Lynn Anderson Psallo Justifies Instrumental Music

STRONG DELUSIONS LYING WONDERS REV 7.22.14

If you say that God commanded that musical instruments be imposed knowing that it would sow massive discord, God wants you to know that STRONG DELUSIONS results in LYING WONDERS which means religious services including rhetoric, singing, playing instruments, acting or fleecing the lambs in the name of God.

The SOP with the same root as PSALLO was fed to Judas when Jesus planned to cause the Devil to enter into him to betray him.  Apollyon supplied the worship or service word to the Israelites after they fell into instrumental idolatry at Mount Sinai.  Abaddon or Apollyon was to be unleashed--just in time.  He is the king of the Locusts or Muses: the muses are dirty adulteresses or prostitutes.  Apollyon is the LEADER of the MUSES whom John calls SORCERERS.  They HAD deceived the whole world once so they were predestined because of trying to take God's place.  The will be or are Cast Alive into the Lake of Fire.  This was the Prophetic Type by Christ the Spirit in Isaiah 30 where the wind, string and percussion instruments are the SIGNS of God driving His enemies into "hell."

PSALLO BRANDS PEOPLE WITH A BAD PERSONA

Outward Command:
SPEAK "that which is written for our Learning"
ODE and PSALLO IN the heart. Meaning Keep it Silent
BECAUSE: LEXIS or LOGOS is the OPPOSITE of ODE which means to enchant.

Psallo is a word often connected to Apollo, Abaddon or Apollyon. He carried his bow and made the string "twang" to send forth a sinning arrow into the literal heart of enemies. He also carried the Lyre which he "plucked" intending to send forth a Love Arrow into his male of female frieds.

Abaddon or Apollyon has been unleased from the pit and is the leader of the LOCUSTS which we understand to be the MUSES as his musical worship team. The muses are known in the literature as dirty adulteresses who become SHEPHERDESSES at Apollo's Worship Center at Delphi and Corinth.

Psallo is USED primarily as:

psallō   pluck, pull, twitch,ps. etheiranpluck the hair: esp. of the bow-string, toxōn kheri psallousi neurastwangthem, E.Ba.784; “kenon kroton” Lyc.1453; ek keraos ps. belossend a shaft twanging from the bow,

When used of musicalinstruments Psallo means play or pluck II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron:

Jesus said MY WORDS are SPIRIT and LIFE.  As the antithesis to the "spirit" as a person or people
Ventus , B.  personified as deities, the winds: te, Apollo sancte,  omnipotens Neptune, invoco; Vosque adeo, Venti! Turpil. ap. Cic. Tusc. 4, 34, 73  Lucr. 5, 1230 (1228); cf. Ov. H. 17 (18), 37.—

Spīrĭtus The air: imber et ignis, The BREATH of a god, inspiration: “ spiritum Phoebus [Apollo, Abaddon, Apollyon]  mihi, Phoebus artem Carminis Carmen , dedit, poetic spirit or inspiration,

Hor. C. 1, 7, 23;Q. Horatius Flaccus, Odes (ed. John Conington)

Let others Rhodes or Mytilene sing,
Or Ephesus, or Corinth, set between
Two seas, or [Baccho] Thebes, or [Apollo] Delphi, for its king
Each famous, or Thessalian Tempe green;
 
There are who make chaste Pallas' virgin tower
The daily burden of unending song,
And search for wreaths the olive's rifled bower:
The praise of Juno sounds from many a tongue,
Telling of Argos' steeds, Mycenae's gold.
Mark 6.7 He called to himself the twelve, and began to send them out two by two; and he gave them authority over the unclean spirits.

Luke 8:2 and certain women who had been healed of evil spirits and infirmities: Mary who was called Magdalene, from whom seven demons had gone out;

The Spirit OF God is the BREATH of God and not a "people."

Psallo marks as Lawless those who used a "guitar pick", beat on a drum or blew a flute.

The Phrase:  psallere saltare elegantius,
ē-lēgo , āvi, 1, v. a., I.to convey away (from the family) by bequest, to bequeath away,

pulso I.   Lucr. 4, 931),  to push, strike, beat (cf.: tundo, ferio, pello).
Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” (harp) Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62.
A.      In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet:
C.      To drive away, remove, put out of the way

Psalmus , = psalmos, 
I.      In gen., to play [psalmus] upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25,
Elego I. to convey away (from the family) by bequest, to bequeath away, 
Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature; she could sing, play, and dance, with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity.
The Phrase:  “cantare et psallere jucunde,”
jūcundus (jōcundus ), a, um, adj. jocus, I. pleasant, agreeable, delightful, pleasing (syn.: gratus, blandus; “class.): est mihi jucunda in malis et grata in dolore vestra erga me voluntas,   “verba ad audiendum
mălus , evil, wicked, injurious, destructive, mischievous, hurtful : carmen, i. e. an incantation, Leg. XII. Tab. ap. Plin. 28, 2, 4, § 17: “abi in malam rem,” go and be hanged! burdensome,  plagis
“male tibi esse malo quam molliter,” I would rather you should be unfortunate than effeminate, Sen. Ep. 82, 1:  “cantare et psallere,” Suet. Tit. 3:
The Graces as Muses were "blue-eyed blond musical prostitutes." They were Abaddon-Apollyon's Praise Team.

"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit.

He found it significant that, on the whole, only women and effeminate men fell into this folly.

Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did.

The Phrase: gratus, blandus; The New Hermeneutics or the Kairos Time
Grātus or  kharis religion beloved, dear, acceptable, pleasing, agreeable “Herophile Phoebo grata and: “superis deorum gratus (Mercurius) et imis,  “carmina,” id. C. 1, 15, 14; 3, 11, 23: “artes,” id. ib. 4, 13, 22: “error mentis, favorite, darling:  deserving or procuring thanks Grata testudo Jovis,” [G1361 Diotrephes]

Lyre.Amphion.gif

testūdo   Hermes made the first lute or lyre from a tortoise-shell while still in his crib. He is a type of Jubal. 1. Of any stringed instrument of music of an arched shape, a lyre, lute, cithern

Mercŭrĭus , ii, m., = Hermēs,  as a herald, the god of dexterity; in speaking, of eloquence; the bestower of prosperity; the god of traders and thieves; the presider over roads, and conductor of departed souls to the Lower World:  

Mercury or Hermes (Kairos) while still in his cradle scouped out a turtle and made the first lyre: the turtle should be graceful that it would be worshipped even today for its contribution Diotrephes

He gave this harp to Apollo, Abaddon or Apollyon who is YOUR musical worship leader even today.
G1361 Diotrephes dee-ot-ref-ace' From the alternate of G2203 and G5142; Jove nourished; Diotrephes, an opponent of Christianity:   From:.

Trepho (g5142) tref'-o; a prim. verb (prop. threpho, but perh. strength. from the base of 5157 through the idea of convolution); prop. to stiffen, i.e. fatten (by impl. to cherish [with food, etc.], pamper, rear): - bring up, feed, nourish  trephô similar words mean that the was RAISED UP by Zeus.

Hor. Ars 395 Orpheus, the priest and interpreter of the gods, deterred the savage race of men from slaughters and inhuman diet; hence said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion

“Pythia cantica” Hor. Ars 414, songs like the hymns which were sung in honor of Apollo, by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing.
Grata or GRACE in the sense of the Graces and Muses who were musicians under Apollo or Abaddon at Delphi where the Phythian serpent was worshipped.  Other forms are:
khairō1. c. dat. rei, rejoice at, take pleasure in a thing, “nikē”Il.7.312; “phēmē” Od.2.35; “dōrō” Hes.Op.358; “molpa [sing and dance], hē, (melpō)A.dance or rhythmic movement with song, 2. more freq. song, suriggos ekhōnthe note,  klagg-ē
klagg-ē twang of the bow howling of wolves and lions, baying of dogs, also, of musical instruments of song k. aēdoneios


The CENI is defined by the Spirit OF Christ in the Wilderness and in the Prophets and prophecies made more certain by Jesus.  The Apostles were eye-- and ear--witnesses of the risen Lord Who returned as The Holy Spirit (breath, wind) in the upper room. They mark as false teachers anyone who does not teach that PATTER of foundation:

Matthew 28:17 And when they saw him, they worshipped him: but some doubted.
Matthew 28:18 And Jesus came and spake unto them, saying,
        All power is given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore,
        and teach all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
        Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen. Matthew 28:20

Acts 15:21 For Moses
        of old time hath
        in every city them that preach him,
        being read in the synagogues every sabbath day.

Paul commanded that we SPEAK that which is written for our learning (Romans 15).  He also commanded that we fill up with SPIRIT (Word in Col 3:16) and Teach and Admonish with the Biblical material which includes "teaching psalms." This is in contrast to the drinking songs of the crooked race of the symposia where the goal was to become "fluted down with wine."

Both singing in the pagan sense and beating on "instruments of delusion" was worship IN THE FLESH which Paul rejects in Philippians 3 because it permitted the "conscision or dogs" to destroy the rest Jesus died to give us from the laded burdens of the arousal songs by Jews or Gentiles.

In contrast, if you use one mind and one mouth to speak that which is written for our learning you MUST keep the arousal singing and beating on instruments quiet and permit melody (or grace) to be IN the heart where grace means the divine influence of the GRACE which hath appeared teaching us to DENY the world's religions.


 THE ONLY MEANING OF LITERAL WORSHIP:

Matt. 28:17 And when they saw him, they worshipped him: but somedoubted.

G4352 proskuneō pros-koo-neh'-o From G4314 and probably a derivative of G2965 (meaning to kiss,
like a dog licking his master’s hand); to fawn or crouch to, that is, (literally or figuratively)
prostrate oneself in homage (do reverence to, adore):—worship.
Proskun-eō obeisance to the gods or their images, fall down and worship, c. acc., Hdt.2.121
2.  esp. of the Oriental fashion of prostrating oneself before kings and superiors, abs., Hdt.1.119, 8.118: c Plat.
TRUTH: Rep. 398a 3. welcome respectfully, respect, “prosekunēsa sou ta grammata” That which is written ; ta hiera g. the Holy Scriptures,  2 Ep.Ti.3.15, J.Ap.1.10;

Ev.Jo.4.23,  But the hour cometh, and now is, when the true worshippers shall worship the Father in spirit and in TRUTH: for the Father seeketh such to worship him
2 Timothy 3.15  From infancy, you have known the sacred writings which are able to make you wise for salvation through faith, which is in Christ Jesus.

J. Ap. 1.10 There have been indeed some bad men, who have attempted to calumniate my history, and took it to be a kind of scholastic performance for the exercise of young men.  for, as I said, I have translated the Antiquities out of our sacred books; 
WORSHIP IS  ALSO IS USED FOR THE LYING WONDERS OF PSEUDO PERFORMERS BELIEVING THAT THEY ARE A GOD.
 
