3<\/strong>. With decachord and with psaltery,<\/p>\n With meditative music on the harp.<\/p>\n In Psa 33:2<\/span>; Psa 144:9<\/span>, ten-stringed<\/em> is an epithet of psaltery<\/em>, but here two instruments seem to be meant. Higgyn<\/em> occurs in Psa 9:16<\/span> as a technical term, denoting apparently an instrumental interlude. The word denotes musing<\/em> or meditation<\/em> in Psa 19:14<\/span>. See Introd.<\/em> p. xxiv.<\/p>\n Upon an instrument of ten strings – <\/B>The general idea in this verse is, that instruments of all kinds are to be employed in celebrating the praises of God. On the instrument here referred to, see the notes at Psa 33:2<\/span>.<\/P> And upon the psaltery – <\/B>Or lyre. See the notes at Isa 5:12<\/span>. The word is there translated viol.<\/P> Upon the harp with a solemn sound – <\/B>Margin, upon the solemn sound with the harp. Prof. Alexander renders this, On meditation with a harp. On the word rendered harp, see the notes at Isa 5:12<\/span>. The Hebrew word rendered solemn sound is <\/span> higgayon<\/I> which means properly murmur; then, the sound of a harp; and then, meditation. See the notes at Psa 9:16<\/span>. Here the meaning seems to be, with murmurs upon the harp; that is, with the sound of the harp – its murmuring tones. It does not denote here a distinct instrument of music, but it refers to the tones of the harp: not to the meditations of the mind – of the worshipper – but to the low and gentle sounds of the instrument itself.<\/P><\/p>\n Verse 3<\/span>. Upon an instrument of ten strings<\/B><\/I>] Eusebius, in his comment on this Psalm, says: , , , “The Psaltery of ten<\/I> strings<\/I> is the worship of the Holy Spirit, performed by means of the five<\/I> senses of the body, and by the five<\/I> powers of the soul.” And, to confirm this interpretation, he quotes the apostle, 1Co 14:15<\/span>: “I will pray with the spirit, and with the understanding also; I will sing with the spirit, and with the understanding also.” “As the mind has its influence by which it moves the body, so the spirit has its own influence by which it moves the soul.” Whatever may be thought of this gloss, one thing is pretty evident from it, that instrumental music<\/I> was not in use in the Church of Christ in the time of Eusebius, which was near the middle of the fourth<\/I> century. Had any such thing then existed in the Christian Church, he would have doubtless alluded to or spiritualized it; or, as he quoted the words of the apostle above, would have shown that carnal usages<\/I> were substituted for spiritual<\/I> exercises<\/I>. I believe the whole verse should be translated thus: Upon the asur, upon the nebel, upon the higgayon, with the<\/I> kinnor<\/I>. Thus it stands in the Hebrew.<\/P> <\/p>\n 3.<\/B> In such a work all proper aidmust be used. <\/P> with a . . . sound<\/B>or,on Higgaion<\/I> (see on Ps9:16<\/span>), perhaps an instrument of that name, from its soundresembling the muttered sound of meditation, as expressed also by theword. This is joined with the harp.<\/P><\/p>\n Upon an instrument of ten strings<\/strong>,…. An harp of ten strings, as the Targum. The harp invented by Terpander had only seven strings c; according to Pliny d; Simonides added the eighth, and Timotheus the ninth; but this of David was of ten strings:<\/p>\n and upon the psaltery<\/strong>; of which [See comments on Ps 33:2]<\/span>, “upon the harp with a solemn sound”; or “upon higgaon with the harp”; which “higgaon”, Aben Ezra says, was either the tune of a song, or an instrument of music; all these instruments of music were typical of the spiritual joy and melody which the saints have in their hearts when they praise the Lord; hence mention is made of harps in particular in this spiritual sense, under the Gospel dispensation, Re 5:8<\/span>.<\/p>\n c Suidas in voce . Plin. Nat. Hist. l. 7. c. 56. d Ibid.