5<\/strong>. chant<\/em> ] improvise idly.<\/strong> The word ( pra<\/em>) occurs only here; and its meaning is uncertain: but (if the text be correct) this on the whole is the most probable rendering: see the Additional Note, p. 236. In illustration of the custom of having music at banquets, see Isa 5:12<\/span>; Isa 24:9<\/span>.<\/p>\n the viol<\/em> ] the<\/em> harp<\/strong> (comp. Amo 5:23<\/span>, and see p. 234 ff.).<\/p>\n devise for<\/strong> themselves instruments of musick, like David<\/em> ] or, perhaps, like David’s<\/em>. The skill of David as a player on the kinnr<\/em> (p. 234) is of course, well known (1Sa 16:18<\/span>; 1Sa 16:23<\/span>, &c.): this passage speaks of him as famed further either for the musical instruments which he invented, or for those which he owned, and which will naturally have been performed upon either by himself or by others at his direction. The comparison rather suggests that the music for which David at this time was chiefly remembered was of a secular kind (cf., of Solomon, 1Ki 10:12<\/span> where ‘singers’ is not the term used technically in later writings of the Temple-singers), but it is obviously not inconsistent with the tradition embodied in the Chronicles that he cultivated sacred music as well. Comp. W. R. Smith, O.T.J.C<\/em> [176][177] p. 223 f.<\/p>\n [176] .T.J.C.<\/em> W. Robertson Smith, The Old Testament in the Jewish Church<\/em>, ed. 2, 1892.<\/p>\n [177] W. Robertson Smith, The Old Testament in the Jewish Church<\/em>, ed. 2, 1892.<\/p>\n Additional Note<\/strong> on Chap. Amo 6:5<\/span> ( pra<\/em>)<\/p>\n The root in Arabic which corresponds to the Hebrew pra<\/em> means properly to precede, anticipate<\/em>, hence faraa minhu kalm<\/em>, “speech proceeded from him prematurely, without reflexion,” and faraa ‘alaihi<\/em> (Qor. 20:47), “he hasted (acted hastily and unjustly) against him”; conj. ii. to send before<\/em>, hence to send before so as to leave, to relinquish, to fail, be remiss, neglectful<\/em> in anything (Qor. 6:31, 12:80, 39:57); conj. iii. takallama fir<\/em> an<\/em>, he spoke hastily<\/em>, without premeditation; conj. iv. to send before<\/em> (Qor. xvi. 64 “They shall be sent first<\/em> into the fire of hell”), to hasten<\/em>, and (very frequently) to exceed due bounds, act extravagantly<\/em> in a thing, ’afraa fi ’lqauli, to be immoderate in talk<\/em>. It is thus just possible that, as Abul-walid supposed, it might be used of those who extemporized<\/em> poetry over-rapidly, without premeditation, in a hurried flow of unmeaning, unconsidered words: hence R.V. sing idle songs<\/em>. The mediaeval Jewish authorities, Rashi, Ibn Ezra, and David Kimchi, connecting the word with pere<\/em> (Lev 19:10<\/span>), the fallen or separated<\/em> berries in a vineyard, supposed it to denote the way in which a singer divides<\/em> his words into parts ( ) to suit the notes of the accompaniment; hence, no doubt, A. V. chant<\/em> (marg. quaver<\/em>). (In Dr Pusey’s note, “measured out defilements” should be “divided the melody”: a word was inaccurately transcribed in the Thesaurus<\/em> of Gesenius; see Roediger’s note in the Appendix, p. 107, or Neubauer’s ed. of Abul-walid’s Lexicon<\/em>, col. 586.)<\/p>\n An ancient Egyptian lyre (from Sir J. Gardner Wilkinson’s Ancient Egyptians<\/em>, 1878, ii. 476).<\/p>\n An ancient Egyptian guitar [229] (from Sir J. Gardner Wilkinson’s Ancient Egyptians<\/em>, 1878, ii. 481).<\/p>\n [229] The lute<\/em> differs substantially from the guitar only in having a shorter neck.<\/p>\n That chant to the voice of the lyre – <\/B>Accompanying the voice of the lyre with the human voice; giving vocal expression and utterance to what the instrumental music spoke without words. The word, which Amos alone uses in this one place, describes probably a hurried flow of unmeaning, unconsidered words, in which the rhythm of words and music was everything, the sense, nothing; much like most glees.<\/P> The English margin quaver has also some foundation in the root, but does not suit the idiom so well, which expresses that the act was something done to the voice of the lyre, accompanying the music, not altering the music itself. In fact, they would go together. An artificial, effeminate music which should relax the soul, frittering the melody, and displacing the power and majesty of divine harmony by tricks of art, and giddy, thoughtless, heartless, soulless versifying would be meet company. Debased music is a mark of a nations decay, and promotes it. The Hebrew music seems to have been very simple; and singing appears to have been reserved almost exclusively for solemn occasions, the temple-service, or the greeting of victory 1Sa 18:7<\/span>. Singing men and singing women were part of the state of David and Solomon 2Sa 19:35<\/span>; Ecc 2:8<\/span>. Else the music at the feasts of the rich appears rather to be mentioned with blame Isa 5:12<\/span>; Isa 24:9<\/span>. Songs they had Pro 25:20<\/span>; but the songs, for which the Hebrew exiles were celebrated, and which their Babylonian masters required them to sing, the songs of Zion Psa 137:3-4<\/span>, were the hymns of the temple, the Lords song.