7030. qitharos
Lexical Summary
qitharos: Lyre, Harp

Original Word: קִיתָרֹס
Part of Speech: Noun Masculine
Transliteration: qiytharoc
Pronunciation: kee-thah-ros
Phonetic Spelling: (kee-thaw-roce')
KJV: harp
NASB: lyre
Word Origin: [(Aramaic) of Greek origin]

1. a lyre

Strong's Exhaustive Concordance
harp

(Aramaic) of Greek origin; a lyre -- harp.

NAS Exhaustive Concordance
Word Origin
(Aramaic) of foreign origin
Definition
a lyre, zither
NASB Translation
lyre (4).

Brown-Driver-Briggs
קיתרס Kt, קַתְרֹס Qr, noun [masculine] lyre, zither (also ᵑ7; loan-word from Greek κίθαρις Kraussi. 193: ii. 573); — Daniel 3:5,7,10,15; Kmp קִיתָרִם.

קָל see קול.

Topical Lexicon
Instrument Description and Nomenclature

The term קִיתָרֹס designates a plucked string instrument comparable to the Greek kithara. Built with a resonant wooden body and multiple gut or sinew strings, it produced a bright, carrying tone ideal for public ceremonies. While kin to the Hebrew kinnor and nebel, קִיתָרֹס is distinguished by its foreign origin and by the formal, often state-sponsored occasions in which it appears.

Biblical Occurrences

Daniel 3:5, Daniel 3:7, Daniel 3:10, and Daniel 3:15 each list קִיתָרֹס among a set of instruments whose combined sound signaled compulsory worship of Nebuchadnezzar’s golden image. The word therefore surfaces exclusively within the Aramaic section of Daniel and never in Israel’s liturgical texts, underscoring its association with Gentile power rather than temple praise.

Cultural and Historical Background

Babylon of the sixth century B.C. was a crossroads of cultures. Greek mercenaries, traders, and artisans were already present in Mesopotamia, making the borrowing of a Greek musical term wholly plausible. Court orchestras in the ancient Near East regularly blended indigenous and imported instruments for grand processions, coronations, and cultic rites. The inclusion of קִיתָרֹס in the Babylonian ensemble reflects both the empire’s cosmopolitan reach and its desire to project magnificence through music.

Role in the Narrative of Daniel 3

The repeated list of instruments heightens the dramatic tension of the chapter. Each time the roster is recited, readers are reminded that political pressure is being applied through carefully orchestrated spectacle. Daniel 3:5 captures the force of the moment: “As soon as you hear the sound of the horn, flute, zither, lyre, harp, pipes, and every kind of music, you must fall down and worship the golden statue that King Nebuchadnezzar has set up.” The קִיתָרֹס joins the chorus not as a neutral cultural artifact but as a tool enlisted to demand allegiance to an idol. When Shadrach, Meshach, and Abednego refuse to bow, they reject not merely a statue but an entire sensory apparatus designed to seduce the soul.

Worship and Idolatry: Theological Reflections

Scripture consistently portrays music as a powerful aid to worship (Psalm 33:2; 1 Chronicles 15:16), yet Daniel 3 demonstrates that the same artistry can be commandeered for idolatry. The lesson is not to mistrust instruments but to guard the object of worship. The three Hebrew men discerned that genuine worship is measured by fidelity to the living God, not by the splendor of the instrumentation. Their stand affirms the first commandment and anticipates Jesus’ teaching that the Father seeks those who worship “in spirit and in truth” (John 4:23).

Implications for Ministry Today

1. Discernment in Art: Music in corporate gatherings should elevate God rather than eclipse Him. The קִיתָרֹס episode warns against allowing aesthetic excellence to become an autonomous end.
2. Courage under Cultural Pressure: Believers may face subtle or overt demands to conform when the “band plays.” Daniel 3 encourages steadfastness whatever the social cost.
3. Missions and Contextualization: Instruments from diverse cultures can enrich worship, provided they are submitted to biblical truth. Like the kithara in Babylon, foreign forms are not inherently sinful; their moral value hinges on the purpose they serve.

Related Scriptures and Themes

Psalm 150 celebrates a panoply of instruments consecrated to the praise of the Lord.
Revelation 5:8 portrays heavenly worship with “harps” that magnify the Lamb, showing the redeemed use of stringed instruments in eternity.
Exodus 32 contrasts the golden calf festival—also marked by music—with Moses’ call to covenant faithfulness, paralleling Daniel 3’s clash between idolatrous celebration and covenant loyalty.

In sum, קִיתָרֹס illustrates both the beauty God has woven into music and the danger of beauty divorced from truth. Its brief biblical cameo serves as a clarion call to align every artistic gift with the exclusive worship of the one true God.

Forms and Transliterations
קַתְרֹ֣וס קַתְרֹ֤וס קַתְרֹ֨וס קתרוס katRos qaṯ·rō·ws qaṯrōws
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Interlinear GreekInterlinear HebrewStrong's NumbersEnglishman's Greek ConcordanceEnglishman's Hebrew ConcordanceParallel Texts
Englishman's Concordance
Daniel 3:5
HEB: [קִיתָרֹוס כ] (קַתְרֹ֨וס ק) סַבְּכָ֤א
NAS: flute, lyre, trigon,
KJV: flute, harp, sackbut,
INT: of the horn flute harp trigon psaltery

Daniel 3:7
HEB: [קִיתָרֹס כ] (קַתְרֹ֤וס ק) שַׂבְּכָא֙
NAS: flute, lyre, trigon,
KJV: flute, harp, sackbut,
INT: of the horn flute harp trigon psaltery

Daniel 3:10
HEB: [קִיתָרֹס כ] (קַתְרֹ֨וס ק) שַׂבְּכָ֤א
NAS: flute, lyre, trigon,
KJV: flute, harp, sackbut,
INT: of the horn flute harp trigon psaltery

Daniel 3:15
HEB: [קִיתָרֹס כ] (קַתְרֹ֣וס ק) שַׂבְּכָ֡א
NAS: flute, lyre, trigon,
KJV: flute, harp, sackbut,
INT: of the horn flute harp trigon psaltery

4 Occurrences

Strong's Hebrew 7030
4 Occurrences


qaṯ·rō·ws — 4 Occ.

7029
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