1 Chronicles 25 1

1 Chronicles 25:1 kjv

Moreover David and the captains of the host separated to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was:

1 Chronicles 25:1 nkjv

Moreover David and the captains of the army separated for the service some of the sons of Asaph, of Heman, and of Jeduthun, who should prophesy with harps, stringed instruments, and cymbals. And the number of the skilled men performing their service was:

1 Chronicles 25:1 niv

David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service:

1 Chronicles 25:1 esv

David and the chiefs of the service also set apart for the service the sons of Asaph, and of Heman, and of Jeduthun, who prophesied with lyres, with harps, and with cymbals. The list of those who did the work and of their duties was:

1 Chronicles 25:1 nlt

David and the army commanders then appointed men from the families of Asaph, Heman, and Jeduthun to proclaim God's messages to the accompaniment of lyres, harps, and cymbals. Here is a list of their names and their work:

1 Chronicles 25 verses

1 Chronicles 25 1 Meaning

This verse introduces the structured organization of sacred musical worship during King David's reign. It details David's initiative, along with key leaders, to designate Levites from the families of Asaph, Heman, and Jeduthun for distinct service. Their unique role involved prophesying through the medium of various musical instruments—lyres, harps, and cymbals—indicating a divine inspiration for their musical performances as an integral part of God's worship. This act solidified the framework for liturgical music in the Tabernacle, anticipating the Temple.

1 Chronicles 25 1 Context

First Chronicles chapter 25 provides the detailed roster and divisions of the musicians for the worship service in the Temple. This specific verse, 1 Chronicles 25:1, serves as the introductory statement, establishing David's foundational role in organizing and dedicating this crucial aspect of worship. The larger context of 1 Chronicles is the Chronicler's emphasis on the Davidic dynasty and the centralized worship in Jerusalem. Coming after chapters outlining the priestly and Levitical divisions (Chs. 23-24), Chapter 25 highlights the equally vital role of music, portraying it not merely as entertainment but as Spirit-inspired ministry ("prophesying"). Historically, this organization occurs after the ark has been brought to Jerusalem, signaling David's deep desire for proper worship before the Lord, which ultimately informs the blueprint for the Temple service that his son Solomon would execute. For the post-exilic audience, the Chronicler reinforces the enduring importance of this divinely instituted order for proper communal worship.

1 Chronicles 25 1 Word analysis

• David (דָוִד - David): The King of Israel. His prominent role underscores the royal initiative and authority behind the establishment of systematic temple worship, going beyond mere personal devotion to institutionalized, divinely-sanctioned order.
• and the chiefs of the service (שָׂרֵי הַצָּבָא - sarai hatzava): This phrase, literally "commanders/princes of the host/army," in this context refers to the leaders overseeing the vast operations of the Tabernacle/Temple worship, often inclusive of priestly and Levitical heads, not military leaders. It highlights the structured, almost military-like organization David brought to divine service, emphasizing order and hierarchy.
• set apart (וַיַּבְדֵּל - vayyavdel): From the root בדל (badal), meaning "to separate," "to divide," or "to distinguish." This term signifies a sacred act of dedication or consecration. It implies that these individuals were specifically chosen and set aside for a holy purpose, underscoring the spiritual significance of their musical ministry. It mirrors the setting apart of Israel (Lev 20:24) and the Levites themselves (Num 8:14) for God's purposes.
• for the service (לַעֲבֹדָה - la'avodah): Refers to worship or work performed in sacred duty. It signifies that the musicians' role was not merely recreational but a serious, assigned duty in God's worship, foundational to their identity and purpose. This "service" is part of the broader Levite responsibilities.
• of the sons of Asaph, and of Heman, and of Jeduthun: These three are named as the chief musical directors, heads of the main Levitical families dedicated to music. They represent the main branches of musicians within the Levite tribe, inheriting their roles through lineage but confirmed by royal and divine appointment. Their prominence is evident throughout the Psalms, where many are attributed to them.
• who prophesied (הַנְּבִאִים - hannevi'im): This is a critical and profound descriptor. It signifies that their music was not merely artistic performance but a conduit for divine inspiration and communication. Prophesying here implies speaking under divine influence, revealing God's will, character, or future plans through their music. It connects music directly to the power of the Holy Spirit, elevating their craft to a sacred act of revelation and worship. This differentiates sacred music from mere secular entertainment.
• with lyres (בַּכִּנֹּרוֹת - bakhinoroth), with harps (בַּנְּבָלִים - bannevalim), and with cymbals (וּבַמְּצִלְתַּיִם - u'bhametziltaiyim): These are the primary stringed instruments and percussion used in temple worship. Their mention emphasizes the variety and sophistication of instrumental music employed. The instruments were consecrated for holy use, playing a specific role in enhancing and accompanying the prophetic musical expression.
• The number of those who were to do the work, according to their service, was: This concluding phrase indicates that the selection was not arbitrary but methodical and large-scale, with detailed divisions (as revealed in subsequent verses). It points to the meticulous planning and order involved in the Temple liturgy.

1 Chronicles 25 1 Bonus section

The Chronicler’s particular emphasis on music and the Levites for the post-exilic community aimed to rekindle a sense of identity and purpose in worship, reinforcing the established, Davidic order despite the absence of a king or complete independence. The idea of "prophesying" through music highlights a truth often overlooked: the Holy Spirit does not confine Himself to spoken words but can move through all forms of artistic expression consecrated for God's glory. This notion foreshadows the outpouring of the Spirit on all flesh (Joel 2:28-29; Acts 2:17-18), empowering diverse expressions of praise and prophetic witness in the New Covenant. The "chiefs of the service" here signify the combined authority (both Davidic and Levitical leadership) needed to implement such a massive, organized undertaking, demonstrating God's valuing of order and collaboration in His worship.

1 Chronicles 25 1 Commentary

First Chronicles 25:1 is a pivotal verse, illustrating David's visionary leadership in establishing an elaborate and spiritually potent system of worship for Israel. Far from an afterthought, musical ministry was deliberately "set apart" as an indispensable component of serving God. The striking revelation here is the fusion of music and prophecy; these Levite musicians "prophesied" with their instruments. This indicates that their music was not just skill or aesthetics, but a divinely inspired utterance, potentially guiding congregational emotions, communicating truth, or even foretelling events under the anointing of the Spirit. This understanding transforms our view of worship music from performance to prophetic utterance, emphasizing that authentic praise and worship must flow from a Spirit-filled heart, consecrated for God's glory. It teaches that various gifts, when dedicated to God and organized for His purpose, can powerfully facilitate divine encounter and communication, forming a vibrant part of communal adoration.

Examples for practical usage:

• Acknowledging musicians in church as ministers, whose instruments can be avenues for the Spirit's flow.
• Understanding that spiritual gifts are given for "service," not personal acclaim.
• Encouraging order and intentionality in planning worship services.