IRONICALLY, proskunoimenanautonhōshieronkaithaumastonkaihēdun, Pl.R.398a: of Lying Wonders

Thaum-astos , Ion. thōm- , ē, on, th. lokhos gunaikōn, “thaumaston poieis, hos .II. admirable, excellent, 
of the Furies, A.Eu.46; Aeschylus, Eumenides 34
III. to be worshipped, “oudeis m' areskei nukti thaumastos theōn” E.Hipp.106.
Nux 3. in Comparisons, of anything dark and direful, nukti eoikōs like night, of Apollo[Abaddon, Apollyon]
 in his wrath, Il.1.47, cf. 12.463, Od.11.606
III. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224.
Plato. Republic [398a] who was capable by his cunning of assuming every kind of shape and imitating all things should arrive in our city, bringing with himself the poems which he wished to exhibit, we should fall down and worship him as a holy and wondrous and delightful creature, but should say to him that there is no man of that kind among us in our city, nor is it lawful for such a man to arise among us, and we should send him away to another city, after pouring myrrh down over his head and crowning him with fillets of wool, 
Commentary Epideik-nu_mi -nuō 2. . more freq. in Med., show off or display for oneself or what is one's own, mousikan orthan e. give a specimen of his art. of a rhetorician lecturing, Id.Phdr.235a; “polla kai kala” Id.Grg.447a; of epideictic orators, Arist.Rh.1391b26; of a musician, Ael.VH9.36: c. part., e. “hupertheōn” Pl.Lg.648d.
The idea suggested by proskunoimen and hieron, that the poet is a sort of theos or theios [god or goddess] anēr, is now elaborated with ironical politeness. The images of the gods were anointed, and crowned with garlands, not only on great occasions (cf. Cic. Verr. IV 77), but also at other times, according to Proclus, who remarks on this passage muron autēs (sc. tēs poiētikēs) ...Apropos of the present passage, Dio Chrysostom and other ancient writers cited by Ast refer to the anointing of swallows by Greek women: kai keleuei mala eirōnikōs (so Ast: MSS eirēnikōs) stepsantas auton eriō kai murō katakheantas aphienai par' allous: touto de hai gunaikes epi tōn khelidon ōn poiousi (Dio Chr. Or. 53 p. 276 ed. Reiske). To this custom Ast supposes that Plato is alluding, the poets being as it were faithless and garrulous swallows (cf. khelidonōn mouseia), as well as to the Pythagorean precept ‘not to admit swallows into the house’

Mouseios , on, Aeol. Moisaios , a, on, (Mousa)
A. of or belonging to the Muses, “hedra” E.Ba.410 (lyr.); Moisaion harma the car of Poesy, Pi.I.8 (7).67; lithos M. a monument of song, Id.N.8.47.  II. musical, “kelados” AP9.372.
Eur. Ba. 410 Chorus
Would that I could go to Cyprus, the island of Aphrodite, where the Loves, who soothe [405] mortals' hearts, dwell, and to Paphos, fertilized without rain by the streams of a foreign river flowing with a hundred mouths. Lead me there, Bromius, Bromius, god of joy who leads the Bacchae, [410] to Pieria, beautiful seat of the Muses, the holy slope of Olympus. There are the Graces, there is Desire; there it is [415] lawful for the Bacchae to celebrate their rites.

Pind. I. 8 Even when he was dead songs did not forsake him; beside his pyre and tomb the Muses of Helicon stood, and poured over him the many-voiced dirge. It proved to be the will of the immortals [60] to make a noble man, even when dead, a theme for the hymns of goddesses; and even now this brings up a subject for words, and the Muses' chariot rushes forward to shout praises in memory of Nicocles the boxer. Honor him, who won the garland of wild Dorian celery in the Isthmian valley; since [65] he too was once victorious over all that lived around him, battering them with his inescapable hands. He is not dishonored by the offspring of his father's distinguished brother. Therefore let another young man weave for Cleandros a garland of tender myrtle in honor of the pancratium, since the contest of Alcathous and the young men of Epidaurus welcomed him before in his success. A good man may praise him, [70] for he did not restrain his youth, keeping it hidden in his pocket1and ignorant of fine deeds.

1 Reading kolpō (Theiler, Slater) or kolpou (Young) rather than keia.

Pind. N. 8 [40] Excellence grows among skillful and just men up to the liquid air, as a tree shoots up fed by fresh dew. The uses of friends are of all kinds; those in times of toil are the highest, yet delight also seeks to set a trustworthy pledge before the eyes. Megas, to bring your soul back to life again [45] is not possible for me. Empty hopes end in vain; but it is easy to set up, for your fatherland and for the Chariads, a monument of the Muses in honor of the twice illustrious feet of two men. I rejoice in letting fly a boast suitable to such a deed; and with incantations a man [50] makes hardship painless. Truly, the song of victory existed long ago, even before the quarrel arose between Adrastus and the race of Cadmus.

Mouseion , to/,
A. shrine of the Muses, seat or haunt of the Muses, Aeschin. 1.10: hence,
2. home of music or poetry, mouseia thrēnēmasi xunōda choirs chiming in with dirges, E.Hel.174 (lyr.); aēdonōn m. choir of nightingales, Id.Fr.88; parodied “khelidonōn mouseia” Ar.Ra. 93; “to Numphōn nama te kai m. logōn” Pl.Phdr.278b (but mouseia logōn, hoion diplasiologia ktl. gallery of tropes, ib.267b): generally, school of art or letters, to tēs Hellados m., of Athens, Ath.5.187d, cf. Plu.2.736d; to tēs phuseōs m., a phrase of Alcidamas censured by Arist. Rh.1406a25.
IV. Mouseia, ta , festival of the Muses, Paus.9.31.2: sg., Ath.14.629a; “ta M. thusai”
THE END OF THE ROAT FOR MUSICAL DISCORDERS WITH OR WITHOUT MACHINES

Revelation 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying, Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all.
Revelation 18:22 And the voice of harpers, and musicians [Muses], and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee;
Revelation 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.
Revelation 21:8 But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.
Revelation 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.


Don't get fooled by the NACC's collection of all of the "instrument passages."  God had abandoned Israel to the worship of the starry host (just read Acts 7).  God did not command the king, kingdom, temple, animal slaughter (like killing a man says God) or any kind of "musical worship." The Jacob-cursed tribe of Levi warned about in the interlude until Shiloh comes, jumped at the right to execute 3000 of the brethren who engaged in musical idolatry at Mount Sinai. For this affront, God gave them the book of the law and sentenced them to captivity and death back in Assyria and Babylon. God gave them kings in His anger to carry out this sentence.

Lynn Anderson The Beginning of Musical Idolatry 

Danny Corbitt and Matt Dabbs Psallo

Greek and Latin total evidence on the word PSALLO which is a pretty ugly word explaining why any making melody or meditating should be IN the heart or spirit which is a PLACE.  People are quite happy to deliberately sow discord based on a very simple lexicon. This paper separates all WAYS IN WHICH THE WORD IS USED together with Greek and Latin literature. There is no translation of Psallo other than to SING which does not point to making war or used by male and female prostitutes to seduce a young person.

John T. Willis 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.  People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.

That doesn't stop the NACC 2013 Victorious to continue their 100 year plan to promote 'unity' by using a few subverted preachers to pretend that the the ANTI-instrumental people will ever be invited.

A Ralph John Psallo and Psalmos

A. Ralph Johnson: INSTRUMENTAL MUSIC, SACRED OR SINFUL
Does  PSALLO Authorize Musical Instruments 

NACC.Transitioning.Jeff.Walling.to.Instrumental.html

Freed-Hardeman University - Bill Swetmon - Psallo and Josephus

Tom Burgess  Moralia and Musical Worship

The Spirit OF Christ says that Blaspheming the Spirit (Christ) is claiming that God commanded something He did not Command.

If you have to squeeze the word PSALLO which has NOT musical content into proof that you can be UNIQUE in not being hated by God for sowing discord you are forced to say that the total Holy Spirit ruler of the universe left Jesus, Paul and all of the Greek writers illiterate for not using TWO words such as Pluck (psallo) AND a named instrument OR using the compound words REQUIRED to define playing each named instrument and each form of melody.

First, since psallo never at any time or place in recorded history MEANT more than pluck or smite a string with your FINGERS and never with a PLECTRUM they would know that pluck had and has absolutely no "musical" content.  That is why there is no recorded Bible or literary example of being able to instruct someone to pluck a string with one word. If you tell someone PLUCK there is no telling what would happen to you.  The same is true in English and all languages.

Second, if you want to tell someone to PLUCK an INSTRUMENT there are compound words for all named instruments and STYLES of plucking.
Third, you blaspheme the Spirit of Christ by saying that:
  1. He was too ignorant not to use TWO words such as PSALLO Plus A Harp.
  2. He was too ignorant not to use one compound word which meant play a harp
  3. He just wanted to throw in stumble words for those who have not been washed with water INTO the Word or school of Christ or
  4. He intentionally wanted to sow massive discord since singing as an ACT was first imposed in the hear 373.
Even if "psallo" meant play a harp it could NEVER be used to justify a guitar pick, a flute or drums

Playing the part of those deliberately sowing discord and blaspheming, let's assume that the Spirit of Christ or Paul or anyone prior to 1878 was too illiterate to know about all of the compound words.  For instance.

Anti-psallô, A.play a stringed instrument in accompaniment of song, a. elegois phorminga  {harp of Apollo, Abaddon, Apollyon's instrument]
 
Epi-psallō, A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois” 
                    SING, “tous humnous” LXX 2 Ma.1.30: Then the priests sang the hymns.
Even if you define a melody that would NOT include a rhythm.
Melos  rooted in cutting limb from limb like all musical terms.
        A. limb, in early writers always in pl.is corrupt for kata meros
        2. metaphor., “esmen . . allēlōn melē” Ep.Rom.12.5, cf. 1 Ep.Cor.6.15.
        meros ,  A. share, portion, 2. with Preps., ana meros in turn, successively,
        III. the part one takes in a thing
B. Especially musical member, phrase: hence, song, strain, first in h.Hom.19.16
        lyric poetry, choral songs, Opposite Epic or Dramatic verse

Perhaps the Holy Spirit was not educated enough NOT to use psallo which is never translated to mean musical melody and was not aware that He could have used MELOS which means musical melody or a series of single notes.
HH 19 To Pan:1 Muse, tell me about Pan, the dear son of Hermes, with his goat's feet and two horns —a lover of merry noise. Through wooded glades he wanders with dancing nymphs who foot it on some sheer cliff's edge, [5] calling upon Pan, the shepherd-god, long-haired, unkempt.... Often he courses through the glistening high mountains, and often on the shouldered hills he speeds along slaying wild beasts, this keen-eyed god. Only at evening, [15] as he returns from the chase,
        he sounds his note,
        playing sweet and low on his pipes of reed:
        not even she could excel him in melody —
        that bird who in flower-laden spring pouring forth her lament utters honey-voiced song amid the leaves....
Then all the immortals were glad in heart and Bacchic Dionysus in especial; and they called the boy Pan because he delighted all their hearts.
2. music to which a song is set, tune, Arist.Po.1450a14;
        Melos is Opposite. rhuthmos, metron, Pl.Grg. 502c;
                Melos is Opposite metron , II. metre, Ar.Nu.638, 641, etc.;
Aristoph. Cl. 638 Soc.
In the first place, to be clever at an entertainment, understanding what rhythm is for the war-dance, and what, again, according to the dactyle.
Again "meter" is the opposite of melos or melody and rhythm.
                   Opposite melos (music) and rhuthmos (time), Pl.Grg.502c
         Melos is Opposite. rhuthmos, rhēma, Id.Lg.656c;
                 Melos is Opposite rhēma  (erō) A. that which is said or spoken, word, saying,
                                    Ero I. I will say or speak, II. I will tell, proclaim, 2. to be specified, agreed, promised
                                                II.2. to be specified, agreed, promised
sullegō  II. of persons, collect, get together, “stasiōtas” Hdt.1.59; “egkhōrious” E.IT303; “khoron” Antipho 6.11; “ekklēsian”
—Pass., come together, assemble, “rhēmata kai logous”
mustered, Gathered

1Corinthians 14:23 If therefore the whole church be come together into one place, and all speak with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad?

