Musical Instruments in Daniel 3

The Musical Instruments in Daniel 3

Charles H. Dyer Associate Professor of Bible Exposition, Dean of Enrollment Management

Dallas Theological Seminary, Dallas, Texas

The setting for the Book of Daniel in the Bible is the court of Nebuchadnezzar in Babylon. It is beyond the scope of this paper to examine the historicity of the Book of Daniel, but several scholars have provided strong evidence for assuming the factualness of the historical accounts presented in Daniel.1 The third chapter of the Book of Daniel records an unusual gathering on "the plain of Dura" possibly located to the south of Babylon. Nebuchadnezzar summoned all the officials of the provinces to Babylon to participate in a solemn ceremony.2

Recent scholarship has cast much favorable light on the sixth-century C background for the Book of Daniel One example is Belshazzar s offering the title of third highest ruler m the kingdom (Dan 5 7) Nabomdus was technically king, and

Belshazzar was his son and viceroy Thus the highest position he could offer was "third highest ' However, this historical fact was lost by the fourth century C and was only 'rediscovered ' in the past century by archaeologists The point here is that apart from how one interprets the Book of Daniel, the historical portions of the account have been validated by recent archaeological discoveries For additional information see Bruce Waltke, ' The Date of the Book of Daniel, Bibhotheca Sacra 133 (October-December 1976) 319-29, Edwin M Yamauchi, The Archaeological Background of Daniel," Bibhotheca Sacra 137 (January-March 1980) 3-16, R Harrison, Introduction to the Old Testament (Grand Rapids Wm Eerdmans Publishing C o , 1969), pp 1105-34, and Alan Millard, 'Daniel and Belshazzar in History, Biblical Archaeology Review 11 (May/June 1985) 73-78

William Shea suggests that the gathering followed a revolt against Nebuchadnezzar that occurred between December 595 and January 594 C Nebuchadnezzar summoned these officials to Babylon to take a loyalty oath ' to him (William Shea, "Daniel 3 Extra-Biblical Texts and the Convocation on the Plain of Dura,' Andrews University Seminary Studies 20 [Spring 1982] 29-52) The revolt in Babylon was significant enough to be included in the official Babylonian record of the events for that year 'In the tenth year the king of Akkad [was] in his own land, from the

426

The Musical Instruments in Daniel 3 427

King Nebuchadnezzar made an image of gold and set it up on the plain of Dura in the province of Babylon He then summoned the satraps, prefects, governors, advisers, treasurers, judges, magistrates and all the other provincial officials to come to the dedication of the image he had set up So the satraps, prefects, governors, advisers, treasurers, judges, magistrates and all the other provincial officials assembled for the dedication of the image that King Nebuchadnezzar had set up, and they stood before it Then the herald loudly proclaimed, This is what you are commanded to do, O peoples, nations and men of

every language As soon as you hear the sound of the horn, flute, zither, lyre, harp, pipes and all kinds of music, you must fall down and worship the image of gold that King Nebuchadnezzar has set up (Dan 3 1-5) 3

Though the purpose for the gathering is unclear from the text, it seems obvious that this was a special gathering and was to be a solemn occasion The list of officials spans the ranks of Babylonian government and includes the rulers of the territories conquered by Babylon Though the individuals summoned include only government officials, the international scope of Nebuchadnezzar's gathering is apparent when the herald addressed the officials as "peoples, nations and men of every language" (v 4)

An undated clay prism discovered at Babylon (now in the Istanbul museum) provides a parallel account of this event On the prism Nebuchadnezzar wrote, "I ordered the [following] court officials in exercises of [their] duties to take up position in my [official] suite "4 The prism then lists five ranks of individuals who were evidently summoned before Nebuchadnezzar at approximately the same time and appointed (or reappointed) to official positions in the government of Babylon These ranks included court officials, officials of the land of Akkad, officials of towns, district officials, and western vassal kings This list pictures a high government gathering If this assembly occurred after the unsuccessful revolt against Nebuchadnezzar in Babylon, it is likely that Nebuchadnezzar intended it as an awe-inspiring event to assure the future loyalty of those who held positions of authority under him

