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.
Music was always the mark of the prostitute or Sodomite:
Areskos
A. pleasing, mostly in bad sense, obsequious, cringing,
II. areskos, ho, the staff borne by pornoboskoi [brothel
keeper] on the stage,
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).
Airô to raise up, exalt,
Aesch.:--of passion, to exalt, excite, hupsou airein thumon
to grow
excited, to raise by
words, to extol, exaggerate, to take
up for oneself: to carry off, win, gain
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 Apollyo
Aeirô
is connected to:
Kithar-izô ,( [kitharis] ):--play
the cithara, phormingi
[Apollyon's instrument], kitharize. Instrument players were
defined as parasites.
The included Attic
word Airô to raise up, exalt,
Aesch.:--of passion, to exalt, excite, hupsou airein thumon
to grow
excited, to raise by
words, to extol, exaggerate, to take
up for oneself: to carry off, win, gain
Romans XV. 1
debemus autem nos firmiores imbecillitates infirmorum
sustinere et non nobis placere
Sustinere I.
to hold up, hold upright,
uphold, to bear up,
keep up, support,
sustain 1.To
sustain, support, maintain,
by food, money, or other means (maintain, preserve with dignity of a citizen II.
Concr., the citizens united in a community, the
body - politic, the state,
and as this consists of one city and its territory, or of several
cities, it differs from urbs, i.e. the compass of the dwellings of the
collected citizens;
Imbecillitas Caes. B. G. 7, 77, 9
Caes.
B. G. 7, 77, 9 Caesar, Gallic War 7.77.
LXXVII. But those who were blockaded at Alesia , the day being past, on
which they had expected auxiliaries from their countrymen, and all
their corn being consumed ignorant of what was going on
among the Aedui, convened an assembly [Concilium Pastorium] and deliberated
on the exigency of their situation. After various opinions had been
expressed among them, some of which proposed a surrender, others a
sally, while their strength would support it, the speech of Critognatus
ought not to be omitted for its singular and detestable
cruelty.
Concilium is the same as Latin ecclesia
or Greek sulloge or synagogue. I.a
collection of people, an association, gathering, union,
meeting A.An assembly
for consultation pastorum pasco 2.To
feed, nourish, maintain,
support, 3.To
cherish, cultivate, let grow,
feed
4. Of animals, to
graze, browse (poet.):
pascentes capellae,
Pastor 2.The
minister or superintendent of a church or
congregation
Ezek XXXIV.
The word of Yahweh came to me, saying,
[2]
Son of man, prophesy against the shepherds of
Israel, prophesy,
and tell them,
even to the shepherds, Thus says the Lord Yahweh: Woe to the shepherds
of Israel who feed themselves!
Shouldn't the shepherds feed the sheep? [3]
You eat the fat, and you clothe you with the wool,
you kill the fatlings; but you don't feed
the sheep. [4]
You haven't strengthened the diseased,
neither have you healed that
which was sick, neither have you bound up that
which was broken,
neither have you brought back that which was driven away,
neither have
you sought that which was lost; but with force
and
with rigor have you ruled
over them. [5]
They were
scattered, because there was no shepherd; and they
became food to all
the animals of the field, and were scattered.
Eph 4:[11] He gave some to
be apostles; and some, prophets; and some, evangelists; and some, shepherds
and teachers;
[12] for the
perfecting of the
saints, to the work of serving, to the building up
of the body of Christ; [13]
until we all attain to the unity of the faith, and
of the knowledge of
the Son of God, to a full grown man, to the measure
of the stature of
the fullness of Christ
Outlawed:
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
Rom. 8:8 So then they that are in the
flesh cannot please God.
Rom. 8:9 But ye are not in the flesh, but in the
Spirit,
if so be
that the Spirit of God dwell in
you.
Now if
any man have not the Spirit of Christ,
he is none of his.
Outlawed: Scaenicus I. of or
belonging to
the stage, scenic, dramatic, ORGANA,
theatrical
I.
Lit.: poëtae, dramatic
poets, ludi, stage-plays,
theatrical representations, : fabula, a drama
,
2. Placere sibi, to be pleased or satisfied with one's self,
to flatter one's self, to pride or plume one's self
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
Lynn
Anderson etal:
II.
Inspired Scripture
I believe in a God who speaks clearly through His Inspired
Word. His important truths are readily
apparent
throughout the whole of
scripture. Certainly there are finer nuances to be gleaned by
deeper
study, but He does not leave us to guess where He stands and then hope
to escape the wrath of hell if we guess wrong.
I believe that all scripture is “inspired by God” (2Tim.
3:16).
I have heard it said many times that the Bible doesn’t
address the issue of instrumental worship for the
church and that it is conspicuously missing.
|
Sorry, but I have never heard that the Bible
doesn't address instruments except from instrumental
apologists: I think they meant that the Bible did not authorize
it. The most overwhelming issue of the Old Testament is the
clergy being abandoned to pagan music
and the prophets universally
condemning them as robbers and parasites JUST what God promised when
the elders fired God and hired a DOMINANT PREACHER. God didn't tell you
that you cannot be a hypocrite either:
Hupokrinomai
I.
to reply, make answer, answer,
Hom., Hdt.
2. to expound, interpret, explain, Od., Ar.:--the attic
word in this sense is
apo-krinomai.
II.
of
actors,
to answer
on the
stage:
hence to play a
part,
be an actor
2. to represent dramatically: hence to exaggerate
3. metaph. to play a
part,
to feign, pretend, c. inf.,
id=Dem.
Latin 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:
Parasi-tus
, i, m., = parasitos, lit. one who eats with another; hence,
I.
In gen., a guest (pure Lat. conviva):
parasiti Jovis, the gods-Hence,
parasitus Phoebi,
a player, actor,
II.
In partic., in a bad sense,
one who, by flattery and buffoonery, manages to live at
another's expense, a sponger, toad-eater, parasite
Some claim that God is silent and his silence
gives ME the right to impose new practices whih BECOME the words of God
which cannot be disputed. And so totally inspired that they claim that
God COMMANDED instrumental praise and we must not be disobedient.
When God brought Israel out of Egypt by pure grace, He gave them The
Book of the Covenant. They agreed to keep it but refused to listen to
the voice of God. While Moses was on the mountain getting a written
code of grace, the people rose up in musical idolatry. For that
transgression God removed Grace and gave them The Book of The Law and
turned them over to worship the starry host.
Exod
32:1 AND when the people saw that Moses delayed to come down
out of the mount, the people gathered themselves together unto Aaron,
and said unto him, Up, make us gods, which shall go
before us; for as
for this Moses, the man that brought us up out of the land of Egypt,
we wot not what is become of him.
Exod
32:2 And Aaron said unto them, Break off the golden
earrings,
which are in the ears of your wives, of your sons,
and of your
daughters, and bring them unto me.
Exod
32:3 And all the people brake off the golden earrings which
were in their ears, and brought them unto Aaron.
Exod
32:4 And he received them at their hand, and fashioned it
with a graving tool, after he had made it a molten calf: and they
said, These be thy gods, O Israel, which brought
thee up out of the
land of Egypt.
Exod
32:5 And when Aaron saw it, he built an altar before it; and
Aaron made proclamation, and said, To morrow is a feast
to the Lord.
Exod
32:6 And they rose up early on the morrow, and offered burnt
offerings, and brought peace offerings; and the people sat down to
eat and to drink, and rose up to play.
"The
triumphal hymn
of Moses had unquestionably a religious character about it; but the
employment of music
in
religious services, though
idolatrous, is
more
distinctly marked
in the festivities which attended the erection of the golden calf."
(Smith's Bible Dictionary, Music, p. 589).
"In
the New Testament there is
nowhere any emphasis laid on the musical form of the hymns; and in
particular none on instrumental
accompaniment whereas
this is significantly paganism." (Delling, Gerhard,
Worship in the New Testament,
trans. Percy Scott Phil. Westminster press, 1962, p. 86).
Both the
Greek and Latin define this is MUSICAL IDOLATRY;
Ludo A.To
sport, play with any thing, to practise as a
pastime, amuse one's self with any thing.
B.To sport, dally, wanton (cf. "amorous play,
Tertullian
De Spectaculus
Chapter X. Theatrical
Performance and
Religion
Let us pass
on now to theatrical
exhibitions, which
we
have already shown have a common origin with the circus
[Circe=church],
and bear like idolatrous designations-even as
from the first they have borne
the name of "Ludi," and equally minister to idols.
They
resemble each
other also in their pomp,
having the same procession to the scene of their display from temples and altars,
and that mournful profusion of incense
and blood,
.........with music of pipes
and trumpets,
........ all under the direction of the soothsayer and the undertaker,
........ those two foul
masters of funeral
rites and sacrifices.
2
Peter 2:13 And shall receive
the reward of unrighteousness,
..........as they that count
it pleasure to
riot in the day time.
..........Spots they are
and blemishes, sporting themselves
..........with their own
deceivings [delusions] while
they feast with you;
..........All musicians
and rhetoricians
are equated to parasites.
Entrupo (g1792) en-troo-fah'-o;
from 1722 and
5171; to revel in: - sporting selves.
gamêliôi
lechei [marriage
couch-bed] hêdonais,
playing
in the wind, exult
over,
treat
haughtily or
contemptuously, made a mock
of, tinos
sumphorais, III.
use or abuse at pleasure
Exod 32:17 And when Joshua
heard the noise of the people as they
shouted, he said unto Moses, There is a noise of war
in the camp.
Lam.
2:6 And he hath
1. violently taken
away his tabernacle, as if it were of a garden:
2.
he hath destroyed his places of the assembly:
[h4150 synagogues: good and bad]
the LORD
hath caused the solemn feasts and sabbaths to be
forgotten in Zion,
and hath despised
in the indignation of his anger
the king and the priest.
Hos 8:3 Israel hath
cast off the thing that is good: the enemy shall pursue him.
Hos 8:4 They have set
up kings, but not by me: they have made princes, and I
knew it not: of their silver and their gold have they made them idols,
that they may be cut off.
Hos 8:5 Thy calf, O
Samaria, hath cast thee off; mine anger is kindled against them: how
long will it be ere they attain to innocency?
Hos. 13:11 I gave thee a king
in mine anger, and took him away in my wrath.
3.
The Lord hath cast
off his altar (candlestick), he hath abhorred his sanctuary,
he hath
given up into
the hand
of the enemy the walls of her
palaces;
they have made
a
noise
in the house [Temple]
of
the Lord, as in the day of a solemn feast.
Lam 2:7
WES:
2:7 They - The enemies with their triumphs and blasphemies, made as
great a noise, as those that sang holy songs, or played
on instruments,
were wont to make to the glory of God.
Exod 32:18 And he said, It
is not the voice of them that shout for
mastery, neither is it the voice of them that cry
for being overcome; but the noise of them that sing
do I hear.
Paul warned both
the Romans and Corinthians about this musical idolatry
1Co.10:7 Neither be ye idolaters,
as were some of them; as it is
written, The people sat down to eat and drink, and rose up to play.
Paizo
(g3815) paheed'-zo; from 3816; to sport (as a boy): - play.
Paig-ma
, atos, to, A. play,
sport, whene'er the pipe sounds
its sportive strains, E.Ba.161(lyr.);
Ludia
p. luras
E.Ba.161
Euripides
Bacchae
Chorus
[135] He
is sweet in the mountains,
whenever after the running dance he falls on the
ground, wearing the
sacred garment of fawn skin, hunting the blood of the slain goat, a raw-eaten
delight, rushing to the [140]
Phrygian, the Lydian mountains,
and the leader of the dance is Bromius, evoe! The plain flows
with milk, it flows
with
wine, it flows with the nectar of bees. [145]
The Bacchic one, raising the flaming torch of pine on his thyrsos, like
the smoke of Syrian incense, darts about, arousing
the wanderers [planetes [Wandering
stars] with
his racing and dancing, agitating
them with his
shouts, [150]
casting his rich locks into the
air. And among the Maenad cries his voice rings deep:
“Go, Bacchae, go, Bacchae, with the luxury of Tmolus that flows with
gold, [155]
sing of Dionysus,
beneath
the heavy beat of drums, celebrating in delight
the god of delight with Phrygian shouts and cries, [160]
when the sweet-sounding sacred pipe sounds a sacred
playful
tune suited [165] to
the wanderers, to the mountain, to the
mountain!” And the
Bacchante,
rejoicing like a foal with its grazing mother,
rouses her swift foot in
a gamboling dance
êïos
epithed of Phoebus,
A. êïe Phoib [Apollo, Apollon, Apollyon]
enopê
3. of things, sound, 08;
kitharas
e. E.Ion882 O you, who cause a voice to sing from your
seven-stringed lyre, a voice
that lets lovely-sounding hymns peal forth in the rustic
lifeless horn
Note 2. lura
A.lyre,
a stringed instrument with a sounding-board
formed of the shell of a tortoise thrênon (since
the dirge was
accompanied by the flute)
The Bible
is NOT lyric poetry.
Lynn
Anderson etal: Is
not the Old Testament part of our Bible? Is it not part of
all
scripture? Was it not written to teach us
about God (Ro. 15:4) and
what He values (love, justice, mercy, faith, worship, etc.) and what He
hates (evil, idolatry, etc.)? When the
early church gathered to
worship, what scripture did they study together - not the New Testament
- it had not been written yet. What was their hymnbook? - the
psalms,
which over and over include mandates to use instruments
Rom
15:4 “For everything that was written in
the past was written to teach us, so that through
endurance and the encouragement of the Scriptures
we might have hope.”
|
GOD DID NOT COMMAND KING, KINGDOM, TEMPLE, ANIMAL SACRIFICES OR LEVITE SORCERS MAKING NOISE
Paul excludes the diversities of Romans 15 and defines the ekklesia or
synagogue or school of the Bible in Romans 15: the teaching was done by
speaking "that which is written" using one mind and one mouth.
Self-pleasure excludes all form of theatrics especially exhibitionism
which was a female or perverted mark.
This
was written for our learning including telling us that Israel fell from
Grace because of musical idolatry. Because there is no
exception
to this radical condemnation, it is not possible for anyone taking an
honest look at the text to conclude that it teaches us to DO that which
caused God to abandon them to musical idolatry in national-only animal
sacrifices.
1Cor.
10:6 Now these things were our examples,
to the
intent we should not lust after evil things, as
they also lusted.
1Cor. 10:7 Neither be ye idolaters, as were some of
them; as it is written,
The
people sat down to eat and drink, and rose up to play.
"The
triumphal hymn of Moses had unquestionably a
religious character about it; but the employment of music
in religious
services, though
idolatrous, is more
distinctly marked
in the festivities which attended the erection of the golden calf."
(Smith's Bible Dictionary, Music, p. 589).
"They
sat down to eat and
drink and rose up to play. They practiced rites in which they made
themselves naked, perhaps similar to those which were carried out by naked
Babylonian
priests."
(Woodrow, p.
158)
Anton Marks "We
know that all of the Israelites brought Egyptian gods and practices with them
and it is not far-fetched to
think that Miriam, who had not yet been exposed to the Covenant, was
part of the consciousness-altering
rhythms and which
was part of a priestly
myth-play
brought to
destructive
consummation at Mount Sinai as the golden calf was called back into
action.
This
"rising up to play" involved eating,
drinking, nakedness and musical
worship. The
goddess, Hathor,
is the best candidate for the Mother Goddess of the Mount Sinai
idolatry. Here priestessess or prophetesses
were
highly trained with musical instruments,
cultic songs and be able to
join in the religious dance.
1Cor.
10:11 Now all these things happened unto them for ensamples: and they
are written for our admonition, upon whom the ends of the world are
come.
When Paul addressed those areas where
pagan singing with
instruments--and music included the whole body--he commanded that the SPEAK
"that which is written" (Rom 15), The Spirit (Eph 5; John 6:63)
or the Word of Christ (Col 3.) These were all forms of the BOOK of
Psalms or other inspired text. Modern writers do not write
inspired Scripture.
Where there were numerous prophets which usually meang prophesiers or
mad singing and playing people who arroused you to pick your pocket,
Peter told the churches to give attention to the PROPHETS and the Day
Star would arise in their hearts.
The reason for both is that Peter left a written memory and claimed
that it was from an eye and ear witness of Jesus Christ Who validated
HIS mission by working miracles. Therefore, singing that
which is
written is a MARK as the only real way we can identify what Paul
identified as the pagan, perferted performers. A teacher who
did
not "teach that which is written" was marked as a false teacher. That
is why God put that authority in the hands of Pastor-Teachers as the
elders and not young professional performers to put on a show.
Jesus had a bound copy of the Greek version: maybe similar to the one
the eunuch was reading so that he knew that baptism was prophesied.
The meaning of a Scribe was that they would be at every major
event taking notes and making copies to sell before the audience got
away. Everything that Jesus said would be recorded and became
short accounts.
Therefore, they would need nothing more to assemble to read whatever
text they had, discuss it and be admonished to observe it. With the
addition of the Lord's Supper they could conduct "church" until Jesus
comes.
Lynn
Anderson etal:
Psa
4:1 For the director of music. With
stringed instruments.
Psa 5:1 For the director of music. For
flutes.
Psa 6:1 For the director of music. With
stringed instruments.
Psa 33:2 Praise the LORD with the harp; make music to him on
the ten-stringed lyre.
Psa 33:3 Sing to him a new song; play skillfully, and shout
for joy.
Psa 43:4 Then will I go to the altar of God, to God, my joy
and
my delight. I will praise you with the harp, O God, my God.
Psa 47:5 God has ascended amid shouts of joy, the LORD amid
the sounding of trumpets.
Psa 49:4 I will turn my ear to a proverb; with the harp I
will expound my riddle:
Psa 54:1 For the director of music.
With stringed instruments.
Psa 55:1 For the director of music. With stringed instruments.
Psa 61:1 For the director of music. With stringed instruments.
Psa 67:1 For the director of music. With stringed instruments. |
Who
is the chief Musician: the truth is that he is often the slave driver.
Commentators and critics
have confessed that
they can make only conjectures as to the primitive meaning and use of
the word (for it is only one word in Hebrew) lamenazzeah.
The Ancient Versions attempt a
rendering.
The Sept. has eis to
telos = unto,
for, or, with a view to
the end. The Arabic, Ethiopic, and Vulgate render it "at the
end". The Chald. renders it (Ps. 45) "to the
praise". The
Talmudists hold that it related to Him Who is to come; while Aquila
(one of the Sept. Revisers, A.D. 130) renders it "to Nikopoio" = to the
giver of victory.
It is clear that a Person
was intended by these
various renderings; but they appear to be interpretations rather than
translations. Regarded as the former, they may be useful in
showing us how the Psalms point to Christ; for He is the end.
It is He Who giveth victory; it is He Who is the Coming One :
and, while the book is called Sepher
Tehillim, the Book of
Praises, it is
He Who
"inhabiteth the praises of Israel" (Ps. 22:3).
All ancient Hebrew
manuscripts, with the early
and best later printed editions, show no break whatever between the
lines of one Psalm and another.
The Septuagint translators
had been many years
in Babylon, and the oldest among them must have been very young when
carried away thither.
There was none who had full
knowledge and
experience of the ancient usages of the Temple worship.
Consequently, when they came
to their task some
197 years after the latest carrying away to Babylon, there was
nothing to show them where one Psalm ended and where the next
began.
Hence, when they came to the
word lamenazzeah,
"To the chief Musician", they took it as being the first line
of a Psalm, instead of the last line
of the preceding
Psalm which they had just translated. All subsequent
Versions,
in all languages, have followed them in this mistake. For
mistake it was, as we may see from the only two examples of
independent Psalms given us in the Scriptures : viz. Isa.
38:9-20, and Hab. 3.
In each of these isolated
Psalms we have the
true models on which all the other Psalms are based.
In each case we have
1. The Super-scription,
or Title
proper.
2. The body of the Psalm
itself.
3. The Sub-scription.
In each of these two cases
the word lamenazzeah forms the sub-scription, and appears
at the end of the Psalm. 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
There were also women
musical singers "for my
own pleasure" or my "musical instruments" or "my concubines" but
there were never any Levitical women
worship team members.
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.
Of the sons of Asaph, the singers
were over the business
of the
house of God.
Ne.11:22b
Godly people performed no work on the REST DAY: work involved sending out ministers of God.
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).
This
is outlawed for the day of Rest:
The
singers and musicians were eminent (famous,
celebrated, conspicuous or
exalted). They were the
chief singers,
set forward to advance the
work
of the institution. They were in charge, they were officers, they were the overseers
of the "flock."
This was
not because of the elders or tribal
leaders
approved.
Rather, the chief "lion" organized his own teams to grasp
ruler ship after the wars were over. This led to the displacement of
the religious institution by the "peace party." However, when they
cry "peace, peace" we had better watch out.
And
the young
men
that were brought up with him spake
unto him, saying, Thus shalt thou answer the people that spake unto
thee, saying, Thy father made our yoke heavy, but make thou it
somewhat lighter for us; thus shalt thou say unto them, My little
finger shall be thicker than my fathers loins. 2 Chron 10:10
For
whereas my father put a heavy yoke upon you, I
will put more to your yoke: my father chastised you with whips,
but I will chastise you with scorpions. 2 Chron
10:11
And
answered them after the advice of the young
men, saying, My father made your yoke heavy, but I will add thereto:
my father chastised you with whips, but I will chastise you with
scorpions. 2 Chron 10:14
This caused Civil war
after Solomon's death
See
that human hymns are idols.
John
Murray defining Psalms
as Inspired
Psalms: We
cannot write those.
"In
the Septuagint
psalmos occurs some 67 times in the titles to the Psalms.
In most cases it is the translation of the Hebrew mismor, but in a few cases it
translates other Hebrew
words.
Psalmos
means simply
"song
of
praise." The frequency
with which the word psalmos occurs in the titles is probably the
reason why the Book of Psalms is called in the LXX version simply psalmoi. In the Hebrew it is
called tehillim.
Tehillah (h8416) teh-hil-law';
from 1984; laudation; spec.
(concr.) a hymn: - praise.
I
will declare thy name unto my brethren: in the midst of the congregation will I praise thee.
Psalm 22:22
"There
is nothing in the
context of these two passages requiring us to regard "psalms" as
referring to uninspired
compositions.
On
the other hand,
there are abundant instances in the usage of Scripture elsewhere
which show that the word "psalm"
refers to an inspired
composition.
"Furthermore,
there is no
instance in which the
word "psalm," as used with reference to a song of praise to God, can
be shown to refer to an uninspired song.
It
is therefore
quite unwarranted to regard "psalms"
in these two passages as referring to uninspired songs, whereas there is
abundant warrant for regarding
them as denoting inspired
compositions.
