Bullock,
C. Hassel. Encountering the Book of
Psalms: A Literary and Theological Introduction. Grand Rapids, MI: Baker
Academic, 2001.
**Continuing kudos to the United Reformed Church (and
others) in their advancement of
congregational singing of the Psalms. Restoring musical sanity; the time for
reformation of congregational singing is long overdue; of course, keep the
classics of the hymnals of old Anglican, Lutheran and Reformed hymnals, but
restore much more balance with Psalm-singing. Time for boot camp operations for the leaders—to get
re-tooled and fixed. Notably, reform a portion of seminary curricula, including the Professors, many of whom lack training in sacred music. Thankfully, the historic Anglican Church has
contributed well to good sense, order, dignity and decorum; we politely bury the undesirable and unwarranted voices against professional musicians, accompaniments, and instruments offered by the few odd voices (much more could be said). Good congregational hymns, often, are far superior to sermons--at least in our orbit.
266-pages. Nice paper. Glossy and lovely cover. Decent
bibliography. A part of the “EBS Series” from Baker Academic, or, “Encountering
Biblical Studies.” Mr. (Dr. Prof.) Bullock holds his Ph.D. from Hebrew Union
College and is the Franklin S. Dryness Professor of Biblical Studies at Wheaton
College.
Contents in Brief
Editor’s Preface, Publisher’s Preface, To the Student,
Author’s Preface, Abbreviations
Part 1
Encountering
the Literary and Hermeneutical Dimensions of the Psalms
1.
“Begin the Music”: Introducing the Psalms
2.
Listening to the Symphony of Praise:
Interpreting the Psalms
3.
The Seams of the Garment of Praise: The
Structure of the Book
Part 2
Encountering
the Psalms as Worship and Historical Reflection
4.
The Psalms in Worship and Faith
5.
Encountering Theology and History in the Psalms
Part 3
Encountering
the Psalms as Literary and Theological Types
6.
“Praise the LORD, O My Soul; All My Inmost
Being, Praise His Holy Name”: The Psalms of Praise
7.
“My God, My God, Why Have You Forsaken Me?”:
Psalms of Lament
8.
“I Love the LORD, for He Heard My Voice: He
Heard My Cry for Mercy”: Psalms of Thanksgiving
9.
“The LORD is my Shepherd, I Shall Not Want”:
Psalms of Trust
10. “You Are My Son; Today I Have Become Your
Father”: Psalms of the Earthly King
11. “The LORD Reigns”: Psalms of the Heavenly King
12. “My Mouth Will Speak Words of Wisdom”: The
Wisdom Psalms
13. “The Law of the LORD is Perfect, Reviving the
Soul”: The Psalms of the Torah
14. “May They Be Blotted Out of the Book of Life”:
The Imprecatory Psalms
Notes, Select Bibliography of the Psalms, Glossary, Subject
Index, Scripture Index
The “EBS” or “Encountering Biblical Series” (in the OT and
NT survey volumes) is self-consciously and pedagogically designed for “collegiate
levels.” This particular volume is
designed for “upper collegiate” levels. It also endeavors to incorporate the “finest
of evangelical scholarship.” There is a
liberal use of illustrations, figures, tables, photos, charts, sidebars,
exegetical excursuses, chapter outlines, statements of objectives, study
questions, a glossary and bibliography for further studies. Bottom-line: shelf-worthy and workable for
parish adult programs. Thus far, we are impressed.
Chapter
One—Topics: Names, Nature, Place in Canon, David’s Place in
the Psalter, Titles, Musical Instruments, and Singing
Names
for the Psalms:
·
Tehillim (“Praises”)
·
Mizmor (“Song”)—LXX called them Psalmos/Psalmoi
(this comes down into the English lexicon as the Psalms
·
A popular title, the Psalter, derives from the
5th century (A.D.) Alexandrian Codex (Greek)
Nature
of the Psalms: sacred
poetry and hymns, both private, public and corporate. Calvin called the Psalms “an anatomy of all
parts of the soul” (22).
Place
of the Psalms in the Canon: the Writings (= Hagiographa or Ketuvim). Has
prophetic and historic dimensions also.
Mr. (Rev. Dr. Prof.) Brevard Childs said, “The Psalter in it canonical
form far from being different in kind from the prophetic message, joins with
the prophets in announcing God’s coming kingship” (22).
David’s Place in the Psalter: The Talmud attributes all Psalms to David. But, 73
are attributed to him and the scholars wrangle over the issue. David was a
musician. He played the lyre (1 Sam.
16.14-23). He wrote a non-Psalter Psalm,
as it were, or a Song upon Jonathan’s death, recorded at 2 Samuel 1.17-27. David
played alongside priests during Levitical worship. He established and strengthened the musical
tradition of the Temple. He assigned
musical duties to Levites (2 Chron. 23.18; Ez. 3.10). He directed the manufacture of musical
instruments (1 Chron. 23.5; 2 Chron. 7.6; 29.29). His influence is an “enormous one” according
to Mr. Bullock. We would add that “reformation”
is needed in some seminaries: courses in
sacred music and training in the sacred choral and congregational traditions;
more often than not, in my tradition, the hymns are far better sermons than the
sermons.
