Understanding αὐλέω (auleō) Strong’s G832: The Divine Melody that Calls Hearts to Respond

Pronunciation Guide: ow-LEH-oh

Basic Definition

Strong’s G832: The Greek verb αὐλέω (auleō) refers to the specific act of playing a wind instrument, particularly the flute or pipe in ancient Greek culture. It describes the production of musical notes through blowing air into an instrument, creating melody for various occasions from celebrations to lamentations. The word carries connotations of calling for a response through musical expression.

Etymology and Morphology

• Part of Speech: Verb
• Root: αὐλός (aulos) – a wind instrument like a flute or pipe
• Language Origin: Classical Greek
• Primary Usage: Found in narrative passages and teaching sections, particularly in parables and analogies
• Frequency: Appears 3 times in the New Testament

αὐλέω Morphology:

• αὐλέω (present active indicative, 1st person singular) – I play the flute
• αὐλεῖς (present active indicative, 2nd person singular) – you play the flute
• αὐλεῖ (present active indicative, 3rd person singular) – he/she/it plays the flute
• αὐλοῦμεν (present active indicative, 1st person plural) – we play the flute
• ηὐλήσαμεν (aorist active indicative, 1st person plural) – we played the flute
• αὐλούμενον (present passive participle, accusative singular neuter) – being played (of a flute)

Origin & History

The verb αὐλέω derives from the noun αὐλός (aulos), which was a reed instrument similar to a flute or oboe used widely in ancient Greek culture. In classical Greek literature, the term appears frequently in works describing musical performances and religious ceremonies. Plato discusses the αὐλός in “The Republic,” where he examines the effects of different musical instruments on the soul, considering the flute capable of producing both mournful and ecstatic emotions.

In the Septuagint (LXX), forms of αὐλέω appear in contexts of celebration and worship, such as in 1 Samuel 10:5, where prophets are described coming down from the high place with musical instruments including the αὐλός. The flute was a common instrument in both Greek and Jewish cultures, used in various settings from mourning rituals to wedding celebrations. By New Testament times, the αὐλός was firmly established in Jewish cultural practices as evidenced by references to flute players at funeral ceremonies and celebrations.

Expanded Definitions & Translation Options

• Musical Performance – The technical act of playing a wind instrument by blowing air through it
• Ritual Expression – The ceremonial use of flute music in cultural and religious contexts
• Communication – Using musical notes to convey messages or evoke responses
• Call to Response – Playing music that invites or expects a particular reaction from the listeners

αὐλέω Translation Options:

• “To play the flute” – The most literal and common translation, accurately reflecting the specific instrument involved
• “To pipe” – Often used in older translations like KJV, referring to the sound produced by wind instruments
• “To play music” – A broader translation that captures the general sense but loses the specificity of the instrument
• “To make melody” – Emphasizes the creative and expressive aspect of flute playing rather than the technical action

Biblical Usage

In the New Testament, αὐλέω appears in three significant contexts, all of which involve the instrument being played to elicit a response. Its first appearance is in Matthew 11:17, where Yeshua uses the image of children playing flutes in the marketplace as a metaphor for His generation’s unresponsiveness to both John the Baptist and Himself. This usage shows how the flute was associated with different occasions and expected responses.

The verb is consistently used in contexts that highlight a disconnect between the musical call and the appropriate response, suggesting the theme of divine invitation and human reluctance. This pattern of “call and response” becomes a powerful metaphor for spiritual receptivity throughout Scripture, making αὐλέω a theologically significant term despite its limited occurrence.

• “We played the flute [ηὐλήσαμεν] for you, and you did not dance; we sang a dirge, and you did not mourn.” Matthew 11:17
• “We played the flute [ηὐλήσαμεν] for you, and you did not dance; we sang a dirge, and you did not mourn.” Luke 7:32
• “Even in the case of lifeless things that make sounds, such as the flute [αὐλούμενον]… how will anyone know what tune is being played unless there is a distinction in the notes?” 1 Corinthians 14:7

Cultural Insights

The αὐλός was a central instrument in ancient Mediterranean culture, used in dramatically different contexts that required different responses. In Jewish wedding celebrations, flute players would lead processions and provide music for dancing, with social expectations that wedding guests would join in the celebratory dancing. Conversely, professional flute players (often women) were hired for funerals to play mournful melodies, with the expectation that mourners would respond with appropriate lamentation.

