Psallo, Psalmos, Psalmus, Psalma

Everett Ferguson refuted by Danny Corbitt

Danny Corbitt attacks Dr. Everett Ferguson as the father of the EXCLUSIONISTS movement. A cappella singing is defined by instrumentalists Christian Churches as EXCLUSIVE or SECTARIAN. The fact is that most people can enjoy congregational singing (not a cappella) and it would never sow discord or split a church. On the other hand, when preachers and elders impose instruments with help from agents, 1/3 up to 1/2 of the owners are forced to leave and are therefore excluded. God said that He hated the Israelite musical rituals: He assuredly hates those who deliberately sow discord.

4.15.13 "Leaven" at ACU promotes those promoting instrumental music: for instance Danny Corbitt, Missing more than music was included in its lectureships. They have requested that Teresa D. Welch, instrumentalists, review Danny's work. I don't think the fell into the trap too deeply. For instance, Danny says that the Bible writers have Paul and silas SINGING HYMNS because they couldn't have their instruments in prison. Well, they could beat on the cell bars if they had been so effeminate as to sing AND play instruments. This was the arena only for women and the Effeminate. We have researched data on hymn and it is used in two ways:

First, one speaks a Scripture Hymn as a prayer: you don't twang a harp when you pray TO God even if you fall into playing a harp when you SING to the Lord.

Second, when a hymn is sung with an instrument the "sung" word and instrument is named. It is still a hymn to "god" but the gods are always Dionysus or Apollo who is the Abaddon or Apollyon in Revelation and the muses were his worship team: John in Revelation 18 calls them sorcerers who HAD fooled the whole world and they would be cast alive into the lake of fire.

Teresa D. Welch Danny Corbitt Missing More Than Music

4.09.13

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

Lynn Anderson: The Beginning of Musical Idolatry

Danny Corbitt Psallo and Missing More than Music
Danny Corbitt and Matt Dabbs Psallo
Review: Danny Corbitt Denying Justin Martyr

See the connection between Psalmos, Psallo and Melody: did they musically mock Jesus and beat the flesh off His bones with their FLUTES?

Whome Phebus (Abaddon, apollyon)
        overcomming on a pipe (made late ago By Pallas)
        put to punishment.
        Why flayest thou me so,

5.01.11

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

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

4.26.11 See http://www.piney.com/Danny.Corbitt.Matt.Dabbs.Ripening.Issues.html

There are sevearl of the Psalm proof text where the PRAISE word means to RECITE and the only resource is that which God commanded. The object was to teach others.

1.13.11

Those imposing musical instruments build their faith on the Levites defined by the Scribes: Jesus defined them as hypocrites and Christ in the Ezekiel 33 example named speakers, singers and instrument players.

The first two reasons assert that under the Old Testament, God did not just allow instrumental music, He commanded and blessed it. Rick offered the following passages for these contentions: 2 Chronicles 5:13-14; 7:6; 29:25-26; Psalm 33:1- 3; 92:1-3; 150:1-6.

Never mind that the godly tribes were quarantined. No singer or player went INTO or NEAR a holy thing or place on the penalty of death. Some of these patterns are separated from the last by up to 300 years.

CHRIST IN THE PROPHETS WARNED ABOUT THE LYING PEN OF THE SCRIBES.

Stand in the gate of the Lords house [courts], and proclaim there this word,
and say, Hear the word of the Lord, all ye of Judah,
that enter in at these gates to worship the Lord. Jeremiah 7:2

Thus saith the Lord of hosts, the God of Israel,
Amend your ways and your doings,
and I will cause you to dwell in this place. Jeremiah 7:3

Trust ye not in lying words, saying,
The temple of the Lord, The temple of the Lord,
The temple of the Lord, are these. Jeremiah 7:4

Jer. 8:8 How do ye say, We are wise, and the law of the LORD is WITH US?
LO, CERTAINLY IN VAIN MADE HE IT;
THE PEN OF THE SCRIBES IS in vain.

For I spake NOT unto your fathers, nor commanded them
in the day that I brought them out of the land of Egypt,
concerning burnt offerings or sacrifices: Jeremiah 7:22

Cyril of Alexandria, Commentary on John,

That the Pharisees puffed up unto strange boasting,
        were wont to pretend that the Divine Word was with them and in them,
        and therefore foolishly affirmed that they had advanced to marvellous wisdom,
        the Spirit Itself will testify,
        since Christ says by the Prophet Jeremiah unto them,
                How do ye say, WE are wise, and the word of the Lord is with us?
                For nought to the scribes became their lying pen;
                the wise men were ashamed, were dismayed and taken;
                what wisdom is in them? because they rejected the word of the Lord.

For how are they not taken rejecting the Living and Hypostatic Word of God,
         receiving not the faith to Him-ward,
       but dishonouring the Impress of God the Father,
         and refusing to behold His most true Form (so to say)
   through His God-befitting Authority and Power?

THE PROPHECIES BY CHRIST WERE FULFILLED BY JESUS CHRIST: JESUS AND PETER MAKES THE APOSTLES AND PROPHETS THE ONLY TRUTH.

John 6:44 No man can come to me,
except the Father which hath sent me draw him:
and I will raise him up at the last day.
John 6:45 It is WRITTEN IN THE PROPHETS
And they shall be all taught of God.
Every man therefore that hath heard,
and hath learned of the Father, cometh unto me.

2Pet. 3:2 That ye may be mindful of the words
which were spoken before by the HOLY PROPHETS
and of the commandment of us the APOSTLES of the Lord and Saviour:

IT WAS THE SPIRIT OF CHRIST WHO SPOKE THROUGH THE PROPHETS AND NOT LYING SCRIBES whom He called hypocrites by naming speakers, singers and instrument players in Ezekiel 33.

1Pet. 1:10 Of which salvation the PROPHETS have inquired and searched diligently,
who prophesied of the grace that should come unto you:
1Pet. 1:11 Searching what, or what manner of time
the Spirit of Christ which was in them did signify,
when it testified beforehand the sufferings of Christ,
and the glory that should follow.

God did NOT speak through the lying pen of the Scribes who recorded the Monarchy which God had NOT commanded.

Heb. 1:1 God, who at sundry times and in divers manners
        spake in time past unto the fathers by the prophets,
Heb. 1:2 Hath in these last days spoken unto us BY HIS SON
whom he hath appointed heir of all things,
by whom also he made the worlds;
Heb. 1:3 Who being the brightness of his glory,
and the express image of his person,
and upholding all things by the WORD of his power,
when he had by himself purged our sins,
sat down on the right hand of the Majesty on high

THOSE WHO DELIBERATELY SOW DISCORD BY QUOTING THE LYING PEN OF THE SCRIBES (hypocrites: speakers, singers, instrument players) are defined by the Spirit:

Jer. 23:16 Thus saith the LORD of hosts,
Hearken not unto the words of the prophets that prophesy unto you:
they make you vain: they speak a vision of their own heart,
and not out of the mouth of the LORD.

Jer 23:17 They say still unto them that despise me,
The Lord hath said, Ye shall have peace;
and they say unto every one that walketh
after the imagination of his own heart,
No evil shall come upon you.

Despise tthe Word of God of God and using your own words is:

Blasphēm-eō , pf. A. “beblasphēmēka” D.18.10:—speak profanely of sacred things, “eis theous” Pl.R.381e; offer rash prayers,

1. Because Christ as Spirit spoke ONLY through the prophets.
2. Those who use use the pattern of the Lying Pen of the Scribes, in fact despise and ignore the SPIRIT message.
3. Christ in Jeremiah defines that as blasphemy

Hebrew: H5006 nâ’ats naw-ats' A primitive root; to scorn; abhor, (give occasion to) blaspheme, contemn, despise, flourish, X great, provoke.

NO ONE DEFINING WORDS COULD IMAGINE INSTRUMENTS IN THE SCHOOL OF CHRIST. The classics and church history proves that INSTRUMENTS are the MARKS of all pagan religions which is ANTI-Christian.

A CAPPELLA is a steal word from "a cappella" which identified the Pope's castrated French singers imported to be used in the Sistine where instruments were outlawed.

p.20 Lucian never uses psallo meaning to "play a harp." Furthermore, like all of the NACC proof texts, Lusican names MUSICIANS as the PARASITES.

p.24 Danny quotes Ferguson about silent singing but misses that Niceta, for one of all, does call instruments in worship evil because it is legalistic.

p.32 Danny Who needs the Loopholes

p.51 Psallo is translated "sing" in the Greek version. It literally means to smite or strike with the FINGERS and NEVER with a plectrum. Danny is happy that Thayer says that Psallo is USED meaning to STRIKE a LYRE. Of course psallo NEVER means to "play a harp" because the thing to be struck is always named.

p.56 Danny Corbitt missing more than warfare and perverted religon in the Psallo and Psalmos words

ALL WORDS INTENDED TO PLAY AN INSTRUMENT ARE COMPOUND WORDS. NONE APPEAR IN THE BIBLE.

CLICK FOR PSALMOS

NEW WINE SKINS: JAY GUIN'S SUMMARY OF RICK ATCHLEY AND CHRIS SEIDMAN: "How to boil a frog."

10.15.10 bad links being updated. Major Refuting of false teachings about the Church Fathers. Shame on ACU for promoting false teachers

Review: Danny Corbitt: Missing More than Music
Danny Corbitt Anti Ferguson Psalmos
Jay Guin Defending Danny Corbitt
Review: Danny Corbitt Denying Justin Martyr
Matt Dabbs--Danny Corbitt Ripening Issues

See on the
Synagogue which began as the Church of Christ in the wilderness.One of the self-evident reasons that the neither the Church in the Wilderness, the synagogue at the time of Christ and the historic churches never used musical instruments is that they DEFINE IN FACT the meaning of LEGALISM.

Right now the people lusting to discredit the CENI are really totally focused on forcing happy churches of Christ to accept deliberate discord so THEY can impose instrumental music which THEY such as Rick Atchley claims that:

GOD COMMANDED INSTRUMENTAL PRAISE (whatever that be). The use Hezekiah's plague stopping animal slaughter where the WARRIOR'S instruments were added when they were BURNING THE GOATS for Israel who had fallen under the Mount Sinai idolatry and were LOST.

Because those turned over to worship the starry host and were in fact worshiping Dionysus etal whatever they called him, and only once after almost 300 years, this was was an APPROVED PATTERNISM.

In spite of the Synagogue for the godly people QUARANTINED them from the sacrificial slaughter and OUTLAWED vocal and instrumental rejoicing, they NECESSARILY INFER that Christ changed His mind and we MUST use instruments and USE instrumentalists EVEN IF it sow discord and rattles out boasted membership from 6,400 used as their boast of AUTHORITY, down to about 3,500 before slowly adding NON OWNERS to come in and confiscate the property.

The Service of the Levites--because they were an ancient Egyptian priestly class--is called HARD BONDAGE. Their prophesying is called SOOTHSAYINGor SORCERY. This is what Rick Atchley has imposed deliberately sowing discord and this is what Al Maxey has attached himself to without a chance for redemption if you believe all of the evidence. David radically changed from the Law of Moses to "a new style of jubilating praise." This was taking over the female roles lock, stock and barrel. David's naked dance was "performing the woman's role." That was the role of the falsetto singers before the castrated a cappella harmony team was imported from the French opra:

NO ONE DEFINING WORDS COULD IMAGINE INSTRUMENTS IN THE SCHOOL OF CHRIST

By definition a musical instrument is:

-Organon 1 [*ergô = WORK] I. an organ, instrument, tool, for making or doing a thing, Soph., Eur., etc.:--of a person, hapantôn aei kakôn

Kakos 1. of appearance, ugly 3. of courage, craven, base, 4 .bad of his kind, i. e. worthless, sorry, evil words, rep;roaches

-Plato.Symposium

"On the road Socrates, immersed in thought, lags behind, and Aristodemus arrives at Agathon's alone. Not till they are half-way through the meal does Socrates appear; and Agathon rallies him on his devotion to sophia.

In Plato, Symposium the nomos or laws of sophis are erotic and deboted to debauching boys: this is in contrast to LOGOS which is devotion to the Laws of the Word.