<\/p>\n (3) Ten strings.<\/strong>See Note, Psa. 33:2<\/span>.<\/p>\n Upon the harp with a solemn sound.<\/strong>Rather, with music of the harp. <\/em>For the Hebrew word, see Note, Psa. 9:16<\/span>.<\/p>\n 3<\/strong>. <\/strong> Instrument of ten strings psaltery harp <\/strong> See note on Psa 81:2<\/span>; Psa 33:2<\/span>. <\/p>\n Upon the harp with a solemn sound <\/strong> Either a gentle sound, <\/em> or a grave undertone<\/em> <\/em><\/strong> double bass. <\/em> The meditative tone of the psalm, though cheerful, would indicate the latter.<\/p>\n Psa 92:3<\/span><\/em><\/strong>. <\/strong>Upon the harp with a solemn sound<\/em><\/strong><\/strong> In a soft whisper upon the harp. <\/em>Mudge; who observes, that the word everywhere signifies a soft sound <\/em>of some kind or other. <\/p>\n Psa 92:3 Upon an instrument of ten strings, and upon the psaltery; upon the harp with a solemn sound.<\/p>\n Ver. 3. Upon an instrument of ten strings, &c.<\/strong> ] This was part of the Jewish pedagogy; and teacheth us to use all lawful means to enforce ourselves to that, whereunto we are so dull and backward.<\/p>\n a solemn sound. Hebrew. higgiyon = soliloquy, or meditation. Occurs in three Psalms: Psa 9:16; Psa 19:14 (“meditation”); Psa 92:3 (“solemn sound”). See App-66. <\/p>\n instrument: Psa 33:2, Psa 57:8, Psa 68:25, Psa 81:2, Psa 81:3, Psa 149:3, Psa 150:3-5, 1Ch 15:16, 1Ch 25:6, 2Ch 23:5, 2Ch 29:25 <\/p>\n the harp: etc. or, the solemn sound with the harp <\/p>\n a solemn sound: Heb. Higgaion, Psa 9:16 <\/p>\n Reciprocal: 1Ch 15:21 – harps 2Ch 5:12 – cymbals 2Ch 20:28 – with psalteries Psa 98:5 – General Psa 150:4 – stringed Rev 14:2 – harpers<\/p>\n 92:3 Upon an {c} instrument of ten strings, and upon the psaltery; upon the harp with a solemn sound.<\/p>\n (c) These instruments were then permitted in the Church as also they are now.<\/p>\n (Ed.)<\/p>\n Upon an instrument of ten strings, and upon the psaltery; upon the harp with a solemn sound. 3. With decachord and with psaltery, With meditative music on the harp. In Psa 33:2; Psa 144:9, ten-stringed is an epithet of psaltery, but here two instruments seem to be meant. Higgyn occurs in Psa 9:16 as a … Continue reading “Exegetical and Hermeneutical Commentary of Psalms 92:3”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-15426","post","type-post","status-publish","format-standard","hentry","category-commentary"],"_links":{"self":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts\/15426","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/comments?post=15426"}],"version-history":[{"count":0,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts\/15426\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/media?parent=15426"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/categories?post=15426"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/tags?post=15426"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Fuente: The Cambridge Bible for Schools and Colleges<\/b><\/i><\/h4>\n
Fuente: Albert Barnes’ Notes on the Bible<\/b><\/i><\/h4>\n
Fuente: Adam Clarke’s Commentary and Critical Notes on the Bible<\/b><\/i><\/h4>\n
Fuente: Jamieson, Fausset and Brown’s Commentary Critical and Explanatory on the Whole Bible <\/b><\/i><\/h4>\n
Fuente: John Gill’s Exposition of the Entire Bible<\/b><\/i><\/h4>\n
Fuente: Ellicott’s Commentary for English Readers (Old and New Testaments)<\/b><\/i><\/h4>\n
Fuente: Whedon’s Commentary on the Old and New Testaments<\/b><\/i><\/h4>\n
Fuente: Commentary on the Holy Bible by Thomas Coke<\/b><\/i><\/h4>\n
Fuente: John Trapp’s Complete Commentary (Old and New Testaments)<\/b><\/i><\/h4>\n
Fuente: Companion Bible Notes, Appendices and Graphics<\/b><\/i><\/h4>\n
Fuente: The Treasury of Scripture Knowledge<\/b><\/i><\/h4>\n
Fuente: Geneva Bible Notes<\/b><\/i><\/h4>\n","protected":false},"excerpt":{"rendered":"