Musical Worship Leaders, because of the
misinterpretation of certain scripture from the book of Psalms see Ps
100:4... place burden on a hearer..especially those who have a deeply
wounded spirit. It's not
fair! It's an
assault! It's not fair! The following e-mail gives great insight into those
deliberately loading churches down with almost-catastrophic burdens
in order to make them over in the image of Rest.
See how MUSIC is the laded burden by the unlawful
clergy
See how Jesus died to give us rest.
See how this REST is directed primarily to stopping
the preaching, singing and music.
Hi Kenneth.
Well I've printed out one of
your articles Musical Paradigm - Covenant
of Grace - Law of Moses to read. What
amazes me is the sheer quantity of the articles you have written! I
pray that I will have time to pen some thoughts about your work. In
the meantime I find your articles very challenging and
inspiring.
I received a brief newsletter
from Freedom Ministries today saying that they have a link now to a
website about the 'rock opera' "Jesus Christ Superstar". Thought you
might like to know about that. The music to that rock opera, each
time I hear a snippet of the 'music' from it grieves me terribly (to
the anxiety point..), and always has done, not that I give it any
creedence but music has
the way to affect the soul whether or not one is 'passive' to it, trying to
ignore it, or actively involved with it..taking it in.
One observation I have made
with my 4 and a half
year old, Jane. I
noticed that when she has watched a children's movie on the tv (she
saw one on cable tv recently) with songs, and I have noticed this
especially with Disney films, that when the very heart rending song
comes up Jane says, "I don't want to watch this movie any more". For
the music has affected her soul and brought her to the anxiety point where she is made to
feel those tragically poignant feelings imposed upon her by the producers of the movie.
And it reminded me of the exact same feelings I had as a child..only
in this new generation there's a lot more of it out there in media
land. Upon hearing the slow ballads full of 'heart' and 'soul' she
wouldn't be
consoled and wouldn't
continue to watch the movie. I don't blame her..
Now I realise the same
sensations take place with people when the 'worship leaders' are
'sensing' (in a corrupt soulish sense) the change from the 'praise'
(singing and clapping) to the 'worship' (slow and meaningful heart
and soul stuff) - because of the misinterpretation of certain
scripture from the book of Psalms see Ps 100:4. It places such a
burden on a hearer..especially those who have a deeply wounded
spirit. It's not
fair! It's an
assault! It's not fair!
I'm all for liberty these
days.
Anyway Ken, here's that url for
the abovementioned:
http://homepages.jireh.co.uk/~freemin/superstar.htm
See you later. Dianna
Dianna knows that music
performed upon
you is a change agent which creates anxiety to "drive you to the
edge" to prove that the worship facilitor (manipulator) had "brought
you into the presence of God." She, like at least 15% of the urban
worlds population lives close to the edge of catastrophe and it takes
very little created
excitement to make her
run for her life and the spiritual and emotional life of her child.
Even a four-year old knows more than many of our change agents.
Many others can move easily
between "Woodstock" and "Churchrock." They can listen to rap, rock
and religious and get on a literal "drug high" and never know that
they have been "injected." However, they do not feel the pain because
they live in the middle of the "table" of emotional stability and do
not know that the very cells and chemicals of their body have been
altered to do more harm than good. They are driven close to
disequilibrium but not over the edge because they have a reserve of
chemicals in their bodies.
Some music has been proven to
be calming. Classical music, for instance, is closely tied together
and may soothe some people. A single, pure tone, is often used in
theraphy. The pure tone is seen in the religious world by unison
singing.
However, Jesus came to take the
mind manipulators (worship facilitators) off our back and invited us
to "come apart" by the still, quiet waters where lambs can feed. He
said:
Come unto me all ye
that labor
and are heavy
laden, and I will give
you rest. Matthew 11:28
The Burden He removed is the
burden Lynn Anderson and the musical worshipers try to lay on the
congregation even if it takes a long time and a lot of dangerous
plotting:
Phortizo (g5412)
for-tid'-zo; from 5414; to load up (prop. as aa vessel or animal),
i.e. figurative (of Lynn's Change Agentry) to overburden with
ceremony (or spiritual anxiety): - lade, be heavy laden.
