I ntroduction: I originally attempted to place Psalm 46 as one of the psalms sung when David moved the Ark of God into Jerusalem for several reasons: There is a word found only here and in 1Chron. 15. There are a number of parallel phrases in this psalm, and in Psalm 24, which most theologians see as a psalm which celebrated the moving of the Ark. This is not a preponderance of evidence, and my idea was, this psalm should be taught somewhere; why not at this juncture? I have since changed my mind and believe that this psalm is best placed with 2Kings 19 and Isa. 36–37, sung (or inspired) by God’s defeat of Sennacherib’s army.

There is a basic theme which runs throughout this psalm, which can be changed ever so slightly for a different emphasis. This speaks to the individual believer, whether Jew or Christian, and how this believer may take refuge in Jesus Christ. This speaks of the Jewish people, and how they might take refuge in our Lord. This speaks of the city of God—Jerusalem—and how it is preserved by God. This is arguably the primary focus of this psalm. One might also apply this psalm to the earth, and God’s preservation of the earth. In fact, midway through this psalm, there are verb forms which refer back to either he city of God or back to the earth; and giving a specific interpretation to this psalm is dependent upon assigning the antecents to the verbs and prefixes. When one gives the latter interpretation to this psalm, there are some pretty fantastic statements about God’s relationship to the earth. However, no matter how one interprets this psalm, and to whom or to what it applies; the general understanding of this psalm can be easily applied to any of those entities named here—and applied to you as well.

McGee suggests that this and the next two psalms form a trilogy, prophetically speaking of God’s kingdom on this earth. I rejected this at first, but in re-reading this psalms several times, it reasonably appears this is a reasonable suggestion. What we find in prophetical writings are often parallel meanings. In this psalm, we speak of great natural destructions and of the destruction of war, and we are urged to place our trust in Jehovah Elohim. This is something that can be urged for the believer to do at any point in history. However, the disasters spoken of in this psalm are so great, and yet the resolve so complete, that it is reasonable to suppose this is written for those who are in the Tribulation who face incredible dangers, and on every side. This is contrasted with God’s peaceful city and God doing away with war, which is obviously a picture of our Lord’s rule in the Millennium. The two psalms which follow Psalm 46 also appear to have parallel applications.

David is not mentioned in the inscription of this psalm and it is likely that he did not write it. We will discuss this in the inscription. This was very likely written a few hundred years after the time of David. Most commentators place this psalm with Sennacherib’s invasion of Judah, and how God defended His city by killing Sennacherib’s entire army. We’ll speak more of this later on in the introduction.

At first, I had a very difficult time organizing this psalm. It just did not sink into my brain to the point where I can discern the organization; therefore, when I broke the psalm up into sections, it was simply based upon the selah’s found at the end of vv. 3, 7 and 11. Believe it or not, since I have changed my mind as to the occasion of this psalm, it is beginning to gel more readily in my mind.

As I examine this psalm in greater depth, a pattern and a theme seem to emerge. The psalmist speaks of flood waters which are out of control, but then he speaks of a city (or the earth) which is sustained by water; and orderly rivers and streams are an absolute necessity to us. In a similar fashion, this psalm speaks of nations which are raging, which are out of control, just like flood waters. In contrast is the city of God, which is orderly and under control, we have nations raging out of control.

Vv. 1, 7 and 11 give us the overall theme of this Psalm: God is our refuge; Jehovah of the Armies is with us; the God of Jacob is our high place (or stronghold). In vv. 2b–3, we have a list of natural disasters: earthquakes and floods, and we are told in v. 2a, not to be afraid. In vv. 4–5, we speak of a place of refuge—a city of God—which is fully protected by God. In v. 6, the implication is, this city will remain safe, even when nations are out of control and even when the earth melts (which could refer to volcanic activity or even nuclear weapons). In vv. 6–9, we are reminded of God’s marvelous works in the earth, which could include great devastation as well as the end of war altogether. In fact, the two may be possibly seen as connected. In v. 10, God will be exalted above all nations and over all the earth. The secondary theme here is, the God of Israel is the God of the Universe. He is not some powerful god, powerful in a particular geographical area. Prophetically, He will be recognized as such (v. 10).

Matthew Henry ignored the natural stops given in this psalm (the selah’s) and he breaks it up in a different way.
Psalm 46 Outlined by Matthew Henry
Scripture	Summary
Psalm 46:1–5	I. To take comfort in God when things look very black and threatening
Psalm 46:6–9	II. To mention, to his praise, the great things he had wrought for Israel against her enemies.
Psalm 46:10–11	III. To assure ourselves that God who has glorified his own name will glorify it yet again, and to comfort ourselves with that.