-Sophia , Ion. -iē, h(, prop. A. cleverness or skill in handicraft and art, as in carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412; of the Telchines, Pi.O.7.53; hē entekhnos s., of Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and Palamedes, X.Mem.4.2.33, cf. 1.4.2; in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8, etc.; in driving, Pl. Thg.123c; in medicine or surgery, Pi.P.3.54; in divination, S.OT 502

"The proposal of Pausanias to restrict the potations, in view of yesterday's banquet, and that of Eryximachus to dismiss the flute-girl and amuse themselves by logoi, are unanimously agreed to. Then Eryximachus propounds an idea of Phaedrus,

-logos , verbal noun of legō
Opposite. kata pathos,
Opposite human reasoning
Opposite -epagōg-ē, 2. bringing in to one's aid, introduction, 4. allurement, enticement b. incantation, spell,

-Logos verbal noun of legō Opposite. muthos, as history to legend, prose, Opposite. poiêsis, Id.R.390a; Opposite to emmetros Opposite. poiêtikê, D.H.Comp.6; Opposite. poiêmata, ib.15; koina kai poiêmatôn kai logôn Only the words of lyric or dramatic poetry.
X. the Word or Wisdom of God, personified as his agent in creation and world-government,

"d The varying nomoi [Legalism means human tradition} concerning Eros may be classified thus:—

(1) In all Greek states except Athens the nomos is simple, either (a) approving paederastia, as in Elis and Boeotia; or (b condemning it, as in Ionia and states subject to barbarian rule, where it is held to foster a dangerous spirit of independence (e.g. Harmodius and Aristogiton).

(2) At Athens the nomos is complex. (a) Eros is approved, and its excesses condoned, when directed towards superior youths approaching manhood. (b) It appears to be condemned, in so far as parents forbid their boys to hold converse with “erastae.” The explanation of this ambiguous attitude must be sought in the principle laid down above, that the moral quality of an act depends upon the conditions of its performance. The Athenian nomos provides a test for distinguishing between good and bad forms of Eros: the test of time shows whether or not the right motive (desire for aretē) actuates both the lover and his object. This motive alone justifies all erotic pursuits and surrenders, even mutual deception: hence we conclude that kalon aretēs heneka kharizesthai.

-gnêsi-os mêtêr tôn erôtikôn logôn, of Aphrodite, Luc.Am.19; g. aretai real, unfeigned virtues, Pi.O.2.11; g. humnoi inspired song, B.8.83; e. melos a love songmêtêr tôn erôtikôn logôn Mother of erôt-ikos A. of or caused by love, orgê, or Aphrodite: ou rhaidiôs dietethê : was handled not softly, i.e. cruelly killed (ou rhaidiôs, kakôs Hesych. and Phot.).

Humnos , ho, A.hymn, ode, in praise of gods or heros, u. Haidou, of one whose songs are death, E.Ba.72 (lyr.).]
Daughters of Zeus ruling on high, famed for the lyre, ... Pierian Muses ... weave [5] Isthmian land ... son-in-law of wise Nereus ... ... of the island ... [10] god-built gates of Pelops' shining island ...
-Organon 2. organ of sense or apprehension, “ta peri tas aisthēseis o.” Pl.R.508b ; to o. hō katamanthanei hekastos 518c, ib.
Plat. Rep. 508b “Why, no.” “But it is, I think, the most sunlike of all the instruments of sense.” “By far the most.” “And does it not receive the power which it possesses as an influx, as it were, dispensed from the sun?” “Certainly.” “Is it not also true that the sun is not vision, yet as being the cause thereof is beheld by vision itself?” “That is so,” he said. “This, then, you must understand that I meant by the offspring of the good which the good

Aisth-ēsis A. sense-perception, sensation, perceptibly, mind, perception, knowledge of a thingm

Plat. Rep. 518c What they aver is that they can put true knowledge into a soul that does not possess it, as if they were inserting vision into blind eyes.” “They do indeed,” he said. “But our present argument indicates,” said I, “that the true analogy for this indwelling power in the soul and the instrument whereby each of us apprehends is that of an eye that could not be converted to the light from the darkness except by turning the whole body. Even so this organ of knowledge must be turned around from the world of becoming together with the entire soul, like the scene-shifting periact in the theater, until the soul is able to endure the contemplation of essence and the brightest region of being.

WHEN YOU "HOLD" THE HARP GOD GAVE YOU YOU "APPREHEND" AND NEVER PLAY.

Rev. 5:8 And when he had taken the book, the four beasts and four and twenty elders fell down before the Lamb, having every one of them harps, and golden vials full of odours, which are the prayers of saints.

Ekhō (hold oneself, i.e. keep, so and so, keep still, hold oneself fast, cling closely, cleave,
9. possess mentally, understand, OR keep up, make a rattling noise

Echo STOP, Keep balanced, keep on guard 9. possess mentally, understand, taming, do you understand? attend! listen! know of a thing, Damazo subdue, conquer, be subject to one another. Subdue gain the mastery iver epithumia passion, longing after, sexual appetite,.

9. possess mentally, understand, “hippōn dmēsin” Il.17.476; “tekhnēn” Hes.Th.770; “pant' ekheis logon” A. Ag.582, cf. E.Alc.51; “ekhete to pragma” S.Ph.789; ekheis ti; do you understand? Ar.Nu.733: imper.ekhe attend! listen!

e. phresi keep in one's mind, it kept still, 2. hold fast,

Jamison-Fausett-Brown Revelation 8 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), 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).

Duwmiyyah (h1747) doo-me-yaw'; from 1819; stillness; adv. silently; abstr. quiet, trust: - silence, silent, waiteth.

Katamanthanō
A. “-memathēka” Hp.Art.8,X.Cyr.1.1.1:—observe well, examine closely, “tēn stratiēn” Hdt.7.146; “ton Oinea” Timocl.6.16, cf. 10; “to trauma” Plu.Dio34; look to, inspect, “ton elaiōna” PFay.114.11 (100 A.D.); “k. ēn pou . . ” X.Oec.12.3.

2. learn, acquire knowledge of, Pl.Tht.198d, etc.; hupakouein how to obey, v.l. in X.Oec.13.7.
3. perceive with the senses, observe, Arist.Pr.960a7: more commonly with the mind, understand, perceive, observ

-Organon 3. a musical instrument, id=Plat.

aneu organōn psilois logois without speaking
“met' ōdēs kai tinōn organōn”

Tinō , pay, thou shalt make atonement for the brother thou hast slain, make return or requital, 2. c. gen. criminis, teisasthai Alexandron kakotētos punish him for his wickedness,

Plat. Sym. [215b] he is likest to the Silenus-figures that sit in the statuaries' shops; those, I mean, which our craftsmen make with pipes or flutes in their hands: when their two halves are pulled open, they are found to contain images of gods. And I further suggest that he resembles the satyr Marsyas. Now, as to your likeness, Socrates, to these in figure, I do not suppose even you yourself will dispute it; but I have next to tell you that you are like them in every other respect. You are a fleering fellow, eh? If you will not confess it, I have witnesses at hand. Are you not a pipe

Plat. Sym [215c] Why, yes, and a far more marvellous one than the satyr. His lips indeed had power to entrance mankind by means of instruments; a thing still possible today for anyone who can pipe his tunes: for the music of Olympus' flute belonged, I may tell you, to Marsyas his teacher. So that if anyone, whether a fine flute-player or paltry flute-girl, can but flute his tunes, they have no equal for exciting a ravishment, and will indicate by the divinity that is in them who are apt recipients of the deities and their sanctifications. You differ from him in one point only—that you produce the same effect with simple prose unaided by instruments. For example, when we hear any other person—

Plat. Rep. 399c Then,” said I, “we shall not need in our songs and airs instruments of many strings or whose compass includes all the harmonies.” “Not in my opinion,” said he. “Then we shall not maintain makers of triangles and harps and all other

-Organon 4. a surgical instrument,
* II. a work, product, laïnea Amphionos organa the stony works of Amphion, i. e. walls of Thebes, Eur. E.Ph.115 (lyr.)
The god Hermes taught Amphion music and gave him a beautiful golden lyre. Both brothers were supposed to have build the walls of Thebes, while Amphion played his lyre. The magic of his music caused the stones to move into place on their own accord.

The Scribes, said the same of Solomon's temple which was built by slaves with the Levite musicians setting the WORK PACE.

PSALLO NEVER MEANS MUSICAL MELODY BUT GRACE OR MELE OR MEDITATION IN THE HEART. There are several dedicated words when MUSICAL melody is intended.

Melizō (B), Dor. melisdō , Dor. fut. Med. FROM cut into pieceds.

A. “melixomai” Mosch.3.51: otherwise only pres. and impf.: (melos B):—modulate, sing, “melisdein suriggi” Theoc.20.28:—mostly in Med., Pi. Parth.2 Fr.2.66, Pl.Com. 69.13, Theoc.1.2,7.89,

2. to be like music, [“lexis melizousa men, ou mēn melos” D.H. Dem.50.

II. trans., celebrate in song, “tina aoidais” Pi. N.11.18; “m. pathē” A. Ag.1176 (lyr.).

2. make musical, “tēn poiētikēn” S.E. M.6.16.—Never in Att. Prose.

A musical instrument is used with: Doulos bond servant, slaves to money, slavish, servile, [In fact, usually slaves or the lower classes actually performed with instruments]

A musical instrument is for doing WORK:

-Ergon [Ergô] I.work, 1. i1. in Il. mostly of works or deeds of war, “polemēia e.” Il.2.338, al., Od.12.116 , 3. a hard piece of work, a hard task, Il.: also, a shocking deed or act

If you want to PLAY A HARP yu need a compound word:

-Psal-tikos A. of or for harp playing, ps. organon a stringed instrument, (of the magadis); andra psaltikên agathon a good harpist, Ael. ap. Ar.Byz.Epit.84.8.

A or secret worship , of the rites of Bacchus, Ekthusia, breaking out. Meaning the WRATH Paul put down by silencing the women and where no decent male would be outed by singing and playing instruments.

-Phallikos,A. of or for the phallos: to ph. (sc. melos) the phallic song, Ar.Ach.261, Arist.Po.1449a11; restd. in IG12.187.33; also a dance

-Galliambus, i, m. [3. Gallus, II. A.] , a song of the priests [a castratos] of Cybele, Diom. p. 513 P.; Mart. 2, 86, 5; Quint. 9, 4, 6. [The Popes A capellas were GALLIAMBUS: don't do that in church, please]

-Gallus , i, m., = Gallos Strab., A. Galli , ōrum, m., the priests of Cybele, so called because of their raving, “resupinati cessantia tympana Galli,” Juv. 8, 176.—And satirically (on account of their emasculated condition)

-Rĕ-sŭpīno , resupinati cessantia tympana Galli, i. e. prostrate from drunkenness,
-Tympănum , i (collat. form typă-num , Cat. 63, 8 sq.), n., = tumpanon,
I. a drum, timbrel, tambour, tambourine.

A. Esp., as beaten by the priests of Cybele, Lucr. 2, 618; Cat. 63, 8 sq.; Verg. A. 9, 619; Ov. M. 3, 537; 4, 29; 4, 391; id. F. 4, 213; Plaut. Poen. 5, 5, 38; Caes. B. C. 3, 105; Curt. 8, 11, 20; 8, 14, 10; Tac. H. 5, 5, —Also by the Bacchantine females, Ov. M. 11, 17.—Beaten by the Parthians as a signal in battle in place of the tuba, Just. 41, 2, 8.—

B. Trop., a timbrel, etc., as a figure of something effeminate, enervating: “tympana eloquentiae,” Quint. 5, 12, 21: “in manu tympanum est,” Sen. Vit. Beat. 13, 3.—

2. (Acc. to II. A., of or belonging to the priests of Cybele; hence, transf.) Of or belonging to the priests of Isis, Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18.

Ov. Am. 2.13
Oh Isis, who delight'st to haunt the fields,
Where fruitful Nile his golden harvest yields,
Where with seven mouths into the sea it falls,
And hast thy walks around Canope's walls,
Who Memphis visit'st, and the Pharian tower,
Assist Corinna with thy friendly powers.
Thee by thy silver Sistra I conjure,
A life so precious by thy aid secure;
So mayst thou with Osiris still find grace:
By Anubis's venerable face,
I pray thee, so may still thy rights divine
Flourish, and serpents round thy offerings twine
May Apis with his horns the pomp attend,
And be to thee, as thou'rt to her, a friend.
Look down, oh Isis! on the teeming fair,
And make at once her life and mine thy care:
Have pity on her pains; the help you give
To her, her lover saves, in her I live.

