A. sounding,
noisy,
Zephuros Il.23.208;
Artemis 16.183 (para ton gignomenon en tois kunēgiois keladon Sch. ad loc.); and
so keladeinē alone, Il.21.511;
of Dionysus, AP9.524.11;
aulōnes h.Merc.95;
surigx Opp.H.5.455:
neut. pl. as Adv., potamoi keladeina rheontes A.R.3.532:Pi. has Aeol. form keladennos , epea k. highsounding
verses, P.3.113;
ompha Pae.5.46;
k. Kharites the loud-voiced
Charites, P.9.89;
k. hubris noisy insult,
I.4(3).8.
Instrumental
Music In Worship - Psallo and
Melody
3.
30.16 All musical terms and names of
instruments point to sorcery or witchcraft. That is because
the witch of Endor used an old wineskin stretched over a hole
in the ground as her "familiar spirit." Bone flutes made a
sound the earliest witch doctor understood to create the laded
burden or "spiritual anxiety" through rituals performed by
cunning craftsmen or sophists: rhetoricians, singers,
instrument players, actors, dancers or even prostitute who
could "bring you into the presence of the gods" -- for a
price.
Jude 3 Beloved, when I gave all diligence to write unto you of
the common salvation,
it was needful for me to
write unto you,
and exhort you that ye
should earnestly contend for THE FAITH
which was once delivered
unto the saints.
Jude 4 For there are certain men crept in unawares,
who were before of old
ordained to this condemnation,
ungodly men, turning the
grace of our God into lasciviousness,
and denying the
only Lord God,
and
our Lord Jesus Christ. [Trinitarian Antichrists according to John]
Jude 5 I will therefore put you in remembrance, though ye once
knew this,
how that the Lord,
having saved the people out of the land of Egypt,
afterward destroyed them
that believed not.
Jude 6 And the angels which kept not their first estate,
but left their own
habitation,
he hath reserved in
everlasting chains
under darkness unto
the judgment of the great day.
Apollon or
Abaddon has been unleashed: he is the only personified
SPIRIT and he is the leader of the muses in Revelation
18. The speakers, singers, instrument players and
all religious craftsmen are called SORCERERS who HAD once
deceived the whole world. John says that THEY WILL BE CAST ALIVE INTO THE LAKE
OF FIRE.
WHAT IS THE ABOMINATION IN A HOLY PLACE:
Deut. 18:9 When thou art come into
the land which the LORD thy God giveth thee, thou shalt not
learn to do after the abominations of those nations.
Deut. 18:10 There shall not be found
among you any one that maketh his son or his daughter to
pass through the fire, or that useth divination,
or an observer of times, or an enchanter, or a witch,
hărĭŏlus soothsayer, prophet, prophetess
somnĭo , to dream; to dream of or see in a dream, to dream, i. e. to think idly or vainly, to talk foolishly:
psaltrĭa , ae, f., = psaltria, . a female player on the cithara, a lutist, ineptias, Col. 1, 8, 2: ah stulte! tu de Psaltriā me somnias Agere, Ter. Ad. 4, 7, 6; Plaut. Pers. 2, 3, 5.Absol.: vigilans somniat
portenta non disserentium philosophorum sed somniantium, Cic. N. D. 1, 8, 18.
Deut. 18:11 Or a charmer, or a
consulter with familiar spirits, or a wizard, or a
necromancer
A Charmer is an AbominationThis was outlawed for the Church of Christ (the Rock) in the wilderness.
incantātor , ōris, m. incanto, I. an enchanter, wizard (post-class.), Tert. Idol. 9; Isid. 8, 9, 15; Mos. et Rom. Leg. Coll. 15, 1, 2.
consŭlo (a). In the lang. of religion, to consult a deity, an oracle, omens, etc.: Apollinem de re, Cic. Leg. 2, 16, 40: deum consuluit auguriis, quae suscipienda essent, Liv. 1, 20, 7: deos hominum fibris, Tac. A. 14, 30 fin.: Phoebi oracula, Ov. M. 3, 9; Suet. Vesp. 5: Tiresiam conjectorem, Plaut. Am. 5, 1, 76:
B. An incantation, charm, magic song, etc.: cantusque artesque magorum.
cantus e curru Lunam deducere tentat,
2. With instruments, a playing, music: 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,
These ăb-ōmĭnor are always MARKED semimares, Liv. 31, 12, 8RICK ATCHLEY'S COMMAND TO IMPOSE "INSTRUMENTAL PRAISE."
Signs or wonders " Liv. 31, 12, 8 Along with "plundering" the temples, among the Sabines, a child of uncertain sex was born, while another was found whose sex, at the age of sixteen, could not be determined. All these disgusting and monstrous creatures seemed to be signs that nature was confusing species; but beyond all else the hermaphrodites caused terror,... In addition, they directed that a hymn be sung throughout the city by thrice nine maidens, and that an offering be made to Queen Juno.
Galli A form gallantes, as if from gallare, "to rave like a priest of Cybelι," is cited from Varro (ap. Non. p. 119Non., 5). In their wild, enthusiastic, and boisterous rites the Galli recalled the legends of the Corybantes (q.v.). According to an ancient custom, they were always castrated (spadones, semimares, semiviri, nec viri nec feminae), and it would seem that, impelled by religious enthusiasm, they performed this operation on themselves... Other names, however, are of distinctly Semitic affinities; Rhea perhaps=the Babylonian Ri (Mulita or Mylitta), and Nana more certainly=the Babylonian Nana, modern Syrian Nani. Nana motherof Attis
Hezekiah stopped the sacrifice of infants with the instrumental noise of the Levites who were an old Egyptian Infant burning priesthood. As soon as Hezekiah died the sacrifices to Moloch began all over again. And THIS IS THE PATTERN of those LYING IN WAIT TO DECEIVE2Chr. 29:27 And Hezekiah commanded to offer the burnt offering upon the altar.
And when the burnt offering began, the song of the LORD began also with the trumpets,
and with the instruments ordained by David king of Israel.
Below: God say this just BEFORE and just AFTER Hezekiah's Plague Stopping Exorcism. This is recorded in 2 Chronicles 29: it is the PATTERN a "spirit" commanded Rick Atchley etal to impose "instrumental praise". Spiritus in Latin defines the personified spirit as that of Apollon or Abbadon.
The practice
in the wilderness, tyre and Jerusalem
Mark.10.They.Shall.Mock.Him.With.Music
Judas was
a thief: his bag or box was
always attached to the spotted flute case.
He is defined as the familiar friend of
Jesus in Psalm 41. He would try to ALARM or TRIUMPH over
Jesus: this is a MARK. It was outlawed in the Church of Christ
in the Wilderness as vocal or instrumental rejoicing or any
speaking beyond the Word
And God WATCHED
the prophesied and fulfilled Musical Worship Team
Trumpet, drums, flute, cymbals and castinets with buffoons
Psallo permits ONLY smiting a string with your
FINGERS: not a plectrum
Psallo and SOP have the same root meaning.