1 Cor 14: 23 Ean oun sunelthē hē ekklēsia holē epi to auto kai pantes lalōsin glōssais, eiselthōsin de idiōtai ē apistoi, ouk erousin hoti mainesthe;
 
Sunerkhomai II. come together, assemble, meet “sunelthe pros Theōna”

La^l-eō ,Mark of the Locusts
II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, 
III.  of musical sounds, “aulō [flute] laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echo,  magadin lalein sound the magadis,  [double flute]
                        3. subject of speech, matter, Hebraism cf. rhētos
                                rhēt-os on stated terms, on certain conditions, according to covenant
                                IV. to rh. the precise, literal contents of a document,
                                 the letter of the law,
                                      expressly, distinctly, Plb.3.23.5,
                                      rhētos literal, Opposite. allegorical, Ph.1.69, al.
Opposite Allēgor-eō , (agoreuō)  2. abs., speak figuratively or metaphorically,
4. allēgor-ētēs , ou, ho, allegorical expounder,
agoreuō agora  1. to speak in the assembly, harangue, speak
of the kērux in the Ecclesia, tis agoreuein bouletai; who wishes to address the people?

If Paul (or Erasmus) had intended MUSICAL melody they would have used the more civilized word MELOS but musical melody EXCLUDES Rhema or Speaking and Speaking is the opposite of poetry or music.

I have reconnected most of the missing links to the TRUTH.

No one suggesting music as a role for the assembly missed the Church in the Wilderness and First Samuel Eight.

If you are a Disciple of Christ and teach what He commanded to teach you will understand that all of the "instrument" events under the curse of the monarchy, you can skip all of the lies to God and about God. Christ in Jeremiah 23 calls it blasphemy of the Spirit OF Christ who inspired only the Prophets and Apostles.
2Timothy 4:2 Preach the word; be instant in season,
        out of season; reprove, rebuke,
        exhort with all longsuffering and doctrine.

2Timothy 4:3 For the time will come when they will not endure sound doctrine;
        but after their own lusts shall they heap to themselves teachers,
        having itching ears; [eager for combat, pleasure, to be wanton]

HERE IS PROOF THAT YOU WILL NOT ENDURE SOUND DOCTRINE:

2Timothy 4:4 And they shall turn away their ears from the truth,
        and shall be turned unto fables.

The Spirit OF Christ warned about the lying pen of the Scribes: Jesus quoted Ezekiel 33 to identify the Scribes and Pharisees as hypocrites named as slick speakers, singers and instrument players. They TOO had a covenant with death and had made an agreement with hell.
FABLES TO FOOL: Fābŭla , ae, f. fari,
B.  Of particular kinds of poetry.
1.  Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo
FABLES TO FOOL:  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: cantibus 
2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine

FABLES TO FOOL:   Scaenĭcus (scen- ),  skēnikos, I. of or belonging to the stage, scenic, dramatic, theatrical
stage-plays, theatrical representations, “fabula,” a drama,  “organa,” Suet. Ner. 44: “coronae,” id. ib. 53: “habitus,” id. ib. 38: “gestus,” Cic. de Or. 3, 59, 220: “modulatio,” Quint. 11, 3, 57:
1. scaē-nĭcus , i, m., a player, actor, Cic. Off. 1, 31, 114: ---“orator plurimum aberit a scaenico 2. scaenĭca , ae, f., a female player, an actress,
THE MOST POWERFUL WEAPON TO FOOL:
Orgănum , i, n., = organon, Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,” Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.—  B. Transf.: organum oris, the tongue of a man, Prud. steph

Jubal "Handled" musical instruments "without authority."
2Timothy 4:5 But watch (sober: drink no wine) thou in all things, 
        endure afflictions,
        do the work of an evangelist, make full proof of thy ministry.

Humn-eō , Ep. humneiō Hes.Op.2; Ep.3pl. II. Tell over and over again, harp upon, repeat, recite,; humnousi ; ton nomon humnein recite the form of the law, Id.Lg.871a:

Rick Atchley: “If you’ve got people who still feel that their relationship with God depends on how we do things at church, then this is not going to fly — and you can’t get there because you did a series on grace.”  “An Afternoon with Rick Atchley and Chris Seidman, Part 3” (New Wineskins, September – December 2010

Then why radically change "how we do things at church" and say that God commanded instrumental praise and we should not be disobedient. The NACC led dogma is that instruments are COMMANDED, therefore, "you cannot DO church without instruments." Why else would one drive out the owners?

Christ identified the Qahal, synagogue or Church of Christ in the wilderness it was:

INCLUSIVE of Reading, Rest and Rehearsing the Word of God (only)
EXCLUSIVE of vocal or instrumental rejoicing including elevated styles of speaking.

John T. Willis 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.  People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.

Church is Ekklesia or Synagogue: both for instruction only: both exclusive of any performing arts: you don't do music when God's Word is taught.  I submit that you cannot be a Christian if you do not understand the meaning of "teach them what I have commanded to be taught.

ACU Lectureship Summitt 2008 Review Proving that those called to the SUMMIT have promoted musical idolatry and Romans proves that they are UNrighteous and have repeated the musical idolatry patternism of Mount Sinai.
3.11.11 Logos versus Mythos: Word versus Music Logos (modern) is rational of the word and STRAIGHT: Mythos and Sophia (postmodern) are irrational and Gender-Confused. Mythos Nomoi (traditional law)
(a) Eros is approved, and its excesses condoned, when directed towards superior youths approaching manhood.
(b) It appears to be condemned, in so far as parents forbid their boys to hold converse with “erastae.” The explanation of this ambiguous attitude must be sought in the principle laid down above, that the moral quality of an act depends upon the conditions of its performance.
GRACE is Kharizo 2. gratify or indulge a humour or passion, 3. in erotic sense, grant favours to a man,
give up as a favour by dropping a law aimed at him,
Those who willingly infiltrate and impose musical instruments into a peaceable church justify the deliberate sowing of discord based on false teachings of all of the "instrument" passages also preach that GRACE will cover them.

Grace Centered Magazine:  3.06.11. This forum has a Church of Christ thread dedicated to abusing those who do not deliberately reject the clear teaching of the Word and recorded history. A common lie is that the Church Fathers had nothing bad to say about the use of instruments based on Scripture. We have refuted that to prove that NO ONE used instruments in the churches but refute the Jews who did because they had been abandoned to Canaanite Baalism or the worship of the starry host.

See Jay Guin Review for the list of New Wineskins papers.
Lynn Anderson has promoted Navigating the Winds of Change. He has promoted a system of SHEPHERDING patterned after Promise Keepers (the old Crossroads or IOCC system), and has actively promoted the use of instrumental music.  In his book he examples a scheme of singing which aroused some to go out of their "comfort zones" and clap.  The fact is that Jesus died to remove us from cult control by defining the Scribes and Pharisees as hypocrites meaning rhetoricians, singers and instrument players. The connection between music, sexual feelings and money is absolute. Revised 8.28.08.  Revised 9.5.08 at the end.
SUMMARY:
For the Spiritual:
  1. When Paul spoke of PSALMS as a Jew he spoke of Mizmors.
  2. The BOOK of psalms contains only 57 mizmors:
  3. only 50 of these are not restricted and not one of them contains the name of an instrument.
  4. False teachers mistake PSALMS for the BOOK of psalms and are therefore misleaders. # 150 is not a psalms and therefore it has not authority according to Paul and the practice of the Jews.
For the Wicked:
 The Greek version translates the word neginah as psalms.  These can be uninspired, of the wicked, of drunkards, of mocking God and his word. Neginah is related to:
5060.  naga naw-gah´; a primitive root; properly, to touch, i.e. lay the hand upon (for any purpose; euphem., to lie with a woman); by implication, to reach (figuratively, to arrive, acquire); violently, to strike (punish, defeat, destroy, smite, strike, touch.

Gath (h1660) gath; prob. from 5059 (in the sense of treading out grapes); 
Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing..
And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isa 23:15
..........Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered  Is.23:16
A study of the "proof texts" used by the NACC and therefore by Rick Atchley, ALL of the literature which connects plucking (psallo) to a harp also connect the plucker to an older male involved in seducing younger males.  You can click on Tom Burgess on Kurfees and Thayer to link to several papers on the O.E.Payne or Tom Burgess supplier of false information.

 Part two: showing how the Bible OUTLAWS vocal and instrumental praise for the synagogue or church in the wilderness. The music-related words always point to Satan, warriors, sacrificial exorcists, prostitutes and Sodomites.  The "singing and harp playing prostitute" in the Garden of Eden becomes the mother of harlots in Revelation. She uses lusted after "fruits" as rhetoricians, singers and instrument players: John and the Greek literature calls all such musicians "sorcerers" because "melody conceives to deceives."

While the Jesus Ordained role of the elders as the Pastor-Teachers is to "teach that which has been taught" and even if you can twist cultic singing back into the Bible the demand would be to "sint that which is written" using one mind and one mouth. This is to educate, glorify or prise God, comfort with the Scriptures and keep the unity. When men are willing to pledge away their souls for "fame and fortune" it is natural to give up teaching facts and begin to lie about the most fundamental truths of Scripture under some beyond-control outside power: The Book of Enoch and 3 dozen versions I have collected declare that it is Satan who seduces people into replacing the Living Word with music.  Fallen women have always been the TARGET to which the PSALLO-based literature points.  History notes that only females and effeminate males can be touched by music.
STATEMENT OF HALF OF THE TRUTH USED BY ALL FALSE TEACHERS.
Lynn Anderson Proof Text: Zondervan Pictorial Bible Dictionary.  Grand Rapids, Michigan, 1963.  P.694.
Psalmos – “Its name in Latin and English Bibles . . . comes from the Greek, Psalmos, which means ‘twangings [of harp strings]’, and then, as a result, songs sung to the accompaniment of harps.  This latter name originated in the LXX (cf. its NT authenticity, Luke 20:42) and reflects the form of the book’s poetry.  The same is true of its alternate title, Psalterion, meaning ‘psaltery,’ and then, a collection of harp songs, from which comes the English term ‘Psalter.’”

Isnt there an intention to deceive by the "...."

Psalmos, ho, twitching or twanging with the fingers, psalmoi toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.). Psalmoi toxôn does not mean "sing and play a harp" WITH a bow.  Psalmoi just means pluck or twang a bow. Only in a secondary sense do we PLUCK a harp string which does not music make. Even then Psalmos is often used of evil songs.

Vine, W.E. Expository Dictionary of New Testament Words.  Old Tappan, New Jersey, 1966.  Psalm – “Psalmos--primarily denoted a striking or twitching with the fingers (on musical strings); then, a sacred song, sung to musical accompaniment, a psalm.  It is used (a) of the O.T. book of Psalms, Luke 20:42; 24:44; Acts 1:20; (b) of a particular psalm,

Acts 13:33; (c) of psalms in general, I Cor. 14:26; Eph. 5:19; Col. 3:16. 

BUT, there are not 150 psalms in Paul's authorization.  Paul didn't mention "halals" and "there was no praise service in the synagogue." Therefore, the "psalm 150" appeal repudiates music. 

Delitzsch, Psalms: The word "psalm", which is derived from the Greek word psalmos, is a translation of the Hebrew term mizmor, which is the title standing at the head of fifty-seven of the psalms. Thus it is evident that not every psalm has the superscription "psalm". But it is this word which has come to be the designation of the whole book.

Thus we see that although the one hundred and fifty units are called in the Scriptures the Book of Psalms, only fifty-seven of them bear the superscription psalm (mizmor) in the Hebrew Old Testament. The title which the Book of Psalms bears in Hebrew is Sepher Tehillim - the Book of Praises. It is this Hebrew word tehillim....  In Hellenistic Greek the corresponding word psalmoi' (from psa'llein = zimeer) is the more common; the Psalm collection is called bi'blos psalmoo'n (Luke 20:42; Acts 1:20) or psaltee'rion, the name of the instrument (psanteerîn in the Book of Daniel)
"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp. Source

Nebel (h5035) neh'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Sounding brass: 2757. kenophonia, ken-of-o-nee´-ah; from a presumed compound of 2756 and 5456; empty sounding, i.e. fruitless discussion: -- vain.