The peace and load-lifting
Jesus died to give the least of us was:
Anapauo
(g373) an-up-ow'-o; from
303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain);
by impl. to refresh: - take ease, (give, take) rest.
Flying in the face of even
basic Biblical knowledge, turning away from Christ and turning to
secular, commercial methods of change agentry which the boss uses to
force the workers to produce more product for their pay, Lynn
Anderson, a successful agent and merchant of commercial change, in
Navigating the Winds of
Change, disputes the
teaching and model of Jesus, as Full Deity, and steams full-speed
ahead to show how one who is held in more esteem than either Jesus or
His Words, writes his new-found, marketable formul.
He quotes Webster to define
disequilibrium as "a state of emotional or intellectual imbalance."
He loves disequilibrium, contra Jesus, and confesses: "Somewhere along the way, I cooked up a little
antibiotic for disequilibrium: two facts and stratiges. He has found
a drug to kill the destructive bug he loves to
feed:
Fact
one
"Change does not come without
disequilibrium. (To destroy the balance)
Fact two
"People cannot endure sustained
disequilibrium! Here is where most eye-on-the-goal, can't
-wait-for-the-plodders style of change agents mess up. They push
people into acute disequilibrium and hold
them there till an explosion comes. So, what to do! (Note: who gave
preachers the authority to do that???)
Strategy
one (Paul would call it fooling the fools
who love to be fooled)
"Weave! Alternate between
safety and disequilibrium.
Teach new ideas a
while, stretching your church out beyond comfort zones and into fresh
thinking...
then back off! Talk
about familiar and safe things for a while.
Then, move back out to the
cutting edge
again.
Weave out and in - weave out with new
ideas,
then weave back in with talk of comfortable things.
Then weave out again by implementing new practices;
then weave back to some
old practices that we feel safer.
Weave! Two steps forward and one step back.
"Why would a change agent act
so dishonestly unless he is trying to introduce new ideas which have
no Biblical basis??
Strategy
two
"Employ prayerful brinkmanship!.. ("To the brink of war. The policy of
pursuing a hazardous course of action to the brink of catastrophe."
Webster) I dare not lead a church along the brink unless I am very
much in touch with the feelings of those people."
"No, Lynn, you have just said
that you are going to strong-arm the people to go where no Bible
student would dare to go!
Lynn Anderson,
Navigating the Winds of Change, 172-173 (Designated change agent for
Jubilee 99)
"Another Agent of Change notes
that:
"You can't have revival without
stirring up the flesh....When revival comes you will see
manifestations of these three things in meetings: (1) the Holy
Spirit; (2) the flesh, and (3) the devil. But, I'd rather be in a
church where the devil and the flesh are manifesting than in a church
where nothing is happening because people are too afraid to manifest
anything...Don't worry about it. And if a devil manifests, don't
worry about that, either. Rejoice, because at least something is
happening!" Rodney Howard-Browne
To see how this is identical
to the practices of witchraft as a means to convert and effeminize
the worship circles, Click
Here.
Romans 14 defines the sects in
Rome which divided over dietary practices but were united in pleasing
one another with musical practices.
Paul excludes these practices
from "disputation" or subjects of dialog for the assembly. In Romans
15 Paul defines the 'synagogue' as the word he usually used for
gathering or assemblying. This was the direct command for the
synagogue or church in the wilderness and the more formalized
synagogue "which had no praise service." This was exampled by Jesus,
directly commanded by Paul and followed by the early churches for
almost 400 years before anyone added singing as an ACT of
worship.
But as we were
allowed of God to be put in trust with the gospel, even so we speak; not as pleasing men,
but God, which trieth our hearts. 1 Thess 2:4
For neither at any
time used we flattering
words, as ye know, nor
a cloke of covetousness; God is witness: 1 Thess 2:5
Nor of men sought we glory, neither of you, nor yet of others,
when we might have been
burdensome, as the
apostles of Christ. 1 Thess 2:6
For ye remember,
brethren, our
labour and travail: for labouring night and day, because we would not
be chargeable unto any of you, we preached unto you the
gospel of God. 1 Thess 2:9
This SELF PLEASING as opposed
to pleasing FOR EDUCATION is well documented in the Greek
literature:
Areskos
A. pleasing, mostly in bad sense, obsequious, cringing,
Arist.EN1108a28, 1126b12, Thphr.Char.5.1.
