Original Word: מִזְמוֹר
Part of Speech: Noun Masculine
Transliteration: mizmowr
Pronunciation: miz-MORE
Phonetic Spelling: (miz-more')
KJV: psalm
Word Origin: [from H2167 (זָמַר - sing praises)]

1. (properly) instrumental music
2. (by implication) a poem set to notes

psalm

From zamar; properly, instrumental music; by implication, a poem set to notes -- psalm.

see HEBREW zamar

Word Origin
from zamar
Definition
a melody.

מִזְמוֺר noun [masculine] melody (technical designation of psalms; compare Hup^{Psalm, Einl. § 7, 2} De⁴ on Psalm 3, Bae^{Psalmen, xiii}; , , loan-words, all = Psalm(s); on ׳מ, in relation to תהלה compare Lg^{Or ii. 22 f.}), always in this form; in 57 Psalm-titles: — ׳מ alone Psalm 98:1, שׁיר ליום הַשַּׁבָּת ׳מ Psalm 92:1, לְתוֺדָה ׳מ Psalm 100:1; usually with person name or title; לְדָוִד ׳מ Psalm 3:1; Psalm 15:1; Psalm 23:1; Psalm 29:1; Psalm 63:1; Psalm 141:1; Psalm 143:1, ׳שׁיר מ לדוד Psalm 108:1, לדוד לְהַזְכִּיר ׳מ Psalm 38:1, שִׁירחֲֿנֻכַּת הבית ׳מ לדוד Psalm 30:1, ׳לדוד מ Psalm 24:1; Psalm 101:1; Psalm 110:1, לדוד ׳לַמְנַצֵּחַ מ Psalm 13:1; Psalm 19:1; Psalm 20:1; Psalm 21:1; Psalm 31:1; Psalm 41:1; Psalm 51:1; Psalm 64:1; Psalm 140:1; לַמְֿנַצֵּחַ ֗֗֗ לדוד ׳מ Psalm 4:1; Psalm 5:1; Psalm 6:1; Psalm 8:1; Psalm 9:1; Psalm 12:1; Psalm 22:1; Psalm 39:1; Psalm 62:1, ׳לַמְֿנַצֵּחַ מ לדוד שׁיר Psalm 65:1, ׳למנצח לדוד מ Psalm 40:1; Psalm 109:1; Psalm 139:1, שׁיר ׳למנצח לדוד מ Psalm 68:1; also simply שׁיר ׳לַמְֿנַצֵּחַ מ Psalm 67:1, ׳לַמְֿנַצֵּחַ שׁיר מ Psalm 66:1; but also לבניֿ ׳קרח שׁיר מ Psalm 48:1, שׁיר ׳לִבְנֵיקֹֿרַח מ Psalm 87:1, לבני קרח ׳שׁיר מ לַמְֿנַצֵּחַמַ֗֗֗שְׂכִּיל לְהֵימָן הָאֶזְרָחִי Psalm 88:1, לַמְֿנַצֵּחַ לבניֿ ׳קרח מ Psalm 47:1; Psalm 49:1; Psalm 85:1, ׳למנצחל֗֗֗בניקֿרח מ Psalm 84:1; further לְאָסָף ׳מ Psalm 50:1; Psalm 73:1; Psalm 79:1; Psalm 82:1, לאסף ׳שׁיר מ Psalm 83:1, לאסף שׁיר ׳לַמְֿנַצֵּחַמ֗֗֗ Psalm 75:1; Psalm 76:1, לַמְֿנַצֵּחַ ֗֗֗ ׳לאסף מ Psalm 77:1; Psalm 80:1. [Summary: — ׳מ in 34 Psalms with לַמְֿנַצֵּחַ, of which 23 have לדוד also, 5 לבני קרח also, 4 לאסף, and 2 no proper name; in addition, in 13 Psalms with לדוד, 2 with לבני קרח, 5 with לאסף; in only 3 without either proper name or title; ׳מ is preceded by שׁיר5t., and following by שִׁיר8t.]

Definition and Scope of the Term

The word designates a sacred song intentionally composed for vocal performance with instrumental accompaniment. It stands as a technical label in the psalm titles that identifies the piece as music for worship rather than as casual poetry or private reflection.