Revelation 18F: they are all called Sorcerers who HAD once deceived the whole world.
They WILL BE CAST ALIVE INTO THE LAKE OF FIRE.
Instrumental music in Christian worship is not authorized by the Greek word PSALLO. Christian worship is in the spirit or by the spirit. The spirit is the mind or innermost being of the person. Because Christ lives in the heart by faith, it is not paossible to worship Him nor be aided in worship by things which appeal to the human senses. Psallo speaks of literal shooting of arrows into the literal heart or shooting out LOVE ARROWS. The only "musical" concept speaks of "shooting out hymns" as a metaphor. All of the Greek resources prove that when people induce or LIFT yoou with spiritual excitement they are inducing a real or virtual sexual climax: Carol Wimber makes the explicit claim and the body gyrating proves that evil men are USING your for their own experience.
4.30.11 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.
5.02.11 See Danny Dodd and Royce Ogle on Legalism
Revised 4.28.11
The Direct commands, examples and necessary inferences since church is a school for disciples is that the Word of God is spoken clearly and never musically.
Hebrew singing or rhymic prose had no fixed meter: "Since in all languages a sentence changes its meaning by mere intonations without adding or removing nounds, verbs or particles, the Syrian scholars who laid the fundament of correct language discovered a way by devising accents... and since these accents are a form of musical modulation, there is no possibliity of learning them except by hearing and through tradition from the master's tongue or the pupils hear. It follows from Bar Hebraeus' statement that the main concern was to secure an unadulterated and unadulterable version of the text This required (a) correct vocalization and (b) correct intonation. (p.87) " Nor is there a constant number of feet in a verse. Hebrew poetry is poetic p;rose. "Hebrew prosedy differes fundamentlly from classical prosody. No poem is written according to a repeating meter scheme.
Classical verse is mechanical; Hebrew verse is dynamic (p 89. Music in Ancient Western Orient
The word Law or nomos defines a legal form of performance dedicated most often to Apollo (Abaddon, Apollyon)
The godly Jews who rested on the Prophets (by Christ) understood:
To the law and to the testimony:They also understood that Christ did not speak through the Monarchs or priests who conducted civil rituals like other nations. There is no command for music in the Law and the testimony by the Spirit of Christ (Rev 19:10) repudiates everything which interfers with the teaching of "that which is written for our learning." (Rom 15)
if they speak not according to this word,
it is because there is no light in them. Isa 8:20
Cantillation Jewish
Encyclopedia
Christ commanded the Holy Convocation on the First and Seventh days of festivals. This came to be each Sabbath or Rest day. We have the direct command, the example in Nehemiah, the example by Jesus, the command of all of the New Testament.
Synagogue singing
"It
has been shown in the article Cantillation
(Jew. Encyc.
iii. 537b) that the desire to read the Scriptures in the
manner
indicated in Neh. viii. 8 has from time immemorial
resulted in the use
of some sort of musical declamation for the passages uttered
aloud in
the synagogue. For reasons very similar to those there
discussed, the
prayers and praises equally with the lessons have always been
thus
musically declaimed; and this declamation... the absence of
instruments from the synagogue in no way modified the
system of the song itself. This presented little that to
modern ears
would appear worthy the name of melody, being, like the Greek
melodies
which have been deciphered, entirely of the character of a
cantillation; that is, a recitation dependent on the rhythm
and
sequence of the words of the text instead of on the notes of
the tune,
and influenced by the syntactical structure of the sentence
instead of
by the metrical form of the musical phrase. Nor would the
style of
singing, nasal, shrill, and alternately full
of intricate graces and of
sudden pressures on emphatic notes, altogether commend itself
to
Western ears as graceful or harmonious."The Lyre, according to its primary significance, may by the psalmist be used figuratively for the Lord; accordingly to its secondary, for those who continually strike the chords of their souls under the direction of the Choir-master, the Lord. And if the people saved be called the lyre, it will be understood to be in consequence of their giving glory musically, through the inspiration of the Word and the knowledge of God, being struck by the Word so as to produce faith.
"You may take music in another way, as the ecclesiastical symphony at once of the law and the prophets, and the apostles along with the Gospel, and the harmony which obtained in each prophet, in the transitions of the persons. --(Clement of Alexandrian allegorizes instrumental music, Stromata, Book VI, Chapt XI, Ante-Nicene, II, p. 500).
THIS WAS THE COMMAND FOR THE PSALMS WHICH WERE TEACHING PSALMS: NOT ENTERTAINMENTAristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..
- The form of diction should be neither metrical nor without rhythm.
- If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..
According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.
The command is to understand THE WILL OF THE LORD and then SPEAK "that which is written for our learning" (Rom 15). The singing and melody is in the heart: the word psallo is never used of musical melody in the Greek literature. The purpose is to teach and admonish with the Word of Christ. Peter affirms that the prophets by the Spirit of Christ and the prophecies made more perfect by Jesus and left for our "memory" by the apostles. This is what David thought:
Psalms
9:1 I will praise thee, O LORD, with my whole
heart; I
will shew
(narate) forth all thy marvellous works.
David
praised the works of God and not the works of the
"worship team." To
praise or glorify God you must use the record of HIS
WORKS or "that
which is written for our learning" Rom. 15. David
praised WITH his
heart.
Narro , āvi, ātum, 1, v. a. for gnarigo (gnarigavit, Fest. p. 95) from gnarus; Sanscr. gnā, know; Gr. gignōskō; cf.: nosco (gnosco), ignoro, to be the subject of talk, it is said of me, thee, etc I. to tell, relate, narrate, report, recount, set forth (syn.: memoro, nuntio, trado).WHAT DOES HE NARRATE?
narrare, to inform one's self, learn:
II. Transf., in gen., to say, speak, tell: Hence, narro tibi, I tell you, I assure you, in fact, seriously, a form of asseveration:
Greek h3035 Yadayaw-daw' A primitive root; used only as denominative from H3027 ; literally to use (that is, hold out) the hand; physically to throw (a stone, an arrow) at or away; especially to revere or worship (with extended hands); NOT WAVING ARMS
H5608 sβphar saw-far' A primitive root; properly to score with a mark as a tally or record, that is, (by implication) to inscribe, and also to enumerate; intensively to recount, that is, celebrate:commune, (ac-) count, declare, number, + penknife, reckon, scribe, shew forth, speak, talk, tell (out), write
Mīrābĭlis (I. sup. mirabilissimus, Col. 6, 36, 3 MSS.), e, adj. miror, to be wondered at, wonderful, marvellous, extraordinary, admirable, strange
WHY DOES THE PSALMIST PRAISE GOD WITH ALL OF HIS HEART BY NARRATING THE WORK OF GOD (only)?II. Esp. (eccl. Lat.).A. Glorious : mirabilis Deus in sanctis suis, Vulg. Psa. 67, 36: mirabilis in altis Dominus, id. ib. 92, 6.B. Miraculous: mirabilia opera Altissimi solius, Vulg. Eccli. 11, 4: facta, id. Jer. 5, 30 et saep.Hence,
A. Subst.: mīrābĭle , is, n., a miracle, wondrous deed (eccl. Lat.): et faciet Dominus mirabile, Vulg. Exod. 9, 4.Mostly plur.: cras faciet Dominus inter vos mirabilia, Vulg. Jos. 3, 5: videntes mirabilia quae fecit, id. Matt. 21, 15
Eccl 11:4. Do not boast about wearing fine clothes, nor exalt yourself in the day that you are honored; for the works of the Lord are wonderful, and his works are concealed from men.
