I ntroduction: David twice moved the Ark of God, and the book of Chronicles breaks down the second transport into two chapters—1Chron. 15 has the Ark being moved from Obed-edom’s home to Jerusalem; and 1Chron. 16 deals with the Ark after its arrival and placement in Jerusalem. There are several psalms associated with 1Chron. 16, as they are actually a part of that chapter (whether these psalms are named here and were sung along the march toward Jerusalem, we don’t really know). However, even though we have no psalms specifically associated with 1Chron. 15, we have many Levite musicians accompanying the moving of the Ark (1Chron. 15:16–28). For this reason, I have taken a couple of psalms and have decided to place them with the movement of the Ark. Psalm 47 is one of these psalms.

One of the things which runs through my head is, this must be more than simply a psalm of praise; anything in the Word of God must have more to than “God is great; God is really, really great!” We should find that this is the case with this psalm as well. Here, I think that one of the key concepts is, the God of Israel is the God over all. In the ancient world, each nation and each group of people had their own god or gods. It is not that different today; we have temples dedicated to Buddha in Thailand, we have a worship of Mohammed in the Arabic nations (even though, strictly speaking, he is only a prophet, but, in their view, a prophet with a more accurate message), and we have a number of nations today where Jesus Christ is recognized as God become flesh. In the ancient world, Jehovah Elohim was seen as the God of the Jews, and there was a special relationship there; however, what this psalm (and many other passages) make clear is, the God of Israel is the God of the Universe. The God Who created us all, chose Israel as a nation and a people, whose entire genesis is a work of God. This psalm makes it clear that their God is God over all.

Another key element of this psalm is the ascension of Jesus Christ. In v. 5, both Elohim and Jehovah are said to ascend (this is by parallel ellipsis), with a shout and with the sound of a trumpet. Immediately, the psalm calls for us to sing praises to God, our King over all the earth. One might even see this psalm as an outline of history of Israel, from the divine viewpoint. At the end of this psalm, in the Addendum, I will show you how well this psalm corresponds with the history of Israel, from Israel’s inception to the Millennium.

This psalm is clearly a psalm of praise dedicated to God, as all people are enjoined to clap and to shout with joy to God (v. 1) and to sing praises to Him (vv. 6–7). God is presented as a King over all the earth Who subdues nations and peoples (vv. 2–3) Who has a peculiar relationship with Israel (v. 4). Interestingly enough, God is said to ascend in v. 5, and v. 7 both repeats that He is King of all the earth, and the psalmist calls upon those listening to praise Him. V. 8 parallels v. 3, where God is said to reign over all nations sitting upon His holy throne. Finally, we have the assembling of all the princes as well as the Jews, apparently in recognition of His sovereignty (v. 9).

At the end of this psalm, I will show you how it matches up with the resurrection of Jesus Christ and with the essential history of Israel.

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I always want to include another outline of this psalm:
Barnes Outlines Psalm 47
I. The first part comprises the first five verses:
	(1) An exhortation to praise God – to celebrate the joy of the soul by a clapping of hands, and by a shout of triumph. Psalm 47:1
	(2) [The psalmist presents] reasons for that we should praise God (Psalm 47:2–5). These reasons are that He is to be feared; that he is king over all the earth; that he will subdue the nations, and make them subject to his own people; and that, in anticipation of this, and in proof of this, he had now achieved a signal victory, and had gone up as from that victory to his own abode in heaven.
II. The second part embraces the Last four verses of the psalm:
	(1) An exhortation, as before, to praise God. Psalm 47:6
	(2) [The psalmist presents] reasons why we should praise God (Psalm 47:7–9). These reasons are, as before, that God is King over all the earth; that He now sits upon the throne of his holiness, and that Psalm 47:9 the princes of the nations – the subdued kings and rulers – are borne along in triumph to the people of the God of Abraham; and that in this victory it has been shown that the shields of the earth belong to God.

Taken from Albert Barnes, Barnes’ Notes on the Old Testament; from e-Sword, Psalm 47 introduction. I edited Barnes’ outline.

