1 Chronicles Chapter 25
Musicians for the Temple
A. The musicians for the temple
1. Musicians separated for service
1 Chronicles 25:1
“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.”
David, together with the captains of the army, selected and appointed musicians from among the sons of Asaph, Heman, and Jeduthun for sacred service in the house of the Lord. The involvement of the military commanders is striking, yet it reflects David’s understanding that the spiritual strength of Israel and the security of the kingdom were intertwined. Worship was not a peripheral activity. It was essential to national stability, blessing, and divine favor. David consistently sought the counsel of his commanders, and even in matters of worship, their presence signified unity among the civil, military, and spiritual leadership of the nation.
The musicians were set apart to “prophesy” with harps, stringed instruments, and cymbals. Their music was more than artistic expression. It was Spirit empowered proclamation. In Scripture, prophecy is not limited to foretelling the future. It also includes declaring the truth of God under divine inspiration. These musicians ministered in a way that exalted the Lord, strengthened the people, and communicated the heart of God through worship. Morgan observes that the repeated use of the word “prophesy” in this chapter elevates music in the sanctuary, showing that it carries spiritual weight and divine authority. Selman notes that this could refer to direct prophetic messages given in musical contexts or to the act of praising God under the inspiration of the Spirit. Either way, their work was profoundly spiritual.
David’s organization here reflects the larger framework he established throughout the Levitical system. Chapter 25 arranges the four thousand Levitical musicians mentioned earlier in 1 Chronicles 23:5 into courses of service parallel to those of the priests in chapter 24. The worship of God was to be conducted with excellence, order, and reverence.
2. The sons of Asaph, Jeduthun, and Heman
1 Chronicles 25:2-6
“Of the sons of Asaph, Zaccur, Joseph, Nethaniah, and Asharelah, the sons of Asaph were under the direction of Asaph, who prophesied according to the order of the king. Of Jeduthun, the sons of Jeduthun, Gedaliah, Zeri, Jeshaiah, Shimei, Hashabiah, and Mattithiah, six, under the direction of their father Jeduthun, who prophesied with a harp to give thanks and to praise the Lord. Of Heman, the sons of Heman, Bukkiah, Mattaniah, Uzziel, Shebuel, Jerimoth, Hananiah, Hanani, Eliathah, Giddalti, Romamti Ezer, Joshbekashah, Mallothi, Hothir, and Mahazioth. All these were the sons of Heman the king’s seer in the words of God, to exalt his horn. For God gave Heman fourteen sons and three daughters. All these were under the direction of their father for the music in the house of the Lord, with cymbals, stringed instruments, and harps, for the service of the house of God. Asaph, Jeduthun, and Heman were under the authority of the king.”
The Chronicler highlights the three great musical families of Israel. Asaph’s sons served under his direction, and Asaph himself “prophesied according to the order of the king.” Twelve Psalms are attributed to Asaph, including Psalm 50 and Psalms 73 through 83. Asaph was more than a musician. He was a teacher, a prophet, and a worship theologian whose ministry shaped Israel’s understanding of God for generations.
Jeduthun’s sons served under his leadership, and he is described as one who “prophesied with a harp to give thanks and to praise the Lord.” His music was not entertainment. It was devotion inspired by the Spirit of God. The harp became an instrument of prophetic praise, lifting the hearts of God’s people toward worship. Jeduthun is also named in the superscriptions of Psalm 39, Psalm 62, and Psalm 77, indicating his longstanding influence in sacred music.
Heman, described as “the king’s seer in the words of God,” had fourteen sons and three daughters, all gifted by God to serve in the ministry of music. As Poole explains, Heman likely served directly in the presence of the king, ministering through music and prophetic insight. His many children formed a powerful and influential musical dynasty. Meyer notes the beauty of Heman entering the temple with all his sons and daughters who served together in worship. Heman’s children were “under the direction of their father,” forming a model of spiritual inheritance, family unity, discipline, and ministry excellence. Meyer wisely adds that young people must not take the upper hand but remain under godly authority.
Despite their remarkable gifting, Asaph, Heman, and Jeduthun were all “under the authority of the king.” David’s leadership united worship under one God-appointed system. Meyer remarks that the man who is under authority can exercise authority rightly. These musicians, though filled with the Spirit and highly skilled, submitted themselves to the structure God ordained through David.
