What musical terms are used in Psalms?

Introduction

The Book of Psalms is a rich anthology of Hebrew poetry, intended for use in worship and personal devotion. Many of these psalms include musical terms either in their superscriptions or within the text itself. These terms offer insight into how ancient communities performed and experienced these prayers and hymns. The following sections highlight the key Hebrew musical notations found in the Psalms, referencing the Berean Standard Bible where relevant. Their exact meanings have some measure of debate among scholars, but they serve as important historical and liturgical markers.

Selah

Perhaps the most recognized musical term in the Psalms is “Selah.” Appearing over seventy times, “Selah” is found throughout the text, for example in Psalms 3, 4, 32, and many others (e.g., Psalm 3:2 [BSB], “Many say… Selah”). Scholars suggest it may indicate a pause in the singing or music, a musical interlude, or a cue to raise one’s voice. Archaeological studies of liturgical scrolls, including some Psalms discovered among the Dead Sea Scrolls, corroborate the presence of “Selah” as a delineator of sections or emphasis for worship.

Maskil

Another prominent term is “Maskil,” appearing in the headings of certain psalms (e.g., Psalm 32:1 [BSB], “Of David. A Maskil.”). The Hebrew root often implies “contemplation” or “wisdom.” It may refer to a didactic or instructive style of musical composition. This term signals that the psalm is meant to impart guidance or deeper insight, possibly accompanied by melodic reflection.

Miktam

“Miktam” is used in several psalm headings (e.g., Psalm 16:1 [BSB], “A Miktam of David.”). While its precise etymology is uncertain, some suggest a connection to engraving or something “inscribed.” Others associate it with a particular style or tone of music. This term could have indicated a golden or precious composition, highlighting its significance in worship gatherings.

Shiggaion

“Shiggaion” appears in Psalm 7:1, “A Shiggaion of David.” A related form, “Shigionoth,” is found in Habakkuk 3:1. The root likely means a musical piece composed with a variable rhythm or emotional intensity. This might have involved a passionate, wandering melody, reflecting the psalmist’s fervent prayer or distress.

Gittith

“Gittith” is found in certain superscriptions, such as Psalm 8:1, “For the choirmaster. According to Gittith.” The term may reference a musical style or instrument originating from Gath (a Philistine city). Some propose that it involved a stringed or percussion instrument. Whatever the exact origin, “Gittith” was likely linked to a tune known to worshippers, illustrating how diverse musical influences contributed to Israel’s worship.

Al-taschith

Translated as “Do not Destroy,” “Al-taschith” appears in headings such as Psalm 57:1, “For the choirmaster. Do not Destroy.” It may denote a tune name or a directive to preserve the composition. Some interpret it as a plea for protection, indicating a refrain repeated in song. It underscores the tradition of reusing known melodies with new or adapted lyrics during Temple worship.

Mahalath

In Psalms like 53:1, “For the choirmaster. According to Mahalath,” the word “Mahalath” could reference a musical instrument or tune. Some interpretations suggest it was a style associated with sickness or an afflicted tone, possibly signifying a lamentation melody.

Jeduthun

“Jeduthun” is named in headings such as Psalm 39:1. Jeduthun was one of the chief musicians appointed by King David (cf. 1 Chronicles 25:1). References to him in psalm superscriptions may imply a performance style, choir group, or arrangement overseen by Jeduthun’s lineage. Archaeological findings of Temple-era inscriptions hint at organized choir guilds that maintained the worship music.

Sheminith

“Sheminith,” found in Psalms like Psalm 6:1, “For the choirmaster. With stringed instruments, according to Sheminith,” literally means “the eighth.” It might indicate a lower octave or the use of an eight-stringed instrument. This suggests specialized musical arrangements in temple worship that accommodated various vocal ranges.

Neginoth and Nehiloth

• “Neginoth” often appears in superscriptions, for instance Psalm 4:1, “For the choirmaster. With stringed instruments.” The term points toward stringed instruments (from the root meaning “to play on strings”).

• “Nehiloth,” referenced in Psalm 5:1, “For the choirmaster. To be accompanied by flutes,” is often rendered as “flutes” or “wind instruments.” Combined, they illustrate the broad variety of instrumentation used in the psalmic tradition.

Other Musical Markers

Some psalms incorporate additional notations or phrases that imply aspects of musical performance. For instance, the instructions “to the choirmaster” (e.g., Psalm 13:1 [BSB]) and references to “Davidic” or “Asaph” psalms underline organized musical leadership in worship. Throughout ancient Israel’s history, sacred music involved structured choirs, instruments (harps, lyres, cymbals, trumpets), and instructions for conducting collective praise.

Archaeologists have unearthed remnants of lyres, flutes, and other instruments in the broader region dating to roughly the same period as Davidic-era Israel. These finds lend cultural background to the psalms’ many references to instruments and music. Scroll fragments from Qumran (Dead Sea area) also preserve many of these terms, confirming their antiquity and the consistency of biblical manuscripts.

Conclusion

The Psalms are notable not only for their theological depth but also for the musical instructions embedded in their text. Terms like “Selah,” “Maskil,” “Miktam,” “Shiggaion,” “Gittith,” “Al-taschith,” “Mahalath,” “Jeduthun,” “Sheminith,” “Neginoth,” and “Nehiloth” shed light on the dynamic worship practices of ancient Israel. Though scholars occasionally disagree on some of the precise nuances of each word, the overarching testimony remains: these notations demonstrate that music was central to Israel’s prayers, praises, laments, and proclamations of hope.

In reading and singing the Psalms, individuals embrace both the poetry and the musical legacy passed down through generations. These texts, preserved across millennia, invite worshippers and students alike to explore the treasure of worship that resonates through the written Word and the vibrant heritage of Israel’s ancient songs.