Your name.” Paul cites Psalm 18:49 to show that Christ’s saving work fulfills the promise of Gentile inclusion. Musical praise becomes evidence that Scripture’s universal scope is being realized. 4–5. 1 Corinthians 14:15 – regulated charismatic worship “I will sing with my spirit, but I will also sing with my mind.” In a setting marked by tongues and prophecy, ψάλλω frames the balance between spiritual fervor and intelligibility. Both aspects are necessary so that the gathered church receives edification and outsiders hear the gospel clearly (1 Corinthians 14:24-25). Theological Significance 1. Triune focus: Praise is rendered “to the Lord” (Ephesians 5:19) while empowered by the Spirit (Ephesians 5:18) and rooted in the redemptive work of the Son (Romans 15:9). Patterns of Worship in the Early Church • Home gatherings featured participatory song (Ephesians 5:19; Colossians 3:16). Historical Development Patristic writers such as Tertullian and Pliny’s correspondence attest that Christians continued “chanting a hymn to Christ as God.” Early liturgies incorporated antiphonal psalmody and responsorial singing. While instrumental use waned in certain eras, the theological thrust of ψάλλω—word-saturated, Spirit-enabled praise—remained foundational across traditions, fueling monastic offices, Reformation hymnody, and modern worship movements. Pastoral and Personal Application • Encourage believers to weave praise into every circumstance, mirroring the James 5 rhythm of prayer and song. Conclusion Strong’s 5567 portrays sacred music as a Spirit-borne means of glorifying God, building up the church, and proclaiming salvation to the world. Whether plucked on a lyre in ancient Jerusalem or sung a cappella in a modern living room, ψάλλω summons every believer to lift a melody that harmonizes doctrine, devotion, and discipleship. Englishman's Concordance Romans 15:9 V-FIA-1SGRK: ὀνόματί σου ψαλῶ NAS: THE GENTILES, AND I WILL SING TO YOUR NAME. KJV: the Gentiles, and sing unto thy name. INT: name of you will I sing 1 Corinthians 14:15 V-FIA-1S 1 Corinthians 14:15 V-FIA-1S Ephesians 5:19 V-PPA-NMP James 5:13 V-PMA-3S Strong's Greek 5567 |
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