This cultural duality of the flute’s usage forms the background to Yeshua’s parable in Matthew 11:17 and Luke 7:32. His critique of “this generation” hinges on their failure to respond appropriately to different divine overtures—they neither “danced” to John’s “flute playing” nor “mourned” to his “dirge.” This reflects a profound understanding of how music in ancient Jewish culture served as a call that demanded a specific communal response. When the Messiah references children playing flutes in the marketplace, He’s drawing on deeply embedded cultural practices that His audience would immediately recognize, using this everyday observation to highlight a spiritual truth about their resistance to God’s message.

Theological Significance

The theological implications of αὐλέω extend far beyond its literal meaning of playing a musical instrument. Throughout Scripture, God is portrayed as One who “plays the melody” that calls His people to respond—whether through the gentle whisper to Elijah, the prophetic declarations, or the incarnate Word in Yeshua the Messiah. The divine initiative always precedes human response, much as the playing of the flute precedes the dancing or mourning it is meant to evoke.

This pattern reveals the character of יהוה (Yahweh) as the initiator of relationship, the One who reaches out first with His “melody” of both judgment and grace. The problem addressed in the passages using αὐλέω is not God’s failure to call, but humanity’s refusal to respond appropriately. This reflects the consistent biblical theme of divine invitation met with human resistance, while also highlighting God’s persistent outreach despite rejection. Yeshua’s use of this musical metaphor reveals His deep understanding of the Father’s heart—a God who continues to “play the flute,” calling to a people who often fail to respond with either the celebration or repentance that His melody requires.

Personal Application

The concept of αὐλέω challenges us to examine our own responsiveness to God’s various “melodies” in our lives. Are we truly listening to the tunes He is playing? When His Spirit moves with gentle invitation, do we dance in obedient joy? When His Word convicts, do we appropriately mourn our sin? The image of children playing flutes in the marketplace reminds us that God’s call requires a corresponding action—not passive hearing but active participation.

Consider today what melody the Messiah might be playing over your life. Is it a call to celebration and gratitude for His blessings? Is it a somber tune inviting repentance and return? The mature believer learns to discern these divine melodies and respond with appropriate movements of the heart. As Paul reminds us in his usage of αὐλέω in 1 Corinthians 14:7, without distinguishable notes, music loses its meaning. Similarly, without our discerning response to God’s clear calls, our spiritual life lacks the dynamic relationship He desires with us.

Related Words

• ψάλλω (psallō) [psah-LOH] – to pluck, play a stringed instrument, sing praise; refers specifically to string instruments rather than wind instruments, often associated with vocal praise to God. Both words describe musical expression but through different instrumental families. See G5567
• σαλπίζω (salpizō) [sal-PID-zoh] – to sound a trumpet; describes the louder, more ceremonial or military use of brass instruments, often associated with announcements, warnings, or signaling. While αὐλέω evokes emotional response, σαλπίζω typically commands attention or announces significant events. See G4537
• ᾄδω (adō) [AH-doh] – to sing, chant; focuses on the human voice rather than instrumental music, often in contexts of praise to God. Unlike αὐλέω, this word emphasizes vocal rather than instrumental expression. See G103
• θρηνέω (thrēneō) [thray-NEH-oh] – to lament, mourn audibly; the vocal counterpart to playing mournful flute music at funerals. This term appears paired with αὐλέω in Yeshua’s marketplace parable, representing the mourning response to funeral dirges. See G2354
• χορεύω (choreuō) [kho-REV-oh] – to dance; the expected responsive action to festive flute playing. This term appears alongside αὐλέω in Yeshua’s marketplace analogy, representing the dancing response to wedding music. See G5525

Did You Know?

• In ancient Greek society, the αὐλός player (αὐλητής) was a professional musician who underwent years of training. These musicians were essential for religious ceremonies, theatrical performances, and social celebrations. Their status varied widely—from highly respected artists at formal events to marginalized entertainers at drinking parties. This professional context adds depth to the Gospel’s references to children imitating these musicians in their play.
• The instrument referenced by αὐλέω was not a side-blown flute like modern flutes, but a double-reeded wind instrument more similar to an oboe. It typically featured two pipes played simultaneously—one providing melody and the other a drone bass note. This complexity made the instrument particularly expressive, capable of mimicking human emotional sounds from sobbing to jubilation, explaining its prominence in contexts requiring emotional responses.
• The cultural expectation of appropriate response to music was so strong in Jewish society that failing to participate in either dancing at weddings or mourning at funerals could be considered a serious social offense. By using this example, Yeshua was not merely pointing out inconsistent behavior but identifying a profound moral and spiritual failure—the inability to recognize and respond to different movements of God’s Spirit among His people.

Remember This

The melody of God’s Spirit continues to play over our lives—through His Word, His creation, and His people—constantly inviting us into the divine rhythm of responding to His grace with either joyful celebration or genuine repentance.