Various Titles
Author Titles—Moses, David, Solomon, Asaph, Sons of Korah, Heman, Ethan, and
Anonymous
Historical Titles: 3, 7, 18, 34, 51, 52, 54, 56, 57, 59, 60, 63, 142
(with, as usual and rightly, scholarly debates)
Titles of Literary or Musical Genres:
1.
Song (Shir)—vocal rather
than instrument, suggesting, to our view, acappella directions perhaps. Or, simply, guidance for the choir
2.
Mizmor—accompaniment
by musical instrument. Used 57 times.
3.
Miktam—no scholarly
consensus. Psalms 16, 56, 57, 58, 59,
60. Sigmund Mowkinkel connects this to an Akkadian verb, katamu, “to cover.” Hence, the suggestion that these were
designed as “atonement Psalms.” Perhaps, for the Day of Atonement? Or, variously for the burnt offerings? We have often wondered about this. Which
Psalms were sung for what festival days? Or Sabbaths?
Mowinkel,
Sigmund. The Psalms in Israel’s Worship, 2 Vols. Abindon Press, 1962. http://www.amazon.com/Psalms-Israels-Worship-2vol-1/dp/B000Q0R0H0/ref=sr_1_6?ie=UTF8&qid=1381615915&sr=8-6&keywords=sigmund+mowinckel+the+psalms
4.
Maskil—varied. An “artistic song,” “didactic song” or a song
presented in a “skillful, intelligent and artistic way” (Mr. Bullock’s
words). If so, this prescribed
intelligent and professional musicianship.
Psalms 32, 42, 44, 45, 52, 53, 54, 55, 74, 78, 88, 89, 142. Again, we raise the important point: time for
seminary students to be engaged in serious music studies as a component to
their studies. Not once was “music”
raised or studied as an academic discipline during graduate school.
5.
Shiggaisin—Psalm 7;
Hab. 3.1. From the verb “to err” or “to
wander.” It serves as a lament or for repentance.
6.
Tehillah (“song of
praise”)—various Psalms
7.
Tefillah (“prayer”)—Psalms
17, 86, 90, 102, 142
Titles with Musical Terms: we meet
here with notes for musicologists
1.
Lamenatstseakh (“to
the choirmaster”). 55 Psalms. It means “to
excel,” “to lead,” and/or “to be the head.”
This strongly suggests the professionalism long associated with our own
tradition—the historical Anglican tradition.
The Lutherans similarly advocated their own as well. Never mind this new-fangled “Praise Band”
business.
2.
Binginoth, ‘al-neginoth
(“stringed instruments”)—Psalms 4, 6, 54, 55, 67, 76. Here we meet accompaniment. Here we often hear “Reformed”
objections: “Ah, that’s the Old
Testament Levitical worship and there’s no New Covenant prescription for their
use.” Yet, arbitrarily, willy nilly, and
often from the louder voices of some, they turn around and sing Psalms from the
Levitical services. We dismiss them,
including Mr. Calvin. Fortunately, sober Reformed Churchmen don’t follow Mr.
Calvin—Jim Boice, RC Sproul, and others.
Nor does the United Reformed Church.
3.
‘Al-hashminith (“according
to the eighth”)—some view this as a reference to an eight-stringed lyre while
other suggest it refers to bass singers, or men. While quite anachronistic, we offer this from
the Nederland singers, Psalm 48, manful men singing in a manly and honorable
way. United States Marines would
approve. There is a strong and welcome
place for manly singing. http://www.youtube.com/watch?v=DkZEdrZt90w.
There is a beautiful 48-video-clip at: http://www.youtube.com/watch?v=EtN3nmBBB8E&list=RD02DkZEdrZt90w
Eternal and Everliving God, raise up, we beseech Thee, manly men singing like
men, in the name of the God-Man, our Savior, our Redeemer and Advocate, who
sang Psalms, Amen.
4.
‘Al-muth, ‘almuth
labben, and ‘al-alamoth—refers to female singers in the higher range.
Titles with/for Musical Tunes:
1.
‘Al-gittith (“upon
the gittith”). The Targum suggests this
was an instrument from Gath.
2.
‘Al-tashkheth (“Do
not destroy…to the choirmaster”).
Odd. A song title
3.
‘Al-ayyeleth
ha-shachar (“On the Hind of the Dawn”)
4.
‘Al-shoshannim and ‘al-shushan
eduth (“On the Lilies”). The LXX suggests
this was for those “situations which change for the worse.”
5.
‘Al-yonath ‘elem
rethoqim (“Set to the Dove of the Far-off Terebinths”)
Musical Instruments
1.
The Ancient Near
East (ANE) is full of recoveries from art and other artifacts showing the
widespread use of musical instruments. One value of this volume, at this,
point, there are copious use of pictures from the ANE.
2.
Percussion, winds,
and strings
3.
Horn (shofar),
trumpet, flute—various Biblical texts
4.
Strings—varied, some
with fewer strings and a 10-stringed instrument, Ps. 144.9
5.
Cymbals and
tambourines—Psalm 150
6.
Sometimes in
orchestral concert and accompaniment with singing—2 Chron. 5.12-13
Singing
1.
A difficult
subject. We don’t have musical scores
2.
Antiphonal singing
was widely practiced in the ANE. It is
strongly suggested in Psalm 118 and 136.
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