Probably most
churches do NOT follow that
direct command and are therefore not informed. Paul outlawed
SELF-pleasure which we have proven excludes all forms of arousal
singing or instruments. He further defined the METHOD of
teaching
"that which is written." He said us ONE MIND and ONE MOUTH as the way
to educate, glorify or praise God, comfort WITH the Scriptures and
thereby keep the unity of the body. No one in history has ever imposed
music without knowing that they would sow discord which IS a burnable
offense.
No musical performers SPEAK that which is written in UNISON and
therefore violate the direct command for the teaching purpose and the
method of teaching: rarely will a Physics professor let some musician
rewrite his lectures and perform them with a musical band.
Lynn
Anderson etal:
III.
God Never Changes
I believe in a God that never changes. He is not given to
whims and
fancies that come and go. A loving God would not desire and
command
something at one time (Num. 10:2, Ps. 98, 150, I Chron. 25:6, etc.),
later decide that He hates it (and neglect to mention that fact - just
expect us to guess it), then change His mind again and require it (I
Cor. 15:52, I Thess. 4:16, Rev. 5:8, 8:2, 14:2, 15:2). God
does not
change. |
That
is partly true: Jacob cursed the tribe of Levi and warned us NOT to
attend their assemblies or enter into covenant with them Genesis
49
People lived under the Abrahamic covenant
of Grace before they fell
into musical idolatry at Mount
Sinai. God abandoned the national system
of kings and priests to make war and conduct NATIONAL
animal
sacrifices
to which the people's congregation never attended. The
serpent in
the garden of Eden was a "musical enchanter(ess)". The
king/queen
of Tyre was typical of Lucifer called the "singing and harp playing
prostitute" in the garden of Eden. There are examples of instrumental
music during the Patriarchal period and the concept is of giving Jacob
a musical party so that he did not even know that he was wedding the
wrong woman.
If God abandones you to idolatry then maybe God DOES change: He always
changes when we repent.
The assembly for instruction did NOT
change when the curse of musical-sacrificial terror was IMPOSED.
Gal.
3:14 That
the blessing of Abraham might come on the Gentiles
through Jesus
Christ;
that we might receive the promise of the
Spirit through faith.
Gal.
3:15 Brethren,
I speak after the manner of men;
Though it
be but a man’s covenant, yet if it be confirmed,
no man disannulleth,
or addeth
thereto.
By appealing to the Law imposed
because of musical idolatry one defacto
rejects the Covenant of Grace destroyed BY musical idolatry.
Gal.
3:16 Now to Abraham and his seed were the promises
made.
He saith not,
And to seeds, as of many; but as of one,
And to
thy seed, which is Christ.
Gal.
3:19 Wherefore then serveth the law?
It was
added because of transgressions,
till the
seed should come to whom the promise was made;
and it
was ordained by angels in the HAND
of a mediator.
After we are
baptized into Christ:
Gal.
3:28 There is neither Jew nor Greek, there is neither bond nor
free,
there is
neither male nor female: for ye are all one in Christ Jesus.
Gal.
3:29 And if ye be Christ’s, then are ye Abraham’s seed,
and heirs
according to the promise.
At the
same time the Qahal, synagogue or church in the wilderness was
ordained for all of the rest as a school of the Bible. It excluded
vocal and instrumental rejoicing.
That neer changed and the synagogue was all that was left for the most
part after the Return.
Lynn
Anderson etal: A.
Old Testament
1. Pre-Davidic
Ex. 15:20 - Pre-Davidic – “Miriam,
the prophetess, sister of Aaron and
Moses, took a timbrel in her hand and led the women in her song of
praise.”
|
Job writes of the time before Miriam:
Mark me, and be astonished, and lay
your hand upon
your mouth Job 21:5 .
Even when I remember I am afraid, and trembling taketh hold on my
flesh. Job 21:6
Wherefore do the wicked live, become old, yea,
are mighty
in power? Job 21:7
Their seed is established in their sight with
them,
and their offspring before their eyes.
Job 21:8
Their houses are safe from fear, neither is the
rod of God
upon them. Job 21:9
Their bull gendereth, and faileth not; their cow
calveth,
and casteth not her calf. Job 21:10
They send forth their little ones like a flock,
and their
children dance. Job 21:11
They take the timbrel and harp,
and rejoice
at the sound of the organ. Job
21:12
[The evil take wind, string
and percussion instruments]
They spend their days in wealth, and in a moment
go down to
the grave. Job 21:13
Therefore
they say unto God,
Depart from
us;
for we desire not the
knowledge of thy ways. Job 21:14
What is the
Almighty, that we should
serve him?
and what profit should
we have,
if we pray unto him?
Job 21:15
Lo, their good is not in their hand:
the counsel of the wicked
is far from me.
Job 21:16
How oft is the candle of the wicked put out
and how oft cometh their
destruction upon
them!
God distributeth sorrows in
his anger. Job
21:17
They are as stubble before
the wind, [baptism of
the spirit]
and as chaff
that the storm
carrieth away. Job 21:18
Of the pipe which Jubal handles meaning without authority: "It
(the pipe meaning to love passionately) was apparently a secular
instrument and is never listed in the temple orchestra; only in Ps.
150:4 it is mentioned in a religious (but not ritual) function. Its
ethos was not blameless at all, as we see from Genesis Rabbah 50:
"The angels said to Lot: There are players of the pipe
(organ)
in the
country, hence it ought to be destroyed. Its rabbinical identification
with the aboda, the flute of the notorious Syrian bayaderes, emphasizes
the erotic element which already the Hebrew name suggests.
(Interpreter's Dictionary of the Bible, p. 460, Abingdon).
Organum -Of musical instruments, a pipe, Vulg.
Gen. 4,
21; an organ, water-organ: organa hydraulica, -Of a
church-organ
Organon,
to, ( [ergon, erdô] ) a Musical instrument: a machine for doing
hard
work in making war and creating the "arousal" in pagan ceremonial
legalism
Polemeios: warlike, aoida
war-note, of the
trumpet, B.17.4
aoid-ê 5. = eppsdê, spell, incantation
All
musical terms and names of instruments speak of casting a spell: John
called the speakers, singers and instrument players in Revelation 18
SORCERERS. They worked UNDER the Mother of Harlots (Rev 17)
Music is the MARK god reserved only for those making war on His people
as they try to "wear out the saints" to worship THEM.
When
Israel fell into musical idolatry, the Law was written to warn a people
condemned to return to their Assyrian and Babylonian roots.
Babylonian tablets were up to 3,000 years old when Moses was
born. That is where we understand what the end Time Babylon Mother of
Harlots means. Inanna got the Ea (Lamech) the patron god of music drunk
and stole the magical chants--the ME: these included the power over the
eldership, the power over musical performers and the power of
homosexual seduction and many more.
"Long
before Israel's existence, we find in
Akkadian tablets the word halhallatu for 'double clarinet,' and we
have many ancient representations of this instruments... it served
also to express extreme joy as well as deep mourning. Its liturgical
function is dubious, to say the least. According to Rabbinic
literature, the days were limited to twelve, or maximally eighteen,
when (it) was played before the altar.
"Extremely
popular for secular purposes the
(double clarinet) was played at weddings, banquets, and funerals. At
funerals it served as accompaniment to the customary wailing
women;
this is the meaning of Matt. 9:23. The chief characteristics of the
clarinet were: popularity, juxtaposition with hand drum and lyre,
expression of extreme emotionalism, and symbolic
meaning of fertility
and resurrection." (Interpreters Dictionary of the Bible, p. 472,
Abingdon).
Living in the princely quarters
Miriam would automatically be a prophetess of Hathor,
the female counterpart to Apis the golden calf
worshipped at Mount sinai. These represented the Egyptian
trinity
of Osiris, Isis and infant Horus. The name of her prophesying is called
"soothsaying." When she pretended to speak for God
she got slapped with
a dose of leprosy and dissapears. Miriam means "bitter
waters"
and is the likely prototypical usurping woman in Paul's writings:
Theodoret (Quasten, Music
& Worship, p. 65) claimed that the Jews brought liturgical
music from
Egypt
and Philo wrote that "Moses
learned rhythm, harmony, meter and everything concerned with
instrumental music from the Egyptians." This is why Moses knew that
the noise
at Mount Sinai was not
the sound of defeat or of victory.
Rather, it
was the "sound of them singing that I hear."
The
Jews
sang
in the type of
the Egyptian
threnodies (elegies for the
dead):
Thus they made a golden bull, the image of
an animal that was held to be the most sacred in that land;
they
offered unholy sacrifices, performed impious dances and sang
hymns
which differed in no way from the pagan mourning
songs. Philo, De specialibus
legibus
[Jesus
threw them out more or
less violently like dung]
"This
reference probably indicates the use of
songs from the cult of Osiris...
it can hardly be
denied that Egyptian influence on
Jewish musical practices was quite significant. This would stand to
reason because of the high quality of Egyptian cultic
music.
The tambourine
or timbrel, a hoop of bells over which a white skin was stretched,
came from Egypt. Miriam
used this instrument to
accompany the singing
and dancing on the shores
of the Red
Sea (Ex. 15).
"The
trumpet... was the signaling
instrument of the Egyptian
army.
The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the
cult of Isis.
The
music during the transferring
the Ark to Sion (David
rose up to play)
and the dances of the women at the Shiloh (Judges
21:21), were similar to the Egyptian
liturgy and parades.
"As
Herodotus reports, women sang the praises
of Osiris
while liknesses of the gods were born
about
and, during
the festival of Diana at
Bubastis,
Women's singing was a
vital part of all pagan worship.
In very
times women became priestly
singers of the gods in the temple.
When
males do that in the presence of God they have dug deeper than any male
in paganism unless it is recorded "he was drunk, perverted or just
having fun."
"Women
and girls
from the different ranks of society were proud to enter the service
of the gods as singers
and musicians. The
understanding of this service was universal: these singers
constituted the 'harem
of the gods'."
(Johannes Quasten. In Music
and Worship in Pagan and
Christian
Antiquity, beginning on
page 41
"Hebrew music...
was used in the luxurious times of the later
monarchy the effeminate gallants of
israel, reeking with
perfumes, and stretched upon
their
couches of ivory, were wont at their banquets to accompany the song
with the tinkling
of the
psaltery or guitar (Am.
v1. 4-6), and amused themselves with devising musical instruments while their
nation was
perishing... music was
the legitimate expression of mirth
and gladness, and the indication of peace and prosperity." (Smith's
Bible Dictionary, Music, p. 590).
Here
is what God thought of her
"revelations."
Take heed in
the plague of
leprosy, that thou observe diligently, and do according to all that
the priests
the Levites
shall teach
you:
as I commanded
them, so ye shall observe to do. Deut 24:8
Remember
what the Lord thy God did
unto
Miriam by the way, after that ye were come
forth out of Egypt.
Deut 24:9
Here is
what Miriam did which was common to
what the Israelites did in Egypt and never ceased to do.
Sistrum,
a metallic rattle which was used by the Egyptians in celebrating the rites
of Isis, and in
other lascivious
festivals,.Ov.
Am. 2, 13, 11 By the
Jews, Vulg. 1 Reg. [Samuel] 18, 6 .--Hence sarcastically, as if used for a war
- trumpet by the wanton Cleopatra Verg.
A.8.696 Luc.
10.63
Exodus
15:[20]
sumpsit
ergo Maria prophetis soror Aaron tympanum in
manu egressaeque sunt omnes mulieres
post eam cum tympanis et choris
Prophe-ta I. a foreteller, SOOTHSAYER prophet...
oraculorumque
interpretes, sacerdotes Aegyptiorum, quos
prophetas vocant, [Priestess
of Egpt prophetess call out]
Aegyptius,
propheta primarius
Lynn
Anderson etal: Ex.
28:33-35 Jehovah prescribes the high priest’s garments:
“…and
beneath upon the hem of it thou shalt make . . . bells of
gold . .
.that he die not”.
Num. 10:1-10 “The Lord said to Moses, ‘Make two
silver
trumpets
. . .”
I Sam. 10:5 Samuel
tells the newly anointed King Saul that he would
meet “a band of prophets coming
down from the high place with harp,
tambourine, flute, and lyre before them, prophesying. Then
the Spirit
of the Lord will come mightily upon you, and you shall prophesy with
them and be turned into another man.” Wow - talk about
transforming
worship!
|
See
Saul's Madness induced by the prophets from the Philistine HIGH PLACE.
"This
is the first mention in
the OT of a band of prophets. These were men who went about in
companies and were able by means of music
and dancing
to work themselves up into a convulsive and ecstatic frenzy (2 Ki.
3:1-10).
Their
abnormality
was believed to be caused by the invasive influence of the spirit
of god. The word prophesied here does not
mean
either foretelling the future or preaching after the manner of the
later prophets,
but engaging in the ritual
dance of the prophetic guild (19:18-24). Their
behavior was commonly regarded as
a form of
madness (2 Ki.
9:11;
Jer. 29:26)" (The Int. Bible Ency., I Sam. p. 932).
And
the Lord said unto Samuel,
Hearken unto the voice of the people in all that they say
unto thee: for they have not
rejected thee, but they
have rejected me,
that
I should not reign
over them. 1
Samuel 8:7
According to all
the works which
they
have done since the day that I brought them up out of Egypt even unto
this day, wherewith they have forsaken me, and served
other gods, so do
they also unto thee. 1 Samuel 8:8
O
Israel, thou hast destroyed
thyself; but in me
is
thine help. Hosea 13:9
I
will be thy king: where is any other
that may save thee
in all thy cities? and thy judges
of whom thou saidst, Give
me a king and princes? Hosea 13:10
I gave thee a king
in mine
anger, and took him away in my wrath. Hosea
13:11
Lynn
Anderson etal: 2 Sam 6:5 David and the whole
house of Israel were celebrating with
all their might before the LORD, with songs and with harps, lyres,
tambourines, sistrums and cymbals.
|
"The
trumpet... was the signaling
instrument of the Egyptian
army.
The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the
cult of Isis.
The
music during the transferring
the Ark to Sion (David
rose up to play)
and the dances of the women at the Shiloh (Judges
21:21), were similar to the Egyptian
liturgy and parades.
| Lynn
Anderson etal:
2 Sam 6:15 while he and the entire house of Israel brought up
the ark of the LORD with shouts and the sound of trumpets. |
2
Sam 6:13 And it was so, that
when they that bare the ark of the Lord had gone
six paces, he sacrificed oxen and
fatlings
2
Sam 6:15 So David and all the
house of Israel brought up the ark of the Lord with shouting, and with the sound
of the trumpet.
Ju-bilo , a-vi, a-tum, 1, v. n.
and
I.
a. [jubilum], to shout, to
raise a shout of joy: quiritare, jubilare, V to
call out to a person: io buccol quis me jubilat? Poet. ib.: jubilate Deo, Vulg. Psa.
99, 4
2
Sam 6:16 And as the ark of
the Lord came into the city of David,
............
Michal
Sauls daughter looked through a
window,
............
and
saw king David leaping and dancing
before the Lord;
............
and
she despised him in her
heart.
Latin Play:
lu-do B. To play, sport, frisk,
frolic an ad pugnandum,
pugno , a-vi, a-tum, 1, v. n.
and very rarely
I.
a. [root pug-, to thrust, strike, whence pugil,
pungo, etc.], to
fight, either singly or in armies, to combat,
give battle, engage, contend
(very freq. and class.).
A.
To sport, play with any
thing, to practise as a pastime, amuse one's self with any thing:
illa ipsa ludens conjeci in communes locos, Cic. Par. prooem.: Prima
Syracosio dignata est ludere versu Nostra ... Thalia, Verg. E. 6, 1
.--Esp., to play on
an instrument
of music,
to
make or compose
music or song:
B.
To sport,
dally, wanton (cf. "amorous play," Ov.
A. A. 2,
389; Cat.
61, 207;
2
Sam 6:20 Then David returned
to bless his household.
............
And
Michal the daughter of Saul came out
to meet David,
............
and
said, How glorious was the king of
Israel to day,
............
who
uncovered himself to day
............
in
the eyes of the handmaids of his
servants,
............
as
one of the vain fellows shamelessly
uncovereth himself
Nu-doI. to make naked or
bare; to
strip, bare, lay bare, expose to view, uncover (syn.: exuo, detego,
revelo).
Scurra , ae, m. 1. A city buffoon,
droll, jester (usually in the suite of wealthy
persons, and accordingly a
kind of parasite; syn.: -Of the clown
in a pantomime,
Vain
is h205. aven, aw-ven´; from an unused root
perhaps meaning properly, to pant
(hence, to exert oneself, usually in vain; to come to naught); strictly
nothingness; also trouble. vanity, wickedness; specifically an
idol:affliction, evil, false, idol, iniquity, mischief, mourners(-ing),
naught, sorrow, unjust, unrighteous, vain, vanity, wicked(-ness).
Compare 369.
Ezek
22:28 And her prophets have
daubed them with untempered [Taphel,
Tabret, frivolity] morter,
seeing vanity, and divining
lies
[magical songs] unto them, saying,
Thus saith the Lord God,
when the Lord hath not spoken.
Latin:
Vānus
Ghost, emptiness, nothingness, naught, of persons, show,
false, lying, deceptive, delusive, untrustworth, vainglorious, ostentatious,
boastful, vain, weak, wavering.
Vanities
are Magica which is equated to
Exegetice or those people who add to the Word of God.
Magica
Vanities: This is the Garden of Eden Story. Which is the Lucifer-Zoe
story etal.
Vanitas I.Lit.,
emptiness, nothingness, nullity,
want of reality:
B.
Esp., falsity, falsehood, deception, untruth, untrustworthiness,
fickleness, magice
I. the magic art, magic,
sorcery (post-Aug.): pariter utrasque artes
effloruisse, medicinam [p. 1097] dico magicenqu.
Included Vanitas: tŭmultus an
uproar, bustle, violent
commotion, disturbance
Included
Tumultus
pulso
and psallo
have the same meaning: to push,
strike, beat, Of
military engines, Of musical instruments:
chordas digitis et pectine eburno,
to strike, play upon, cymbala,A.
In gen., to urge or drive on, to
impel, to set in violent motion,
to move, agitate,
disturb, disquiet:
C.To drive away, remove,
put out of the way,
A. In gen., to
urge or drive on, to impel,
to set in violent
motion, to move, agitate,
disturb, disquiet:
Similar Vanitas:
to Rythmice
I. the art of observing rhythm
Lynn
Anderson etal:2. Davidic
1 Chr 6:32 “They ministered with music before
the tabernacle, the Tent
of Meeting, until Solomon built the temple of the LORD in Jerusalem.
They performed their duties according to the regulations laid down for
them.” NIV |
God gave Israel kings to carry out the captivity and death sentence imposed because of musical idolatry at Mount Sinai.
Acts 7:41 And they made a calf in those days, and offered sacrifice unto the idol,
and rejoiced in the works of their own hands.
Acts 7:42 Then God turned, and gave them up to worship the host of
heaven;
as it is written in the book of the prophets, O ye house of
Israel,
have ye offered to me slain beasts and sacrifices by the space
of forty years in the wilderness?
Acts 7:43 Yea, ye took up the tabernacle of Moloch, and the star of your god Remphan,
figures which ye made to worship them:
and I will carry you away beyond Babylon.
Acts 7:45 Which also our fathers that came after brought in with Jesus
into the possession of the Gentiles, whom God drave out before the face
of our fathers, unto the days of David;
Acts 7:46 David Who found favour before God,
and desired to find a tabernacle for the God of Jacob.
Acts 7:47 But Solomon built him an house.
Acts 7:48 Howbeit the most High dwelleth not in temples made with hands; as saith the prophet,
Acts 7:49 Heaven is my throne, and earth is my footstool: what house
will ye build me? saith the Lord: or what is the place of my rest?
Acts 7:50 Hath not my hand made all these things?
Acts 7:51 Ye stiffnecked and uncircumcised in heart and ears, ye
do always resist the Holy Ghost: as your fathers did, so do ye.
That is the proof text Lynn Anderson and others
are using to sow discord and subvert your church: he is still honored
at ACU and LU!
When David sinned so that he could never again return to
GOD'S Tabernacle, God gave him a Jebusite High Place already fitted for
idolatry. David made his OWN tent and transferred the Ark and
the
singers to ZION (Nor Moriah totally consumed in paganism):
After
the processional with
music in which the ark was brought to Jerusalem it is said:
"The
ancient Tabernacle
was now
divided; the ark
was
brought into Zion, whereas the brazen altar at least, and probably
the vessels of the holy place (ex. 25:23-40; 37:10-28; 40:22-27),
were established in the high place at Gibeon.
Asaph
and the singers
(1 Chron. 6:31-47; 15:16-19; 16:5; 25:6) were left before the ark, while the
priests
ministered in Gibeon before the Tabernacle
(16:39)." (Schofield
Bible, p. 478-479).
"The
original
altar
of Burnt-offering
continued at Gibeon
with the Tabernacle (2 Chr. 1:3, 5). David must have erected a new
altar for sacrifice at Jerusalem.
>
The
sacrifices commanded
by the
Law were, it
appears, offered at the former place (Gibeon);
>
at the latter
were offered voluntary
additional sacrifices."
(Albert Barnes, 1 Chron, p.
347).
1Chr. 6:15 And Jehozadak went into captivity, when the LORD carried
away Judah and Jerusalem by the hand of Nebuchadnezzar.
1Chr. 6:32 And they ministered before the dwelling place of the
tabernacle of the congregation with singing, until Solomon had built
the house of the LORD in Jerusalem: and then they waited on their
office according to their order.
The KJV uses the word SINGING: Zamar NEVER includes an instrument
without naming that instrument.
This
just means SINGING because David never
performed WORSHIP with either singing or instruments. Ecclesiasticus
was in the bound Bible Jesus quoted from:
48:8. In all
that he
did he gave thanks
to the Holy One, the Most High, with
ascriptions of
glory;
..........HE sang
praise
with all his heart,
and he loved his
Maker.
48:9.
He placed singers
before the altar,
..........to make
sweet
melody with their voices.
48:10. HE
gave beauty to the feasts,
and arranged their times throughout the year,
..........while
they praised God's holy name,
..........and the sanctuary resounded
from early morning.
From
What the Bible Says
1Chr.
13:8 And David and all Israel played before God with all their might,
and with singing, and with harps, and with psalteries, and with
timbrels,
and with cymbals, and with trumpets.
1Chr. 13:9 And
when they came unto the threshingfloor of Chidon, Uzza put forth his
hand to hold the ark; for the oxen stumbled.