II. areskos, ho, the staff borne by
pornoboskoi [brothel keeper] on the stage,
Poll.4.120.
Arist.EN1108a28
Aristotle, Nicomachean Ethics book 2
[12] In respect of truth then, the middle character may be called
truthful, and the observance of the mean Truthfulness; pretence in the form
of exaggeration is
Boastfulness, and its possessor a boaster; in the form of
understatement, Self-depreciation, and its possessor the
self-depreciator.
The
hypocrites:
hupokrinô reply,
make answer, of an oracle, 2. expound, interpret, explain [Peter outlawed this as private interpretation.]
2. deliver a speech,
declaim, of orators
and rhetoricians, represent dramatically, erôtikôn dramatôn 3. of an orator, use histrionic arts, exaggerate,
One of the roles
was as canto I. Neutr., to produce melodious sounds (by the voice or an instrument),
to sound, sing, play (class. in prose and poetry; to sing and play
while the actor accompanies the song with gestures or dancing, C.
Transf., of instruments, to sound, resound:
[13] In respect of pleasantness and social
amusement, the middle character is witty and the middle
disposition Wittiness; the excess is Buffoonery and its
possessor a buffoon; the deficient man may be called boorish,
and his disposition Boorishness. In respect of general
pleasantness in life, the man who is pleasant in the proper
manner is friendly, and the observance of the mean is Friendliness;
he that exceeds, if from no interested motive, is obsequious, if
for his own advantage, a flatterer; he that is deficient, and
unpleasant in all the affairs of life, may be called quarrelsome and
surly.
Aristotle, Nicomachean Ethics book 4
VI. In society and the common life and intercourse of conversation
and business, some men are considered to be Obsequious; these are
people who complaisantly approve of everything and never raise
objections, but think it a duty to avoid giving pain to those which
whom they come in contact. [2] Those on the contrary who object to
everything and do not care in the least what pain they cause,
are called Surly or Quarrelsome
Aresko (g700) ar-es'-ko; prob. from
142 (through the idea of exciting emotion); to be agreeable (or by impl. to seek
to be so): - please.
Airo (g142) ah'ee-ro; a prim. verb;
to lift; by impl. to
take up or away; fig.
to raise (the voice),
keep in
suspense (the mind);
spec. to sail
away (i.e. weigh
anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up),
carry, lift up, loose, make to doubt, put away, remove, take (away, up).
This had the
same meaning of EXTERNAL SINGING:
Aoidê 1. art
of song, autar aoidên thespesiên, spell,
incantation, thing sung, song, whether of joy or sorrow,
Aeidô sing,.hence of all kinds of vocal
sounds, crow as
cocks, hoot as owls, croak as frogs,;
hoi tettiges chamothen
aisontai, crowing too soon.
The tettiges are the LOCUSTS
which are the MUSES serving Apollo, Abaddon or Apollyon in
Revelation. In Revelation 18 John calls all of the singers,
instrumentalists and craftsmen SORCERERS.
Thespesios divinely
uttered or uttering (thespesiêi,
'by DIVINE decree,' Il. 2.367), divine; aoidê, Il. 2.600;
Seirênes, 'heavenlysinging,' Od.
12.158 ; bêlos, 'of
heaven,' Il. 1.591; then of anything
prodigious, vast, wondrous, mighty, a storm, clamor, panic,
etc.--Adv., thespesiôs, Il. 15.637. [p. 138]
Aoidos (
[aeidô] ) singer, minstrel, bard,
2. fem., SONGSTRESS, poludris a.
Id.15.97 ; of the nightingale, Hes.Op.208;
of the Sphinx, S.OT36, E.Ph.1507 (lyr.); aoidos MOUSA (muses of Revelation
18)
3. ENCHANTER
II. as Adj., tuneful, musical,
aoidotatan
ornitha E.Hel.1109 (lyr.), cf. Theoc.12.7, Call.Del.252,
IG12(2).443.
YOU DON'T GET A PERSONAL
OPINION ABOUT A FAITHFUL ASSEMBLY
Areskô I. of
pers. only, make good, make amends, spondas theois aresasthai make full drink-offerings to the gods, please, satisfy, be Lord and Master.