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Although several commentators like to place this psalm with the moving of the Ark to Jerusalem, there are other opinions which should be considered.
The Occasion of Psalm 47
Scripture	Incident
Barnes	The occasion on which the psalm was composed, and the name of the author, are alike unknown. It is a triumphal psalm, and was composed apparently on some occasion of “victory” over enemies, with reference to a triumphal procession. Professor Alexander supposes that it was composed to commemorate the victory of Jehoshaphat over the Ammonites and Edomites, recorded in 2 Chr. 20. It is, as he remarks, a coincidence of some importance, that there is express mention made of the presence of the “Kohattlites” on that occasion, as among those who “stood up to praise the Lord” (2Chron. 20:19). This is not, however, decisive, as they might have been present on other similar occasions, and as it is probable, in fact, that they usually took part in celebrations of this kind. All that can be expressed with any certainty in regard to the occasion on which the psalm was composed is, that it was on an occasion of victory. Although I originally placed this psalm with the moving of the Ark, what Barnes says here makes a great deal of sense, given the several instances in this psalm where God’s sovereignty over all peoples and over all the earth is stated. However, this could be a celebration of David’s taking of Jerusalem, appropriately sung during the moving of the Ark of God into Jerusalem. Barnes continues: The psalm, therefore, is a triumphal ode, and was probably composed to be sung on occasion of some military triumph - some solemn procession on a return from battle, with captive princes marching in the procession, and with a display of the “shields” and other implements of war taken from the foe. All this is celebrated as indicative of the interposing power of God in victory, and as evidence of his purpose to protect his chosen people in time of peril. The psalm may yet be used in a higher sense by the church at large, when all the foes of God on earth shall be subdued, and when his kingdom shall be in fact set up over all the world.
Clarke	The Psalm was probably written about the same time with the preceding psalm [the Jews return to the land from Babylon], and relates to the happy state of the Jews when returned to their own land. They renewed their praises and promises of those obedient to Him, and celebrate Him for the deliverance they had received. Clarke also believe Psalms 46 and 47 to be written about the same time. My first instinct was to reject this theory, thinking that this should have been written after a time when God have given Israel several wins on the battlefield; however, what greater testimony to the grace of God and the plan of God than for a relocated Israelite to recognize that God would bring under His subjection all nations and all peoples,
Gill	Thus psalm is thought by some to be written on occasion of the ark being brought from the house of Obededom to the city of David, to the place he had prepared for it; which was attended with singing and dancing, with shouting, and the sound of a trumpet, 2Sam. 6:12; but it rather seems to be penned on account of the ascension of Christ to heaven, prophetically spoken of in this psalm; and of the spread of the Gospel, and the conquests it made in the Gentile world upon Christ's ascension; as the whole psalm shows: and even Aben Ezra and Kimchi apply it to the times of the Messiah; and so do some of their most ancient writers, who particularly interpret Psalm 47:5 of him (God has ascended his throne amid loud shouts; the LORD has ascended his throne amid the blaring of ram's horns), as may be seen in the note upon it. There mere fact that this psalm is applicable to the Messiah means that moving the Ark, which represents Jesus Christ, to Jerusalem, would be the ideal time for this psalm to be sung.
Henry	Many suppose that this psalm was penned upon occasion of the bringing up of the ark to Mount Zion which Psalm 47:5 seems to refer to (“God has gone up with a shout”); – but it looks further, to the ascension of Christ into the heavenly Zion, after he had finished his undertaking on earth, and to the setting up of his kingdom in the world, to which the heathen should become willing subjects. In singing this psalm we are to give honour to the exalted Redeemer, to rejoice in his exaltation, and to celebrate his praises, confessing that he is Lord, to the glory of God the Father.
Keil and Delitzsch	Psalm 47 has, in common with Psalm 46, not only the thought of the kingly exaltation of Jahve over the peoples of the earth, but also its historical occasion, viz., Jehoshaphat's victory over the allied neighbouring nations, – a victory without a conflict, and consequently all the more manifestly a victory of Jahve, who, after having fought for His people, ascended again amidst the music of their celebration of victory; an event that was outwardly represented in the conducting of the Ark back to the temple (2Chron. 20:28). Psalm 47:1–9 has grown out of this event. It is unclear whether this celebrates a victory or victories, in the eyes of Keil and Delitzsch, or whether this celebrates the movement of the Ark (and, as I have suggested, these are not incompatible concepts).
NIV Study Bible	These verses portray the liturgical ascension of God to the temple—perhaps represented by the processional bearing of the ark into the temple. The ark is symbolic of God’s throne; the temple is the early symbol of His heavenly palace (see. Psalm 24 68).
Treasury of Scriptural Knowledge	This Psalm is supposed to have been composed by Solomon on the removal of the ark into the temple, 2Chron. 7.