From thee this favour she deserves; she pays
Her vows to thee on all thy solemn days;
And when the Galli at thy altars wait,
She's present at the feast they celebrate.

Circe cf. Charis. 1, 15, p. 46), f., = Kirkē, the daughter of the Sun and of Perse or Perseis, sister of Æetes, a sea-nymph, distinguished for her magic arts, whose abode, after her flight from Colchis, was said to be in the region of the promontory of Circeii, in Latium,
II. Circaeus , a, um, adj., pertaining to Circe, Circean. poculum, Cic. Div. in Caecil. 17, 57: “gramen,” i. e. magical, poisoning, Prop. 2, 1, 53:

Pompa , ae, f., = pompē,
I. a solemn procession, a public procession of any kind (at public festivals, games, triumphs, marriages, funerals, etc.).
A. In gen.: “in pompā cum magna vis auri argentique ferretur,” Cic. Tusc. 5, 32, 91: “per Dionysia pompam ducere,” Plaut. Cist. 1, 1, 92: “sollemnes ordine pompas Exequi,” Verg. A. 5, 53:

-Epi-psallô A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois” Plu.2.713b ; sing, “tous humnous” LXX 2 Ma.1.30:—Pass., Ph.1.626 Then the priests sang the hymns.

ACAPPELLA ACappella a steal word from a cappella has been added. Click below. This fits the patternism of the scapegoat offered as a sacrifice to Satan or Azazel the wandering star who seduced the youth into forming musical worship teams of mix-sex choirs, instrumental music and the wearing of seductive clothing and jewelry. This was used against the holy Sethites to seduce them away from the Living Word.

See Danny Corbitt recycling the proof texts out of context used by all promoting instruments in peaceable churches.

See on the Synagogue which began as the Church of Christ in the wilderness.

I. As evil type the Jews engaged in musical idolatry at Mount Sinai
       A. As a remedy the tribe of Levi whom Jacob had warned about were abandoned to worship the starry host.
       B. Christ ordained the Qahal, ekklesia, synagogue or church in the wilderness.
II. As evil anti-type the Jews would treat the Son of God in the same way: this is prophesied in great detail to prove that they would attack him in the style of the perverted musical mockers.

    A. The Prophecy of the perverse, musical attack against the Son.

B. As a remedy Jesus promised to build HIS ekklesia or synagogue. That continues the Synagogue which never had a "praise service" but was devoted to the Word of God--only. It would be empowered by His Spirit in His Word. Jesus patterned, Paul taught and commanded and the historic church was faithful for almost 400 years when singing as an ACT was added.

The stumbling stone is that almost no one sees church as a school of the Bible but as a "worship service" which is patterned on the fatal pattern of the tribe of Levi. That is why lost souls lust to live under the Law.

The word Psallo in the Greek Septuagint translates psallo as SING. That is always used unless an instrument is named when psallo is translated as to PLAY.

We will add a paper to prove that ALL of the church fathers defined the church as it is in the Bible: devoted to the study of the Word. Contrary to false teachings many of the connect instruments to the pagan religions and reject them for the church assembly. Corbitt etal might say that they rejected instruments JUST BECAUSE they were used by Pagans. They also rejected the explicit sexual "playing" in much of paganism but NOT jsut because the pagans did it.

Might it be noted that congregatonal singing excludes no one while instruments exludes up to half of the "owners." Jesus would call them Scribes and Pharisees hypocrites pointing to fperformance speakers, singers and instrument players.

Danny Corbitt has done an attack based on the use of false teachers such as Tom Burgess: poor Tom never grasped that all of his proof texts identified older males plucking the harp to seduce a young male.

Danny selectively takes snippets out of scholarly lexicons to prove his point imagining that IF someone said that psallo was THE PLUCKING in connection with a harp that they MEANT that Psallo meant "singing and playing a harp." In some of the examples in real literature psall USED to mean to PLUCK and could meant pluck a harp or pluck a bow or pluck out hairs of an emasculated priests of Cybele.

If Danny Corbitt lived in the early days of The Church of Christ before singing became an ACT around the year 373, he would be rejected for membership and lumped with the effeminate, enchanter, juggler, montebank, charmer or even sodomite.

Contrary to all of the false statements about the church fathers, they ALL understood the differeence between IN CHURCH and OUT OF CHURCH or ATTENDING meals in private homes. The Apostolic Constitutions c. 205 from an earler document from The Church of Christ understood what ALL of the psallo words meant and excluded the pluckers from membership.

However, it is very vocal about even accepting for membership anyone who played a musical instrument.

If one belonging to the theatre

Apostolic Constitutions of the Church of Christ c. 200 ad.
(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, for this sort of wickedness is hard to be washed away; and if they leave off those practices, let them be received; but if they will not agree to that, let them be rejected.

p.20 A FULLER STUDY ON LUCIAN OF SAMOSATA USED TO SOW DISCORD.

Sacrificial musicians (made noise) in Greece were called parasites. When people understood that they were stealing their food the altars ceased to be. Musicians and other actors continued to want to be fed without working. In most marketplaces (where Jesus consigned the pipers) they would do anything to get food for the day. That is why the musical parasite was usually a homosexual: the dogs Paul excluded in Philippians 3.

Besides writing in Attic for the fat-head nobility, Lucian never uses psallo to mean both play and an instrument. Furthermore, Lucian understood the universal "sorcery" nature of music used to fleece the sheep:

Lucian speaks of the Parasite and affirms that they used music to stea.

Alexander, on the other hand, preferred his native place, urging very truly that an enterprise like theirs required congenial soil to give it a start,

in the shape of 'fat-heads' and simpletons; that was a fair description, he said, of the Paphlagonians beyond Abonutichus;

they were mostly superstitious and well-to-do; one had only to go there with someone to play the flute, the tambourine, or the cymbals, set the proverbial mantic sieve a-spinning, and there they would all be gaping as if he were a god from heaven.

DANNNY CORBITT P 20 LUCIAN OF SAMOSATO DEFINING THE MUSICAL PARASITES.

Corbitt will quote Lucian from Burgess that psallo had not changed its meaning long after the time of Paul. However, Lucian wrote for the upper crust and continued to write in Attic.

Milton Jones missed this and built sowing of discord on a bad foundation.

And Tom Burgess missed it:

Lucian. (A.D. 160) The Parasite, 17

"..for it is impossible to pipe [aulein] without a pipe [auloon] or to strum [psallein] without a lyre [luras], or to ride [ippeuein] without a horse [ippou]...

Lucian. (A.D. 160) The Parasite, 17

"..for it is impossible to pipe [aulein] without a pipe [auloon] or to strum [psallein] without a lyre [luras], or to ride [ippeuein] without a horse [ippou]..."

This is conceded by Everett Ferguson, A CAPPELLA MUSIC..., p. 3.

"The classical meaning of psallo continued into Hellenistic and post-New Testament times. The satirist Lucian of Samosata in the second century A.D. said 'It is impossible to pipe [aulein] without a pipe or to strum [psallein] without a lyre or to ride without a horse' (Parasite 17).

Of course, we kjnow that the orators and parasites wrote in Attic Greek for the consumption by the elite upperclass.

Aristides, the second century orator, could say 'as easy as plucking [pseeleie] a lyre's string' (Orations 26 [14]. 31).

Isn't it pretty simple: psallo means PLUCKING: it does not mean PLUCKING A LYRE'S STRING. Even if you pluck a lyre's string you make a TWANG and a twang doeth not music make.

The third (?) century treaties De musica by Aristides Quintilianus contains the statement, 'If we wish to play [psallein], stretching the string in accord with the musical intervals which through the prescribed ratios will permit all the meters, some of our sounds will be found to have harmony and some to be discordant" (II.ii).

Psallo is translated PLAY or PLUCK. All of the "authority" quotes tells WHAT is to be smitten.

Arnobius: And that god, he says, is a musician, and this other can divine... what occasion for the gods knowing and being acquainted with these handicrafts as though they were worthless mechanics?

For, are songs sung and music played in heaven, that the nine sisters (muses or musicians in Revelation 18) may gracefully combine and harmonize pauses and rhythms of tones? Are there on the mountains of the stars, forests, wood, groves, that Diana may be esteemed very mighty in hunting?" (Arnobius Against the Heathen, Ante-Nicene, VI, p. 469).

Socrates: But does a general, who knows that his army has worthless arms, think to make gain, or think it worth while to make gain, from them?

Friend: By no means.

Socrates: Or does a flute-player who has worthless flutes, or a harper with a lyre, a bowman with a bow, or anyone else at all, in short, among ordinary craftsmen or sensible men in general, with any implement or other equipment of any sort that is worthless, think to make gain from it?

Socrates: Then whoever can they be, your lovers of gain? For I presume they are not the people whom we have successively mentioned, but people who know their worthless things, and yet think they are to make gain from them. But in that case, by what you say, remarkable sir, no man alive is a lover of gain

Friend: Well, Socrates, I should like to call those lovers of gain who from insatiable greed consumedly long for things that are even quite petty and of little or no worth,
THE MEANING OF PARASITES MARKED BY THE PROPHETS BY THE SPIRITOF CHRIST

Because God had abandoned Israel to "worship the starry hosts" we understand that the Levites became a burden and not a blessing to the nation.

-Parasītus (parasitos, “table companion”). A word which among the Greeks denoted originally the priest's assistant, who, like the priest, received his support from the offerings made to the temple, in return for certain services. These services included the collection and care of supplies of corn due to the temple, assistance at certain sacrifices, and the preparation of the banquets connected with [p. 1175] certain festivals. The assistants of civil officials, who were maintained at the expense of the State, were also called parasites in many places. The word received another meaning in the Middle and New Greek comedy, where it means the hanger on, who plays the flatterer and buffoon, with a view to getting invited to dinner. The parasite was transferred as a standing character to the Roman imitations of Greek comedy, and figures largely in the plays of Plautus. Good examples of the stage parasite will be found in his Captivi Menaechmi Phormio of Terence. See Know, Die Parasiten bei den Griechen and in the (1876). and

Playing the Phorminx as the harp of Apollo, Abaddon or Apollyon.

-Parasit-os

A.one who eats at the table of another, and repays him with flattery and buffoonery, parasite, Epich.36, Arar.16, etc.; name of plays by Antiph., Alex., and Diph.; peri Parasitou, title of work by Luc.: c. gen., kenês p. trapezês [MONEY CHANGING TABLE] AP11.346 (Autom.) : metaph., ichthus ên p. (v. opson) Luc.Lex.6. Parasitus Phoebi, a player

-knikos , ê, on, ( [kuôn] ) dog-like, X.Cyr.5.2.17 (v.l. for huïkon); to k. kai thêriôdes tôn orexeôn Plu.2.133b ; k. spasmos unilateral facial paralysis, Cels.4.3.1, Gal.18(2).930; k. kaumata heat of the dogdays, Polyaen.2.30.3: metaph., ho anthrôpos k. currish, churlish, Vulgate 1 Sa 25.3 (?). Adv. -kôs, spômenoi Heliod. ap. Orib.48.38 tit.; in doglanguage, opp. boïkôs, etc., Porph.Abst.3.3

1Sam. 25:3 Now the name of the man was Nabal; and the name of his wife Abigail: and she was a woman of good understanding, and of a beautiful countenance: but the man was churlish and evil in his doings; and he was of the house of Caleb.
5037. Nabal, naw-bawl´; the same as 5036; dolt; Nabal, an Israelite:Nabal.
5036. nabal, naw-bawl´; from 5034; stupid; wicked (especially impious): fool(-ish, -ish man, -ish woman), vile person.
5035. nebel, 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.

II. Kunikos, ho, Cynic, as the followers of the philosopher Antisthenes were called, from the gymnasium ([Kunosarges] ) where he taught, D.L.6.13; or from their resemblance to dogs in several respects, Diog.Cyn. ap. eund.6.60, Metrod.16, Polystr.p.20 W., Elias in Cat.111.2, etc.; Kratêti tôi k. Men.117 ; k. hairesis, askêsis, philosophia, Ph.1.352, J.AJ6.13.6, Jul.Or.6.187a; parrêsia k. Plu.2.69c ; to k. tês parrêsias Id.Brut. 34 . Adv. Comp. -ôteron Id.2.601e.

