Robert Ballard The Case For Instrumental Music

12.09.15  Genesis 3:1 Now the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?  The Spirit OF Christ called Lucifer (Venus, Zoe or Eve as the mediatrix of pagans) a Singing And Harp-Playing-Prostitute in the Garden of Eden.

Genesis 3.1  sed et serpens erat callidior cunctis animantibus terrae quae fecerat Dominus Deus qui dixit ad mulierem cur praecepit vobis Deus ut non comederetis de omni ligno paradisi

5175 nβchβsh naw-khawsh' From H5172 ; a snake (from its hiss):—serpent.
H5172 nβchash naw-khash' A primitive root; properly to hiss, that is, whisper a (magic) spell; generally to prognosticate:— X certainly, divine, enchanter, (use) X enchantment, learn by experience, X indeed, diligently observe.

Paul understood Genesis very well: He said that Eve (Evah, vires) was wholly seduced and that Cain was OF that wicked one. WOMEN in Genesis is used by Moses to define the Babylonian system after Israel fell into instrumental-trinitarian PLAY to warn those now sentenced to fall back into effeminate worship even when the roles were played by males.

mŭlĭer  as a term of reproach, a woman, i. e. a coward, poltroon: I.to make womanish, render effeminate

Serpo , of things, to move slowly or imperceptibly, to creep along, proceed gradually,
Of disease, etc.: “si ulcus latius atque altius serpit,” gradually spreads, “serpentes quasdam (bestias), quasdam esse gradientes,”  “chamaeleon,
 Fire: “exsistit sacer ignis et urit corpore serpens,” slowly spreading,  canam, qui leniter
(cf.: “sermones Repentes per humum,”
A creeping LOUSE

BEAST: has two legs: the word means "A new form of music or Satyric (cappella) Drama.

The newest song which the singers have, (Odyssey)...
"they will be afraid that he may be praising, not some new songs, but a
new kind of song; and this ought not to be praised, or conceived to be the meaning of the poet; for any musical innovation is full of danger in the whole State, and ought to be prohibited. 
"So Damon tells me, and I can quite believe him; he says that when modes of music change,
         the fundamental laws of the State always change with them..." 
"Then," I said, "our guardians must lay the foundations of their fortress in music?"
"Yes," I replied, 'in the form of amusement: and at first sight it always appears harmless
'." (
        The Great Dialogs, Plato, Classic edition, p. 312)

lēnis , I. soft, smooth, mild, gentle, easy, calm. sensus judicat dulce,
dulcis  II. Trop., agreeable, delightful, pleasant, charming, soft, flattering.
“orator,” Cic. Off. 1, 1, 3; cf. “of orators or writers,” “carmen,” id. 12, 10, 33: “poλmata,” Hor. A. P. 99
carmen , a tune, song, air, lay, strain, note, sound, both vocal and instrumental
“per me (sc. inem) concordant carmina nervis

pŏēma
, a composition in verse, a poem. Poλsis est perpetuum argumentum e id. A. P. 416: “scribere,
pangere,” Hor. Ep. 1, 18, 40;
Instrumental and Trinitarian idolatry at Mount Sinai was a sin beyond redemption because the people ascribed to The Book of The Covenant but rose up in PLAY.  Acts 7, Romans 10 and 1 Corinthians 10 is the EXAMPLE or PATTERN against the worship of Demons. Apis the golden calf was the symbol of the Egyptian and other trinities repudiated by all of Scripture

God saw this Musical Worship Team and abandoned them to Babylonianism at the temple God did not command

Golden.Calf.harp.Fiddle.gif

Below: God say this just BEFORE and just AFTER Hezekiah's Plague Stopping Exorcism. This is recorded in 2 Chronicles 29: it is the PATTERN a "spirit" commanded Rick Atchley etal to impose "instrumental praise".  Spiritus in Latin defines the personified spirit as that of Apollon or Abbadon. He is the ruler of the locusts to readers is defined as the leader of the Muses or the adulterous musicians. In Revelation 18 they are defined as sorcerers who HAD deceived the whole world.

The practice in the wilderness, tyre and Jerusalem

Molech.Wiki.jpg

Prophesied in Psalm 41

DSS:They have overtaken me in a narrow pass (gap) without escape
        And there is no rest for
me in my trial.
        They
sound my censure upon a harp
        and their
murmuring and storming upon a zither." Ps.41:11

DSS:"The priests shall blow the trumpets of massacre,
        and
the Levites and all the blowers of the ram's horn
        shall sound a
battle alarm, .
        and the foot soldiers shall stretch out their hands against the host...
        and at the sound of the
alarm
        they shall begin to
bring down the slain.
        All the people shall cease their
clamor,
        but the
priests shall continue
        to
blow the trumpets of massacre."  - War Scroll

Mark.10.They.Shall.Mock.Him.With.Music

Judas  was a thief: his bag or box was
always attached to the spotted flute case.

                 He is defined as the familiar friend of Jesus in Psalm 41. He would try to ALARM or TRIUMPH over Jesus: this is a MARK. It was outlawed in the Church of Christ in the Wilderness as vocal or instrumental rejoicing or any speaking beyond the Word
JudasDiony.JPEG

JudasBagTiny.gifJudasBagCourcha.gif

And God WATCHED the prophesied and fulfilled Musical Worship Team
Trumpet, drums, flute, cymbals and castinets with buffoons
Psallo permits ONLY smiting a string with your FINGERS: not a plectrum
Psallo and SOP have the same root meaning.

Mock.Jesus.Full.size.jpg
Revelation 18F: they are all called Sorcerers who HAD once deceived the whole world.
They WILL BE CAST ALIVE INTO THE LAKE OF FIRE.
  1. If you say that Churches of Christ which did not use INSTRUMENTS during the School of the Word from the Wilderness onwwars was just and evil tradition.
  2. And from Genesis to Revelation musical machines are said to have been brought by Lucifer (ZOE) into the garden of Eden and resulted in some sexual hanky panky to REVELATION when the Babylon mother of harlot rises again and ALL of her religious STAFF are called sorcerers and will be cast alive into the Lake of Fire.
  3. Then Christ in Jeremiah 23 says that you despise the Word and the Latin word is BLASPHEME
7.16.14 Robert Ballard Are Instrumental Performers Parasites?

Yes!  Christ defined the Church of Christ (the Rock) in the wilderness after Israel fell into instrumental idolatry and were sentenced back to Babylon for captivity and death.

It was EXCLUSIVE of Vocal or Instrumental rejoicing or self speakers
It was INCLUSIVE of Rest, Reading and Rehearsing the Word of God.


