MURRAIN

while it protected the accidental homicide, defined with additional strictness the crime of murder. It prohibited compensation or reprieve of the murderer, or his protection if he took refuge in the refuge city, or even at the altar of Jehovah (Exod. 21:12, 14; Lev. 24:17, 21; 1 Kings 2:5, 6, 31). Bloodshed, even in warfare, was held to involve pollution (Num. 35:33, 34; Deut. 21:1, 9; 1 Chron. 28:3). It is not certain whether a master who killed his slave was punished with death (Exod. 21:20). No punishment is mentioned for suicide attempted, nor does any special restriction appear to have attached to the property of the suicide (2 Sam. 20:23). Striking a pregnant woman so as to cause her death was punishable with death (Exod. 17:23). If an animal known to be vicious caused the death of anyone, not only was the animal destroyed, but the owner, also, if he had taken no steps to restrain it, was held guilty of murder (21:29, 31). The duty of executing punishment on the murderer is in the law expressly laid on the "revenger of blood; " but the question of guilt was to be previously decided by the Levitical tribunal. In regal times the duty of execution of justice on a murderer seems to have been assumed to some extent by the sovereign as well as the privilege of pardon (2 Sam. 13:39; 14: 7, 11; 1 Kings 2:34). It was lawful to kill a burglar taken at night in the act, but unlawful to do so after sunrise (Exod. 22:2, 3) (Smith, Bib. Dict.; Jahn, Arch.; Keil, Arch.).

MURRAIN. See DISEASES.

MUSIC

a familiar part of the merrymaking with which they used to "speed the parting guest" (Gen. 31:27). As a religious ceremony it first appears in Exod. 15:1, 20 in the responsive song led by Miriam in celebration of the passage through the Red Sea. Another responsive song is probably found in Psa. 136 (comp. also 1 Sam. 18:7).

The digging of the well Beer was celebrated by a song (Num. 21:17, 18). Moses taught Israel some of his last warnings in a song (Deut. 32:1-4). Deborah and Barak celebrated their triumph in song (Judg. 5:1-31). The women received David after his victory over Goliath with song (1 Sam. 18:6, 7). Barzillai mentioned "singing men and singing women among social pleasures (2 Sam. 19:35; comp. Eccles. 2:8). Solomon composed songs a thousand and five" (1 Kings 4:32).

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The Jewish Church under David, like the Church of the Reformation under Luther, and that of the revival under Wesley, rose in a whirlwind of song (see 1 Chron. 6:31-33; 9:33; 13:8; 15:16-28; 25:6, 7, where David's trained choir numbers two hundred and eighty-eight). The work continued under Solomon (2 Chron. 5:12, 13; 9:11), Jehoshaphat (20:21, 23), Joash (23:13, 18), Hezekiah (29:27, 28, 30), Josiah, and after him (35:15, 25) Ezra (Ezra 2:41, 65, 70; 3:11; 7:24); Nehemiah (Neh. 7:44, 67, 73; 10:28; 11:22, 23; 12:27-29, 42, 45-47; 13:5, 10). The widespread fame of "the songs of Zion" is shown by Psa. 137.

How would their singing sound to our ears? "Their chants and psalms we must imagine they intoned or recited in an elevated voice, with but MUSE (Heb., see'-akh, to ponder, Psa.143: little to distinguish the delivery from ordinary 5), to meditate, reflect; pertaining to delighting, as recitation except the monotony of the tone and an old man, in memories. In Luke 3:15 the the markedness of the cadences" (Rowbotham, Greek term diahoyizoμai (dee-al-og-id-zom-ahee) | p. 272). Thus Joshua mistook the song of wormeans to reason, deliberate. See MUSING. ship before the golden calf for the battle shout MUSHI (Heb. 7, moo-shee', sensitive) son, (Exod. 32:17). The shouting over the ark (2 Sam. of Merari, son of Kohath (Exod. 6:19; Num. 3:20; 16:15) is singing in 1 Chron. 13:8. No doubt there Chron. 6:19, 47; 23:21, 23; 24:26,30). His offspring principle the shouting in the Moabite vineyards was plenty of both, however; and on the same

were called Mushites (Num. 3:33; 26:58).