IV. areskei is used impers. to express
the opinion or resolution of a public
body, also of
prevailing opinions; ta areskonta the dogmas of philosophers
please, satisfy,
despozô 2. c. gen., to be lord or master of,
h.Cer.365, Hdt.3.142 as law-term, to be the legal
proprietor,
Heredotus
3. I always
disliked it that Polycrates or any other man should lord it over men like himself. Polycrates has fulfilled
his destiny, and inviting you to share his power I proclaim
equality.
You don't TAKE A VOTE and
you don't PERFORM entertainment and you DO NOT let philosophers into
your assemblly
Changes against the will of the
old "urban" brethren will not happen by writing books and teaching
classes. Notice that Lynn Anderson, who will impliment at Jubilee 99, first taught
to the
brink and then backed
off. Someone else taught a denominational doctrin and then backed
off. This is human
behaviorism. Condition
a dog to salivate when you ring a bell and then feed him. In time,
you can ring the bell and the dog will salivate just like having real
food in its bowl! That is what is happing at Jubilee 99 and beyond.
Once a year you have to collect a critical mass and impliment. For instance, Jubilee 98 had as its goal
Lifting Holy Hands to
God with Mike Cope as
the implimenter. Do the condition of the audience with music, hand
waving, and wing-flapping enough to take flight. Then, wham! Ask
everyone to lift holy hands. You've got em! They cannot refuse to
lift holy hands without seeming out of place. At Jubilee 99 we are
going to Lift up the
Name of the Lord.
Whatever that is.
Notice, that Anderson backed
off and made the people trust him by teaching the old patterns and beliefs. However, when you have found
the soft place between the ribs just jab it in. The next thing to do is just do, it ready or not. He knows that the "lambs" have been
mostly silenced in the interest of "unity among the breeethreeen."
If, for instance, you introduce a choir (musical worship team) on
Sunday night, perhaps you have conditioned the "doggies" enough that
they wont bark too loudly.
Well, what if the old,
deliterious "urbans" are too strong? Well, you just weave. You just back off to get a running
start to begin all over again. You try to introduce a charismatic
practice. The people object. You just say, "Oops, you know that I
didn't mean that!" (for now, that is) Lynn Anderson notes that it
took fifteen years at Highland Church of Christ in Abilene, Texas to
affect the planned changes (p. 174).
As an example of forced change agentry, Lynn Anderson, Navigating the Winds of Change, p.
104 puts the audience through three forms of "worship." The first was
the Old Path led by the Song Leader as he admits that he is trying to
force something against the will of the majority of the congregation
(This is god-like presumption):
"Since the
fellowship of which I am a part is heavily left-brained and rationalistic in its emphasis and style, I
wanted the class to experience both styles of worship as well as discuss them. So we kicked off segment one with three
traditional hymns from the old
hymbook. Jeff, our song leader, led from up front, warmly but very
formally, traditionally. After each song he double-announced the next
number. No two hyms were on the same theme....Left-brained people
were feeling secure and at home. Things were familiar and heavily
cerebral. I assume
their worship was genuine. Right-brained people, however,
fiddled (fraudian slip?) with pew racks, counted
ceiling tiles, and checked
their watches.
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
Now, this is a pretty fanciful
analysis of the nature of the "worshipers." It takes a lot of heavy
analysis to determine which side of the brain dominates. In the next
step of brinkmanship, Lynn just impliments what he has taught:
"In segment two,
the tempo
of the class shifted abruptly into celebrative praise and worship, with contemporary songs projected on a screen in colorful graphics.
Readings, prayers, and singing clustered around a single theme. The
worship
team led directly from
one song to the next without interruption (meaning time to think),
intentionally moving the tone
and content
of worship in a specific
direction,
gathering the congregation into the momentum of the
experience.
A few songs included
clapping and one or two worshipers actually
'lifted holy hands.'
The beaming
expressions of the worship leaders spread
to the class members.
"Several short Scripture
readings moved
quickly from one reader
to the next, climaxing in a congregational responsive reading.... The
feeler/creative right-brainers were transported while thinker/analytical left-brainers rolled their
eyes, and their body language said, 'Oh, please! Give me a break!"