ALL of the text from God is to be READ for Comfort and Docrine. Being jointly read and rehearsed is the only way to validate God and His Word and show reverence and respect.

Acts 8:28 Was returning, and sitting in his chariot read Esaias the prophet.

Acts 8:32 The place of the scripture which he read was this, He was led as a sheep to the slaughter; and like a lamb dumb before his shearer, so opened he not his mouth:

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

Acts 23:34 And when the governor had read the letter, he asked of what province he was. And when he understood that he was of Cilicia;

2Cor. 3:14 But their minds were blinded:
        for until this day remaineth the same vail untaken away
        in the reading of the old testament; which vail is done away in Christ. 

2Cor. 3:  15 But even unto this day, when Moses is read, the vail is upon their heart.

Col. 4:16 And when this epistle is read among you,
        cause that it be read also in the church of the Laodiceans;
        and that ye likewise read the epistle from Laodicea.

1Th. 5:27 I charge you by the Lord that this epistle be read unto all the holy brethren.


People who minimize the Word, Logos or Regulative Principle are sent strong delusions and they can no longer read the text.

Rev. 5:4 And I wept much, because no man was found worthy to open and to read the book, neither to look thereon.

People who compose their own sermons rather than read and discuss "that which is written for our learning," performing singers, instrument players, actors, "ministry" leaders, finance ministers etc. are defined by Scripture and recorded history as PARASITES and leaders of an effeminate "worship service" to prevent Jesus from being the only Speaker.

When Jesus MARKED Judas as the son of perdition predestined to try to triumph over (musically) Jesus with the SOP we should understand that SOP and PSALLO have the same root meaning.


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

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

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

Psallo is USED primarily as:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lyre.Amphion.gif

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

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

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

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

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

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

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

Everett Ferguson Congregational Singing in Early Church
As "doctors of the Law take away the key to knowledge" Everett Ferguson quotes a lot of Scripture and church history but misses the rest of the story not part of his thesis.

Churches and theologians have probably spend more time trying to justify the use of music in the assemblies of Christ than teaching the lost.  That is because the lust of the eyes and ears looks in vain for the use of any kind of "music" in connection with God's people from Genesis to Revelation.  To the contrary, the Word asssociates musical instruments with Lucifer, warriors threatening the enemy, unauthorized sacrificial exorcism, prostitutes and Sodomites.

LEAVEN from ACU requested Teresa D. Welch, an instrumentalist to review Danny Corbitt's Missing More than Music Teresa does not endorse the ANTI-instrumentalists rehash as well as they might have hoped. Danny says that Paul and Silas sang hymns because they would not have their musical instruments with them.  I have worked on the HYMN word from Greek and Latin text and found that there was two VENUES of performing hymns.

In the Bible sense a Hymn is a prayer from recorded Scripture.
When Hymns are  SUNG the literature adds a word for SING and HYMN
When Hymns are accompanied with instruments they most often identify Dionysus or Apollo (Abaddon, Apollyon) as the "gods" being praised.

4.09.13
See the two major PSALLO words which are never DEFINED. Instead, I will show how the words are used having several meanings.  If we twang a bowstring to send forth a singing arrow into a literal heart then PSALLO would obligate the instrumentalists because there is very little about twanging a HARP string and then the examples are ugly or even forbidden.

Lynn Anderson The Beginning of Musical Idolatry


Danny Corbitt and Matt Dabbs Psallo ripening issues

Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma
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. 

Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma

Quick Added Notes 4.06.13

These represented all of the pagan sects in Rome such as those of Dionysus and Orpheus.  Both could be pointed out on the days when types of foods were available or prepared in the marketplace or the pagan temples in the Agora: in Athens it was quite separated from the Ekklesia for word-only discussions. The men who translated the Septuagint or LXX were aware that the PSALLO-based words pointed to making war or making strang love in the marketplace. Any lawful citizen able to attend the assembly was swept up by slaves using a red, polluted rope and driven to the ekklesia for instruction only.
A gang of slaves, called Scythians, carrying ropes dipped in red ochre (miltos, hence Miltiades, i.e. the Red-Haired) would travel through the city on the days the Ecclesia was to meet, and would lash those citizens not in attendance with their ropes. With garments thus stained, shamed citizens could legally carry out no business until they visited the meeting grounds of the Ecclesia on the hill called the Pnyx.
  -psallō , fut. so miltokharēs skhoinos psallomenē a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, AP6.103 (Phil.):
-Phurτ  I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, to be doomed to have one's hair defiled with earth, II. metaph. to mingle together, confusebioton ek pephurmenou kai thēriōdous diestathmēsato from a confused and savage state, E.Supp. 201.
Agora a^g, as, Ion. agorē , ēs, , (ageirō):— 2. market-place,
III. business of the agora:
1. public speaking, gift of speaking, mostly in pl., eskh' agoraōn withheld him from speaking, generally, provisions, supplies,
Agoraios b. agoraios, , market-day, IGRom.4.1381 (Lydia). (The distn. agoraios vulgar, agoraios public speaker, drawn by Ammon., etc., is prob. fictitious.)
Agorazō a^g, fut. asō Ar.Lys.633,
Men. 828frequent the “agora, hai gunaikes a. kai kapēleuousi” Hdt.2.35, 4.164, cf. Arist.Ph.196a5, Com.Adesp.710; occupy the market-place, Th.6.51.
2Corinthians 2:14 Now thanks be unto God, which always causeth us to triumph in Christ,
        and maketh manifest the savour of HIS knowledge by us in every place.
2Corinthians 2:15 For we are unto God a sweet savour of Christ,
         in them that are saved, and in them that perish:
2Corinthians 2:16 To the one we are the savour of death unto death;
        and to the other the savour of life unto life. And who is sufficient for these things?
2Corinthians 2:17 For we are NOT as many,
polus great, mighty, “megas kai pollos egeneo” Hdt.7.14, cf. E.Hipp.1; ho p. sophistēs, stratēgos
stra^tēg-os 5. an officer who had the custody of the Temple at Jerusalem, “ho s. tou hierou” Ev.Luc. 22.52, Act.Ap.4.1, J.BJ6.5.3.
which corrupt the word of God:
but as of sincerity, but as of God,
        in the sight of God
        speak we in Christ.
ka^pēl-euō , A. to be a retail-dealer, drive a petty trade, Hdt.1.155, 2.35, Isoc.2.1
2. metaph., k. ta prēgmata, of Darius, Hdt.3.89; k. ta mathēmata sell learning by retail, hawk it about, Pl. Prt.313d; “k. ton logon tou theou” 2 Ep.Cor.2.17adultery
The Psallo based words MARK a church, Kirke, or Circe: it is the mark of marketimereligion. You remember that Jesus cast the pipers inducing singing or lamenting or dancing into the MARKETPLACE along with all of the other merchandisers: there SHALL NOT--CANNOT be a Canaanite or Trader in the House of God
Zech 14:21 Yea, every pot in Jerusalem and in Judah shall be holiness unto the Lord of hosts: and all they that sacrifice shall come and take of them, and seethe therein:
        and in that day there shall be no more the Canaanite in the house of the Lord of hosts.