gignōskō , Dor. (Epich.9, Pi.O.6.97), Aeol., Ion., and after Arist. ginōskō , but gignōskō in early Att. Inscrr., as IG12.127.19 (kata-), etc.: fut. dupl. acc., perceive or know another to be . also ho g. one who knows, a prudent perso
Isoc. 15 192 These, then, are my views as to the relative importance of native ability and practice. I cannot, however, make a like claim for education; its powers are not equal nor comparable to theirs. For if one should take lessons in all the principles of oratory and master them with the greatest thoroughness,TO UNDERSTAND IN THE HEART THE WORD MUST BE MEDITATED UPON
he might, perhaps, become a more pleasing speaker than most,
but let him stand up before the crowd and lack one thing only,
namely, assurance, and he would not be able to utter a word.
O my God: unto thee will I sing with the harp, O thou Holy One of Israel.
[Which means] My lips shall greatly rejoice when I sing unto THEE;
and my soul, which thou hast redeemed. Psalms 71:23
Why is it so difficult to distinguish between singint unto God and singing unto an admiring and paying audiende.
Psalms 71:24 My tongue also shall talk
of THY righteousness all the day long:
for they are confounded, for they are brought unto shame, that seek my hurt.
Mĕdĭtor , to think or reflect upon, to muse over, consider, meditate upon; neutr., to think, reflect, muse, consider, meditate; to design, purpose, intend, B. Thought upon, meditated, weighed, considered, studied:
h1897.Hagah.gif |
MEDITATING ON YOUR OWN SONGS AND
SERMONS IS SOOTHSAYING h1897.Hagah.Sing.gif  Isa 8:16 Bind up the testimony, seal the law among my disciples. Isa 8:19And when they shall say unto you, Seek unto them that have familiar spirits, and unto wizards that peep, and that mutter: should not a people seek unto their God? for the living to the dead? To the law and to the testimony: if they speak not according to this word, it is because there is no light in them. Isa 8:20 |
See a detailed study of Psallo in the literature: it never means to play a harp.
The Beginning of Musical Idolatry: Part Two of Lynn Anderson review. Isaiah 30 sees it as the sounds of God repaying his enemies driving them into "hell" with wind, string and percussion instruments.Musical worship is always lifted from the Sacrificial system. However, this was added as a curse because Israel refused to listen to the Word of God. Instruments have always MARKED people who try to silence God and His Word.
Lynn Anderson Psallo justifies Instrumental Music and sowing of Discord. REVISED 9.13.08 to organize rough thoughts.
Music is said to have been brought by Lucifer as "the singing and harp playing prostitute" into the garden of Eden. Music is always the identifying MARK of those who refuse to listen to God.
The synagogue or church in the wilderness outlawed both vocal and instrumental rejoicing which signalled important events.
The only hint used by those imposing music as totally irrational in the synagogue or "school of the Bible" make use of the word psallo translated "make melody" once but also translated as "with grace" in the parallel passage. The word PSALLO is firstly a "making war" word as a musical instrument is "a machine for doing hard work" and creating the shock and awe to panic the enemy warriors. In the "singing" sense it is seen as a metaphor for "making the heart strings sing" or "shooting forth hymns."
The revival of Judaism appeals to the curse of the Monarchy and the sacrificial system as they "slaughtered" types of their gods using noise of exorcism never called music.
That the monarchy, king, temple and sacrificial system was added as a curse upon those "turned over to worship the starry hosts" (Acts 7) is proven over and over by the Old Testament record.Ephesians 5 has the Greek PSALLO in verse 19 and this has been translated as MAKING MELODY. However, you will NEVER find the word PSALLO translated as MELODY: that is why Paul used the word GRACE in Colossians 3:16. Either PSALLO does not belong here or Paul placing it in the HEART as opposed to EXTERNAL musical melody defines away all music concepts for the assembly.
Poems
were
composed by "religious poets" and they ALWAYS spoke of myths
and
never of REAL history. All of these religious operatives
among
males were catamites or male homosexuals often emasculated to
serve as
"ministers of the gods." In the following Quotation it
is
Apollo
who is the chief proponent of 'twanging' both the bow and lyre
to send
out love arrows into his favorite friend. That is why the
Mother of
Harlots in Revelation 17 uses the "lusted after fruits" as
rhetoricians, singers and musicians. John called them
SORCERERS in
Revelation 18. The musical-homosexual "worship" was believed
to "bind
the flesh and spirit together." Here is Apollo to the left:
The word MELODY in all of thee Greek Texts point to the perverted worship of Apollo or the Apollyon of Revelation and the muses or some other goddess such as Aphrodite:
4. The god of song and music. We find him in the Iliad (i. 603) delighting the immortal gods with his play on the phorminx during their re past ; and the Homeric bards derived their art of song either from Apollo or the Muses. (Od. viii. 488, with Eustath.) Later traditions ascribed to. Apollo even the invention of the flute and lyre (Callim. Hymn, in Del. 253 ; Plut. de Mus.\ while the more common tradition was, that he received the lyre from Hermes. Ovid (Heroid. xvi. 180) makes Apollo build the walls of Troy by playing on the lyre, as Amphion did the walls of Thebes. Respecting his musical contests, see marsyas, midas.
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. Rev 18:21
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; Rev 18:22
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. Rev 18:23
-Pindar,
Pythian
3 The
prosperity
of men does not stay secure for long, when it follows
weighing upon
them in abundance. 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; Rev 18:22
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. Rev 18:23
And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev 18:24
-Homeric HymnsTo Artemis
[1] I sing of Artemis, whose shafts are of gold, who cheers on the hounds [catamites], the pure maiden, shooter of stags, who delights in archery, own sister to Apollo with the golden sword. Over the shadowy hills and windy peaks [5] she draws her golden bow, rejoicing in the chase, and sends out grievous shafts. The tops of the high mountains tremble and the tangled wood echoes awesomely with the outcry of beasts: earth quakes and the sea also where fishes shoal. But the goddess with a bold heart [10] turns every way destroying the race of wild beasts: and when she is satisfied and has cheered her heart, this huntress who delights in arrows slackens her supple bow and goes to the great house of her dear brother Phoebus Apollo, to the rich land of Delphi, [15] there to order the lovely dance of the Muses and Graces. There she hangs up her curved bow and her arrows, and heads and leads the dances, gracefully arrayed, while all they utter their heavenly voice, singing how neat-ankled Leto bare children [20] supreme among the immortals both in thought and in deed.
