The first thing we learn is that this psalm is a song for the choirmaster or director of music, of the sons of Korah according to Alamoth. What does this mean—who are these people and what are these terms? Well-known pastor and author, Charles H. Spurgeon wrote a commentary, a seven-volume “magnum opus,” over a twenty-year span in the London Metropolitan Tabernacle’s periodical called The Sword and the Trowel. Once the seventh volume was completed in 1885, the commentary has been known as The Treasury of David, which you can access in full on BibleStudyTools.com. Concerning the heading of Psalm 46, Spurgeon explained:
“To the Chief Musician. He who could sing other Psalms so well was fitly entrusted with this noble ode. Trifles may be left to commoner songsters, but the most skilful musician in Israel must be charged with the due performance of this song, with the most harmonious voices and choicest music. For the Sons of Korah. One alone cannot fulfil the praise, there must be picked choristers under him, whose joyful privilege it shall be to celebrate the service of song in the house of the Lord. As to why the sons of Korah were selected, see our remarks at the head of Psalm 42. It may be well to add that they were a division of the Levites who took their turn in serving at the temple. All the works of holy service ought not to be monopolised by one order of talent, each company of believers should in due course enjoy the privilege. None ought to be without a share in the service of God.
A Song upon Alamoth. Which may denote that the music was to be pitched high for the treble or soprano voices of the Hebrew virgins. … Or the word Alamoth may refer to shrill sounding instruments, as in 1 Chronicles 15:20 , where we read that Zechariah, and Eliab, and Benaiah were to praise the Lord ‘with psalteries on Alamoth.’ We are not always, in a slovenly manner, to fall into one key, but with intelligence are to modulate our praises and make them fittingly expressive of the occasion and the joy it creates in our souls. These old musical terms cannot be interpreted with certainty, but they are still useful because they show that care and skill should be used in our sacred music.”