Music and theatre scholars studying the history and anthropology of Semitic and early Judeo-Christian culture have discovered common links in theatrical and musical activity between the classical cultures of the Hebrews and those of later Greeks and Romans.
The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theatre notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"[12]
"While Genesis 4.21 identifies Jubal as the “father of all such as
handle the harp and pipe,” the Pentateuch is nearly silent about the
practice and instruction of music in the early life of Israel. Then, in I
Samuel 10 and the texts that follow, a curious thing happens. “One
finds in the biblical text,” writes Alfred Sendrey, “a sudden and
unexplained upsurge of large choirs and orchestras, consisting of
thoroughly organized and trained musical groups, which would be
virtually inconceivable without lengthy, methodical preparation.” This
has led some scholars to believe that the prophet Samuel was the
patriarch of a school, which taught not only prophets and holy men, but
also sacred-rite musicians. This public music school, perhaps the
earliest in recorded history, was not restricted to a priestly
class—which is how the shepherd boy David appears on the scene as a
minstrel to King Saul."
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