Hail to you, children of Zeus and rich-haired Leto! And now I will remember you and another song also.
-Kelad-einos , ē, on,
-Pindar,
Pythian
2
Other kings have other men
to pay
them the tribute of melodious
song, the recompense for excellence.
The word melody is never a translation of PSALLO: that is why Paul demanded that the "psallo" be in the PLACE of the heart or spirit: the same place the GRACE resides in Colossians 3.
This is the SELF-pleasing which Paul EXCLUDED from the ekklesia, synagogue or school of the Bible in the NOT singing passages.-kela^d-eō , Sapph.4, E.IT1093 (lyr.); 3pl. -eonti Pi.P.2.15: fut. -ēsō Terp.5, Pi.O.2.2, E.HF694 (lyr.), -ēsomai Pi.O.10(11).79: poet. aor.,A. keladēsa B. 15.12, A.Ch.609 (lyr.), E.Hel.371 (lyr.): (kelados):Ep. and Lyr. (Trag. and Com. only in lyr. and anap., exc. Theopomp.Com.40: late in Prose, Aq.Is.49.13, Philostr.VA6.17, Ps.-Luc. Philopatr.3) Verb (cf. keladō), sound as flowing water, udōr psukhron k. Sapph.l.c.; kuma keladoun Orac. ap. Aeschin.3.112.2. of persons, shout aloud, atar keladēsan Akhaioi, in applause, Il.23.869; eme dei k. Pratin. Lyr. 1.3, cf. B.l.c.; keladeonti amphi Kinuran phamai Pi.P.2.15: c. acc. cogn., k. humnous Terp.5, cf. Pi.N.4.16 codd.; nomon Id.Pae.2.101; hadumelē kosmon k. Id.O.11(10).14; [boas, paianas, E.Ion93, HF l.c.
Keladeontiamphi Kinuran pharmaikelad-eτ 3. of various cries, of the grasshopper, cock, bells, ring, thinke, of the flute
-Phκmκ , hκ, Aeol. and Dor. phama , I. utterance prompted by the gods, significant or prophetic saying, A. a.12, Pi.O.7.10;
-Pindar Olympian 7. [1] As when someone takes a goblet, all golden, the most prized of his possessions, foaming with the dew of the vine from a generous hand, and makes a gift of it to his young son-in-law, welcoming him with a toast from one home to another, [5] honoring the grace of the symposium and the new 1 marriage-bond, and thereby, in the presence of his friends, makes him enviable for his harmonious marriage-bed; [7] I too, sending to victorious men poured nectar, the gift of the Muses, the sweet fruit of my mind, I try to win the gods' favor [10] for those men who were victors at Olympia and at Pytho. That man is prosperous, who is encompassed by good reports. Grace, which causes life to flourish, looks with favor now on one man, now on another, with both the sweet-singing lyre and the full-voiced notes of flutes. [13] And now, with the music of flute and lyre alike I have come to land with Diagoras, singing the sea-child of Aphrodite [Lucifer, Aster, Zoe] and bride of Helios,4. phamai songs of praise, Pi.P.2.16 ; phama philophorminx A.Supp.697 (lyr.), cf. Th.866 (anap.)
-phthogg-os , o( (both Poet. and Prose), A. any clear, distinct sound, esp. voice of men, Il.5.234, etc.; of the Sirens,
2. speech, Hellados phthoggon kheousan A.Th.73; ph. emmetros, opp. peza, poetical speech, Phld.D.3.13; utterance, saying,
2. of musical sounds, lōtos phthoggon keladei E.El.716 (lyr.); luras Pl.Lg.812d, etc., cf. phthoggous alurous thrēnoumen Alex. 162.6 (anap.).b. pl., notes on a musical instrument; strings of lyre,
-Pindar Pythian 2. 1 Great city of Syracuse! Sacred precinct of Ares, plunged deep in war! Divine nurse of men and horses who rejoice in steel! For you I come from splendid Thebes bringing this song, a message of the earth-shaking four-horse race [5] in which Hieron with his fine chariot won the victory, and so crowned Ortygia with far-shining garlands--Ortygia, home of Artemis the river-goddess: not without her help did Hieron master with his gentle hands the horses with embroidered reins. [9] For the virgin goddess who showers arrows [10] and Hermes the god of contests present the gleaming reins to him with both hands when he yokes the strength of his horses to the polished car, to the chariot that obeys the bit, and calls on the wide-ruling god who wields the trident. Other kings have other men to pay them the tribute of melodious song, the recompense for excellence. [15] The voices of the men of Cyprus often shout the name of Cinyras, whom golden-haired Apollo gladly loved, [17] Cinyras, the obedient priest of Aphrodite.This includes the word MANIA or madness Paul warned about in Corinth.
See First Corinthians chapter one: Paul usually identifies the pagan ritualism before he defines the church as NOT arousing you but treating you as a student. If Jesus would not try to sexually stimulate you with music, those hirelings cannot be following Jesus.
Here
are the
sophists who have been ELEMINATED.
Sophis-teia
, hκ,
A. sophistry, D.S.12.53,
Plu.2.78f, D.L.2.113, etc.; opp. sophia,
Ph.1.10;
s. mantikκ, of Balaam,
ib.609;
title of work by Hermagoras of Amphipolis, Stoic.1.102: acc.
to Poll.4.50, a barbarism.
-Mantikκ, Mania [mainomai] ) madness, sphodra hκdonκ katechousaMANTIC or AROUSAL singing or music is OPPOSITE SANE or self-controlled.
II. enthusiasm, inspired frenzy, m. Dionusou para E.Ba.305;
apo Mousōn katokōkhē te kai m. Pl.Phdr. 245a; theia m.,
Opposite sōphrosunē anthrōpinē, ib.256b, cf. Prt.323b, X. Mem.1.1.16;
tēs philosophou m. te kai bakkheias Pl.Smp.218b.
III. passion, erōtikē m. Id.Phdr.265b; maniēn maneis aristēn Anacreont. 59.2: freq. in pl., Pi.O.9.39, N.11.48, E.HF835; eggus maniōn elaunei Id.Heracl.904 (lyr.); maniē tinos mad desire for . . , Hermesian.7.85.
Music or charismatic arousal is OPPOSITE to:
sōphrosunē A. soundness of mind, prudence, discretion sanity, opp. mania, X.Mem. 1.1.16, cf. Act.Ap.26.25.
2. moderation in sensual desires, selfcontrol, temperance
All music terms point to enchantment or sorcery: devices to obscure the truth for profit.
-Plato Phaedrus. [245a] ills is found. And a third kind of possession and madness comes from the Muses. This takes hold upon a gentle and pure soul, arouses it and inspires it to songs and other poetry, and thus by adorning countless deeds of the ancients educates later generations. But he who without the divine madness comes to the doors of the Muses, confident that he will be a good poet by art, meets with no success, and the poetry of the sane man vanishes into nothingness before that of the inspired madmen.