Phil. 3:2 Beware of dogs, beware of evil workers, beware of the concision.
Phil. 3:3 For we are the circumcision, which worship God in the spirit, and rejoice in Christ Jesus, and have no confidence in the flesh.

II. of priests who had their meals at the public expense, Clitodem.11, Polem.Hist.78
2. one who dines with a superior officer, Arist.Fr.55
Lucian on Parasite:

Tyc. I want to know whether you have a profession of any sort; for instance, Tyc. I am curious about you, Simon. Ordinary people, free and slaves alike, have some trade or profession that enables them to benefit themselves and others; you seem to be an exception.

Si. I do not quite see what you mean, Tychiades; put it a little clearer.

Tyc. I want to know whether you have a profession of any sort; for instance, are you a musician?

p. 175
15 Then it is no news to any one that other professions slave habitually, and get just one or two holidays a month; States keep some monthly and some yearly festivals; these are their times of enjoyment. But the sponger has thirty festivals a month; every day is a red-letter day with him.

16 Once more, success in the other arts presupposes a diet as abstemious as any invalid's; eat and drink to your heart's content, and you make no progress in your studies.

17 Other arts, again, are useless to their professor unless he has his plant;
        you cannot play the flute if you have not one to play;
        lyrical music requires a lyre, horsemanship a horse.
        But of ours one of the excellences and conveniences
        is that no instrument is required for its exercise.

p. 176 Other arts we pay, this we are paid, to learn
18. Further, while the rest have their teachers, no one teaches19 sponging; it is a gift from Heaven, as Socrates said of poetry.

p.179. 32 Aeschines the Socratic, now, author of dialogues as witty as they are long, brought them with him to Sicily in the hope that they would gain him the royal notice of Dionysius; having given a reading of the Miltiades, and found himself famous, he settled down in Sicily to sponge on Dionysius and forget Socratic composition.

Si. Well, he was living there too at the same time and on the same terms. Dionysius reckoned him the best of all spongers; he had indeed a special gift that way; the prince used to send his cooks to him daily for instruction. He, I think, was really an ornament to the profession.

34 Well then, Plato, the noblest of you all, came to Sicily with the same view; he did a few days' sponging, but found himself incompetent and had to leave. He went back to Athens, took considerable pains with himself, and then had another try, with exactly the same result, however. Plato's Sicilian disaster seems to me to bear comparison with that of Nicias.

Tyc. Your authority for all this, pray?

35 Si. Oh, there are plenty of authorities; but I will specify Aristoxenus the musician, a weighty one enough, and himself attached as a sponger to Neleus. Then you of course know that Euripides held this relation to Archelaus till the day of his death, and Anaxarchus to Alexander.

Consistent with the definition of the word and by almost all common practices, Lucian knew how people use music to fleece the simple minded:

On the Oracle Monger

Alexander, on the other hand, preferred his native place, urging very truly that an enterprise like theirs required congenial soil to give it a start, in the shape of 'fat-heads' and simpletons; that was a fair description, he said, of the Paphlagonians beyond Abonutichus;
        they were mostly superstitious and well-to-do;
        one had only to go there with someone to play the flute,
        the tambourine, or the cymbals,
        set the proverbial mantic sieve a-spinning,
        and there they would all be gaping as if he were a god from heaven

Oracle Mongers (myths or songs) are ALWAY proof that they believe that they can FLEECE the ignorant people with music. It does not work on the enlightened people.

Alawys approved: To-day let us have conversation instead; and, if you will allow me, I will tell you what sort of conversation.

Plato Protagoras explains why Jesus cast out the musical minstrels like dung and consigned the pipers, singers and dancers to the marketplace along with the sellers of bodies and radishes:

Alawys denounced: [347c] For it seems to me that arguing about poetry is comparable to the wine-parties of common market-folk. These people, owing to their inability to carry on a familiar conversation over their wine by means of their own voices and discussions-->such is their lack of education--put a premium on flute-girls by hiring the extraneous voice of the flute at a high price, and carry on their intercourse by means of its utterance.
Alawys approved: But where the party consists of thorough gentlemen who have had a proper education, you will see neither flute-girls nor dancing-girls nor harp-girls, but only the company contenting themselves with their own conversation, and none of these fooleries and frolics--each speaking and listening decently in his turn.

Suneimi: To be joined with, Intercourse is II. to have intercourse with a person, live with hêdonê, desires after pleasure, pleasant lusts, voluptuosus,

LUCIAN WROTE IN ATTIC GREEK FOR THE "MARKETS"

Liddell and Scott, Preface (pg vi)

It will be understood, however, that the age of a word does not wholly depend on that of its author. For, first, many Greek books have been lost;

secondly, a word of Attic stamp, first occurring in Lucian, Alciphron, orlater imitatorsof Attic Greek, may be considered as virtuallyolderthan those found in the vernacular writers of the Alexandrian age.

Further, the language changed differently in different places at the same time; as in the cases of Demosthenes and Aristotle, whom we have been compelled to place in different Epochs.

And even at the same place, as at Athens, there were naturally two parties, one clinging tooldusages, the other fond of what was new. The Greek of Thucydides and Lysias may be compared in illustration of this remark.

Attic - The language of Lucian

Attic was the ancient Greek dialect that was the language of ancient Athens. Its closest relative was the Ionic dialect of Euboea. With the ascendance of the Athenian empire in the course of the 5th century BC, Attic became the most prestigious of the Greek dialects and as a result was adopted later as

the standard language by the Macedonian kings. Moreover, it became in Hellenistic times the language of the Macedonian rulers in the Middle East and Egypt.

This later phase of Attic is called Koine, a dialect common to all Greeks.

In literature, Attic is the dialect of Athenian comedy and, interspersed with Doric lyric (from lyre) elements, of tragedy. In the second half of the 5th century BC, it also became the dialect of Greek prose, not only for such Athenian writers as Thucydides, Xenophon, Plato, Lysias, Isocrates, and Demosthenes but also for foreigners such as the orator and Sophist Gorgias of Leontini (Sicily).

During the Roman period, prose writers such as Plutarch and Lucian were Atticists:

they preferred to use the classical Attic dialect of the 5th and 4th centuries BC, rather than the spoken Koine of their own time.

p.24 DANNY CORBITT ON NICETA PAGE 24

"These fifth century writers call the instruments that God asked for "evil. That is so far from Biblical truth that I cannos see them as an authoriity for how I should sing today. Can you? (As we shall discuss later, moder Exclusion calls instruments "unspiritual" rather than "evil."

About the same time, a bishop named Niceta also wrote on the topic of music. Ferguson notes that "he opposed the interpretation of those few who advocated "silent singing" in the church and explained David's harp as a symbol of the cross of Christ. Still. cenmturies later, we see the lingering influence of first century, non-Christian philosophy upon the church.

Note: David use the lyre to symbolize the Word of God.

Ferguson's quote here began by saying that instruments were excluded by "inferences from silence" until the dawn of the fifth century. The statement is curious, because we have seen that history is not silent. We have already seen examples from Clement and Lucian. Tom Burgess sites [p. 25] others in chapter 6 of his Documents on Instrumental Music. We will continue to see Exclusion dismiss cititions that favor instruments and then exclude instruments basded on the remaininng silence. Until the fifth century, there is silence if we look for the condemnaiton of instruments in worship. this chapter opened with that confession from Exclusion's scholars. In contrast to that silence, history has spoken in support of instruments.

[Online edit: I strike the preceding paragraph. Ferguson's quote addressed only what he calls "public worship,' not praise in banquets orother "private" settings. Understanding that difference clarifies whe he would speak of "inferences from silence" regarding public worship alone."]

Danny failed to mention that NICETA was one of those who callled music in worship EVIL.

The Real NICETA p 65 They base their opinion on a text from the Apostle's Epistle to the Ephesians: 'Be filled with the Spirit, speaking to one another in psalms and hymns and spiritual songs, singing and making melody in your hearts to the Lord.'
        There, they say, you have the Apostle stating that we should
        sing in our hearts, and not make a noise with musical notes--l
        ike people on the stage.
For God, 'who searches the heart,' it is enough, they insist, if our song be silent and in the heart.

Niceta did not REJECT this absolute meaning: He simply had the modern mind and opinion.

I take a different view. There is nothing wrong, of course, with singing in the heart. In fact, it is always good to meditate with the heart on the things of God. But I also think that there is something praiseworthy when people glorify God with the sound of their voices.

Niceta defending the Psalms for teaching and edifying one another. All ancients used EPIC to inculcate cultural or spiritual values.

Page 70. (9) I must not bore you, beloved, with more details of the history of the psalms. It is time to turn to the New Testament to confirm what is said in the Old, and, particularly,
        to point out that the office of psalmody is not to be considered abolished merely because many other observances of the Old Law have fallen into desuetude.

Little brother praise singer does not write 'psalms' commanded as "that which is written for our learning.

Only the corporal institutions have been rejected, like circumcision, the sabbath, sacrifices, discrimination in foods. So, too, the trumpets, harps, cymbals and timbrels. For the sound of these we now have a better substitute in the music from the mouths of men. The daily ablutions, the new-moon observances, the careful inspection of leprosy are completely

Of course, people willing to scratch their nose looking for authority to deliberately sow discord will never have read the available documents denying his false statement.

Arnobius writing (A.D. 297-303) understanding that even of Miriam and the Levites, their prophesying is defined as soothsaying.

In continuing his discussion of how the power of Christ works, the soothsayers, augurs and magicians has been replaced by those who pour "dulcet sounds" into the ears--

For indeed it evidences a worthless heart to seek enjoyment in matters of importance; and when you have to deal with those who are sick and diseased,

to pour into their ears dulcet sounds, not to apply a remedy to their wounds." (Arnibious, Ante-Nicene, VI, p. 430)

If the Sibyl, when she was uttering and pouring forth her prophecies and oracular responses, was filled, as you say, with Apollo's power, had been cut down and slain by impious robbers, would Appolo be said to have been slain in her? If Bacis, If Helenus, Marcius, and other soothsayers, had been in like manner robbed of life and light when raving as inspired, would any one say that those who, speaking by their mouths, declared to inquireres what should be done?" (Arnobious, Ante-Nicene, VI, p. 431)

Instrumental Worship, the Priest and Homosexual connection

"Tyrants and kings plunder and pillage the treasuries of temples and "wrest away the chastity of matrons and maidens,--these men you name indigites and divi; and you worship with couches, altars, temples and other service,

and by celebrating their games and birthday... who seek to persuade men that the rights of marriage should be held in common; who lie with boys, beautiful, lustful, naked; who declare that you are beasts... all these with wonder and applause you exalt to the stars of heaven, you place in the shrines of your libraries, you present with chariots and statues, and as much as in you lies, give with a kind of immortality." (Arnibious, Ante-Nicene, VI, p. 432)

"Some of them are brought forward in the character of lovers, destroyers of purity, to commit shameful and degrading deeds not only with women, but with men also. You take no care as to what is said about matters of such importance." (Arnobius, Against the Heathen, AnteNicene, VI, p. 487).

"If men either knew themselves thoroughly, or had the slightest knowledge of God, they would never claim as their own a divine and immortal nature; nor would they think themselves something great because they have made for themselves... knives, swords" and etc.

carried away by pride and arrogance, would they believe themselves to be deities of the first rank, and fellows of the highest in his exaltation, because they had devised the arts of grammar, music, oratory, and geometry.

For we do not see what is so wonderful in these arts, that because of their discovery

the soul should be believed to be above the sun as well as all the stars, to surpass both in grandeur and essence the whole universe, of which these are parts. "

For what else do these assert that they can either declare or teach, than that we may learn to know the rules and differences of nouns,

the intervals in the sounds of different tones, that we may speak persuasively in lawsuits, that we may measure the confines of the earth?

Now if the soul had brought these arts with it from the celestial regions, and it were impossible not to know them, all men would long before this be busied with them all over the earth...

But see now how few musicians, logicians, and geometricians are there in the world! How few orators, poets, critics!..." (Arnibious, Ante-Nicene, VI, p. 441)

AND ON AND ON AND ON

p.32 DANNY CORBITT WHO NEEDS THE LOOPHOLES p. 32

In connecton with Corbitt's twisting of the Church Fathers, for now I will only look at what Corbitt mocks as a loophole as if Everett Ferguson has had to twist history to support NOT using musical instruments. In fact ALL of the church fathers define the church as a WORD OF GOD assembly for learning the Bible and contrast that with all of the pagans who used instruments.