1Chr. 13:10 And the
anger of the LORD was kindled against Uzza, and he smote him, because
he put his hand to the ark: and there he died before God.
1Chr.
13:11 And David was displeased, because the LORD had made a breach upon
Uzza: wherefore that place is called Perezuzza to this day.
"we
recognize the
same elements: the sacrifices and libation, the cultic
feast in which the
congregation gets a share of food
and
drink after it has been blessed by the king, and the merry-making, now in the form of instrumental and vocal
music. But the
central act of the ritual, which was performed
by the
king, is called
literally 'drinking'
the
god (Gurney, O. R.
Some
Aspects of Hittite Religion, p. 33-34, Oxford University Press,
1977)
| Lynn
Anderson etal:
1
Chr 15:16 David told the leaders of the Levites to appoint
their
brothers as singers to sing joyful songs, accompanied by musical
instruments: lyres, harps and cymbals. |
These were Levitical Warrior Musicians
under the KING and COMMANDERS
OF THE ARMY: the singing was ordained by the KING because
these were to give glory to the king whom God had
given in His Anger
and whom God said would destroy the nation: and they did.
1Chr.
25:1 Moreover David and the captains
of the host separated to the service [hard
bondage] of the sons of Asaph, and of Heman, and of Jeduthun,
who should prophesy with harps,
with psalteries, and with cymbals: and the number of the workmen
according to their service was:
1Chr. 25:2 Of the sons of Asaph; Zaccur, and Joseph, and Nethaniah, and
Asarelah, the sons of Asaph under the hands of Asaph, which prophesied according
to the order of the king.
Asaph
is from h622: a
primitive root; to gather for any purpose; hence, to receive,
take away, i.e. remove (destroy,
leave behind, put up, restore, etc.):—assemble, bring, consume,
destroy, felch, gather (in, together, up again), x generally, get
(him), lose, put all together, receive, recover (another from leprosy),
(be) rereward, x surely, take (away, into, up), x utterly, withdraw.
"As we have seen in the
passage
discussed above (I Sam. 10:5-13), prophecy was intimately
associated with politics from the
very
first moment it appeared in Israel. The prophetic band was stationed
right next to a Philistine garrison.
Their purpose was to incite
Israelites to engage in holy war
against the Philistine foe, and
to
do this they must have sung, with the fervor of their ecstasy, war
songs which
aroused the people to action. Like the
charismatic judges of an earlier day, they were intoxicated
with 'enthusiasm."
(Anderson, Bernard, p. 231).
From
What the Bible Says
From
the warning of
God and the retrospective of Nehemiah and the statement that the "law
was against us" we know that the kings were imposed whey the elders
fired God. They were told that the kings would enslave them and carry
then into captivity and death. And because God had turned them over to
worship the starry host we understand that the military and clergy were
involved with thee worship of Dionysus which they had inherited from
Egypt as a curse:
1 Chr 25:1 David, together with the commanders
of the army, set apart
some of the sons of Asaph, Heman and Jeduthun for the ministry of
prophesying, accompanied by harps, lyres and cymbals. Here is the list
of the men who performed this service:
Payne
insists that the Hebrew of 1 Chronicles 25:1 unambiguously
identifies these leaders as military commanders,
an interpretation favoured by several Bible translations. (Payne, p
423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible) If military commanders
had a particular interest in the appointment of musicians, it suggests
a strong link between music and warfare.
Service is:
H5656
ăbôdâh From H5647 ; work of any kind: bondage,
+ bondservant, effect, labour, ministering (-try),
office, service (-ile, -itude), tillage, use, work, X wrought.
H5647
‛âbad aw-bad' A primitive root; to work (in any sense); by
implication
to serve, till, (causatively) enslave, be,
keep in bondage, be bondmen, bond-service, compel
1
Chron 25:2 Of the sons of Asaph; Zaccur, and Joseph, and
Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph,
which prophesied according to the order of the king.
H623 ’âsâph
aw-sawf' From H622 ; collector; Asaph, the name of
three Israelites, and of the family of the first:---Asaph.
H622 ’âsaph aw-saf' A primitive root; to
gather for any purpose; hence to receive,
take away,
that is, remove (destroy,
leave behind, put up, restore, etc.):--assemble, bring, consume,
destroy, fetch, gather
(in, together, up again), surely, take (away, into,
up), X utterly, withdraw.
"The Hithpa'el of nb', in the ancient texts,
refers to ecstasy and delirium
rather than to the emission
of a 'prophecy'." (de
Vaux, Roland, The Bible and the Ancient Near
East, p. 243 Doubleday
"Maniac
inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed
or glaring eyes-- have no
place in the self-controlling dignity
of Christian inspiration. Even Jewish prophets, in the paroxysm of
emotion, might lie naked on the ground and rave (1 Sam. xix. 24); but
the genuine inspiration in Christian ages never obliterates the
self-consciousness or overpowers the reason. It abhors the hysteria and stimulation
and frenzy
which have sometimes disgraced
revivalism and filled lunatic asylums." (Pulpit Commentary, 1
Cor., p. 460).
David's
Praise word in the
instrumental Psalms is Halal from which we get the word for LUCIFER
which speaks of a light and sound show to steal people's
prophecy. Hillel,
Judges 12:13. Sophocles,
Antigone
Chorus
[791] You seize the minds of just men and drag them to injustice, to
their ruin. You it is who have incited this conflict of men whose flesh
and blood are one. [795] But victory [Nike] belongs to radiant Desire swelling
from the eyes of the sweet-bedded bride. Desire sits enthroned in power
beside the mighty laws. [800] For in all this divine Aphrodite
plays
her irresistible game.
Commentary [800]
empaizei, 'wreaks her will' in that contest which nikai implies. We
find empaizô with a dat. (1) of the object, as Her. 4.134
empaizontas
hêmin, 'mocking us': (2) of the sphere, as Ar. Th. 975 choroisin empaizei,
'sports in dances.' The en of empaizei
here might also be explained as (a) in the imeros, or the blephara,
i.e. by their agency: or (b) 'on her victim.' But
the interpretation first given appears simpler. (Cp. Vergil's absol.
use of illudere, G. 1. 181, Tum
variae illudant pestes.)
Both Zamar and Psallo are a WARFARE word and never a WORSHIP word.
Psallô
(psao)
1. to touch
sharply, to pluck, pull, twitch,
Aesch.; toxou
neuran ps. to twang the bow-string, Eur.; belos ek keraos
ps. to send a shaft
twanging from the bow,
schoinos
miltophurês
psallomenêI phurôI. metaph. to mingle
together so as
to
soil or defile,
confuse, to be doomed to
have one's hair defiled
with earth,
thêriôdous from a confused
and savage
Tox-euma , atos, to, A. arrow,
metaphor, of songs and words S.Ant.1085
Sophocles,
Antigone
Teiresias
There, now, are arrows
for your heart, since you
provoke me,
[1085] launched
at you, archer-like, in
my anger. They fly true--you
cannot run from their burning
sting.
Boy, lead me home, so that he may launch his rage against younger
men, and learn to keep a quieter tongue [1090]
and a better mind within his breast than he now bears
There was a half
hours silence before the incense altar to which no harp player could
come without getting killed.
| Lynn
Anderson etal: Rev
14:2 “And I heard a sound
from heaven like the roar of rushing
waters and like a loud peal of thunder. The sound I heard was like that
of harpists playing their harps.” |
Note that the 144,000 are on
the Earth:
AND
I looked, and, lo, a Lamb
stood on the mount
Sion, and with him
an
hundred forty and four thousand, having his
Fathers name
written in their foreheads. Rev 14:1
What they heard was
from
heaven.
And
I heard a voice from heaven,
..........like the sound of many
waters and
..........like
the sound of loud
thunder, and the voice
which I heard was
..........like
the sound of harpists playing on their harps. Rev 14:2NAS
And
I heard a voice from heaven
..........like
the sound of many waters and
..........like
the sound of loud
thunder; the voice
I
heard was
..........like
the sound
of harpers playing on their harps
Revelation 14:2RSV
And
they sung as
it were
a new song before the throne,
and before the four
beasts, and the elders: and no man could learn
that song but
the hundred and forty and four thousand, which were redeemed from the
earth. Rev 14:3
Unless
you are literally or spiritually dead, there is another angel:
And I
saw another angel fly in
the midst of heaven,
..........having the everlasting
gospel to preach
unto them that dwell
on
the earth,
..........and to every
nation, and kindred, and tongue, and people, Rev 14:6
The
word preach like the Latin sermo
means "in a conversational language."
INSTRUMENTAL
NOISE is always the MARK or SOUND of Judgment and NOT Spiritual worship.
Saying [not
singing] with a
loud voice, Fear God,
and give glory to him;
..........for the hour
of his judgment is
come:
..........and worship him
that made heaven,
and earth, and the
sea,
..........and the
fountains of waters. Rev 14:7
Proskuneo
(g4352) pros-koo-neh'-o; from 4314 and a prob.
der.
of 2965 (mean. to kiss, like a dog licking his master's hand); to fawn
or crouch to, i.e. (lit. or fig.) prostrate
oneself in homage
(do reverence to, adore): - worship.
Rev
14:9 And the third angel followed them, saying with a loud voice,
If any
man
worship the beast and his image,
and receive his mark in his forehead,
or in his hand,
Rev 14:10
The same shall drink of the wine
of the wrath of God, which is poured
out without mixture into the cup of his indignation;
and he shall be tormented with fire
and brimstone in the presence of
the holy angels,
and in the presence of the Lamb:
God always warns you and
those whom the gods destroy first drive mad.
Wisd 17.16 - And whoever was there fell down, and
thus was kept shut up in a prison not made of iron;
17 - for whether he was a farmer or a
shepherd or a workman who toiled in the wilderness, he was seized,
and endured the inescapable fate; for with one chain of darkness they
all were bound.
18 - Whether there came a whistling wind,
or a melodious
sound
of
birds in wide
-
spreading
branches, or the rhythm of violently rushing water,
19 - or the harsh crash of rocks
hurled
down, or the unseen running of leaping animals, or the sound of the
most savage roaring beasts, or an echo
thrown back from a hollow of the mountains, it paralyzed
them with
terror.
20 - For the whole world was illumined
with brilliant light, and was
engaged in unhindered work,
21 - while over those men alone
heavy
night was spread, an image of the darkness that was
destined
to receive
them; but still heavier than darkness were they to
themselves.
18:1 - But for thy holy ones there was very
great light. Their enemies heard their voices but did not see their
forms, and counted them happy for not having suffered,
Wisd 19.13 - The punishments did not come
upon the
sinners
without
prior signs in
the violence
of thunder, [Rev 14]
for they
justly suffered because of their wicked acts;
for they
practiced a more bitter hatred of strangers.
Amos
3:6 Shall a trumpet be blown in the city, and the people
not be afraid? shall there be evil in a
city, and the LORD hath not done it?
Amos 3:7 Surely the Lord GOD will do nothing, but he revealeth
his secret unto his servants the prophets.
14 - Others had refused
to receive
strangers
when they
came to them,
but these
made slaves
of guests who were their benefactors.
Stole the
church house of widows.
15 - And not only so, but punishment of
some sort will come upon the former for their hostile reception of
the aliens;
16 - but the latter, after
receiving
them with festal
celebrations,
afflicted with terrible sufferings
those who had already shared the same
rights.
17 - They were stricken
also with loss
of
sight - -
just as were
those at the door of the righteous man - - when, surrounded by
yawning darkness, each tried to find the way through his own
door.
18 - For the elements
changed places with one
another,
as on a harp the notes vary
the nature of the rhythm,
while
each note remains the
same.
This may
be clearly
inferred from the sight of what took place.
19
- For land
animals were transformed
into water
creatures,
and
creatures that
swim moved over to the land.
20
- Fire even in water
retained its normal
power,
and water forgot its fire -quenching
nature. |
God's Wrath
is: G2372 thumos thoo-mos' From G2380 ; passion (as
if breathing
hard):—fierceness, indignation, wrath. Compare G5590 .
However, the
wrath Paul warned about when the women wave unholy ARMS is;
Org-aô
, I.to be getting ready to bear, growing
ripe for something, and of fruit, swell
as it ripens, II. of men, swell
with lust, wax wanton,
be rampant, 2. generally, to be
eager or ready, to be excited,
3. metaph., full-blooded,
swollen with passion or pride, sphrigôntathumonA.Pr.382
; muthon
E.Supp.478 . 4.swell
with desire, be at heat,
Orgi-azô, A. celebrate
orgia, E.Ba.415 thusias,
pompas, choreias pay ritual
service to a god or goddess, tautêi Str.10.3.12 :--so in
Med., orgiazesthai daimosi,
orgia
Mousôn
Alalazo 2.
generally, cry,
shout aloud, Pi.l.c., E.El.855; esp. in orgiastic
rites,
A.Fr.57; of Bacchus
and Bacchae, E.Ba.593
sound loudly, psalmos d'alalazei A.Fr.57
; kumbalon alalazon1 Ep.Cor.13.1
| Lynn
Anderson etal:
Rev 15:3 “They held harps given them by
God and sang the song of Moses
the servant of God and the song of the Lamb: "Great and marvelous are
your deeds, Lord God Almighty. Just and true are your ways, King of the
ages.” |
The Greek
ECHO means hold
(used in very various
applications, literally or figuratively, direct or remote; such as
possession, ability, contiguity.
It
never means
PLAY. Furthermore, the harps in the cursed
monarchy are always
the HARPS OF DAVID. These are the harps of God. God created us all with
"harp strings" which make the "heart string" twang.
Like
the incense, however, the harps
are only symbolic,
reflecting
the Jewish temple worship.
The
fact that both hands of the
elder were occupied
does
not present an insuperable barrier to prostration
in worship." (William S. Smith).
AND I
saw (present
tense!) another sign
in
heaven [image of jealousy], great and
marvellous, seven
angels having the seven last
plagues; for in
them is
filled up the wrath of God. Re 15:1
Morris
Silver: The
image of jealousy (Ezek 8:3) in
the LXX and Old Latin may be trnslated as "statue/image of the
trader/buyer." Torczyner
suggests that the compound term sha mala was
transmitted from Assyrian
(not Babylonian) into Hebrew as semel, with sh
being pronounced as s. Thus, again, the "image of
jealousy" whose
presence in the sanctuary
enraged Ezekiel was a businessman,
not
an idol.
When Apollo, the
Having-fallen star unleashed the LOCUSTS or MUSES,
they immediately began sowing discord and breaking up churches of all
faiths. This is a MARK of he beast.
Sêmeion
2. sign from the gods, omen Kathair-eô to s. to take it down, strike
the flag,
as a sign of dissolving
an assembly, And.1.36; to tês ekklêsias,
3. of sorcerers,
bring down from the sky, selênên [sign in the moon].
*
V. less
freq. like the simple [heresy] hairein, take and
carry off
Did you notice that the urge is to STRIKE THE FLAG
and remove the name
of Christ from the ekklesia or church sign. They DISSOLVE
the ekklesia
and CONVERT it into a synagogue of Satan: a house
of merchandise. This is he same HERESY
connected to the SELF-pleasing terms used by Paul in Romans 15.
Incentor , o-ris,
m. [id.] , one who sets
the tune or
begins to sing, a precentor, singer
I. Lit.: carminis, Paul. Nol.
Carm.
15, 32 : [1] incentore [2] canam
[3]
Phoebo [4] Musisque [5] magistris,
Avien. Perieg.
895 ; Isid.
6, 9, 13.--
II.
Trop., an [A]
inciter, exciter: [B] igneus [C] turbarum,
Amm. 15,
1, 2 : civilis belli, Oros. 5, 19 : rebellionis [renewal of
war] totius, id. 6, 11 . Flamen
Hislop
Incensor
I. one who kindles or sets fire to, II. Trop., an inciter,
instigator: turbarum,
[2] Căno
I.
Neutr., to utter melodious notes,
to sing, sound, play. 2. Of the
faulty delivery of an orator, to speak in a sing-song tone: inclinată
ululantique voce more Asiatico canere, once
canituri,Vulg.
Apoc. 8, 13 )
2
Cor 2:17 For we are not as
many, which corrupt
the word of God: but as
of sincerity, but
as of God, in the sight of God speak we in Christ.
kapêl-euô, (g2585) A. to be a retail-dealer,
drive a petty trade...
kapêleu' drive
a trade, mathêmata sell
learning by retail, hawk it about,
2 Ep.Cor.2.17, of prostitutes, playing tricks
with
life
Hdt.1.155 Heredotus: Cyrus
told how to take the FIGHT out of the enemy:
[4] But pardon the Lydians, and give them this
command so that they not revolt or pose a danger to you: send and
forbid them to possess weapons of war,
............and
order them to wear tunics under their cloaks
...........
and knee-boots on
their feet,
...........
and
to teach their sons lyre-playing
[kitharizein]
...........
and song [psallein] and
dance
............and
shop-keeping [huckstering].
...........
And quickly, O king,
...........
you
shall see them become
women instead
of men,
...........
so
that you need not fear them, that they might revolt."
And I
saw as it
were a sea of glass mingled with fire: and them that had
gotten the victory over the beast, and over his image, and over his mark,
and over the number of his name, stand on the sea
of glass, (as it
were) HOLDING the
harps of God. Revelation 15:2
And
they
sing the song
of Moses the
servant of God,
...........
and
the song of the Lamb,
saying (3004), Great and
marvellous are thy
works,
Lord God Almighty; just and true are thy ways, thou King of
saints. Revelation 15:3
Jamison-Fausett-Brown
notes that:
"In the
Jewish temple, musical instruments and singing resounded
during the whole time of the offering of the sacrifices,
which formed the first part of the service.
But
at the offering of incense, solemn silence was kept
("My soul waiteth upon God," Ps 62:1; "is silent," Margin; Ps 65:1,
Margin),
Duwmiyyah
(h1747) doo-me-yaw'; from 1819; stillness; adv. silently; abstr. quiet,
trust: - silence, silent, waiteth.
the
people praying secretly all the time. The
half-hour stillness implies, too, the earnest adoring expectation with
which the blessed spirits and the angels await the succeeding unfolding
of God's judgments. A short space is implied; for even an hour is so
used (Re 17:12 18:10,19).
Scripture is clearly not ‘silent’
on the use of
instruments. Rather, the understanding of God that I gain
from it is
that He greatly appreciates that form of worship, to the point of even
commanding it at times, and providing the gifts and instruments to do
so!
Rev
15:8 And the temple was filled with smoke
from the glory of
God,
and from
his power; and NO MAN WAS ABLE TO ENTER
till the seven plagues of
the seven angels were fulfilled.
Lynn
Anderson etal:
IV. Tradition
Since there is no scriptural basis for the lack of
instruments, the only reason is tradition.
For those
holding to traditions of men, Jesus rebukes with
the words of Isaiah,
Mark 7:7-9
“’They worship me in
vain; their teachings are but rules taught
by men.’You have let go of
the commands of God and are holding on to the traditions of
men." And
he said to them: "You have a fine way of setting aside
the commands of
God in order to observe your own traditions!” |
If
you look up words in a lexicon be assured that you will find strong
delusions. Why would anyone search from cover to
cover for
"instruments" and then use those knowing that they are trying to trump
the Bible and all of church history before them. Is this
mystical
or what? We have shown that ALL of the proof texts show
negative
or Satanic implications: Peter told the Jews blinded at Mount Sinai
that they would not be able to read black text on white paper until
they turned or converted to Christ. No one removes the name of CHRIST:
Jesus comes and takes the lampstand or the "seven spirits of God" all
related to divine knowledge which proves that God will not judge you by
your sight or sound so you are wasting time and lives.
Next, let us establish that the hypocrites are slick speakers, singers,
musicians, actors or dancers.
Matt. 15:7 Ye hypocrites, well did Esaias prophesy
of you, saying,
Hypokrites
(g5273) hoop-ok-ree-tace'; from
5271; an actor under an assumed character (stage-player), i.e. (fig.)
a dissembler ("hypocrite"): - hypocrite.
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, ape, mimic,
Mania or religious
frenzy.
Rhêtor-ikos ,
ê, on, oratorical, hê rhêtorikê (sc. technê). These
are the craftsmen
lumped with
the singers, musicians and "grinder" doing merchandise in the house
of prayer. Rev. 18:22
LATIN: 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: 2. Of the
singing pronunciation of an orator,
to declaim in a singing tone, to sing
How
Isaiah defines the hypocrites:
For
the Lord hath poured out
upon you the spirit
of deep
sleep,
and
hath closed your
eyes:
the prophets and your rulers,
the
seers hath he covered. Isa 29:10
And
the vision of all is become unto you
as
the words of a book that is sealed,
which
men deliver to one that is learned, saying,
Read
this, I pray thee: and he saith, I cannot;
for
it is sealed: Isa
29:11
And
the book is delivered to him that is not learned,
saying,
Read
this, I pray thee:
and
he saith, I am not learned. Isa
29:12
Wherefore the Lord said,
Forasmuch
as this people draw
near
me with their mouth,
and
with their lips do honour me,
but
have removed their heart far from me,
and their
fear toward me is taught by the
precept of men:
Isa 29:13
Seems
like the "law of silence" as preventing the addition to anything not
commanded which does not assist the teaching of the Words of God.
How
Ezekiel defines the same
hypocrites:
Jesus
spoke in parables to the professional
"sermon" speakers and "prayer" sayers where a hymn is a prayer. That
was to MAKE SURE that the truth would NOT penetrate and they be saved.
Ezek
33:30 Also, thou son of
man, the children of thy
people
still are talking against
thee
by
the walls and in the doors of the houses, and
speak one to another, every
one to his brother,
saying,
Come,
I pray you, and hear
what
is the word that cometh forth
from the
Lord.
Ezek
33:31 And they come unto
thee as the people
cometh,
and they
sit before thee as my
people,
and they
hear thy words,
but
they will not do
them:
for
with their mouth they shew much
love,
but their heart
goeth
after their covetousness.
Only
corrupters of the Word or selling stuff for a prophet is a hypocrite.
Because no performing art contributes to anything but the pleasure of
idle people, they are defined by the lexicon as hypocrites and
therefore parasites.
GOD'S
PICTURE OF VAIN RELIGION, ENDORSED
BY JESUS
Ezek
33:32 And, lo, thou art
unto them
as
a very lovely song
of one that
hath a pleasant
voice,
and can play
well on an
instrument:
for
they hear thy words,
but
they do
them not.