MU'SHITES. See MUSHI.

an accompaniment of instrumental music. So the Greek historian Athenæus tells us that anciently all laws-divine and human-exhortations to virtue, a knowledge of what concerned the gods and heroes, the lives and actions of illustrious men, were written in verse and sung publicly in chorus to the sound of instruments (Hutchinson, Music of the Bible, p. 132).

(Jer. 48:33) is shouting and singing (Isa. 16:10). In Lam. 2:7 Jeremiah even compares the tumult MUSIC. 1. Vocal. Hebrew music was pre-of a victorious army in the temple to the sound eminently vocal music. "There was not a drum "as in the day of a solemn feast." In 1 Sam. to be found from Dan to Beersheba, nor a dul-10:5 and 1 Chron. 25:1-3 men "prophesy" with cimer either. Flutes, if used at all, were very rarely used." The one national instrument, the harp, might more properly be called a lyre," since it was a small, portable instrument, which the player carried with him wherever he went." According to rabbinical tradition, "David used to hang his above his pillow when he went to bed" (Rowbotham, History of Music, p. 258). The voice, therefore, was the principal thing. Only an accompaniment was furnished by the instrument, whether the "harp" or lyre of the individual performer, or the tambourines and cymbals, which took the place of drums on more public occasions (1 Chron. 13:8).

The Greek music given by Chappell in his History of Music is in a five-note scale (1, 2, 3, 5, 6), and has the effect of a shrill minor; but it belongs to a different race and a later age. It is conjectured that the primitive scale may have consisted at first of two notes and afterward have been increased to three (1, 2, 3), and that later a two-note scale was added at the top (5, 6). From this our modern scale has been formed by insert

Singing must have grown up with man from the first, since, to imperfectly controlled organs, cries prolonged on a single tone are easier than the complex system of inflections which we call nat-ing 4 and 7. ural only because it gives unrestrained expression to the inward feeling.

When singing first appears in the Bible it is as

2. Instrumental. Musical instruments have been well classified in the order of their develop. ment, as: 1. The Drum type, or percussion in

struments; 2. The Pipe type, or Wind instruments; the LXX it is Gr. Kódoves, which was often used of horse bells, as well as of the large bells used by criers. Some, however, have supposed that they were pieces of brass used for ornament rather than for sound. Heb.

cymbals were used on that occasion. boc distances of the holes and the shape of the mouth

of the Greeks, the fistula of the Romans, which consisted of several pipes "made of reeds of unequal length and thickness-though some say of equal thickness-which were joined together" 1. PIPE may have been a general name for sev- (Hutchinson, Music of the Bible, p. 93). The eral instruments nearly resembling each other. number may at first have been two, but afterNor, perhaps, do all writers distinguish between ward it came to be commonly seven, and in later the pipe and the flute. In Egyptian pipes or flutes times it was still further increased. It was thus figured by Hutchinson (Music of the Bible, p. 161), a rudimentary organ, the ancestor of that monarch the player blows into the end. The simpler forms of instruments, our pipe organ. Like the harp, it of the pipe are of immemorial antiquity (Elson's was the invention of Jubal, son of Lamech the Curiosities of Music, p. 232). In an ancient dol- Cainite. It is mentioned as an instrument of man or sepulcher near Poictiers was found a prosperous pleasure in Job 21:12; comp. 30:31; partly completed flute made of a stag's horn. The and of praise, Psa. 150:4. The syrinx was known

vian antiquity, being the invention of Lamech, the Cainite. Of course the exact form of the ancient harp is not positively known, and perhaps it was not always the same. Probably its general

to Homer (I., xviii, 526). Its origin was variously It, as well as the oo-gaub' (), was of antediluascribed to Pallas Athena, to Hermes, or quite commonly to Pan, whence the name Pan's pipe. 3. TRUMPET. (1) Keh'-ren (Heb. 7) is sometimes thought to be a general word for trumpet, including sho-fawr () and khats-o-tser-aw' (); but it is perhaps best taken as synonymous with, sho-fawr (see further on). Very likely it was originally made of the horn of an animal. In this case it might correspond to the Roman cornu," a horn or trumpet shaped like the letter C. For "trumpets of rams' horns" (Josh. 6:4; comp. vers. 5, 6) it might be better to translate with R. V. marg. "jubilee trumpets." 1, keh'-ren, is translated "horn" (Josh. 6:4-6, 13; 1 Chron. 25:5), and "cornet" (Dan. 3:5, 7, 10, 15). (2) Sho-fawr (Heb. i," cornet," 1 Chron.