Taken from Matthew Henry, Commentary on the Whole Bible; from e-Sword, Psalm 46 introduction. I edited this by replacing the church with Israel.

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This psalm would have been appropriately sung during the moving of the Ark, but one could say that about many of the psalms. The God of Israel here is clearly seen as God over the entire earth; there are no limitations placed upon Him. Obviously, since the Ark represents Jesus Christ, and the Ark is being brought into Jerusalem, the universality of Jesus Christ is appropriate to the celebration. Be aware that, being appropriate to the occasion is not the same thing as unequivocally placing the singing of this psalm at that occasion. For similar reasons, one might place this plasm at the opening of Solomon’s Temple. This would be a psalm to bring to mind during great personal and/or national disaster.

Because this psalm is not clearly identified with any particular historical incident, everyone has an opinion as to when it was composed.
The Occasion of Psalm 46
Commentator	Comments
Barnes	It is not possible now to ascertain the occasion on which the psalm was written. It was evidently in view of trouble, or of some impending calamity; apparently some national calamity, or some time when the nation was in danger, and when it was felt that their only refuge – their last hope – was in God. It would seem to be not improbable that the psalm was composed when wars were ragtag abroad in the earth; when the nations were convulsed; and when Jerusalem itself was besieged and threatened with ruin. The main thought Of the psalm – the central idea in it – is, that, amidst these general and far–spreading agitations and convulsions among the nations of the earth, the people of God were safe. They had nothing to fear, even though those convulsions and agitations should be multiplied and increased; even though they should be carried so far that the very foundations of the earth should be shaken, and the mountains removed and carried into the midst of the sea. Barnes then suggests a time and place: There was to them an Infinite Protector; there were unfailing sources of peace; they had nothing to dread. It was their duty, therefore, to be calm, still, confiding, for God would be exalted among the nations of the earth. It is possible that the psalm refers to the invasion of the land of Israel by Sennacherib, and to the miraculous destruction of his host, as recorded in 2 Kings 19 and Isa. 36; 37. All the circumstances in that invasion – the tumultuous hosts summoned for the war (Isa. 36:2); the overthrow of numerous nations by their armies (Isa. 36:18–21); the siege of Jerusalem itself (Isa. 36:2); the confidence of Hezekiah and of his people in God when the city was besieged (Isa. 37:14–20); and the final overthrow of the Assyrian host by the angel of the Lord (Isa. 37:36), agree well with all the statements in the psalm, and seem well to “illustrate” the psalm, though it be impossible now to determine with precise accuracy to what particular historical occasion it has reference. The circumstances in that invasion, however, are so similar to those supposed in the psalm, that, perhaps, we shall not be likely to err in supposing that the psalm “had” reference to that occasion.
Calmet	Calmet thinks it was composed by the descendants of Korah, on their return from the Babylonian captivity, when they had once more got peaceably settled in Jerusalem; and that the disturbances to which it refers were those which took place in the Persian empire after the death of Cambyses, when the Magi usurped the government.
Gill	Some think this psalm was occasioned by the victories which David obtained over the Ammonites and Moabites, and other neighbouring countries; and others are of opinion that it was penned on account of the siege of Jerusalem by Sennacherib being raised, in the times of Hezekiah: but it seems rather to be a prophecy of the church in Gospel times, and is applicable to any time of confusion and distress the nations of the world may be in through any kind of calamity, when those that trust in the Lord have no reason in the least to be afraid.
Houbigant	Houbigant thinks it was made on occasion of an earthquake, which he supposes took place on the night that all Sennacherib’s army was destroyed.
Kimchi	Kimchi says this psalm belongs to future times; either to the gathering of the captives, or to the war of Gog and Magog; to which also R. Obadiah refers it, and Jarchi interprets it of time to come; according to the Targum it was written by the sons of Korah, when their father was hid from them, and they were delivered.
Keil and Delitzsch	When, during the reign of Jehoshaphat, the Moabites, Ammonites, and Edomites (more particularly the Maonites, for in 2Chron. 20:1 it is to be read מהמּעוּנים) carried war into the kingdom of David and threatened Jerusalem, the Spirit of the Lord came upon Jahaziël the Asaphite in the temple congregation which the king had called together, and he prophesied a miraculous deliverance on the morrow. Then the Levite singers praised the God of Israel with jubilant voice, viz., singers of the race of Kohaath, and in fact out of the family of Korah. On the following day Levite singers in holy attire and with song went forth before the army of Jehoshaphat. The enemy, surprised by the attack of another plundering band of the sons of the desert, had turned their weapons against one another, being disbanded in the confusion of flight, and the army of Jehoshaphat found the enemy's camp turned into a field of corpses. In the feast of thanksgiving for victory which followed in Emek ha–Beracha the Levite singers again also took an active part, for the spoil–laden army marched thence in procession to Jerusalem and to the temple of Jahve, accompanied by the music of the nablas, citherns, and trumpets. Thus in the narrative in 2Chron. 22:1–12 does the chronicler give us the key to the Asaphic Psalm 83 (76?) and to the Korahitic Psalm 46–48. It is indeed equally admissible to refer these three Korahitic Psalms to the defeat of Sennacherib's army under Hezekiah, but this view has not the same historical consistency. After the fourteenth year of Hezekiah's reign the congregation could certainly not help connecting the thought of the Assyrian catastrophe so recently experienced with this Psalm; and more especially since Isaiah had predicted this event, following the language of this Psalm very closely. For Isaiah and this Psalm are remarkably linked together.
Kukis	I originally postulated that this psalm may have been composed and sung during the moving of the Ark. I based this only on some superficial similarities between this and Psalm 24 and there is the problem that, there may not have been sons of Asaph during David’s time. Therefore, placing this psalm with Sennacherib’s invasion might be the most prudent thing to do.