Music arouses the erotic:-Erτt-ikos A. of or caused by love, .
-melos a love song, melos B. esp. musical member, phrase: hence, song, 3. melody of an instrument Apollo's Harp
3. melody of an instrument, phormigx d' au phtheggoith' hieron m. ēde kai aulos Thgn.761; aulōn pamphōnon m. Pi.P.12.19; pēktidōn melē S.Fr.241
The command to SPEAK is the opposite of music:
Opposite. Epic or Dramatic verse, Pl.R.379a, 607a, al.; [m. ek triōn sugkeimenon, logou te kai harmonias kai rhuthmou ib.398d.
Prophesying by Miriam and the Levite musicians is defined as SOOTHSAYING.
OPPOSITE sτphrosunκ anthrτpinκ meaning having control over the sensual desires, temperate, self-controlled, moderate, chaste, sober, 2. moderation in sensual desires, selfcontrol, temperance-katokōkh-ē ,
-Homer Ion [536c] and you have plenty to say:
for it is not by art or knowledge about Homer that you say what you say,
but by divine dispensation and possession;
just as the Corybantian worshippers are keenly sensible
of that strain alone which belongs to the god whose possession is on them,
and have plenty of gestures and phrases for that tune, but do not heed any other.
And so you, Ion, when the subject of Homer is mentioned, have plenty to say, but nothing on any of the others.
-Homer Odyssey 23. [10] Then wise Penelope answered her:Logos. The ACT of speaking is logik-os , κ, on, ( [logos] ) the organs of speech
Dear nurse, the gods have made thee mad,
they who can make foolish even one who is full wise,
and set the simple-minded in the paths of understanding;
it is they that have marred thy wits,
though heretofore thou wast sound of mind.
Jesus revealed the same thing.
Luke 10:21 In that hour Jesus rejoiced in spirit, and said, I thank thee, O Father, Lord of heaven and earth, t
hat thou hast hid these things from the wise and prudent,
and hast revealed them unto babes: even so,
Father; for so it seemed good in thy sight.
-sophos , ē, on, A. skilled in any handicraft or art, clever, Margites Fr.2; but in this sense mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.), cf. Ar.Ra.896 (lyr.), en oiōnois, kithara, E. IT662, 1238 (lyr.)Acts 25. [24] As he thus made his defense, Festus said with a loud voice, "Paul, you are crazy! Your great learning is driving you insane!" [25] But he said, "I am not crazy, most excellent Festus, but boldly declare words of truth and reasonableness.
-Aristophanes, Clouds Just.
-Perseus:Aristoph. Cl. 961 I will, therefore, describe the ancient system of education, how it was ordered, when I flourished in the advocacy of justice, and temperance was the fashion. In the first place it was incumbent that no one should hear the voice of a boy uttering a syllable; and next, that those from the same quarter of the town should march in good order through the streets to the school of the harp-master, naked, and in a body, even if it were to snow as thick as meal. Then again, their master would teach them, not sitting cross-legged, to learn by rote a song, either pallada persepolin deinan or teleporon ti boama [shriek, cry] raising to a higher pitch the harmony which our fathers transmitted to us. But if any of them were to play the buffoon, or to turn any quavers, like these difficult turns the present artists make after the manner of Phrynis, he used to be thrashed, being beaten with many blows, as banishing the Muses. And it behooved the boys, while sitting in the school of the Gymnastic-master, to cover the thigh, so that they might exhibit nothing indecent to those outside; then again, after rising from the ground, to sweep the sand together, and to take care not to leave an impression of the person for their lovers. And no boy used in those days to anoint himself below the navel; so that their bodies wore the appearance of blooming health. Nor used he to go to his lover, having made up his voice in an effeminate tone, prostituting himself with his eyes. Nor used it to be allowed when one was dining to take the head of the radish, or to snatch from their seniors dill or parsley, or to eat fish, or to giggle, or to keep the legs crossed.
-Harmonia IV. in Music, stringing, ha. toxou kai luras Heraclit.51, cf. Pl.Smp.187a: hence, method of stringing, musical scale, Philol.6, etc., Nicom.Harm.9; esp. octave, ek pasōn oktō ousōn phōnōn mian ha. sumphōnein Pl.R.617b; hepta khordai hē ha. Arist. Metaph.1093a14, cf. Pr.919b21; of the planetary spheres, in Pythag. theory, Cael.290b13, Mu.399a12, etc.
A. of or for speaking or speech, logikκ, hκ, speech,
OPPOSITE to mousikκ,
And be not drunk with wine, wherein is excess; but be filled with the Spirit; Eph 5:18
Speaking to yourselves in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord; Eph 5:19
Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ; Eph 5:20
Submitting yourselves one to another in the fear of God. Eph 5:21
First: The word "drunk" is "methuo." one did not drink wine without a flute girl. If conversation was intended they sent the flute-girl out so they could be rational. It more often means to be FLUTED DOWN with passion or pride. Paul points to lots of classical writings which prove that SINGING and DRINKING WINE always went together: they pointed to the male symposium where "that crooked generation" sang skolion songs while the flute-girl or harp-girl provided music and sex.
Secondly: The word psallo from which we get "melody" speaks exclusively of warfare. For that reason, when Paul used it he insisted that it be something in the heart: making melody or singing with GRACE in your heart.
Thirdly: Any instrument made of wood would be outlawed. David tried to awaken his harp as Habakkuk spoke of trying to get wooden idols to be their teacher.
Fourtly: The word therefore authorized only twanging with the fingers: a plectrum is excluded. Pipes or percussion instruments would be excluded because they have no relationship to the twanging bow of Apollo: the father of musical harmony, thieves and liars.
Psallτ [psaτ]
I. to touch sharply, to pluck, pull, twitch, to twang the bow-string....to send a shaft twanging from the bow,
a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark [on loiters]
This was the red, polluted rope used to MARK those who loitered in the marketplace where Jesus consigned the pipers, singers and dancers. Whey they were forcefully driven to the ekklesia for INSTRUCTION ONLY they would bear the MARK of the pagan, perverted religion.
Click to see where PSALLO is the MARK of paganism.
Playing an instrument WITH THE FINGERS ONLY must include the name of the instrument.
Fifthly: because Paul was a scholar we know that he had a word to use if he remotely included playing an instrument with a plectrum:
1. to strike the web with the kerkis, to weave, Eur.
2. to strike the lyre with the plectron, Anth.:--generally, to play on an instrument, Ar.
3. of any sharp noise, boκn pterois kr. id=Ar.
We might end the argument by noting that Paul directly commands SPEAK "that which is written" as the activity of the Christian ekklesia, synagogue or school of the Bible. To make this simplier we might look at the meaning of "singing" at the time which was not a musical performance:
Psalmus , i, m., = psalmos, i. q. psalma,
I. a psalm (eccl. Lat.; cf.: carmen, hymnus), Vulg. Isa. 38, 20.--Esp., the Psalms of David
IS THIS SOMETHING YOU WANT TO DO IN CHURCH:
A. psalmoi toxτn E.Ion173 (lyr.);
I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer [160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' 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 bow will keep you off.Paul commands SPEAK and even the ODE was not lyrical and not metrical. That is because all of the SINGING terms point to enchantment used as MIND CONTROL to cheat others.
