Psalms Subtitle Glossary
Easton's Bible Dictionary
The following unfamiliar names, words and terms appear in the subtitles of some of the Psalms.
Aijeleth Shahar: hind of the dawn, a name found in the title of Ps. 22. It is probably the name of some song or tune to the measure of which the psalm was to be chanted. Some, however, understand by the name some instrument of music, or an allegorical allusion to the subject of the psalm.
Alamoth: virgins, a musical term (1 Chr. 15:20), denoting that the psalm which bears this inscription (Ps. 46) was to be sung by soprano or female voices.
Altaschith: destroy not, the title of Ps. 57, 58, 59, and 75. It was probably the name of some song to the melody of which these psalms were to be chanted.
Asaph: A Levite; one of the leaders of David’s choir (1 Chr. 6:39). Psalms 50 and 73-83 inclusive are attributed to him. He is mentioned along with David as skilled in music, and a “seer” (2 Chr. 29:30). The “sons of Asaph,” mentioned in 1 Chr. 25:1, 2 Chr. 20:14, and Ezra 2:41, were his descendants, or more probably a class of poets or singers who recognized him as their master.
Ethan: “The Ezrahite,” distinguished for his wisdom (1 Kings 4:31). He is named as the author of the 89th Psalm. He was of the tribe of Levi. Also, a Levite of the family of Merari, one of the leaders of the temple music (1 Chr. 6:44; 15:17, 19). He was probably the same as Jeduthun. He is supposed by some to be the same also as "The Ezrahite."
Gittith: a stringed instrument of music. This word is found in the titles of Ps. 8, 81, 84. In these places the LXX. render the word by “on the wine-fats.” The Targum explains by “on the harp which David brought from Gath.” It is the only stringed instrument named in the titles of the Psalms.
Heman: Grandson of Samuel (1 Chr. 6:33; 15:17), to whom the 88th Psalm probably was inscribed. He was one of the “seers” named in 2 Chr. 29:14, 30, and took a leading part in the administration of the sacred services.
Jeduthun: lauder; praising, a Levite of the family of Merari, and one of the three masters of music appointed by David (1 Chr. 16:41, 42; 25:1-6). He is called in 2 Chr. 35:15 “the king’s seer.” His descendants are mentioned as singers and players on instruments (Neh. 11:17). He was probably the same as Ethan (1 Chr. 15:17, 19). In the superscriptions to Ps. 39, 62, and 77, the words “upon Jeduthun” probably denote a musical instrument; or they may denote the style or tune invented or introduced by Jeduthun, or that the psalm was to be sung by his choir.
Jonath-elem-rechokim: dove of the dumbness of the distance; i.e., “the silent dove in distant places”, title of Ps. 56. This was probably the name of some well known tune or melody to which the psalm was to be sung.
Mahalath Leannoth Maschil This word leannoth seems to point to some kind of instrument unknown (Ps. 88, title). The whole phrase has by others been rendered, “On the sickness of affliction: a lesson;” or, “Concerning afflictive sickness: a didactic psalm.”
Mahalath Maschil in the title of Ps. 53, denoting that this was a didactic psalm, to be sung to the accompaniment of the lute or guitar. Others regard this word “mahalath” as the name simply of an old air to which the psalm was to be sung. Others, again, take the word as meaning “sickness,” and regard it as alluding to the contents of the psalm.
Maschil: instructing, occurs in the title of thirteen Psalms (Ps. 32, 42, 44, etc.). It denotes a song enforcing some lesson of wisdom or piety, a didactic song. In Ps. 47:7 it is rendered “with understanding.”
Michtam: writing; i.e., a poem or song found in the titles of Ps. 16; 56-60. Some translate the word “golden”, i.e., precious. It is rendered in the LXX. by a word meaning “tablet inscription” or a “stelograph.” The root of the word means to stamp or grave, and hence it is regarded as denoting a composition so precious as to be worthy to be engraven on a durable tablet for preservation; or, as others render, “a psalm precious as stamped gold,” from the word kethem, “fine or stamped gold.”
Muth-labben: occurring only in the title of Psalm 9. Some interpret the words as meaning “on the death of Labben,” some unknown person. Others render the word, “on the death of the son;” i.e., of Absalom (2 Sam. 18:33). Others again have taken the word as the name of a musical instrument, or as the name of an air to which the psalm was sung.
Neginah: in the title of Ps. 61, denotes the music of stringed instruments (1 Sam. 16:16; Isa. 38:20). It is the singular form of Neginoth.
