Understanding αὐλός (aulos) Strong’s G836: The Divine Instrument that Illuminates Ancient Worship and Biblical Symbolism

Pronunciation Guide: ow-los’ (with emphasis on the second syllable)

Basic Definition

Strong’s G836: The αὐλός (aulos) was a wind instrument similar to a flute or pipe in the ancient world, typically made of reed, bone, ivory, or wood. It was characterized by its distinctive sound and was commonly used in various settings from worship ceremonies to entertainment at feasts. In biblical context, it represents one of the musical instruments whose clear, distinct sound serves as a metaphor for intelligible communication.

Etymology and Morphology

• Part of Speech: Noun (masculine)
• Root: Derived from ἄημι (aēmi, “to blow”)
• Language Origin: Classical Greek
• Primary Usage: Found in narrative passages and teaching sections
• Frequency: Appears only once in the New Testament (1 Corinthians 14:7)
• Related Form: αὐλέω (auleō, “to play the flute”), which appears in Matthew 11:17 and Luke 7:32

αὐλός Morphology:

• αὐλός (nominative singular) – a flute/pipe
• αὐλοῦ (genitive singular) – of a flute/pipe
• αὐλῷ (dative singular) – to/with a flute/pipe
• αὐλόν (accusative singular) – a flute/pipe (direct object)
• αὐλοί (nominative plural) – flutes/pipes
• αὐλῶν (genitive plural) – of flutes/pipes
• αὐλοῖς (dative plural) – to/with flutes/pipes
• αὐλούς (accusative plural) – flutes/pipes (direct object)

Origin & History

The αὐλός has a rich history dating back to classical Greek civilization where it was a central instrument in religious ceremonies, theatrical performances, and social gatherings. Unlike the modern flute, the ancient αὐλός was typically played in pairs (double pipes) with the musician often wearing a special strap (φορβειά, phorbeia) around the cheeks and head to support the instrument and control breath pressure. In Plato’s “Republic” (Book III), he discusses the αὐλός in his examination of which musical instruments should be permitted in his ideal state, demonstrating its cultural significance.

In the Septuagint, references to pipe or flute instruments (often translating the Hebrew חָלִיל, khalil) appear in celebratory and worship contexts. For instance, in 1 Samuel 10:5, the prophet Samuel tells Saul he will meet a group of prophets coming down from the high place with a pipe (αὐλός in the LXX), suggesting its established role in prophetic worship practices. The instrument maintained its importance throughout the Hellenistic period, with early Church Father Clement of Alexandria discussing in his “Paedagogus” (The Instructor) how Christians should approach music, mentioning the αὐλός among other instruments of his day.

Expanded Definitions & Translation Options

• Musical Instrument – A wind instrument similar to a flute, usually made of reed, bone, or wood
• Symbolic Communication Tool – In Pauline usage, a metaphor for clear, intelligible expression
• Cultural Element – Represents structured musical expression in ancient Mediterranean societies
• Worship Component – An instrument associated with religious ceremonies and celebrations

αὐλός Translation Options:

• Flute – Most common English translation, though the ancient αὐλός differed from the modern transverse flute in construction and playing technique
• Pipe – Highlights the simple tube-like structure, accurately reflecting the basic design of the instrument
• Reed-pipe – Specifies the material often used in construction, providing historical accuracy
• Oboe/Clarinet – Some scholars suggest these as functional equivalents since the αὐλός used a reed mouthpiece similar to these modern instruments
• Wind Instrument – A broader category translation that captures the essential characteristic without specifying exact form

Biblical Usage

In the New Testament, αὐλός appears explicitly only once in 1 Corinthians 14:7, where Paul uses it in a powerful analogy about spiritual gifts. In this passage, Paul compares speaking in tongues without interpretation to musical instruments (the αὐλός and κιθάρα/harp) that produce indistinct sounds. His argument centers on the need for clarity in spiritual communication – just as a musical instrument must produce distinct notes to be understood, so too must spiritual gifts be exercised in ways that edify the community through clear communication.

While the direct term appears only once, the concept of flute-playing (using the related verb αὐλέω) appears in Jesus’ teaching in Matthew 11:17 and Luke 7:32, where He describes children in the marketplace saying, “We played the flute for you, and you did not dance.” This reference demonstrates the cultural expectation that certain sounds should produce specific responses – a principle that underlies Paul’s later teaching about spiritual gifts.

• “Even in the case of lifeless things that make sounds, such as the flute [αὐλός] or harp, how will anyone know what tune is being played unless there is a distinction in the notes?” 1 Corinthians 14:7
• “We played the flute [ηὐλήσαμεν, from αὐλέω] for you, and you did not dance; we sang a dirge, and you did not mourn.” Matthew 11:17
• “They are like children sitting in the marketplace and calling out to each other: ‘We played the flute [ηὐλήσαμεν, from αὐλέω] for you, and you did not dance; we sang a dirge, and you did not weep.'” Luke 7:32

Cultural Insights

The αὐλός held a unique position in ancient Mediterranean culture as it was an instrument that inspired both celebration and lamentation. In Jewish contexts, flute players were essential components of both wedding festivities and funeral processions. This dual purpose is reflected in Jesus’ parable of the children in the marketplace who complain that they played both festive and mournful music, yet their companions responded to neither. This cultural understanding illuminates why Jesus used this particular example to illustrate the unresponsiveness of His generation to both John the Baptist’s austere message and His own more celebratory approach.

