The actual styles can only be conjectured. Song was probably in unison, loud and harsh in tone, of limited range, with rude intervals and perhaps many melodic embellishments. It is likely that recitative was common, and that many texts were rendered antiphonally, following the parallelism of the poetic text. Some forms of dance were combined with religious song.
Particular melodies are apparently mentioned in the editorial notes to
a few of the Psalms, but what they were is unknown. It is supposed that
various terms found with poetic texts were originally marks of musical
treatment, but their date and meaning are disputed.
Many instruments are named, but in default of pictorial delineations their form cannot be determined. They include the 'kinnor' ('harp' in the English Bible, but probably a lyre, like the modern Egyptian 'kissar'), the 'nebel' ('psaltery,' but probably a lute, like the Egyptian 'nofre,' or a harp), the 'chalil' ('pipe,' either a flute or an oboe), two or three kinds of trumpets, such as the 'keren' and 'chatzotzerah,' the ugab' ('organ,' but probably a syrinx), cymbals, tambourines ('timbrels'), sistra, etc.
In later Judaism the importance of synagogues steadily advanced,
and after the fall of Jerusalem (70 A.D.) they sprang
up wherever Jews settled, continuing to the present day in all
parts of the world. Synagogue services to-day include the
cantillation of Scripture passages and of prayers and often the
singing of psalms. For these exercises many traditional melodies
of considerable antiquity exist. But since the usages of
different countries do not agree, these traditions do not appear
to go back to really ancient times.
The historical importance of Hebrew music lies not in what it actually
was, but in the striking influence that the fact of its existence in connection
with religion has exerted upon Christian thought and customs.
Modern Jews have often displayed eminent musical ability, and several
leading composers, like Mendelssohn and Meyerbeer, have been of Jewish
extraction. Occasionally themes from synagogue music have been used
in general composition.
16. Egypt.—It is evident that from early times the ancient
Egyptians were extremely fond of music, especially as a social
diversion, as a courtly luxury, and in religious ceremony. It was
united with poetry and with many sorts of dances. Professional
singers, players and dancers were common and carefully trained.
Among court-officials musicians are often named as prominent.
It is probable that the cultivation of music was one of the many
functions of the priesthood.
