Vocal Music. The singers at the temple were Levite males. Nowhere do the Scriptures speak of female vocalists at the temple. One of the Targums (on Ec 2:8) clearly indicates that they were not present in the chorus. The fact that women were prohibited from even entering certain areas of the temple would seem to preclude their occupying any official position there.​—2Ch 5:12; Ne 10:39; 12:27-29.

Considerable importance was attached to the singing at the temple. This is evident from the many Scriptural references to the singers as well as from the fact that they were “set free from duty” common to other Levites in order to devote themselves wholly to their service. (1Ch 9:33) Their continuance as a special group of Levites is emphasized by their being listed separately among those returning from Babylon. (Ezr 2:40, 41) Even the authority of the Persian king Artaxerxes (Longimanus) was brought to bear in their behalf, exempting them, along with other special groups, from ‘tax, tribute, and toll.’ (Ezr 7:24) Later, the king commanded that there was to be “a fixed provision for the singers as each day required.” Although Artaxerxes is credited with this order, most likely it was issued by Ezra on the basis of the power granted to him by Artaxerxes. (Ne 11:23; Ezr 7:18-26) Thus, it is understandable that, although the singers were all Levites, the Bible makes reference to them as a special body, speaking of “the singers and the Levites.”​—Ne 7:1; 13:10.

Apart from temple worship, other singers, men and women, are spoken of in Scripture. Examples of these are the male and female singers maintained by Solomon in his court; also, about 200 singers of both sexes who, in addition to the Levite musicians, returned from Babylon. (Ec 2:8; Ezr 2:65; Ne 7:67) These non-Levite singers, common in Israel, were employed not only to enhance various festive occasions but also to chant dirges in times of sorrow. (2Sa 19:35; 2Ch 35:25; Jer 9:17, 20) The custom of hiring professional musicians at times of joy and of sadness appears to have continued into the time when Jesus was on earth.​—Mt 11:16, 17.

Based on worldwide research Sachs presents the conclusion that “the choruses and orchestras connected with the Temple in Jerusalem suggest a high standard of musical education, skill, and knowledge.” He continues: “It is important to realize that the ancient Western Orient had a music quite different from what historians of the nineteenth century conceded it. . . . Though we do not know how that ancient music sounded, we have sufficient evidence of its power, dignity, and mastership.”​—The Rise of Music in the Ancient World: East and West, 1943, pp. 48, 101, 102.

The Scriptures intimate a similar conclusion. For instance, over 30 times the expression “To [For] the director” (NW; AT) appears in the superscriptions of the Psalms. (Ps 11, and others) Other translations read “choirmaster” (Kx; JB; Mo; RS), “Chief Musician” (AS; KJ; Le; Ro), and “Bandmaster” (Fn). The Hebrew term seems to refer to one who in some way gave direction to the execution of the song, in arranging it, in rehearsing and training the Levite singers, or in its official performance. Perhaps the chief one of each of the 24 courses of sanctuary musicians is being addressed, or it may have been another one of the accomplished musicians, since the record says that they were “to act as directors.” (1Ch 15:21; 25:1, 7-31) In some 20 other Psalms the superscriptions are even more specific in their reference to the “directors”: “To the director on stringed instruments,” “To the director on the lower octave,” and so on. (Ps 4, 12, and others; see SHEMINITH.) Additionally, there are Scriptural references to the “heads of the singers,” to the “experts,” and to the ‘learners.’ All of this testifies to a high standard of music.​—Ne 12:46; 1Ch 25:7, 8.

Much of the group singing in Israel appears to have been antiphonal, either two half choruses alternating in singing parallel lines, or a soloist and an answering chorus alternating. In the Scriptures this apparently is referred to as “responding.” (Ex 15:21; 1Sa 18:6, 7) This type of singing is indicated by the very way some of the psalms are written, such as Psalm 136. The description of the two large thanksgiving choirs in Nehemiah’s time and of their part in the inauguration of the wall of Jerusalem implies that they sang in this style.​—Ne 12:31, 38, 40-42; see SONG.

Chanting might be said to be halfway between singing and speaking. In pitch it is rather monotonous and repetitious, with the emphasis being on rhythm. While chanting continues to be quite popular in some of the world’s leading religions, its use in the Bible appears to be limited to dirges, as in the case of David chanting a dirge over the deaths of his friend Jonathan and of King Saul. (2Sa 1:17; 2Ch 35:25; Eze 27:32; 32:16) Only in a dirge or lamentation would the chanting style be preferable to either the melody of music or the modulation and oral emphasis of pure speech.​—See DIRGE.