JFB
30. Not only the
remnant in Judea, but those at the Chebar,
though less flagrantly, betrayed the same unbelieving spirit. talking
against
thee--Though going
to
the prophet to hear the word of the Lord, they criticised, in
an unfriendly
spirit, his
peculiarities of manner and his enigmatical style (Eze 20:49); making
these the excuse for their impenitence. Their talking was not
directly "against" Ezekiel, for they professed
to like his ministrations; but God's word speaks
of things as
they really are, not as they appear.
Jameson Fawcett
Brown
notes:
Vulgate
translates,
"They turn thy
words
into a song of
their mouths." heart
goeth after covetousness--the grand rival to the
love of God;
therefore called "idolatry," and therefore
associated with impure
carnal love, as both alike transfer
the heart's
affection from the
Creator to the creature
| Lynn
Anderson etal:
(It is
interesting to note that the very next chapter in Isaiah
promises a day with song with flutes,
tambourines,
and harps. Isaiah 30.) |
We have looked at Isaiah 30 as the REASON
for which HELL was created. The definition of a HYPOCRITE
gives us a clue. Because the Jews and Israelites burned
children to Molech to the
beat of musical instruments, God pronounces doom on similar national
worship by showing them going in musical
procession to Topheth (from
tambourine) to do their dirty work. The SOUNDS of God driving
His
enemies into HELL will be the same wind, string
and percussion
instruments lucifer--the singing and harp playing prostitute--used to
wholly seduce Eve in a sexual sense says Paul. I will repeat it from
the version we know Jesus quoted from.
Because
spiritual people run for their lives, the only ones performing or
"enjoing" the hypocritic arts to replace the Word of God are THE ONES
doomed to hell.
See
that HELL will be filled by people led there by God's enemies to the
beat of wind, string and percussion instruments.
Again,
the SOUNDS in Revelation are of impending doom: get busy and preach the
gospel or burn! The baptism of spirit and fire are promised to the
"generation of Vipers."
Behold,
the name of the Lord
comes after a long time, burning
wrath;
the word of
his lips is with glory, a word full of anger,
and the anger
of his
wrath shall devour as
fire.
Isaiah 30:27 LXX
And
his breath, as rushing
water in a
valley, reach reach as far as
the neck, and be
divided, to confound the nations for their vain error; error also shall pursue
them
and overtake them.
Isaiah 30:28 LXX
The
Septuagint translates Verse 29
consistent with the rest of the chapter.
Must
ye always
rejoice, and go into my holy places
continually, as they
that keep
a
feast?
and must ye go
with a pipe,
as those
that rejoice into the mountain of the Lord, to the
God of
Israel Isaiah 30:29 LXX
and
the Lord shall make his
glorious voice to be heard and the wrath
of his arm [Messiah the
Intercessor], to make a display with
wrath
and anger and devouring
flame:
he shall lighten
terribly, and his wrath shall
be as water and violent hail. Isaiah 30:30 LXX
For
by the voice of the Lord
the Assyrians shall be overcome, even
by
the stroke where with he
shall smite them. Isaiah 30:31
LXX
And
it shall happen to him from
every side, that they from whom their hope
of assistance was, in
which he trusted, themselves
shall
war against him in turn
with drums
and with harp.
Isaiah 30:32 LXX
For
thou shalt be required
before thy time: has it been prepared for thee also
to reign? nay,
God has prepared
for
thee
a deep
trench, wood piled fire
and much wood: the wrath of
the
Lord shall be as a trench kindled
with sulphur.
Isaiah 30:33 LXX
Is.
14:11 Thy pomp is
brought down to the grave, and the noise of thy viols:
the worm is spread under thee, and the maggots
cover thee.
Amos 5:23 Take thou away from me the noise of thy
songs; for I will not hear the melody of thy viols.
Again,
those who bought the house and who run when the trumpet blows in the
holy place will have been there and gone. Therefore, the ONLY ones
being beaten into hell to the beat of Lucifer's instruments are the
MUSES who are known as the LOCUSTS of Apollyon's musical worship team.
| Lynn
Anderson etal: The
early church fathers do not mention the use of instruments
(except in referring to songs as psalms).
|
That is just a flat untruth: The
church fathers understand the "singing and harp playing prostitute" in
the garden of Eden and the fallen angels who seduced with music. Thse
are the same "lusted after fruits" John calls sorcerers in Rev 18 who
HAD deceived the whole world.
The
church fathers literature is filled with the repudiation of musical
instruments even in social settings because the music engendered lust
and disorderly conduct. Those who lie about Clement of
Alexander
should know that he says that it is not a sin to use a liar, BUT they
fail to tell you that he was speaking of social meals or OUTSIDE OF
CHURCH.
Those sowing discord claims that the church of Christ is historyless
and make such claims know that most people will believe it to be
honest. Nothing could be less true or miss leading:
"Such
allegorizing passages contain the
nucleuses of the later substance, and perhaps the presage of the
future trends of Christian music. The first three
centuries of the
church witnessed many controversies; some of them
concerned
themselves directly with music. The most important
of these issues
were: (a) organized versus spontaneous praying and singing; (b)
scriptural versus extrascriptural poems; (c) fusion with Hellenistic
music; (d) vocal versus instrumental music; (e) the rise of monasticism
and its influence upon ecclesiastical chant."
(Interpreter's Dict of the Bible, Music, p. 467).
The
first problem occurred when the doxologies
of the Bible which were like Psalms were replaced by "a great number
of spontaneous and highly individualized doxologies." However, the
non-Biblical responses were ratified and codified at the second synod
of Vaison in 529. This writing of their own "song book" virtually
destroyed spontaneous or Biblical worship.
In
fact, the ACT of singing was not introduced until about th eyear 373.
"Already
at the end of the second century the
Byzantine, Syrian, and later the Armenian church showed a marked
preference for new, nonscriptural hymns, despite
all warnings by the
catholic authorities. Even Canon 59 of the Council of Laodicea
(360-81), which expressly prohibited nonscriptural
texts, was
constantly circumvented and openly violated, as the
enormous hymn
literature of the Eastern churches demonstrates."
They
rejected musical performers along with sorcerers, instrument
players, prostitutes and Sodomites.
They understood the Bible and were
Old Testament literate which non of the "advanced degrees" apparently
have ever read. They ALL
explain WHY they didn't use instruments:
because it was universally condemned in the Bible and because it has an
evil effect on both performers and the "audience." "Melody as
tunefulness belongs to the 19th century" says the Britannica an other
sources. Harmony began to develop after about 100 by monks
and
professionals trying to fit the Psalms to organ pitches. To do that
they had to add the oooos, aaaaahs and other sounds.
And
Neander says, that it was not
until the
8th century
that the idea
was first heard of Instrumental music, in the worship
of God, was not
practised by the
primitive christians,
as is evident from church
history.
The
organ was first
introduced into the church service by Marianus Sanutus, in the year 1290;
and the first that was known in the West,
was one sent to Pepin,
by Constantinus Copronymus, about the middle of the
8th century.
But
that they were not used in
the christian church in the primitive times,
is attested by all the ancient
writers with one consent. This I might easily show by a
thousand testimonies,
from
Clement of
Alexandria, Basil, Ambrose, Jerome, Augustine, Chrysostom, am many
others; all of whom figuratively
explain the
passages of the Old
Testament, which speak of
musical instruments. For
these and many more click for details.
See
Unity Impact
354-430 Augustine
of
Hippo For the Jews slew Christ, lest they should
lose their place.
When
we have to do
with Pagans, and show this coming to pass in the Church
of Christ, which before
was predicted of the Name
of Christ, of the Head
and Body of Christ, lest they think that
we have forged
these predictions,
and from things which
have happened,
as though they were future, had made them up, we bring forth the
books of the Jews
- Augustine
on Psalm 149
When
people take CHRIST out of their identifier it is proof that Jesus has
been there and gone and the songs in the temple will be howlings
because He has come to remove His candlestick of seven spirits OF
Divine knowledge.
Lynn
Anderson etal: There
could be several reasons for this.
1.
Suffering severe persecution, it may have been inconvenient to tote
around a harp in secret.
In fact toting
around a harp would make them extremely welcome in
the marketplaces and all low class activities.
2.
Instruments were a sign of joy. Destruction
of the Temple,
dispersion of the Jews, persecution of the church
were all occasions
for lament. The prophets warned of cursed times when joyous
instruments would be silent. |
I
have a nice flute my dog and I made out of a deer leg bone: why do you
think they named the TIBIA? They could have clapped their
hands:
they didn't since it was most often to hiss the looser. They
could have stretched a piece of gut across a chair and produced the
rhythm because harps did not play tunefully. The lyre didn't
even
have a sound box. They could have met in the forums and the
people who went there for entertainment would have enjoyed it. They
might have been more EVANGELICAL if they had added the methods of the
world to attract the world. Christians were despised because
they
did not do singing musically or use instruments.
All of thes passages are not just LAMENTING
for the loss of their
flutes and harps which anyone could afford and many people could play. Their
lamenting is the RESULT of false leaders using wine, women and music
and fleecing the people by taking unlawful tithes.
The result was that
the people hungered and thirsted for the WORD and wandered from sea to
sea but could not find it. As a result, the pagan leader's wives could
no longer steal wine to get drunk while the people starved.
As a
result of failure to teach the word, the people went into exile and the
PROUD musical wives were led captive with fishhooks
in their nose.
Amos
8:2 And he said, Amos, what seest thou? And I said, A basket [homosexual singers]
of summer fruit. Then said the LORD unto me, The end is come upon my
people of Israel; I will not again pass by them any more.
Amos 8:3
And the songs of the temple
shall be howlings in that day, saith the Lord GOD:
there shall be many dead bodies in every place; they shall cast them
forth with silence. [As
Jesus cast out the musical minstrels LIKE DUNG.]
Amos 8:11 Behold, the days
come, saith the Lord GOD, that I will send a famine
in the land, not a famine of bread, nor a thirst for water, but of hearing
the words of the LORD:
Lynn
Anderson etal confusing
cause and
effect: Isa 14:11 “All your pomp
has been brought down to the grave, along
with the noise of your HARP; maggots
are spread out beneath you and worms cover you.”
This speaks of Lucifer |
Both Tyre and Babylon
are types of Lucifer and we have drawings of a
burial site where the king went into
the grave with his harps and buried alive harpists. Notice
that
this is the kings or the "senior pastors" of the nations of which
Israel was one.
Thy
glory has come
down to Hades,
and thy great mirth:
under thee they shall
spread corruption and the worm
shall be thy covering. Isaiah 14:11 LXX
T. Maccius Plautus, Miles Gloriosus, or The
Braggart Captain
Now
I will disclose to you both the subject
and the name of the play which we are just now about to act, and for
the sake of which you are now seated in this mirthful place , "Alazon" is the name (86)
[11]
detracta est ad inferos superbia
tua concidit cadaver tuum subter te sternetur tinea et operimentum tuum
erunt vermes
Superbia
I.
In a bad sense, loftiness, haughtiness,
pride, arrogance,
vanity, rudness, discourtesy,
Ludibrium
I.
a mockery, derision, wantonness.
. A laughing-stock, butt, jest,
sport B. A scoff, jest, sport: to reproach jestingly, scoff,
such
a drunkard as to be a standing jest, C. Abuse, violence done to a
woman: in corporum ludibria deflere,
Moses
saw that the people were running
wild and that
Aaron had
let them get out of control and so become a laughingstock to their enemies.
Exodus 32:25
Chrysostom
notes: For
dancing, and cymbals,
and flutes,
and shameful words, and songs, and drunkenness, and revellings, and
all the Devil's great heap
(polu o tou diabolou
forutoj) of garbage is then
introduced. they are indignent that the woman is not
exhibited to
a multitude,
that she is not set
forth as a stage spectacle,
common to
all beholders: whereas most assuredly they should rather
count it insult when these things do take place; and a laughing
stock, and a farce.
to look upon the beauty
of the damsel's countenance; nor yet
in the house only but even through
the market-place
do they lead her in pomp
to make an exhibition;
Isa
14:12 How art thou fallen from heaven, O LUCIFER
son
of the morning!
how art thou cut down to the ground, which didst
weaken the nations!
Heylel
(h1966) hay-lale'; from 1984 [David's
Praise] (in the
sense of brightness); the morning-star: - lucifer.
Isaiah 14:15
Yet thou
shalt be
brought down to hell,
to the sides of the pit
And Isaiah 30 says that the MARKS
of being brought down to hell will be the same
Lucifer's wind, string and percussion instruments.
See
how the Abominable Branch was
the "song with
instruments opposed to Christ the True Branch.
Behold,
the Lord
will cast her out, and he will smite
her power in the sea; and she shall be devoured
(burned up)
with fire.
Zechariah 9:4
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.
Is.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 (as a male)."
Is.23:16
| Lynn
Anderson etal: Isa
24:6-8 “Therefore a curse consumes
the earth; its people must bear their guilt.
Therefore earth's inhabitants are burned up, and very few
are left. The new wine dries up and the vine withers; all the
merrymakers
groan. The gaiety of the tambourines
is stilled, the noise
of the revelers has stopped, the joyful harp is silent.” |
Their
lostness was CAUSED by
their reveling with music: does anyone suggest that we CAN now revel?
And it shall be, as with the people, so with the priest;
as
with the servant, so with his master; as with the maid, so with her
mistress; as with the buyer, so with the seller; as with the lender,
so with the borrower; as with the taker of usury, so with the
giver of usury to him. Isa 24:2
See
Revelation 18 Parallel.
The land shall be utterly
emptied, and utterly spoiled: for the
Lord hath spoken this word. Isa 24:3
The earth mourneth
and fadeth away,
the world languisheth and fadeth away,
the haughty people of the earth
do languish. Isa 24:4
The earth also is defiled
under the inhabitants thereof;
because
they have transgressed the laws,
changed the ordinance,
broken the everlasting
covenant. Isa 24:5
Does
that sound like a law of silence?
Therefore hath
the
curse devoured the earth,
and they that dwell therein are desolate: therefore the inhabitants
of the earth are burned, and few men left. Isa 24:6
The new wine
mourneth, the vine languisheth,
..........
all the merryhearted
do
sigh. Isa 24:7
The mirth
of tabrets ceaseth,
the noise
of them that
rejoice endeth,
..........
the joy of the
harp ceaseth.
Isa 24:8
4885. masows,
maw-soce´; from 7797; delight, concretely
(the cause or object) or abstractly (the feeling):-joy, mirth,
rejoice.
They shall
not drink wine with a song; [Parallel strolling
minstrel / prostitute]
..........strong drink shall be
bitter to them that drink it. Isa 24:9
The city of confusion
is broken down: every house is
shut up, that no man may come in. Isa 24:10
There is a crying for wine in the streets; all joy
is
darkened, the mirth of the land is gone. Isa 24:11
In the city is left desolation, and the gate is smitten
with destruction. Isa 24:12
When thus it shall be in the midst of the land among the people,
there shall be as
the shaking of an olive
tree,
and as the gleaning grapes when the vintage is
done. Isa 24:13
The
word Chalal (h2490) means play the
flute, cut YOUR
vines, pollute and
prostitute.
The
pruning
hook was also a
musical
instrument.
Mizmowr (h4210) miz-more'; from
2167; prop.instrumental
music;
by impl. a poem set to notes: - psalm. For afore
the harvest, when the bud
is perfect, and the sour grape is
ripening in the
flower,
he
shall both
cut off the
sprigs with pruning
hooks,
and take away and cut down the
branches. Is.18:5
They
shall be left
together unto the fowls
of the mountains,
and to the beasts
of the earth: and
the fowls shall summer upon
them, and all the beasts
of the earth shall winter
upon them. Isa 18:6
They shall lift
up their voice, they shall sing for
the majesty of the Lord, they shall cry aloud from
the sea.
Isa 24:14
H5375 This is the Hebrew word
for the Pleasuring or creating
excitement Paul outlawed in
the synagogue in romans 15.
No
reader of the Greek literature can escape
the fact that this was caused by singing and music.
Wherefore glorify ye
the Lord in the fires, even the name of the
Lord God of Israel in the isles of the sea. Isa 24:15
The universal MARK
of being lost beyond redemption and taken captive.
From
the uttermost part of the earth have we
heard songs, even glory to the
righteous. Isa 24:16
Zamiyr (h2158) zaw-meer'; or
zamir zaw-meer'; and (fem.)
zÿmirah zem-ee-raw'; from 2167; a song
to be accompanied with
instrumental
music:
- psalm (-ist), singing, song
Zamar
is never used without defining the
instrument: therefore, one CAN sing with a harp but SING does not
include a harp.
Horror
hath taken hold upon me because of
the wicked that forsake thy law. Psa 119:53
But, David
who was never a Worship Leader
said:
Thy
statutes have been my songs in the house
[self] of
my pilgrimage. Psa
119:54
I have remembered thy name, O Lord, in the night, and have kept
thy
law.
Psa 119:55
But I said, My leanness, my leanness,
The Lord
will be terrible unto them: for he will famish all the gods
of the earth; and men shall worship him, every one from his place,
even all the isles of the heathen. Zep.2:11 |
| Lynn
Anderson etal: Isa
27:13 And in that
day a great trumpet will sound. Those who were
perishing in Assyria and those who were exiled in Egypt will come and
worship the LORD on the holy mountain in Jerusalem. |
Isa
27:12 And it shall come to pass in that day, that the LORD shall beat
off
from the channel of the river unto the stream of Egypt,
and ye shall be
gathered one by one, O ye children of Israel.
Isa
27:13 And it shall come to pass in that
day, that the great trumpet shall be
blown, and they shall come which were ready to
perish in the
land
of
Assyria, and the outcasts in the land of Egypt, and shall
worship the
LORD in the holy mount at Jerusalem.
This
trumpet DOETH NOT music make! One note!
7782.
showphar, shophar, sho-far´; from 8231 in the original sense
of incising; a cornet (as giving a clear
sound)
or curved horn:--cornet,
trumpet.
The Shofar was a horn
which was tuned by the
priest to ONE NOTE: no one could cut holes in it and therefore it could
not MAKE MUSIC. Hear the Sounds.
We
learn from the
Mishna and the Talmud that in the Hellenistic period no improvements or modifications that might affect
the tone were permitted:
no gold-plating
of its interior, no
plugging of holes, no alteration of its length (the minimum
permissible length of a ritually approved horn was 3 handbreadths); the
shofar tone was
to be preserved unaltered. Nor was the process of
steaming or boiling
permitted.
Here
is the literal meaning of
PSALMOS!
Apart
from its liturgical
uses
the shofar was closely connected with magical
symbolism. Its blast
destroyed the walls of Jericho, and in the Dead Sea scrolls we read
that during battles shofar blowers sounded a powerful
war
cry to instill fear into the hearts
of the enemy while priests blew the six trumpets of killing.
Historically the shofar has also served in a number of popular
usages: it was sounded during
rites to bring
rain,
in the event of
local disasters, and so on. In our
times its liturgical use is
restricted to New
Year
(Rosh Hashanah)
and the Day
of
Atonement (Yom Kippur).
See Photos HERE.
Psalmos ho, twitching or twanging
with the fingers, psalmoi
toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).
Psalmoi
toxôn
does not mean "sing and play a
harp"
WITH a bow. Psalmoi just means pluck
or twang a bow.
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 [psalmoi] bow will
keep you off. Will you not obey?
"Only
in Ps 150:3
is it (shophar) mentioned with most of the other really musical
instruments. Hence, we must conclude that the function of the shophar
was to make
noise--be
it of earthly
or of eschatological character--but not to make music. After the destruction
of the temple and the general
banishment of all instrumental music, the shophar alone survived, just because it
was
not
a musical
instrument."(International Dictionary of the Bible, p. 473,
Abingdon).
Lynn
Anderson etal:
Isa
30:29 And you will sing as on the night you celebrate a holy
festival; your hearts will rejoice as when
people go up with flutes to
the mountain of the LORD, to the Rock of Israel.
Isa 30:32 Every stroke the LORD lays on them with his
punishing rod
will be to the music of tambourines and harps, as he fights them in
battle with the blows of his arm. |
The
Jews went in musical processions to
Jerusalem
specificially to worship Molech as they had at Tyre where the king is
called "the singing and harp playing prostitute in the garden of Eden."
Isaiah 30 defines FOR WHOM God comes in judgment.
He speaks
of the Assyrians, Egyptians and includes Judah where they burned
children just before and just after the PROOF TEXT fo musical
instruments in a Plague Stopping rituals where Levitical Warrior
Musicians could NOT enter or come close to the holy things EVEN TO
CLEAN OUT THE GARBAGE.
THE PROPHECY
And
thou shalt pollute the plated
idols,
and thou shalt grind
to powder (like
"melody" in Greek) the gilt
ones,
and shalt
scatter them as the water of
a removed woman,
and thou
shalt thrust
them forth as dung.
Isaiah 30:22 LXX
THE
FULFILLMENT
Jesus
CAST OUT the minstrels like DUNG. A minstrel is: Aaoidos [a^], ho, ( [aeidô]) singer, minstrel, bard, 3. enchanter
Aoidos ( [aeidô] ) singer, MINSTREL, bard, I goôn, chrêsmôn aoidos, E.HF110, Heracl. 403;
pratos a., of
the cock,
2.
fem., songstress of the nightingale, aoidos Mousa
Of
GOON or the weeping song and
dancing when the clergy Piped:
The
MUSES are agents of Apollo, Abaddon or Apollon: the LOCUSTS.
But
when the people were put
forth,
he went in, and
took her by the hand, and the maid arose. Matthew 9:25
PUT FORTH: Ekballô I.
to
throw or cast out of a place, 2. to cast out of a
place, banish
VI. to
produce, of women
IV. Dem.; to drive an actor
from the
stage,
Lat. explodere,
I. to drive
out or off
by clapping;
orig. a scenic
word said of a player, to hiss or hoot off, explode
him.
Ballo (g906) bal'-lo; a prim.
verb; to throw
(in various applications, more
or less violent or intense):
- arise, cast (out) dung,
lay, lie, pour,
put (up), send, strike, throw
(down),
thrust. Comp.
4496.
And
the light of the moon shall be as the light of the sun,
and the light of the sun shall be seven
fold in the day when the
Lord shall heal the breach of his people, and shall heal the
pain of thy wound. Isaiah 30:26
LXX
Behold,
the name of the Lord
comes after a long time, burning
wrath;
the word of
his lips is with glory, a word full of anger,
and the anger
of his
wrath shall devour as
fire.
Isaiah 30:27 LXX
And
his breath, as rushing water in a
valley, reach reach as far as
the neck, and be
divided, to confound the nations for their vain error; error also shall
pursue them and overtake them.
Isaiah 30:28 LXX
The
Septuagint translates Verse 29
consistent with the rest of the chapter.