Most fascinatingly, in ancient Jewish tradition, it was said that a minimum of two flute players were required at the funeral of even the poorest person. The Mishnah (Ketuboth 4:4) states: “Even the poorest in Israel should not have less than two flutes and one wailing woman.” This cultural practice highlights the instrument’s emotional power and its integral role in community expression of grief. When Paul references the αὐλός in his letter to the Corinthians, his audience would have immediately understood the connection between distinct musical communication and emotional response – precisely the connection he was making about spiritual gifts needing to communicate clearly to evoke appropriate spiritual responses in the congregation.

Theological Significance

Paul’s use of the αὐλός as a metaphor in 1 Corinthians 14:7 reveals profound theological truths about divine communication and worship. By comparing incomprehensible speech with an indistinct flute sound, he emphasizes that יהוה (Yahweh) is a God of order and clarity, not confusion. This reflects the character of the Creator who spoke the universe into existence with precision and purpose. Just as the αὐλός must produce distinct notes to fulfill its purpose, spiritual gifts must operate with clarity to fulfill their divine purpose of edification.

This single reference carries significant theological weight as it connects to the broader biblical theme of God’s desire to communicate clearly with His people. From the burning bush to the incarnation of the Messiah Jesus, we see יהוה consistently adapting His communication to human understanding. The αὐλός metaphor reinforces that true spirituality isn’t measured by mysterious, incomprehensible experiences but by clear, edifying communication that builds up the body of believers. This reflects the heart of יהוה, who desires not just to speak to us but to be understood by us, fostering genuine relationship rather than mystical confusion.

Personal Application

When considering the αὐλός in our spiritual lives today, we might ask ourselves: “Am I producing a clear, distinct sound in my witness and worship?” Just as an αὐλός player needed to master their instrument to produce clear, recognizable melodies, we too are called to develop spiritual discipline and clarity in our communication of God’s truth. This applies whether we’re teaching Scripture, giving testimony, or simply living out our faith before others.

The metaphor also challenges us to evaluate the comprehensibility of our spiritual expressions. In a world filled with religious jargon and insider language, the αὐλός reminds us that genuine spiritual communication should be accessible and meaningful to those who hear it. When we pray, serve, teach, or worship, we should aim not for impressive displays but for clarity that genuinely connects with and edifies others, just as a well-played αὐλός would produce music that resonates with its hearers.

Related Words

• σάλπιγξ (salpinx, pronounced sal’-pinx) – trumpet; while the αὐλός was associated with both celebrations and lamentations, the σάλπιγξ typically signaled military commands or solemn announcements, demonstrating how different musical instruments conveyed different messages in biblical times. See G4536
• κιθάρα (kithara, pronounced kith-ar’-ah) – harp/lyre; mentioned alongside the αὐλός in 1 Corinthians 14:7, this stringed instrument complements the wind instrument example, showing how Paul drew from both major instrument categories to illustrate his point about clear communication. See G2788
• κύμβαλον (kumbalon, pronounced koom’-bal-on) – cymbal; another musical instrument Paul uses metaphorically in 1 Corinthians 13:1, contrasting love with a “resounding gong or clanging cymbal,” further extending his use of musical instruments as spiritual metaphors. See G2950
• ψάλλω (psallō, pronounced psal’-lo) – to sing praise, pluck a stringed instrument; unlike the playing of the αὐλός, this term specifically refers to music made with strings, often accompanying vocal praise, showing the diversity of worship expressions in early Christian communities. See G5567
• ᾄδω (adō, pronounced ad’-o) – to sing; while the αὐλός produces instrumental music, this term focuses on vocal music, highlighting the complementary nature of instrumental and vocal worship in biblical contexts. See G103

Did You Know?

• Did you know that archaeological discoveries have revealed actual αὐλοί from ancient times, with some specimens dating back to the 5th century BCE? These findings show that the instrument was typically played in pairs (one pipe for each hand), with differently pitched pipes creating harmony or heterophony. This dual-pipe structure may have spiritually symbolized the duality of celebration and lament that characterized human experience before God – a recognition that life contains both joy and sorrow, and that worship encompasses both praise and lament.
• Did you know that in ancient Greek culture, the goddess Athena was said to have invented the αὐλός but threw it away when she saw how it distorted her face when playing? The satyr Marsyas then picked it up, mastered it, and challenged Apollo (with his lyre) to a musical contest, which led to his demise. This myth reflects the complex cultural attitudes toward different instruments, with string instruments often considered more “rational” and wind instruments more “emotional” – a distinction that adds depth to Paul’s choice of both instrument types in his teaching about spiritual gifts.
• Did you know that modern Middle Eastern instruments like the ney and mizmar are considered descendants of the ancient αὐλός? These instruments continue to play important roles in traditional music throughout the regions where early Christianity spread, offering us a living connection to the sounds that would have been familiar to first-century believers. When we hear these instruments today, we gain a sensory connection to the worship experiences of our spiritual ancestors.

Remember This

The αὐλός reminds us that in God’s kingdom, true spirituality isn’t measured by mysterious complexity but by clear, life-giving communication that builds genuine community and draws hearts toward the Messiah Jesus.