Lynn
Anderson.
Did you know that all singing
in an exciting sense aredefined as WITCHCRAFT or SORCERY. Sorcery
exists when somone works through your senses to force you to feel or
behave in a certain way which you WOULD NOT do when just listening to
the Words of Jesus Christ.
"The
spirits were thought to speak in
murmurings or piping
sounds (Isa 8:19), which could be imitated by the medium (witch or ventriloquist)...Most spiritual and
popular was the interpretation of dreams.
It also was the case that
mediums intentionally would convert themselves into a semi-waking
trance. In this way the
suitable mediums
attained to a certain kind of clarvoyance, found among various peoples.
This approaches the condition
of an ecstatically
aroused pseudo-prophet.. In Greece, too, oracles were pronounced by the
Phythian prophetess who by vapors
and the like was aroused to a practice of the mantic art. (Int Std Bible Ency, p. 2466)
Gal 5:19 Now
the works of the flesh are manifest, which are these;
......... Adultery, fornication, uncleanness,
lasciviousness,
Gal 5:20
Idolatry, witchcraft, hatred, variance, emulations, wrath, strife, seditions,
heresies,
Gal 5:21
Envyings, murders, drunkenness, revellings, and such like:
of the which I tell you before, as
I have also told you in time past, that
they which do such things shall not inherit the kingdom of
God.
WITCHCRAFT IS
G5331 pharmakeia
far-mak-i'-ah From G5332 ; medication ("pharmacy"), that is, (by
extension) magic (literal or figurative):&emdash;sorcery,
witchcraft.
Epôidê Ion.
and poet. epaoidê , hê,
A. song sung to or over: hence,
enchantment, spell, epaoidêi d' haima..eschethon Od.19.457
, cf. Pi.P.4.217 ; ou pros iatrou sophou thrênein epôidas pros tomônti pêmati S.Aj. 582 oute
pharmaka..oud' au epôidai Pl.R. 426b ;
charm for or against
THEY TRIED IT ON
JESUS
Lu.7:32 They are
like unto children sitting in the marketplace, and calling one to another, and saying, We have
piped unto you, and ye have not danced; we have mourned [ thrênein epôidas] to you, and ye have not wept.
Threneo (g2354) thray-neh'-o; from 2355; to
bewail: - lament, mourn.
Epôidê used Of the Magi,
Hdt.1.132
Magi A Median tribe of magicians and
interpreters of
dreams: Hdt. 1.101
The Magian usurpation of royalty and its end: Hdt. 3.61, Hdt. 3.63-69, Hdt. 3.71,
Hdt. 3.74-80
G2970 kômos ko'-mos From G2749 ; a carousal (as if a letting
loose): revelling, rioting.
Kômos 1
[kômê]
I. properly a village festival:
a revel, carousal, merry-making, Lat. comissatio, Hhymn., Theogn., etc.: it ended in the party parading the
streets crowned, bearing torches, singing, dancing, and playing
frolics, Ar.
II. a band of revellers, a jovial troop, Eur.:--metaph. a rout,
band, k. Erinuôn Aesch.; of an army, Eur., etc.
kômazô [from kôma] [kômos]
I. to go about with a party of
revellers, to revel, make merry, Lat. comissari, Hes., Theogn., Eur.,
etc.
2. to go in festal procession,
Pind., Dem. II. to celebrate a kômos in honour of the victor at the
games, to join in
festivities, Pind.; c. acc. cogn., heortan k. id=Pind.
Outlawing self-pleasing which
is further defined by the reproaches prophesied of Jesus points to a
series of words which prevent the Words of Jeus from being spoken
"one to another."
Heresy = Aeirô = aeidô = Locust = Abaddon
or Apollyon = Kleptomaniacs
Haireo and related words show that it means to choose to take
over stolen property by lifting it up and carrying it away. Heresy,
therefore, identifies the kleptomaniac. It means
that they will lie, cheat and steal: only the law keeps them from
killing you. The word
aireô further defines heresy in the sense of LIFTING up
for your own purposes. The word aeidô
shows that the weapon
or "instrument" of creating panic in order to steal as a heretic is:
to sing, then of
any sound, to
twang, of the
bowstring, to whistle, of the wind, to ring, of a stone struck.