Toxon Bow implicatesgalliambus , i, m. [3. Gallus, II. A.] ,I.a song of the priests of Cybele,
B. toxκrei psalmτi [toxeusas] Id.HF1064 (lyr.).
Toxeuo A.shoot with the bow,tinosat a mark
2. metaph., Erτs e toxeus'autonE.Tr.255 ; hκ turannis pantothen toxeuetaiis aimed at, Id.Fr.850 .
Erτs mostly sexual passion, goddess of love, Aphrodites,
Hecuba What! Phoebus' virgin-priestess, to whom the god with golden locks granted the gift of maidenhood?2. Metaphor Shoot out or send forth a hymn
Talthybius[255] The dart of love has pierced his heart, love for the frenzied maid.
Pindar, Isthmian 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 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. But as things are now, she bids us heed [10] the saying of the Argive man, which comes closest to actual truth: [11] Money, money makes the man, he said, when he lost his wealth and his friends at the same time
Humnos A. hymn, ode, in praise of gods or heroes.
The HYMNS commanded for the believer consists os the HALLEL PSALMS and does NOT include singing them for entertainment and excludes that which is NOT "that which is written" (Rom 15)
Canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.)
2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing, drawl: si cantas, male cantas, si legis, cantas
C. Hence, because the oracles were of old uttered in verse, of any mysterious, prophetic, or warning utterance, to predict, warn, point out, indicate, make known, say
III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm,
Canorus adj. [canor] , of melody, melodious, harmonious: quiddam habere canorum, a melodious voice: modi, Iu.: vox ... nec canora, not sing-song: nugae, mere jingling, H.--Sing n. as subst, melody, charm (in speaking): illud in voce. --Producing melody, sounding melodiously, musical, euphonious: orator: chorus, song and dance, Iu.: Aeolides, i. e. Misenus, O.: animal (gallus): aves, V.: olor, Pr.: fides, H.: aes, i. e. tubae, V.
A Cappella Worship Leader
Aquinas, Thomas Praise Singing.
Praise Songs as Christian Voodoo
Ancient Pagan Praise Leader
Music as Brainwashing
Latter Rain, praise teams, praise singing, charismatic
Praise Worship Ploughs the Ground Hosea 10:ll
Rubel Shelly Praise and Thanksgiving
Rubel Shelly Psalm 106
See how CHARISMATIC music was born of sodomy preferably in the form of Pederasty.See that ZOE is Eos or Helios or Aphrodite or Lucifer: the singing and harp-playing prostitute.
See how it works out when the "children and effeminate rule over you."
See more notes on a cappella. YOU ARE HERE
See Edward Fudge on A Cappella
Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898)The word elegos is probably not Greek, but borrowed from the Lydians, and means a plaintive melody accompanied by the flute.
How it happened that the word was applied to elegiac poetry, the earliest representatives of which by no means confined it to mournful subjects, is doubtful. It may be
........ that the term was chosen only in reference to the musical setting,
........ the elegy having originally been accompanied by the flute
The Old Testament leaves a universally bad taste when instrumental music or any kind of body work is used to try to worship God whom people believed responded to human, carnal appetites. Under the kings, Israel worshipped like the nations and was destroyed like the nations. This was in fulfilment of the sentence imposed upon Israel when they rose up to play in musical idolatry at Mount Sinai. God then "turned them over to hard bondage" to "serve the hosts of Heaven." This star worship was of Osiris for over 400 years in Egypt, was the worship of Israel at Mount Gerezim condemned by Amos 5, 6 and 8 and later imposed upon the temple-state under Solomon along with the rest of the "gods."
The "musicians" were Labor Leaders or Overseers or Excellers:
The "chief musicians" or "musical Levites" were "overseers":
And Solomon told out three score and ten thousand men to bear burdens, and fourscore thousand to hew in the mountain, and three thousand and six hundred to oversee (excel) them. 2Chr 2:2
And the men did the work faithfully: and the overseers of them were Jahath and Obadiah, the Levites, of the sons of Merari; and Zechariah and Meshullam, of the sons of the Kohathites, to set it forward; and other of the Levites, all that could skill of instruments of musick. 2Chr.34:12
"Other expressions of popular singing are the working songs, of which the early rabbinic literature speaks with contempt." (Interpreters Dictionary of the Bible, p. 460, Abingdon).
Perhaps the musicans should go out to the construction sites and cheer up the workers. Didn't the musicians magically raise the rocks to build Thebes to give the workmen rest? But, the construction forman would probably call the law because you it be dangerous.
Those who "set forward" the work of the temple excelled which means:
Nacach (h5329) naw-tsakh'; to glitter from afar, to be eminent as a superintendent, especially of the Temple services and its music; also to be permanent, to excel, chief musician, singer, overseer, set forward. (The Worship team or Minister of Music is the overseer or anxiety inducer).
Of which, twenty and four thousand were to set forward the work of the house of the Lord; and six thousand were officers and judges: 1Chr.23:4
Another description shows that the musical worship teams were the overseers of the group:
Paqiyd (h6496) paw-keed'; from 6485; a superintendent (civil, military or religious): - which had the charge, governor, office, overseer, [that] was set.
Now it came to pass, that at what time the chest was brought unto the kings office by the hand of the Levites, and when they saw that there was much money, the kings scribe and the high priests officer came and emptied the chest, and took it, and carried it to his place again. Thus they did day by day, and gathered money in abundance. 2 Chr.24:11
Of the sons of Asaph, the singers were over the business of the house of God. Ne.11:22b
Business is:
Melakkah (h4399) mel-aw-kaw'; from the same as 4397; prop. deputyship, i. e. ministry; gen. employment (never servile) or work (abstr. or concr.); also property (as the result of labor): - business, * cattle, * industrious, occupation, (* -pied), * officer, thing (made), use, (manner of) work ([man], -manship).
What we call "Worship" was hard labor of bondage imposed at Mount Sinai
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: 1 Chronicles 25:1
Abodah (h5656) ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought
Abad (h5647) aw-bad'; a prim. root; to work (in any sense); by impl. to serve, till, (caus.) enslave, etc.: - * be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labour (-ing man), bring to pass, (cause to, make to) serve (-ing, self), (be, become) servant (-s), do (use) service, till (-er), transgress [from margin], (set a) work, be wrought, worshipper.
The tribe of Levi was to carry the burden for the people in a new secular kingdom. When they are playing instruments of David during the burning phase the common people are excluded under penalty of death. The Levites and another class of workmen had tens of thousands of animal carcasses to burn. Those who are said to "worship" did so by falling on their face: singing with instruments is never called an act of worship.
