What does שִׁיר mean in the Bible?
H7892 is a Hebrew noun for a song or for singing understood as a formed expression. A song can preserve words so that a community remembers them, repeats them, and hands them to another generation.
A song ; abstractly, singing
Reading a lexicon entry
What this page is: Each lexicon entry shows the original Hebrew or Greek word behind the English translation: its meaning, its range of use, and where it appears in Scripture.
Strong's number: The Strong's code (H- or G-) is the standard reference number for this word. It connects this entry to chapter and passage language tabs.
Where it appears: The witness passages show where this word is used in context. Click any to open the study page for that passage.
This lexicon entry is part of our ongoing editorial review. If you notice missing content, unclear wording, or a possible correction, please send us a note through theConnect page. Screenshots are helpful.
H7892 is a Hebrew noun for a song or for singing understood as a formed expression. A song can preserve words so that a community remembers them, repeats them, and hands them to another generation.
Reader summary
Full entry for שִׁיר (H7892) · Open the biblical lexicon
H7892 is a Hebrew noun for a song or for singing understood as a formed expression. A song can preserve words so that a community remembers them, repeats them, and hands them to another generation.
The BSB source-word alignment has 90 aligned rows for this entry. Common renderings include a song (35), song (18), and singing (2), of your songs (2), songs (2).
The source-word alignment first shows this entry at Genesis 31:27. Its strongest book concentrations include Psalms (43), 1 Chronicles (7), 2 Chronicles (7), Isaiah (7).
H7892 is a Hebrew noun for a song or for singing understood as a formed expression. A song can preserve words so that a community remembers them, repeats them, and hands them to another generation. The song at the sea recounts the Lord's deliverance. The song Moses teaches Israel becomes a covenant witness. A new song in Psalm 40 grows from rescue and directs observers toward trust. The Songs of Ascents give pilgrims shared language, and the Song of Songs gives poetic form to desire and love. The noun therefore covers more than a worship-service item; it names compositions and sung expression across history, prayer, wisdom, celebration, lament, warning, and love poetry.
Scripture also evaluates songs by their truth, setting, and moral relationship to life. Ecclesiastes says wise rebuke is better than the song of fools. Amos reports God rejecting religious songs when worshipers resist justice and righteousness. Exiles in Psalm 137 refuse to turn Zion's song into amusement for those who conquered and tormented them. A song may carry covenant truth, but the mere fact that words are musical does not make them faithful. Melody can aid memory and move affection, yet it can also distract, flatter, commercialize pain, reinforce error, or provide a religious soundtrack for injustice. Discernment must attend to lyrics, use, audience, power, and fruit.
H7892 also protects the breadth of biblical song. Psalm 42 describes God's song at night as prayer from a despairing soul. Deuteronomy 31 uses a taught song as testimony that future generations will remember. Psalm 40 presents song as public witness after God hears a cry and lifts the sufferer. The Song of Songs reminds readers that biblical poetry can celebrate embodied human love; it should not be reduced to an allegory that bypasses its literary voice or used to pressure people about romance. Churches can receive songs as durable vessels of doctrine, memory, prayer, protest, affection, and hope while refusing to idolize repertoire, police one musical culture, exploit testimony, or sing past the demands of justice.
H7892 names songs that preserve deliverance, teach covenant truth, give prayer durable form, voice exile, test wisdom, expose unjust worship, and celebrate love within Scripture's varied poetic witness.
Then Moses and the Israelites sang this song to the Lord: “I will sing to the Lord, for He is highly exalted. The horse and rider He has thrown into the sea.
The song gives communal and memorable form to Israel's response after deliverance. Its content centers the Lord's exaltation and saving act in a particular redemptive history.
Now therefore, write down for yourselves this song and teach it to the Israelites; have them recite it, so that it may be a witness for Me against them.
The written, taught, and repeated song preserves covenant testimony for later generations. Memorability serves truth and accountability, not entertainment alone.
He put a new song in my mouth, a hymn of praise to our God. Many will see and fear and put their trust in the Lord.
The new song follows heard prayer and rescue from the pit. Personal praise becomes public testimony that directs others toward reverence and trust in the Lord.
The Lord decrees His loving devotion by day, and at night His song is with me as a prayer to the God of my life.
Within deep despair and taunting, song remains prayer. The verse does not deny sorrow; it gives the suffering worshiper language for communion with the God of life.
How can we sing a song of the Lord in a foreign land?
Captors demand entertainment from displaced worshipers. The refusal guards Zion's memory and exposes the cruelty of requiring joyful performance from people under domination.
It is better to heed a wise man’s rebuke than to listen to the song of fools.
Pleasant song can be less valuable than difficult wisdom. A composition's appeal does not excuse listeners from testing its moral and truthful substance.
Take away from Me the noise of your songs! I will not listen to the music of your harps.
God rejects songs offered amid corrupt worship and withheld justice. Musical beauty cannot compensate for lives that resist righteousness toward neighbors.
This is Solomon’s Song of Songs.
The title introduces sustained love poetry within the biblical canon. Its presence broadens song beyond congregational praise while requiring careful, non-exploitative teaching about desire and embodied love.
BSB source-word alignment connects this entry to exact verse rows, English rendering, source form, transliteration, and parsing.
How English Renders ItA compact distribution from source-word alignment before the full evidence tables.
Hebrew word. a song ; abstractly, singing
a song; abstractly, singing BDB: song Usage: musical(-ick), × sing(-er, -ing), song.
How this word appears across different grammatical cases and numbers.
שִׁיר is built from this root:
Compound and idiomatic phrases that include this word. Follow a link to study the phrase and how its parts work together.
H7892 presents song as language designed to live in memory and community. Moses teaches a covenant song that will testify after his death. The sea song preserves deliverance, Psalm 40 turns rescue into public trust, and Psalm 42 carries prayer through night and despair. Other passages expose song's limits. Ecclesiastes prefers wise rebuke to foolish entertainment.
Psalm 137 refuses the captor's demand to consume the exiles' sacred memory. Amos declares that God will not listen to religious music separated from justice and righteousness. The Song of Songs adds a sustained poetic witness to human desire and love. Together these texts deny that melody sanctifies content or that one emotional tone defines faith. A song becomes pastorally faithful as its words tell truth, honor context, serve rather than exploit hearers, and agree with obedient life.
Churches should curate lyrics carefully, teach why songs are sung, include lament and confession, respect cultural difference, compensate creators justly, and refuse to let musical excellence conceal harm or injustice.
Deut.31.19
H7892 is a Hebrew common noun used in singular and occasional plural forms, both absolute and construct. It names a song, musical composition, or singing as a formed expression. H7891 is the related verb for performing song. The exact single-code artifact is preferred over four compound artifacts so that this companion follows H7892 itself rather than blended phrase or cross-language records.
The noun does not tell readers whether a particular song is praise, lament, wisdom, protest, entertainment, testimony, or love poetry; literary and historical context supplies that function.
The New Testament continues to use songs for mutual teaching, gratitude, Spirit-filled worship, and praise of the slain Lamb. Revelation joins the song of Moses and the Lamb, showing continuity in God's deliverance while centering the final vision on Christ and worship from the nations. This does not erase the distinct settings or genres of Israel's songs.