No reader of Clement says it is ok to praise God with instruments in the Bible. It is not just a sin because it does not attempt to SILENCE THE VOICE OF THE VICTIM--Jesus Christ--when HE comes to be our sole Teacher when we "speak that which is written." Clement is speaking of the public festivals where he, in fact, allows only the Lyre (no sound box, not guitar picks, no drums, not trumpets etal.)

Danny, like all of the theologians at the highest level of scholarship, do not grasp that church is a School of the Word. They observed the Lord's Supper as a teaching or evangelism act. History notes that both hymninng and the supper were done in private and never as public spectacles. What you can do at the Grand Ole Opry cannot be done in the Physics class.

Readers of Clement do not have to deduce anything.

Titus Flavius Clemens (c.150 - 215) The Pedagogue Book III

Going to Church.
Woman and man are to go to church 150 decently attired, with natural step, embracing silence, possessing unfeigned love, pure in body, pure in heart, fit to pray to God. Let the woman observe this, further. Let her be entirely covered, unless she happen to be at home.

150 [This early use of the word "church" for the place or house of worship, is to be noted. See Elucidation ii.]

For that style of dress is grave, and protects from being gazed at. And she will never fall, who puts before her eyes modesty, and her shawl;

nor will she invite another to fall into sin by uncovering her face. For this is the wish of the Word, since it is becoming for her to pray veiled. 151

151 1 Cor. xi. 5. [This helps to the due rendering of e0cousi/an e0pi\ th=j kefalh=j in 1 Cor. xi. 10.]

They say that the wife of Aenuas, through excess of propriety, did not, even in her terror at the capture of Troy, uncover herself; but, though fleeing from the conflagration, remained veiled.

Outside of Church
Then, Clement has a chapter entitled

HOW TO CONDUCT OURSELVES AT FEASTS

In the present instance He is a guest with us. For the apostle adds again, "Teaching and admonishing one another in all wisdom, in psalms, and hymns, and spiritual songs, singing with grace in your heart to God." And again, "Whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and His Father." This is our thankful revelry.

And even if you wish to sing and play to the harp or lyre, there is no blame. Note 104
Note [104 [Here instrumental music is allowed, though he turns everything into a type.]

That is Clement giving you permission to sing to the lyre without blame when you participate in a private meal. There is no loopholing because it is easy to see that Church is SCHOOL OF THE BIBLE and even simple simon doesn't expose himself when Jesus comes to be out Teacher.

Clement of Alexandria Pedagogue 3
"For lust becomes and fabricates all things, and wishes to cheat, so as to conceal the man.

But that man with whom the Word dwells does not alter himself, does not get himself up: he has the form which is of the Word; he is made like to God; he is beautiful; he does not ornament himself: his is beauty, the true beauty, for it is God; and that man becomes God, since God so wills. Heraclitus, then, rightly said, "Men are gods, and gods are men."

For the Word Himself is the manifest mystery:
God in man, and man God. And the Mediator executes the Father's will;

for the Mediator is the Word, who is common to both-the Son of God, the Saviour of men;

His Servant, our Teacher.
And the flesh being a slave, as Paul testifies, how can one with any reason adorn the handmaid like a pimp?

For that which is of flesh has the form of a servant. Paul says, speaking of the Lord, "Because He emptied Himself, taking the form of a servant," calling the outward man servant, previous to the Lord becoming a servant and wearing flesh.

And if Plutus is blind, are not those women that are crazy about him, and have a fellow-feeling with him, blind too? Having, then, no limit to their lust, they push on to shamelessness.

For the theatre, and pageants, and many spectators, and strolling in the temples, and loitering in the streets, that they may be seen conspicuously by all, are necessary to them. For those that glory in their looks, not in heart dress to please others.

For as the brand shows the slave, so do gaudy colours the adulteress. "For though thou clothe thyself in scarlet, and deck thyself with ornaments of gold, and anoint thine eyes with stibium, in vain is thy beauty," says the Word by Jeremiah.

Jeremiah 4:8 For this gird you with sackcloth, lament and howl: for the fierce anger of the Lord is not turned back from us.

Jeremiah 4:9 And it shall come to pass at that day, saith the Lord, that
        the heart of the king shall perish,
        and the heart of the princes;
        and the priests shall be astonished,
        and the prophets shall wonder.

Jeremiah 4:10 Then said I, Ah, Lord God surely thou hast greatly deceived this people and Jerusalem, saying, Ye shall have peace; whereas the sword reacheth unto the soul.

Jeremiah 4:11 At that time shall it be said to this people and to Jerusalem, A dry wind [SPIRIT: ruwach h7307] of the high places in the wilderness toward the daughter of my people, not to fan, nor to cleanse,

p.51 DANNY CORBITT MISSING MORE THAN MUSIC PAGE 51
Corbit thinks that he has made a discovery because Thayer does not say that psalmos USED TO MEAN to play with a harp. No, not in so many words but if you just read the quote you will see that thayer is showing how PSALLO was used at different times and places. A word of warning: psallo never at any time in history meant to SING TO A HARP. Psallo does not even include a HARP. Psallo speaks of touching something with your fingers but never with a plectrum. Psallo always spoke of evil, perverted religionists or warriors. Therefore, people simple did not use it in connection with decent society. Paul did say psallo IN THE HEART which is the only place God seeks our attention (John 4)

Now, if you want to psallo a harp then you have to define the harp: otherwise someone may reach out to the lady in the pew in front of her and HANK out a hank of hair. You must define three words to sing and play a harp:

Is. 23:13 Behold the land of the Chaldeans; this people was not, till the Assyrian founded it for them that dwell in the wilderness: they set up the towers thereof, they raised up the palaces thereof; and he brought it to ruin.
Is. 23:14 Howl, ye ships of Tarshish: for your strength is laid waste.

Is. 23:15 And it shall come to pass in that day,
        that Tyre shall be forgotten seventy years, according to the days of one king:
        after the end of seventy years shall Tyre sing as an harlot.

How do you sing as a harlot:

Is. 23:16 Take an [1] harp, go about the city,
        thou harlot that hast been forgotten;
        make sweet [2] melody,
        [3]sing many songs, that thou mayest be remembered.
Is. 23:17 And it shall come to pass after the end of seventy years, that the LORD will visit Tyre,
        and she shall turn to her hire, and shall commit fornication
        with all the kingdoms of the world
        upon the face of the earth.

Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [1]melody of thy [1] viols.
When Danny Corbitt was looking at Thayer's list of how Psallo WAS USED (never defined) he thinks that Church of Christ people believe that Thayer defined a cappella. But, a cappella was the castrated harmony singers in the Sistine Chapel where instruments were NOT used. In fact, no Catholic engaged in "congregational singing with instrumental accompaniment" until very late. Cappella was the SHE-goat and is the source of singing sad songs. Cappella is a constellation so in fact the harmony teams were "worshiping the starry hosts."

But, Corbitt missed reading 101. It says "sing to the music of the harp" then a semicolon which Corbitt ignores.

The Modern Arndt Gingrich

Arndt and Gingrich define psallo as 'in our lit., in accordance with OT usage, sing (to the accompaniment of a harp), sing praise...sing praise in spiritual ecstasy and in full possession of one's mental faculties." (Bales, p. 114)

When the new edition did not make the changes, Gingrich "thought that the comment makes valuable contributory information and he prefers to leave this expression." (Hugo McCord quoted by Bales, p. 115).

"In other words, Gingrich admitted that the harp no more inheres in psallo than it does in the English word sing. Furthermore, the phrase, which was in parenthesis, was not included in their translation of psallo in James 5:13)

"Gingrich told J. W. Roberts in a conversation in St. Louis that the insertion was his private opinion. McCord announced that the change would be made but it was not." (Bales, p. 115)

Of course the HARP never inhered in the word psallo: it just means to pluck and no one will find the word defining "plucking a harp": Psallo supplies the playing or plucking but one MUST define what or whom is to be plucked. It might be Alexander's favorite boy lover he plucked the harp--to embarass Philip--to seduce.

THAYERS REAL COPY Semicolon. Remember? Corbit translates "sing to the music of the harp in the N.T.

G5567 Psallo takes note of the SEMICOLON.
1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing to the music of the harp;
d) in the NT to sing a hymn, to celebrate the praises of God in song

Of course, Thayer is not DEFINING Psallo but showing how it is used: all of the singing with the harp are in pagan rituals.

The Bacchus Worship with ECSTASY

PENTHEUS

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

Pentheus
êdê tod' engus hôste pur huphaptetai
hubrisma bakchôn, psogos es Hellênas megas.
all' ouk oknein dei: steich' ep' Êlektras iôn

pulas: keleue pantas aspidêphorous
hippôn t' apantan tachupodôn epembatas
peltas th' hosoi pallousi kai toxôn cheri
psallousi neuras, hôs epistrateusomen

785

bakchaisin: ou gar all' huperballei tade,
ei pros gunaikôn peisomesth' ha paschomen.
Psallous to touch sharply, to pluck, pull, twitch
Neura, A.string or cord of sinew, in Ep. usu. bowstring,

Bakchê , A.Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, Bakchê Haidoufrantic handmaid of Hades, E.Hec.1077; b. nekuôn Id.Ph.1489 (lyr.).

Mainas , ados, hê, ( [mainomai] )
A.raving, frantic, lussa v. l. in S.Fr.941.4; bakchê E.Ba.915 .
2. as Subst., mad woman, esp. Bacchante, Maenad, mainadi isê Il.22.460 , cf. h.Cer.386, A.Fr.382, S.OT212 (lyr.), etc.; of the Furies, A.Eu.500 (lyr.); of Cassandra, E.Tr. 173 (lyr.).
          3. = pornê, Poll.7.203 cod. A, Hdn.Epim.83.
II. Act., causing madness, esp. of love, mainas ornis Pi.P.4.216 .

Huperballô E.Ba.785 exceed all bounds, excess

Click for: The Twanging Bowstring is the background to external melody or the Greek PSALLO in Paul's writings.

Click For: Of the song to Deborah:

This was a warrior's song which was a boasting song. Here, the NIV supports the "musical" position without authority:

the voice of the singers [e] at the watering places. They recite the righteous acts of the LORD, the righteous acts of his warriors [f] in Israel. "Then the people of the LORD went down to the city gates. Judges 5:11NIV

e11 Or 'archers'; the meaning of the Hebrew

for this word is uncertain. f11 Or 'villagers'

p.56 CORBITT ON PSALMOS [the Noun] p. 56

Corbitt still builds a divisive foundation in not being able to find a cappella only in the Bible. That is because a cappella spoke of the Ala Castrated musical worship team the Pope imported from the French opra. Before that, as in the case of the Jews, the singers sang falsetto. Wow! When the Pope heard those castrated fellas singing ORGANUM or after the pipe organ, he decided that he had to have some of those. That is because as late as the 1911 Catholic Encyclopedia it was unlawful to play an organ in the Pope's presence in the only official mass or worship service. They assuredly would not plan an organ and beat on cymbals in the presence of the real Jesus.

Here are some other stolen fruits also deceptive. P56

One of the first things we grasp in defining Psalmos is that you can touch or pluck only a string and only with your fingers and not with a plectrum. Paul commanded internal melody or grace because external melody WITH a harp always identified a perverted male seducing a young man (In Tom Burgess examples).

FIRST: The song as PSALMS were connected with MAKING WAR under David.
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.

Euripides, Ion But I will cease from labor [145] with the laurel branch and I wil hurl from golden vases Gaia's fountain, which Castalia's eddies pour out, casting out the moist drops, [150] since I am chaste. May I never cease to serve Phoebus in this manner; or, if I do, may it be with good fortune. Ah, ah! Already the birds of Parnassus have left their nests, [155] and come here. I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer I will reach you with my bow, herald of Zeus, though you conquer [160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' [Abaddon, Apollyon] lyre, that sings with you, [165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing bow will keep you off. Will you not obey? [175] Go away and bring up your offspring by the eddies of Alpheus, or go to the Isthmian grove, so that the offerings, and the temple of Phoebus, are not harmed. . . . and yet I am ashamed to kill you, [180] for to mortals you bear the messages of the gods; but I will be subject to Phoebus in my appointed tasks, and I will never cease my service to those who nourish me.

