Lexical Summary
kinnor: Harp, lyre
Original Word:כִּנּוֹר
Part of Speech:Noun Masculine
Transliteration:kinnowr
Pronunciation:kin-nore'
Phonetic Spelling:(kin-nore')
KJV: harp
NASB:lyre, lyres, harp, harps
Word Origin:[from a unused root meaning to twang]
1. a harp
Strong's Exhaustive Concordance
a harp:
From a unused root meaning to twang; a harp:
NAS Exhaustive Concordance
Word Originof uncertain derivation
Definitiona lyre
NASB Translationharp (9), harps (2), lyre (16), lyres (15).
Brown-Driver-Briggs
Psalm 81:3 (on formation compare Lag
BN 89, Anm.; Late Hebrew
id.; Aramaic ,
; Mandean Nö
M § 104 (who questions Shemitic origin); Arabic
,
; as loan-word in Hellen. Greek ( and Joseph.); in Egyptian
kn-an-aul according to Bondi
79) — absolute
Genesis 4:21 +; suffix
Job 30:31; plural
1 Kings 10:12 +; suffix
Ezekiel 26:13,
Psalm 137:2; —
lyre, stringed instrument used for popular as well as sacred music (compare Benz
Archaeology 273 ff. Now
Archaeology i. 273 ff.); —
Genesis 4:21,
Genesis 31:27;
1 Samuel 16:16a man skilled in playing on the lyre, compare
1 Samuel 16:23 (); at banquets
Isaiah 5:12 (+ , , ), token of merriment
Isaiah 24:8 (+ ),
Ezekiel 26:13, compare
Job 30:31,
Job 21:12; carried by a loose woman
Isaiah 23:16 (figurative of Tyre); in simile
Isaiah 16:11 (of murmuring sound of bowels = heart, in pity); used also in praising , usually As accompaniment of song (compare
1 Chronicles 15:16)
1 Samuel 10:5;
Isaiah 30:32 ("" ); especially before the ark
2 Samuel 6:5 (+ , , etc.) ""
1 Chronicles 13:8, and in sanctuary (usually + , etc.)
1 Kings 10:12, but especially Chronicles, Psalms: —
1 Chronicles 13:8 (plural, and so chiefly in Chronicles),
1 Chronicles 15:16,21,28;
1 Chronicles 16:5;
1 Chronicles 25:1,3,6; 2Chron 5:12; 9:11; 20:28; 29:25;
Nehemiah 12:27;
Psalm 33:2 (singular, and so chiefly in Psalms),
Psalm 43:4;
Psalm 49:5;
Psalm 57:9;
Psalm 71:22;
Psalm 81:3;
Psalm 92:4;
Psalm 98:5 (twice in verse);
Psalm 108:3;
Psalm 147:7;
Psalm 149:3;
Psalm 150:3; compare
Psalm 137:2. — Vbs. used with are: —
Genesis 4:21,
1 Samuel 16:16,
2 Samuel 6:5 =
1 Chronicles 13:8,
1 Chronicles 15:16,
1 Chronicles 15:28,
1 Chronicles 25:1,3,
Psalm 33:2;
Psalm 43:4,
Psalm 71:22;
Psalm 98:5;
Psalm 147:7;
Psalm 149:3,
Psalm 150:3. — On ancient lyres see references in Dr
Amos, p. 236 f.
Topical Lexicon
Historical Background and Instrument ConstructionThe כִּנּוֹר (kinor) is first named inGenesis 4:21 as the earliest known musical instrument, indicating its antiquity and pervasiveness in Near-Eastern culture. Archaeological reliefs and later rabbinic descriptions suggest a small, portable wooden frame strung with from seven to ten gut strings, plucked with the fingers or a plectrum. Unlike the larger nebel (harp), the kinor was light enough for shepherds, travelers, and temple musicians alike, making it a ubiquitous accompaniment for both private devotion and corporate worship.
Distribution in Scripture
Approximately forty-two occurrences span the Law, Historical Books, Wisdom Literature, and Prophets:
• Patriarchal era:Genesis 4:21;Genesis 31:27
• United Monarchy:1 Samuel 16;2 Samuel 6;1 Kings 10:12
• Chronicler’s History:1 Chronicles 13; 15; 16; 23–25;2 Chronicles 5; 9; 20; 29; 35
• Psalms: 33; 43; 49; 57; 71; 92; 137; 144; 147
• Wisdom and Prophets:Job 30:31;Isaiah 16:11; 23:16; 24:8;Amos 5:23; 6:5
This spread underscores the instrument’s continuity from the dawn of human culture through the post-exilic community.
Role in Worship and Liturgy
The kinor was integral to Levitical liturgy. David charged the Levites “to raise their voices with joy, accompanied by musical instruments—harps, lyres, and cymbals” (1 Chronicles 15:16). Under his direction, twenty-four courses of singers and players (1 Chronicles 25:6) used kinoroth “for the service of the house of God,” creating an organized ministry that continued through Solomon’s Temple (2 Chronicles 5:12) and the Second Temple era (Nehemiah 12:27). Its presence with cymbals and trumpets shows a balanced worship soundscape: melody (kinor), harmony (lyre), rhythm (cymbal), and proclamation (trumpet).
