Lexical Summary
humneó: To sing a hymn, to praise
Original Word:ὑμνέω
Part of Speech:Verb
Transliteration:humneó
Pronunciation:hoom-neh'-o
Phonetic Spelling:(hoom-neh'-o)
KJV: sing a hymn (praise unto)
NASB:singing a hymn, singing hymns, singing hymns of praise, sing praise
Word Origin:[fromG5215 (ὕμνος - hymns)]
1. to hymn, i.e. sing a religious ode
2. (by implication) to celebrate (God) in song
Strong's Exhaustive Concordance
sing to, sing a hymn of praise unto.
Fromhumnos; to hymn, i.e. Sing a religious ode; by implication, to celebrate (God) in song -- sing a hymn (praise unto).
see GREEKhumnos
HELPS Word-studies
5214hymnéō (from5215/hýmnos, "a song or hymn") – tosing a hymn.
NAS Exhaustive Concordance
Word Originfrom
humnosDefinitionto sing to, to laud
NASB Translationsing...praise (1), singing a hymn (2), singing hymns (1), singing hymns of praise (1).
Thayer's Greek Lexicon
STRONGS NT 5214: ὑμνέωὑμνέω,
ύ῾μνω: imperfect
ὕμνουν; future
ὑμνήσω; 1 aorist participle
ὑμνησας; (
ὕμνος); from
Hesiod down; the
Sept. often for
הִלֵּל,
הודָה,
הֵשִׁיר,
זִמֵּר;
1. transitive,to sing the praise of; sing hymns to:τινα,Acts 16:25;Hebrews 2:12.
2. intransitive,to sing a hymn, to sing:Matthew 26:30;Mark 14:26 (in both passages of the singing of the paschal hymns; these werePsalm 113-118 andPsalm 136, which the Jews call the 'great Hallel' (but see Ginsburg in Kitto under the word Hallel; Edersheim, The Temple etc., p. 191f; Buxtorf (edited by Fischer), p. 314f));Psalm 64:13 (); 1 Macc. 13:47.
Topical Lexicon
Root meaning and conceptual backgroundThe verb ὑμνέω denotes the audible, melodic declaration of God’s greatness with intentional praise rather than mere recitation. It joins the Old Testament pattern of singing Psalms (Psalm 9:11;Psalm 33:2-3) and anticipates the heavenly throng ofRevelation 5:9, where worship is likewise expressed in song. While prose, prayer, and proclamation all glorify the Lord, ὑμνέω highlights the congregational, poetic, and celebratory dimension of that glory.
Occurrences in the New Testament
•Matthew 26:30;Mark 14:26 – At the close of the Passover meal, “when they had sung a hymn, they went out to the Mount of Olives.” The singular verb portrays the Twelve singing with Jesus in one voice.
•Acts 16:25 – “About midnight Paul and Silas were praying and singing hymns to God, and the prisoners were listening to them.” Praise replaces complaint in severe persecution, and the hymn becomes a testimony to unbelievers.
•Hebrews 2:12 – CitingPsalm 22:22, the writer presents the risen Christ declaring, “I will sing Your praises in the assembly.” The incarnate Son leads His people in worship, fulfilling the messianic hope.
Liturgical and devotional context
First-century Jewish practice reserved ὑμνέω chiefly for the Hallel Psalms (Psalms 113-118) and the Great Hallel (Psalm 136), sung at Passover, Pentecost, and Tabernacles. The Last Supper scene therefore suggests Jesus and the disciples chantingPsalm 118, a Messianic text forecasting the rejected stone becoming the cornerstone (Psalm 118:22). In the prison at Philippi, Paul and Silas import that same heritage into Gentile territory, demonstrating that gospel worship transcends locale and circumstance.
Christological significance
Hebrews 2:12 reveals the Lord Himself as the chief Cantor of the redeemed community. By inserting the Messiah intoPsalm 22’s praise, the epistle affirms that the crucified and risen Jesus both receives and offers worship. His leadership in song validates congregational praise as an ongoing participation in His own priestly ministry (Hebrews 13:15).
Missional and pastoral implications
1. Evangelistic witness: The prison hymn preceded the earthquake and the jailer’s conversion (Acts 16:30-34), illustrating the Spirit’s use of praise to soften hearts.
2. Perseverance under trial: Midnight worship models steadfast faith, reinforcingJames 5:13, “Is anyone cheerful? Let him sing praise.”
3. Corporate unity: In the Upper Room every disciple, including one about to deny Him, unites in song. Worship centers the church on Christ, not on individual faithfulness.
4. Spiritual warfare: Melody combined with prayer confronts darkness, echoing the deliverance of Jehoshaphat’s singers in2 Chronicles 20:21-22.
Intertestamental and early church usage
Jewish sources (e.g., the Dead Sea Scrolls’ Hodayot) and early Christian writings (Pliny the Younger’s letter to Trajan, A.D. 112) confirm that believers “sing hymns to Christ as to a god.” By the second century, ὑμνέω-based worship shaped morning and evening liturgies, eventually forming the core of the canonical hours. The apostolic pattern thus laid the groundwork for centuries of hymnody.
Practical application for worship today
• Select Scripture-rich hymns that exalt God’s redemptive acts, anchoring worship in revelation rather than sentiment.
• Encourage congregational participation; ὑμνέω presumes many voices blended into one.
• Integrate praise with prayer, following the Paul-Silas model for balanced liturgy.
• Employ hymns in pastoral care—hospital rooms, prisons, remote mission fields—trusting God to use sung truth to strengthen faith and draw listeners to Himself.
Forms and Transliterations
υμνείν υμνείται υμνείτε υμνησαντες υμνήσαντες ὑμνήσαντες υμνήσατε ύμνησίς υμνήσουσιν υμνησω υμνήσω ὑμνήσω υμνουν ύμνουν ὕμνουν υμνούντες υμνούντων hymnesantes hymnēsantes hymnḗsantes hymneso hymnēsō hymnḗso hymnḗsō hymnoun hýmnoun umnesantes umnēsantes umneso umnēsō umnounLinks
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