Kennaniy (h3669) ken-ah-an-ee'; patrial from 3667; a Kenaanite or inhabitant of Kenaan; by impl. a pedlar (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker.

H3667 kena‛an ken-ah'-an From H3665 ; humiliated; Kenaan, a son of Ham; also the country inhabited by him:—Canaan, merchant, traffick.

Mercātor , ōris, m. id.,
I. a trader, merchant, esp. a wholesale dealer (opp. to caupo, a retailer; class.).
I.  Lit.: “venalicii mercatoresque,” Cic. Or. 70, 232: “multi ad eos mercatores ventitant,” Caes. B. G. 4, 3. —
II.Transf.A. A dealer, speculator: “non consules, sed mercatores provinciarum,” Cic. post Red. in Sen. 4, 10Rarely of a petty dealer: “vilis sacci mercator olentis,” Juv. 14, 269
B.A buyer, purchaser: “signorum,” Cic. Verr. 1, 20, 60: “veneni,” Juv. 13, 154.

The word CHURCH does not define the Ekklesia:
kuklos   of the circle which hunters draw round their game,
3  place of assembly, of the “agora, hieros k.” Il.18.504; “ho k. tou Zēnos tōgoraiou”
b. crowd of people standing round, ring or circle of people,
Eur. Hipp. 953  Continue then your confident boasting, take up a diet of greens and play the showman with your food, make Orpheus your lord and engage in mystic rites, holding the vaporings of many books in honor.2 [955] For you have been found out. To all I give the warning: avoid men like this. For they make you their prey with their high-holy-sounding words while they contrive deeds of shame.
2 Theseus compares Hippolytus to the Orphics, an ascetic religious sect that ate a vegetarian diet and had a reputation for hypocrisy.
Bakkh-euō , A.  celebrate the mysteries of Bacchus, Hdt.4.79.

Eur. IT 1243 Lovely is the son of Leto, [1235] whom she, the Delian, once bore in the fruitful valleys, golden-haired, skilled at the lyre; and also the one who glories in her well-aimed arrows. [1240] For the mother, leaving the famous birth-place, brought him from the ridges of the sea to the heights of Parnassus, with its gushing waters, which celebrate the revels for Dionysus.
The Dionysus worshipers are those who do "evil things in the dark." Paul silenced them and everything which did not contribute to PEACE AND EDIFICATION which in this case is ONLY Education by "using one mind and one mouth to speak that which is written for our learning" (Romans 15). Disciples are students or learners and musical performances and speaking in tongues are identified by the same word for SPEAK.

Revised 9.28.13  Well, even when God ABANDONED the Jews to worship the Starry Host because of instrumental idolatry, He never, ever commanded anything more than the two silver trumpets.  The Spirit OF Christ defined the assembly of the godly and OUTLAWED vocal or instrumental rejoicing or preaching as in "sermonizing."

The "proof text" has God commanding that the Jacob-cursed and God-abandoned Levites to STAND IN RANKS under the King and Commanders of the Army.  They made a loud noise and warned that ANY one not connected with the abandoned and cursed Civil - Military - Clergy complex who came NEAR any "holy" thing or into any covered house were to be EXECUTED.  Everyone but the abandoned abandoned nobility was quarantined to their isolated areas and must be OUTSIDE the Camp or gates.

ONLY when they began burning the GOATS for the fully abandoned Israel nation did the Levites make a NOISE with the instruments commanded by DAVID the king.

WHAT GOD WERE THE JEWS ABANDONED TO BECAUSE OF INSTRUMENTAL IDOLATRY

Here Symmachus, greatly wondering at what was spoken, says: WhaTt, Lamprias, will you permit our tutelar god,

called Evius, the inciter of women, famous for the honors he has conferred upon him by madmen, to be inscribed and enrolled in the mysteries of the Jews?

Or is there any solid reason that can be given to prove Adonis to be the same with Bacchus? Here Moeragenes interposing, said: Do not be so fierce upon him, for I who am an Athenian answer you, and tell you, in short, that these two are the very same.

And no man is able or fit to bring the chief confirmation of this truth, but those amongst us who are initiated and skilled in the triennial or chief mysteries of the god.

But what no religion forbids to speak of among friends, especially over wine, the gift of Bacchus, I am ready at the command of these gentlemen to disclose.

When all the company requested and earnestly begged it of him; first of all (says he), the time and manner of the greatest and most holy solemnity of the Jews is exactly agreeable to the holy rites of Bacchus; for that which they call the Fast they celebrate in the midst of the vintage, furnishing their tables with all sorts of fruits while they sit under tabernacles made of vines and ivy; and the day which immediately goes before this they call the day of Tabernacles.

Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi.

Plutarch of Chaeronea held that the God of the Jews was none other than Dionysos. "First the time and character of the greatest, most sacred holiday of the Jews clearly befit Dionysos. When they celebrate their so-called Fast, at the height of the vintage, they set out tables of all sorts of fruit under tents and huts plaited for the most part of vines and ivy.

They call the first of the two days Tabernacles. A few days later they celebrate another festival, this time identified with Bacchos not through obscure hints but plainly called by his name, a festival that is a sort of 'Procession of Branches' or 'Thyrsos Procession' in which they enter the Temple each carrying a thyrsos.

What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their gods withal. Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,--either word agrees with Bacchus.

 And I suppose that their Sabbaths have some relation to Bacchus; for even now many call the Bacchi by the name of Sabbi, and they make use of that word at the celebration of Bacchus's orgies. And this may be discovered out of Demosthenes and Menander. Nor would it be out of place, were any one to say that the name Sabbath was given to this feast from the agitation and excitement [enthousi-astikos ] which the priests of Bacchus display.
The Israelites fell into the instrumental idolatry of the sun gods including o (Abaddon, yon) and their SERVICE with instruments was called Hard Bondage or Abad which is the service of Abaddon. o is called the Sun God.

Helios in his chariot (Greek: "Sun"), in Greek religion, the sun god. He drove a chariot daily from east to west across the sky and sailed around the northerly stream of Ocean each night in a huge cup. In classical Greece, Helios was especially worshiped in Rhodes, where from at least the early 5th century BC he was regarded as the chief god, to whom the island belonged. His worship spread as he became increasingly identified with other deities, often under Eastern influence.