When a pastor chooses to teach a psalm is up to the pastor. Most of the psalms are not clearly tied to a particular event, and part of the reason for this is, these psalms all have more of a timeless application. No doubt, a man of God was inspired by God the Holy Spirit and possibly by a set of human events, to write down the thoughts of this psalm; but bear in mind, believers can write down the most amazing things when under pressure or under circumstances quite different from those in which they find themselves.

Obviously, we do not know when this psalm was composed, or when it was sung in celebration. There were many victories during David’s reign, and any of them could have been inspiration for this psalm. Although there is nothing which directly connects this psalm to the moving of the Ark, it seems like a reasonable fit. However, what is key is, the resurrection of Jesus Christ is herein presented, which represents the victory of God in the Angelic Conflict.

Several commentators closely associate Psalms 46–48 together, primarily because they are located together and their subject matter is very similar. Therefore, since Psalm 46 is not properly placed with the moving of the Ark, one might conclude that Psalm 47 does not belong there either.

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Clarke makes an apt observation of this psalm: In a spiritual sense, it appears to relate to the calling of the Gentiles to be made partakers of the blessings of the Gospel with the converted Jews.

Psalm 47 Inscription

Slavishly literal:

Moderately literal:

To the preeminent one; to sons of Korah; a song:

Psalm 47

inscription

To the preeminent one; belonging to sons of Korah, a song:

To the orchestra conductor and to the sons of Korah—a song:

Here is how others have translated this verse:

Ancient texts:

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

Masoretic Text To the preeminent one; to sons of Korah; a song:

Septuagint For the end, a Psalm for the sons of Core.

Significant differences: The Peshitta lacks the inscription. Both the Latin and the Greek are in agreement concerning this inscription, which is often the case in the psalms (generally speaking, when there is a significant difference, the Latin and Greek agree and the Syriac and Hebrew agree). However, here, we simply do not know for certain. In such instances, we generally go with the Hebrew text (if you will notice, this is the approach of most English translations).

Thought-for-thought translations; paraphrases:

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

NET Bible® For the music director; by the Korahites; a psalm.

New Living Testament For the choir director: A psalm of the descendants of Korah

Mostly literal renderings (with some occasional paraphrasing):

Bible in Basic English To the chief music-maker. A Psalm. Of the sons of Korah.

Complete Apostles’ Bible For the end, A Psalm for the sons of Korah.

God’s Word™ For the choir director; a psalm by Korah's descendants.

Literal, almost word-for-word, renderings:

Updated Emphasized Bible To the Chief Musician. for the Sons of Korah. A Melody.

MKJV To the Chief Musician. A Psalm for the sons of Korah.

Young's Literal Translation To the Overseer. --By sons of Korah. A Psalm.

What is the gist of this verse? It is not clear that this psalm has a named author; it appears to be given over to the chief musician and to the sons of Korah, who were singers and musicians.

Psalm 47 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 47 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: ...belonging to sons of Korah,... As we have seen in 1Chron. 15, the sons of Korah became the musicians and singers of David’s day. Because of the material here, I have inserted this psalm with those sung during the moving of the Ark. However, David is not presented as the author (nor would he have to be the author in order for this psalm to be sung on this occasion). Given that these sons of Korah were musicians, it makes sense that they might write some of the psalms during the time of David. So, it is possible that they are the writers of several psalms.

My only reason why I don’t believe that the sons of Korah wrote this psalm; is, if the author of a psalm is going to be given, I would expect it to be a specific person. Furthermore, it is not unlikely that this psalm was given over to the sons of Korah in order to publically perform it. Now, I lean in the direction that the sons of Korah wrote this psalm, but it is not something that I would be dogmatic about.