Must
ye always
rejoice, and go into my holy places
continually, as they
that keep
a
feast?
and must ye go
with a pipe,
as those
that rejoice into the mountain of the Lord, to the
God of
Israel Isaiah 30:29 LXX
and
the Lord shall make his
glorious voice to be heard and the wrath
of his arm [Messiah the
Intercessor], to make a display with
wrath
and anger and devouring
flame:
he shall lighten
terribly, and his wrath shall
be as water and violent hail. Isaiah 30:30 LXX
For
by the voice of the Lord
the Assyrians shall be overcome, even
by
the stroke where with he
shall smite them. Isaiah 30:31
LXX
And
it shall happen to him from
every side, that they from whom their hope of
assistance was, in
which he trusted, themselves shall
war against him in turn
with drums
and with harp.
Isaiah 30:32 LXX
For
thou shalt be required
before thy time: has it been prepared for thee also
to reign? nay,
God has prepared
for
thee
a deep
trench, wood piled fire
and much wood: the wrath of
the
Lord shall be as a trench kindled
with sulphur.
Isaiah 30:33 LXX
THE
BURNING OF HARPS AND HARPISTS
It
is said that there were tens of thousands of harps and other musical
instruments stored on the temple grounds. The Levites,
according
to Josephus, had gotten permission to "wear linen garments" and restore
the priestly musicians: this would give glory to the KING. They got
permission but Josephus attributes the failure of the nation to these
Levites and they would do it again.
Probably
almost all of the harpists and harps were burned up at topheth as a
type of hell and rested on a bed of maggots. The Jews are still looking
for these harps in order to restart the sacrificial system in a rebuilt
temple. We know where the harps went!
| Lynn
Anderson etal: Jer
31:4 I will build you up again and you will be rebuilt, O
Virgin
Israel. Again you will take up your tambourines and go out to dance
with the joyful. |
You see,
there IS a difference between what you do in the vintage
festivals and what you do in the SYNAGOGUES which outlawed loud vocal
and instrumental rejoicing;
Again I will
build
thee, and thou
shalt be
built, O virgin of
Israel:
..........thou
shalt again be adorned with thy tabrets,
..........and shalt go
forth in the dances
of them that make
merry. Jer. 31:4
Go forth means:
Yaca (h3318) yaw-tsaw'..
break out, bring
forth (out, up), carry out, come (abroad, out, thereat, without), /
be condemned, depart(-ing, -ure), draw
forth, in the end, escape,
exact, fail, fall (out), fetch forth (out), get
away (forth,
hence, out)...
Of
Miriam: The
timbrel "was a
typical women's instrument. It
is mentioned seven times in the OT; thus it must have been very
popular. Although it occurs in the Psalter and in religious hymns
(Exod 15; Jer. 31:4), it was not permitted in the temple. Its
function in the Bible was restricted to secular or religious
frolicking, cultic dances, or processions (e. g., II Sam. 6:5; 1I
Chr. 13:4; Ps. 68:25). Its absence in the temple ritual was possible due
to the strong female symbolism,
which always accompanied the tambourine, and which made
its use so popular at all fertility rites." (Interpreter's
Dictionary of the Bible, p. 474,
Abingdon).
Adorned and
destroying COMFORT ZONES is a sign of doom.
Adah
(h5710) aw-daw'; a prim. root; to advance, i. e. pass on or continue;
causat. to remove;
spec. to bedeck (i. e. bring an ornament
upon): - adorn, deck (self),
pass by, take away.
As
he that taketh
away a garment in
cold weather, and as
vinegar upon nitre, so is he that singeth songs to an heavy
heart.
Pr.25:20
This dance was a
repeat of Mount Sinai
because Jeremiah FIRST speaks of the dreamed of restoration of the
nation.
Mechowlah (h4246) mekh-o-law';
fem. of 4234; a
dance: - company, dances (-cing).
And
it came to pass, as soon as
he came nigh unto the camp, that he saw the calf, and the dancing: and Moses anger waxed
hot, and he cast the tables
out of his hands, and brake them beneath the mount. Ex.32:19
And
see, and, behold, if the daughters of Shiloh come
out to dance in dances,
then come ye out of the vineyards, and catch you every
man his wife of the daughters
of Shiloh, and go to the land of Benjamin. Jud.21:21
Is
not this David, of whom they sang one
to another in dances, saying,
Saul slew his thousands, and David his ten thousands? 1S.29:5
Upon this I awaked,
and
beheld; and my sleep was sweet unto me. Jer. 31:26
All just a dream?
Lynn
Anderson etal:
Ezek 33:2 "Son of man, speak to
your countrymen and say to them: 'When
I bring the sword against a land, and the people of
the land choose one
of their men and make him their watchman,
Ezek 33:3 and he sees the sword coming
against the land and blows the trumpet to warn the people,
Ezek 33:4 then if anyone hears the trumpet
but does
not take warning
and the sword comes and takes his life,
his blood
will be on his own
head.
Ezek 33:5 Since he heard the sound of the trumpet
but did
not take warning, his blood will be on his own head.
If he had
taken warning, he
would have saved himself.
Ezek 33:6 But if the watchman sees the
sword coming
and does
not blow
the trumpet to warn the people
and the
sword comes and takes the life
of one of them,
that man
will be taken away because of his sin,
but I
will hold the watchman accountable
for his blood.' |
Do we have to comment? The trumpet
was ordained to WARN and was reserved
for that purpose. When they blew the trumpet to assemble the
synagogue they DID NOT make an alarm meaning "vocal and instrumental
rejoicing." If some turkey uses the fire alarm or Tornado warning bell
to PLAY MUSIC we put such creatures into jail.
People are trying to MAKE MUSIC insteading of seeing ALL musical sounds
as WARNINGS.
Matt. 15:7 Ye hypocrites,
well did Esaias prophesy of you, saying,
Hypokrites
(g5273) hoop-ok-ree-tace'; from
5271; an actor under an assumed character (stage-player), i.e. (fig.)
a dissembler ("hypocrite"): - hypocrite.
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, ape, mimic,
Mania or religious
frenzy.
Rhêtor-ikos ,
ê, on, oratorical, hê rhêtorikê (sc. technê). These
are the craftsmen
lumped with
the singers, musicians and "grinder" doing merchandise in the house
of prayer. Rev. 18:22
LATIN: 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: 2. Of the singing
pronunciation of an orator, to declaim
in a singing tone, to sing
Ezek
33:30 Also, thou son of
man, the children of thy
people
still are talking against
thee
by
the walls and in the doors of the houses, and
speak
one to another, every one to his brother,
saying,
Come,
I pray you, and hear
what
is the word that cometh forth
from the
Lord.
Ezek
33:31 And they come unto
thee as the people
cometh,
and they
sit before thee as my
people,
and they
hear thy words,
but
they will not do
them:
for with their mouth they shew much
love,
but
their heart goeth
after their covetousness.
GOD'S
PICTURE OF VAIN RELIGION, ENDORSED
BY JESUS
Ezek
33:32 And, lo, thou art
unto them as a very
lovely song
of
one that hath a pleasant
voice,
and
can play well on an
instrument:
for
they hear thy words,
but
they do them not.
| Lynn
Anderson etal: Hosea
8:1 "Put the trumpet to your lips!
An eagle is over the house of
the LORD because the people have broken my covenant and rebelled
against my law. |
See
Hosea as the proof text for the Praise Team.
Fact: when you hear the trumpet sound
which was NOT a musical instrument you may know that you have broken
God's Covenant. The musical instrument always means that people have
refused to hear the Word of God. The final TRUMPET sound will
be
the SORCERERS invading the church little bits at a time like when you
boil a frog.
When you hear theINSTRUMENTS in the house it is a MARK that God has
cast you off.
Hos
8:1 Set the trumpet to thy mouth.
He shall
come as an eagle against the
house of the LORD,
because
they have transgressed my covenant,
and
trespassed against my law.
The MARK
of violating the
Word of God is absolute.
Hos
8:2 Israel shall cry unto me, My God, we know thee.
Hos 8:3 Israel hath cast off
the thing that is good: the enemy shall pursue him.
Hos
8:4 They have set up kings, but not
by me: they have made princes, and I
knew it not: of their silver and their gold have they made them idols,
that they may be cut off.
Compare
Amos:
Hos 8:5 Thy calf, O Samaria, hath cast thee off; mine
anger is kindled against them: how long will it be ere they attain to
innocency?
Hos 8:6 For from Israel was it also: the
workman
made it; therefore it is not God:
but the calf of Samaria shall be broken
in pieces.
If you make the songs, it is not from
God.
| Lynn
Anderson etal: Joel
2:1 Blow the trumpet in Zion; sound the alarm
on my holy hill.
Let all who live in the land tremble, for the day
of the LORD is
coming. It is close at hand--
|
Joel
2:1 Blow ye the trumpet in Zion, and sound
an
alarm in my holy mountain: let all the inhabitants of the land
tremble: for the day of the LORD cometh,
for it is nigh at hand;
H7321 rua
roo-ah' A primitive root; to
mar
(especially
by breaking); figuratively to split the ears (with sound),
that is, shout (for alarm or joy):blow
an alarm, cry
(alarm, aloud, out), destroy, make a joyful noise,
smart,
shout (for joy), sound an alarm, triumph.
Outlawed
for the synagogue or church in the wilderness: |
- Psallo (g5567) psal'-lo; prob. strengthened from psao,
(to rub
or touch
the surface;
comp. 5597); to twitch or twang, i.e.
to play on a stringed
instrument (celebrate the divine worship with music and accompanying
odes): - make melody, sing (psalms)
|
| H7322
ruph roof A primitive root; properly to triturate
(in
a mortar), that is, (figuratively) to agitate (by
concussion):--tremble. |
Psocho (g5597) pso'-kho; prol.
from the same
base as 5567; to triturate,
i.e. (by anal.) to rub
out (kernels from husks with
the fingers or hand): - rub. |
Joel
2:2 A day of darkness and of gloominess,
a day of clouds and
of thick darkness, as the
morning spread upon the
mountains: a great people and a strong; there hath
not been
ever the like, neither shall be any more after it, even to the years
of many generations.
Joel
2:3 A fire devoureth before
them; and behind them a flame burneth:
the land is as the garden of Eden before them,
and behind them a desolate wilderness; yea, and nothing shall escape
them.
H7264
ragaz raw-gaz' A primitive root; to quiver
(with any
violent emotion, especially anger or fear):--be afraid,
stand in awe, disquiet, fall out, fret, move, provoke,
quake, rage, shake, tremble,
trouble
Lynn
Anderson etal: Zep
1:15 That day will be a day of wrath, a
day of distress and anguish, a
day of trouble and ruin, a day
of darkness and gloom, a day
of clouds and blackness,
Zep 1:16 a day of trumpet and battle
cry
against the fortified cities
and against the corner towers. |
The
trumpet was given to send warnings: it was excluded for the syngaogue
or church in the wilderness. Therefore it would be foolish to use the
trumpet when there is now war or no signal that the camp was being
removed from its present location. None of the proof text
fail to
prove that in the church the noise is a sign of God's wrath or doom. No
one tries to justify the use of such machines in the ekklesia without
intentionally failing to tell the while truth:
Zep
1:12 And it shall come to pass at that time, that I will search
Jerusalem
with candles, and punish the
men that are settled on their lees: that
say in their heart, The LORD will not do good, neither will he do evil.
Zep
1:13 Therefore their goods shall become a booty, and their houses a
desolation: they shall also build houses, but not inhabit them; and
they shall plant vineyards, but not drink the wine thereof.
Zep
1:14 The great day of the LORD is near, it is near,
and hasteth greatly,
even the voice of the day of the LORD: the mighty man shall cry there bitterly
Zep
1:15 That day is a day of wrath, a day of trouble
and distress, a day of wasteness
and desolation, a day of darkness
and gloominess, a day of clouds
and thick darkness,
Zep
1:16 A day of the trumpet and alarm
against the fenced cities, and against the high towers.
Zep
1:17 And I will bring distress
upon men, that they shall walk like blind
men, because they have sinned against the LORD: and
their blood shall
be poured out as dust, and their flesh as the dung.
| Lynn
Anderson etal: Rev 18:21-22
“Then a mighty angel picked up a boulder the size of a
large millstone and threw it into the sea, and said: "With such violence
the great city of Babylon will be thrown down,
never to be
found again. The music of harpists and musicians,
flute players and trumpeters, will never be heard
in you again. No workman of any trade
will ever be found in you again. The sound of a millstone will never be
heard in you again.” |
Revelation
is a warning message for those with a right to know: this is a MARK of
the invasion of the church by a swarm of locusts which in John's area
were known as the muses or musical worship team under Apollyon or
Abaddon. When you see or hear these signs then you know that
the
feminist mother of harlots has begun to "rule over you" as women and
children.
Wisd 19.13 - The punishments did not come
upon the
sinners
without
prior signs in
the violence
of thunder, [Rev 14]
for they
justly suffered because of their wicked acts;
for they
practiced a more bitter hatred of strangers.
Amos
3:6 Shall a trumpet be blown in the city, and the people
not be afraid? shall there be evil in a
city, and the LORD hath not done it?
Amos 3:7 Surely the Lord GOD will do nothing, but he revealeth
his secret unto his servants
the prophets.
Revelation
17 defines the Mother
of Harlots who is the feminist goddess
worshipped by all musical people: you did not MAKE
MUSIC to a Patriarchal god. Therefore, the music is the MARK
great distress
The Mother of Harlots USES the "lusted after fruits."
These are the same "baskets of summer fruits" in Amos which implicates
the musicians as dogs or male prostitutes.
John would
have been familiar with Hesoid who recognizes the MUSES as HARLOTS
(ll. 1-25) From the Heliconian Muses let us
begin to sing,
who hold the great
and holy mount of Helicon, and dance on soft feet about
the deep-blue spring and the altar of the almighty son of Cronos,
and, when they have washed their tender bodies in Permessus or in the
Horse's Spring or Olmeius, make their fair, lovely dances upon
highest Helicon and move with vigorous feet.
Thence they arise
and go abroad by
night, veiled in
thick mist, and utter their song with lovely
voice, praising
Zeus the aegis-holder and queenly Hera of Argos who walks on golden
sandals and the daughter of Zeus the aegis-holder bright-eyed Athene,
and Phoebus Apollo, and Artemis who delights
in arrows, and
Poseidon the
earth-holder who shakes the earth, and reverend
Themis and
quick-glancing (coquettishness) Aphrodite, and Hebe with
the crown of gold, and fair Dione, Leto, Iapetus, and Cronos the crafty counsellor, Eos and
great Helius
and bright Selene, Earth too, and
great Oceanus, and dark Night, and the holy race of all the other
deathless ones that are for ever. And one day they taught Hesiod
glorious song while he was shepherding his lambs under holy Helicon,
and this word first the goddesses said to me -- the Muses of Olympus,
daughters of Zeus who holds the aegis:
(ll. 26-28) `Shepherds of the wilderness, wretched
things of shame,
mere
bellies,
............we know how to speak many false things as
though they
were true;
............but we know, when we will, to utter true
things.'
(ll. 29-35)
So said the ready-voiced
daughters of great Zeus,
and they plucked and gave me a rod,
a shoot of sturdy
laurel,
a
marvellous thing,
and breathed
into me a divine voice
to celebrate things that shall
be
and things there were
aforetime;
and they bade me sing of the race of the blessed gods that are
eternally,
but ever to sing
of themselves both first and last.
Skêptron
,II. staff or baton,
esp. as the badge of command, sceptre:
in Hom. borne by kings and chiefs, and transmitted from father to
son, by speakers, who on rising to speak received it from the
herald, by priests and soothsayers
|
Revelation 18 implicates
the rhetoricians, singers and instrument
players and calls the SORCERERS who had deceived the whole world.
The Muses were the dirty
adulteresses as
Apollyon's musical
worship team. John is pointing directly to Delphi
just up the coast
from Corinth and close to Patmos. John lumps sorcerers
(religious musicians) and dogs as doomed to hell.
The craftsmen is the
word TECHNE which includes all of the PERFORMING
religionists
Jesus called Hypocriites and John
called Sorcerers as does
all Greek musical terms. In the Greek theater which was
always
religious this points to "theater builders and stage managers." In
these end times it is CRAFTY to steal the church house of widows and
turn it into a "theater for holy entertainment" as they boast.
The end like the beginning will be marked by Mother Goddess led by
women. Therefore, let's back up to Revealtion 17:
Rev 17:1 And there
came one of the seven angels which
had the
seven vials, and talked with me, saying unto me, Come hither; I will
show unto
thee the judgment of the great whore that sitteth
upon many waters:
Rev
17:2
With whom the kings of the earth have committed
fornication,
and the
inhabitants of the earth have been made drunk with the wine of her fornication.
Rev
17:3 So
he carried me away in the spirit into the
wilderness: and I saw a woman sit upon a scarlet coloured
beast, full of
names of blasphemy,
having seven heads and ten horns.
Rev
17:4 And
the woman was arrayed in purple
and scarlet colour,
and decked with gold and precious stones and pearls,
having a golden
cup in her
hand full of abominations and filthiness of her fornication:
Rev 17:5 And
upon her forehead was a name written, MYSTERY, BABYLON
THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS
OF THE EARTH.
When
Paul warned about the rising up to PLAY at Mount Sinai in the musical
idolatry of the trinity, in 1 Cor 10 he identifies it as DEMON
WORSHIP. There "is not tradition other than that demigods
intruduced musical instruments" to SECUCE people.
Rev
18:1 And after these things I saw another angel come down from heaven,
having great power; and the earth was lightened with his glory. 2 And
he cried mightily with a strong voice, saying, Babylon
the great is fallen,
is fallen, and is become the habitation
of devils,
and the hold of every
foul spirit,
and a cage of every unclean
and hateful bird.
[seed
pickers]
Rev
18:14 And the fruits [faithful
dogs Ph 3] that thy soul lusted
after are departed from thee, and all things which were dainty and
goodly are departed from thee, and thou shalt find them no more at all.
However, all of these habitations
of devils
will cease and the musicators will cease and Jesus will visit for the
last time and pick up the Candlestick of "the seven spirits of God" all
related to teaching knowledge--as it has been taught.
And
the voice of harpers,
and musicians,
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
Rev
18:23 And the light of a candle
shall
shine no more at all in thee; and
the voice of the bridegroom and of the bride shall be heard no more at
all in thee: for thy merchants
were the great men of the earth; for
by thy sorceries were all nations deceived
| Lynn
Anderson etal: The
Oxford Companion to Music. Oxford
University Press. London, 1956. p. 541. The Synagogue
system came
about ‘so that those who cannot take part more than the statutory
three
times a year in the worship of the Temple at Jerusalem may have their regular
and frequent local worship.
|
These festivals were not called WORSHIP
SERVICES:
only warrior aged males were forced to muster. Older males, children
and females were not forced to attend and most probably did not because
it was like summer camp: one of the tithes could be turned into money
and used to by wine and strong drink for themselves and the Levite
ministers--who were always poor.
After
the fall from grace by musical idolatry
at Mount Sinai the Spirit of Christ defined the Holy Convocation or
synagogue as a school of the Bible which excluded vocal or instrumental
rejoicing. See the facts about the Synagogue for the spiritual people
which QUARANTINED them from the regulat sabbatic or Dionysus worship
with wine, women and music.
"The
Pharisees asserted that
God could and should be worshiped even away
from the Temple
and outside
Jerusalem. To the
Pharisees, worship consisted not
in bloody sacrifices--
the
practice of the
Temple priests--
but in prayer
and in the study
of
God's law.
That
is what the agents of change want to shut down: that is always the
motive for music. The Phraisees were bad but originally had pure
motives but the hassidim had been superceded by false Jews.
Hence
the Pharisees fostered
the synagogue as an institution of religious worship, outside and
separate from the Temple. The synagogue may thus be considered a
Pharisaic institution since the Pharisees developed it, raised it to
high eminence, and gave it a central place in Jewish religious life. (Britannica Members)
Why there was never
any rationale for music?
Aristotle: 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
Qahal as the major word for the synagogue was set up in the wildernes
for rest FROM religion, reading and discussing the Word of God: Jesus
did NOT change that. This excluded vocal and instrumental
rejoicing because only simple simons would want to make musical noise
when you meet for what the Campbells called "A School of Christ."
| Lynn
Anderson etal:
Every village has its synagogue
and a ritual is laid down which, after the destruction of Jerusalem
under the Roman rule in A.D. 70, is to develop the vocal part
of the Jewish musical traditions
in all the Mediterranean lands and, at the greater dispersal that
followed, to carry it into every part of the civilized world.
But a
dispersed Jewry was a sorrowing Jewry,
and in the synagogues that were
now to be found almost everywhere in the known world an abstention from
instrumental music served as a lasting reminder of the glories of the Temple
worship of the
past, which should, it was confidently believed,
after a period of patient waiting some day be renewed.’ |
By direct
command, practice from the
wilderness onward, the practice of Jesus, the command through the word
"ekklesia," the practices of Paul, the commands of Paul and the
universal practice of the PRE-apostate church "there was never any
praise service in the synagogue" The sacrificial system of which
"noise" was exorcism was restricted to Jerusalem, inside the walls, at
but never IN the temple. The Jews ceased the use of music
because it would have been a sin to use it after the sacrificial system
was about dead long before the time of Christ.
See
our notes on the Synagogue.
No, the synagogue was by definition NOT
a place to do musical rejoicing
because THAT was what lost them their nation and temple. No
synagogue added an instrument until 1815. It is true that
cantillation or chanting developed into something very elaborate. We
would still not call it singing in the "churchy sense."
None of the Bible is metrical and CANNOT be sung in a tunful sense if
your life depended on it.
Cantillation Jewish Encyclopedia
These conventionalities of pitch
result in an elementary form of song,
and thus became early known as "singing to speech" (
accentus). But
when a larger audience is addressed the assistance of a sing-song
utterance in marking this accent or prosody, and
rendering the precise
interdependence of the successive words
unmistakable, has been
recognized by all who have ever had to speak in the open air or in a
large building, and has been from the earliest ages adopted for the
public recitation of sacred texts. Among Jews the desire to read the
Scriptures in the manner described in Neh. viii. 8 has from time
immemorial resulted in the use of some sort of musical declamation.
This mode of recitation, depending not upon the rhythm and sequence of
the sounds chanted, but upon the rhythm and sequence of the syllables
to which they are chanted, is known as cantillation.
Music in the Synagogue: Britannica
Members
"The
description of the
synagogue service above noted the role of the hazzan, or cantor. It is he who reads the service and
declaims the
scriptural lessons
to
certain set musical modes that vary with the season and occasion.