The Musical Instruments One key component of this solemn ceremony was the instrumen

talists assembled for the event Three times m the account the m-

month of Kislev to the month of Tebet there was rebellion in Akkad With arms he slew many of his own army His own hand captured his enemy (D J Wiseman, Chronicles of the Chaldean Kings (626-556 C ) in the British Museum [London Bri hsh Museum 1956], 73)

For this article the New International Version is used unless indicated otherwise

Shea Daniel 3 Extra-Biblical Texts and the Convocation on the Plain of Dura 37

428 Bibhotheca Sacra / October-December 1990

s t r u m e n t s are listed. Unfor tunate ly there is some disagreement on the specific i n s t r u m e n t s listed in the account a n d their exact identification. A listing of the w o r d s a n d their suggested interpretat ions as found in four translat ions of the text are listed below.

King James

Version

Cornet

Flute

Harp

Sackbut

Psaltry

Dulcimer

New English

Bible

Horn

Pipe

Zither

Triangle

Dulcimer

Music

Jerusalem Bible

Horn

New International

Version

Horn

Pipe

Lyre

Trigon

Harp

Bagpipe

Flute

Zither

Lyre

Harp

Pipes

Aramaic

*PP

Krrprraa

(Greek = ?)

N?2Q (Greek = ?)

p m o s (Greek = ?)

(Greek = ?) (Greek = )

T h e first i n s t r u m e n t is the KJnp, the Aramaic w o r d for "horn." T h o u g h it usual ly referred to the h o r n of an animal, it also described musical i n s t r u m e n t s m a d e of w o o d or metal. Reliefs and fragments of long meta l t r u m p e t s from the late Assyrian per iod have been discov-


ered. 5 From Daniel 3 it is unclear whether the word referred to an animal horn or to a trumpet of wood or metal. Akkadian parallels do not help because qarnu, the Akkadian word for "horn," was not used of a musical instrument in any of the texts used for all the available lexicons.6 However, the evidence from Assyrian sources would seem to indicate that the animal horn was replaced by the horn of wood or metal for official functions. Thus it seems likely to identify the in Daniel 3 as a wood or metal trumpet.

The second instrument listed in Daniel 3 is the KrrpnD, usually translated "pipe" or "flute." This identification is based on the fact that the word comes from a root that means "to hiss."7 Does this word refer to the flute or the double-reed pipe?8 No specific answer can be given from the etymology of the word or from the immediate context. However, other information on musical assemblies from that period suggests that the word refers to a double-reed pipe or mutbak.

Though a flute was used in Babylon,9 the double-reed pipe be-came the more prominent instrument. A bas-relief from the reign of Ashur-bani-pal (668-626 C ), now in the British Museum, pictures a gathering of Elamite musicians greeting the royal conquerors returning from battle.1 0 Eight performers are playing stringed instruments,

^ Egon Wellesz, ed , Ancient and Oriental Music (reprint, London Oxford University Press, 1960), 242 Also see Carl Engel, The Music of the Most Ancient Nations (reprint, Freeport, NY Books for Libraries Press, 1970), pp 59-62, an excellent reproduction of an Assyrian trumpet relief is included on page 61

" D J Wiseman et a l , Notes on Some Problems in the Book of Daniel (London Tyn-dale Press, 1965), 23

Ibid Both Patton and Galpin identify the instrument with the syrinx, or pipes of Pan, based on the suggested etymology of WTpnuD being sharak However, this identification by suggested etymological similarities is tenuous (Priscilla Patton and Rebecca Patton, Before the Times [San Francisco Strawberry Hill Press, 1980], 190, Francis William Galpin, The Music of the Sumenans and Their Immediate Successors, the Babylonians and Assyrians (reprint, Freeport, NY Books for Libraries Press, 1970), 67 ' Two classes of woodwind were known throughout the ancient Near East the vertical end-blown flute, and the single- or double-reed shawm, ancestors of the modern clarinet and oboe,\which were usually played in pairs The true flute, usually made of reed, was a pastoral instrument, with a soft, breathy voice The louder, more penetrating shawms, made of reed, wood or metal, were better able to hold their own in orchestral ensembles" (The International Standard Bible Encyclopedia [1986 ed ], s Music, by D A Foxvog and A D Kilmer, 3 442) " Engel gives an excellent description (with illustration) of a clay pipe, or whistle, discovered at Birs Nimrud near Babylon (Engel, Music of the Most Ancient Nations, pp 75-76) Unfortunately the pipe, which was taken to the Royal Asiatic Society in London, was later lost *