Phoebus' lyre, that sings with you, [165] would not protect you from my bow.
ouden s' ha phorminx ha Phoibou 165
summolpos toxôn rhusait' an.
parage pterugas:

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

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

Eirxousin is ERGO meaning hard work or to BAR. to bar one's way either by shutting in or shutting out:

Here the singing is something the BOW does which is not tuneful.

Homer, Iliad 1

So he spoke, and the goddess, white-armed Hera, smiled, [595] and smiling took in her hand the cup from her son. Then he poured wine for all the other gods from left to right, drawing forth sweet nectar from the bowl. And unquenchable laughter arose among the blessed gods, as they saw Hephaestus puffing through the palace. [600] Thus the whole day long till the setting of the sun they feasted, nor did their heart lack anything of the equal feast, nor of the beauteous lyre, that Apollo held, nor yet of the Muses, who sang, replying one to the other with sweet voices. But when the light of the sun was set, [605] they went each to his own house to take their rest, where for each one a palace had been built with cunning skill by the famed Hephaestus, the limping god; and Zeus, the Olympian, lord of the lightning, went to his couch, where of old he took his rest, whenever sweet sleep came upon him. [610] There went he up and slept, and beside him lay Hera of the golden throne.

SECOND PSALMOS

In the second major use of musical strings

You will notice that all of these have destructive or even meanings of sorcery as John proves in Rev 18.
And you WILL notice that psalmos does not define PLAYING a musical instrument

The Phrase: [1] pêktidôn [2] psalmois [3] krekon [4] humnon
Pêktidôn Pêktis
I. an ancient harp used by the Lydians, Hdt., etc.
II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx ), Anth.
3. cage or net for catching birds,

plêk-tron 1.instrument for striking the lyre, plectrum, 2.spear-point,

But, the definition of PSALLO demands using only the fingers and NOT a plectrum. So this definition is rulled out and the quiver is void.

THIRD: 2. the SOUND of the cithara or harp, ; psalmos d'alalazei

Alal-azô (formed from the cry alalai): -->

LEGALISTS LOOK FOR LOOPHOLES: CORBITT STRIKES OUT

Danny Corbitt nor any of the MUSICAL types know the meaning of CHURCH as A School of the Word. What you can do at recess is not permissible in the class room.

On the other hand, there is nothing DEVIOUS about singing and playing the guitar when you are OUT of church.

No one defines instruments as EVIL as no one defines running in place as evil: simple simon knows not to do that IN CHURCH.

Church of Christ people in my area are highly gifted in singing and playing instruments: children cut their teeth on guitar strings.

However, Church of Christ people know that when we CLAIM to come before God we do it in reverence with the sole purpose of filling up with the Word of God. The command is to speak ONE TO ANOTHER not as a legalism but that the goal of early church was that everyone would LEARN that portion of Scripture and take it home with them.

INSTRUMENTALISTS NEED TO GROW UP: IT IS NOT EVIL TO SING AND PLAY AN INSTRUMENT

Because Psallo used by the Greek translators in the Septuagint translate it as SING most of the time, we know that psallo only meant to "sing and play a harp." The word in fact did change undoubtedly because in the Greek world psallo was used almost exclusively in the sense of perverted, pagan musicians where the males were priests of the mother goddess and were emasculated and they even did sex changes.

In Tom Burgess twisting of Kurfees:

So says M. C. Kurfees. Here, I have copied directly from Kurfees, page 47--48

2. The Glreek lexicon of Thayer which, by the unanimous testimony of modern scholarship, now occupies the very highest place in the field of New Testament lexicography, although specially devoted to New Testament Glreek, often gives the classical meaning of words. Accordingly, in harmony with the classical lexicons, as we have already seen, he says the word meant to pluck or pull, as the hair; to twang the bowstring; to touch the chords of a musical instrument, and hence to play instrumental music;

but, in citing authorities in confirmation of these meanings, it is a significant fact that he is compelled, with the other lexicographers, to go back to the same periods of the language prior to New Testament times to which they appealed for the same purpose, and he cites some of the same authorities cited by Liddell and Scott;

DANNY CORBITT MISSING MORE THAN MUSIC PAGE 51
Corbit thinks that he has made a discovery because Thayer does not say that psalmos USED TO MEAN to play with a harp. No, not in so many words but if you just read the quote you will see that thayer is showing how PSALLO was used at different times and places. A word of warning: psallo never at any time in history meant to SING TO A HARP. Psallo does not even include a HARP. Psallo speaks of touching something with your fingers but never with a plectrum. Psallo always spoke of evil, perverted religionists or warriors. Therefore, people simple did not use it in connection with decent society. Paul did say psallo IN THE HEART which is the only place God seeks our attention (John 4)

Danny Corbitt p. 51

The Jews who were Greek speakers translated Nagan or Mizmor as PSALM and therefore the whole book is called PSALMS. There are only 57 mizmores and those which could be used were 50 and none of them contain the word PSALTERY after which the book was written. Psallo was used because all related words speak to MAKING WAR or PERVERTED worship and therefore was intended to communicate secular activities.

Psalmos also appears in the LXX as equivalent to the Hebrew word neginah. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praise of the Lord composed by King Hezekiah, Is 38:20 (my songs). Ivan Foster

Now, if you want to psallo a harp then you have to define the harp: otherwise someone may reach out to the lady in the pew in front of her and HANK out a hank of hair. You must define three words to sing and play a harp:

Is. 23:13 Behold the land of the Chaldeans; this people was not,
        till the Assyrian founded it for them that dwell in the wilderness:
        they set up the towers thereof, they raised up the palaces thereof; and he brought it to ruin.
Is. 23:14 Howl, ye ships of Tarshish: for your strength is laid waste.

Is. 23:15 And it shall come to pass in that day,
        that Tyre shall be forgotten seventy years, according to the days of one king:
        after the end of seventy years shall Tyre sing as an harlot.

How do you sing as a harlot:

Is. 23:16 Take an [1] harp, go about the city,
        thou harlot that hast been forgotten;
        make sweet [2] melody,
        [3]sing many songs, that thou mayest be remembered.
Is. 23:17 And it shall come to pass after the end of seventy years, that the LORD will visit Tyre,
        and she shall turn to her hire, and shall commit fornication with all the kingdoms of the world
        upon the face of the earth.

Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [1]melody of thy [1] viols.
When Danny Corbitt was looking at Thayer's list of how Psallo WAS USED (never defined) he thinks that Church of Christ people believe that Thayer defined a cappella. But, a cappella was the castrated harmony singers in the Sistine Chapel where instruments were NOT used. In fact, no Catholic engaged in "congregational singing with instrumental accompaniment" until very late. Cappella was the SHE-goat and is the source of singing sad songs. Cappella is a constellation so in fact the harmony teams were "worshiping the starry hosts."

ACAPPELLA is a steal word from "a cappella" which identified the Pope's castrated French singers imported to be used in the Sistine where instruments were outlawed.

Churches called the Church of Christ engaged in congregational cantillation or speaking the Word of God as commanded down through the ages. Only when the false infiltrators wanted to flash an almost Satanic code word trying to mark a 2,000 year old practices as a cappella. This was a slick willy way to claim that everyone believes in the ACappella Fellas. Even among the universities which have assisted the instrumentalists into diverting Churches of Christ have had to admit failure: not a surprise that they make teaching ACappella as their new approved pracitce. Never mind that the SYLE and RESOURCE violates many direct commands of God.

ACappella is a steal word to identify a "musical worship team" and it never meant "congregational singing." In fact, the castrated a cappellas are the MARK of a vile fall from grace.

The Chapel was named after a General's goat skin chapel. Capella is the goat always sacrificed to Satan or Dionysus. The scapegoat as a result of the Nadab and Abihu event was a sacrifice of a goat to Azazel: he is the fallen angel who taught the yourht how to do perverted musical worship. At Jerusalem the Warrior's instruments made noise only during the burning of the goats.

-Căper 1. a he-goat, a goat sacrificed to Bacchus (because injurious to the vine),
II. Transf., the odor of the armpits (cf. capra) Hor C3.8.7

I. Lit., Col. 7, 6, 4; Verg. E. 7, 7; Hor. Epod. 10, 23; Ov. M. 15, 305; cf. Varr. ap. Gell. 9, 9; “sacrificed to Bacchus (because injurious to the vine),” Ov. M. 5, 329; 15, 114; Hor. C. 3, 8, 7.—

II. Transf., the odor of the armpits (cf. capra), Cat. 69, 6; “imitated by Ovid,” Ov. A. A. 3, 193.—
B. A star in the left shoulder of the constellation Auriga (also called capella)

Horace, Odes 3:8
You ask, in either language skill'd!
A feast I vow'd to Bacchus free,
A white he-goat, when all but kill'd
By falling tree.

Come, crush one hundred cups for life
Preserved, Maecenas; keep till day
The candles lit; let noise and strife
Be far away Catullus 69: TO RUFUS THE FETID.
Wonder not blatantly why no woman shall ever be willing
(Rufus!) her tender thigh under thyself to bestow,
Not an thou tempt her full by bribes of the rarest garments,
Or by the dear delights gems the pellucidest deal.
Harms thee an ugly tale wherein of thee is recorded
Horrible stench of the goat under thine arm-pits be lodged.
All are in dread thereof; nor wonder this, for 'tis evil
Beastie, nor damsel fair ever thereto shall succumb.
So do thou either kill that cruel pest o' their noses,
Or at their reason of flight blatantly wondering ceas

Remember that because of musical idolatry at Mount Sinai God turned the people over to worship the starry host. This was prophesied to be repeated in the end times: in Revelation 17 the Babylon Mother of harlots in Rev 18 uses the "lusted after fruits" as speakers, singers and instrument players which John called sorcerers who HAD deceived the whole world once.

-Capella (Aix). The brightest star in the constellation of the Auriga, or Charioteer, and said to have been originally the nymph or goat who nursed the infant Zeus in Crete. See Amalthea; Zeus.

-Aix: source of mysterious and suspected wealth proverbs, aix ourania in Com. as a source of mysterious and suspected wealth, in allusion to the horn of Amalthea, Cratin.244; ouranion aiga ploutophoron Com.Adesp.8 ; aix tên machairan (sc. hêure), of those who 'ask for trouble', Zen.1.27; aix oupô tetoken 'don't count your chickens before they are hatched'

-Delicatus, I. That gives pleasure, i. e. alluring, charming, delightful; luxurious, voluptuous. delicatiores in cantu flexiones, soft, tender, delicate (poet. and in post-Aug. prose):B. Transf., soft, tender, delicate (poet. and in post-Aug. prose): “capella,” Cat. 20, 10; cf.: “puella tenellulo delicatior haedo,

-Căpella , 2. As a term of reproach, a dirty fellow, Amm. 17, 12; 24, 8 (cf. canicula).—II. A star on the left shoulder of the constellation Auriga (usu. called capra),

-Cănīcŭla , ae, f. dim. canis.
I. A small dog or bitch, Plin. 32, 7, 26, § 79.—Hence,

B. Trop., of a passionate, quarrelsome woman, Plaut. Curc. 5, 1, 8; Gell. 4, 20, 3.—\
In-sānus D. Enthusiastic, enraptured, inspired: “vates,” Verg. A. 3, 443

-Flammo , B. [select] Trop., to inflame, kindle, incite: “sic donis vulgum laudumque cupidine flammat,

The Flamin or Incenter starts the song to LIGHT THE FIRES of civil war

-Incentor , ōris, m. id.,
I. one who sets the tune or begins to sing, a precentor, singer (post-class.).

I. Lit.: “carminis,” Paul. Nol. Carm. 15, 32: “incentore canam Phoebo Musisque magistris,” Avien. Perieg. 895; Isid. 6, 9, 13.—

II. Trop., an inciter, exciter: “igneus turbarum,” Amm. 15, 1, 2: “civilis belli,” Oros. 5, 19: “rebellionis totius,” id. 6, 11.

-Incentor, o-ris, m. [id.] , one who sets the tune or begins to sing, a precentor, singer (post-class.).
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

-Cano n., to produce melodious sounds, whether of men or animals; later, with a designation of the subject-matter of the melody, as v. a., to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc. B. Transf., soft, tender, delicate (poet. and in post-Aug. prose): capella (a she goat), II. Addicted to pleasure; luxurious, voluptuous; and subst., a voluptuary, a wanton. 1. Spoiled with indulgence, delicate, dainty, effeminate,

flexĭo , ōnis, f. [flecto] ,

I.a bending, swaying, turning; a bend, turn, curve (rare but class.).

