Lexical Summary zemar: Song, music Original Word: זְמָר Strong's Exhaustive Concordance musick (Aramaic) from a root corresponding to zamar; instrumental music -- musick. see HEBREW zamar NAS Exhaustive Concordance Word Origin(Aramaic) corresponding to zamar Definition music NASB Translation music (4). Topical Lexicon Occurrence and Context in Daniel 3 The noun זְמָר appears four times in Daniel 3 (verses 5, 7, 10, 15), each time in the phrase “all kinds of music.” The setting is the plain of Dura, where King Nebuchadnezzar erects a colossal image and commands every nation and language under his rule to bow before it. The decree is triggered “when you hear the sound of the horn, flute, zither, lyre, harp, pipes, and all kinds of music” (Daniel 3:5). The repetition of the term underscores the centrality of musical accompaniment in the king’s religious spectacle. Historical Background In the Neo-Babylonian Empire, processional and liturgical music was woven into royal ceremony. Archaeological finds from Mesopotamia reveal sophisticated ensembles with string, wind, and percussion instruments. By listing multiple instruments and culminating with “all kinds of music,” Daniel presents a complete orchestra marshalled for idolatrous worship. The grandeur of the music parallels the monumentality of the image, magnifying the pressure placed on the exiles to conform. Literary and Theological Significance 1. Contrast of Worship: Music in Scripture is most often linked to the praise of the LORD (for example, Psalm 150). In Daniel 3 the same medium is commandeered for false worship, highlighting the distinction between true and counterfeit devotion. Music in Biblical Worship: Comparison Scriptural precedent celebrates music as a joyful act of obedience—Miriam with timbrel and dance (Exodus 15:20), David appointing Levites with cymbals, harps, and lyres (1 Chronicles 15:16), and the heavenly chorus singing the new song (Revelation 5:9). These examples direct praise to the Creator. Daniel 3 warns that musical excellence, absent covenantal fidelity, can promote idolatry rather than adoration. Implications for Ministry Today • Discernment: The passage encourages churches to evaluate not only the quality of music but its doctrinal content and intended object of worship. Related Passages and Themes Psalm 137:3 records captors demanding songs from exiles, showing music’s power to oppress as well as to console. Acts 16:25 depicts Paul and Silas singing hymns in prison, turning music into a testimony amid persecution. Both texts resonate with Daniel 3 by demonstrating that the heart behind the song determines whether music functions as bondage or liberation. Summary Zemār in Daniel 3 encapsulates the potency of music within spiritual conflict. While melodious strains can summon nations to bow before idols, the same art form, dedicated to the Lord, can exalt His name and fortify His people. The four occurrences in Daniel 3 therefore serve as a timeless reminder that music is never neutral; it either magnifies the true God or substitutes an imposter. Forms and Transliterations זְמָרָ֑א זְמָרָ֗א זמרא zə·mā·rā zemaRa zəmārāLinks Interlinear Greek • Interlinear Hebrew • Strong's Numbers • Englishman's Greek Concordance • Englishman's Hebrew Concordance • Parallel TextsEnglishman's Concordance Daniel 3:5 HEB: וְכֹ֖ל זְנֵ֣י זְמָרָ֑א תִּפְּל֤וּן וְתִסְגְּדוּן֙ NAS: kinds of music, you are to fall down KJV: kinds of musick, ye fall down INT: and all kinds of music fall and worship Daniel 3:7 Daniel 3:10 Daniel 3:15 4 Occurrences |
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