u Wellesz, Ancient and Oriental Music, Plate VIII (c)


and one individual is playing a drum. These musicians are accompanied by two individuals playing double-reed pipes. No flutes are included in the group. Koldewey's excavations of Babylon at the turn of the century also gave some evidence of the musical instruments in use in Babylon during the Neo-Babylonian period. Included in the terra-cotta figures discovered by Koldewey were representations of individuals playing the lute, the tambourine, the harp, the kithara, and the double-reed pipe. 1 1

The second wind instrument in the passage could be a flute or a double-reed pipe. The word itself does not offer any indication as to which is meant. However, on the basis of parallels from history and on the basis of archaeological discoveries in Babylon, it seems more likely that the instrument in question should be identified as a double-reed pipe.

onrrp With the third instrument Daniel introduced a new grouping in

Nebuchadnezzar's musicians. The first two instruments are wind instruments; the next three are stringed instruments. The first of these stringed instruments is the onrrp , variously identified as the harp, lyre, or zither.

The word seems to be a transliteration of the Greek word }2 The was a type of lyre and is attested in Homer (8th century C ) and in Herodotus (5th century C ). To find a Greek instrument in the royal court of Babylon should not be surprising because there is much evidence of contact and commerce between the people of the Aegean and Mesopotamian regions,13 and additional evidence that musical instruments were carried between countries.14

Robert Koldewey, The Excavations at Babylon, trans Agnes S Johns (London Macmillan and Co , 1914), pp 283-84

This association is well documented See Edwin M Yamauchi, "The Greek Words in Daniel in the Light of Greek Influence in the Near East," in New Perspectives on the Old Testament, ed J Barton Payne (Waco, TX Word Books, Publisher, 1970), pp 170-200, and H H Rowley, The Aramaic of the Old Testament (London Oxford University Press, 1929), 146 ^ For a good overview of these contacts see William Stevenson Smith, Interconnections in the Ancient Near East A Study of the Relationships between the Arts of Egypt, the Aegean, and Western Asia (New Haven, CT Yale University Press, 1965), and Edwin M Yamauchi, Greece and Babylon Early Contacts between the Aegean and the Near East (Grand Rapids Baker Book House, 1967)

This was especially true for captives Assyrian bas-reliefs picture captives being led away into captivity carrying musical instruments (Engel, The Music of the Most Ancient Nations, 303) When the Jews were taken captive by Nebuchadnezzar, they took their musical instruments to Babylon and were forced to play them for their captors "By the rivers of Babylon we sat and wept when we remembered Zion There on the poplars we hung our harps, for there our captors asked us for songs, our tormentors demanded songs of joy, they said, 'Sing us one of the songs of Zion'"' (Ps 137 1-3)


Recent studies have indicated that the ancient Mesopotamian musical instruments and musical notation (along with other elements of Mesopotamian culture) were transmitted to the Greeks.15 Ellenbogen suggests that was itself a foreign loan word in Greece.16 "The antiquity of the lyre in the Near East has been amply demonstrated by the work of Woolley at Ur."17 One need not posit a Greek original for this type of instrument. It is at least possible that the instrument was imported to Greece and then exported from there to other countries.18 In any case the was some type of lyre.

The second stringed instrument listed among Nebuchadnezzar's musicians is the K595. Some have suggested that this is to be identified with the Greek and Roman sambuca, which was a horizontal, angular harp.1 9 Such an identification is supported by the Septuagint . Another possibility is that ?^9 comes from the root p30 ("to intertwine, interweave").20 A third possibility is that the instrument is derived from the sabttu, or seven-stringed lyre of the Akkadians.21

If the word comes from the Greek , then the instrument in view is probably a small harp with a few short strings and a high pitch. If the word comes from pao, it could describe a larger, multi-

1;> Wellesz writes, "The influence exerted by Mesopotamian culture on the western

world was far reaching. Unfortunately the glories of the intellectual and artistic conquests of Greece have dazzled our view of our cultural debts to others" (Ancient and Oriental Music, p. 250). See also M Duchesne-Guillemin, "Survivance orientale dans la dsignation des cordes de la lyre en Grce?" Syria 44 (1967): 233-46; Anne Kilmer, "The Strings of Musical Instruments: Their Names, Numbers, and Significance," in Studies in Honor of Benno Landsberger (Chicago: University of Chicago Press, 1965), pp. 261-72.

