The music organization begun by David was fully realized at Solomon’s temple. The grandeur and magnitude of the music at the dedication of the temple can be appreciated from the fact that the trumpeters alone numbered 120. (2Ch 5:12, 13) But as the nation grew lax in its faithfulness to Jehovah, all features of true worship suffered, including the music. However, when Kings Hezekiah and Josiah instituted their reforms, as well as when the Jews returned from the Babylonian exile, efforts were made to reestablish the arrangement of music that Jehovah had indicated he desired. (2Ch 29:25-28; 35:15; Ezr 3:10) Later, when Nehemiah inaugurated the wall of Jerusalem, the Levite singers, with full instrumental accompaniment, contributed greatly to the joy of the occasion. (Ne 12:27-42) While the Scriptures say nothing more about music in connection with temple worship after Nehemiah’s time, other records, such as the Talmud, tell of music being used there until the destruction of Jerusalem in 70 C.E.

How extensive was the musical staff at the temple in Jerusalem?

In conjunction with the preparations for Jehovah’s temple, David set aside 4,000 Levites for musical service. (1Ch 23:4, 5) Of these, 288 were “trained in song to Jehovah, all experts.” (1Ch 25:7) The whole arrangement was under the direction of three accomplished musicians, Asaph, Heman, and Jeduthun (apparently also named Ethan). Since each of these men was a descendant of one of Levi’s three sons, Gershom, Kohath, and Merari, respectively, the three chief Levite families were thus represented in the temple music organization. (1Ch 6:16, 31-33, 39-44; 25:1-6) The sons of these three men totaled 24, all of whom were among the aforementioned 288 skilled musicians. Each son was appointed by lot to be the head of one division of musicians. Under his direction were 11 more “experts,” selected from his own sons as well as other Levites. In this manner the 288 ([1 + 11] × 24 = 288) expert Levite musicians, like the priests, were separated into 24 courses. If all the remaining 3,712 ‘learners’ were thus divided, it would average about 155 more men to each of the 24 divisions, meaning there were about 13 Levites in various stages of musical education and training to each expert. (1Ch 25:1-31) Since the trumpeters were priests, they would be in addition to the Levite musicians.​—2Ch 5:12; compare Nu 10:8.

Instrumental Music. The Bible gives very little information concerning the shape or construction of the more than a dozen different musical instruments that it mentions. Hence, most scholars draw heavily on what archaeologists have discovered about the instruments used by contemporary surrounding nations. However, this may not always be a reliable guide, since it appears that Israel excelled in music in comparison with her neighbors. Additionally, some have linked various instruments of Scripture to instruments used in modern times in the Middle East, which are supposed to have an ancient background. This, too, is conjectural.

The musical instruments of the Bible may be classified as follows:

String: harp, lute, zither.

Wind: bagpipe, flute, horn, pipe, trumpet, (possibly) nehiloth.

Percussion: cymbals, sistrum, tambourine.

See individual articles on the above instruments for further information.

There is no reason to believe that the musical instruments of Israel were crude in design, construction, or sound production. The Bible notes that the harps and stringed instruments for temple use were of the choicest imported algum wood; the trumpets of silver. (1Ki 10:11, 12; Nu 10:2) Undoubtedly, in the manufacture of the temple instruments, the most skilled craftsmen were employed.

Both the Scriptures and non-Biblical manuscripts dating from before the Common Era testify to the quality of the instruments as well as the competence of the Israelite musicians. The Dead Sea Scrolls state that a number of trumpets were assigned various complicated signals to be executed “as with one mouth.” This would require not only skilled musicians but also instruments so constructed that the pitch might be regulated in order to bring them all into tune with one another. Freedom from dissonance is indicated by the inspired account of the music at the inauguration of Solomon’s temple: “The [one hundred and twenty] trumpeters and the singers were as one in causing one sound to be heard.”​—2Ch 5:12, 13.

The Bible lists but four instruments as definitely being in the temple orchestra: trumpets, harps, stringed instruments (Heb., neva·limʹ), and cymbals. While this may not seem to be a complete orchestra by modern standards, it was never intended to be a symphony orchestra, but only to provide accompaniment for the singing at the temple. Such a combination of instruments would serve this purpose excellently.​—2Ch 29:25, 26; Ne 12:27, 41, 42.

As to the times when the sacred instruments performed, the Scriptures enumerate the following in connection with the trumpets: “In the day of your rejoicing and in your festal seasons and at the commencements of your months, you must blow on the trumpets over your burnt offerings and your communion sacrifices.” (Nu 10:10) After the temple music organization was established, it is likely that the rest of the instruments joined the trumpets on these and other special occasions. This conclusion, as well as the musical procedure followed, seems to be indicated by the order of events described as taking place when sacred services were revived by King Hezekiah after he had cleansed the temple: “At the time that the burnt offering started, the song of Jehovah started and also the trumpets, even under the direction of the instruments of David the king of Israel. And all the congregation were bowing down while the song was resounding and the trumpets were blaring​—all this until the burnt offering was finished.” (2Ch 29:27, 28) The trumpets’ being “under the direction of the instruments of David” seems to denote that the trumpeters played in such a manner as to complement the other instruments rather than to overshadow them. The position of the entire body of musicians was “to the east of the altar.”​—2Ch 5:12.

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.

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.