Timbrel
TIMBREL
An instrument of music, early and often mentioned in Scripture, Gen 31:27 Job 21:12 . The Hebrews called it toph, under which name they comprehended all kinds of drums, tabors, and tambourines. We do not find that the Hebrews used it in their wars, but only at their public rejoicing, Exo 15:20 Isa 24:8 ; and it was commonly employed by the women, Psa 62:12 . It consisted, and still consists, of a small circular rim or hoop, over which a skin is drawn. The rim is also hung with small bells. The timbrel is used as an accompaniment to lively music, being shaken and beaten with the knuckles in time. After the passage of the Red sea, Miriam, sister of Moses, took a timbrel, and began to play and dance with the women, Exo 15:20 . The daughter of Jephthah came to meet her father with timbrels and other musical instruments, Jdg 11:34 . See MUSIC.
Fuente: American Tract Society Bible Dictionary
Timbrel
(, t6ph, Exo 15:20; Jdg 11:34; 2Sa 6:5; 1Ch 13:8; Job 21:12; Psa 81:2; Psa 149:3; Psa 150:4; elsewhere rendered tabret; also. the cognate verb , taphph, Psa 68:25; rendered tabor, Neh 2:7; , Judtih 3:7) The Heb. word is an imitative one occurring in many languages rot immediately connected with each other. It is the same as the Arabic and Persian duf, which in the Spanish becomes adufe, a tambourine. The root, which signifies to beat or strike, is found in the Greek or , Lat. tympanum, Ital. tamburo, Span. tambor, Fr. tambour, Proverbs tabor, Engl. tabor, tabouret, timbrel, tambourine, A. S. dubban, to strike, Engli tap, and many others. It is usual for etymologists to quote likewise the Arab. tunbur as the original of tambour and tabor; but, unfortunately, the tunbur is a guitar, and not a drum (Russell, Aleppo [2nd ed.], 1, 152). The parallel Arabic word is tabl, which denotes a kind of drum, and is the same with the Rabb. Heb. tabla and (Span. atabal, a-kettle-drum. The instrument and the word may have come to us through the Saracens. In old English tabor was used for any drum. Thus Robof Gloucester (ed. Hearne, 1810), p. 396:
Vor of trompes and of tabors the Saracens made there So gret noise that Cristenmen al disturbed were.
In Shakespeare’s time it seems to have become an instrument of peace, and is thus contrasted with the drum: I have known when there was no music with him but the drum and fife; and now had he rather hear the tabor and the pipe (Much Ado about Nothing, Acts 2 scene 3) Tabouret and tabourine are diminutives of tabor, and denote the instrument now known as the tambourine:
Or Minoe’s whistling to his tabouret,
Selling a laughter for a cold meal’s meat
(Hall, Sat. 4:1, 78).
Tabret is a contraction of tabouret. The word is retained in the A.V. from Coverdale’s translation in all passages except Isa 30:32, where it is omitted in Coverdale, and Eze 28:13, where it is rendered beauty.
Thee Heb. toph is undoubtedly the instrument de-scribed by travelers as the dufor dif of the Arabs. It was used in very early times by the Syrians of Padanaram at their merry-makings (Gen 31:27). It was played principally by women (Exo 15:20; Jdg 11:34; 1Sa 18:6; Psa 68:25 [26]) as an accompaniment to the song and dance (comp. ud. 3, 7), and. appears to have been worn by them as an ornament: (Jer 31:4). The toph was one of the instruments, played by the young prophets whom Saul met on his return from Samuel (1Sa 10:5), and by the Levites in the Temple-band (2Sa 6:5; 1Ch 13:8). It; accompanied the merriment of feasts (Isaiah 5:12; 24,. 8), and the joy of triumphal processions (Jdg 11:34;. 1Sa 18:6), when the women came out to meet the warriors returning from victory, and is everywhere a sign of happiness and peace (Job 21:12; Isa 30:32;. Jer 31:4). So in the grand triumphal entry of God into his Temple, described in strong figures in Psalms 18, the procession is made up by the singers who marched in front, and the players on stringed instruments who brought up the rear, while on either side danced the young maidens with their timbrels (Psa 18:25 [26]).