I.Lit.: trunco toto se ipse moderans et virili laterum flexione, Cic. Or. 18, 59 ; id. de Or. 3, 59, 220.--

II.Trop.

A. In gen.: quae deverticula flexionesque quaesisti! i. e. turnings, windings, Cic. Pis. 22, 53 .--

B. In partic., of the voice, a modulation, inflection, change:

Nine Muses and the Nine Magpies.

Apollo in a crow; Bacchus in a goat; [caper, capella]
Diana in a cat; Venus in a fish;
Saturnian Juno in a snow-white cow;
Cyllenian Hermes in an Ibis' wings.’--

Such stuff she droned out from her noisy mouth:
and then they summoned us; but, haply, time
permits thee not, nor leisure thee permits,
that thou shouldst hearken to our melodies.”

“Nay doubt it not,” quoth Pallas, “but relate
your melodies in order.” And she sat
beneath the pleasant shadows of the grove.
And thus again Urania; “On our side
we trusted all to one.” Which having said,
Calliope arose. Her glorious hair
was bound with ivy. She attuned the chords,
and chanted as she struck the sounding strings:--

Struck is percutio:

II. a vein is opened, blood is let, To strike, beat, hit, smite, shoot, etc. (cf.: ico, pulso, ferio). struck with lightning, stung, bitten, by a vipera, anathemate,
b. To strike, play a musical instrument (poet.)
Pulso to push, strike, beat (cf.: tundo, ferio, pello). I.Lit.:
Of military engines

Of musical instruments: chordas digitis et pectine eburno,to strike, play upon,
A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet
C.To drive away, remove, put out of the way,
D. To injure, insult: pulsatos infecto foedere divos, of treason
Infecto: taint, infect, spoil, corrupt. Venenum pharmakon or SORCERY in Rev 18, discord, charm, seduce, EFFIMINO II.Trop., to make womanish, effeminate, to enervate, A.Womanish, effeminate , putting together effeminate musical compositions. B. In mal. part., that submits to unnatural lust: pathicus, [The Dogs Paul excluded in Philippians 3]

1 Kings 14.[22] Judah did that which was evil in the sight of Yahweh, and they provoked him to jealousy with their sins which they committed, above all that their fathers had done. [23] For they also built them high places, and pillars, and Asherim, on every high hill, and under every green tree; [24] and there were also sodomites in the land: they did according to all the abominations of the nations which Yahweh drove out before the children of Israel. [25] It happened in the fifth year of king Rehoboam, that Shishak king of Egypt came up against Jerusalem; [26] and he took away the treasures of the house of Yahweh
That dancing Cataline: those men who by means of their armies, and their arms, and their riches, were the most powerful men in the state, then that voice, rendered insane by its infamous debaucheries, made effeminate by its attendance on holy altars, kept crying out in a most ferocious manner that both these men and the consuls were acting in concert with him. Needy men were armed against the rich, abandoned men against the good, slaves against their masters.

A bowstring: reciproca tendens nervo. This includes PULSO (feminine vibrato), to push, strike, beat. Of musical instruments, to strike, to urge or drive on, set in violent motion, to move, agitate, disturb, disquiet. Phoebe medium pulsabat Olympum: Fear or Apollo or Abaddon or Apollyon. injure, insult: pulsatos INFECTO--plagues and running sores.
Again Corbitt P 50

NOW, IS THAT HONEST?

But, Corbitt missed reading 101. It says "sing to the music of the harp" then a semicolon which Corbitt ignores.

The Modern Arndt Gingrich

Arndt and Gingrich define psallo as 'in our lit., in accordance with OT usage, sing (to the accompaniment of a harp), sing praise...sing praise in spiritual ecstasy and in full possession of one's mental faculties." (Bales, p. 114)

When the new edition did not make the changes, Gingrich "thought that the comment makes valuable contributory information and he prefers to leave this expression." (Hugo McCord quoted by Bales, p. 115).

"In other words, Gingrich admitted that the harp no more inheres in psallo than it does in the English word sing. Furthermore, the phrase, which was in parenthesis, was not included in their translation of psallo in James 5:13)

"Gingrich told J. W. Roberts in a conversation in St. Louis that the insertion was his private opinion. McCord announced that the change would be made but it was not." (Bales, p. 115)

THAYERS REAL COPY Semicolon. Remember? Corbit translates "sing to the music of the harp in the N.T.

G5567 Psallo takes note of the SEMICOLON.
1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing to the music of the harp;
d) in the NT to sing a hymn, to celebrate the praises of God in song

Corbitt p.51 out take

Do you believe Thayer or Corbitt who feels the need to impose his old views on a new group?

Of course, Thayer is not DEFINING Psallo but showing how it is used: all of the singing with the harp are in pagan rituals.

Aeschylus:

Weep, weep their loss, and lead me to my house; Answer my grief with grief, an ill return
Of ills for ills. Yet once more raise that strain
Lamenting my misfortunes; beat thy breast, Strike, heave the groan; awake the Mysian strain
To notes of loudest wo; rend thy rich robes, Pluck up thy beard, tear off thy hoary locks,
And battle thine eyes in tears: thus through the streets
Solemn and slow with sorrow lead my steps; Lead to my house, and wail the fate of Persia.
Yes, once more at thy bidding shall the strain Pour the deep sorrows of my soul;
The suff'rings of my bleeding untry plain, And bid the Mysian measures roll. Again the voice of wild despair
With thrilling shrieks shall pierce the air
The Bacchus Worship with ECSTASY

PENTHEUS [on line Pentheus]

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

Psallous to touch sharply, to pluck, pull, twitch
Neura, A.string or cord of sinew, in Ep. usu. bowstring, X.An.4.2.28,

Bakchê, A. Bacchante, generally, Bakchê Haidoufrantic handmaid of Hades,

Mainas , ados, hê, ( [mainomai] )
A. raving, frantic, lussa, bakchê.Ba.915 .
2. as Subst., mad woman, esp. Bacchante, Maenad, maina of the Furies, of Cassandra, .
          3. = pornê, Poll.7.203 cod. A, Hdn.Epim.83.
II. Act., causing madness, esp. of love, mainasornis

Huperballô E.Ba.785 exceed all bounds, excess

Click for: The Twanging Bowstring is the background to external melody or the Greek PSALLO in Paul's writings.

Click For: Of the song to Deborah:

This was a warrior's song which was a boasting song. Here, the NIV supports the "musical" position without authority:

the voice of the singers [e] at the watering places. They recite the righteous acts of the LORD, the righteous acts of his warriors [f] in Israel. "Then the people of the LORD went down to the city gates. Judges 5:11NIV

e11 Or 'archers'; the meaning of the Hebrew

for this word is uncertain. f11 Or 'villagers'

CORBITT ON PSALMOS [the Noun]

Corbitt still builds a divisive foundation in not being able to find a cappella only in the Bible. That is because a cappella spoke of the Ala Castrated musical worship team the Pope imported from the French opra. Before that, as in the case of the Jews, the singers sang falsetto. Wow! When the Pope heard those castrated fellas singing ORGANUM or after the pipe organ, he decided that he had to have some of those. That is because as late as the 1911 Catholic Encyclopedia it was unlawful to play an organ in the Pope's presence in the only official mass or worship service. They assuredly would not plan an organ and beat on cymbals in the presence of the real Jesus.

Here are some other stolen fruits also deceptive. P56

One of the first things we grasp in defining Psalmos is that you can touch or pluck only a string and only with your fingers and not with a plectrum. Paul commanded internal melody or grace because external melody WITH a harp always identified a perverted male seducing a young man (In Tom Burgess examples).

FIRST:
-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.

Euripides, Ion But I will cease from labor [145] with the laurel branch and I wil hurl from golden vases Gaia's fountain, which Castalia's eddies pour out, casting out the moist drops, [150] since I am chaste. May I never cease to serve Phoebus in this manner; or, if I do, may it be with good fortune. Ah, ah! Already the birds of Parnassus have left their nests, [155] and come here. I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer I will reach you with my bow, herald of Zeus, though you conquer [160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! -Phoebus' [Abaddon, Apollyon] lyre, that sings with you, [165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing bow will keep you off. Will you not obey? [175] Go away and bring up your offspring by the eddies of Alpheus, or go to the Isthmian grove, so that the offerings, and the temple of Phoebus, are not harmed. . . . and yet I am ashamed to kill you, [180] for to mortals you bear the messages of the gods; but I will be subject to Phoebus in my appointed tasks, and I will never cease my service to those who nourish me.

Phoebus' lyre, that sings with you, [165] would not protect you from my bow.
ouden s' ha phorminx ha Phoibou 165
summolpos toxôn rhusait' an.
parage pterugas:

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

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

Eirxousin is ERGO meaning hard work or to BAR. to bar one's way either by shutting in or shutting out:

Here the singing is something the BOW does which is not tuneful.

Homer, Iliad 1

So he spoke, and the goddess, white-armed Hera, smiled, [595] and smiling took in her hand the cup from her son. Then he poured wine for all the other gods from left to right, drawing forth sweet nectar from the bowl. And unquenchable laughter arose among the blessed gods, as they saw Hephaestus puffing through the palace. [600] Thus the whole day long till the setting of the sun they feasted, nor did their heart lack anything of the equal feast, nor of the beauteous lyre, that Apollo held, nor yet of the Muses, who sang, replying one to the other with sweet voices. But when the light of the sun was set, [605] they went each to his own house to take their rest, where for each one a palace had been built with cunning skill by the famed Hephaestus, the limping god; and Zeus, the Olympian, lord of the lightning, went to his couch, where of old he took his rest, whenever sweet sleep came upon him. [610] There went he up and slept, and beside him lay Hera of the golden throne.

PSALMOS SECOND: II. mostly of musical strings, “pēktidōn psalmois krekon humnon”

In the second major use of musical strings

You will notice that all of these have destructive or even meanings of sorcery as John proves in Rev 18.
And you WILL notice that psalmos does not define PLAYING a musical instrument

The Phrase: [1] pêktidôn [2] psalmois [3] krekon [4] humnon

A. Pêktidôn Pêktis
I. an ancient harp used by the Lydians, Hdt., etc.
II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx ), Anth.
3. cage or net for catching birds,

plêk-tron 1.instrument for striking the lyre, plectrum, 2.spear-point,

B. Psalmlois Plucking
C. krekō , A. weave, 2. strike a stringed instrument with the plectron, “magadin” Diog.Ath.1.10; “barbita” D.H.7.72: generally, play on any instrument, “aulon” (flute) Ar.Av. 682 (lyr.)

3. of any sharp noise, “boēn pterois k.” Ar.Av.772

D. Humnos A. hymn, ode, in praise of gods or heroes

Hymns unless specified do NOT include an instrument:

          aphormiktos” (WITHOUT the harp) Id.Eu.331
          en alurois kleontes humnois” E.Alc.447 (WITHOUT the lyre)

But, the definition of PSALLO demands using only the fingers and NOT a plectrum. So this definition is rulled out and the quiver is void.

PSALMOS THIRD: --Poet. word, used by X. and in late Prose. 2. the SOUND of the cithara or harp, ; psalmos d'alalazei
        There were contests in to psallein, Harp Playing

1Cor. 13:1 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.

Echo 1 Corinthians chapter 13:,

in Greek mythology, a mountain nymph, or oread. Ovid's Metamorphoses relates that Echo offended the goddess Hera by keeping her in conversation, thus preventing her from spying on one of Zeus' amours. To punish Echo, Hera deprived her of speech, except for the ability to repeat the last words of another. Echo's hopeless love for Narcissus, who fell in love with his own image, made her fade away until all that was left of her was her voice.
According to the Greek writer Longus, Echo rejected the advances of the god Pan; he thereupon drove the shepherds mad, and they tore her to pieces. Gaea (Earth) buried her limbs but allowed her to retain the power of song. (Britannica Members)

Ovid Metamorphoses 7.159. 1 Corinthians chapter 13:,

O wonder-working Moon, I draw you down
        against the magic-making sound of gongs
        and brazen vessels of Temesa's ore;
I cast my spells and veil the jeweled raysof Phoebus' (Abaddon, Apollyon) wain,
        and quench Aurora's fires.
        At my command you tamed the flaming bulls

G214 alalazō al-al-ad'-zo From ἀλαλή alalē (a shout, “halloo”); to vociferate, that is, (by implication) to wail; figuratively to clang:—tinkle, wail.