From the 5th century BC, o, originally a deity of radiant purity, was more and more interpreted as a sun god. During the  Hell has seven divisions, one beneath the other. They are called Sheol, Abaddon, Beer Shahat, Tit ha-Yawen, Sha'are Mawet, Sha'are Zalmawet, and Gehenna.-- The Legends of the Jews, Louis Ginzberg]

lucĭfer, fe(ra, fe(rum, adj. [lux-fero] , light-bringing: itaque ut apud Graecos Dianam, eamque Luciferam, sic apud nostros Junonem (Juno)
A. The morning-star, the planet Venus: “stella  Hesperos
B. The fabled son of Aurora [Eos] and Cephalus

-Hκlios II. as pr. n., Helios, the sun-god, Od.8.271, dentified with o, Carm.Pop.12, E.Fr.781.11; with Dionysus, D.Chr.31.11, etc.
2. Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c,  [Lucifer, Zoe, daughters of Eve]
HERE IS THE PATTERN FOLLOWED BY ALL WHO PRACTICE "WORSHIP SERVICES" WHICH REPLACE THE EKKLESIA OR THE SCHOOL (only) OF THE WORD (only) of CHRIST (only). That includes the Prophets by the Spirit OF Christ and the prophecies made more certain by Jesus of Nazareth. The Apostles were eye-- and ear-- witnesses of the risen Jesus Christ who returned at Pentecost as promised and "poured out what you see and hear." That is why A Church of Christ does not do ritualistic worship services as a legalistic way to gain God's favor.  Music is the most works-intensive effort every invented by men. 

Paul and John wrote in the context of the Greek Classics which were a major means of religion and education in the theaters.
Luke 11:49 Therefore also said the wisdom of God, I will send them prophets and apostles, and some of them they shall slay and persecute

We are saved by Grace through FAITH. From what are we saved?

RELIGIONISTS OUTSIDE OF GOD'S GRACE

Ephesians 2:2 Wherein in time past ye walked according to the course of this world,
        according to the prince of the power of the air,
       
the spirit that now worketh in the children of disobedience:

Kosmos , ho,  natgural, II.rnament, decoration, esp. of women; “hieros k.” OGI90.40 (Rosetta, ii B. C.): pl., ornaments, A.Ag.1271; “hoi peri to sōma k.” Isoc.2.32: metaph., of ornaments of speech, such as epithets, Id.9.9 (pl.), Arist.Rh.1408a14, Po.1457b2, 1458a33; hadumelē k. keladein to sing sweet songs of praise, Pi.O.11 (10).13 (s.v.l.).
Hēdu^-melēs , Dor. had- , Aeol. ad- , es,
A. sweet-singing, “khelidoi” Anacr.67, cf. Sapph.122(Comp.), Pi.N.2.25; sweet-sounding, “xoana” S.Fr.238, etc.: poet. fem., “hēdumeleia surigx” Nonn.D.29.287.
Surigx , iggos, ,
2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. “surizō” 11.2, surigmos:—the last part of the nomos Puthikos was called surigges, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.
3. mouthpiece of the aulos
INSTEAD OF:

Ephesians 2:20 And are built upon [educated by] the foundation of the apostles and prophets, Jesus Christ himself being the chief corner stone;
THE MUSICAL IDOLATRY FOR WHICH THERE WAS NO REDEMPTION IS OUR PATTERN.

1Corinthians 10:1 Moreover, brethren,
         I would not that ye should be ignorant,
        how that all our fathers were under the cloud, and all passed through the sea;
1Corinthians 10:2 And were all baptized unto Moses in the cloud and in the sea;
1Corinthians 10:3 And did all eat the same spiritual meat;
1Corinthians 10:4 And did all drink the same spiritual drink:
        for they drank of that spiritual Rock that followed them:
        and that Rock was Christ.
1Corinthians 10:5 But with many of them God was not well pleased:
        for they were overthrown in the wilderness.
1Corinthians 10:6 Now these things were our examples,
        to the intent we should not lust after evil things, as they also lusted.
Epithu_m-ētēs , oi, ho,
A. one who longs for or desires, neōterōn “ergōn” Hdt.7.6; [dogmatōn] And.4.6; “ergōn” Lys.12.90; timēs, sophias, Pl.R.475b, etc.; phusei polemou e. Arist.Pol.1253a6; “kakōn” 1 Ep.Cor.10.6; “allotriōn” BGU531 ii 22 (ii A.D.).
2.  abs., lover, follower, X.Mem.1.2.60.
b.  one who lusts, LXX Nu.11.34.
Dogma , atos, to, (dokeō) A. that which seems to one, opinion or belief, Pl.R.538c; notion, Pl.Tht.158d, al. philosophical doctrines,
1Corinthians 10:20 But I say, that the things which the Gentiles [Gens] [ sacrifice,
         they sacrifice to devils, and not to God:
         and I would not that ye should have fellowship with devils.
Daemŏnĭum  II.  An evil spirit, demon, App. Mag. p. 315, 10; Vulg. Deut. p. 32, 17;
daimonaō ,  A. to be under the power of a daimōn, to suffer by a divine visitation, “daimona domos kakois” A.Ch.566; “daimonōntes en ata” Id.Th. 1008 (lyr.): abs., to be possessed, to be mad, E.Ph.888, X.Mem.1.1.9, Plu.Marc.20, etc.; “daimonas” Men.140.

Greek: Daimonios , II. from Hdt. and Pi. downwds. (Trag. in lyr.), heaven-sent, miraculous, marvellous, “bōlax” Pi.P.4.37; “teras” B.15.35, S.Ant.376
2. of persons, “ d. hōs alēthōs kai thaumastō” Id.Smp.219b; ho peri toiauta sophos d. anēr ib.203a; “daimonios tēn sophian” Luc.Philops.32: Comp. “-ōteros” D.C.53.8.
Sophos , ē, on, mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.),

Sophia A. cleverness or skill in handicraft and art, in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, in divination,
1 Cor. 10:7 Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play.

1 Corinthians 10.7 mēde eidōlolatrai ginesthe, kathōs tines autōn: hōsper gegraptai “Ekathisen ho laos phagein kai pein, kai anestēsan paizein

Paizō pais  I. properly, to play like a child, to sport,  alla pepaistai metriōs hēmin, of the chorus, Ar. Th.1227.  4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn”   dance and sing, Pi. O.1.16.