* Maximilian Ellenbogen, Foreign Loan Words in the Old Testament (Mystic, CT: Verry, 1962), p. 148. *' Harrison, Introduction to the Old Testament, p. 1126. * Wellesz writes, "The word kithara may not be Greek. That it was some times called astas, rather than asias kithara is conveyed by the word , and practically the same word haraka, has been used in Arabic from time immemorial in connection with playing the lute Cud)" (Ancient and Oriental Music, p. 251). Patton and Patton, Before the Times, p. 188. See also The International Standard Bible Encyclopedia (1986 ed.), s.v. "Music," by D. A. Foxvog and A. D. Kilmer, 3:446. 20 "The sabbek (lower-chested harp) owes its name, in all probability, to the fact that multiplicity [of strings] was confused with multiflexity, as we have seen in the root sabaq (to intertwine, interweave), hence seba (lattice-work) and sebq (net-work), whose kindred still thrive in Arabic" (Wellesz, Ancient and Oriental Music, p. 245). 21 Harrison, Introduction to the Old Testament, p. 1126.


stringed harp that would give the impression of lattice work. If the word comes from sabitu it could be a seven-stringed lyre. No definitive answer can be given, but perhaps the best position is to relate the word more closely to the Greek word . However, rather than say that the *ono is derived from the it might be best to reverse the order of borrowing, seeing the Greek as having been borrowed from the Near East.22 Mitchell and Joyce provide a possible explanation for the instrument.

The meaning of the Greek sambuk, a four stringed triangular harp, or something similar, may give a clue to the meaning of sabk, though it need not necessarily be expected to have precisely the connotation of the later classical term. There are a number of triangular harps in the monuments, and in the Assyrian reliefs these seem usually to be hori-zontal, so m the absence of other evidence the meaning of "horizontal harp" can be reckoned a plausible guess for this word 23

The frCQO, then, was a stringed instrument, probably to be identi-fied as a harp. Wellesz identified it as a "lower-chested harp," an instrument known from many Assyrian reliefs.24 The exact number of strings cannot be determined. The association with the Greek word would suggest four strings, though the similarity to the Akkadian sabitu would argue for more strings. A comparison with Assyrian reliefs suggests a harp with still more strings. 2 5

praoa The third stringed instrument listed among Nebuchadnezzar's

musicians is the ]]03, which appears to be a transliteration of the Greek word .26 According to Mitchell and Joyce, the was a triangle-shaped stringed instrument.2 7 Engel identified the with the santtr, the present oriental dul-

The Greeks had a poor opinion of the It was considered an instrument played by vulgar musicians and prostitutes (Macrobius Satir 3 1417) and was rejected from Plato's ideal Republic (3 399d) I O AO

C Mitchell and R Joyce, "The Musical Instruments in Nebuchadrezzar's Orchestra," in Notes on Some Problems in the Book of Daniel, 25

Wellesz, Ancient and Oriental Music, 245 Foxvog and Kilmer describe this instrument as a "horizontal angular harp played with a plectrum" (The International Standard Bible Encyclopedia [1986 ed ], s "Music," by D A Foxvog and A D Kilmer, 3 446) * Engel, The Music of the Most Ancient Nations, 31 2 6

This observation is also well attested See Yamauchi, "The Greek Words in Daniel," p p 174-75, The Illustrated Bible Dictionary, s v , "Music," by D G Stradlmg and Kenneth A Kitchen, 2 1036

Mitchell and Joyce, "The Musical Instruments in Nebuchadrezzar's Orchestra," 25


cimer. 2 8 Wellesz connected with the following word and identified the instrument as an "upper-chested 'concord h a r p . ' " 2 9

