But it was not in the service of religion alone that music was performed among the ancient Hebrews: it permeated their whole public and private life. Following the example of David and Solomon, who had attached to their courts “singing men and singing women” (2 Sam. xix. 36; Eccles. ii. 8), the rich men in Israel often, employed music and song at their banquets (Amos vi. 4–6). When bridal processions passed through the streets, they were accompanied with music and song (Jer. vii. 34). The same was the case when victories were celebrated, or when the Jewish armies went to battle (Exod. xv. 20; xx. 19). There seems also to have existed a kind of Jewish troubadours, who sang love-songs before the windows of their chosen ones (Ps. xlv, title). The harvest was gathered in to the tunes of merry songs (Isa. xvi. 10), and at funeral processions mournful music was played (Jer. ix. 17–20). That a high position must have been assigned by the ancient Hebrews to those who were skilled in song and music, may be seen from the term applied to them in the Hebrew writings. There they are frequently called _Nebiim_ (‪נביאים‬), “Prophets,” and of Jahaziel, a Levite of the sons of Asaph, it is said that “the spirit of the Lord came over him” (2 Chron. xx. 14). Thus the art of music was looked upon by the Hebrews as being the outcome of divine inspiration, and its disciples were consequently held in great esteem by them. But music and song only flourished among them so long as they were masters in their own country, and were free men in a free land. When their nationality had ceased to exist, and they were led into captivity, they hung their harps on the willows by the streams of Babylon, and uttered those memorable and touching words: “How shall we sing the song of the Lord in a foreign land?” (Ps. cxxxvii. 4).