In
the 19th century in Western
Europe much of the
traditional music was either discarded
or re-worked under the
influence of western forms
and styles. In
addition the
pipe-organ was
introduced and was the centre
of stormy controversy.
The synagogue
or church in the wilderness was
to QUARANTINE the
civillians FROM the pagan sacrificial systems. The Sabbath was an evil
day and rituals were held and this derived from Babylon along with the
tithe. The citizens met in thes synagogues which always
existed
but which was the only "religious" institution after the RETURN.
The synagogue was devoted to the WORD and prayer and "never
had a
praise service." When the temple was destroyed there was no
rationale and not legal to use instrumental music. They continued with
the psalms which were chanted or spoken in cantillation
as defined by PSALMOS. Only in time did
the changing get more embellished and
no one dared use an organ until the year 1815.
Lynn
Anderson etal:
Zondervan, p.562 – “The Jews refused to play the
lyre (kinnor) during the Babylonian Exile.
They suspended their kinnorim on the willows;
how
could they ‘sing the
Lord’s song in a strange land?’ (Ps. 137:4). The kinnor was gay,
and
when the prophets of old admonished the people, they threatened that
the kinnor, the symbol of joy and happiness, would be silenced unless
the people repented from their sins.” |
Those involved with the sacrificial system knew that it was not legal
to play sacrificial music outside of Canaan. The Willow Tree
also has
symbolid association with Orpheus: it was Orpheus
and the Lesbian women
who invented THRESKIA or IMpure religion. The added
tune or rhythm but
"tunefulness" did not really exist. The symbol of Orpheus to
which the Jews had been abandoned at Mount Sinai because of Musical
Worship was usually meant when they spoke of Lord. This also
connects with Dionysus and Zeus in the Abomination of Desolation which
proves that this MUSICAL worship was always the MARK of sexual and
homosexual JOY. They made TOO MUCH JOY with wine women and
song
and lost everything that had any meaning to them. However,
they
were exiled BECAUSE of this idolatry
and the tiny remmant were largely
cured so that there was NO musical worship connected with Jehovah.
Jesus warned that truth had been hidden in parables
from the foundation
of the world. This was to fool the fools like the Scribes and Pharisees
whom Jesus identified as hypocrites: rhetoricians,
singers and musicians. The connections between the
abandoned
Jews and the Greeks and Egyptians is clear.
Pausanias, Greece.
[6]
Turning our gaze again to
the lower part of the picture we see, next after Patroclus, Orpheus
sitting on what seems to be a sort of hill; he grasps with his left
hand a harp, and with his right he touches a willow. It is the branches
that he touches, and he is leaning against the tree. The grove seems to
be that of Persephone, where grow, as Homer thought,2
black poplars and willows. The appearance of Orpheus is Greek, and
neither his garb nor his head-gear is Thracian.
[7]
On the other side of the willow-tree Promedon is leaning against it.
Some there are who think that the name Promedon is as it were a poetic
invention of Polygnotus; others have said that Promedon
was a Greek who was fond of
listening to all kinds of music, especially to the singing of
Orpheus.
During
their captivity the Jews
were really "going home." Remember that it was Jubal, Jabal,
Tubal-Cain and Naamah
who introduced the Babylonian form of magic and music.
"Some of the psalms
express a tribalistic hatred of foreign
powers; even the beautiful laments of the exiles 'by the waters of
Babylon,' for example, concludes with the assurance that the daughter
of Babylon will be destroyed. 'Happy shall he be, that taketh and
dasheth the little ones against the stones.'
"But in nearly a third
of the collection the 'enemies' whose death
the psalmist so confidently prays for and anticipates are not Gentile
nations, but indivitual Jews who do not share the religious
conviction of the Hasidim (Pharisees). In the words of Psalm 58, 'the
righteous shall rejoice when he seeth the vengeance: he shall wash
his feet in the blood of the wicked. So that a man shall say, Verily
there is reward for the righteous: verily he is a God that judgeth in
the earth." (Parkes, Henry Bamford, Gods and Men The Origins of
Western Culture, p. 134, Knopf)
Naamah
'Lilith' is usually derived from the Babylonian-Assyrian word
'lilitu,' 'a female demon, or wind-spirit' -- one of a triad mentioned in Babylonian
spells. But she
appears earlier as 'Lillake' on a 2000 BC Sumerian tablet from
Ur
containing the tale of Gilgamesh and the Willow Tree.
There she is a demoness dwelling in the trunk of a willow tree
tended by the Goddess Inanna
(Anath) on the banks of the Euphrates.
Lilith
typifies the Anath-worshipping Canaanite
women, who were
permitted pre-nuptial promiscuity. Time after time the prophets
denounced Israelite women for following Canaanite
practices; at first,
apparently, with the priests'
approval --
since
their habit
of dedicating
to God the
fees
thus earned is
expressly forbidden in Deuteronomy XXIII:18.
Lilith's
flight to the Red Sea
recalls the ancient Hebrew view that water attracts demons. Tortured
and rebellious demons" also found safe harbourage in Egypt. Thus
Asmodeus, who had strangled Sarah's first six husbands, fled "to the
uttermost parts of Egypt" (Tobit VIII:3), when Tobias burned the
heart and liver of a fish on their wedding nigh.
Click for More
"The
very name Orpheus is just a synonym for Bel, the name of the great
Babylonian god, which, while
originally given to Cush, became hereditary in the line of his deified
descendants. Bel
signifies 'to mix,' as well as to confound,' and 'Orv' in Hebrew,
which in Chaldee
becomes Orph signifies also 'to mix.'
But
'Orv,' or 'Orph,' signifies
besides 'a willow-tree;' and therefore, in
exact accordance with the mystic
system, we find the symbol
of Orpheus among the Greeks to have been a willow tree.
"Since
the Babylonian
Jews
were unable to participate in the
worship of the
cultus as in former days, the exile marked an important turning-point
in their religious developmemt. Open-air meetings by the Kabar
irrigation-canal replaced gatherings in
the Temple and its precincts,
Kabar or Chebar is
derived from:
Chabar (h2266) khaw-bar'; a
prim. root; to
join (lit. or fig.); spec. (by means of spells) to fascinate: - charm
(-er), be compact, couple (together), have fellowship with, heap up,
join (self, together), league.
Ephraim
is joined to idols: let
him alone. Ho.4:17
| Lynn
Anderson etal:
3. Since instruments were not used in the synagogues and there was no
longer a temple in which to use them, they were increasingly associated
with pagan worship and secular theater. |
They were PROOFS of paganism even at Mount Sinai when they rose up to
play in musical idolatry. They are connected with paganism
(king-clergy) by the prophets by the Spirit of Christ who calls the
monarchy robbers and parasites. In the Greek world a PARASITE
was one who made loud noise during animal sacrifices.
Instruments were never used IN the Holy Place as
typical of the body or
Church of Christ. It is said that when Jesus came the Jews had no GOD
and had no TEMPLE. The temple was called HEROD'S temple and
the
priestly leadership were HIRELING and not Israelites. Even if
the
temple had stood the common people would be put OUTSIDE the gates when
the animal burning was signalled by the trumpets and NOISE of
instruments. That is why Paul says that if we want to find Jesus we
have to go OUTSIDE the massed multituted or camp and suffer reproaches
with Jesus. The "congregation" assembled for sacrificial
noise or
music was only the king, clergy and national leadership. And THEY had
been turned over to worship the starry host BECAUSE of musical idolatry
at Mount Sinai.
| 4.
There may have been few skilled musicians
among the new
Christians
since it was the priests who were responsible for
developing their
skills in Temple service. |
I believe the priests blew the authorized
trumpets of God: it was the Levitical Warrior Musicians who played
instruments to make a great crashing noise. Whey would they even
think about it since the culture of the synagogue outlawed both singing
and instruments and the universal mark of instruments was perverted
paganism.
The prophecy of the King of Babylon
is really pictured at Topheth which
was once the King's Music Grove where Asherah was worshipped and
infants were sacrificed to Molech with music. We are not
aware
of any of the NATIONAL Levites who were converted and they and their
harps were cause to ROT and burn up or be consumed by MAGGOTS at
Hell--just outside the city walls. Jews lament the tens of
thousands of harps which were destroyed. Maybe if God LOVED
instrumental music He might have saved one or two. No. No Bible student
can even hallucinate "making music" in the ekklesia.
The
Apostolic Constitions which may date about the year
200 but certainly reflects the general understanding of the church
assembly notes:
For He
has delivered us from the sword, and hath freed us from famine, and
sustained us; has delivered us from sickness, has preserved us from
an evil tongue. For all which things do we give Thee thanks through
Christ,
who
has given us
an articulate
voice to
confess withal,
and added to it a suitable tongue as an instrument
to modulate withal,
and a proper taste, and a
suitable touch, and a sight
for contemplation,and
the hearing of sounds, and the smelling
of vapours, and hands for work, and feet for
walking.
And all
these members dost
Thou form from a little
drop in the womb;
and after the
formation dost Thou bestow on it an immortal soul,
and producest it into the light as a rational creature,
even man.
If
one belonging to the
theatre
(1)
come, whether it be man or
woman, or charioteer, or dueller, or racer, or player of prizes, or
Olympic gamester, or one that plays on the pipe, on
the lute,
or on the harp at those
games,
or a dancing-master or an huckster,
(2)
either let them leave off
their employments, or let
them be rejected. If a
soldier come, let
him be taught to "do no
injustice, to accuse no man falsely, and to be content with his
allotted wages:"
(3)
if he submit to those
rules, let him be received; but if he refuse them, let him be
rejected. He that is guilty of sins not to be named, a sodomite, an effeminate
person, a magician, an
enchanter, an astrologer, a
diviner,
an user of magic verses, a juggler, a mountebank, one that
makes amulets, a charmer,
a soothsayer, a fortune-teller, an observer of palmistry;
he that, when he meets you, observes defects in the
eyes or feet of the birds or cats, or noises, or symbolical sounds: let these be
proved for some time,
Lynn
Anderson etal:
5. The use of instruments may have been implicit
in the early fathers’ use of the word Psalm.
Zondervan,
p. 564. The Psaltery –
“. . . ten-stringed, rectangular zither. To the early Church
Fathers
this psaltery was symbolic: the ten strings, the Ten
Commandments;
and
the four sides, the Gospels.” |
Psalm
like song can be read, recited, sung or sung with an instrument.
However PSALM does not include the instrument. Because the
BOOK
of Psalms is a GREEK translation we know that they used a word
consistent with the form of music recognized in the Greek pagan rituals
which was always destructive. That is why all of the
"instrumental" Psalms have destructive or even polluted meanings
because they were "warrior chants." The Psalms are NOT metrical and
cannot be sung as the apologist plans to do which was always called
charming, enchanting or sorcery.
"The
name of psaltery entered Christian
literature in the 3rd century B.C.
translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion.
Thus, Nebuchadnezzar's
idolatrous ensemble included the Aramic psantria. Notice, also, that the
book of Psalms has also
become known as the Psalter (or psalterium), from the hymns sung with
this
harp. Source
http://www.s-hamilton.k12.ia.us/antiqua/psaltery.htm
NEBUCHADNEZZAR the king made an image of gold, whose height was
threescore
cubits (60), and the breadth thereof
six (6)
cubits: he
set it up in the
plain of Dura (circle), in the
province of Babylon. Dan 3:1
The
Temple in Jerusalem had two of these Phallic Imagtes out front!
That
at what time ye
hear the sound of the (1) cornet, (2) flute, (3) harp, (4) sackbut,
(5) psaltery, (6) dulcimer, and all kinds of musick, ye fall down and
worship the golden image that Nebuchadnezzar the king hath set up:
Dan 3:5
Six instruments are
named Six Times in in
Six verses.
Psaltery reminds us
of a NEW
WINESKIN religion which is made of THAT WHICH DIED OF
ITSELF:
Nebel (h5035) neh'-bel; or
nebel nay'-bel;
from 5034; a skin- bag for liquids (from
collapsing when empty); hence a
vase (as similar in shape when full); also a lyre (as having a body of
like form): - bottle, pitcher, psaltery,
vessel, viol
Nabel (h5034) naw-bale'; a
prim. root; to
wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked;
causat. to despise,
disgrace: -
disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down,
-ling, off), do foolishly, come to nought, * surely, make vile,
wither..
Nabal
(h5036) naw-bawl'; from 5034; stupid; wicked
(espec. impious): - fool (-ish, -ish
man, -ish woman), vile person.
| Lynn
Anderson etal: Whatever the reasons for
the lack of instruments in the
early church, we must hold scripture supreme over tradition. |
True: and all Bible
students and historic scholars KNEW
that instruments were OUTLAWED and always associated with destructive
events and even Satan, prostitutes and Sodomites.
Justin
Martyr a.d. 110-165
And the wealthy among us help the needy; and we always keep together;
and for all things wherewith we are
supplied, we bless the Maker of all through His Son Jesus Christ, and
through the Holy Ghost.
And on the day called Sunday, (th tou Hliou legomenh hmera.) all who
live in cities or in the country gather together to one place, and the memoirs
of the apostles or the writings
of the prophets are read, as
long as time permits; then, when the reader has ceased, the president
verbally instructs, and exhorts to the
imitation of these good things
.
Till I come, give attendance to (public) reading, to exhortation, to
doctrine.1Ti.4:13
Apost. Const. Then let the high priest say: It
is very meet
and fight before all things to sing an hymn to Thee, who art the true
God, who art before all beings, "from whom the whole family in heaven
and earth is named;"
Of a memorial for the dead: XLII. Let the third day of the departed be
celebrated with psalms, and
lessons, and prayers, on account of Him who
arose within the space of three days;
Demonstrations of Aphrahac c 337
wrote
§19. Now thus is faith; when a man believes in God the Lord of
all, Who
made the heavens and the earth and the seas and all that is in them;
and He made Adam in His image; and He gave the Law to Moses; He sent of
His Spirit upon the prophets; He sent moreover His Christ into the
world.
Furthermore that a man should believe in the resurrection of the dead;
and should furthermore also believe in the sacrament of baptism.
This is the faith of the Church of God. And (it is necessary) that a
man should separate himself from the observance of hours and Sabbaths
and moons and seasons, and
divinations and sorceries and Chaldaean arts
and magic, from fornication and from festive
music,
from vain doctrines, which are
instruments of the Evil One, from the blandishment of honeyed
words,
from blasphemy and from adultery.
And that a man should not bear false witness, and that a man should not
speak with double tongue. These then are the works of the faith which
is based on the true Stone which is Christ, on Whom the whole building
is reared up.
And on and on which you can
read
here.
Barton
Stone – “The past
is to be consigned to the rubbish heap upon which Christ died.”
Lynn
Anderson etal:
Martin Luther--1521—“Unless I am convinced
by Scripture and plain
reason--I do not accept the authority of popes and councils, for they
have contradicted each other--my conscience is
captive to the Word of
God.” |
See
Luther on music.
By
1501: "By
re-introducing public
worship, the reformers displaced virtually overnight a thousand years of high
church
ritual. The Reformation
fathers condemned the Gregorian Chant for some very telling reasons,
revealing along the way their own
evolving concepts of music.
They
objected to
the distractions of elaborate
vocal
and instrumental
music,
the dangers of overly theatrical
performances, the
unwarranted expense
of elaborate ceremonies and enormous pipe organs and the uselessness of text
unintelligible to the
common man.
"Contrasting
the high church's entrenched
musical traditions
was the simple
and
pragmatic approach of
men like Martin Luther. One of Luther's stated goals was the
restoration of true worship.
He
understood the
tremendous benefit resulting
from hearing the word of
God
and then uniting as a congregation to offer
thanksgiving in
song.
This
stress on congregational
participation in worship became a lynchpin of the Reformation.
It might come
as a surprise that the Catholic
church NEVER engaged in "congregational singing with instrumental
accompaniment." Whey they began singing of sorts in the year 373 even
when organs were imposed it was by people in high places and used by
composers and fiddled around with by the idle monks. Harmony
was
thus beginning to develop after the year 1200. The organ was
used
for preludes, interludes and recessional. It was only playing by the
professionals for entertainment which polluted the churches in the eyes
of the reformers.
Lynn
Anderson etal: V.
Heritage [a virus you caught from
your mother]
Many are concerned that we should preserve our Church of
Christ heritage. |
Right off the bat this is perjorative
and intended to
dissociate people
to make them think that we DON'T use instruments because it is a
disease we caught from out ignorant parents. This is absurd:
there is nothing but universal condemnation of instrumental music as a
warning even to those "outside of church' who would fall into a trap
because the performance style is perverted and perverting. All scholars
note that when you move from SPEAK or SAY to even rhetoric you both
MARK and CAUSE effeminancy. At the time of the American
Restoration Movement none of the denominations looking for something
better used instruments and all refuted their use: Methodists and
Baptists went through the same musical sectarianism as the Church of
Christ. Furthermore, it is a fact that The Church of Christ
was
never "joined" to the Disciples who imposed instruments planning to sow
discord.
The Bible is perfectly clear and and ALL of the historic scholars
rejected instruments on the same basis they would reject dirty dancing
or brothel stalls in the temple. All of the denomonitations which
fed into the church of Christ rejected instruments: it was the
Disciples of Christ which followed the denominations after the Civil
war because they confessed that their institute could not survive
without entertainment.
Not even the Catholic churches ever engaged in "congregational singing
with organ accompaniment." The organ was EXTRA liturgy and used between
events: the organ marked preludes, interludes and recessionals. That
is, it was purely entertainment because no priest ever installed an
organ in a church.
So the heritage or traditional is about as evil a lie as possible
especially since it is intended to inflict pain and sow discord.
Most historic church had DIRECT COMMANDS and APPROVED EXAMPLES of
speaking or chanting ONLY the Biblical text. The purpose was to Teach
and Admonish one another. One would have to be mad to hallucinate music
if they understood the nature of the ekklesia which institution
excluded all but vocal instruction.
| Lynn
Anderson etal: I
wholeheartedly agree! The heritage that I
received was this - that
we should be as the ‘noble Beroeans’ who ‘examined
the scriptures daily
to see if these things were so.’ Acts 17:11. The Church of
Christ
taught me to constantly be studying God’s Word. If we have
already
found all of the answers and there is no room to
come up with any
different conclusions, what is the point of study? |
Because "vocal and instrumental rejoicing" was
outlawed in the synagogue or "church in the wilderness" and there was
no praise service in the synagogue, there was never a QUESTION which
needed anyonw who THINKS they have a latter day answer. The point of
study was directly commanded to "sing that which is written" and "teach
that which has been taught." You could be severely brain damaged and
never hallucinate the possibility of making noise and doing gyrations
when Jesus comes to be our.
The synagogue and later ekklesia or
church was devoted TOTALLY to reading and examining "that which is
written" as the elders "taught that which had been taught." Peter left
it as a MARK of false teachers those who did not teach that which he
and others had left for our "memory."
One good reason would be to study
the Old
Testament and especially the Prophets to understand that God totally
repudiates MUSIC of any form because it is a slick way to navigate
people where you want to go usually with the intention of bringing them
into bondage to fleece the lambs and craunch their bones. Isaiah 58
defines a TRUE Sabbath and outlaws "seeking your own pleasure or
speaking your own words." That is because to do so CLAIMS that God left
a lot of silence holes for us to fill in--and pay them too.
None
of the proof texts in this paper show that the writer has read the
CONTEXT and assuredly does not know the story line.
Lynn
Anderson etal:
A willingness and
determination to follow scripture,
even in the face of deeplyentrenched
traditions,
is what the reformation and
restoration
movements were built upon.
‘Scripture alone’ became the
rallying cry of the Reformation. For the pioneers of the
Restoration
Movement, the favorite motto was: ‘In matters of faith, unity; in
matters of opinion, liberty; in all things, love.’ Only things clearly
stated in Scripture were considered matters of faith.
|
Even
if you were simple simon you would know that there was no music
commanded in the New Testament and it therefore could not be a matter
of faith. On the other hand, music is the MARK of people telling
God to shut up and is therefore the MARK of ANTI-biblical false
teachers.
In fact,
ALL church
fathers
demand that we use Scripture only for matters of faith and practice.
This was not invented for the Restoration Movemement. The
High
Church principle was the motto of the Disciples of Christ out of their
Methodist, Anglican, Church of England, Catholic roots.
However,
the Church of England never voted to aprove the right of the church to
IMPOSE anything not commanded by Scripture.
It would not be remotely possible to have ever studied the Bible
without knowing that the "serpent" in the garden of Eden was a "singing
and harp playing prostitute" or a musical enchanter(ess).
Revelation 17 ends with the Mother of Harlots (marked by music)
uses lusted after "fruits" as rhetoricians, singers and instrument
players.
Lynn
Anderson etal: Zwingli
(1484-1531) rejected audible music of
any kind, believing that whatever Scripture does not explicitly command
is forbidden. Since Paul, in Col. 3:16 calling us to ‘teach
and
admonish one another with all wisdom, and as you sing
psalms, hymns and
spiritual songs with gratitude in your hearts to God,’ specifies ‘in
your hearts,’ it must be done silently.
|
The direct command was to SPEAK one
to another with the INSPIRED TEXT ONLY.
The INTERNAL act was to sing AND make melody IN the heart.
The concept
of speaking a Psalm in order to learn it took place
at church: then,
you went home and sang SILENTLY as much as you wished. Philo denied
that humans have the ability or words to praise God audibly.
None of the Bible was metrical and you could not sing ANY of it in a
tuneful sense if your life depended on it. Zwingli knew that the Psalms
would have to be RADICALLY RECOMPOSED in order to set them to Meter.
To do so was a matter of disrespect for the written Word which
had NEVER been "sung" in the modern musical sense.
Why should be be down on Zwingli for opposing the REWRITING of the
Psalms with very bad errors being inserted and NOT utterly condemn
someone for rewriting Acts just so the females and effeminates can SING?
No, that is another lie: Paul said SPEAK one to another in Psalms,
hymns and spiritual songs (inspired text) AND sing and make melody IN
THE HEART. The word SPEAK is the opposite of poetry or music and
the word ODE is the same as Hebrew Cantillation which is not TUNEFUL
but accented SPEAKING just like Paul commanded and Jesus exampled.
| Lynn
Anderson etal:
For this reason, Zwingli did not even allow congregational
singing. The fallacy of Zwingli’s
interpretation is apparent--how can we teach
and admonish each other with songs that we sing
silently to God? |
Again,
it would not be possible to SING in a tuneful sense and obey the direct
command to speak or sing "that which is written." Zwingli was not
condemning sining the commanded text because it COULD NOT be sung. Even
when Calvin allowed some paraphrases of the Psalms to make them
metrical this would not be acceptable to MOST people who understand
that the REWRITE the Word of God.