The Aramaic word " became the Persian santur and the Arabic sanr.30 The instrument was likely a trapezoid-shaped dul-cimer either plucked or played with plectra. Thus Daniel 3 refers to three types of stringed instruments. Nebuchadnezzar's string section included lyres, harps, and dulcimers.

rnaoio The final instrument played by Nebuchadnezzar's musicians is

identified as the rnaoio. Identifying this instrument is difficult. Most scholars associate the word with the Greek . According to Driver this word describes in later Greek "a bagpipe, an instrument consisting essentially of a combination of pipes supplied with wind from a bladder blown by the mouth and called 'symphonia' on account of the combination of sounds produced by it." 3 1 Accordingly the New American Standard Bible renders the word "bagpipe," and the New International Version translates it "pipes."

However, the identification of rnsaio as ("bagpipe") has problems. First, the use of the word as an instrument is not attested to in Greece before the fourth century B C 3 2 Galpin notes, "About 400 A D Prudentius gives this name to the double-reed pipe as a signal for battle amongst the Egyptians. Venantius Fortunarais in the next century considered it a pipe plena suo flatu 'big with its own wind'probably a bagpipe."3 3 This is too late to have been the instrument in the sixth-century C orchestra of Nebuchadnezzar. Second, there is no evidence for bagpipes in Mesopotamia at any time. 3 4

A second identification of rnSQlO also interprets it as a Greek loan word but with a different understanding of that Greek

2 0 Engel, The Music of the Most Ancient Nations, 282

2 9 Wellesz, Ancient and Oriental Music, pp 238, 245-46

3 U Harrison, Introduction to the Old Testament, 1126

Samuel R Driver, The Book of Daniel (Cambridge Cambridge University Press, 1900), 39 3 2

The International Standard Bible Encyclopedia (1986 ed ), s "Music," by D A Foxvog and A D Kilmer, 3 446

^ Galpin, The Music of the Sumerians, 67 3 4

The International Standard Bible Encyclopedia (1986 ed ), s "Music," by D A Foxvog and A D Kilmer, 3 446


word. In this identification the word has the idea of "harmony" or "concord" and describes not an individual instrument but the music from all the instruments. Such an interpretation has some lexical support. In the sixth century B.C. Pindar wrote, "Honor the people and prompt them to harmony [] and peace" (Pythian Ode I. 70). The Septuagint translation of Daniel 3 uses in the sense of "sounding together." The only occurrence of in the New Testament uses this same meaning. In Luke 15:25 a man's son returns to his house to hear "music [] and dancing."

Though this meaning of as "sounding together" or "music" has good lexical support, it is not without difficulty. Such an understanding produces a redundancy in Daniel 3. The instruments are listed four separate times. In the second listing the word rPDSQlO is omitted. However, in all the listings the specific instruments are followed by the phrase "and all kinds of music" (vv. 5, 7, 10, 15). Thus if rnsaio refers generically to "music," each listing of instruments that includes rnSQlO would end with the idea of "music and all kinds of music." This interpretation is possible, but it makes the word rnsoio unnecessary.

Wellesz has proposed a third solution to this problem. He suggests that rnSQlO be translated as a descriptive word rather than a separate instrument and that it be taken with the preceding instrument in a technical sense. He would translate iTDSQIO as "concord harp." 3 5 Wellesz's proposed solution is attractive. By understanding rnSGlO as a noun in apposition to ]']02, Daniel could have been describing a harp with a large number of strings that could have been played in octaves. The problem with Wellesz's proposal is that no such term is used to describe a harp. A large number of names for harps have survived, but this is not one of them. Because rnSDIO is a loan word, it must be used in a technical sense. (Daniel would not have chosen a Greek loan word as a mere adjective to describe the sound of the music in a Mesopotamian royal orchestra.) Unless more information on the existence of the rnSQlO ]"nrOS can be found, Wellesz's proposal must be rejected.