Spurgeon’s opinion is, David wrote this psalm: A Psalm for the Sons of Korah. We cannot agree with those who think that the sons of Korah were the authors of these Psalms: they have all the indication of David's authorship that one could expect to see. Our ear has grown accustomed to the ring of David's compositions, and we are morally certain that we hear it in this Psalm. Every expert would detect here the autograph of the Son of Jesse, or we are greatly mistaken. The sons of Korah sang these Psalms but we believe they did not write them. Fit singers were they whose origin reminded them of sin, whose existence was a proof of sovereign grace, and whose name has a close connection with the name of Calvary.

Personally, I don’t have a strong opinion here, although I lean toward the sons of Korah as being the authors of this psalm. What this psalm does have, which is in keeping with David’s psalms, is careful organization and structure. David’s psalms are often multi-faceted, carefully structured and many-layered. Despite having all these things, this does not mean that this psalm must be David’s. There is no reason to assume that David is the only person capable of writing with those characteristics. Since David lived during the time of the most famous sons of Korah, and given that he was closely associated with the musicians of his time, it is reasonable to suppose that they had many things in common with respect to music. After all, if you choose music written during various generations, there is often some factors of commonality which are not found in other eras.

A question which comes to me is, why isn’t the authorship of this psalm clear? There is a simple answer to this: what is important is the message, not the man. I have listened to a variety of pastors, with a variety of personalities. Had I not been spiritually raised in Berachah church, it would never occur to me that Bobby Thieme (III) is related to Bob Thieme, Jr. Their personalities are dramatically different (even though Bob’s seemed to change over the years). Bob could be very abrasive and there were times when I first began to listen to him when I just flat out did not like him (not an uncommon experience). However, as I continued to listen, I enjoyed the doctrine and even appreciated his personality after awhile. However, the key to his teaching is the content of his teaching; his personality is not the mold for believers, nor is it an issue. Therefore, this psalm should stand on its own.

The sons of Korah are related to several psalms: 42–49 (excepting 43) and 84–88 (excepting 86).

Psalm 47 inscription c
Hebrew/Pronunciation	Common English Meanings	Notes/Morphology	BDB and Strong’s Numbers
miz^emôwr (רמז ̣מ) [pronounced mizê-MOHR]	melody, song, poem, psalm	masculine singular noun	Strong’s #4210 BDB #274

Translation: ...a song:... I don’t know if I can really distinguish between songs, psalms and whatever other category that we have; nor am I confident that I can give a good explanation for the spiritual information conveyed by this word. None of the commentators that I refer to had any comments that I found important. I am going to simply assume that this was written to be sung.

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The Lord Most High is God over All

Slavishly literal:

Moderately literal:

All the people, clap [your] hand;

shout unto Elohim in a sound of shout of joy.

Psalm

47:1

Clap [your] hands, all [you] people;

and cry out to Elohim with the sound of a shout for joy,...

Clap your hands, all of you people,

and cry out to God with a shout for joy.

Here is how others have handled this verse:

Ancient texts:

Masoretic Text All the people, clap [your] hand;

shout unto Elohim in a sound of shout of joy.

Septuagint Clap your hands, all you nations; shout to God with a voice of exultation.

Significant differences: No significant differences.

Thought-for-thought translations; paraphrases:

CEV All of you nations, clap your hands and shout joyful praises to God.

Good News Bible (TEV) Clap your hands for joy, all peoples! Praise God with loud songs!

The Message Applause, everyone. Bravo, bravissimo! Shout God-songs at the top of your lungs!

NET Bible® All you nations, clap your hands!

Shout out to God in celebration [Heb., "Shout to God with [the] sound of a ringing cry!"]!

New American Bible All you peoples, clap your hands,

shout to God with joyful cries.

New Living Testament Come, everyone, and clap your hands for joy!

Shout to God with joyful praise!

Mostly literal renderings (with some occasional paraphrasing):

Bible in Basic English O make a glad noise with your hands, all you peoples; letting your voices go up to God with joy.

HCSB Clap your hands, all you peoples; shout to God with a jubilant cry.

The Scriptures 1998