Aristoph. Frogs 225
Rightly so, you busybody.
the Muses of the fine lyre love us
And so does horn-crested Pan, playing his reed pipe.
And the harpist o delights in us as well,
On account of the reed, which as a bridge for his lyre

ōn
, ho, o: Abaddon, yon The name of a NUMBER
phorm-iktēs , ou, Dor. phorm-miktas , ho, A. lyre-player, of Orpheus, Pi.P.4.176
phorm-iktos , ē, on, A. sung TO the phormigx, kai peza kai ph. (sc. melē) S.Fr.16.

Melos
, eos, to, 2. music to which a song is set, tune, Arist.Po.1450a14;
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” ; “aulōn pamphōnon m.” Pi.P.12.19;
5.  play amorously, “pros allēlous” X.Smp.9.2; “
II. est, sport, Hdt.2.28, 5.4, 9.11; make fun with a person,
Empaizō , fut. To be deluded  2. euphem. in mal. part., LXXJd. 19.25.
II. sport in or on, hτs nebros chloerais e. leimakos hκdonais E.Ba. 866 (lyr.); tois choroisin e. to sport in the dance, Ar.Th.975; tτi  Luc.Lex.5

Paig-ma , atos, to, A. play, sport, lōtos hotan . . paigmata bremē whene'er the pipe sounds its sportive strains, E.Ba.161(lyr.); “Ludia p. luras” Lyr.Alex.Adesp.37.15.II. 'child's play', to toiouto p. tōn logōn

"In the New Testament there is nowhere any emphasis laid on the musical form of the hymns; and in particular none on instrumental accompaniment whereas this is significantly paganism." (Delling, Gerhard, Worship in the New Testament, trans. Percy Scott Phil. Westminster press, 1962, p. 86).

A Devil will deliberately lie about the Truth of the Word:
Lying pseudos
in NT of what is opposed to religious truth, false doctrine, Ep.Rom.1.25; poiōn bdelugma kai ps., i.e. doing what is repugnant to the true faith, Apoc.21.27;
2.  esp. of divine or supernatural action, Ep.Eph.1.19, al., Aristeas 266; “e. theou Dios Baitokaikēs” OGI262.4 (Syria, iii A.D.); magical operation, “hiera e.”
party feelings or attachments, rivalries, “s. iskhurai philōn peri tinos” Hdt.5.5; “kata spoudas” Ar.Eq.1370, Ael.VH3.8; spoudai erōtōn erotic enthusiasms, Pl.Lg.632a.

Apoc 21.[27] There will in no way enter into it anything profane, or one who causes an abomination or a lie, but only those who are written in the Lamb's book of life.
Daimons continued:  on, ephē, daimonias huperbolēs ! Id.R.509c.
2. Of persons, “ d. hōs alēthōs kai thaumastō” Id.Smp.219b; ho peri toiauta sophos d. anēr  lokhos gunaikōn, of the Furies, A.Eu.46;
Thaum-astos , Ion. thōm- , ē, on, A. wonderful, marvellous, first in neut. as Adv.,
“th. karpos” Id.9.122
III. to be worshipped, “oudeis m' areskei nukti thaumastos theōn” E.Hipp.106.
Hdt. 9.122 [3] Cyrus heard them, and found nothing to marvel at in their design; “Go ahead and do this,” he said; “but if you do so, be prepared no longer to be rulers but rather subjects. Soft lands breed soft men; wondrous fruits of the earth and valiant warriors grow not from the same soil.” [4] The Persians now realized that Cyrus reasoned better than they, and they departed, choosing rather to be rulers on a barren mountain side than dwelling in tilled valleys to be slaves to others.
Lokhos 
1. a place of ambush, place for lying in wait, Hom., Eur.
2. the act of lying in wait, lokhon heisai to place an ambuscade,

Xen. Cyrop. 5.5.2 Cyrus had given orders to bring out the tent of the Assyrian king which the Medes had selected for Cyaxares, to make it ready with all kinds of furnishings, and to conduct into the women's apartments of the tent the woman and with her the music-girls, who had been selected for Cyaxares. And this was done.
ib.203a; “daimonios tēn sophian” Luc.Philops.32: Comp. “-ōteros” D.C.53.8.
Sophia , A. cleverness or skill in handicraft and art, tektonos,
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 divination
cunning, shrewdness, craft, Hdt.1.68, etc.; to loidorēs ai theous ekhthra s. Pi.O. 9.38.
dēmēgorikos from dēmēgoros of or for public speaking, qualified for it, Xen.: - (sc. tekhnē), = dēmēgoria,

THE END-TIME PROPHECY IS THAT O, ABBADON OR YON AND THE LOCUSTS OR MUSES WILL BE UNLEASHED. THEIR JOB IS TO DRIVE OUT THE GODLY PEOPLE AND HOLD THE UNGODLY CAPTIVE WITH THE MUSES JOHN CALLS SORCERERS.

Mousa_geta_s , a, ho, Dor. for Mousēgetēs (v. infr.), A.leader of the Muses, epith. of o, Pi.Fr.116; “ho m. kai arkhagetas tas poiētikas theos” (Delph. Mousēgetēs , Pl.Lg. 653c, D.S.1.18, Jul.Or.4.132a, al.; voc. Mousēgeta^ , IG12(5).893 (Tenos); also Epithet of Heracles, in dat. Mousagētē ,

Strabo Geography [-10.3.10] And on this account Plato, and even before his time
        the
Pythagoreians, called philosophy music 

andt hey say that the universe is constituted in accordance with harmony,
assuming that every form of music is the work of the gods.
And in this sense, also, the
Muses are goddesses,
and
o is leader of the Muses,
and poetry as a whole is laudatory of the gods.

And by the same course of reasoning they also attribute to music the upbuilding of morals, believing that everything which tends to correct the mind is close to the gods.

Now most of the Greeks assigned to Dionysus, o, Hecate, the Muses (9 women team), and above all to Demeter, everything of an orgiastic or Bacchic or choral nature, as well as the mystic element in initiations; and they give the name "Iacchus" not only to Dionysus but also to the leader-in-chief of the mysteries, who is the genius of Demeter.
Rev. 9:11 And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name yon.

o is considered to have dominion over plague, light, healing, colonists, medicine, archery, poetry, prophecy, dance, reason, intellectualism, Shamans, and as the patron defender of herds and flocks. o had a famous oracle in Crete and other notable ones in Clarus and Branchidae.

o is known as the leader of the Muses ("musagetes") and director of their choir. His attributes include: swans, wolves, dolphins, bows and arrows, a laurel crown, the cithara (or lyre) and plectrum. The sacrificial tripod is another attribute, representative of his prophetic powers.