Nine Muses and the Nine Magpies: a perfect "worship team".
 ‘Oh, cease your empty songs,
 attuned to dulcet numbers, that deceive
 the vulgar, untaught throng. If aught is yours
of confidence, O Thespian Deities
contend with us: our number equals yours.
We will not be defeated by your arts;
nor shall your songs prevail.-

Familiar spirit: 178. owb, obe; from the same as 1 (apparently through the idea of prattling a father’s name); properly, a mumble, i.e. a water skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): bottle, familiar spirit.

Nabel (h5034) naw-bale'; to wilt; generally to fall away, fail, faint; figurative: to be foolish or morally wicked; to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, surely, make vile, wither.
The bok of Psalms is Tehillim.  Only 57 of the Book of Psalms are mizmors which Paul--a Hebrew--would command as "psalms." Only 4 of those are on Neginoth "implied a stringed instrument." However, no instrument is included in the song.   Only 4 are on Neginoth "implied a stringed instrument."  Only one (108) has a harp and a psaltery and the writer wants to AWAKEN his his instruments. Psalm 92 uses instruments in the text but does not PLAY on the Sabbath.

Psalm 150 is not a mizmor but a halal.  All false music promoters want to get you led--and in bed--with Lucifer "the singing and harp-playing prostitute.
1984. halal, haw-lal´; a primitive root; to be clear (orig. of sound, but usually of color); to shine; hence, to make a show, to boast; and thus to be (clamorously) foolish; to rave; causatively, to celebrate; also to stultify:(make) boast (self), celebrate, commend, (deal, make), fool(-ish, -ly), glory, give (light), be (make, feign self) mad (against), give in marriage, (sing, be worthy of) praise, rage, renowned, shine. g1966 heylel or Lucifer from g1984.  Lucifer was personified by the king of Tyre as the "singing and harp playing prostitute in the garden of Eden."  The "snake" was really a musical enchanter(ess) based on word definition and history.

Therefore when Paul said SPEAK using PSALMS he included only non-instrumental Psalms which were not sung but cantillated meaning SPEAK.

DARE TO BE A DANIEL AND DO NOT BOW.

The word psallo never means a sacred song sung to musical accompaniment: Psallo just mens to play or pluck. You must define what is to be plucked. Plucking a harp string does not make music. Therefore, you have to define a tune.  

 FALSE TEACHERS ARE FORCED TO TWIST SCRIPTURE AND THEREFORE ALL RECORDED EVIDENCE.

Simple lexicons cannot be used to "define" especially to authorize what Lynn Anderson knows will spread discord but move the church into the "zone" of his birth--the Christian church--and those with whom he "runs."  If someone speaks of "music that blasts" we do not use the word "music" to recommend to sober, decent society. The psallo words are based on something destructive and cannot ever carry a spiritual message. Just to let you read what the true Vine said when he EXCLUDES any instrument from the New Testament singing.
Jesus said that doctors of the Law take away the key to knowledge:
that is their job; that is what the do.  Notice the real Vine
Melody (Verb)
 Psallo primarily "to twitch, twang,"  
vine Psallo means none of the following but is used in connection with many plucking or smiting.
  1. THEN "to play a stringed instrument with the fingers," [instrument is always added and named. The plectrum is excluded to exclude guitars, organs or flutes.]
  2. and hence, in the Sept.,
        a. "to sing with a harp,"     [instrument is always named if intended.]
            b.  sing psalms [Therefore the harp does not inhere.]
  3. Denotes, in the NT, "to sing a hymn, sing praise;" in Eph5:19, "making melody" (for the preceding word ado,  
  4. Elsewhere it is rendered "sing," Rom 15:9; 1 Cor 14:15; in James 5:13, RV, "let him sing praise" (AV, "let him sing psalms").

1.  Sing, Singing

Vine Ado is used always of "praise to God," [performing for an audience is excluded]
        (a) intransitively, Eph 5:19; Col 3:16;
        (b) transitively, Rev 5:9; Rev 14:3; Rev 15:3.  

Hymn (Noun and Verb)
humneo akin to humnos, is used
     (a) transitively, Matt 26:30; Mark 14:26, where the "hymn" was that part of the Hallel consisting of Psalms 113-118;
        (b) intransitively, where the verb itself is rendered "to sing praises" or "praise," Acts 16:25; Heb 2:12.
        (c) The Psalms are called, in general, "hymns," by Philo; Josephus calls them "songs and hymns."
Hallel The Hallel through the generations, on specific occasions: Pesachim 117a
Hallel requires a full stomach and a satisfied spirit: Taanis 25b-26a
The reading is beloved to the people, and so they listen closely:  Megillah 21b
The Hallel as an Institution of the Prophets, to use to pray for salvation from danger: Pesachim 117a
Reciting Hallel for a miracle which occurred outside of Israel: Megillah 14a
Saying the Hallel daily is blasphemous:  Shabbos 118b

Therefore, as we exclude self -composed Scripture, self-composed song are excluded and theiri inclusion caused discord.
Donald D. Markus, Performing the Book

11 Hence, I argue first that the representation of the epic recital is highly dependent upon the representation of other public performances and, second, that epic's social image is attacked and reclaimed via its public performance.

In fact, behind the criticisms of the epic recital often lie issues about the performance of gender and social status.

In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting. There is a persistent association between theatrics, bad rhetoric and effeminacy.

12 That this pattern of criticism was transferred onto the epic recital is ironic because the setting which brought epic into existence in Greece was public performance. In the hands of the Roman satirists and critics, however, epic's performance became subject to the same kind of scrutiny to which the public performance of rhetoric in first-century Rome was subjected.

Rhetoric was forever at pains to disentangle itself from unwanted associations with female deception and histrionic art,

because it was viewed as the art of socially weak women and slaves,
and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups.

A recital / reading is debased when it takes on the features of a performance.

Horace uses cantare in a derogatory sense for a mimetic, grotesque, distorted and inappropriate style of performance when he satirizes a character's recitals of Calvus and Catullus: quos neque pulcher Hermogenes umquam legit neque simius iste nil praeter Calvum et doctus cantare Catullum. (Sat. 1.10.17--19)
NOW RECYCLE TO UNDERSTAND THE ROOTS OF ALL MUSIC UNDER THE KING AND COMMANDERS OF THE ARMY:

1 Chr 25:1  David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service:

Payne insists that the Hebrew of 1 Chronicles 25:1 unambiguously identifies these leaders as militarycommanders, an interpretation favoured by several Bible translations. (Payne, p 423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible) If military commanders had a particular interest in the appointment of musicians, it suggests a strong link between music and warfare
Psallo never means "twitch a harp": if you twitch a harp then a harp is twitched.  If you twitch or yank out a hair then music you do not make.  If you pluck out pubic hair you do other. The ROOT of this word speaks of DESTRUCTION and POLLUTION. Why would the Spirit of Christ use a word ROOTED in evil to praise him especially since "praise singing" is historically a form of verbal or virtual-sexaul abuse of the gods to force fertility?  Fool the ROOTS and don't get taken captive by the EVIL THREAD:

 EASY STEP ONE:
5568. psalmos, psal-mos´;
        A. from 5567;

        B. a set piece of music, i.e. a sacred ode accompanied
                   1.  with the voice,   [defined as first instrument of choice in SONG]
                   2.  harp
                   3.  or other instrument; a “psalm”);  [Paul commanded the HEART]
        C. collectively, the book of the Psalms: psalm. Compare 5603
There is no INSTRUMENT included: you MAY strike a harp.
All "singing" words speak of enchantment or sorcery: you sing INTENTIONALLY to do mind altering so you can pick their pockets.  John says preaching, singing and playing instruments is SORCERY.

All instances where an instrument is intended it is NAMED: to say pluck has as its primary meaning to PLUCK hairs or a bowstring.

EASY STEP TWO:

Psalmos is not derived from any spiritually uplifting concept but of making war and prostitution. The praise word Chalal means to "play the flute, steal your inheritance, pollute and prostitute."
5567.  psallo, psal´-lo; probably strengthened from yaw psao (to rub or touch the surface;
        compare 5597);
If you look up twitch you will find psallo.

And from 5597 there is no musical content but a destructive grinding to SOP.  
5597.  psocho, pso´-kho; prolongation from the same base as 5567;
to triturate [to grind into a fine powder]
i.e. (by analogy) to rub out (kernels from husks with the fingers or hand): — rub.

John 13:26 Jesus answered, He it is, to whom I shall give a sop,
       when I have dipped it. And when he had dipped the sop,
        he gave it to Judas Iscariot, the son of Simon.
John 13:27 And after the sop Satan entered into him.
        Then said Jesus unto him, That thou doest, do quickly.
John 13:30 He then having received the sop went immediately out: and it was night.

5568. psalmos, psal-mo  A. from 5567;  B. a set piece of music, i.e. a sacred ode accompanied
1.  with the voice,    2.  harp or,  3.  or other
instrument; a “psalm”); 		5597.  psocho, pso´-kho; prolongation from the same base as 5567;
     to triturate [to grind into a fine powder] ):-beat, wear .
We noted that only four of the Psalms (Mizmor) Paul mentioned are "upon Neginoth": 4, 6, 67 and 76. You may not want to use these to deliberately sow discord:
Note that H5059 is used interchangeably with h2490
Psa. 68:25 The singers went before, the players on instruments followed after;
   5058. ngiynah, neg-ee-naw´; ngiynath (Psa. 61: title), neg-ee-nath´; from 5059;
    Lam 3:14 I was a derision to all my people; and their song all the day.
   Psa. 69:12 They that sit in the gate speak against me; and I was the song of the drunkards.
5060.  naga naw-gah´; a primitive root; properly, to touch, i.e. lay the hand upon (for any purpose; euphem., to lie with a woman); by implication, to reach (figuratively, to arrive, acquire); violently, to strike (punish, defeat, destroy, smite, strike, touch.
 
Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel,  
    Is. 23:16 Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody [nagan], sing many songs, that thou mayest be remembered. 		5061. nega neh´-gah; from 5060; a blow (figuratively, infliction); also (by implication) a spot (concretely, a leprous person or dress):-plague, sore, stricken, stripe, stroke, wound.
Psa. 87:7 As well the singers as the players on instruments shall be there: all my springs are in thee.
  H2490  châlal khaw-lal'  figuratively to profane (a person, place or thing), to break (one’s word), denominatively (from H2485 ) to play (the flute): take inheritance, pipe, playerinstruments, pollute, (cast as) profane (self), prostitute wound on .
    		2491. chalal, khaw-lawl´; from 2490; pierced (especially to death); figuratively, polluted:kill, profane, slain (man), x slew, (deadly) wounded.

Lev. 19:29 Do not prostitute thy daughter, to cause her to be a whore; lest the land fall to whoredom, and the land become full of wickedness.
   Lev. 19:31 Regard not them that have familiar spirits, neither seek after wizards, to be defiled by them: I am the LORD your God.

"The triumphal hymn of Moses
The musical idolatry at Mount Sinai has the same meaning and the same root

Ex. 32:6 And they rose up early on the morrow, and offered burnt offerings, and brought peace offerings; and the people sat down to eat and to drink, and rose up to play

2Sam. 6:5 And David and all the house of Israel played before the LORD on all manner of instruments made of fir wood, even on harps, and on psalteries, and on timbrels, and on cornets, and on cymbals.