T:

congrega

At first there were two of these trumpets (10:2); in

Egyptian Harps.

shape was triangular, varying from a simple triangle toward a shape like the modern harp. Some forms of the Egyptian harp indeed resemble a bow with strings, the principal thing, however, being the strings rather than the frame. These harps rested on the ground, and were sometimes as tall as the player. The portable hand harp was a lyre (Hutchinson, p. 86, sq.). "The strings of the harp number from two or three to more than thirty, which appear to be fastened near the top by pegs in the sides." A harp of sixteen strings

15:28; 2 Chron. 15:14; Psa. 98:6; Hos. 5:8); elsewhere "trumpet," the classical luccina, with twisted form, imitating the shell from which it was origwas found at Herculaneum, where it was buried inally derived. (3) Khats-o-tser-aw' (Heb. in the eruption in 79 A. D. But seven or eight Hos. 5:8), a trumpet corresponding to the Roman seems to have been quite a common number. tuba, which was a long, straight trumpet with a 2. LYRE, PSALTERY, VIOL. Nay'-bel (Heb.), wide mouth, and was used for signaling in war and in games and festivals. Of this sort were the silver lyre, or, as some think, guitar. The harp, lyre, and trumpets made by Moses which were to be used guitar were all known to the ancients, but their for calling together the princes of the forms were varied, so that our modern distinctions tion, "for the journeying of the camps," for a war may not always have been kept. Nay'-bel is transalarm, and on the festival days (Num. 10:1-10). V. "lute"); 14:11 (A.V. and R. V. "viols"); Amos 5:28 lated "psaltery," except Isa. 5:12 (A. V. "viol," R. (viols "); 6:5 ("viol"). But "the ancient viol was and the variety of words used by the LXX to a six-stringed guitar" (Smith, s. v., "Psaltery "); translate (paλrhplov, yahμós, κiðápa, öpyavov, and especially váẞ2a), shows that even in their day "there was no certain identification of the Hebrew instrument with any known to the translators" (Id., ib.). Josephus (Ant., vii, 12, 3) says: "The viol was an instrument of ten strings; it was played upon with a bow; the psaltery had twelve musical notes, and was played upon by the fingers." His "viol" was the Kupa (), his "psaltery" the váßha, and his "bow" the plectrum, a little instrument with which the strings were touched or struck (see, at length, Smith, Bib. Dict., "Psaltery"). (nay'-bel) is translated "bottle" in 1 Sam. 1:24; 10:3; 25:18; 2 Sam. 16:1; Job 38:37; Jer. 13:12 (twice); 48:12; and "pitchers" (Lam. 4:2).

2 Chron. 5:12 there were a hundred and twenty. (4) Yo-bale' (Heb.), a joyful shout. In such cases as Exod. 19:13; Josh. 6:5, 6 it seems to mean an instrument, though even there this meaning is not absolutely necessary. From Josh. 6:4, comp. vers. 5, 6 and Lev. 25:9, the jubilee trumpet, P, seems to have been the . The meaning ram "for is given by the Chaldee translator and the rabbins; hence our translation "rams' horns." But it is now believed to be a mistake. The word only occurs (Exod. 19:13; Josh, 6:4-6, 8, 13; Lev. 25:9) as applied to an instrument, though used several times of the year jubilee (Lev. chaps. 25, 27, and Num. 26:4).

(3) The Lyre type, or Stringed instruments. 1. HARP. Kin-nore' (Heb. 1). "The kinnore' was the national instrument of the Hebrews, and was well known throughout Asia."