The swan and grasshopper symbolize music and song; the hawk, raven, crow and snake have reference to his functions as the god of prophecy.The chief festivals held in honour of o were the Carneia, Daphnephoria, Delia, Hyacinthia, Pyanepsia, Pythia and Thargelia.

Thalrgelia in Greek religion, one of the chief festivals of o at Athens, celebrated on the sixth and seventh days of Thargelion (May-June). Basically a vegetation ritual upon which an expiatory rite was grafted, the festival was named after the first fruits, or the first bread from the new wheat.

On the first day of the festival, one or two men (or a man and a woman), representing the deity but also acting as scapegoats for community guilt, were first led through the city and then driven out. Occasionally, as in times of heavy calamity, they were sacrificed, being either thrown into the sea or burned on a funeral pyre. On the second day of the festival, there were a thanks offering, a procession, and the official registration of adopted persons.

-o  o exercises an elevating and inspiring influence on the mind as god of music, which, though not belonging to him alone any more than atonement and prophecy, was yet pre-eminently his province. In Homer he is represented only as a player on the lyre,
while
song is the province of the Muses;
but in course of time he grows to be the
god, as they are the goddesses, of song and poetry,
        and is therefore
Mousagetκs (leader of the Muses) as well as master of the choral dance,
       
which goes with music and song. And as the friend of all that beautifies life he is intimately
    associated with the Graces
[Graces meaning CHARIS meaning Charismatic
        meaning the MARK of homosexual "worship"]


Revised 8.29.13
God set a mouse trap so that the text is actually INVERTED for those not OF TRUTH or not the lost spirits Jesus cam to seek and save. He did not pray for the world and God hides from the wise or Sophists defined as self-preachers, singers and instrument players.

The command is to SPEAK the ODES
-lexis , eōs, h(, (legō B) A. speech, OPPOSITE. ōdē, Pl.Lg.816d; l. ē praxis speech or action, Id.R.396c; ho tropos tēs l. ib.400d; ta lexei dēloumena orders given by word of mouth,

-ōdē , , contr. for aoidē,
“en tais ōdais kai melesin” R.399c, cf. 398c; OPPOSITE. lexis,

Psallo has never and can never speak of musical melody.  If someone said:

SPEAK to the students about the rules of grammar
SING and WHISTLE in the bathroom.

Is that too hard to understand? According to Paul if you tamper with the Word God sends strong delusions so that you believe your own lies. The results are Lying Wonders: lying wonders are rhetoric, singing, playing, juggling or acting AS a religious act--that legalism word.

Notice that ODE must include melos is you intend to SING.
MELOS or melody B. esp. musical member, phrase: hence, song, strain, Cratin.236; melē, ta, lyric poetry, choral songs, opp. Epic or Dramatic verse,
2. music to which a song is set, tune, Arist.Po.1450a14; OPPOSITE. rhuthmos, metron, Pl.Grg. 502c
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” OPPOSITE. rhuthmos, rhēma,

The Phormigx was the instrument of o (Abaddon, yon):  He was the father of musical harmony on his lyre. The psallo word is specificially related to o making his bow string twang to send forth a singing arrow into a literal heart.  His lyre sent forth love arrows into his often male lovers.  Most of the PLUCKING passages referenced by Stark, Payne and Burgess point directly to older males plucking strings to seduce a young male.   It was common to speak of "shooting forth hymns" without any of the ugliness associated with psallo.  God was not stupid: if He wanted to speak about any king of musical melody especially the Greek literates knew to use multiple words or a compound word devoted to EACH instrument or an accompaniment.

There is no lyric poetry in the Bible: Plucking a string and then singing TO that sound is not tuneful.

Rhēma , A.that which is said or spoken, word, saying
kata rhēma apaggeilai word for word
You cannot speak in the LOGOS sense (The Regulative Principle) because it is opposite to rhetoric, poetry or music.  Robert may SEE the text as commanding SINGING psalms, hymns and spiritual songs (all inspired) instead of SPEAKING.  Oding is the OPPOSITE of SPEAKING so Paul commanded that the normal pagan singing and playing instruments be SILENCED.

Theologians (Doctors of the Law) took over once-Christian Colleges the staff and most of the influence flooded in boasting of "Exercising Prophetic roles as Channellers to train advanced degrees to go out and facilitate (manipulate) the demise of conservative churches of Christ.  That translates into ANTI-instrumentalist who REFUSE to Affirm instruments or Conform by joining the "unity" movement. Those who refuse to Affirm and continue to teach the olden Text (pre post modern) have been declared subject to any means, fair or foul, to "infiltrate and divert."  Jesus thus defined the Scribes and Pharisees as hypocrites meaning in Ezekiel 33 self-speakers, singers and instrument players.

Jesus will ask WHY have you agreed among yourselves to blaspheme the Holy Spirit OF Christ in the prophets by saying that GOD has commanded your movement to claim that GOD COMMANDED INSTRUMENTAL PRAISE and YOU had better not be disobedient?  Jesus left THE MARK of A Church (school) of Christ and that is why those with no role and no dole are so anxious to use MUSIC which means "to make the lambs dumb before the slaughter."  This sorcery or witchcraft is recorded on clay tablets some up to 2,000 years old when Moses wrote his WARNING.  The eternal story is of a goddess getting the father god drunk and stealing all of the ME or magical powers including "the power of the eldership, the power of musical instruments and the power of stroking the private parts" which is proven by medical science.  The Spirit OF Christ  proved that it was the WOMEN who led the worship in Ezekiel 8

She rears her ugly head in Revelation 17 and uses "lusted after fruits" (same as in Amos 8) as speakers, singers and instrument players.  John calls them sorcerers who HAD once deceived the whole world.   The MARKS are that Christ removes the Lamps or seven Spirits OF Christ (Isaiah 11) at the same time the rhetoricians, singers and instrument players. The next act is that they will be cast alive into the lake of fire.  Christ gave us the PROPHETIC type in Isaiah 30

The MARKS in sight and sound of God driving His enemies into "hell" are wind, string and percussion instruments.  These are the same instruments the "singing and harp-playing prostitute" brought into the Garden of Eden when He-She-It was "cast as profane" (that praise word) out of God's presence.

Civil Greek Society promised to "tar and feather" any person who came into their community wanting to sell their speeches, poems and music and whatever need you have.