7832. sachaq, saw-khak´; a primitive root; to laugh (in pleasure or detraction); by implication, to play: deride, have in derision, laugh, make merry, mock(-er), play, rejoice, (laugh to) scorn, be in (make) sport. 7833. shachaq, shaw-khak´; a primitive root; to comminate (by trituration or attrition):-beat, wear .
"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

"They sat down to eat and drink and rose up to play. They practiced rites in which they made themselves naked, perhaps similar to those which were carried out by naked Babylonian priests." (Woodward, p. 158).

"Not to be overlooked here is the accompaniment of music and dancing which, with the character of the ensuing phenomena, makes the diagnosis (of idolatry) certain." (Schaff-Herzog, Ecstasy, p. 71). 

The alarm outlawed for the synagogue has the same meaning

 Num. 10:5 When ye blow an alarm, then the camps that lie on the east parts shall go forward.

8643.ruwah, ter-oo-aw´; from 7321; clamor, i.e. acclamation of joy or a battle-cry; especially clangor of trumpets, as an alarum:-- alarm, blowing of, the trumpets), joy, jubile, loud noise, rejoicing, shout(-ing), (high, joyful) sound(-ing).

 Num. 10:7 But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm.

7321. ruwa, roo-ah´; a primitive root; to mar (especially by breaking); figuratively, to split the ears (with sound), i.e. shout (for alarm or joy):--blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.
 		7322. ruwph, roof; a primitive root; properly, to triturate (in a mortar), i.e. (figuratively) to agitate (by concussion):--tremble.):-beat, wear .
I gave my back to the smiters, and my cheeks to them that plucked off the hair: I hid not my face from shame and spitting. Isaiah 50:6 Prophesied in Psalm 41 of Jesus. -Percutio  I. (With the notion of the per predominating.) To strike through and through, to thrust or pierce through (syn.: percello, transfigo). II. (With the idea of the verb predominating.) To strike, beat, hit, smite, shoot
For, lo, the wicked bend their bow, they make ready their arrow upon the string, that they may privily shoot at the upright in heart. Psalm 11:2

Bend: Darak (h1869) daw-rak'; a prim. root; to tread; by impl. to walk; also to string a bow (by treading on it in bending): - archer, bend, come, draw, go (over), guide, lead (forth), thresh, tread (down), walk.

 2.To strike, shock, make an impression upon, affect deeply,move, astound
3.To cheat, deceive, impose upon on b. To strike, play a musical instrument (poet.): lyram,Ov. Am. 3, 12, 40
   -lyra , ae, f., = lura, I.a lute, lyre, a stringed instrument resembling the cithara, fabled to have been invented by Mercury and presented to Apollo,
Why would any Bible reader not see that ALL of the "music" terms and names of instruments are the MARK of someone who intends to hurt you really bad?  Why would the Spirit COMPROMISE all music concepts if He suffered from the LUST OF THE EARS?
No one in the Bible or early church history every DID that: Psallo is reserved as a MARK like SOP. It only surfaced in 1878 as a way to save the clergy and church as institute.

EASY CONCLUSION. It JUST means to:

-Psaô [cf. katapsaô], II. intr. to crumble away, vanish, disappear, ). (psaô, psaiô, psauô, psairô, psêchô, psôchô, and perh. psiô, psômos, seem to be different enlargements
(psaō, psaiō, psauō, psairō, psēkhō, psōkhō,

Most examples include SPEAKING the Word of God: the mark of the literate.
Isa. 50:4 The Lord GOD hath given me the tongue of the learned, 
         that I should know how to speak a word in season to him that is weary:
        he wakeneth morning by morning, he wakeneth mine ear to hear as the learned.
Is. 50:5 The Lord GOD hath opened mine ear,
        and I was not rebellious, neither turned away back.

Most examples EXCLUDE music: the mark of despising God and of the illiterate.
 Is. 50:6 I gave my back to the smiters,
        and my cheeks to them that plucked off the hair:
        I hid not my face from shame and spitting.
5221. nakah, naw-kaw´; a primitive root; to strike (lightly or severely, literally or figuratively):-beat, cast forth, clap, give (wounds), stricken

There must be a message that ALL playing of instruments is the same word for violence

-Percutio To strike through and through, to thrust or pierce through. To strike, beat, hit, smite, shoot
 (syn.: percello, transfigo).  Hence, percutere foedus, to make a league, conclude a treaty (because an animal was slaughtered on the occasion;
2.  To strike, shock, make an impression upon, affect deeply, move, astound (class.): “percussisti me de oratione prolatā,” Cic. Att. 3, 12, 3; id. Mil. 29, 79:
3. To cheat, deceive, impose upon one 
b.t o strike, play a musical instrument (poet.): “lyram,” Ov. Am. 3, 12, 40; Val. Fl. 5, 100.—

Ovid Amours 3:12
And there is hardly now a rake in Rome
But knows her rates, and thanks my babbling muse:
Her house is now as common as the stews;
For this I'm to the muse oblig'd, and more
For all the mischiefs envy has in store.
This comes of gallantry, while some employ
Their talents on the fate of Thebes and Troy,
While others Caesar's godlike acts rehearse,
Corinna is the subject of my verse.

And though Corinna in my songs is fair,
Let none conclude she's like her picture there.
The fable she with hasty faith receiv'd,
And what, so very well she lik'd, believ'd.
But since so ill she does the poet use,
'Tis time her vanity to disabuse.
Is. 50:7 For the Lord GOD will help me;
        therefore shall I not be confounded: therefore have I set my face like a flint,
        and I know that I shall not be ashamed. 
For, lo, the wicked bend their bow, they make ready their arrow upon the string,
        that they may privily shoot at the upright in heart. Psalm 11:2

Bend: Darak (h1869) daw-rak'; a prim. root; to tread; by impl. to walk; also to string a bow (by treading on it in bending): - archer, bend, come, draw, go (over), guide, lead (forth), thresh, tread (down), walk.

Alawys denounced: plato protagoras  -[347c]  But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion. For it seems to me that arguing about poetry is comparable
to the wine-parties sumposiois [don't get drunk on wine]
of common market-folk. agoraiōn
These people, owing to their inability to carry on a familiar conversation
over their wine by means of their own voices and discussions--put a premium on flute-girls by hiring the extraneous voice of the flute at a high price, and carry on their intercourse by means of its utterance.
Eph. 5:11 And have no fellowship with the unfruitful works of darkness, but rather reprove them.
Eph. 5:12 For it is a shame even to speak of those things which are done of them in secret.
Eph. 5:18 And be not drunk with wine, wherein is excess; but be filled with the Spirit;
John 6:62 What and if ye shall see the Son of man ascend up where he was before?
John 6:63 It is the spirit that quickeneth; the flesh profiteth nothing:
        the words that I speak unto you, they are spirit, and they are life.
Jesus consigned the pipers, singers and dancers to the marketplace.  
-Sumposiois: [NEAR WINE] this custom is followed in Xen. Symp. 2. 1 erchetai tis autois epi kômon (revel) Surakosios anthrôpos, echôn te aulêtrida agathên kai orchêstrida (dancing-girl) tôn ta thaumata dunamenôn poiein kai paida panu ge hôraion kai panu kalôs kitharizonta kai orchoumenon. These show their skill during the whole banquet. Plato, however, has the same view as the one here, when he says Symp. 176 e eisêgoumai tên men arti eiselthousan aulêtrida chairein ean, aulousan heautêi, ê an boulêtai tais gunaixi tais endon, hêmas de dia logôn allêlois suneinai to têmeron

Eph. 5:19 Speaking to yourselves in psalms and hymns and spiritual songs,
        singing and making melody in your heart to the Lord;
Eph. 5:20 Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ;
Eph. 5:21 Submitting yourselves one to another in the fear of God.  
Alawys approved: [347d] But where the party consists of thorough gentlemen who have had a proper education, you will see neither flute-girls nor dancing-girls nor harp-girls, but only the company contenting themselves with their own conversation,
and none of these fooleries and frolics--each speaking and listening decently in his turn.
-Suneimi: To be joined with, Intercourse is II. to have intercourse with a person, live with hêdonê, desires after pleasure, pleasant lusts, voluptuosus 3. understand, x. allēlōn understand one another's language
I.  bring or set together, in hostile sense
Cano n., to produce melodious sounds, whether of men or animals; later, with a designation of the subject-matter of the melody, as v. a., to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc. B. Transf., soft, tender, delicate (poet. and in post-Aug. prose): capella (a she goat), II. Addicted to pleasure; luxurious, voluptuous; and subst., a voluptuary, a wanton. 1. Spoiled with indulgence, delicate, dainty, effeminate,
Nine Muses and the Nine Magpies: a perfect "worship team".
 ‘Oh, cease your empty songs,
 attuned to dulcet numbers, that deceive
 the vulgar, untaught throng. If aught is yours
of confidence, O Thespian Deities
contend with us: our number equals yours.
We will not be defeated by your arts;
nor shall your songs prevail.-
Spoiled Pets in the Ekklesia? See Ronnie Norman Twisting Romans 14

2 Peter 2:13 And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you;

And PAY them too: that defines a PARASITE.

-Truphaô A. live softly, luxuriously, fare sumptuously
2. part. truphōn as Adj., effeminate, luxurious, Ar.Nu.48, etc.; “t. kai amelēs” Pl.Lg.901a; “to truphōn” effeminacy, Ar.V.1455 (lyr.)
2.revel in, LXXSi.14.4 ; delight in, .Ne.9.25. [Nehemiah called the kings-priests parasites]
A. live softly, luxuriously, fare sumptuously, of a child, leukos . Ep.Jac.5.5, Gal.6.416, etc.; paison, truphêson, zêson

paison paizô [pais] 4. to play (on an instrument),  to sport, play, jest, joke, to make sport of one, mock him,

III. give oneself airs, be dainty, fastidious, connected to the Polus, Spoiled pets: en tais ekklêsiais t. kai kolakeuesthai, of the people, 

Psalms are poems and tend to be poetic: you have to understand forms of figurative language or be prepared to hav a "smashing in the heads of some infants" ceremony next week.

The tabulation of musical passages "contains a rather disproportionate number of metaphorical sentences, where music or its instruments are not to be understood literally but are used as similies or rhetorical figures. The most celebrated of these poetical passages is Paul's glorification of love in I Cor. 13." (Interpreter's Dict of the Bible, Music, p. 466).
DANGER OF TWISTING SCRIPTURE

All of those defending "music" in the classroom of Christ use the "psallo" words but FAIL to grasp that the word most often speaks of making war or trying to seduce the Godly into sexual perversion.
Psalmos also appears in the LXX as equivalent to the Hebrew word neginah. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praise of the Lord composed by King Hezekiah, Is 38:20 (my song).
Psa. 69:9 For the zeal of thine house hath eaten me up;
        and the reproaches of them that reproached thee are fallen upon me.
Psa. 69:10 When I wept, and chastened my soul with fasting, that was to my reproach.
Psa. 69:11 I made sackcloth also my garment; and I became a proverb to them.
Psa. 69:12 They that sit in the gate speak against me; and I was the song of the drunkards.

Psa 69:20 Reproach hath broken my heart; and I am full of heaviness: 
        and I looked for some to take pity, but there was none; and for comforters, but I found none.

Psa 69:21 They gave me also gall for my meat; and in my thirst they gave me vinegar to drink.

7219. rosh, roshe; or rowsh (Deut. 32:32), roshe; apparently the same as 7218; a poisonous plant, probably the poppy (from its conspicuous head); generally poison (even of serpents):--gall, hemlock, poison, venom.