Distribution within the Canon

All fifty-seven appearances occur in the Book of Psalms, always in the superscription. No historical narrative, prophetic book, or wisdom text outside Psalms employs the term, underscoring its liturgical specialization.

Superscription Formula and Authorship

The title often pairs with the composer’s name or with liturgical directions:
• “A Psalm of David when he fled from his son Absalom” (Psalm 3 superscription).
• “For the choirmaster. A Psalm of the sons of Korah” (Psalm 47 superscription).
• “A Psalm of Asaph” (Psalm 50 superscription).

Such formulas bind the composition to concrete historical moments, reinforcing the psalm’s authenticity and situating its worship within God’s acts in history.

Literary Features

Because the word signals music, these psalms frequently exhibit balanced parallelism, refrains, and rhythmic regularity that lend themselves to congregational singing. Many conclude with doxologies (Psalm 41:13; Psalm 72:19) or Hallelujah refrains (Psalm 146–150), linking structure with praise.

Theological Themes Highlighted by the Mizmor

1. Kingship of the LORD: “For God is King of all the earth; sing praises with a psalm” (Psalm 47:7).
2. Covenant faithfulness: “He has remembered His love and His faithfulness to the house of Israel” (Psalm 98:3).
3. Lament and trust: “I lie down and sleep; I wake again, for the LORD sustains me” (Psalm 3:5).
4. Messianic hope: “The LORD said to my Lord, ‘Sit at My right hand…’” (Psalm 110:1).

By labeling these texts as mizmorim, the inspired editors direct the worshiper to respond musically to each theme.

Historical Context and Liturgical Function

Early references (Psalms 3–41) arise in David’s lifetime, implying court musicians such as Heman and Jeduthun rendered them (1 Chronicles 25:1). Later collections (Psalms 42–89) reflect Korahite and Asaphite guilds that served in Solomon’s Temple. Post-exilic psalms (Psalms 96–106) show the term enduring after the return, indicating continuity of temple liturgy despite political upheaval.

Christological Significance

New Testament writers quote numerous mizmorim concerning the Messiah:
• Psalm 2:7 in Acts 13:33; Hebrews 1:5.
• Psalm 22:1 in Matthew 27:46.
• Psalm 110:1 in Matthew 22:44; Acts 2:34-35.

The musical nature of these psalms gave the early church ready-made hymnody for proclaiming Jesus’ identity.

Implications for Personal and Corporate Worship

Because every occurrence is tied to congregational praise, the mizmor invites believers to integrate Scripture, theology, and music. It reminds worship planners that melody serves revelation, not vice versa. Families and individuals likewise find models for prayer that unite heart and mind: thanksgiving (Psalm 100), repentance (Psalm 51), and confidence (Psalm 23).

Representative Occurrences

• Psalm 23 superscription – assurance of the Shepherd’s care.
• Psalm 51 superscription – penitence after David’s sin with Bathsheba.
• Psalm 67 superscription – global mission: “May God be gracious to us and bless us… that Your way may be known on earth” (Psalm 67:1-2).
• Psalm 98 superscription – celebration of salvation: “Sing to the LORD a new song” (Psalm 98:1).
• Psalm 150 superscription – climactic call: “Let everything that has breath praise the LORD!” (Psalm 150:6).

Relationship to Other Psalmic Terms

Unlike shir (song) which may appear in narrative books, or tefillah (prayer) which can be spoken, mizmor is uniquely musical. Its exclusive association with the Psalter designates it as the backbone of Israel’s hymnbook.

Contribution to Biblical Theology of Music

The concentration of the term in Psalms affirms that sound doctrine and sound song belong together. The Spirit’s inspiration of mizmorim set a pattern: God’s mighty deeds call forth artful, communal response that teaches, admonishes, and delights (Colossians 3:16).

מִ֝זְמוֹר מִ֫זְמ֥וֹר מִזְמ֑וֹר מִזְמ֖וֹר מִזְמ֗וֹר מִזְמ֡וֹר מִזְמ֣וֹר מִזְמ֥וֹר מִזְמֽוֹר׃ מזמור מזמור׃ miz·mō·wr mizMor mizmōwrInterlinear Greek • Interlinear Hebrew • Strong's Numbers • Englishman's Greek Concordance • Englishman's Hebrew Concordance • Parallel Texts