Alal-azô (formed from the cry alalai): --raise the war-cry shout the shout of victory, nikên alalazein
2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; ôloluxan

Eur. Ba. 593
Chorus
Oh! Oh! Soon the palace of Pentheus will be shaken in ruin.

—Dionysus is in the halls. [590] Revere him.

—We revere him!

—Did you see these stone lintels on the pillars falling apart? Bromius cries out in victory indoors.

Dionysus
Light the fiery lamp of lightning! [595] Burn, burn Pentheus' home!

Chorus
Oh! Oh! Do you not see the the fire, do you not perceive, about the sacred tomb of Semele, the flame that Zeus' thunderbolt left? [600] Cast on the ground your trembling bodies, Maenads, cast them down, for our lord, Zeus' son, is coming against this palace, turning everything upside down.

II. rarely also of other sounds than the voice, sound loudly, psalmos d' alalazei A.Fr.57 ; kumbalon alalazon 1 Ep.Cor.13.1 .

Dōdōnē , h(, Dodona, in Epirus, the seat of the most ancient oracle of Zeus, Dōdōnaion khalkeion chatterbox,

Dodona Among the several offerings presented to the temple by various nations, one dedicated by the Corcyreans is particularly noticed. It was a brazen figure placed over a caldron of the same metal; this statue held in its hand a whip, the lash of which consisted of three chains, each having an astragalus fastened to the end of it; these, when agitated by the wind, struck the caldron and produced so continued a sound that 400 vibrations could be counted before it ceased. Hence arose the various proverbs of the Dodonean caldron and the Corcyrean lash. Menander, in one of his plays, compared an old nurse's chatter to the endless sound of this kettle (Menand. Reliq. ed. Meineke, p. 27). See Oracula.

"The original inhabitants of Dodona were a tribe called the Selloi. Seven sacred priestesses led by Promeneia 'foremost in strength or speaking before the Moon' of the tribe founded Dione's oracle there, suggesting that the Pleiades may also have been associated with her. They also founded oracles at Epirus and Thebes. The oracles were established in oak or beech groves, because Dione was also a tree Goddess. The trees were treated with great care, pruned with golden sickles and protected by warrior priestesses. The sounds of the wind passing through their leaves or through bronze wind chimes hung from their branches were prophesied from, as were the flight patterns of sparrows, doves, and pigeons. The priestesses who interpreted these sounds and movements were old women called peleia 'wood pigeons' or 'ring doves.' The seven high priestesses were called doves, 'Pleiades.'

EVEN if Paul could speak with the tongues of angels as some Corinthians believed as uncovered women prophesiers and known as the MAD WOMEN OF CORINTH, the worst example of such a TONGUE SPEAK without LOVE would be like a PSALMUS word.
PSALMOS FOURTH: 3. later,

a. song sung to the harp, [Psalmus does not INCLUDE the harp unless NAMED]

b. psalm, LXX 2 Ki.23.1, XXIII. Now these are the last words of David. David the son of Jesse says, The man who was raised on high says, The anointed of the God of Jacob, The sweet psalmist of Israel: [2] The Spirit of Yahweh spoke by me, His word was on my tongue

c Eph 5:19, Singing AND making melody IN THE HEART (a place)

d. biblos psalmon

        psal-mizô , A.sing psalms, and psal-mistês , ou, ho, psalmist, Gloss.

        To show that this is what Thayer intended with the SEMICOLON I again quote:

G5567 Psallo takes note of the SEMICOLON.
1) to pluck off, pull out
2) to cause to vibrate by touching, to twang
a) to touch or strike the chord, to twang the strings of a musical instrument so that they gently vibrate
b) to play on a stringed instrument, to play, the harp, etc.
c) to sing TO the music of the harp;
d) in the NT to sing a hymn, to celebrate the praises of God in song

You noted above that a hymn does not include a musical instrument: a hymn is like a prayer.

THE LATIN WORD Psalmus , i, m., = psalmos, i. q. psalma,
I. a psalm (eccl. Lat.; cf.: carmen, hymnus), Vulg. Isa. 38, 20.--Esp., the Psalms of David

The burdens or carmen:
Carmen declaim, praise; cf.: camilla, censeo], a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation
1. In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental (mostly poet.; in prose, instead of it, cantus; Also the sound of waves,
4. A response of an oracle, a prophecy, prediction
5. A magic formula, an incantation used by Circe (church)

CHURCH: Circus , i, m., = kirkos [kindr. with krikos; Dor. kirkos, and korônê; cf.: kulindeô, kullos, cirrus, curvus]. In or around the Circus many jugglers and soothsayers, etc., stationed themselves;

6. On account of the very ancient practice of composing forms of religion and law in Saturnian verse, also a formula in religion or law, a form:

The only definition of LEGALISM is the NOMOS used to teach the laws of Apollo using the muses--dirty adulterers.

ALL WORDS MEANING TO PLAY AN INSTRUMENT ARE COMPOUND WORDS.

SPECIFIC COMPOUND WORDS ALWAYS USED WHEN SINGING TO A INSTRUMENT.

Psallo or Psalmus never means to play an instrument: each instrument uses a compounnd word:

Anti-psallô , A.play a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .

Ar.Av.218 .Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.

Chase off drowsy sleep, dear companion. [210] Let the sacred hymn gush from thy divine throat in melodious strains; roll forth in soft cadence your refreshing melodies to bewail the fate of Itys, which has been the cause of so many tears to us both. [215] Your pure notes rise through the thick leaves of the yew-tree right up to the throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre responds to your plaintive accents; [220] he gathers the choir of the gods and from their immortal lips pours forth a sacred chant of blessed voices.

Not commanded by Paul: PsalmOidia singing TO a harp.

Not commanded by Paul: PsaltOideo sing to the harp 2 Chron 5:[13] it happened, when the trumpeters and singers were as one, to make one sound to be heard

Not commanded by Paul: Psaltos sung to the harp, sung OF Translated sing in Psalm 119:54

Psalm 119WEB.[52] I remember your ordinances of old, Yahweh, And have comforted myself. [53] Indignation has taken hold on me, Because of the wicked who forsake your law. [54] Your statutes have been my songs, In the house where I live

BarbitOidos singing to the barbiton

HupAuleo to play on the flute in accompaniment, melody (melos never psallo)

HupoKitharizo play an accompaniment on the harp

Not commanded by Paul: KitharOidesis singing to the cithra

Lusioidos one who played women's characters in male attire, Auloi flutes that accompany such songs.

Kat-auleō ,A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tinaAlciphr.2.1: metaph., se . . -ēsō phobō I will flute to you on a ghastly flute,E.HF871 (troch.):—Pass., of persons, methuōn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros khelōnidos psophon to be played to on the flute with lyre accompaniment,

2. make a place sound with flute-playing, Thphr.Fr.87:— Pass., resound with flute-playing, “nēsos katēuleito” Plu.Ant.56.

II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute accompaniment, to be piped down, ridiculed, “gelōmenoi kai -oumenoi”
III. c. acc. rei, play on the flute, “ta mētrōa” , to have played to one as an accompaniment on the flute, -“oumenoi pros tōn hepomenōn ta mētrōa melē”

Eph. 5:18 And be not drunk [methuōn] with wine, wherein is excess;
        but be filled with the Spirit; (The Word of Christ Col 3:16; John 6:63)
Eph. 5:19 Speaking to yourselves
                    \ in psalms and hymns and spiritual songs,
                             \ singing and making melody IN your heart
                               to the Lord;
Eph. 5:20 Giving thanks [praying] always for all things unto God and the Father in the name of our Lord Jesus Christ;

SPEAK is always defined as opposite of poetry or music: it is related to Christ as the Word of God in Person. We don't turn God's Words into songs or sermons.

Hymns are prayers: you cannot be worshiping God if you are getting eraptured over the boy and girl singers always a mark of gender confusion by the leaders.

Epi-psallō ,A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois”

    SING, “tous humnous” LXX 2 Ma.1.30:Then the priests sang the hymns.

Psallo means to pluck and make a sound: it does not include either melody or rhythm.

Katapsallō S play stringed instruments to, [“sumposion kataulein kai k.” Pass., have music played to one, enjoy music, ib.785e; of places, resound with music, Id.Ant.56.
2. Pass., to be buried to the sound of music, Procop.Pers.2.23.

3. metaph., katapsalletai . . ho dēmiourgos is drummed out, Porph.

Hab. 2:19 Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach! Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it.

Hab. 2:20 But the LORD is in his holy temple: let all the earth keep silence before him.

THE PSALLO WORD SPEAKS OF WARFARE AND PERVERTED RELIGION OF APOLLO

IS THIS SOMETHING YOU WANT TO DO IN CHURCH:

A. psalmoi toxôn - E.Ion173 (lyr.);
I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer [160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere!

Phoebus' lyre, that sings with you,

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

-Toxon Bow implicates galliambus , i, m. [3. Gallus, II. A.] , I.a song of the priests of Cybele,
III. metaph., toxa hēliou its rays, E.HF 1090; ampelinois toxois damentes, of the effects of wine, Pi.Fr.218; “toxon merimnēs”
kottabos . . hon skopon es latagōn toxa kathistametha for shooting of liquor from the cup

Paul warned about the women who might induce WRATH which is ORGY and Paul hoped that their castrating knife slipped. Homosexual or Emasculated men are said never to fall into singing and playing unless they were perverted, drunk or just having fun.

B. toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).

Toxeuo A.shoot with the bow,t inosat a mark
2. metaph., “Erōs etoxeus' auton” E.Tr.255; “hē turannis pantothen toxeuetai” is aimed at,, [255] The dart of love has pierced his heart, love for the frenzied maid. .3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, “t. humnous” Pi.I.2.3;

-Erôs mostly sexual passion, goddess of love, Aphrodites,
II. as pr.n., Eros, the god of love, Hes.Th.120, Alcm. 36, Sapph.74, Theoc.29.22.

-Hes.Th.120 Hail, children of Zeus! Grant lovely song [105] and celebrate the holy race of the deathless gods who are for ever, those that were born of Earth and starry Heaven and gloomy Night and them that briny Sea did rear. Tell how at the first gods and earth came to be, and rivers, and the boundless sea with its raging swell,....but next wide-bosomed Earth, the ever-sure foundation of all¹the deathless ones who hold the peaks of snowy Olympus, and dim Tartarus in the depth of the wide-pathed Earth, [120] and Eros （Love）, fairest among the deathless gods, who unnerves the limbs and overcomes the mind and wise counsels of all gods and all men within them. From Chaos came forth Erebus and black Night; but of Night were born Aether²and Day, [125] whom she conceived and bore from union in love with Erebus.

Hecuba What! Phoebus' virgin-priestess, to whom the god with golden locks granted the gift of maidenhood?
Talthybius[255] The dart of love has pierced his heart, love for the frenzied maid.

2. Metaphor Shoot out or send forth a hymn
Pindar, Isthmian 2.[1] The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite on her lovely throne. [6] For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore. But as things are now, she bids us heed [10] the saying of the Argive man, which comes closest to actual truth: [11] “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time

Humnos A. hymn, ode, in praise of gods or heroes.

The HYMNS commanded for the believer consists os the HALLEL PSALMS and does NOT include singing them for entertainment and excludes that which is NOT "that which is written" (Rom 15)

If you want to combine singing and playing the word is:
Psalma , ătis, n., = psalma, I.a song sung to the accompaniment of stringed instruments,

Paul wants you to keep the melody IN THE HEART and keep the dogs out as the only way to let the dogs in (Phil 3) with the outbreak of Cnyic singing and the danger of someone shoothing love arrows rather than SHOOTING FORTH HYMNS.

The word psallo DOES NOT include either playing or singing.
There are many words Paul and the Spirit WOULD have used ifthey wanted you to play a secific instrument to accompany singing.

There are NONE of these complex words in the Bible and the MARKS as we have noted above of the singing and playing is of Apollo, Abaddon or Apollyon and the Muses who were always dirty, smelly adulteresses. Menstrual blood wat the magic and that is why God outlaws having it wafted about.

The Babylon mother of harlots in Revelation 17 uses "lusted after fruits" (same as in Amos) as rhetoricials, singers and instrument players John in Revelation 18 called sorceresses.

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