Lam 3:11 He hath turned aside my ways, and pulled me in pieces: he hath made me desolate.
Lam 3:12 He hath bent his bow, and set me as a mark for the arrow.
Lam 3:13 He hath caused the arrows of his quiver to enter into my reins. [Mind]
Lam 3:14 I was a derision to all my people; and their song all the day.
DERISION as David rose up to play:
 7832. sachaq, saw-khak´; a primitive root; to laugh (in pleasure or detraction); by implication, to play:deride, have in derision, laugh, make merry, mock(-er), play, rejoice, (laugh to) scorn, be in (make) sport.

7833. shachaq, shaw-khak´; a primitive root; to comminate (by trituration or attrition):--beat, wear . Same base as PSALLO.

SONG of DERISION is
5058. ngiynah, neg-ee-naw´; ngiynath (Psa. 61: title), neg-ee-nath´; from 5059; properly, instrumental music; by implication, a stringed instrument; by extension, a poem set to music; specifically, an epigram: stringed instrument, musick, Neginoth (plural), song.

HERE IS WHAT THEY SAY:
Lam 3:37 Who is he that saith, and it cometh to pass, when the Lord commandeth it not?
Lam 3:38 Out of the mouth of the most High proceedeth not evil and good?

Lam 3:61 Thou hast heard their reproach, O LORD,
        and all their imaginations against me;

    2781. cherpah, kher-paw´; from 2778; contumely, disgrace, the pudenda:--
            rebuke, reproach(-fully), shame.
    2778.  charaph, khaw-raf´; a primitive root; to pull off, i.e. (by implication)
           to expose (as by stripping); specifically, to betroth, betroth, blaspheme
Job 30:8 They were children of fools, yea, children of base men: they were viler than the earth.
Job 30:9 And now am I their song, yea, I am their byword.
Job 30:10 They abhor me, they flee far from me, and spare not to spit in my face.

MAKING WAR:
-Psalmos, A. twitching or twanging with the fingers, “psalmoi toxōn” E.Ion173 (lyr.); “toxērei psalmō toxeusas” Id.HF1064
Psalmoi toxôn does not mean "sing and play a harp" WITH a bow.  Psalmoi just means pluck or twang a bow.
Apollo's Sun Chariot 2 Kings 23:11 And he took away the horses that the kings of Judah had given to the sun, at the entering in of the house of the Lord, by the chamber of Nathan-melech the chamberlain, which was in the suburbs, and burned the chariots of the sun with fire.

Phoebus' Euripides Ion [Apollo, Abbadon, Apollyon] lyre, that sings with you, [165]  would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170]  Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing [psalmoi] bow will keep you off. Will you not obey?

Phoebus is Apollo or the Apollyon of Revelation: His musical worship team are called LOCUSTS and are always dirty and adulterous ready to expose themselves.

Phorm-inx  A. lyre, freq. in Hom., esp. as the instrument of Apollo. 2. ph. achordos, metaph. for a bow, Arist.Rh.1413a1.

psalmoi s' eirxousin toxôn. ou peisêi; chôrôn dinais
Here psalmoi means just SINGING. Melody is aoide meaning "beautiful singing."

Here the singing is something the BOW does which is not tuneful.
MAKING WAR AGAINST THOSE JESUS DIED TO GIVE REST
 “toxērei psalmō toxeusas” [Furnished with the Bow]  +  [Twitching with the fingers] + [Shoot with the bow]
tox-ērēs 2. = toxikos, t. sagē Id.HF188; t. psalmos the twang of the bowstring, ib.1063 (lyr.).
-Eur. Her. 188 [180] and with gods uplifted the glorious triumph song; or go to Pholoe and ask the insolent tribe of four-legged Centaurs, you craven king, ask them who they would judge the bravest of men; will they not say my son, who according to you is but a pretender? [185] Were you to ask Euboean Dirphys, your native place, it would not sing your praise, for you have never done a single gallant deed to which your country can witness. Next you disparage that clever invention, an archer's weapon; 

-Eur. Her. 1042
Chorus Is he sleeping?

Amphitryon Yes, he is sleeping, a deadly sleepless sleep, having slain wife and children with the arrows of his twanging bow.

-Eur. Rh. 226
Chorus
Lord of Thymbra and of Delos, who haunt [225] your temple in Lycia, Apollo, O divine head, come with all your archery, appear this night, and by your guidance save this man, [230] and aid the Dardanians, O almighty god whose hands in days of old built the walls of Troy.
-Pulso  to push, strike, beat, Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon,, A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet, C.To drive away, remove, put out of the way, D. To injure, insult: pulsatos infecto foedere divos, of treason

-Pello   1. To drive out or away, to thrust or turn out, expel, banish; esp. milit., to drive back, discomfit,
 “exsules tyrannorum injuriā pulsi,” driven out, banished, Liv. 34, 26, 12
2. In milit. lang., to rout, put to flight, discomfit:
4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown,
MAKING WAR AGAINST GOD'S PEOPLE

Eph 6:12 For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.

We do NOT wrestle against flesh and blood: 

Pale (g3823) pal'-ay; from pallo, (to vibrate; another form for 906); wrestling: - / wrestle 

-Pallô, poise, sway a missile before it is thrown, sway, brandish, she drove it furiously, tripped on the shield-rim, quiver, leap, esp. in fear, II. Pass., swing, dash oneself, Pi.N.5.21; vibrate, of strings, Pl.Phd.94c (psalloito ap. Stob.);Pl.Phd.94c (psalloito ap. Stob.);  leap, bound, quiver, quake, phrena deimati pallôn S.OT153 (lyr.); dash along, of horses, E.El.477 (lyr.).  

Euripides, Bacchae: Already like fire does this insolence of the Bacchae blaze up, a great reproach for the Hellenes. [780]  But we must not hesitate. Go to the Electran gates, bid all the shield-bearers and riders of swift-footed horses to assemble, as well as all who brandish the light shield and pluck bowstrings with their hands, so that we can make an assault against [785]  the Bacchae. For it is indeed too much if we suffer what we are suffering at the hands of women.

Pi.N.5.21   Pindar, Nemean 5.

[15] how indeed they left the glorious island, and what divine power drove the brave men from Oenone. I will stop: it is not always beneficial for the precise truth to show her face, 
  •     and silence is often the wisest thing for a man to heed. [19]
  •     But if it is resolved to praise wealth, or the strength of hands, or iron war,
[20] let someone mark off a long jump for me from this point. I have a light spring in my knees, and eagles swoop over the sea. The most beautiful chorus of Muses sang gladly for the Aeacids on Mt. Pelion, and among them Apollo, sweeping the seven-tongued lyre with a golden plectrum,  [25] led all types of strains. And the Muses began with a prelude to Zeus

There joyful bands welcome the god with the cry of reed-pipes, and contend with the bold strength of their limbs.[40] The fortune that is born along with a man decides in every deed.  And you, Euthymenes from Aegina, have twice fallen into the arms of Victory and attained embroidered hymns.

Canto: III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm, cantata Luna, exorcised by magic, ignis, -Cantus With instruments, a playing, music: in nervorum vocumque cantibus,  “citharae,, horribili stridebat tibia cantus
2. “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,” Hor. C. 3, 7, 30:
B.  An incantation, charm, magic song, etc.: cantusque artesque magorum. Ov. M. 7, 195

    -Incentor, one who sets the tune or begins to sing, a precentor, singer, . Lit.: “carminis,” Paul. Nol. Carm. 15, 32:     “incentore canam Phoebo Musisque magistris,”[Phoebe=fear=Apollo or Abaddon]
     I. Trop., an inciter, exciter: “igneus turbarum,” Amm. 15, 1, 2: “civilis belli,” Oros. 5, 19: “rebellionis totius,
-Magicus, belonging to magic, magic, magical. superstitiones, vanitates, that were invoked by incantations
“vanitates,” Plin. 30, 1, 1, § 1: “herbae,” id. 24, 17, 99, § 156:
 “cantus,” Juv. 6, 610: “magicae resonant ubi Memnone chordae,” mysterious, id. 15, 5.
-linguae= skilled in incantations, cantus, magicae resonant ubi Memnone chordae, mysterious
A. Since the tongue is an organ of speech, a tongue, utterance, speech, language:

-rĕ-sŏno , theatrum naturā ita resonans, ut, etc.,” Cic. Q. Fr. 1, 1, 14, § 42:
to send forth a roaring noise “spectacula plausu,” id. ib. 10, 668: “avibus virgulta canoris,” Verg. G. 2, 328: “arbusta cicadis,” id. E. 2, 13. [THE LOCUSTS]
choes to the voice, Hor. S. 1, 4, 76; cf.: carmina resonantia chordis Romanis, to the strings,
Eze.13:6 They have seen vanity and lying divination, saying, The Lord saith: and the Lord hath not sent them:
MAKING A METAPHOR:
or metaphor Send forth a hymn
3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, t. humnous Pi.I.2.3 hath shot arrows in vain, E.Hec.603
Pindar Isthmian 1.2.[1] The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite [ZOE] on her lovely throne. [6] For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore.

Pindar, Odes Isthmian Odes Pi.I.5(4).47; My swift tongue has many arrows, to shout the praises of these heroes.

"And Sophia and Zoe caught him up and gave him [jehovah] charge of the seventh heaven, below the veil between above and below. And he is called 'God of the forces, Sabaoth', since he is up above the forces of chaos, for Sophia established him. Jehovah made himself a huge four-faced chariot of cherubim, and infinitely many angels to act as ministers, and also harps and lyres.

"Between the more known, near the Sumerians, the goddess Ereshkigal; the goddess Inanna, associated with the winged lion, or while subjugating the lion [of the tribe of Judah], having assumed on themself the wings; near the Hittites, Hebat, spouse of Teshub, represented like a matrona, up on her sacred animal, the lion; the lunar goddess Shaushka (identified with Ishtar, IIIth dynasty of Ur, accadic period, approximately 2350 BC)
        "Erotic dance was a sacred ritual in ancient Egypt, common in fertility rituals and sex magick. The most famous was the erotic dance of the priestesses of Het Heret [whom the Greeks called Hathor], but also common in the temples of Bast, Aset [Isis], and Nuit.

The meaning of 'Eve' is disputed. Hawwah is explained in Genesis III. 20 as 'mother of all living'; but this may well be a Hebraicized form of the divine name Heba, hebat, Khebat or Khiba. The goddess, wife of the Hittite Storm-god, is shown riding a lion in a rock-sculpture at Hattrusas--which equates her with Anath--and appears as a form of ishtar in Hurrian texts.

She was worshipped at Jerusalem (see 27.2). Her Greek name was Hebe, Heracles's goddess-wife.   
THE SECONDARY WAYS IT IS USED

SECOND: Psal-mos way the word is used: not what it meant:
II. mostly of musical strings, pêktidôn psalmois krekon humnon

GOD IS NOT STUPID: IF HE WANTED YOU TO PLAY A HARP AND HYMN HE WOULD HAVE TOLD YOU SO.
Pêktidôn psalmois krekon humnon
Pêktidôn  Pêktis
I. an ancient harp used by the Lydians, Hdt., etc.; played with finger (not plēktron),
2. shepherd's pipe, Pan's pipes, APl.4.244 (Agath.); epi kheilesi surōn p.

II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx),   surinx 2. cat-call, whistle, hiss, as in theatres,  
    surigmos:--the last part of the nomos Puthikos was called suringes,
    prob. because it imitated the dying hisses of the serpent Pytho
NOMOS or singing the LAWS of Apollo (Apollyon etal) is the ONLY definition of LEGALISM. That is because you use machines for doing HARD WORK or creating the shock and awe which is hallucinated as "worship."
Psalmois twitching or twanging with the fingers
Krekon Krekô , A. weave, 
2.  strike a stringed instrument with the plectron, “magadin” Diog.Ath.1.10; “barbita” D.H.7.72: generally, play on any instrument, “aulon” Ar.Av. 682 (lyr.): less freq.c.dat., “krekein donaki” APl.4.231 (Anyte): c. acc. cogn., “pēktidōn psalmois k. humnon” Telest.5; “lōtos ōdan krekei” Pae.Delph.12; “en kithara nomon ekrekon” AP9.584.

humnos , ho,
“ho kuriōs hu. pros kitharan ēdeto hestōtōn
DENOTING ONLY THE SOUND OF PLUCKING YOUNG BOYS ETC.

