There is difference of opinion in regard to the style of melody employed in the delivery of the psalms in the worship of the temple at Jerusalem. Was it a mere intoned declamation, essentially a monotone with very slight changes of pitch, like the “ecclesiastical accent” of the Catholic Church? Or was it a freer, more melodious rendering, as in the more ornate members of the Catholic Plain Song? The modern Jews incline to the latter opinion, that the song was true melody, obeying, indeed, the universal principle of chant as a species of vocalism subordinated in rhythm to the text, yet with abundant movement and possessing a distinctly tuneful character. It has been supposed that certain inscriptions at the head of some of the psalms are the titles of well-known tunes, perhaps secular folk-songs, to which the psalms were sung. We find, _e. g._, at the head of Ps. xxii. the inscription, “After the song beginning, Hind of the Dawn.” Ps. lvi. has, “After the song, The silent Dove in far-off Lands.” Others have, “After lilies” (Ps. xlv. and lxix.), and “Destroy not” (Ps. lvii.-lix.). We cannot on _a priori_ principles reject the supposition that many psalms were sung to secular melodies, for we shall find, as we trace the history of music in the Christian era, that musicians have over and over again borrowed profane airs for the hymns of the Church. In fact, there is hardly a branch of the Christian Church that has not at some time done so, and even the rigid Jews in modern times have employed the same means to increase their store of religious melodies. That the psalms were sung with the help of instruments seems indicated by superscriptions, such as “With stringed instruments,” and “To the flutes,” although objections have been raised to these translations. No such indications are needed, however, to prove the point, for the descriptions of worship contained in the Old Testament seem explicit. The instruments were used to accompany the voices, and also for preludes and interludes. The word “Selah,” so often occurring at the end of a psalm verse, is understood by many authorities to signify an instrumental interlude or flourish, while the singers were for a moment silent. One writer says that at this point the people bowed in prayer.[28]