<\/P> And invent to themselves instruments of music – <\/B>The same pains, which David employed on music to the honor of God, they employed on their light, enervating unmeaningful music, and, if they were in earnest enough, justified their inventions by the example of David. Much as people have justified our degraded, sensualizing, immodest dancing, by the religious dancing of Holy Scripture! The word can mean no other than devised. David then did devise and invent instruments of music for the service of God. He introduced into the temple-service the use of the stringed instruments, the kinnor, (the lyre) and the nebel (the harp) in addition to the cymbals. Whence these, in contrast with the trumpets, are called the instruments of David (2Ch 29:26<\/span>, compare 2Ch 29:25<\/span>, and 1Ch 15:16<\/span>, 1Ch 15:19-21<\/span>, 1Ch 15:24<\/span>). Probably, in adapting them to the temple-service, he, in some way, improved the existing instrument; having been, in early youth, remarkable for his skill upon the harp 1Sa 16:16<\/U><\/span>, 1Sa 16:18<\/span>, 1Sa 16:23<\/span>. As he elevated the character and powers of the, perhaps rude, instrument which he found, and suited it to the service of God, so these people refined it doubtless, as they thought, and suited it for the service of luxury and sensuality. But what harm, they thought, in amending the music of their day, since so did David?<\/P> <\/p>\n Verse 5<\/span>. And invent to themselves instruments of music, like<\/B><\/I> <\/B>David<\/B><\/I>] 2Ch 23:5<\/span>; and see especially Clarke’s note on “<\/I>2Ch 29:25<\/I><\/span>“<\/I>. I believe that David was not authorized by the Lord to introduce that multitude of musical instruments into the Divine worship of which we read, and I am satisfied that his conduct in this respect is most solemnly reprehended by this prophet; and I farther believe that the use of such instruments of music, in the Christian Church, is without the sanction<\/I> and against<\/I> the will<\/I> of God; that they are subversive of the spirit of true devotion, and that they are sinful<\/I>. If there was a wo to them<\/I> who invented<\/I> instruments of music, as did David under the law, is there no wo,<\/I> no curse<\/I> to them who invent them, and introduce them into the worship of God in the Christian Church? I am an old man, and an old minister; and I here declare that I never knew them productive of any good in the worship of God; and have had reason to believe that they were productive of much evil. Music, as a science<\/I>, I esteem and admire: but instruments of music in the house of God<\/I> I abominate and abhor. This is the abuse of music; and here I register my protest against all such corruptions in the worship of the Author of Christianity. The late venerable and most eminent divine, the Rev. John Wesley<\/I>, who was a lover of music<\/I>, and an elegant poet<\/I>, when asked his opinion of instruments of music being introduced into the chapels of the Methodists said, in his terse and powerful manner, “I have no objection to instruments of music in our chapels, provided they are neither HEARD nor SEEN.” I say the same, though I think the expense of purchase had better be spared.<\/P> <\/P> The word happoretim<\/I>, which we render chant<\/I>, and the margin quaver<\/I>, signifies to dance<\/I>, to skip<\/I>, &c. In the sight of such a text, fiddlers, drummers, waltzers, &c., may well tremble, who perform to excite detestable passions.<\/P> <\/p>\n Woe to them that, in a time of deepest morning, do entertain themselves with songs, and with greatest skill sing to their musical instruments, as if they had no greater thing to mind! <\/P> Viol; <\/B>or lute, or gittern, one kind put for every one used in their feastings at this time of Amos. <\/P> Invent to themselves instruments of music; <\/B>not content with known, old-fashioned music, they find out new instruments, new songs and tunes. <\/P> Like David; <\/B>in imitation of David, as they profanely pretend, or else emulating his skill, and preferring their own feast songs and music before his temple music and songs. We may imagine what songs such ungodly, cruel, voluptuous men would sing, and what tunes they would set too, on such occasions, viz. loose, profane, and impure enough. <\/P> <\/p>\n 5. chant<\/B>literally, “markdistinct sounds and tones.” <\/P> viol<\/B>the lyre, or lute.<\/P> invent . . . instruments . .. like David<\/B>They fancy they equal David in musical skill(1Ch 23:5<\/span>; Neh 12:36<\/span>).They defend their luxurious passion for music by his example:forgetting that he<\/I> pursued this study when at peace and freefrom danger, and that for the praise of God; but they<\/I> pursuefor their own self-gratification, and that when God is angry and ruinis imminent.