The Greek word Heresy from Liddell and
Scott:
Haireô means "to take with the hand, grasp, hair. To take by force, to take a city, Il., etc.; to overpower, kill,
often of
passions, to take,
catch, as in hunting, hairein tina kleptonta to convict of theft. To take for oneself. Another
form means: take with
the hand, grasp, seize
as in the Komo or naked
dance. Having taken up
[the
song].
Lynn Anderson has just
described mind manipulation heresy as the only Change Agent other
than the Word of God! To see how this deliberately defeats spiritual
worship just to get a grin from the worship facilitator,
Click
Here.
The REST Jesus died to give us
is the Greek PAUO:
Pauo means stop
the polemos or battle, fight, war: stop
levying war against
another,
anaireisthai or airô egeirein, kathistanai, epagein to begin a war; p. poieisthai to make war, -- opp. to p. anapauein,
kataluesthai to put an end to it, make peace, all in attic
The singing which is to
PAUSE to give rest is b. mostly of things, make an end of, stop,
abate
Pauo means: STOP
the:
melôid-ia ,
hê, singing,
chanting,
II. chant, choral song, melôidias poiêtês, lullaby, generally, musis
Pauo means: Stop the
pain of: aoidê [aeidô]
1. song, a singing, whether the
art of
song, Hom.; or the
act of singing, song, Il.
2. the thing sung, a song, Hom., etc.
3. the subject of song, Od.
Why is that
important? Because aoiding is related to the MUSES of Revelation 18.
Pauo means: Stop
the: Panos
orgai panic fears (i. e. terrors sent by Pan),
Eur.:--but, orgê tinos anger against a person or at a thing,
hierôn orgas
wrath at or because of
the rites.
This is well understood by
medical science AND by the Demagogue who would use "popular arts" to
appeas the crowd.
Edward Alsworth Ross. "The Crowd". Chapter 3
in Social Psychology: An outline and source book. New York: Macmillan
Co. (1919): 43 - 62.
Coe[7] thus accounts for the extraordinary
phenomena often manifested in religious assemblies. "The striking psychic manifestations which reach their
climax among
(53) us in emotional revivals,
camp-meetings, and negro
services have a direct relation to
certain states of an essentially
hypnotic and hallucinatory kind. In
various forms such states have appeared and reappeared throughout the
history of religion. Examples of what is here referred to are found
in the sacred frenzy of the Bacchantes, the
trance of the Sibyls, the ecstasy of the Neo-Platonists, the
enlightenment that came to Gautama Buddha under the sacred Bo-tree,
the visions of the canonized saints, the absorption into God
experienced by various mystics, and the religious epidemics
of the Middle Ages, such as tarantism and
St. Vitus's dance. All these and a multitude of similar phenomena were
produced by processes easily
recognized by any modern
psychologist as automatic and
suggestive. Similarly, the
phenomenon in Methodist history
known as the 'power' was induced by hypnotic processes now well
understood,
Click to see how the Stoneites added the Shouting
Methodists.
though hidden until long after the days
of the Wesleys." "The explanation of
the 'power' and similar outbreaks is simple. Under the pressure
of religious excitement there occurs
a sporadic case of hallucination, or of motor automatism, or of
auto-hypnotism, taking the form of trance, visions, voices, or
catalepsy.
The onlookers naturally
conceive a more or less distressing
fear lest the mysterious power
attack their own
persons.
Fear acts as a suggestion, and the more suggestible soon realize their
expectations In accordance with the law of suggestion,
every new case adds power to the real cause and presently the
conditions are right for an epidemic of such
experiences."
"Suggestion works in proportion as it
secures a monopoly of attention. Let us
ask what, according to this law, will happen to passably suggestible
persons who submit them-
(54) -selves to certain well-known revival practices. Let us suppose that the notion of a striking
transformation has been held before the subject's mind for days,
weeks, or even years; let us suppose that the subject has finally
been induced to go to the penitent form; here, we will suppose,
prayers full of sympathy and emotional earnestness are offered for
him, and that everything has been so
arranged as to produce a climax in
which he will finally believe that the connection between himself and God is now
accomplished.
The leader says to him: 'Do you
now believe? Then you are saved.' Is it not evident that this whole
process favors the production of a profound emotional transformation
directly through suggestion?"