ABSOLUTE MARKS OF A CHURCH (SCHOOL) OF CHRIST

John 15:18 If the world hate you, ye know that it hated me before it hated you.
John 15:19 If ye were of the world, the world would love his own:
        but because ye are not of the world,
        but I have chosen you out of the world, therefore the world hateth you.
John 15:20 Remember the word that I said unto you, The servant is not greater than his lord.
        If they have persecuted me, they will also persecute you;
        if they have kept my saying, they will keep yours also.
John 15:21 But all these things will they do unto you for my name’s sake,
        because they know not him that sent me.
John 15:22 If I had not come and spoken unto them, they had not had sin:
         but now they have no cloke for their sin.
John 15:23 He that hateth me hateth my Father also.

Aristot. Nic. Eth. 1175b.1

But things that are akin to things of different kinds must themselves differ in kind. [3] A still clearer proof may be drawn
        from the hindrance that activities
        receive from the pleasure derived from other activities.

For instance, persons fond of the flute
        cannot give their attention
to a philosophical discussion [The LOGOS Regulative Principle]
        when they overhear someone playing the flute,
        because they enjoy music more than the activity in which they are engaged;
                therefore the pleasure afforded by the music of the flute
                impairs the activity of study.

hoi gar philauloi adunatousi tois logois prosekhein, ean katakousōsin aulountos,

Worship of God is giving all of our attention to God and the LOGOS
-prosekhō The ONLY worship concept in A Church of Christ
3. turn to or towards a thing, “p. omma” E.HF931: mostly, p. ton nounturn one's mind, attention to a thing, be intent on it,
ou prosekhei ta pragmata” “p. nomon theou” LXX Is.1.11, cf. Ex.34.11: also p. apo tōn hagiōn, tōn grammateōn, ib.Le.22.2, Ev.Luc.20.46; “p. tou phagein haima” LXX De.12.23; p. hina mastigōthēs ib.2 Ch.25.16.
Chronicles 25:16 And it came to pass, as he talked with him, that the king said unto him, Art thou made of the king’s counsel? forbear; why shouldest thou be smitten? Then the prophet forbare, and said, I know that God hath determined to destroy thee, because thou hast done this, and hast not hearkened unto my counsel.
Luke 20:46 Beware of the scribes, which desire to walk in long robes, and love greetings in the markets,
        and the highest seats in the synagogues, and the chief rooms at feasts;
Luke 20:47 Which devour widows’ houses, and for a shew make long prayers [Hymns]:
        the same shall receive greater damnation.

Jesus called the Scribes and Pharisees, hypocrites.   IN Ezekiel 33 Christ named self-speakers, singers and instrument players for hire.  Therefore, to SHOW FORTH would be to prophesi in order to fleece those Jesus set free.

katesthiō animals of prey, serpent 2. eat up, devour one's substance
 
prophēt-euō A.to be a prophētēs or interpreter of the gods, “manteueo, Moisa, prophateusō d' egō” Pi. l.c.; tis prophēteuei theou; who is his interpreter? E.Ion 413
Mant-euomai , (mantis):—divine, prophesy, modi, draw divinations from or by means of
2. generally, presage, forebode, surmise, of presentiment, Opposite knowledge
II. consult an oracle, seek divinations, Pi.O.7.31, Hdt.1.46, 4.172, etc.; “en Delphoisi” Id.6.76;
Pind. O. 7 Grace, which causes life to flourish, looks with favor now on one man, now on another, with both the sweet-singing lyre and the full-voiced notes of flutes. And now, with the music of flute and lyre alike I have come to land with Diagoras, singing the sea-child of Aphrodite and bride of Helios...Disturbances of the mind lead astray even a wise man. Tlepolemus went and sought the god's oracle.

1Corinthians 14:23 If therefore the whole church be come together into one place, and all speak with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad? mainomai , fut. to be mad with wine, of Bacchic frenzy, “mainomenos Diōnusos” 2. of things, rage, riot, esp. of fire,

The Mad Women of Corinth would be prophesying (11:5) or speaking other than those who spoke for instruction in a tongue or minor dialect dialekton logous pherein to bring news, {New}

la^l-eō
II. chatter, opp. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, Aristopho 10.6; “anthrōpinōs l.” Strato Com.1.46.
III. of musical sounds, “aulō laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.” Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin lalein sound the magadis, Anaxandr.35.

Mousa
II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308 (anap.); “euphamos” Id.Supp.695 (lyr.); “kanakhan . . theias antiluron mousas” S.Tr.643  “aluros m.” Id.Ph.1028 (lyr.); “dia mousas ēxa” Id.Alc.962

Pind. I. 2
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. 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: “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time.
Because, as Acts 7 makes clear, God had "turned them over to worship the starry host" rather than the Creator of the host BECAUSE of Musical idolatry at Mount Sinai.

To show or shine forth is prophēt-ēs ,  As PRETEND revealers they were New Wineskinners.
.one who speaks for a god and interprets his will to man, Dios p. interpreter, expounder of the will of Zeus, of Tiresias, Pi.N.1.60; Bakkhou p., perh. of Orpheus, E.Rh.972; [Dionusou p., of the Bacchae, Id.Ba.551 (lyr.); Nēreōs p., of Glaucus, Id.Or.364; esp. of the Delphic o, “Dios p. esti Loxias patros” A.Eu.19; of the minister and interpreter at Delphi, Hdt.8.36,37; at the Ptoφn, ib. 135, IG7.4135.13 (ii B.C.); cf. prophētis.
THE WORSHIP OF THE MUSES UNDER ABADDON OR YON SILENCES THE WORD OF GOD

-prosku^n-ētos , ē, on, A.to be worshipped, worshipful Mousaistai

Mousagetēs 1 doric for Mousēgetēs leader of the Muses, Lat. Musagetes, of o [Abaddon, yon] , Plat.1 Mous-a_getēs, ou, ho,

Mousa_geta_s , a, ho, Dor. for Mousēgetēs (v. infr.), A.leader of the Muses, epith. of o, Pi.Fr.116; “ho m. kai arkhagetas tas poiētikas theos” (Delph. Mousēgetēs , Pl.Lg. 653c, D.S.1.18, Jul.Or.4.132a, al.; voc. Mousēgeta^ , IG12(5).893 (Tenos); also Epithet of Heracles, in dat. Mousagētē ,

Mouseios , on, Aeol. Moisaios , a, on, (Mousa)\ A.of or belonging to the Muses, “hedra” E.Ba.410 (lyr.); Moisaion harma the car of Poesy, Pi.I.8 (7).67; lithos M. a monument of song, Id.N.8.47. II. musical, “kelados”

Mouso-polos , on, A.serving the Muses, poetic, “oikia” Sapph. 136 (s. v.l.); m. stonakha a tuneful lament, E.Ph.1499 (lyr.); kheires, stephanos, AP9.270 (Marc. Arg.), 12.257 (Mel.); mousopole thēr, addressed to Pan, Castorio 2.5. II. Subst., bard, minstrel, E.Alc. 445
THE WAY TO WORSHIP THE MUSES LED BY ABADDON OR YON