We
can SPEAK outwardly and SING inwardly! That
is EXACTLY what Paul commanded. And you cannot SING
and SPEAK at the
same time and making melody on a harp in the heart would hurt really
bad as the word PSALLO means. Philo said the same thing because worship
is in the PLACE of the human spirit and Paul said we worship IN the
spirit as opposed to IN the flesh because there be dogs or catamites
with their old style praise singing. Because worship is what you think,
the only way to literally worship would be to fall on your face--now
try doing dirty dancing, singing and plan a "machine for doing hard
work."
Euphêmos I.
uttering sounds of good omen, or abstaining
from inauspicious words, i. e. religiously
silent, opp.
to dusphêmos, Aesch., etc.; euphêmou stoma phrontidos
hientes uttering words of religious
thought, i. e. keeping
a holy silence,
Soph.; so, hup' euphêmou boês, i. e. in silence,
Opposite to: hierourg-eô, A. perform sacred rites, . zôia sacrifice them, telet-ê , hê, ( [teleô] ) A. rite, esp. initiation in the mysteries, 3. a making magically potent, II.a festival accompanied by mystic rites, Of Dionysus.
Johannes
Quasten, Music and
Worship in Pagan andd Christian Antiquity, notes of Philo:
"One
cannot truly
offer thanks to God as the vast majority of men do, with external effects,
consecrated gifts and sacrifices..., but rather
with songs of praise and hymns--
not
so much as the audible
voice
sings,
but such as are
raised and re-echoed by the invisible
mind."
Philo
saw that the high
priest
had to lay aside his long flowing robe, set with little bells and
colorfully adorned, when he went
into the holy of holies.
This was an indication
that one must
not worship God with music and colorful array; owe should rather pour
out to him one's soul's blood and offer him one's whole spirit as
incense. For
if
the soul has
opened itself totally in word and deed and is filled with God then
the voices of the senses and all other burdensom and hateful noises
cease..
Zwingli knew
that the word SPEAK
is defined as "the opposite of poetry
or music." That is because melody
conceives to deceive:
Aristotle: 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.
Zwingli had a
point because the Scripture
is
NOT metrical and therefore
CANNOT be sung in a tuneful sense. That is why Calvin reluctantly
allowed the Psalms to be REWRITTEN or paraphrased to make singing
simple harmony remotely possible. So, maybe Zwingli wa against
REWRITING the Bible. Modern musical performers make no
attempt to
"sing that which is written" so there is little connection with
historical rationality. deceives and so people set their
lies to a melody and invent The Law of Giving or The Law of Singing.
The word Ode further defines PSALMOS as "in Hebrew Cantillation." The
singing marks did not denote tunefulness but ACCENT and rhythm of
SPEAKING. Several resources note that "Melody as tunefulness
belongs to the 19th century" so I SUPPOSE that their singing was not
MAKING MUSIC. Any prose devoted to a god when READ was called
singing and singing was "using the normal inflections of the human
voice."
Pindar,
Nemean Odes 7. [20] And I expect that the story of
Odysseus came to exceed
his experiences, through the sweet songs of Homer, [22] since there
is a certain solemnity in his lieswinged
artfulness,
and poetic skill deceives, seducing us with stories, and the heart of
the mass of men is blind. For if For if [25] they had been
able to see
the truth, then mighty Aias, in anger over the arms, would never have
planted in his chest the smooth sword--Aias, who was the most
powerful in battle, except for Achilles, and whom the breath of the
unswerving Zephyr conveyed in swift ships, to bring back the wife of
golden-haired Menelaus [30] from the city of Ilus. and
| Lynn
Anderson etal: Luther
believed that Zwingli’s approach to Scripture turned the gospel
into a new legalism. Luther’s call to return to Scripture
supported
his greater call to return to Christ. |
See how Martin Luther reads Romans 15 to exclude the organ.
See that
Martin Luther rejected instruments and congregational singing replaced
"the musical worship team."
This means that hymn
singing is preaching,
a return of God's Word to the
people!
Luther, then,
restored singing to the church as preaching,
the speaking "to one another with psalms and hymns
and spiritual
songs" (Eph. 5:19)
so that "the Word of Christ
[might] richly dwell" in them (Col.
3:16).
Because the hymn was
regarded as a proedicatio sonora -- a resounding
sermon, it was
placed "on the same
level as the proclamation and prayers of
the pastor."
(Schalk, C., ed. Key Words in Church Music (St.
Louis: Concordia Publishing House, 1978)
Consequently, the
Reformation
accorded congregational song an
autonomous place in the liturgy. It was
not simply regarded as the people's
answer to the sermon, but
instead stood side by
side with the sermon, albeit in sequential
order. (Blankenburg. W. "Der Gottdienstliche Liedgesang
der Geineinde," in Leiturgia (Kassel: Johannes Stauda-Verlag.
1961)).
The Word of
God could become
the Living Word
only
when
it was preached, and only then could it awaken faith.
--Since music (the notes) "make the text live," God preached the
Gospel also through music.
--Both music and theology then are "bearers and interpreters of the
Word of God, being living voices of the
Gospel."
In 1523, Thomas Muntzer was the
first to replace
the clerical choir
with
congregational singing,
using virtually the same music. He translated the text
into the vernacular--a
true beginning of the restoration of biblical psalm singing among the people. Chuck From
| Lynn
Anderson etal:
John Calvin (1509-1564), like Luther, stressed ‘Christ
alone.’
In his
effort to restore the original Christian ordinances, Calvin hoped his doctrine
of Christ might restrain the impulse toward legalistic
imitation.
In discussing such things as ceremonies, he said
that the ‘church must
not be too fastidious.’ Rather, they must keep first things first, not
letting questions of form and organization occupy too large a place. |
Not true: Martin Luthers "Sola Fide" was based on
"Sola Scriptura"
because you cannot have faith without Scripture. And because Scriptura
commanded baptism he said that you could not be saved withoout baptism
John Calvin called His a Restoration Movement and defended the CENI as
does the Bible and all historical theologians. For adults,
John
Calvin defined baptism just about the way Alexander Campbell did it.
Harmony of the Law -
Volume 2 by John Calvin understood that the Qahal, synagogue or church
in the wilderness OUTLAWED loud vocal and instrumental rejoicing which
was reserved for warfare or victory:
"Profane nations
also had their ceremonies, such as auguries, supplications, soothsayings, victims, because
natural reason dictated that
nothing could be engaged in successfully without Divine
assistance; but God would
have His people bound to
Him in another way,
so that, when called by the
sound of the sacred
trumpets as by a
voice from heaven,
they should assemble to holy
and pious deliberations.
The
circumstance of
the place also has the same object. The door of the
Tabernacle was to them,
as if they placed themselves in
the sight; of God.
We
will speak of the word dewm, mogned (synagogue) elsewhere. Although it signifies an
appointed time, or place, and
also an assembly of the people,
I prefer translating it
convention,
because God there in a solemn manner,
as if before His sacred tribunal,
called the people
to
witness, or,
according
to appointment, proceeded to make a covenant with them.
If
you
could not CALL the synagogue with instruments then how could you REST,
read and rehearse the Word of God when people sing and play instruments:
Thus
Malvenda in Poole's Syn.,
"et clangetis taratantara." The word is used by
Ennius "At tuba terribili
sonitu taratantara dixit." -- Serv. in, AEn, 4. A.V.,
"an
alarm."
A
difference is to be observed in this respect
between his people under the Old and under the New Testament; for now
that Christ has appeared, and the church has reached full age,
it
were only to bury
the light of the gospel
should we introduce
the
shadows of a departed dispensation.
From
this
it
appears that the Papists, as I shall have occasion to show elsewhere,
in employing instrumental
music
cannot be said so much to imitate
the practice of God's ancient people as to
Psalm
78: it in a sense less and absurd
manner,
exhibiting a silly
delight in that worship
of the Old
Testament which was figurative and terminated with
the gospel." (On Ps.
xcii. 1.)
"Were
any one to ask why the
Apostle speaks with so little respect and even with contempt of Sacraments
divinely instituted, and
extenuates their efficacy? This he
does, because
he
separates them from Christ;
and we know that when
viewed in themselves they are
but beggarly
elements, as Paul
calls
them. (Gal. 4: 9.)
Because
the music in connection with animal
sacrifices [a
curse] under the Law
were part of a training or disciplinary system, John Calvin
understands the difference
between the Old Law and the New Covenant
Then
Calvin notes what the
Catholics confess: that it was not really a borrowing from the
sacrificial system but from the world of entertainment
from all pagans:
"From
this it
appears that the Papists, as I shall have occasion to show elsewhere,
in employing instrumental
music
cannot
be said so
much to imitate the practice of God's ancient
people as to ape it in a senseless
and absurd manner,
exhibiting a silly
delight
in that worship of the Old Testament which was figurative and
terminated
with the gospel." (Psalm 92:1)
| Lynn
Anderson etal: Alexander
Campbell called for Christians to “reduce to practice that
simple original form of Christianity, expressly exhibited upon the
sacred page; without attempting to inculcate
anything of human
authority, of private opinion, or inventions of men, as having any
place in the constitution, faith, or worship, of the Christian Church,
or anything as a matter of Christian faith or duty, for which there can
not be expressly produced a ‘Thus saith the Lord,’ either in
express
terms or by approved precedent.” |
And everyone knows that there is no command, example or inference for
music in the Bible or most of church history. The point is that you
cannot IMPOSE a practice on the church unless it is absolutely required
to carry out the purpose of the church.
The Campbell's defined church as "a school of Christ"
and "worship" as reading and musing the Word of God.
They repudiated instrumental music
and Alexander refused to preach in a church until
they silenced the
organ and organists. That means that if Jesus has not
COMMANDED
something necessary to carry out the school of the Bible then others
have no right to IMPOSE something unless they can prove that it is
commanded and necessary.
Campbell
wrote: speaking for Mr G. has him say:
"Music exerts a mysterious
charm upon man--it takes captive the citadel of life--carries him out of himself, and leads him where it will. The shrill fife and the rattling drum, inspire the
soldier just about to enter into battle, with a zeal and daring which
no hardship can overcome, and no danger intimidate, and
causes him to rush
headlong into the thickest of the combat,
regardless of
consequences.
If martial music thus inspires the worshipers of Mars, will sacred music do less for the humble followers
of the meek and lowly Jesus--the worshipers of the true and living
God? No!
"It will not. It will inspire
them, too, with zeal and courage, and impel them on to resist--not
flesh and blood with instruments of death, but principalities and
powers--spiritual wickedness in high places, with the armor of God
and the sword of the Spirit.
Lynn Anderson defends the worship of MARS but Alexander Campbell
repudiated it simply by stating the case for instruments (restoration
of paganism) and then repudiates it:
The
argument drawn
from the Psalms in favor of instrumental music,is exceedingly apposite
to the Roman
Catholic, English Protestant, and Scotch
Presbyterian churches,
and even to the Methodist communities. Their
churches having
all the world in
them--that is, all the fleshly progeny of all the communicants, and being founded on the Jewish
pattern of things--baptism being given to all
born into the world of these politico-ecclesiastic
communities--
I
wonder not, then, that an organ, a fiddle,
or a Jews-harp,
should be requisite to stir
up their
carnal hearts, and work
into ecstasy
their animal souls,
else "hosannahs languish on
their tongues, and their
devotions die."
And that all persons who have no spiritual
discernment, taste, or relish for their spiritual meditations,
consolations and sympathies of renewed hears, should call for such
aid, is but natural.
Pure
water from the flinty rock has no
attractions for the mere toper or wine-bibber. A little alcohol,
or genuine Cognac brandy, or good old Madeira, is essential to the
beverage to make it truly refreshing.
So
to those who have
no real devotion or spirituality in
them,
and whose animal nature flags
under the oppression of church service, I think with Mr. G., that
instrumental music would be not only a desideratum, but an essential
prerequisite to fire up
their souls to even animal
devotion.
But
I presume, to all
spiritually-minded Christians, such aids would be as a cow bell in a
concert.
| Lynn
Anderson etal: The
Stone movement amounted far more to a rejection of historic
traditions
than to a positive reconstruction
of primitive Christian
practices. Their emphasis was Christian character and
Christian
freedom. |
The only positive in agreement with the Church of Christ was Stone's
defense of using the Bible for all of our faith and practices.
However, he honored "union" over any Biblical doctrine.
The Stone Movement
had nothing in common with the
Restoration movement. He held nothing in common with
Alexander
Campbell except the authority of Scripture. No Christian
church
would now return to the movement they sected out in 1927.
Here is
one of the practices imported into the Christian churches which flowed
out of the Methodists, Church of England and back to the Catholic
church. Click for the Shouting Methodists
added as an ACT of worship.
| Lynn
Anderson etal: Benjamin
Franklin (1872)—“The Lord is not attracted by
imposing temples, worldly show, nor fine entertainments.”
Franklin was
offended by the exorbitant cost of the newly built Central Christian
Church in Cincinnati, with its stained glass window and $8000 pipe
organ. This put a bad taste
in his mouth toward expensive instruments. |
No, he said it because INSTRUMENTS
especially
ORGANS are in bad taste in a peaceable church assembling for quiet
study and meditation. The cost just nailed dow the fact that
attracting the masses was the ONLY object.
Ben
Franklin January, 1860: "IF
any one had told us, forty years
ago, that
we would live to see the day when those professing
to be Christians;
who claim the Holy Scriptures as their only rule
of faith and practice; those
under the command, and who profess to appreciate the
meaning of the command, to "observe all things whatever I have
commanded you," would bring any instrument
of music into a worshiping assembly,
and use it there in worship, we should have repelled
the
idea as an idle dream. But this
only shows how little we know of what
men would do; or how little we saw of the power or the adversary
to subvert the purest
principles, to deceive the hearts of the simple,
to undermine the very foundation of all piety, and
turn the very
worship of God itself into an attraction for the
people of the world,
an entertainment, or amusement.
It appears never
to occur to the multitudes who
throng the assemblies to hear instruments, sweet voices
and artistic
melodies, that there is no worship in it, or,
at least, divine
worship. All that can be heard
in a theater,
in a museum, or less godly places, where there is certainly no
worship.
There
is no worship in music, in
itself. There is power in
it, enchantment [sorcery
says John Rev 18:23],
but as easily associated with vice as virtue,
with cruelty
as
with beneficence, with corruption as purity. We
find music where
there are no
moral
qualities,
either good or bad--a
mere secular
entertainment. We
listen to it, and admire it for
its own
sake,
its beauty, its delightful
strains, its enrapturing sounds, its melodies, and
the pleasing
sensations it produces
within us.
But
there is no worship in this. It
is simply secular, having neither moral
nor immoral qualities in it.
We
listen to a fine performer to see how he can perform,
and
admire
the
performance, as artistic, dramatic,
and elegant,
and
give him the praise due a good performer.
But
there is nothing [412]
religious in it. There is not a moral idea in
it; it has no moral character--there is nothing
spiritual in it;
it has no spiritual character--there is nothing
religious about
it; it has no religious character.
| Lynn
Anderson etal:
T. B. Larimore (1843-1929)--never addressed dividing issues such as
instrumental music and missionary societies. He viewed them
as
‘untaught questions among us.’ Scripture did not address
them, he
said; and, though he held his own ‘opinions or preferences,’ he did not
feel it his duty to preach or write about them. “I am as apt
to be
wrong as my brother. . . neither of us is infallible.” |
Larimore
preaching
for a church already divided over instruments would hardly take
sides
when he saw the
more urgent need to preach the gospel to convert
the people: especially
those so unchristlike to deliberately sow discord just so they could
hear Nellie PERFORM.
Burnette Writes: Allen says that one
time Larimore went to a church to help them with
the organ
Many things lead me to believe that divisions and bickering
are a good
sign that we're getting in the way of the gospel being preached and
shown to the world. I could be doing much better in this.
The city churches know very well how to settle the pastor question, and
stop the division over that issue. Just send the hired preacher out to
preach the gospel, which is his scriptural duty, and restore the elders
to their Bible functions. But will they do it? Prof. T. B. Larimore
once held a meeting that continued five months. At
the last
sermon there were five confessions, and he said the meeting closed "too
soon." He wants to hold a meeting (before he dies) that shall continue
one year. He is only seventy-two.
issue
(the musical instrument) and instead of talking about
being pro or against organs, he preached the gospel
for 22 weeks. After
he left, they ended up splitting
anyway and
many blamed him for
it,
despite the many conversions because of the gospel.
| Lynn
Anderson etal: John
Smith in 1832, “Let us, then, my brethren, be no longer
Campbellites, or Stonites, New Lights or Old Lights, or any other kind
of lights, but let us come to the Bible, and to the Bible alone, as the
only book in the world that can give us all the light we need.” |
His grandson,
H.
Leo Boles wrote of the CONDITIONS of the Church of
Christ and the Disciples of Christ working together but NOT ever united:
They
met on New Year's Day, 1832, and continued in session four days.
"Raccoon" John Smith was selected from the Campbell
group to set forth
the New Testament grounds of unity, and B.W. Stone represented the
"Christian Church." The meeting
resulted in the uniting of these two
groups. "Raccoon" John Smith was my grandfather. May the present
meeting on this occasion have the same happy results. It will have the
same results if all have the same spirit that actuated there, for we
all have the same New Testament.
That agreement to disagree ceased
with the missionary society in 1849.
"But an
amalgamation of
sects is not such a union as Christ prayed for and
God enjoins. To
agree to be one upon any system of human inventions
would be contrary
to his will, and could never be a blessing to the church or the world;
therefore, the only union practicable or desirable must be based
on the
word of God as the only rule of faith and practice...
"I
have the more
cheerfully resolved on this course, because the gospel is a system of
facts, commands, and promises, and no deduction or inference from them,
however logical or true, forms any part of the gospel of Jesus Christ.
No heaven is promised to those who hold them, and no hell is threatened
to those who deny them. They do not constitute, singly or together, an
item of the ancient and apostolic
gospel. While
there is but one faith,
there may be ten thousand opinions; and, hence, if
Christians are ever
to be one, they must be one in faith, and not in opinion. When certain
subjects arise, even in conversation or social discussion, about which
there is a contrariety of opinion and sensitiveness of feeling, speak
of them in the words of the Scripture, and no offense will be
given and
no pride of doctrine will be encouraged. We may even come, in the end,
by thus speaking the same things, to think the same things.
"For several
years past
I have stood pledged to meet the religious world,
or any part of it, on
the ancient gospel and order of things as presented in the words
of the
Book. This is the foundation on which Christians once stood,
and on it
they can, and ought to, stand again.
From this I
cannot depart to meet
any man, or set of men, in the wide world. While, for the sake of peace
and Christian union, I have long since waived the public maintenance of
any speculation I may hold, yet no one gospel fact, commandment, or
promise will I surrender for the world" (Life of Elder
John Smith, pages 452-454.)
John Smith was one of those who proposed
to UNIFY the Disciples of
Christ and what we call The Church of Christ. This proves that they were
not of the same roots even then as Alexander
Campbell knew. They agreed
on "unity" but ONLY among those who attended the meeting. This was
rejected by most of the Church of Christ congregations. At it
best the "unity" existed only in a few agreeing to meet in the same
building and NOT discuss any doctrinal issue. When these few
were
invated by the Organ that had nothing ot do with The Church of Christ.
When the 1849 Missionary Society from a converted Baptist was proposed
that mad even evangelical cooperation impossible. When the organ was
imposed as SECTARIANISM the effort to work together ceased.
The
Disciples always sought to seduce The Church of Christ even counting
them in 1906 which the Census man knew to be a lie. The Christian
Church is the only group which SECTED OUT of the Disciples beginning in
1927.
Yet
Brother Clubb would have us believe
that Alexander Campbell was not only president, but
leader of the
society. Certainly the society brethren kept Mr. Campbell president of
the society--not so much for his counsel and advice, but for the
influence and magic of his name.--John T. Lewis.] Boys and women there
cast votes, and rushed the party papers through, while men, like John
Smith, hung their heads in shame. For this act no justification can be
pleaded. It is a stain upon the records of the society which it will
take long years to efface.
The Church of
Christ at this time was no
closer to the Disciples than to the Baptists.
| Lynn
Anderson etal: Throughout
church history, instrumental music has been a topic of
fierce debate. Those who oppose it have made it a test
of fellowship.
Those who support it do not generally deem it worthy
of causing divisions, and often have bowed
to the opposition
for the sake of
unity. |
No, that's a lie: those who IMPOSED instruments into a peaceable church
made it a test of fellowship!
No one gave any Biblical defences until the
Disciples discovered "psallo" in about 1878.
The only reason it is debated
is because latter day people are willing
to kiss off many of their owners so that the "musical crowd" can find
"acceptance in the mainstream."
In fact, those who INTRODUCED instruments destroyed
fellowship
knowing
that they were sowing discord. However, this is something that went on
primarily among the Disciples as the instrumentalists took over
churches often known as the Christian church. If the above
statement were true they would never have become a musical sect and
they want unity based only on one's affirmation that they are right. I
would like to see any bowing since the debates have been instigated by
instrumentalists attempting to lead away non-instrumental churches.
Men like McGarvey was not allowed to reject instruments in his own
church because HE would be "sowing discord." Then as now they pretty
much said "get over it or get out."
1898 --Braden vs. Warlick debate
Lynn
Anderson etal: 1900
--Calhoun vs. Kurfees in series of articles. Calhoun defended
instrumental music. M.C. Kurfees responded.
Kurfees suggested that he
had no objections to the instrument in the place of worship
if it were
only seen like a bouquet of
flowers.
|
I think that he meant that if it was neither SEEN nor HEARD.
M.C.Kurfees
Origin of Instrumental
music Who is not so easily kissed off.
See
Tom Morris on M.C.Kurfees
Again, I need to tell you that all of Tom Burgess' proof texts are of
older men seducing young men.
Kurfees repudiated all of the false arguments which began only in 1837
when the disciples discovered the word PSALLO. However, not
even
their scholarly source would agree with them. Tom
Burgess has tried to refute Kurfess with poor results.
The troubling part of O.E.Payne and Tom Burgess collection of proof
texts is that all of the older males PLUCKING were seducing young men
for the "act" of sodomy.
1903 --Stark vs. Warlick debate
centered around the word psallo.
1908 --Briney vs. Otey
1914 --Payne
answers Kurfees book with his own. Payne argues that
instrumental music is included in the Greek word psallo
as baptism by
immersion is included in the Greek word baptizo.
Whatever you prove about Psallo, Paul insist that it be of the KIND
which is in the heart.
The
man who was dying blessed me; I made
the
widow's heart
sing.