Given the precariousness of our nation in this present day, this might well be the psalm for you to commit to memory.

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Barnes comments: This psalm has been called Luther’s Psalm. It was that which he was accustomed to sing in trouble. When the times were dark; when the enemies of truth appeared to triumph; when disaster seemed to come over the cause in which he was engaged, and the friends of the Reformation were disspirited, disheartened, and sad, he was accustomed to say to his fellow-laborers, “Come, let us sing the 46th Psalm.” Martin Luther himself comments: We sing this Psalm to the praise of God, because God is with us, and powerfully and miraculously preserves and defends his church and his word, against all fanatical spirits, against the gates of hell, against the implacable hatred of the devil, and against all the assaults of the world, the flesh and sin. - Marlin Luther.

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Psalm 46 Inscription

Slavishly literal:

Moderately literal:

To the Preeminent [One]; for sons of Korah, upon virgins; a song.

Psalm

46 inscription

To the Preeminent One; [and] for the sons of Korah, together with young women; a song.

To the One Who is Preeminent and for the sons of Korah, playing off the voices of a female chorus: a song.

Here is how others have translated this verse:

Ancient texts:

Latin Vulgate Unto the end, for the sons of Core, for the hidden.

Masoretic Text To the Preeminent [One]; for sons of Korah, upon virgins; a song.

Septuagint For the end, for the sons of Core; a Psalm concerning secret things.

Significant differences: The inscription is dramatically different; the Greek and Latin both have to the end at the beginning, and the Hebrew has to the Preeminent [One] (or, to the choirmaster). All 3 have to [for] the sons of Korah. The Latin and Greek again agree on the end of the inscription, concerning [for] secret [hidden] things; whereas the Hebrew speaks of virgins. It may even appear that the Greek and Latin agree that this is a psalm, but the Hebrew word for song is not really an exact match for the Greek word psalmos (ψαλμος). I would not claim to know which text is accurate, as the Latin and Hebrew are usually in agreement, over-against the Greek. Here, the Greek and Latin agree, and, interestingly enough, it is about the end and about secret [hidden] things. One could make an argument here that this psalm would apply to the end times and that there would be secret or hidden things within the psalm. Because of these great differences, I will give the Greek rendering of the inscription.

Thought-for-thought translations; paraphrases:

CEV (A special song for the people of Korah and for the music leader.)

The Message A song of the sons of Korah.

Mostly literal renderings (with some occasional paraphrasing):

Bible in Basic English To the chief music-maker. Of the sons of Korah; put to Alamoth. A Song.

Complete Apostles’ Bible For the end, for the sons of Korah; A Psalm concerning secret things.

God’s Word™ For the choir director; a song by the descendants of Korah; according to alamoth.

The Scriptures 1998 [None]

Literal, almost word-for-word, renderings:

The Amplified Bible To the Chief Musician. [A Psalm] of the sons of Korah, set to treble voices. A song.

