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Women at Work in the Deuteronomistic History - International Voices ...

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HIDE AND SEEK: MISCELLANEOUS WOMEN | 199<br />

• תורשׁו םירשׁ,<br />

“male and female s<strong>in</strong>gers,” 2 Sam 19:36, Qoh 2:8 113<br />

• תוררשׁמו םיררשׁמ,<br />

“male and female s<strong>in</strong>gers,” Ezra 2:65 // Neh 7:67<br />

• םינגנ, “players of str<strong>in</strong>ged <strong>in</strong>struments (lyres),” Isa 23:16; Ps 68:26<br />

• תופפות, “drum players,” Ps 68:26, (Exod 15:20)<br />

• תוללחמה, very young women danc<strong>in</strong>g <strong>in</strong> <strong>the</strong> v<strong>in</strong>eyards, Judg 21:21–23<br />

• תולחמ, “dancers,” 1 Sam 18:6<br />

• תוקחשׂמ, “performers,” 1 Sam 18:6–7; 2 Sam 6:5, 20–23, 1 Chr 15:29<br />

• דקר, “to leap,” 1 Chr 15:29 (2 Sam 6:20–23)<br />

A quick perusal shows already th<strong>at</strong> DtrH did not f<strong>in</strong>d many occasions to<br />

mention musicians, especially women. Many o<strong>the</strong>r terms or texts will be of little<br />

use and thus, will not be taken up. For <strong>in</strong>stance, if one takes transl<strong>at</strong>ions of Judg<br />

11:40, one f<strong>in</strong>ds nubile women celebr<strong>at</strong><strong>in</strong>g a yearly remembrance of Jephthah’s<br />

unnamed daughter. The verb, a pi`el <strong>in</strong>f<strong>in</strong>itive construct from הנת II, is usually<br />

transl<strong>at</strong>ed “to mourn.” Its mean<strong>in</strong>g seems to be “to recount” r<strong>at</strong>her than s<strong>in</strong>g or<br />

dance (it could <strong>in</strong>volve repetition by s<strong>in</strong>g<strong>in</strong>g or by processional danc<strong>in</strong>g, but<br />

technically it would not belong to this semantic field); fur<strong>the</strong>rmore, it <strong>in</strong>volves<br />

“all <strong>the</strong> women” and not necessarily professionals and thus it is excluded from<br />

<strong>the</strong> list. Likewise, "shout<strong>in</strong>g [העורת] is part of a larger musical expression th<strong>at</strong><br />

<strong>in</strong>cludes various musical <strong>in</strong>struments and s<strong>in</strong>g<strong>in</strong>g.” 114 It sounds funny th<strong>at</strong> <strong>the</strong>re<br />

would be professional shouters (see “<strong>the</strong> people” <strong>in</strong> Ezra 3:11). The idea would<br />

be to add volume and contrast to <strong>the</strong> melodic <strong>in</strong>struments, both with trumpets,<br />

horns, and voices. 115 At any r<strong>at</strong>e, it would be a choir or group, not <strong>in</strong>dividuals.<br />

Wright makes a very <strong>in</strong>terest<strong>in</strong>g po<strong>in</strong>t <strong>in</strong> th<strong>at</strong> one of <strong>the</strong> functions of such a<br />

shout<strong>in</strong>g was to call <strong>the</strong> Deity’s <strong>at</strong>tention and engage him/her <strong>in</strong> <strong>the</strong> ceremony<br />

tak<strong>in</strong>g place; a function, he claims, similar to th<strong>at</strong> of <strong>the</strong> sistrum players <strong>in</strong><br />

Egypt. 116 If this was a priestly (Levitic?) function, <strong>the</strong>n perhaps it was also part<br />

of <strong>the</strong> duties of <strong>the</strong> ףסא ינב םיררשׁמ <strong>the</strong> s<strong>in</strong>gers from <strong>the</strong> sons of Asaph <strong>in</strong><br />

Ezra 2:41. Altern<strong>at</strong>ively, if we want to “downgrade” <strong>the</strong>m, <strong>the</strong>re are <strong>the</strong><br />

תוררשׁמו םיררשׁמ mentioned <strong>in</strong> Ezra 2:65 and Neh 7:67, who are of very low<br />

rank (discussed <strong>in</strong> this same sub-section).<br />

113 Hebrew 2 Sam 19:33–37 = Eng 19:32–36.<br />

114 Wright, “Music,” 213.<br />

115 Wright, “Music,” 203–9; Mitchell, “Music,” 130 affirms th<strong>at</strong> <strong>the</strong> silver trumpets were played by<br />

<strong>the</strong> priests (this is confirmed by 2 Chr 13:14); <strong>the</strong>refore, <strong>the</strong> term םירצצחמ (Qere םירצחמ), hip`il<br />

from denom. רצח IV, “play <strong>the</strong> trumpet,” would be exclusively mascul<strong>in</strong>e.<br />

116 Wright, “Music,” 215, n. 33.

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