Our knowledge of the uses of music among the most ancient nations is chiefly confined to its function in religious ceremony. All ancient worship was ritualistic and administered by a priesthood, and the liturgies and ceremonial rites were intimately associated with music. The oldest literatures that have survived contain hymns to the gods, and upon the most ancient monuments are traced representations of instruments and players. Among the literary records discovered on the site of Nineveh are collections of hymns, prayers, and penitential psalms, addressed to the Assyrian deities, designed, as expressly stated, for public worship, and which Professor Sayce compares to the English Book of Common Prayer. On the Assyrian monuments are carved reliefs of instrumental players, sometimes single, sometimes in groups of considerable numbers. Allusions in the Bible indicate that the Assyrians employed music on festal occasions, that hymns to the gods were sung at banquets and dirges at funerals. The kings maintained bands at their courts, and provided a considerable variety of instruments for use in the idol worship.[5]
There is abundant evidence that music was an important factor in the religious rites of Egypt. The testimony of carved and painted walls of tombs and temples, the papyrus records, the accounts of visitors, inform us that music was in Egypt preëminently a sacred art, as it must needs have been in a land in which, as Ranke says, there was nothing secular. Music was in the care of the priests, who jealously guarded the sacred hymns and melodies from innovation and foreign intrusion.[6] In musical science, knowledge of the divisions of the monochord, systems of keys, notation, etc., the Egyptians were probably in advance of all other nations. The Greeks certainly derived much of their musical practice from the dwellers on the Nile. They possessed an extensive variety of instruments, from the little tinkling sistrum up to the profusely ornamented harp of twelve or thirteen strings, which towered above the performer. From such an instrument as the latter it would seem as though some kind of harmony must have been produced, especially since the player is represented as using both hands. But if such were the case, the harmony could not have been reduced to a scientific system, since otherwise a usage so remarkable would not have escaped the attention of the Greek musicians who derived so much of their art from Egypt. Music never failed at public or private festivity, religious ceremony, or funeral rite. As in all ancient religions, processions to the temples, carrying images of the gods and offerings, were attended by dances and vocal and instrumental performances. Lyrical poems, containing the praises of gods and heroes, were sung at public ceremonies; hymns were addressed to the rising and setting sun, to Ammon and the other gods. According to Chappell, the custom of carolling or singing without words, like birds, to the gods existed among the Egyptians,—a practice which was imitated by the Greeks, from whom the custom was transferred to the Western Church.[7] The chief instrument of the temple worship was the sistrum, and connected with all the temples in the time of the New Empire were companies of female sistrum players who stood in symbolic relations to the god as inmates of his harem, holding various degrees of rank. These women received high honors, often of a political nature.[8]