The passage of Eze 28:13, is obscure, and appears to have been early corrupted. Instead of , thy tabrets, the Vulg. and Targ. Read , thy beauty, which is the rendering adopted in Coverdale’s and Cranmer’s Bible. The Sept. seems to have read , as in Eze 28:16. If the ordinary text be adopted, there is no reason for taking toph,; as Jerome suggests, in the sense of the setting of a gem, pala qua gemma continetur. SEE TABRET.
The tympanum was used in the feasts of Cybele (Herod. 4. 76) and is said to have been the invention of Dionysus and Rhea (Eurip. Bacch. 59). It was played by women, who beat it with the palms of their hands (Ovid, Met. 4:29), and Juvenal (Sat. 3, 64) attributes to it a Syrian origin:
Jam pridem Syrus in Tiberim defluxit Orontes Et linguam, et mores et cum tibicine chordas Obliquas, necnon gentilia tynpana secum Vexit.
In the same way the tabor is said to have been introduced into Europe by the Crusaders, who adopted it from the Saracens, to whom it was peculiar (see Du Cange’s note on De Joinville’s Hist. du Roi Saint Louis, 61).
The author of Shilte Haggibborim (c. 2) gives the Greek as the equivalent of toph, and says it was a hollow basin of metal, beaten with a stick of brass or iron.
The dif of the Arabs is described by Russell (Aleppo if st ed.], p. 94) as a hoop (sometimes with pieces of brass fixed in it to make a jingling) over which a piece of parchment is distended. It is beaten with the fingers, and is the true tympanum of the ancients, as appears from its figure in several relievos, representing the orgies of Bacchus and rites of Cybele. The same instrument was used by the Egyptian dancing-women whom Hasselquist saw (Travels [ed. 1766], p. 59). In Barbary it is called tar, and is made like a sieve, consisting (as Isidore [Orig. 3, 31] describes the tympanum) of a rim or thin hoop of wood with a skin of parchment stretched over the top of it. This serves for the bass in all their concerts, which they accordingly touch very artfully with their fingers, or with the knuckles or (palms of their hands, as the time and measure require, or as force and softness are to be communicated to the several parts of the performance (Shaw, Travels, p. 202). SEE MUSICAL, INSTRUMENTS.
Fuente: Cyclopedia of Biblical, Theological and Ecclesiastical Literature
Timbrel
(Heb. toph), a small drum or tambourine; a tabret (q.v.). The antiquity of this musical instrument appears from the scriptural allusions to it (Gen. 31:27; Ex. 15:20; Judg. 11:34, etc.) (See MUSIC)
Fuente: Easton’s Bible Dictionary
Timbrel
(See MUSIC.) Hebrew toph, “tambourine,” related to the old English “tabor,” i.e. a drum. In Eze 28:13.
Fuente: Fausset’s Bible Dictionary
Timbrel
TIMBREL.See Tabret, and Music, etc., 4 (3) (a).
Fuente: Hastings’ Dictionary of the Bible
Timbrel
timbrel. See MUSIC III, 3, (1).
Fuente: International Standard Bible Encyclopedia
Timbrel
See TABRET.
Fuente: Concise Bible Dictionary
Timbrel
Called also Tabret, an instrument of music of the tambourine sort.
Used by Miriam
Exo 15:20
Used by Jephthah’s daughter
Jdg 11:34
Used in religious service
2Sa 6:5; 1Ch 13:8; Psa 68:25; Psa 81:2; Psa 149:3; Psa 150:4
Used in dances
Job 21:12 Music, Instruments of
Fuente: Nave’s Topical Bible
Timbrel
Timbrel. (Hebrew, toph). In old English, tabor was used for any drum. Tabouret and tambourine are diminutives of tabor, and denote the instrument, now known as the tambourine. Tabret is a contraction of tabouret. The Hebrew, toph is, undoubtedly, the instrument described by travellers as the duff or diff of the Arabs. It was played principally by women, Exo 15:20; Jdg 11:34; 1Sa 18:6; Psa 68:25, as an accompaniment to the song and dance. The diff of the Arabs is described, by Russell, as “a hoop, (sometimes with pieces of brass fixed in it, to make a jingling), over which a piece of parchment is stretched. It is beaten with the fingers, and is the true tympanum of the ancients.” In Barbary, it is called tar.