<\/P><\/p>\n That chant to the sound of the viol<\/strong>,…. Or psaltery; an instrument of twelve cords, and that gave twelve sounds, as Josephus x says, being stricken with the fingers; and to these sounds these men chanted or quivered, made like sounds with their voice, which they raised higher or lower, according to the sound of the instrument: they “particularized”, as the word signifies y; or observed the divisions and distinctions of notes and sounds, by the modulation of their voice:<\/p>\n [and] invent to themselves instruments of music, like David<\/strong>: not content with old ones, such as were used in former times, they invented new instruments and new tunes, and new songs to sing to them; as David made songs and invented several instruments of music to sing them upon and to, in religious worship, and for the praise and glory of God; so these men invented new ones to indulge their carnal mirth and jollity, in which they thought themselves to be justified by the example of David.<\/p>\n x Antiqu. l. 7. c. 19. sect. 3. y “particularizantes”, Montanus; “qui particularia habent cantica”, Pagninus; “qui particulatim canunt”, Vatablus, Mercerus; “variis modulationibus concinunt”, Tigurine version.<\/p>\n The word פרט, pereth, means to divide; so some explain it, and derive it from the clusters which remain after the vintage, because there are not then thick grapes, but a cluster here and there, and a great distance between: hence they think that the participle הפורטים, epurethim, is to be taken here metaphorically as meaning to divide by marks, as music has its various notes; for except there be a distinct variety in singing, the sound would be confused, and would produce no pleasing effect. Who sing then with the harps and have invented for themselves, after the example of David, musical instruments. <\/p>\n The Prophet still continues his discourse, and shows that these men lived sumptuously; as though they did not belong to the common class, they delighted themselves, against God’s will, not only in the common mode of living, but even sought new pleasures, as if they were continually at marriage feasts, or celebrating birthdays. As then they had no season for mourning, they pursued their own indulgences; and this is what the Prophet now reprehends. If then any one thinks that music is in these words condemned, he is much deceived, as it appears from the context. Indeed, the Prophet never dealt so rigidly with that people, but he ever kept to this point — that they were extremely torpid, nay, destitute of common sense, who perceived not that God showed himself angry with them, in order that they might flee immediately to the standard of repentance and humbly deprecate, with mourning, the wrath of God, as they ought to have done. It was therefore meet ever to set before them Gods wrath, which ought to have humbled the Jews and the Israelites, inasmuch as they ever obstinately set up against God their own indifference. <\/p>\n In saying that after the example of David they invented for themselves musical instruments, he no doubt greatly aggravated their sin by this comparison: for it is not likely that they had abused this pretext, as hypocrites do, who are wont to boast of the examples of the saints, when they seek to disguise their own vices, — “What!” some will say, “Did not David use musical instruments?” Others will say, “Had not Solomon very splendid palaces?” And some will add, “Had not Abraham a company of servants in his house?” So every one lays hold on what may avail for an excuse: and thus the examples of the saints are absurdly referred to by many. But it seems not probable that this was done by those whom Amos now addresses: but, on the contrary, he appears sharply to reprove them for provoking God’s wrath by self indulgence, and for manifesting their perverseness, while David employed musical instruments in the exercises of religion, to raise up his mind to God. No doubt, David, when in a peaceful state, after having been delivered from all dangers, could also amuse himself: but he applied musical instruments to another purpose — to sound forth the praises of God in the temple, that thereby he and other godly persons might together elevate their thoughts to a religious devotion. While David then, even in a state of peace and prosperity, did not allow his mind to become sunk in vain self-indulgences, these men, when God appeared angry, when he spread terror by so many tokens of his vengeance, yet dared contumaciously to follow their own ways, so that they left off nothing of their usual pomp and of their accustomed pleasures. <\/p>\n We now see the design of the comparison which the Prophet makes: He aggravates, I have no doubt, their sin, because they regarded not the example of David, but transferred musical instruments to serve the purpose of gross and beastly indulgences, and thus they did when God was opposed to them, when he had begun to terrify them by his vengeance. Let us proceed — <\/p>\n (5) Chant.<\/strong>The original Hebrew only occurs in this passage, and is best rendered prattle,<\/em> or jabber.<\/em> The comparison with David is ironical He made these instruments to please the Lord, these princes to please themselves.