Neginoth: i.e., songs with instrumental accompaniment, found in the titles of Ps. 4; 6; 54; 55; 67; 76; rendered “stringed instruments,” Hab. 3:19, A.V. It denotes all kinds of stringed instruments, as the “harp,” “psaltery,” “viol,” etc. The “chief musician on Neginoth” is the leader of that part of the temple choir which played on stringed instruments.
Nehiloth: only in the title of Ps. 5. It is probably derived from a root meaning “to bore,” “perforate,” and hence denotes perforated wind instruments of all kinds. The psalm may be thus regarded as addressed to the conductor of the temple choir which played on flutes and such-like instruments.
Sheminith: eight; octave, a musical term, supposed to denote the lowest note sung by men’s voices (1 Chr. 15:21; Ps. 6; 12, title).
Shiggaion: from the verb shagah, “to reel about through drink,” occurs in the title of Ps. 7. The plural form, shigionoth, is found in Hab. 3:1. The word denotes a lyrical poem composed under strong mental emotion; a song of impassioned imagination accompanied with suitable music; a dithyrambic ode.
Shoshannim: lilies, the name of some musical instrument, probably like a lily in shape (Ps. 45; 69, title). Some think that an instrument of six strings is meant.
Shoshannim-Eduth: in title of Ps. 80, probably the name of the melody to which the psalm was to be sung.
Shushan-Eduth: lily of the testimony, the title of Ps. 60.
Song of Degrees: song of steps, a title given to each of these fifteen psalms, 120–134 inclusive. The probable origin of this name is the circumstance that these psalms came to be sung by the people on the ascents or goings up to Jerusalem to attend the three great festivals (Deut. 16:16). They were well fitted for being sung by the way from their peculiar form, and from the sentiments they express. “They are characterized by brevity, by a key-word, by epanaphora [i.e, repetition], and by their epigrammatic style...More than half of them are cheerful, and all of them hopeful.” They are sometimes called “Pilgrim Songs.” Four of them were written by David, one (127) by Solomon, and the rest are anonymous.
Sons of Korah (Korahites): that portion of the Kohathites that descended from Korah. They were an important branch of the singers of the Kohathite division (2 Chr. 20:19). There are eleven psalms (Ps. 42-49; 84; 85; 87; 88) dedicated to the sons of Korah. Some of the sons of Korah also were “porters” of the temple (1 Chr. 9:17-19); one of them was over “things that were made in the pans” (31), i.e., the baking in pans for the meat-offering (Lev. 2:5).
Aijeleth Shahar: hind of the dawn, a name found in the title of Ps. 22. It is probably the name of some song or tune to the measure of which the psalm was to be chanted. Some, however, understand by the name some instrument of music, or an allegorical allusion to the subject of the psalm.
Alamoth: virgins, a musical term (1 Chr. 15:20), denoting that the psalm which bears this inscription (Ps. 46) was to be sung by soprano or female voices.
Altaschith: destroy not, the title of Ps. 57, 58, 59, and 75. It was probably the name of some song to the melody of which these psalms were to be chanted.
Asaph: A Levite; one of the leaders of David’s choir (1 Chr. 6:39). Psalms 50 and 73-83 inclusive are attributed to him. He is mentioned along with David as skilled in music, and a “seer” (2 Chr. 29:30). The “sons of Asaph,” mentioned in 1 Chr. 25:1, 2 Chr. 20:14, and Ezra 2:41, were his descendants, or more probably a class of poets or singers who recognized him as their master.
Ethan: “The Ezrahite,” distinguished for his wisdom (1 Kings 4:31). He is named as the author of the 89th Psalm. He was of the tribe of Levi. Also, a Levite of the family of Merari, one of the leaders of the temple music (1 Chr. 6:44; 15:17, 19). He was probably the same as Jeduthun. He is supposed by some to be the same also as "The Ezrahite."
Gittith: a stringed instrument of music. This word is found in the titles of Ps. 8, 81, 84. In these places the LXX. render the word by “on the wine-fats.” The Targum explains by “on the harp which David brought from Gath.” It is the only stringed instrument named in the titles of the Psalms.
Heman: Grandson of Samuel (1 Chr. 6:33; 15:17), to whom the 88th Psalm probably was inscribed. He was one of the “seers” named in 2 Chr. 29:14, 30, and took a leading part in the administration of the sacred services.
Jeduthun: lauder; praising, a Levite of the family of Merari, and one of the three masters of music appointed by David (1 Chr. 16:41, 42; 25:1-6). He is called in 2 Chr. 35:15 “the king’s seer.” His descendants are mentioned as singers and players on instruments (Neh. 11:17). He was probably the same as Ethan (1 Chr. 15:17, 19). In the superscriptions to Ps. 39, 62, and 77, the words “upon Jeduthun” probably denote a musical instrument; or they may denote the style or tune invented or introduced by Jeduthun, or that the psalm was to be sung by his choir.