THIRD: 2. the sound of the cithara or harp, “psalmos d' alalazei” there were contests in to psallein,
-Alal-azô (formed from the cry alalai): --raise the war-cry shout the shout of victory, nikên alalazein
2. generally, cry, shout aloud, Pi.l.c.,  E.El.855; esp. in orgiastic rites, of Bacchus and Bacchae,  E.Ba.593 (in Med.), 1133, etc.; ôloluxan hai gunaikes, êlalaxan de hoi andres Hld.3.5 .

II. rarely also of other sounds than the voice, sound loudly, psalmos d' alalazei; kumbalon alalazon 1 Ep.Cor.13.1 

T. Maccius Plautus, Miles Gloriosus, or The Braggart Captain
Now I will disclose to you both the subject and the name of the play which we are just now about to act, and for the sake of which you are now seated in this mirthful place , "Alazon" is the name (86)

This city is Ephesus; then, the Captain, my master, who has gone off hence to the Forum, a bragging, impudent, stinking fellow, brimful of lying and lasciviousness, says that all the women are following him of their own accord. Wherever he goes, he is the laughing stock of all; and so, the Courtesans here--since they make wry mouths at him, you may see the greater part of them with lips all awry Alazon is the name:
Jesus likened the MEN to CHILDREN in the marketplace piping trying to get others to sing (lament) and dance.
Alazôn, "the boaster," he says, was the Greek name of the play. It is not known who was the Greek author from whom Plautus took this play, which is one of his best.
How better utterly condemn musical instruments associated with pagan women?
1 Cor 13:1 THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.
      Alalazo (g214) al-al-ad'-zo; from alale, (a shout, "halloo"); to vociferate, i.e. (by impl.) to wail; fig. to clang: - tinkle, wail
Mk.5:38 And he cometh to the house of the ruler of the synagogue, and seeth the tumult, and them that wept and wailed greatly.
FOURTH: 3. later, [This ONLY defines how the word is used: not a definition]
a. song sung to the harp, [Psalmus does not INCLUDE the harp unless NAMED]
A song sung TO a harp means that you twang the string then seek to imitae that sound: this identifies mose uses of an instrument which was imitated but never to TEACH. Here is where the musical imposers have to go for evidence for point 
Is. 23:15 And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot.

Here is how a harlot sings:
Is. 23:16 Take an [1] harp, go about the city, thou harlot that hast been forgotten; make sweet [2] melody, [3] sing many songs, that thou mayest be remembered.
b. psalm, LXX 2 Ki.23.1, XXIII. Now these are the last words of David. David the son of Jesse says, The man who was raised on high says, The anointed of the God of Jacob, 
c. The sweet psalmist of Israel: [2] The Spirit of Yahweh spoke by me, His word was on my tongue
al., Ep.Eph.5.19 Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord;

Speak is the opposite of poetry or music which intends to deceive.
d. biblos psalmôn
Ev.Luc.20.42 . And David himself saith in the book of Psalms, The Lord said unto my Lord, Sit thou on my right hand,

That is why Paul commanded "plucking your heart strings" which was a common statement.

Tom Burgess etal appeal to Plutarch to prove that PSALLO meant to "Pluck the harp."  However, psallo never means more that PLUCK and in this case Alexander the Great was plucking the harp to seduce a young man--he DID die a mysterious death.

Plutarch, Lives (ed. Bernadotte Perrin) [4] Such objects are to be found in virtuous deeds; these implant in those who search them out a great and zealous eagerness which leads to imitation.

In other cases, admiration of the deed is not immediately accompanied by an impulse to do it. Nay, many times, on the contrary, while we delight in the work, we despise the workman, as, for instance, in the case of perfumes and dyes; we take a delight in them, but dyers and perfumers we regard as illiberal and vulgar folk. [5]

Therefore it was a fine saying of Antisthenes, 
         when he heard that Ismenias was an excellent piper:
        "But he's a worthless man," said he, "otherwise he wouldn't be so good a piper."
And so Philip once said to his son, who, as the wine went round,
        plucked the strings charmingly and skilfully,
        "Art not ashamed to pluck the strings so well?"
It is enough, surely, if a king have leisure to hear others pluck the strings, and he pays great deference to the Muses if he be but a spectator of such contests.
Again, notice the many ways the word is USED but never defined.

1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing to the music of the harp
d) in the NT to sing a hymn, to celebrate the praises of God in song

 EXAMPLES FROM THE LITERATURE: TOUCH OR HANDLE OF MUSICAL WORSHIP MINISTERS

Euripides Bacchae.

775   "Already, look you! the presumption of these Bacchantes is upon us, swift as fire, a sad disgrace in the eyes of all Hellas. No time for hesitation now! away to the Electra gate! order a muster of all my men-at-arms, of those that mount fleet steeds, of all who brandish light bucklers, of archers too that make the bowstring twang; for I will march against the Bacchanals. By Heaven this passes all, if we are to be thus treated by women."

psallousi neuras, hôs epistrateusomenbakchaisin: ou gar all' huperballei tade,
ei pros gunaikôn peisomesth' ha paschomen.

Psallous to touch sharply, to pluck, pull, twitch
neura , A.string or cord of sinew, in Ep. usu. bowstring,

Bakchê , A. Bacchante frantic handmaid of Hades. mainas, ados, ( [mainomai] ) A.raving, frantic, lussa v. l. in S.Fr.941.4; bakchêE. Ba.915 . 2. as Subst., mad woman, [of Corinth]

[912] DIONYSUS [God of the New Wineskinners]

Ho! Pentheus, thou that art so eager to see what is forbidden, and to show thy zeal in an unworthy cause, come forth before the palace, let me see thee clad as a woman in frenzied Bacchante's dress, to spy upon thy own mother and her company.

Enter PENTHEUS. Yes, thou resemblest closely a daughter of Cadmus.

PENTHEUS (already frenzied) Of a truth I seem to see two suns, and two towns of Thebes, our seven-gated city; and thou, methinks, art a bull going before to guide me, and on thy head a pair of horns have grown. Wert thou really once a brute beast? Thon hast at any rate the appearance of a bull.
[977] CHORUS  [Look ot the Hills]
To the hills! to the hills! fleet hounds of madness, where the daughters of Cadmus hold their revels,
goad them into wild fury
against the man disguised in woman's dress, a frenzied spy upon the Maenads.
And so the MOTHER OF THE GODS or the Mother of Harlots uses then abuses speakers, singers and instrument players.
ONCE YOU GRASP THAT PSALLO IS FIRST DEFINED AS REAL OR "SACRED VIOLENCE" THERE IS NO COMFORT.  Before moving beyond redemption it is important not to lie about how the word is used in violent context.  Click for context below.

Lynn Anderson is quoted by Rubel Shelly to prove that he has new spectacles through which he gets a new image or vision of the church for their culture.

Huxley notes that After taking the pill:

"The change which actually took place in that world was in no sense revolutionary. Half an hour after swallowing the drug I became aware of a slow dance of golden lights. A little later there were sumptuous red surfaces swelling and expanding from bright nodes of energy that vibrated with a continuously changing, patterned life. At another time the closing of my eyes revealed a complex of gray structures, within which pale bluish spheres kept emerging into intense solidity and, having emerged, would slide noiselessly upwards, out of sight. But at no time were there faces or forms of men or animals. I saw no landscapes, no enormous spaces, no magical growth and metamorphosis of buildings, nothing remotely like a drama or a parable. The other world to which mescalin admitted me was not the world of visions; it existed out there, in what I could see with my eyes open. The great change was in the realm of objective fact. What had happened to my subjective universe was relatively unimportant.

Lynn Anderson: The mind-set of the times threatens to strip our faith of symbols, rituals, dramas, mystery, poetry, and story, which say about life and God what logic and reason and rationalism can never say. See Volkism

However, Altered Consciousness:

A key component of the Gnostic experience is the alteration of consciousness. Because the Gnostic is subjectively driven,

the perception of God becomes something that hinges on feelings rather than faith.
In order to improve upon the feelings, the use of additional mechanisms to create moods,
........... especially the use of music, is frequently brought in. (van der Merwe, p. 90-91, Strange Fire)

Lynn Anderson: Sounds right to me, Mr. Huxley! Something like this can happen to faith as well. The rational, informational, and linear-sequential worlds of productivity tend to dominate in our lives these days.

Consequently, the rest of our worlds suffer neglect, and we are losing touch with much of what it means to believe.

The rest of the story told by Huxley includes just this:

"Abused as we abuse it at present, dramatic art (preaching) is in no sense cathartic; it is merely a form of emotional masturbation. It is the rarest thing to find a player who has not had his character affected for the worse by the practice of his profession.

Nobody can make a habit of self-exhibition, nobody can exploit his personality for the sake of exercising a kind of hypnotic power over others, and remain untouched by the process. From Source

Many pagan and and voodoo-derived churchy singing has the purpose driven to make the Spirit come. This was mothered by the Wimbers of the Vineyard and imitated by the New Wineskins.

Lynn Anderson is still honored for his Life's work and used at Lipscomb University. In 2008 the focus was on professional musicians and the training of Musical Worship Ministers--the ultimate oxymoron and repudiation of direct commands, approved examples and necessary inferences to anyone who understands that ekklisia means synagogue which means "a school of the Bible--only."  Vocal and instrumental rejoicing was outlawed for the church in the wilderness as destructive to the Holy Convocation and an insult to God and His words.
Lynn Anderson was used for Jubilee 99 to justify "worship" as the role of the church and to "facilite" the public laying on of hands.

Lynn Anderson and Holy Entertainment Jubilee 99
Neo- Pagan Parallels: Lynn Anderson
Lynn Anderson Shepherding
Dancing on the Rim
Click to see that: ALL musical terns and names of instruments are derived from sorcery or making war.  I have posted one such connection which will continue with other words?

A. Enteinô, A. stretch or strain tight, esp. of any operation performed with straps or cords,

B. 2. stretch a bow tight, bend it for shooting, A.Fr.83, cf. E.Supp.886: metaph., kairou pera to toxon e. ib.745:—Med., bend one's bow, Id.IA549 (lyr.), X.Cyr.4.1.3:—Pass., toxa entetamena bows ready strung, Hdt.2.173, Luc.Scyth.2: hence, com., “kentron entetatai” is ready for action, Ar.V.407.
b. of the strings of the lyre, “tēs neatēs entetamenēs”

II. metaph., strain, exert, “tas akoas” Polyaen.1.21.2; “heauton” Plu.2.795f:—Med., “phōnēn enteinamenos” Aeschin.2.157; enteinamenoi tēn harmonian pitching the tune high, Ar.Nu.968:—Pass., prothumoi kai entetamenoi eis to ergon braced up for action, X.Oec.21.9;
V. 2. esp. put into verse, “e. tous Aisōpou logous” Id.Phd. 60d; “e. eis elegeion” Id.Hipparch.228d; “tous nomous eis epos” Plu.Sol. 3; “epesin e. tēn parainesin” Jul.Or.6.188b; set to music, “poiēmata eis ta kitharismata” Pl.Prt.326b:—Med., “Ithakēn eneteinato . . Omēros ōdēsin”

THERE IS NOTHING LIKE THIS IN THE BIBLE:

You will have to use your head to follow this. 