IN LATIN the SELF PLEASING
or Keeping in Suspense EXCLUDES actors, singers, poets of
musicians.
XV. debemus autem nos firmiores
inbecillitates infirmorum sustinere et non nobis placere
Rom 8:1There is
therefore now no condemnation to them which are in Christ Jesus, who
walk not after the flesh, but after the spirit
Romans 8:8 So then they that
are in the flesh cannot
please God.
Romans 8: 13 For if ye live
after the flesh, ye shall die: but if ye through the Spirit do mortify the deeds of the body, ye shall live.
Romans 8: 14 For as many as are
led by the Spirit of
God, they are the sons
of God.
Placeo to please, to be pleasing or agreeable, to be welcome, acceptable, to satisfy
(class.).
1. In scenic lang., of players or pieces
presented, to please,
find favor, give
satisfaction:
scenico
placenti
Outlawed:
Scaenicus I. of
or belonging to the stage,
scenic, dramatic, theatrical
I. Lit.: poëtae,
dramatic
poets, ludi,
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 Comedy.
Orator
Poi-êtês II.
composer of a poem, author,
p. kômôidias Pl.Lg.935e ; p. kainôn dramatôn, b. composer of music, 2. author of a speech
Outlawed: Organum Vitr. 10, 1.--Of musical instruments, a pipe,.
Gen. 4, 21; id. 2 Par. 34, 12 et saep.--Of hydraulic engines, an
organ, water-organ: organa
hydraulica,
Gen 4:21 And his
brother's name was Jubal:
he was the father of all such as handle
the harp and organ.
H8610
manipulate, figuratively to use
unwarrantably:--catch, handle, (lay, take) hold (on, over), stop,
X surely, surprise, take.
H8608 taphaph to drum, that is, play
(as) on the tambourine:taber,
play with timbrels.
H8611 tôpheth to'-feth From the base
of H8608 ; a smiting, that is, (figuratively) contempt:--tabret. MEANING
HELL
Outlawed: Modulatio. In partic., a rhythmical measure, modulation; hence, singing and playing, melody, in poetry and
music, Quint. 9, 4,
139: modulatione produci aut corripi (verba), id. 9, 4, 89 :
modulatio pedum, id. 1, 6, 2 : scenica, id. 11, 3, 57 : vocis, melody, id. 11, 3, 59 :
musica, Aus. Ep. 25, 13 .
Clement of
Alexandria: "After
having paid reverence to the discourse about God, they
leave
within [at church] what
they have heard. And outside they foolishly amuse themselves with
impious playing, and amatory quavering (feminine vibrato), occupied with flute-playing, and dancing, and intoxication, and all kinds of trash.
An interesting Web Site which warns, like Plato, that to change the
music means that someone wants to change the laws. It warns of the
subtle methods of Change Agents who hide their eyes in the sand and
believe that no one will notice what their real objects are:
These songs are used in many churches across the world,
churches representing a broad spectrum of denominational backgrounds.
Mr. Kendrick himself is a member of the Ichthus Christian Fellowship,
an independent free church which is charasmatic and has welcomed the
so called Toronto blessing.
Indeed Mr. Kendrick is openly
charasmatic.
"It was later that
night when I was cleaning my teeth ready to go to bed that I was
filled with the Holy Spirit!...and I remember lying at last in my
bed, the fixed grin still on my face, praising and thanking
God,
and gingerly trying
out a new spiritual language
that had presented itself to my tongue
with no regard at all for
the objections thrown
up by my incredulous brain!...That was a real watershed in my
Christian experience." (1),(2).
This
took place in 1971, but more recently Mr. Kendrick has been
supportive of the Toronto
blessing. Mr. Kendricks views on
worship also leave a lot to be desired. He said,
"There's a time to
worship God with all
your physical energy...and you're probably not going to need a great deal of
content when you're
doing that." (3)
The Scriptural pattern for worship involves the
awareness of the mind in the expression of truth. Mr. Kendrick here advocates
times when worship becomes purely subjective, at the expense
of objective, revealed truth. In his book intitled "Worship", Mr. Kendrick
makes statements to which we could give our consent,
"we need to worship according to the
truth revealed in the Scriptures".