A final proposal is to identify TDSQIO as a musical instrument but to reject its association with the Greek word . Instead, according to this view, it should be identified with the Greek word -,

36 to be translated "drum."3 7 Three arguments are given to sup-

^ Wellesz, Ancient and Oriental Music, p. 245. JO

A brief explanation of this view is given in The International Standard Bible Encyclopedia (1986 ed.), s.v. "Music," by D. A. Foxvog and A. D. Kilmer, 3:446. 7

Henry George Liddell and Robert Scott, A Greek-English Eexicon (Oxford: Clarendon Press, 1968), s.v., "" p. 1834. "The word usually referred to a 'kettledrum,' such as was used in the worship of the Mother Goddess and Dionysus."


port this interpretation. The first answers a negative objection and the second and third arguments present more positive affirmations.

One objection to this identification is the apparent strain one must exercise to arrive at from n^boto. Mitchell and Joyce offer a plausible linguistic explanation for this identification. Their reasoning is as follows:

(1) The exchange of t for s before / and y is a feature of East Greek dialects, e.g. the Doric pronoun ty is sy in East Greek, and the syllables -si and -ti sometimes interchange in Mycenean texts.

(2) tympanon sometimes appears as typanon. Confusion over this may be reflected in the Kethib siponey (3:10).

(3) The changed vowel in the second syllable is paralleled by Ionic glassa for glossa.38

Thus the difference in vocalization can be explained on the basis of differences in pronunciation between different dialects. Much as the Greek name nerpo becomes Butros in Arabic, so the rv of in Doric Greek would have become the of in East Greek. This could then have been passed on into Aramaic.

A second argument for identifying ^ with is the apparent order of the list of instruments in Daniel 3. If n^ &QiO is identified as (i.e., "bagpipe"), then one has trouble explaining the apparent disorder in the listing of instruments. Two wind instruments are followed by three stringed instruments, which are followed by another wind instrument. The more natural grouping would have been to place all the wind instruments together, followed by the stringed instruments. However, if n^iO refers to a drum, then the order is harmonious. Daniel would have listed two wind instruments, then three stringed instruments, and one percussion instrument.

A third argument for identifying n^ &QiO with is that it would have been unnatural for an orchestra not to have some percussion instrument. Bas-reliefs from the Near East show a remarkable similarity in the appearance of different types of instruments. Percussion instruments were a vital part of orchestras, especially in important gatherings. In the procession of Assyrian musicians going out to meet the conquerors returning from battle39 a bas-relief has 11

Mitchell and Joyce, "The Musical Instruments in Nebuchadrezzar's Orchestra," p. 26.

^ For a photograph of this bas-relief see Wellesz, Ancient and Oriental Music, Plate VIII(c). For an accurate line drawing see Engel, The Music of the Most Ancient


musicians (not counting the 15 individuals clapping their hands). Of these 11 musicians, eight are playing stringed instruments (seven with upright harps and one with a dulcimer), two are playing double-reed pipes, and one is playing a drum. This same type of arrangement appears on other reliefs.40 The point of this argument is that one would expect to find a drum among a listing of instruments for such a significant gathering in the ancient Near East. By identifying rnSQIO with the drum is present.

The exact identification of rnsoio is difficult. However, an association with provides a satisfactory answer that fits both linguistically and logically. Thus the royal orchestra would have had three divisions: a wind section, a string section, and a percussion section.

Conclusion

Daniel 3 records a solemn gathering of Nebuchadnezzar's royal officials from throughout his empire. The royal musicians were assembled to promote the awesomeness of the occasion and to provide direction on when the officials were to bow down to express their loyalty and devotion. The orchestra was composed of representative instruments and was not confined to those from Babylon. The presence of instruments with Greek names added to the international flavor of the event. While the exact identification of the instruments remains difficult, this article proposes the following listing: horn, double-reed pipe, lyre, harp, dulcimer, and drum. These instruments all sounded a note of praise to the glory of Nebuchadnezzar and the might of his Babylonian Empire.

Nations, frontispiece

Another example shows a military band with four musicians, one playing a hand-drum, one a five-stringed rectangular lyre, one an eight-strmged lyre, and one a set of cymbals (Illustrated Bible Dictionary, s 'Music, by D G Stradlmg and A Kitchen, 2 1039)

^ s

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Musical Instruments in Daniel 3

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