Daniel 3:5

Cornet. For a general discussion of Hebrew musical instruments see Vol. Ill, pp. 29-42. Here, however, a Babylonian orchestra is described, in which several instruments vary from those in use among the ancient Hebrews.

Flute. Aramaic mashroqi, which designates the flute or pipe, as does the same word in Syriac and Mandaean.

Harp. Aramaic qithros, “harp.” Qithros is generally considered to have come from the Greek kitharis, or kithara, “zither.” Thus far there is no known evidence from the inscriptions for an Akkadian or Iranian derivation. However, it would not be strange to find certain Greek loan words in a book written in Babylonia. We know from cuneiform texts of Nebuchadnezzar’s time that Ionians and Lydians were among the many foreigners employed on royal building projects. These carpenters and artisans may have introduced into Babylonia certain musical instruments formerly unknown there. It would be only natural that, with their acceptance by the Babylonians, the Greek names for these instruments would be taken over. In this way the existence of Greek names for certain musical instruments can easily be explained.

Sackbut. A mistransliteration of the Aramaic sabbeka’ (in vs. 7, 10, 15 sabbeka’), probably through a similarity of sounds. The English word denotes an early form of slide trombone. The sabbeka’ was a triangular instrument with four strings and a bright tone.

Although the name appears in Greek as sambuke and in Latin as sambuca, it is not of Western origin, as Lidzbarski has shown. The Greeks and Romans took over the name, along with the musical instruments, from the Phoenicians, a fact also attested by Strabo, who says (Geography x. 3. 17) that the word is of “barbarian” origin.

Psaltery. Aramaic pesanterin, which the LXX renders psalterion. The English “psaltery” is derived from the Greek through the Latin. The psalterion was a stringed instrument of triangular shape, with the sounding board above the strings.

Dulcimer. Aramaic sumponeyah. The word appears in Greek (sumphonia) as a musical term and as the name of a musical instrument, a bagpipe. The first reference to this instrument in literature outside of Daniel is found in Polybius (xxvi. 10; xxxi. 4), who describes the sumphonia as an instrument playing a role in anecdotes connected with King Antiochus IV. However, the instrument is depicted on a Hittite relief of Eyuk, a town about 20 mi. north of Boghazkoy in central Anatolia, as early as the middle of the second millennium B.C. The relief seems to indicate that, as in later times, the bagpipe was made of the skin of a dog.

Worship the golden image. So far the narrative has said nothing concerning the fact that worship of the image would be demanded. The invitation sent to all leading officials in Nebuchadnezzar’s kingdom to gather in the plain of Dura, as far as the record goes, spoke only of the dedication of the image (v. 2), although people accustomed to the idolatrous practices of the time may have had no doubt as to the reason for the erection of the image. The payment of homage to the image would give proof of subjection to the power of the king, but at the same time show a recognition that the gods of Babylonia — the gods of the empire — were supreme over all local gods.