Their ministry shaped the worship life of Israel for centuries, and their legacy is preserved in Scripture as a testimony to the power of Spirit led music offered to the Lord.
B. The Result of the Casting of Lots for Their Duty
1. The number of skillful musicians
1 Chronicles 25:7-8
“So the number of them, with their brethren who were instructed in the songs of the Lord, all who were skillful, was two hundred and eighty eight. And they cast lots for their duty, the small as well as the great, the teacher with the student.”
The total number of musicians, including those instructed in the songs of the Lord, was two hundred and eighty eight. These were not casual performers. They were skillful, trained, disciplined, and spiritually sensitive. Their music was an act of worship and prophecy, exercised under the direction of the Holy Spirit. These men represented the highest standard of excellence in sacred music, demonstrating that worship should reflect the greatness and holiness of God.
They cast lots for their duties so that every musician, from the most experienced to the youngest learner, received his assignment by divine direction rather than human preference. The lot applied to “the small as well as the great, the teacher with the student.” David refused to assign privileged positions to the elite or the highly trained. Instead, he allowed God to determine the order of service. This prevented pride among the elders and gave opportunity for growth among the students. In worship ministry, character and submission to God’s choice mattered more than human ranking. The casting of lots kept the service pure, humble, and spiritually balanced.
2. The divisions of the musicians
1 Chronicles 25:9-31
“Now the first lot for Asaph came out for Joseph, the second for Gedaliah, him with his brethren and sons, twelve, the third for Zaccur, his sons and his brethren, twelve, the fourth for Jizri, his sons and his brethren, twelve, the fifth for Nethaniah, his sons and his brethren, twelve, the sixth for Bukkiah, his sons and his brethren, twelve, the seventh for Jesharelah, his sons and his brethren, twelve, the eighth for Jeshaiah, his sons and his brethren, twelve, the ninth for Mattaniah, his sons and his brethren, twelve, the tenth for Shimei, his sons and his brethren, twelve, the eleventh for Azarel, his sons and his brethren, twelve, the twelfth for Hashabiah, his sons and his brethren, twelve, the thirteenth for Shubael, his sons and his brethren, twelve, the fourteenth for Mattithiah, his sons and his brethren, twelve, the fifteenth for Jeremoth, his sons and his brethren, twelve, the sixteenth for Hananiah, his sons and his brethren, twelve, the seventeenth for Joshbekashah, his sons and his brethren, twelve, the eighteenth for Hanani, his sons and his brethren, twelve, the nineteenth for Mallothi, his sons and his brethren, twelve, the twentieth for Eliathah, his sons and his brethren, twelve, the twenty first for Hothir, his sons and his brethren, twelve, the twenty second for Giddalti, his sons and his brethren, twelve, the twenty third for Mahazioth, his sons and his brethren, twelve, the twenty fourth for Romamti Ezer, his sons and his brethren, twelve.”
David’s organization of the musicians produced twenty four divisions, matching the twenty four divisions of the priests and Levites. Each division consisted of twelve members, combining to form the two hundred and eighty eight skilled musicians described earlier. This arrangement ensured that worship in the temple would be continual, structured, beautiful, and Spirit led. The rotating courses provided fresh leadership throughout the year and allowed every family to contribute to the worship life of Israel.
The first lot fell to Joseph of the sons of Asaph, and the subsequent lots assigned each division in perfect order under God’s direction. From Gedaliah to Romamti Ezer, every leader is named along with his sons and brethren, all twelve in number for each division. The uniformity of the structure reflects the orderliness of divine worship. God is not the author of confusion. The worship of the temple was to reflect His character through precision, discipline, unity, and reverence.
This system ensured that every musical family experienced both honor and responsibility. No one dominated the service, and no one was excluded. God assigned each division its rightful place. The names preserved in this list testify to the high regard God has for musicians who serve Him faithfully. Their ministry strengthened Israel’s spiritual life, enhanced the beauty of worship, and demonstrated how music, offered rightly, is both prophetic and powerful.
The twenty four divisions of musicians formed a complete cycle of praise that mirrored the twenty four priestly divisions. Together, they created a constant rhythm of sacrifice, prayer, and praise. This structure carried forward into later generations, influencing the worship life of Israel for centuries.