Jb.29:13
So
my heart
laments for
Moab like a
flute;
it laments like
a flute for
the men of Kir Hareseth.
The
wealth
they acquired is gone. Je.48:36
My
heart laments for Moab like a harp,
my inmost
being for Kir
Hareseth. Is.16:11
And
my spirit hath
rejoiced in God my
Saviour.Lu.1:47
Therefore
did my heart rejoice, and my tongue was glad; moreover also
my flesh shall rest
in hope: Ac.2:26
In
that hour Jesus rejoiced
in spirit,
and said, I thank thee, O Father, Lord
of heaven and earth, that 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. Lu.10:21
There is NO connection
between psallo (melody) and music. Because
psallo is PRIMARILY a shooting with an arrow to hit the literal heart,
and because "hymns" impact the heart or feelings, "shooting out hymns"
was a metaphor and you "twang" the heart strings.
- 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.
- Thy
scarlet-tinctured foot? or from my bow
- The
lyre of Phoebus [Apollo, Apollyon] to
thy notes attuned
- Will
not protect thee; farther stretch thy
wings;
-
- Go,
wanton, skim along the Delian lake,
- Or
wilt thou steep
thy melody
in blood.
-
- Look,
what strange bird comes onwards;
wouldst thou fix
- Beneath
the battlements thy straw-built
nest?
-
- My
singing
bow shall
drive thee hence; begone,
- Or
to the banks of Alpheus, gulfy stream,
grace
- Or
to the Isthmian grove; there hatch thy
young;
Plautus, Curculio CAPPADOX
My spleen
is killing me, my reins
are in torment, my lungs
are being torn asunder, my liver
is being tortured, my heart-strings are
giving way, all my intestines
are in pain.
Hecuba Alas! a dreadful trial is near, it
seems, [230] full of mourning, rich in tears. Yes, I too escaped death
where death had been my due, and Zeus did not destroy me but is still
preserving my life, that I may witness in my misery fresh sorrows
surpassing all before. But if the bond may ask the free of things that
do not GRIEVE
them or WRENCH
their heart-strings, you
ought to speak in answer to my
questions and I ought to hear what you have to say.
When there
was only one instrumental church in
Nashville (as I remember
it) they ORGANIZED A Unity Organization. The began by sending out
copies of Payne's book to all of the preachers of the Church of Christ
with a note to return it to the new society which consisted apparently
of one congregation: I have one of those copies with the request for
return. Payn does not prove that PSALLO ever meang more than
"a
noise made by plucking." It includes ONLY THE FINGERS and
excludes a plectron or PICK. So, at best you could not even associate
psallo with a flute, trumpet, organ, piano or guitar picked.
The
word is firstly a WARFARE word denoting Apollo as the "father of
twanging bows to send a singing arrow into your literal heart, the
father of musical harmony, the father of homosexual worship, the father
of thieves and liars. He is the Apollyon in Revelation.
The second major use is the polluted red rope used to drive and MARK
those who loitered in the marketplace around the singing boys and girls
INTO the ekklesia for verbal instruction only. Therefore, the PSALLO
word MARKS anyone who went into the ekklesia as a bad person who could
not participate.
Psallo at not time or place ever meant to "play a harp." You
have
to define WHAT is to be plucked: it miight be the hairs of the young
boy used as "minister" for the older male. You have to say
play
or pluck THEN say what is to be played or plucked--WITH YOUR BARE
FINGERS ONLY.
| Lynn
Anderson etal:
1923 --Boswell vs. Hardeman |
The effort to seduce a few preachers
with the Payne book TRAPPED the
instrumentalists into a debate they did not want. They picked
the
BEST of the crop but one immediately feels pity for Boswell when
Hardeman begins to quote REAL scholarship.
See some notes on Psallo from the
debate
Psallo NEVER had any musical connection: it simply
means to pluck
something with your fingers but never with a plectrum: no piano, organ,
flute or drum because you cannot PLUCK them with your fingers to make a
SOUND. One PLUCKS bow strings in the first instance. One
stretches the polluted rope to MARK those who dallied around the
singing boys and girls and were late going to the ekklesia for vocal
instruction only. One can pluck a lyre or you can pluck one's hair and
you can shoot out hymns.
| Lynn
Anderson etal: J.S.
Lamar—1880’s--was amazed that some of the leaders could have been
so petty and trivial in their concerns, as if Christ had died
to
prevent the formation of societies and to keep organs
out of churches. |
We MIGHT say that leaders were petty and admittedly mercinary when they
IMPOSED instruments which were rejected by ALL of the groups which
swarmed into the Church of Christ.
"To Lamar goes the credit for
phrasing the 'guilt
clause' which became a
cardinal refrain of the organ
apologists. The organ
was in the churches to stay. The next move was to fasten 'guilt' upon any person or
church who would
commit one of the 'seven
deadly sins' by
dividing the church over the organ."
Rejecting the Law of Expedience by the Instrumentalists, John
T. Lewis has the following to say:
But the moment we abandon this we will be at sea, without compass or
rudder and our ship will be driven by the merciless blasts of the
headwinds of sectarianism in the d rect on of the port of Rome; and in
this state of case we may well haul down our colors and seek
recognition in "courts ecclesiastic." We will need the sympathy of such
courts, then. It is no matter of astonishment that, when the foregoing
principle was enunciated, such a thoughtful man as Andrew Munro should
make the following statement: "If we adopt that as a basis, then there
is an end of infant baptism." I
beg leave to make the following respectful suggestion to Brother
J. S. Lamar:
"If we adhere to that as a basis, then there is
an end of instrumental
we
must adhere to that, or else the "reformation is a failure."
This brings us to the main point had in view in the preceding essays.
That singing as worship is a divine appointment, is
abundantly clear, from the following Scriptures: "What is it, then? I
will pray with the spirit, and I will pray with the understanding also.
I will sing with the spirit, and I will sing with the understanding
also." (1 Cot. 14: 15.) "And be not drunk with wine, wherein is excess;
but be filled with the spirit; speaking to yourselves in psalms and
hymns and spiritual songs, singing and making melody in your heart to
the Lord." (Eph. 5: 18, 19.) "By him therefore let us offer the
sacrifice of praise music in the worship.
With Hayden's reply to
Grubbs, W. K. Pendleton, editor of the Harbinger, closes the
discussion, or rather called off Brother Hayden and turns Brother J.
S. Lamar loose on Brother Grubbs.
Lynn
Anderson etal:
As Leroy Garrett says, “Our sin has been in violating
the principles of
our own heritage: making an opinion
or a preferred method a test of fellowship.”
Allen, Richard C. and Hughes, Richard T. Discovering Our
Roots. ACU Press, 1988.
p. 3 “This call back to the source
of our religion--the Scriptures--was a powerful and
much-needed call.
It was, and still is, the genius of the movement in which we stand.”
“While claiming to reject all human traditions, we
have created and
perpetuated traditions all the more entrenched for being
unrecognized.
Rather than escaping tradition, we who are the heirs of Barton Stone,
Alexander Campbell, and David Lipscomb simply have failed to recognize
the traditions at work in our midst.
”
|
Hughes says with a
slanted view:
We
were wrong in objecting to the introduction of Missionary
Societies and instrumental music in the worship of the church. "(T)he
origins of the instrumental music debate appear to lie in a struggle
over social class..." (P. 57).
That's a lie: none of the
denominations had approved of instruments and the repudiation had been
almost universal down through history. The presbyterians had a rich
body of literatature using Biblb and miniman common decency to reject
entertainmant.
We
splintered away from the real Camp-Stone Restoration
Movement.
That's a lie:
there was never any "unity" between the Church of Christ and the
Disciples of Christ. Any effort to work together on projects or meet
together ended when they began to introduce instruments into the debate
in 1851 and into the church in 1859. Scholars of the Church of Christ
rejected both the society and the organ. In 1906 the Church of
Christ refused to be counted in the missionary and organ party which
was a fully-developed denomination. The Christian churches began to
SPLINTER out from 1927 to 1971.
"The
authentic
followers of Campbell, therefore eventually
shifted their commitments from the restoration of
the ancient
church to the unity of all Christians, separate and
apart from
any concern with primitive Christianity" (p. 7).
That's a lie: And
separate and apart from the Bible as the basis of faith and practices:
Campbell refuted the use of instruments and refused to preach until the
organist was silenced in denominational buildings.
We
emerged as a separate denominational body in 1906.
"In 1906 the
first federal religious census lists 'Churches of
Christ' as a new denomination whose most visible characteristic was
their adamant refusal to use instrumental
music in their
worship" (p. 57).
Again that's a lie: the Church of Christ
had from the time of the introduction of the organ refused to
fellowship the ORGANS even when they were friendly with the
instrumentalists. The Church of Christ never JOINED the Disciples of
Christ denomination and they therefore could not have separated from
them. ADAMANT is pejorative but it fits the universal practice of
the Bible and most of church history.
The Church of Christ never SPLINTERED and never divided over instruments: a few buildings were stolen from under a tiny few.
Because The Church of Christ as
Methodists, Presbyterians and Baptists
had NEVER used instruments and ALL "adamantly refuse to BOW" it
continued with what it believed and knew from HISTORY for 1850 years.
Hughes seems pouty-mouth that the Church of Christ REFUSED to bow. That
means that it was NOT part of the deliberate sowing of Discord. These
are not scolars in any sense of the word.
Both of these gentlemen get their history from
historians and not from the original resources now available for the
6th grade without a Phd.
Lynn
Anderson etal:
VI.
“Safety” [i.e. cowardice]
In the 1860’s, Benjamin Franklin wrote “There is not a saint who cannot
without any violation of conscience worship without
it [instruments]. . . We can remain on safe ground. . .” |
Ben
Franklin
We can NOT
worship, and maintain a
good
conscience, with
the
organ.
We are certain that we can
worship acceptably without
the
organ.
This was
not cowardice but the statement of a fact and principle: We cannot
worship with YOU if you add the organ. On the other hand, you can
worship without the organ. A logical conclusion is that you are willing
to add something NOT REQUIRED and sow discord and this is the
definition of heresy or a sect.
The
friends of the organ do not
doubt this. They entertain not one doubt that they can
worship
acceptably without it. Here is something that is safe.
There is no
doubt or uncertainty about it. There is no one that has the least
doubt that we can worship acceptably without the organ.
No
one ever REJECTED instruments on the basis of fright but on sound
Biblical, historical, moral and mental-health grounds. The
musical
sectarians can be save to NOT use instruments.
This
is not just being CAUTIOUS without much conviction but SAFE GROUND is
what the Campbells tried to establish: a community meeting where ALL
can gather to carry out the ONLY role of the church whatever one's
private musical practices.
We
are perfectly aware that it is calling down
on us the disfavor
of many or the
rich,
the influential and popular;
and that, on account of it, we
are cut
off
from many amiable people, and can not meet
and worship with
them.
We
are perfectly aware that it is against our temporal
interests. We have not been, and are not, blind to all this,
but have it before us, and have considered it carefully, and made up
our mind to take all the consequences, and bear with meekness and
patience whatever shall come.
We
do not court these consequences, nor desire
them, but we see no way to avoid them, and maintain what we solemnly
believe to be [422] right.
We, then,
cheerfully accept the situation, and take the consequences, rather
than give up the fullest, strongest and most settled conviction of
our inmost soul.
Here,
then,
is safe ground, and here
we can all meet and
worship acceptably, in harmony
and without any doubt.
1.
Those who use the organ, instead of showing indifference about it, push it
into
the worship, against the [429]
will and conscience of many good brethren, and compel them to
worship with it, submit
to it, or not worship with them.
This
is an utter repudiation, in that which
"speaks louder than words," of all professions of
indifference. No man can
think they look on it as a matter
of
indifference while they, with such persistence and determination,
press it into the worship.
Many
of them show more zeal in this than they
ever did to spread the gospel, or build up the kingdom of God. The
profession of indifference is without foundation, only as they wish
those opposed to it to be indifferent
enough to submit meekly,
and let them
bring it in. Their indifference never leads them to think of leaving
it off for the sake of peace.
2.
They violate the law of God in bringing a dumb
instrument into the
worship, that can not teach,
admonish, sing,
praise God, or give thanks, but confuses
the worshipers, so that they can not teach, admonish, or sing to
edification, as commanded in Scripture; or, in other words, it
prevents doing precisely what the Lord commanded. To this no
Christian, with due consideration, can submit.
3. Instead
of devout worship, in song, teaching and
admonishing one
another,
the whole affair is turned into a musical entertainment,
an attraction, for the people of the
world, and professors of religion, who have lost their taste, or
never had one, for pure, devout and spiritual worship, in spirit and
in truth, with the spirit and understanding. This is turning the
worship of God into an entertainment, an amusement, an attraction for
the people of the world, and others who have no spiritual relish. It
is a perversion of the divine worship, and
defeating the very thing
commanded to be done. Can he be guiltless who does
this? [430]
| Lynn
Anderson etal: In
1902, David Lipscomb wrote “All may worship without the
organ. This is safe ground.” |
But,
he was NOT just being "cautious" as implied. The Church of
Christ
made no such cowardly decision: they said that the INSTRUMENTAL
SECTARIANS
could be safe and NOT deliberately sow discord. Excluding the
organ from the Church of Christ was never based on "cowardice" but on
Bible and historical and cultural literacy. Shame! Shame! Shame!
Instruments
of Music in the Service of God
By David Lipscomb
Gospel Advocate, Vol. XLIII, No. 44 (October 31, 1901),
696.
It seems there cannot be a doubt but that the use of instrumental music
in connection with the worship of God, whether used as a part of the
worship or as an attractive accompaniment
is unauthorized by
God and violates
the oft-repeated prohibition to add nothing to,
take nothing from, the commandments of
the Lord.
It destroys the difference between the clean and
the unclean, the holy
and the unholy, counts the blood of the Son of God unclean, and
tramples under foot the authority of the Son of God. A
Christian
loyal and true to the Lord Jesus Christ cannot do this, nor in any way
countenance the setting aside the order of God by adding to or taking
from his appointments, even in the smallest matters, as washing of
hands, while forbearance and love should be exercised in showing them
the error of the way.
When the church determines to introduce a service not
required by God,
he who believes it wrong is
compelled to refuse in any way to countenance or affiliate with the
wrong.
To do so is to commit a double sin. It is
to sin against
God and their own consciences and to encourage by example others to
violate their consciences and the law of God; it is to lower the
standard of regard for right.
It is generally insisted that the peace of the congregation should not
be disturbed by as small a matter as the use of instruments.
The test of a congregation of Christ is: It recognizes God as the only
Lawgiver. It serves God alone. When it consciously
changes
the smallest appointment of God, it dethrones God
as the only Lawmaker
and ceases to be a church of God.
So it is a
false foundation to claim that
people are lacking grace and are cowards when people speak of SAFE
GROUNDS.
Probably a lot of people were at
wits end by
seeing their church family destroyed and their property turned over to
others. You don't HAVE to have instruments. You can be SAFE
without them, but one thing God hates with a terminal passion: those
who would sow discord among brothers. Can there BE any redemption?
Lynn
Anderson etal: This
concern over “safety” is disturbing for several reasons:
1. It nullifies the cross’ saving
grace. It implies that we are saved
by what we do - by being right. This may
be the root problem, of which
the issue of instrumental music is only a symptom.
|
Again, it is not OUR safety we are
concerned
about: we are absolutely sure that instruments are the mark of telling
Jesus Christ to "shut your face." It is certain that Psalm 41
prophesied that Judas woudl attack Jesus in a musical sense and that
the mocking of Jesus meant that the Levitical musicians drove Jesus to
the cross as the fulfilled sign of fulfilled prophesy.
Yes, we are saved by what we do: when we have "obeyed from the heart
that form of doctrine" only then does Paul in Romans 6 says BEING THEN
free from sin.
It is a fact that Psalm
41
prophesied that Judas
would try and fail to triumph over Jesus: this is what is outlawed for
the synagogue and means "vocal and instrumental rejoicing." The Levites
however musically mocked Jesus right up to the cross because they had
identified Him as Beliar or Beel-zebul: the dung god.
Titus
2:11 For the grace of God that bringeth salvation hath
appeared to all men,
Titus
2:12 Teaching us that,
denying
meaning to contradict,
reject, refute
ungodliness means irreverent,
impious: that will get you burned
Heb 12.
and
worldly lusts, "A
longing for that which is FORBIDDEN." Don't ring a bell?
we should
live soberly, Sound mind:
music deranges the mind.
righteously, innocent
giving NO offense.
and godly, devout or
reverent without which you get burned.
in this
present world;
| Lynn
Anderson etal:
2. It implies a God who is watching,
trying to catch us doing
something wrong, putting ‘trick questions’
on the test. Our God is a
loving Father who earnestly desires relationship
with us. |
No, it is a fact that music and
especially PRAISE SINGING was
the oldest professionand
was intended to make SURE that the gods did not fail AGAIN.
Music INSISTS that everyone had better be watching the singers,
clappers and instrument players if they want to be led into the
presence of God.
Because all musical terms speak of vile people trying to
dominate, and because God removed Grace because of musical
idolatry at Mount Sinai we are DOGMATICALLY CERTAIN that God is
watching but Paul said that we MUST worship God in reverence and Godly
fear, because God IS STILL a
consuming fire. We
do NOT call down "holy fire" because we are cowards but because we are
rational, spiritual or left-brained people who CANNOT be seduced by the
Siren's Song.
Any interest in the Bible and its background should make people AFRAID
that they are THE fallen angels sent to LIGHT THE FIRES, but they have
an agenda.
Incentor, o-ris,one
who sets the tune
or
begins to sing, a precentor, singer
I.
Lit.: carminis,
[1]
incentore [2] canam
[3]
Phoebo [4] Musisque [5] magistris,
II.
Trop., an [A]
inciter, exciter: [B] igneus [C] turbarum,
: rebellionis [renewal of war] totius,
id. 6, 11 . Flamen
Hislop
Incensor
I. one who kindles or sets fire to, II. Trop., an inciter,
instigator:
turbarum,
[2] Căno
I.
Neutr., to utter melodious notes,
to sing, sound, play. 2. Of the
faulty delivery of an orator, to speak in a sing-song
tone: inclinată ululantique voce more Asiatico
canere, once canituri,Vulg.
Apoc. 8, 13 )
Rev 8:10 And the third
angel sounded, and there fell a great star from
heaven, burning as it were a lamp, and it
fell
upon the third part of the rivers, and upon the fountains of waters;
G2985 lampas
lam-pas' From G2989
G2989 lampō lam'-po A primary verb; to beam, that
is, radiate brilliancy (literally or figuratively): give light, shine.
Lampas
lights used in Bacchic
ceremonies Id.Ra.340
,
or in festal processions, phainete, faggot, luchnis, helios identified with Apollo,
Abaddon or Apollyon of the book of Revelation. 4. meteor,
Eos
is used of the
Musae who were the musical arbitrator. They are life or phôs,
Êôs the goddess of dawn, Latin aurora.
2. day, katêïen es dusin ê. Musae;
mesatê ê (arbitrator).
lucĭfer, fe(ra,
fe(rum, adj. [lux-fero] ,
light-bringing: itaque ut apud Graecos Dianam, eamque Luciferam,
sic apud nostros Junonem
(Juno)
A. The
morning-star, the planet Venus: stella Lucifer
B. The fabled son
of Aurora [Eos] and Cephalus,
Eôs
2. day, Il.1.493, al.,
Od.19.192, Theoc.12.1,
Call.Aet.1.1.1; ê. de moi estin hêde
duôdekatê, hote. . Il.21.80 ; katêïen es
dusin ê. Musae.110;
mesatê
ê
(arbitrator). Orph.A.649.
3. Life
II. pr. n., Êôs
the goddess of dawn, Il.
11.1, Hes.Th.372,378,
e
Thespian
E. Thespias , a(dis, adj. f., Thespian: Musae (a muse, one of the nine Muses, as dwelling on
Mount Helicon), Ov. M. 5, 310 ; also called, absol., Thespiades,
Varr. L. L. 7, § 20 Müll.; Cic. Verr. 2, 4, 2, § 4;
Plin. 36, 5, 4, § 39.
Hêlios II.
as pr. n., Helios, the sun-god, Od.8.271,
identified with Apollo,
2.
Hêliou astêr, of the
planet Saturn, [Lucifer,
Zoe, daughters
of Eve]
If God is
watching us we want to be CERTAIN that we are not
presuming to HELP keep Him from failure. God was
watching when Israel
rose up to play in musical idolatry: it was such a terminal sin that He
turned them over to worship the stars: that which people are so anxious
to impose again and again fall from grace.
"The
development both of
religion and of the arts
can be traced back in a continuous line to the hunting era. The group ritual of the primeval
tribesmen were the origin
not only of all
religious ceremonial, but also of the drama and of
poetry and music, while magic gave
birth to the visual arts."
"Awed
by the mysteries of his
own
spirit no less than by
those of nature, primitive man was likely to
attribute to divine
influence any abnormal emotional state, whether above or below
the usual
level. Medicine men customarily
went into states
of trance in
which they were believed
to be in communication with
the
gods,
and
many tribes supposed lunatics and sexual deviants
to be divinely
possessed. (Parkes,
Henry Bamford,
On Gods and
Men, p. 30).
"In
ancient Mesopotamia its main purpose
appears to have been the enhancement of what was
seen as beneficial. With the sole exception of wisdom
literature,
the
core genres are panegyric in nature
(i.e.,
they praise something or someone),
and the magical
power and use of
praise
is to instill, call up, or activate the virtues presented
in the praise.
"That
praise is of the essence of hymns, for
instance, is shown by the fact that over and over again the
encomiast, the official praiser, (See Kantor, Precenter, Worship
Leader) whose task it was to sing these hymns,
closed
with the standing phrase: "O
[the name of a deity or human hero], thy praise is sweet." The same
phrase is common also at the end of myths and
epics, two further
praise genres that also belonged in the repertoire of the encomiast.
"They
praise not only in description but also
in narrative,
by recounting acts of valour done by the hero,
thus
sustaining
and enhancing
his power to do such deeds,
according to the magical view.
- dialekt-os ,
hê, discourse, conversation, discussion, debate, argument
- IV.
style, panêgurikê, poiêtikê d.,
D.H.Comp.23,21: esp. poetical diction
- panêgurikos
1.
fit for a public
festival, ho logos ho p.,
or ho p. alone, a panegyric,
eulogy, Isocr., Arist. 2. ostentatious, pompous,
and
when any one touched these instruments with their fingers
they uttered
a shrill sound. And he says
that this is plainly shown in the hymn to
Artemis, which begins thus-