2170. zemar
Lexical Summary
zemar: Song, music

Original Word: זְמָר
Part of Speech: Noun Masculine
Transliteration: zmar
Pronunciation: zeh-MAHR
Phonetic Spelling: (zem-awr')
KJV: musick
NASB: music
Word Origin: [(Aramaic) from a root corresponding to H2167 (זָמַר - sing praises)]

1. instrumental music

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.
2. Test of Allegiance: The sounding of the instruments becomes the external signal against which inner loyalty to God is measured. Shadrach, Meshach, and Abednego refuse to respond, demonstrating that authentic faith resists cultural coercion no matter how impressive the artistic trappings.
3. Universality of the Challenge: The phrase “every people, nation, and language” (Daniel 3:7) paired with “all kinds of music” emphasizes totality. Music functions as a unifying yet spiritually perilous force when divorced from God’s glory.

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.
• Courage: Christian musicians and worshipers may face environments where music glorifies values contrary to Scripture. Daniel 3 offers a model of steadfastness.
• Missional Reflection: Just as Nebuchadnezzar convened a multinational audience, contemporary worship can cross cultural boundaries; however, faithfulness to the gospel must remain non-negotiable.

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 zəmārā
Links
Interlinear GreekInterlinear HebrewStrong's NumbersEnglishman's Greek ConcordanceEnglishman's Hebrew ConcordanceParallel Texts
Englishman'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
HEB: וְכֹ֖ל זְנֵ֣י זְמָרָ֑א נָֽפְלִ֨ין כָּֽל־
NAS: kinds of music, all
KJV: kinds of musick, all
INT: all kinds of music fell and all

Daniel 3:10
HEB: וְכֹ֖ל זְנֵ֣י זְמָרָ֑א יִפֵּ֥ל וְיִסְגֻּ֖ד
NAS: kinds of music, is to fall down
KJV: kinds of musick, shall fall down
INT: and all kinds of music fall and worship

Daniel 3:15
HEB: וְכֹ֣ל ׀ זְנֵ֣י זְמָרָ֗א תִּפְּל֣וּן וְתִסְגְּדוּן֮
NAS: kinds of music, to fall down
KJV: kinds of musick, ye fall down
INT: and all kinds of music to fall and worship

4 Occurrences

Strong's Hebrew 2170
4 Occurrences


zə·mā·rā — 4 Occ.

2169
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