English Standard Version To the choirmaster. Of the Sons of Korah. According to Alamoth. A Song. .

MKJV To the Chief Musician. For the sons of Korah. A Song "For the Virgins".

Updated Bible Version 2.11 For the Chief Musician. [A Psalm] of the sons of Korah; set to Alamoth. A Song.

Young's Literal Translation To the Overseer. --By sons of Korah. `For the Virgins.' --A song.

What is the gist of this verse? That this is performed or written for the Chief Musician (or the Preeminent One) is stated, along with the fact that this is for the sons of Korah. This song is apparently performed with young women.

Psalm 46 inscription a
Hebrew/Pronunciation	Common English Meanings	Notes/Morphology	BDB and Strong’s Numbers
lâmed (ל) [pronounced l^e]	to, for, towards, in regards to, with reference to, as to, with regards to, belonging to	preposition	No Strong’s # BDB #510
nâtsach (ח ַצָנ) [pronounced naw-TZAHKH]	to oversee, to supervise; to be preeminent, to be enduring; the Preeminent One	Piel participle with the definite article	Strong’s #5329 BDB #663
The Piel participle of nâtsach is given a wide variety of renderings: overseer (Young), the music leader (CEV), choir director (NASB, NLT), choirmaster (Owens), leader (NRSV, NEB, NAB) and chief musician (Rotherham).

Translation: To the Preeminent One;... As we have seen with the numerous translations above, no one is clear as to who this person is. This psalm could be dedicated to God, which is essentially how I have translated it; however, it could be designed to be conducted by the chief musician, which is how Rotherham understands it. Most translators assume that this is given over to the choir director or the conductor or the one in charge of those who sang.

Unfortunately, the exact meaning of the lâmed preposition is also hard to determine. We find several psalms which are ascribed to David written to David; but the idea is, the psalm belongs to David. The lâmed preposition is used more often when something is given to someone else or something is for someone else, the chief meanings of the lâmed preposition. Despite the use of the lâmed preposition with David throughout the book of Psalms, I have taken this to me that this psalm is written for whoever this Preeminent person is.

Barnes comments on this portion of the inscription: This phrase in the title, “To the chief Musician,” occurs at the beginning of 53 psalms, and at the close of the hymn in Habak. 3:19. It is uniformly rendered “to the chief Musician,” and means that the psalm was intended for him, or was to be given to him, probably to regulate the manner of performing it. In no one instance does the title imply that he was the author. The word rendered “Chief Musician” is derived from [ a Hebrew word] properly meaning “to shine,” but not used in the Qal. In the Piel form it means to be conspicuous; to be over anything; to be chief; to be superintendent (2Chron. 2:2, 18 34:12) and then it means to lead in music. The meaning of the form used here, and in the other places where it occurs as a title to a psalm, is “Chief Musician,” or precentor; and the idea is, that the psalm is to be performed under his direction; or that the music is to be directed and adapted by him.

Even though we have the same preposition used here as we find used with David, when he is the author, the many times that this phrase is found in combination with the author’s name suggests more that there is a musical organization and that this song was delivered over to the Choirmaster (or conductor) of that organization to be sung and performed at various functions.

The NIV Study Bible has its opinion on this matter: [For the director of music is] probably a liturgical notation, indicating either that the psalm was to be added to he collection of works to be used by the director of music in Israel’s worship services, or that when the psalm was used in the temple worship, it was to be spoke [or, sung?] by the leader of the Levitical choir—or by the choir itself (see 1Chron. 23:4–5, 30 [Of the overseers over the works of the house of the Lord there were twenty-four thousand, and there were six thousand scribes and judges; and four thousand gatekeepers, and four thousand to praise the Lord with instruments which he made to praise the Lord...to stand in the morning to praise and give thanks to the Lord, and so in the evening] 25 [assignments are given to the sons of Korah, among others]). In this liturgical activity the Levites functioned as representatives of the worshiping congregation. Following their lead the people probably responded with “Amen” and “Praise the Lord” (Hallelujah); see 1Chron. 16:36 Neh. 5:13; compare 1Cor. 14:16 Rev. 5:14 7:12 19:4.