The backgroud of
Psallo is a
millitary or warrior background. Instruments were
"sounded" to panic
the enemy into running like a coward but they were not
used to
"worship" which always occurs "in spirit" or in the
mind. Anything
which disturbs this "in mind" worship is a hindrance and
not a
help.
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 tτpheth to'-feth From the base of H8608 ; a smiting, that is, (figuratively) contempt:--tabret. MEANING HELL
Organon , to, ( [ergon, erdτ] ) I. an implement, instrument, engine of any kind 12.--Of military or architectonic engines (whereas machina denotes one of a larger size and more complicated construction) GET DATA FROM APOC1WATCHERS.HTML
LEGALISTIC OR WARFARE WORK:A. instrument, implement, tool, for making or doing a thing
Ergon [Ergτ] I.work, 1. in Il. mostly of deeds of war, polemκοaerga, 3.a hard piece of work, a hard task, Il.: also, a shocking deed or act,
3.musical instrument, ; met'τidκs kai tinτn organτn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2
Scholars have aptly called musical performance "the idolatry of talent." And as a result, God is remade in the image of secular man.
Augustine on the Psalms noted that making melody external is a work which David always performed trying to find God whom he believed had become lost:
"Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5). Praise Him not with the voice only; take up works, that ye may not only sing, but work also.
- He who singeth and worketh,
- maketh melody with psaltery and upon the harp.
In Hebrew, the "bow twangs" or "harp sounds" or "spear clanks" were defined by a word which is used or both "instrument" and "Weapon":
Keliy (h3627) kel-ee'; from 3615; something prepared, i. e. any apparatus (as an implement, utensil, dress, vessel or weapon): - armour ([-bearee]), artillery, bag, carriage, / furnish, furniture, instrument, jewel, that is made of, * one from another, that which pertaineth, pot, / psaltery, sack, stuff, thing, tool, vessel, ware, weapon
The New Testament also has some negative comments about music and defines "singing" and "melody" in a radically new way: that already common among the Koine-speaking common people. The word for "melody" is derived from "grinding to bits" and the "sop" which Jesus fed Judas whose "bag" was for holding the mouthpieces (reeds) of wind instruments; it is derived from "speaking in tongues" plus "of the world."
Paul defined these "lifeless instruments" or "carnal weapons" by words showing that they were destructive, could both guard and pacify the lambs with the bow or could attract the SEEKERS with musical and dramatic performance. The classical writers show how low the word had sunk.
Furthermore, there is no command, example or inference that Jesus wanted us to worship with instruments -- or singing sentimental poetry for that matter --which the classical writers considered human works added to simple one-another singing where "singing" was reciting the already-composed songs and already-preached sermons. However, the make-work principle has governed most religion, beginning in the Garden of Eden.
As proof of the Scripture's inspiration, each and every effort to force it to approve of music as the works of human talent and hands fails. Human authority, however, is usually derived from books which are notorious for misquoting the historical writers such as Clement of Alexandria.
Therefore, another dodge which must flow from a shallow understanding and application of Scripture, is to show that those who consider musical worship as sinful but do not consider musical instruments in the home as sinful and are therefore inconsistent. The obvious bait and switch is to say that if instruments are not sinful in the home then you must be consistent (smart) and allow instruments in the worship -- while you enjoy the "performance."
Instrumental music in worship is often defended by the fact that we use instruments in the home. However, we have to ask:
"Is eating steak for the Lord's Supper sinful?" Overwhelmingly, "Yes." "Is eating steak to recover from the musical worship Sunday "worship" sinful?" Overwhelmingly, "No." Well, this just proves that you are inconsistent " No. It just means that we have discernment. Music is not wrong within itself. In worship it, by definition, takes the place of the Words of Christ.
The principle is not legal: Jesus doesn't care what you eat. However, if you eat steak because it tastes good or sing performance music for the audience during the Lord's Super you are showing little concern for the participants and for the Lord whom it is supposed to honor as we "silently search for leaven" in our own life.
Paul illustrates short periods out of the week to come together, sit down, shut our mouths and learn from Him. We eat the Lord's Supper with unleavened bread and unleavened fruit of the vine to honor Jesus and not the old, legalistic mediating clergy Whom Jesus replaced. Please get it: you cannot do both! Jesus said that the clergy loaded the "pack animals" down with "anxiety created by religious ritual" but He came to give us "rest and to take our ease" from such Spirit-wounding warfare.
But in some dictionaries, the word "psallo" demands the use of instruments.
"Psalm" is a Greek and not a Hebrew word. The Hebrew simply means "praise" and does not include an instrument unless one is specified:
Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Am.5:23
Lucifer is the "Babylon whore" of the end-time religion. In Tyre, he/she was a harp-playing prostitute who wanted to be remembered "as a male."
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. Isaiah 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. Isaiah 23:16
Singing "as a harlot" or warrior meant "taking up a harp."
- She said, and from her quiver chose with speed
- The winged shaft, predestin'd for the deed;
- Then to the stubborn yew her strength applied,
- Till the far distant horns approach'd on either side.
- The bowstring touch'd her breast, so strong she drew;
- Whizzing in air the fatal arrow flew.
- At once the twanging bow and sounding dart
- The traitor heard, and felt the point within his heart.
- Him, beating with his heels in pangs of death,
- His flying friends to foreign fields bequeath.
- The conqu'ring damsel, with expanded wings,
- The welcome message to her mistress brings.
In this SOUNDING or OVERSEEING the bow, string and arrow shaft twang "musically" just before your heart spouted blood and you accompanied it with the "drumming" of your dying feet.
If "instruments" are inherent in the word psallo then each singer must have their own instrument or they cannot psallo. If all human experience is not adequate, it may help to summarize some of the evidence which denies that psallo gives authority for legalistic, performance mechanical worship. First, look at one of the examples:
(external) Speaking to yourselves in psalms and hymns and spiritual songs,
(internal) singing and making melody in your heart to the Lord; Ephesians 5:19
You cannot help notice that the "operative" command is not to sing or make melody but to teach or preach by speaking. Teach is the same word as preach. If the preacher won't let you play the flute while he preaches then God won't be happy with you if you have a team of "sister singers" trying to seduce Him while He is speaking.
We can settle the issue quickly and move on. If Psallo means to sing a song with musical accompaniment then Paul said:
Speaking (teaching, dialoging) to yourselves in psalms and hymns and spiritual songs,
(singing) and (singing with instruments) in your heart to the Lord; Ephesians 5:19
Or shouldn't we
understand
this as typical parallelism which says:
Speaking to yourselves in psalms and hymns and
spiritual songs,
Which
says in parallel way to
emphasize and guard against misunderstanding:
singing
and making
melody in your heart to the Lord;
Ephesians 5:19
What this already meant to the Psalm writers was that one sings to god when one praises God which is to tell what He has done:
O give thanks unto the Lord; call upon his name:
........make known his deeds among the people. Psalm 105:1Sing to the LORD, for he has done glorious things;
........ let this be known to all the world. Isaiah 12:5
What this meant to Jesus
We know that Jesus disparaged the Jewish clergy as "children playing musical games." They tried to pipe to artificially induce the choral dancing madness into Him. The associated words connecting the PAIS as the leaders of the musical procession also are associated with sodomy as an end product of the charismatic effor.