However in
an interview, Mr. Kendrick adopts the directly opposite
position,
"You explore one
style of worship and meet the needs of one group and suddenly find that they're only a
sub-group and all the others are into something very different. It's very hard to do one thing that
pleases everybody." (4).
Here he shows that in practice his worship
is an attempt to satisfy the selfish desires of the worshipper, and
not the revealed will of the One to be worshiped!
How Does This Affect Me?
As
suggested above, not all churches who use Mr. Kendrick's songs would
have any links to the charasmatic movement, nor even be sympathetic
towards it. However, the trend emerging in many churches in Britian
is a gradual moving away from the 'older' hymns and
spiritual
songs, to the use of the modern worship songs. This does not happen overnight. It is rather a change
that occurs almost without
anyone noticing. It may not primarily
happen in the main worship services, but via other meetings held in the
church.
What is Wrong With New Songs?
Let me
state that the writer is not opposed to anything written since 1900.
However, there is a danger with many of the new style worship songs
of today. Often a read of some new songs will show acceptable
wording, and other times songs which leave alot to be desired. In
terms of content alone, each new hymn introduced to a church must be
judged on it's own merits. However, this is not necessarily true with
the new style worship songs. Firstly, it is impossible to divorce
these songs from the movement out of which they have sprung up. The
vast majority of these new songs are the products of the charasmatic movement, and are an integral part of that movement. They
express charasmatic
theology and teaching, and promote
charasmatic experiences.
"The first two or three times I
used the song "For this purpose" at Ichthus it was nothing special.
Then one meeting we sang it and an anointing came down. From
that moment on it seemed to have more anointing." (5)
Secondly, steming from this, these new style songs are
used as promotional
agents. Many of the writers use their
songs to promote charismatic
ideas. By means of these songs they
hope to influence other churhces to arrive at the same erroneous
position that they have come to. This is not a hidden agenda. The
supporters of this new worship openly state their hopes for their
songs. Herein lies the real and subtle danger of new style worship
songs. We would easily recognise and reject anyone who sought to have
healing meetings, or speaking in tongues. But we don't seem to notice the new songs coming
in. They serve as bridge builders between
churches who reject the charasmatic movement, and those who seek its
advancement. Once we sing their songs,
which contain their theological views, our defences are lowered, and
the introduction of new ideas is made all the more easy.
Thirdly, this downward trend has already happened. Ask
yourself why so many churches not openly associated with the
charasmatic movement have become infected with the Toronto blessing?
The first
step was
the change in worship. Some of the hymns were replaced with the
new songs;
then the form of worship itself changed; and then the whole church changed.
A Real and Present Danger?
Perhaps
you have never heard of Graham Kendrick, or you're not familiar with
any of his songs. You may not even know of any church where his songs
are song. Sadly I have been in meetings in different churches which
would oppose the charasmatic movement, and claim to be reformed in
worship, where some of Mr. Kendrick's songs have been sung. But as I
said before, this problem is bigger than Graham Kendrick. There are
songs which are familiar to all of us which have their origins in the
charasmatic movement. We may sing them and take our own meaning out
of them, but they have a completely different meaning when viewed
from the writer's perspective. Songs like "Majesty, Worship His majesty", and "For I'm Building a
People of Power" come from charasmatic
authors. They may be harmless on their own, but they are not on their
own. These new style worship songs which have come into the church
over the last 10 years, are the spearhead of the advance of the charasmatic
movement. Care must be taken with
regard to what we sing, and where it leads us.
Albert Barnes, commenting on Colossians 3:16,
said,
"It is true in a more important
sense that he who is permitted to make
the hymns of a church, need care little
who preaches, or who makes the creed. He will more effectually mould
the sentiments of a church than they who preach or make creeds and
confessions. Hence, it is indispensable, in order to the preservation
of the truth, that the sacred songs of a church should be imbued with
sound evangelical sentiment."
For those who have the best interests of the church at
heart, can I implore you to take heed. Given the motives and methods
of the charasmatic movement, we must pay particular attention to our
worship, constantly striving to make it and keep it in line with the
directions of the Lord our God, who alone is worthy of the worship of
our lives. Click
Here for the full article
Kenneth Sublett
Musical Worship
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