"All of these forms have relevance to Achilles, who was placed upon a fire to remove his mortal impurities, who was a renowned singer and harpist, and who was skilled with a bow. (Ironically, he was killed by a bolt directed by Apollo from the bow of Alexander.) The twanging of the bowstring suggests the sound of the harp string and the singing of the clear, high pitched voice of the youth.

I have added Part Two which will do the RECYCLE from the beginning-time Satanic attack in the garden of Eden to the end-time attack John called the Mother of Harlots using "lusted after fruits" as performance preachers, singers and instrument players. John calls the Sorcerers as does most recorded history of evil people using music to "silence the voice of the victim."  Being "sacred violence" is proven by all of the PSALLO related words which we have just illusted: nevertheless it it VIOLENCE of men who have sold out to Satan and know it.

THE SIGHT AND SOUNDS OF LYING WONDERS

Only God knows why such evil has broken out like "lying wonders" suddenly and spreading to most Bible-based religions.
2 Thess 2:7 For the mystery of iniquity
           doth already work: only he who now letteth will let,
           until he be taken out of the way.
-mustēri-on 2. Of Antichrist, Vulg. Apoc. 17, 5: mysterium iniquitatis, id. 2 Thess. 2, 7
4. secret revealed by God, i.e. religious or mystical truth,

2 Thess 2:8 And then shall that Wicked be revealed,
          whom the Lord shall consume with the spirit of his mouth,
..........and shall destroy with the brightness of his coming:

Iniquitas: B. Inequality, of weight: ponderis, App. M. 7, p. 195, 38  Pondus Phortos
unreasonable harshenss, injustice operis, OPUS
    Working, latin operatio I. a working, work, labor, operation ( A. A religious performance, service,
    or solemnity, a bringing of offerings: operationes denicales, offerings,

-Phortos ,  A. load, freight, cargo,  epoiêsanto i, prodedomai [pay in advance], phortos gegenêmai, Call.Fr.4.10P.; ph. erôtos, II. Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.

Poieô, 3. of sacrifices, festivals, etc., celebrate, 4. after Hom., of Poets, compose, write, b.represent in poetry, myths, burdens or songs.  Epodos
also tōn ta kerea . . hoi pēkhees poieuntai the horns of which are made into the sides of the lyre, Hdt.4.192 

Girard: 5.4.2 Behind the anthropological predilections against the victim's perspective, there is a very practical, quasi-historical reason: namely, the victim is shunned and often killed. In the ancient world, the role of music during ritual sacrifice was often to drown out any cries from the victim. (45) It is crucial that the victim not be heard. The practical mechanics of making victims means that it is unusual for the victim's perspective to survive. In the world of ancient ritual it was probably impossible.

45. The Greek verb myo means to close the mouth or shut the eyes. There is debate about whether myo plays a crucial role in the etymology of other significant words such as myth, mystery, and even music.  Myth means to close ourselves to the victim and tell the tale according to the perpetrator's perspective; mystery cults are based on the silence of the victims; music derives from drowning out the voice of the victim.

2 Thess 2:9 Even him, whose coming is
          after the working of Satan with all power
          and signs and lying wonders, 

G4592 semeion say-mi'-on Neuter of a presumed derivative of the base of G4591 ; an indication, especially CEREMONIALLY or supernaturally:--miracle, sign, token, wonder.
 Semaino A MARK. SEMEIO: A MARK for AVOIDANCE.

-Terato-poios , on, A. working wonders, LXX 2 Ma.15.21

-Thaumasios 1.wonderful  “teras th. Sight Pi.P.1.26;

Pindar Odes 1: [1] Golden lyre, rightful joint possession of Apollo [Apollyon Revelation and the violet-haired Muses [Musicians Rev 18], to which the dance-step listens, the beginning [SEMI] of splendid FESTIVITY and singers obey your notes, whenever, with your quivering strings, you prepare to strike up CHORUS-LEADING PRELUDES. [5] You quench even the warlike thunderbolt of everlasting fire. And the eagle sleeps on the scepter of Zeus, relaxing his swift wings on either side, [7] the king of birds; and you pour down a dark mist over his curved head, a sweet seal on his eyelids. Slumbering, he ripples his liquid back,[10] under the spell of your pulsing notes. Even powerful Ares, setting aside the rough spear-point, warms his heart in repose; your shafts charm the minds even of the gods, by virtue of the skill of Leto's son and the deep-bosomed Muses. [13] But those whom Zeus does not love are stunned with terror when they hear the cry of the Pierian Muses, on earth or on the irresistible sea.
-Thaumatourg-eô A. = thaumatopoieô, X.Smp.7.2; work wonders or miracles, Ph.2.18,185; but ta perigeia th. 'play tricks with', of Xerxes, Id.1.674; ta tethaumatourgêmena wonderful phenomena, Pl.Ti. 80c. Parallel to Teratourgeo, Teratourga, Thaumasios 
Xenophon, Symposium VII. Then some among the rest of the banqueters kept urging Philip to go on with his comparisons, while others opposed. As the clamour rose to some height, Socrates once more interposed, saying: “Since we all want to talk, would this not be a fine time to join in singing?” And with the words he began a song. [2] When they had finished, a potter's wheel was brought in for the dancing girl on which she intended performing some feats of jugglery.  

This prompted Socrates to observe to the Syracusan: “Sir, it is quite probable that, to use your words, I am indeed a ‘thinker’; at any rate, I am now considering how it might be possible for this lad of yours and this maid to exert as little effort as may be, and at the same time give us the greatest possible amount of pleasure in watching them,—this being your purpose, also, I am sure.
BUT WASN'T THERE A PROPHECY ABOUT THAT? 
Isaiah III. For, behold, the Lord, Yahweh of Hosts, takes away from Jerusalem and from Judah supply and support, The whole supply of bread, And the whole supply of water; [2]  The mighty man, The man of war, The judge, The prophet, The diviner, The elder, [3]  The captain of fifty, The honorable man, The counselor, The skilled craftsman, And the clever enchanter. [4]  I will give boys to be their princes, And children shall rule over them

Isaiah 3.III. ecce enim Dominator Deus exercituum auferet ab Hierusalem et ab Iuda validum et fortem omne robur panis et omne robur aquae  [2] fortem et virum bellatorem iudicem et prophetam et ariolum et senem [3] principem super quinquaginta et honorabilem vultu et consiliarium sapientem de architectis et prudentem eloquii mystici

prŏphēta and prŏphētes , ae, m., = prophētēs, 
- Propheta and prŏphētes , ae, m., = prophêtês, I. a foreteller, soothsayer, prophet sacerdotes Aegyptiorum, quos prophetas vocant,” Macr. S. 7, 13, 9: “Aegyptius, propheta primarius,
Miriam and the Levites were: prīmārĭus , a, um, adj. id., I. one of the first, of the first rank, chief, principal, excellent, remarkable (class.): “primarius parasitus,”
-părăsītus , i, m., = parasitos, lit. one who eats with another; hence, I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods, Hence, parasitus Phoebi, a player, actor, Mart. 9, 29, 9.—
II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite—The tutelar deity of parasites was Hercules [homosexuals in the Jerusalem Temple], Plaut. Curc. 2, 3, 79.
Other forms:
 -Hariolus   I. a soothsayer, prophet, prophetess  Chresmodotes one who gives oracles, pophet, soothsayer
-khrēsmolog-os (parox.), on,
A. uttering oracles, “kh. anēr” soothsayer, diviner, Hdt.1.62, 8.96; of Musaeus, S.Fr.1116.
II. expounder of oracles, Hdt.7.142,143; and in 7.6, of Onomacritus, collector of oracles, oracle-monger, cf. Ar.Av.960, Pax1047, Th.2.8,21.
-Eloquium poets, and their imitators among prose writers, for eloquentia, eloquence,  Hor. A. P. 217,  uses with Ignis.
Hor. A. P. 217  -Horace poetry. Let the chorus sustain the part and manly character of an actor:
        nor let them sing any thing between the acts which is not conducive to,
        and fitly coherent with, the main design.
Let them both patronize the good, and give them friendly advice, and regulate the passionate, and love to appease thou who swell [with rage]: The flute (not as now, begirt with brass and emulous of the trumpet, but) slender and of simple form, with few stops, was of service to accompany and assist the chorus, and with its tone was sufficient to fill the rows that were not as yet too crowded, where an audience, easily numbered, as being small and sober, chaste and modest, met together.

But when the victorious Romans began to extend their territories, and an ampler wall encompassed the city, and their genius was indulged on festivals by drinking wine in the day-time without censure; a greater freedom arose both to the numbers [of poetry], and the measure [of music]. 
For what taste could an unlettered clown and one just dismissed from labors have,
                when in company with the polite;
            the base,
                with the man of honor?

Thus the musician added new movements and a luxuriance to the ancient art, and strutting backwardforward, drew a length of train over the stage; thus likewise new notes were added to the severity of the lyre, and precipitate eloquence produced an unusual language [in the theater]: and the sentiments [of the chorus, then] expert in teaching useful things and prescient of futurity, differ hardly from the oracular Delphi. and
-Delphis , Delphis, a priestess of the Delphic Apollo [Abaddon, apollyon], The Abaddon or Apollyon who uses the adulterous Muses as his worship team.
-Mysticus, mustikos -Vannus  mystica Iacchi, fan borne about in the Bacchic festival,   
See this See Strabo and the Musical Vile pervert connection

-9) Strabo Geography 10.3.13 Corybantes (Phrygian castrate priests of Cybele) in their caverns invented this hide-stretched circlet, (tambourine) and blent its Bacchic revelry with the high-pitched, sweet-sounding breath of Phrygian flutes, and in Rhea's hands placed its resounding noise, to accompany the shouts of the Bacchae, (ev-ah!) Mother and from Mother Rhea frenzied Satyrs obtained it and joined it to the choral dances of the Trieterides, (Triennial Festivals) in whom Dionysus takes delight. Bacchae And in the Palamedes the Chorus says,

Thysa, daughter of Dionysus, who on Ida rejoices with his dear mother
in the Iacchic revels of tambourines.

"This Eve, on account of her having been in the beginning deceived by the serpent, and become the author of sin,
the wicked demon, who also is called Satan,
who then spoke to her through the serpent,
and who works even to this day
in those men that are possessed by him
invokes as Eve." (Theophilus, p. 105)
Boys: -Effemino II.Trop., to make womanish, effeminate, to enervate, A.Womanish, effeminate,
“furialis illa vox, religiosis altaribus effeminata,” Cic. Planc. 35, 86:
“effeminata et enervis compositio,” Quint. 9, 4, 142;
            histrio,stage-player, actor, mimus, boaster, used with
            Scaena, 1. Of a place like a scene of a theatre, school of rhetoric, display of eloquence.
            
Paul outlawed this as the Latin self-pleasure.

B. In mal. part., that submits to unnatural lust: “pathicus,” Suet. Aug. 68; Auct. Priap. 58, 2; Vulg. 3 Reg. 14, 24 al.—Adv.: effēmĭnāte , effeminately (acc. to A.), Cic. Off. 1, 4 fin.; Sen. Cons. ad Polyb. 36; Val. Max. 2, 7, 9.  Cinaedos: a sodomite, catamite, one who dances publicly

Matt. 11:8 But what went ye out for to see? A man clothed in soft raiment? behold, they that wear soft [Catamites] clothing are in kings’ houses.
 Matt. 11:16 But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows,
Matt. 11:17 And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented
Part Two to EXPOSE all of the people promoting theatrical performance (the hypocritic art) to finance the "ministry team" (Scribes and Pharissees.)
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