We know that Jesus did not "psalm" but hymned:
Humneo (g5214) hoom-neh'-o; from 5215; to hymn, i.e. sing a religious ode; by impl. to celebrate (God) in song: - sing an hymn (praise unto).
We know that "psalming" is not mentioned in any gospel account but it is used of both Jesus and others to speak of what was recorded in the Psalms. These were poetic records of the history of the Jews. Only later did the Jews set them to music:
And David himself saith in the book of Psalms, The Lord said unto my Lord, Sit thou on my right hand, Luke 20:42
Even "unspiritual" Psalms would be suitable for the Christian assembly if we understood the activity in Paul's words to "teach and admonish." To teach the Jewish history would not be to endorse all of it.
We know that Jesus denied the value of David's "singing" by using the word "saith"--
Lego (g3004) leg'-o; a prim. verb; prop. to "lay" forth, i.e. (fig.) relate (in words [usually of systematic or set discourse.
We know that when these hymns were sung in a collective sense they were not solos or performances for others (see more below):
Odai are the cultic songs of the community. They are not sung by the individual, but by the community gathered for worship
What this meant to Paul
Now I say that Jesus Christ was a minister (public servant) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8
And that the Gentiles might glorify God for his mercy; as it is written,
(external) For this cause I will confess to thee among the Gentiles,
(internal) and sing unto thy name. Romans 15:9
Paul understood singing in this two-part method of teaching one another with the Biblical text while the singing is directed to God. He said the same thing to the Ephesians and Colossians.
What this meant to some early disciples who understood Paul literally
This demands both a horizontal (one to another) teaching process, and a vertical (to God) process. The horizontal process is audible; the vertical process is silent:
First, some early groups understood this literally: speaking to one another to memorize, or speak already-memorized Biblical text, was to teach the Words of Christ which already filled the mind and heart of the people.
Second, the singing and melody was "in the heart" and it was directed "to God."
What this must mean for our worship
If we have any concern for the Psalmist, for Jesus' experience and teaching and for Paul, we must show regard for Christ Who inspired the Word. The Biblically-defined task remains the same: the collective assembly must be to teach one another the Words of Christ and God does not need to be instructed nor entertained. The result will be the education of the collected group and this, in turn, sings to and gives glory to God.
We will see further that the "oding" was an act of the community and it cannot be done by one person to the congregation any more than speaking or dialouging can be a one-person preaching performance.
From "filling up with the Spirit" or "the Word of Christ" in Colossians 3:16 the actions are: be informed of the words of Christ (Spirit John 6:63), speak those words one to another, the result will be teaching and warning one another, we will honor Christ by recycling His Words back to Him or else they are void and there will be unity which can come only through unison-type dialog and singing.
Looking at What Messiah Would bring to the World.
In Isaiah 11 Messiah would not be filled with a "little person" other than Himself as full Deity. Rather, Isaiah predicted that the Spirit which rested upon Him would be:
And the spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the Lord; Isaiah 11:2 and spirituality or "quick understanding" in the next verse.
Paul defined the Holy Spirit (to us) as the Mind of Christ (1 Corinthians 2). Christ left that Spirit in His Words. Later, Isaiah defines a process much like that defined by Paul in his "singing" passages.
Christ supplies all of our food stuffs for both body and soul. This form of presenting Christ's revelation is not new to Paul; it appears throughout the Word.
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The
Spirit which flowed out from the 'belly"
was the Word of God which if ignored by
substituting "another" spirit
you are substituting another Christ and another
gospel.
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Christ
is the witness, leader and commander to
lead the nations or unbelievers to Himself as the
only Holy God
Incarnated in flesh.
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Paul
demands that we fill
up with Spirit or the Word of Christ
because it is
terminal presumptiousness to believe that you can
interpret better than
the Holy Spirit.
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The
water comes down, does its creative work
and returns to the clouds or else life would
cease. The same is true of
God's words: if we don't use and return His Words
to Him our "singing"
is vain. Jesus called this "vain religion."
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Feeding
on the Word allows us to enjoy the
peace and unity Paul spoke of. The "heart" of
God's creation can then
sing and clap their hands.
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God's
people will prosper and God alone will
get the glory. However, music is often called "the
shawms of a dying
civilization."
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Instead
of the thorn shall come up the fir
tree, and instead of the briar shall come up the
myrtle tree: and it shall be to the Lord for a name, for an everlasting
sign that shall not be cut off. Isaiah 55:13
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In the New Testament
First,
the word "psallo" originally carried the idea of the twanging
sound made
by a
bowstring, stretched hide or
gut or anything which would vibrate or make a grinding sound
when put
through the mill. Musical devices were often produced from
polluted
animals which died
of
themselves
and could
not be used for religious purposes. For instance, the hide
of a goat
left when the decayed body could be slipped out without
damage to the
skin could be made into a lyre or drum.
I have a flute made from a deer bone the dog drug up, gnawed, buried, dug up, and allowed to weather. I had to pollute it by boring holes and when I blew the sound was not a "god" inside but the noise of my own foul, polluted breath.
Until in the last century scholars did not know that the New Testament was written in Koine Greek: the language of the marketplace and not the classical Greek writers.
When the New Testament was written, psallo did not include musical instruments primarily because of the universal association between musical instruments and pagan religion which always attracted worshippers (secular seekers) by the display of female or effeminate male musical or dramatic talent.
Second, we can understand PSALLO by how the New Testament writers used the word. That is, the use of "singing" does not include a form of entertainment to solicit customers as it had in paganism; it is used as a parable for teaching the gospel message or anything taught by the Spirit of Christ.
Third, we can understand psallo by the fact that none of the credible translations include the musical instrument. To claimthat the Greek it included instruments" discounts two thousand years of Biblical scholarship.
Fourth, the very definition of every single musical term in both the Old and New Testament carries a very destructive, negative meaning, and are derived from even worse Hebrew and Greek roots. This includes the Hebrew word translated melody.
Fifth, if psallo includes musical instruments then the apostles rejected the command of Christ and their own letters because we have no clear statement that they "psalloed upon a harp." To the contrary, Paul implicates musical instruments in speaking in tongues which was part of the "get drunk with wine" and music of Greek religion.
Six, The early church clearly understood that psallo did not include instruments and was horrified and always deliberately divided by those who tried to introduce them. Many of those who introduced instruments were deliberately chasing away those who interfered with their role in the churches.
PSALLO as used and translated in the New Testament:
The word psallo occurs five times in the New Testament: Romans 15:9; 1Cor 14:15 (twice); Eph 5:19; and James 5:13. Without an exception, all the standard translations, King James, English Revised, American Standard, and Douay (Roman Catholic), render psallo as "sing, sing psalms, sing praise, make melody." Again to quote Paul:
The Solution to Warfare Against Jesus with Music