Association with Davidic Tradition
The kinor is inseparably linked to David. As a youth he soothed Saul: “David would take the harp and play; then relief would come to Saul” (1 Samuel 16:23). Later, David danced before the Ark while “all the house of Israel were celebrating before the LORD with…harps” (2 Samuel 6:5).Amos 6:5 notes Israel’s elites who “improvise songs like David,” attesting that Davidic musicianship became the benchmark for inspired composition.
Prophetic and Eschatological Imagery
Prophets employ the kinor to portray both judgment and restoration. “The joy of tambourines has ceased; the noise of revelers has stopped; the joyful harp is silent” (Isaiah 24:8) signals impending desolation, whileIsaiah 30:32 envisions future praise with stringed instruments when the Lord’s arm strikes Assyria. The imagery flows into Revelation’s “harps of God,” suggesting a canonical thread that culminates in heavenly worship.
Kinor in Personal Lament and Exile
While often joyful, the kinor can voice grief. Job laments, “My harp is tuned to mourning” (Job 30:31). Exiles hung their kinoroth on Babylonian willows (Psalm 137:2), symbolizing suspended praise when fellowship with God’s dwelling place was severed. The instrument therefore embodies both praise offered and praise withheld, reflecting the worshiper’s spiritual state.
Celebratory and Regal Contexts
The kinor heralded national victories (2 Chronicles 20:28), feast days (Nehemiah 12:27), and royal occasions. Solomon imported almug wood and “made harps and lyres for the singers” (1 Kings 10:12), showing royal patronage of musical excellence. Temporal splendor thus served eternal praise.
Didactic and Theological Implications
1. Music is not morally neutral; Spirit-filled skill on the kinor dispelled demonic oppression (1 Samuel 16:23).
2. Instrumental praise is commanded: “Give thanks to the LORD with the harp” (Psalm 33:2).
3. Worship embraces the whole life-range of emotion—jubilation to lament—demonstrated by the kinor’s versatility.
4. Orderly ministry (1 Chronicles 25) weds artistic gifting to spiritual authority, a model for modern worship teams.
Practical Ministry Applications
• Encourage skillful training; David appointed the “skillful” (1 Chronicles 15:22).
• Integrate stringed instruments to support congregational singing, balancing volume so the Word remains central.
• Employ instrumental interludes for reflection in services, following the kinor’s role in soothing and preparing hearts.
• Teach the congregation that instruments, like words, proclaim theology; intentional selection honors God.
Conclusion
Whether in shepherd fields, royal courts, or the temple courts, the כִּנּוֹר provided a melodic conduit for human response to divine revelation. Its biblical arc—creation, covenant, exile, and anticipated consummation—invites every generation to “sing to Him a new song; play skillfully with a shout of joy” (Psalm 33:3).
Forms and Transliterations
בְּ֝כִנּ֗וֹר בְּכִנֹּר֥וֹת בְּכִנּ֑וֹר בְּכִנּֽוֹר׃ בְכִנּ֑וֹר בְכִנּ֗וֹר בְכִנּֽוֹר׃ בַּכִּנּ֑וֹר בַּכִּנּ֔וֹר בכנור בכנור׃ בכנרות הַכִּנּ֖וֹר הכנור וְ֝כִנּ֗וֹר וְכִנֹּר֔וֹת וְכִנֹּר֖וֹת וְכִנֹּר֥וֹת וְכִנֹּרֽוֹת׃ וְכִנּ֑וֹר וְכִנּ֔וֹר וְכִנּ֗וֹר וְכִנּֽוֹר׃ וּבְכִנֹּר֑וֹת וּבְכִנֹּר֔וֹת וּבְכִנֹּר֖וֹת וּבְכִנֹּר֤וֹת וּבְכִנֹּרֽוֹת׃ וּבְכִנֹּרוֹת֙ וּבְכִנּֽוֹר׃ ובכנור׃ ובכנרות ובכנרות׃ וכנור וכנור׃ וכנרות וכנרות׃ כִּנֹּרִ֑י כִּנֹּרוֹתֵֽינוּ׃ כִּנּ֖וֹר כִּנּֽוֹר׃ כִּנּוֹרַ֔יִךְ כִנּ֛וֹר כִנּ֜וֹר כַּכִּנּ֖וֹר ככנור כנור כנור׃ כנוריך כנרותינו׃ כנרי bak·kin·nō·wr bakkinNor bakkinnōwr bə·ḵin·nō·rō·wṯ bə·ḵin·nō·wr ḇə·ḵin·nō·wr bechinNor bechinnoRot bəḵinnōrōwṯ bəḵinnōwr ḇəḵinnōwr chinNor hak·kin·nō·wr hakkinNor hakkinnōwr kak·kin·nō·wr kakkinNor kakkinnōwr kin·nō·rî kin·nō·rō·w·ṯê·nū kin·nō·w·ra·yiḵ kin·nō·wr ḵin·nō·wr kinNor kinnoRayich kinnoRi kinnōrî kinnoroTeinu kinnōrōwṯênū kinnōwr ḵinnōwr kinnōwrayiḵ ū·ḇə·ḵin·nō·rō·wṯ ū·ḇə·ḵin·nō·wr ūḇəḵinnōrōwṯ ūḇəḵinnōwr uvechinNor uvechinnoRot vechinNor vechinnoRot wə·ḵin·nō·rō·wṯ wə·ḵin·nō·wr wəḵinnōrōwṯ wəḵinnōwr
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