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 tuba of the ancients, the קרן or שׁופר of the Hebr.; see under Jos 6:5. משׁרוקיתא, from שׁרק, to hiss, to whistle, is the reed-flute, translated by the lxx and Theodot. σύριγξ, the shepherd's or Pan's pipes, which consisted of several reeds of different thicknesses and of different lengths bound together, and, according to a Greek tradition (Pollux, iv. 9, 15), was invented by two Medes. קיתתס (according to the Kethiv; but the Keri and the Targ. and Rabbin. give the form קתרס) is the Greek κιθάρα or κίθαρις, harp, for the Greek ending ις becomes ος in the Aramaic, as in many similar cases; cf. Ges.Thes. p. 1215. סבּכא, corresponding to the Greek σαμβύκη, but a Syrian invention, is, according to Athen. iv. p. 175, a four-stringed instrument, having a sharp, clear tone; cf. Ges. Thes. p. 935. פּסנמּרין (in Dan 3:7 written with a  טinstead of  תand in Dan 3:10 and Dan 3:15 pointed with a Tsere under the )ת is the Greek ψαλτήριον, of which the Greek ending ιον becomes abbreviated in the Aram. into ין  (cf. Ges. Thes. p. 1116). The word has no etymology in the Semitic. It was an instrument like a harp, which according to Augustin (on Psa 33:2 [32:2] and Psa 43:4 [42:4) was distinguished from the cithara in this particular, that while the strings of the cithara passed over the sounding-board, those of the psalterium (or organon) were placed under it. Such harps are found on Egyptian (see Rosellini) and also on Assyrian monuments (cf. Layard, Ninev. and Bab., Table xiii. 4). סוּמפּניה, in Dan 3:10 סיפניה, is not derived from ספן, contignare, but is the Aramaic form of συμφωνία, bag-pipes, which is called in Italy at the present day sampogna, and derives its Greek name from the accord of two pipes placed in the bag; cf. Ges. Thes. p. 941. זמרא signifies, not “song,” but musical playing, from reemaz, to play the strings, ψάλλειν; and because the music of the instrument was accompanied with song, it means also the song accompanying the music. The explanation of זמרא by singing stands here in opposition to the זני כּל, since all sorts of songs could only be sung after one another, but the herald speaks of the simultaneous rise of the sound. The limiting of the word also to the playing on a stringed instrument does not fit the context, inasmuch as wind instruments are also named. Plainly in the words זמרא זני כּל all the other instruments not particularly named are comprehended, so that זמרא is to be understood generally of playing on musical instruments. בּהּ־שׁעתּא, in the same instant. The frequent pleonastic use in the later Aramaic of the union of the preposition with a suffix anticipating the following noun, whereby the preposition is frequently