Jonath-elem-rechokim: dove of the dumbness of the distance; i.e., “the silent dove in distant places”, title of Ps. 56. This was probably the name of some well known tune or melody to which the psalm was to be sung.
Mahalath Leannoth Maschil This word leannoth seems to point to some kind of instrument unknown (Ps. 88, title). The whole phrase has by others been rendered, “On the sickness of affliction: a lesson;” or, “Concerning afflictive sickness: a didactic psalm.”
Mahalath Maschil in the title of Ps. 53, denoting that this was a didactic psalm, to be sung to the accompaniment of the lute or guitar. Others regard this word “mahalath” as the name simply of an old air to which the psalm was to be sung. Others, again, take the word as meaning “sickness,” and regard it as alluding to the contents of the psalm.
Maschil: instructing, occurs in the title of thirteen Psalms (Ps. 32, 42, 44, etc.). It denotes a song enforcing some lesson of wisdom or piety, a didactic song. In Ps. 47:7 it is rendered “with understanding.”
Michtam: writing; i.e., a poem or song found in the titles of Ps. 16; 56-60. Some translate the word “golden”, i.e., precious. It is rendered in the LXX. by a word meaning “tablet inscription” or a “stelograph.” The root of the word means to stamp or grave, and hence it is regarded as denoting a composition so precious as to be worthy to be engraven on a durable tablet for preservation; or, as others render, “a psalm precious as stamped gold,” from the word kethem, “fine or stamped gold.”
Muth-labben: occurring only in the title of Psalm 9. Some interpret the words as meaning “on the death of Labben,” some unknown person. Others render the word, “on the death of the son;” i.e., of Absalom (2 Sam. 18:33). Others again have taken the word as the name of a musical instrument, or as the name of an air to which the psalm was sung.
Neginah: in the title of Ps. 61, denotes the music of stringed instruments (1 Sam. 16:16; Isa. 38:20). It is the singular form of Neginoth.
Neginoth: i.e., songs with instrumental accompaniment, found in the titles of Ps. 4; 6; 54; 55; 67; 76; rendered “stringed instruments,” Hab. 3:19, A.V. It denotes all kinds of stringed instruments, as the “harp,” “psaltery,” “viol,” etc. The “chief musician on Neginoth” is the leader of that part of the temple choir which played on stringed instruments.
Nehiloth: only in the title of Ps. 5. It is probably derived from a root meaning “to bore,” “perforate,” and hence denotes perforated wind instruments of all kinds. The psalm may be thus regarded as addressed to the conductor of the temple choir which played on flutes and such-like instruments.
Sheminith: eight; octave, a musical term, supposed to denote the lowest note sung by men’s voices (1 Chr. 15:21; Ps. 6; 12, title).
Shiggaion: from the verb shagah, “to reel about through drink,” occurs in the title of Ps. 7. The plural form, shigionoth, is found in Hab. 3:1. The word denotes a lyrical poem composed under strong mental emotion; a song of impassioned imagination accompanied with suitable music; a dithyrambic ode.
Shoshannim: lilies, the name of some musical instrument, probably like a lily in shape (Ps. 45; 69, title). Some think that an instrument of six strings is meant.
Shoshannim-Eduth: in title of Ps. 80, probably the name of the melody to which the psalm was to be sung.
Shushan-Eduth: lily of the testimony, the title of Ps. 60.
Song of Degrees: song of steps, a title given to each of these fifteen psalms, 120–134 inclusive. The probable origin of this name is the circumstance that these psalms came to be sung by the people on the ascents or goings up to Jerusalem to attend the three great festivals (Deut. 16:16). They were well fitted for being sung by the way from their peculiar form, and from the sentiments they express. “They are characterized by brevity, by a key-word, by epanaphora [i.e, repetition], and by their epigrammatic style...More than half of them are cheerful, and all of them hopeful.” They are sometimes called “Pilgrim Songs.” Four of them were written by David, one (127) by Solomon, and the rest are anonymous.
Sons of Korah (Korahites): that portion of the Kohathites that descended from Korah. They were an important branch of the singers of the Kohathite division (2 Chr. 20:19). There are eleven psalms (Ps. 42-49; 84; 85; 87; 88) dedicated to the sons of Korah. Some of the sons of Korah also were “porters” of the temple (1 Chr. 9:17-19); one of them was over “things that were made in the pans” (31), i.e., the baking in pans for the meat-offering (Lev. 2:5).