<\/p>\n Amo 6:5 That chant to the sound of the viol, [and] invent to themselves instruments of musick, like David;<\/p>\n Ver. 5. That chant (or quaver) to the sound of the viol] That sing division with much variation of their voices, and many distinctions of diverse tones, modulations fractions. Particularizant,<\/em> they sing their parts in concert. The Hebrew root word signifieth the single grains of grapes that remain after the vintage; or the particular berries, Lev 19:10<\/span> . Our word parting, answereth to the Hebrew peret. It is their wanton and unseasonable music (emasculating, dissolving, and drawing out their spirits) that they are here threatened for. This abuse of music (given to men for better purposes) is elsewhere condemned, Amo 5:23 Isa 5:12 Exo 32:18 Ecc 2:8<\/span> . God made not man more avium minurire,<\/em> to be chirping of birds to sport on earth as leviathan doth in the sea; to spend his whole time (as the people of Tombutum, in Africa, are said to do) in singing and dancing; and, when he is cast out of one paradise, to make himself another. It is charged as a foul fault upon those sensualists in St James, that they had “lived in pleasure on the earth, and been wanton,” Jas 5:5<\/span> . <\/p>\n <\/p>\n And invent to themselves instruments of music, like David<\/strong> ] Whose example likely they pleaded to patronize their fiddlings and chanting of menial songs. But his music and theirs agreed like harp and harrow, as the proverb is. Two may do the same thing and yet it not be the same; because not from the same principles and for the same purposes: as we see in Cain and Abel, the Pharisee and the publican, David and these singsters, who did nothing less than help forward their devotion by music, as did David; and as did our late holy Esty, who, when he sat and heard a sweet concert of music, seemed upon this occasion carried up for the time beforehand to the place of his rest, saying very passionately, What music may we think there is in heaven? (Dr Hall’s Art of Div. Medit.)<\/p>\n chant = break out [in song]. Hebrew. parat. Occurs only here. <\/p>\n instruments of music = instruments of song <\/p>\n like David = as David did <\/p>\n chant: or, quaver <\/p>\n to the: Gen 31:27, Job 21:11, Job 21:12, Ecc 2:8, Isa 5:12, 1Pe 4:3, Rev 18:22 <\/p>\n like: Amo 5:23, Amo 8:3, 1Ch 23:5 <\/p>\n Reciprocal: Gen 4:21 – the harp 2Sa 6:5 – David 2Sa 23:1 – sweet psalmist 1Ch 13:8 – with harps 2Ch 7:6 – which David 2Ch 29:26 – the instruments Neh 12:36 – musical instruments Isa 24:9 – General Eze 11:3 – It is not Dan 3:10 – the cornet 1Ti 5:6 – she<\/p>\n Amo 6:5. With all of the facts and truths before him that have been so clearly set forth, surely the reader is prepared to avoid a fundamental error that has been made in commenting on this verse, It is a common thing for certain .teachers to use this verse in showing that God condemned instrumental music even in Old Testament times. In such teaching they miss en-tirely the point the prophet is making. The verse is but another item of the practice I have already explained, that of mixing some things that would have been endorsed previously, with their idolatrous and other evil things, thinking that God would accept the whole program.<\/p>\n 6:5 That chant to the sound of the viol, [and] invent to themselves instruments of musick, like {e} David;<\/p>\n (e) As he caused different types of instruments to be made to serve God’s glory, so these did strive to invent as many to serve their unrestrained affections and lusts.<\/p>\n That chant to the sound of the viol, [and] invent to themselves instruments of music, like David; 5. chant ] improvise idly. The word ( pra) occurs only here; and its meaning is uncertain: but (if the text be correct) this on the whole is the most probable rendering: see the Additional Note, p. 236. … Continue reading “Exegetical and Hermeneutical Commentary of Amos 6:5”<\/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-22466","post","type-post","status-publish","format-standard","hentry","category-commentary"],"_links":{"self":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts\/22466","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=22466"}],"version-history":[{"count":0,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts\/22466\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/media?parent=22466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/categories?post=22466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/tags?post=22466"}],"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: English Annotations on the Holy Bible by Matthew Poole<\/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: Calvin’s Complete Commentary<\/b><\/i><\/h4>\n
Fuente: Ellicott’s Commentary for English Readers (Old and New Testaments)<\/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: Combined Bible Commentary<\/b><\/i><\/h4>\n
Fuente: Geneva Bible Notes<\/b><\/i><\/h4>\n","protected":false},"excerpt":{"rendered":"