The first mention of music, either vocal or instrumental, in the Scriptures, is made in Gen. iv. 21: "Jubal was the father of all such as handle the harp and organ." Jubal was only seventh in descent from Adam; and from this passage it is thought by some that he was the inventor of instrumental music. In the year B.C. 1739, in Gen. xxxi. 27, Laban says to Jacob, "Wherefore didst thou flee away from me, and didst not tell me, that I might have sent thee away with mirth and with songs, with tabret and with harp?" This is the first mention in the Bible of vocal music. King David, who has been called "the sweet singer of Israel," is said to have been a skilful performer on the harp. By his magical touch upon its strings at a certain time, he produced sounds so sweetly soothing as to drive away the "evil spirit" from Saul.

The poet Byron pays an elevated, glowing tribute to this "monarch minstrel" in the following lines:—

"The harp the monarch minstrel swept,
The king of men, the loved of Heaven,
Which Music hallowed while she wept
O'er tones her heart of hearts had given,—
Redoubled be her tears; its chords are riven.
It softened men of iron mould;
It gave them virtues not their own:
No ear so dull, no soul so cold,
That felt not, fired not, to the tone;
Till David's lyre grew mightier than his throne.
It told the triumphs of our King;
It wafted glory to our God;
It made our gladdened valleys ring,
The cedars bow, the mountains nod:
Its sound aspired to heaven, and there abode.
Since then, though heard on earth no more,
Devotion, and her daughter Love,
Still bid the bursting spirit soar
To sounds that seem as from above,
In dreams that day's broad light cannot remove."

And here I append from the First of Chronicles, xiii. 8, a description of the music of the "house of Israel:" "And David and all Israel played before God with all their might, and with singing, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets."

Josephus, the learned Jewish historian, states that the Egyptians had two hundred thousand musicians playing at the dedication of the Temple of Solomon. This structure was of most wonderfully immense dimensions: and it may have been that this enormous body of performers played in detachments about the building; otherwise the statement would seem apocryphal.

The Egyptian musical instruments, it appears, were mostly of very rude construction: performance upon them would not now, probably, be tolerated even in circles of the least musical culture.

Of these ancient instruments the Boston "Folio" thus speaks:—

"The Egyptian flute was only a cow's-horn, with three or four holes in it; and their harp, or lyre, had only three strings. The Grecian lyre had only seven strings, and was very small, being held in one hand. The Jewish trumpets that made the walls of Jericho fall down were only rams'-horns: their flute was the same as the Egyptian. They had no other instrumental music but by percussion, of which the greatest boast was made of the psaltery,—a small triangular harp, or lyre, with wire strings, and struck with an iron needle or stick. Their sackbut was something like a bagpipe; the timbrel was a tambourine; and the dulcimer, a horizontal harp with wire strings, and struck with a stick like the psaltery."

The following interesting and able summary of the history of ancient Roman music is taken from a recent number of "The Vox Humana:"—

"Art love was not a distinguished characteristic of the ancient Romans; and we are not astonished, therefore, to find them borrowing music from Etruria, Greece, and Egypt; originating nothing, and (although the study was pursued by the emperors) never finding any thing higher in its practice than a sensuous gratification.