Psalm 46 inscription b
Hebrew/Pronunciation	Common English Meanings	Notes/Morphology	BDB and Strong’s Numbers
lâmed (ל) [pronounced l^e]	to, for, towards, in regards to, with reference to, as to, with regards to, belonging to	preposition	No Strong’s # BDB #510
bên (ן ֵ) [pronounced bane]	son, descendant	masculine plural construct	Strong’s #1121 BDB #119
Qôrach (ח-רֹק) [pronounced KOH-rahkh]	ice, hail; bald; transliterated Korah	masculine singular proper noun	Strong’s #7141 BDB #901

Translation:...[and] for the sons of Korah,... The lâmed preposition here could mean that this is written by sons of Korah, or that this was written for the sons of Korah. What was said for the previous portion of this inscription applies here as well. Whereas, we might argue about what we find above, I think that it is reasonable that descendants of Korah became a well-known choir and their sons after them. This appears to be a tradition which continued in this family for a very long time.

Barnes on the authorship of this psalm: The author of the psalm is unknown. It is not ascribed to David, but to “the Sons of Korah,” and there are no indications in the psalm that David was the author, or that it refers to his times. There is reason to believe that most of the psalms attributed to the “Sons of Korah” were composed subsequent to the time of David.

Barnes, on another psalm, goes into much more detail about the sons of Korah: DeWette renders it, “A poem of the sons of Korah.” The psalms to which this title is prefixed are the Psalms 42 44 45 46 47 48 49 84 85 87 88. So far as the title is concerned, it may mean either that the psalms were dedicated to them, or that they were submitted to them for arranging the music; or that they were designed to be employed by them as leaders of the music; or that they were the authors of these psalms, that is, that the psalms thus indicated emanated from their body, or were composed by one of their number. Which of these is the true idea must be determined, if determined at all, from some other source than the mere title. The sons of Korah were a family of Levitical singers. Korah was a great–grandson of Levi (Num. 16:1). He was united with Dathan and Abiram in opposition to Moses, and was the leader of the conspiracy (Num. 16:2; Judges 1:11).

Barnes continues: Korah had three sons, Assir, Elkanah, and Abiasaph (Ex. 6:24) and of their descendants David selected a number to preside over the music of the sanctuary, (1Chron. 6:22–23, 31) and they continued in this service until the time of Jehoshaphat (2Chron. 20:19). One of the most eminent of the descendants of Korah, who was employed especially in the musical service of the sanctuary, was Heman (1Chron. 6:33: Of the sons of the Kohathites; Heman, a singer). The sons of Heman were appointed by David, in connection with the sons of Asaph, and of Jeduthun, to preside over the music: (1Chron. 25:1, 4, 6 2Chron. 5:12 29:14 35:1). The general appellation, the “sons of Korah,” seems to have been given to this company or class of singers. Their office was to preside over the music of the sanctuary; to arrange tunes for the music; to distribute the parts; and possibly to furnish compositions for that service. Whether, however, they actually composed any of the psalms is uncertain [I will discuss this below]. It would seem that the usual custom was for the author of a psalm or hymn designed for public service to deliver it, when composed, into the hands of these leaders of the music, to be employed by them in the public devotions of the people. Thus, in 1Chron. 16:7, it is said, Then on that day David delivered first this psalm, to thank the Lord, into the hand of Asaph and his brethren.

The NIV Study Bible gives us some information about this particular title: “Sons of Korah” refers to the Levitical choir made up of the descendants of Korah appointed by David to serve in the temple liturgy. The Korahites represented the Levitical family of Kohath son of Levi. Their leader in the days of David was Heman (see Psalm 88 title)—just as Asaph led the choir of the Gershonite and Jeduthun (Ethan) the choir of the Merarites (see 1Chron. 6:31–47 Psalm 39 title). This is the third of a collection of seven psalms ascribed to the “Sons of Korah”) Psalm 42–49); four more occur in Book III (Psalm 84–85 87–88).

It is interesting that this phrase, the sons of Korah, is found only in Books 2 and 3 of the psalms, and it may suggest either that the psalms were intentionally organized in this way, or that these psalms come from a specific period of time when the sons of Korah were musical leaders. Given that we have the lâmed preposition, which is found in conjunction with David’s name when he authors a psalm, suggests to me that these men authored these psalms.

Reasons Why the Sons of Korah Authored These Psalms

1. These psalms are located in a fairly narrow section of the book of Psalms, indicating that they belong to a specific time period.

2. Never is there another author listed in conjunction with the sons of Korah (we do have the phrase for the Choirmaster, but that same phrase is often found in Davidic psalms as well).

3. When David is the author of a psalm, his name is preceded by the lâmed preposition. When we find the phrase the sons of Korah in the title of a psalm, it is preceded by the lâmed preposition.