(Aramaic) or סוּמְפֹּנְיָה; (Aramaic), or סִיפֹנְיָא; (Daniel 3:10) (Aramaic), of Greek origin; a bagpipe (with a double pipe); dulcimer.
Transliteration:çûwmᵉpôwnᵉyâh
Pronunciation:soom-po-neh-yaw'
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### Core Meaning & Semantic Range
The Aramaic term H5481 (çûwmᵉpôwnᵉyâh), also appearing as סוּמְפֹּנְיָה or סִיפֹנְיָא, denotes a musical instrument. Its etymology is crucial, as the word is explicitly stated to be "of Greek origin," derived from the Greek *symphonia* (συμφωνία). This Greek root carries the core meaning of "a sounding together," "concord," or "harmony." In the context of musical instruments, H5481 is most commonly understood as a "bagpipe (with a double pipe)" or, less frequently, a "dulcimer." The "double pipe" aspect aligns well with the Greek root's emphasis on multiple sounds combining, suggesting an instrument capable of producing a rich, complex, or harmonious sound, rather than a simple melodic line. The interpretation as a bagpipe is widely accepted among scholars due to this etymological connection and the instrument's capacity for sustained, multi-part sound.
### Biblical Occurrences & Contextual Analysis
The word H5481 appears exclusively in the Aramaic portions of the Book of Daniel, specifically within chapter 3. Its occurrences are central to the narrative of Nebuchadnezzar's golden image:
* [[Daniel 3:5]]: "as soon as you hear the sound of the horn, pipe, lyre, trigon, harp, bagpipe (çûwmᵉpôwnᵉyâh), and all kinds of music, you are to fall down and worship the golden image that King Nebuchadnezzar has set up."
* [[Daniel 3:10]]: "You, O king, have made a decree that every man who hears the sound of the horn, pipe, lyre, trigon, harp, and bagpipe (çûwmᵉpôwnᵉyâh), and all kinds of music, shall fall down and worship the golden image."
* [[Daniel 3:15]]: "Now if you are ready, when you hear the sound of the horn, pipe, lyre, trigon, harp, and bagpipe (çûwmᵉpôwnᵉyâh), and all kinds of music, to fall down and worship the image that I have made, well and good."
In each instance, H5481 is listed as one among a diverse ensemble of instruments, including the horn (`{{H7161}}`), pipe (`{{H4953}}`), lyre (`{{H7023}}`), trigon (`{{H5443}}`), and harp (`{{H6460}}`). This collection of instruments is commanded to play in concert, signaling the moment when all peoples, nations, and languages are to prostrate themselves before the golden idol. The repeated listing emphasizes the comprehensive and overwhelming nature of the musical signal, designed to ensure universal compliance with the king's decree. The presence of several Greek-derived instrument names (like H7023 from *kithara*, H5443 from *sambuke*, and H6460 from *psalterion*) alongside H5481 (from *symphonia*) underscores the cultural syncretism and international influence present in the Babylonian court.
### Related Words & Concepts
The primary related word is the Greek *symphonia* (συμφωνία), from which H5481 is derived. This etymological link is significant, as it connects the Aramaic instrument to the concept of "sounding together" or "harmony." While H5481 refers to a specific instrument, its root points to the broader idea of concerted sound.
Within the biblical context of [[Daniel 3]], H5481 is related to the other instruments in the orchestra:
* Horn (קַרְנָא, `{{H7161}}`): A wind instrument, likely used for signaling.
* Pipe (מַשְׁרוֹקִיתָא, `{{H4953}}`): A wind instrument, perhaps a flute or whistle.
* Lyre (קַתְרוֹס, `{{H7023}}`): A stringed instrument, akin to a guitar.
* Trigon (סַבְּכָא, `{{H5443}}`): A stringed instrument, possibly a triangular harp.
* Harp (פְּסַנְטֵרִין, `{{H6460}}`): Another stringed instrument, likely a psaltery.
The collective "all kinds of music" (כֹּל זְמָר) is a key concept, denoting the full array of sounds intended to create an imposing and inescapable atmosphere of worship. The presence of multiple Greek-derived instrument names in this list highlights the cultural exchange and the international character of Nebuchadnezzar's empire.
### Theological Significance
While H5481 itself is merely a musical instrument, its theological significance emerges powerfully from its specific context in [[Daniel 3]]. The çûwmᵉpôwnᵉyâh is part of the orchestrated sound that functions as a signal for idolatry. This highlights several profound theological points:
1. **Perversion of Worship:** Music, often a medium for praise and worship of the true God in biblical tradition (e.g., Psalms), is here co-opted and perverted to compel worship of a false god. The grand, unified sound is intended not for genuine devotion but for coerced conformity to a human decree.
2. **The Nature of Idolatry:** The elaborate setup, including a full orchestra culminating in the sound of the çûwmᵉpôwnᵉyâh, demonstrates the lengths to which human power will go to establish and enforce false worship. It underscores the seductive and compelling nature of idolatry when backed by state authority and sensory overload.
3. **True Worship vs. Coercion:** The unwavering refusal of Shadrach, Meshach, and Abednego to bow, despite the overwhelming musical signal and the threat of death, stands in stark contrast to the king's coercive methods. Their steadfastness reveals that true worship is not compelled by external stimuli or human decrees, but flows from a heart devoted solely to the one true God. The "harmony" implied by the Greek root of H5481 ironically contrasts with the spiritual disharmony of forced idolatry.
4. **Divine Sovereignty:** Ultimately, the failure of the king's elaborate musical signal to compel these faithful men, and God's subsequent miraculous deliverance, demonstrates the ultimate sovereignty of God over human authority and all earthly attempts to usurp His rightful place in worship.
### Summary
The Aramaic word H5481 (çûwmᵉpôwnᵉyâh), of Greek origin (*symphonia*), refers to a musical instrument, most likely a bagpipe or a complex wind instrument capable of producing a harmonious or multi-part sound. It appears exclusively in [[Daniel 3:5]], [[Daniel 3:10]], and [[Daniel 3:15]], where it is listed among a diverse ensemble of instruments. This orchestra plays a critical role in the narrative, serving as the signal for all peoples to fall down and worship Nebuchadnezzar's golden image. Theologically, the çûwmᵉpôwnᵉyâh and the accompanying music represent the perversion of sound and art for the purpose of idolatry and coercion. Its presence underscores the stark contrast between the king's attempt to enforce false worship through sensory spectacle and the unwavering faithfulness of God's servants, who demonstrate that true worship is a matter of the heart, uncoerced by earthly power or grand displays.
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