1 Chronicles 25:1–31

In preparing to bring the ark to Jerusalem, David commanded the Levites to appoint musicians, resulting in three Levitical leaders (1 Chron. 15:16–24); subsequently David temporarily divided responsibilities, Asaph heading the group before the ark in Jerusalem (16:4–7, 37) and Heman and Jeduthun at Gibeon before the altar at the tabernacle (16:41–42). Now all were to be together in the temple, with ark and altar in one large complex. As with the description of the organization of priests in chapter 24, first named are the major families, with an overview of specific tasks to “prophesy” as musicians (25:1–7), followed by subsequent allocation of the twenty-four divisions, matching the number for the priests (vv. 8–31).

Such meticulous detailing of arrangements for music in the temple is a unique feature of Chronicles.¹ For his hearers, now with a second temple, the Chronicler is clearly commending the importance of traditional structures and procedures for ongoing music serving and praising God. The book of Psalms, also postexilic in its canonical form, contains many references to “singing” and instruments, together with titles that at times have tantalizing Levitical and musical notes; Chronicles can be read as a complement, reminding hearers to give attention to implementation, thus facilitating corporate praise.

1. II.B.2.e. David’s Organization for the Temple and Administration (23:1–27:34) . . .
   1. (3) Organizing of the Musicians into Twenty-Four Divisions (25:1–31)

Johann Sebastian Bach (1685–1750), the influential European composer and musical director at the prestigious St. Thomas Church, Leipzig, for twenty-seven years, said of this chapter that it was the foundation of all God-pleasing church music. Music, along with other aspects of temple service, was established by God himself (1 Chron. 28:21) to proclaim his Word, with him being graciously present (2 Chron. 5:13–14).⁵

The NT has scant explicit mention of instruments (e.g., “harps” in Rev. 14:2; 15:2), but, along with songs incorporated in the narrative (e.g., Luke 1–2; Rev. 5:9–10), singing is evident throughout, mentioned in a way that shows it was an integral part of life and worship (e.g., Matt. 26:30; 1 Cor. 14:15, 26; Eph. 5:19; Heb. 2:12; James 5:13). Music enhances worship and life in a variety of ways: (1) music both affects and expresses emotions—music therapists know how people who have difficulty in speaking can communicate through music; (2) in many cultures major shared stories and beliefs are passed on in song; (3) words accompanied by music are more easily remembered and repeated, good music matching the emotion suggested by the words; (4) as a corporate, not individual, activity (as in this chapter) the harmonious blending of differences has an impact as each person contributes their part (although cultures may vary in what sounds harmonious!); (5) in congregational singing people experience being part of a whole, joining together with their whole being in the praise of God.

The Chronicler’s comments are a reminder that church music is “to the Lord.” There is a breadth of involvement as people of different ages and skill levels come together; choirs and musicians are to prepare and perform in a way that points the congregations to God, not themselves. It could be said that every occasion, irrespective of location or numbers present, is a “royal performance” to the King of kings.