Kat-a^kouō, A hear and obey, be subject, “Arabioi oudama katēkousan epi doulosunē Persēsi” Hdt.3.88, cf. App.Syr. 55; tinos D.1.23, Arr.Fr.7J., App.Mith.57, , ib.314c; “k. aulountos”

Auleō
A. “auliōn” IG7.3211,3212 (Orchom. Boeot.): (aulos):—play on the flute, “Phrugion aulēsen melos” [the musical melody word] . Hdt. 1.141, 2.60, Pl.Prt.327a: c. dat. pers., X.Smp.2.8, etc.; au. exodon play a finale, Ar.V.582; au. eiresian, of the boatswain, Plu.Alc. 2:— Pass., of tunes, to be played on the flute, “ho Bakkheios rhuthmos ēuleito” X. Smp.9.3; “auleitai pan melathron” is filled with music, E.IT367.

SILENCING THE LIVING AND WRITTEN WORD BY THOSE WHO WORSHIP THE MUSES UNDER ABADDON OR YON'

Logos  computation, reckoning 2. statement of a theory, argument, ouk emeu alla tou l. akousantas prob. in Heraclit.50; logon ēde noēma amphis alētheiēs discourse and reflection on reality,
IV. inward debate of the soul, reflection, deliberation
Regulative and formative forces, derived from the intelligible and operative in the sensible universe,

Opposite to epithumia
 A. desire, yearning, longing after a thing, desire of or for it, Theaomai :--gaze at, behold, mostly with a sense of wonder3. view as spectators
Opposite Pathos  A. that which happens to a person or thing, incident, accident,
Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment,
Opposite Enthousi-astikos , ē, on, A. inspired, “phusis” Pl.Ti.71e; esp. by music,
VI. verbal expression or utterance, lego, lexis
      -Lexis A.speech, OPPOSITE τidκ

-τidκ, 1.art of song 5. = eppsdκ, spell, incantation
4. text of an author,  OPPOSITE exegesis [Peter's private interpretation outlaws exegesis]
Arist.En1142a26
Prose OPPOSITE -poiκsis, Id.R.390a;
OPPOSITE -poiκtikκ, D.H.Comp.6; opp. poiκmata, onomatopoeic word

OPPOSITE  emmetra Modus   2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: Mūsĭcus a, um, adj., = mousikos.
X. the Word or Wisdom of God, personified as his agent in creation and world-government,

347c] But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion.

For it seems to me that arguing about poetry is comparable to the wine-parties 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
[4] The same thing occurs in other cases when a man tries to do two things at once; the pleasanter activity drives out the other, the more so if it is much more pleasant, until the other activity ceases altogether.

Hence, when we enjoy something very much, we can hardly do anything else; and when we find a thing only mildly agreeable, we turn to some other occupation; for instance, people who eat sweets at the theater do so
especially when the acting is bad.

[
5] And since our activities [of the flute] are sharpened, prolonged and improved by their own pleasure, and impaired by the pleasures of other activities, it is clear that pleasures differ widely from each other. In fact alien pleasures have almost the same effect on the activities as their own pains; since, when an activity causes pain, this pain destroys it, for instance, if a person finds writing or doing sums unpleasant and irksome; for he stops writing or doing sums, because the activity is painful.

Aristotle on Politics 8
2. or whether we ought rather to think that
music tends in some degree to virtue (music being capable of producing a certain quality of character
       
just as gymnastics are capable of producing a certain quality of body,
        music accustoming men to be able to rejoice rightly);
3. or that it contributes something to intellectual
entertainment and culture (for this must be set down as a third alternative among those mentioned).
        Now it is not difficult to see that one must not make amusement the object of the education of the young;
        for amusement does not go with learning--learning is a painful process.


Jesus said that preaching the Word is a painful process: it will get you despised, rejected and killed.

Learning is a painful process: that is why THEOLOGY has replaced the WORD and you can just parott what the doctors of the Law tell you and force you to confess to make YOU a doctor of the law so that YOU can take away the key to knowledllge.

Never get neutered by a "musical worship service" which the texts Paul and John read trying to SILENCE the Words of Christ in song and sermon:

Hebrews 11:6 But without faith it is impossible to please him:
        for he that cometh to God must believe that he is,
        and that he is a rewarder of them that diligently seek him. [ekzēt-eō ,]
1Peter 1:10 Of which salvation the prophets have inquired and searched diligently,
        who prophesied of the grace that should come unto you:
1Peter 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.
1Peter 1:12 Unto whom it was revealed, that not unto themselves, but unto us they did minister the things,
        which are now reported unto you by them that have preached the gospel unto you
        with the Holy Spirit (WORD John 6:63) sent down from heaven;
        which things the angels desire to look into.
1Peter 1:13 Wherefore gird up the loins of your mind, be sober,
        and hope to the end for the grace that is to be brought unto you at the revelation of Jesus Christ;


“nēphōn methuonta hupo tēs Aphroditēs theatai” X.Smp.8.21;
IT WOULD BE NICE IF ANY ONE WHO HAS CONSPIRED TO "STEAL THE CHURCH HOUSE OF WIDOWS" WOULD GIVE A REASON FOR THE HOPE THAT LIES IN YOU.

Before the Disciples of Christ and especially the Christian Church intending "to take Tennessee for the organ and society party within 5 years" there is no stated need to find authority for using mechanical means for "worship" against Churches of Christ defined as "A School of Christ" until the  year 1878. While those with an agenda to "infiltlrate and divert" churches of Christ, once spoke of "preferences" the attack has reverted to the men--especially O.E.Payne--who insisted that instruments were COMMANDED.  Returning to the roots after 100 years of little success, still lisps the "psallo" word but have reverted to the Jacob-cursed and God-abandoned Levites who made instrumental "noise" at the temple.  Having missed the prophets by the Spirit OF Christ no level of "scholarship" informs any "Transistioner" (Jim Hackney and the Christian Standard) before they lurch into sowing massive discord claiming that a "spirit" told them to do it.

Revised 7.23.13  Ballard is utterly false: Robert Ballard simply has not read the Bible which condemns instruments from Genesis to Revelation.  I am certain that he follows the pattern of searching all of the instrument passages and looks for one which says "thou shalt not use instruments."  It is not possible to even read the text in ANY version and understand that the Spirit OF Christ in the Prophets repudiates the Instruments and says that The King of Tyre as agent of Lucifer who brought instruments into the garden of Eden. He calls him/her/it "the singing and harp playing prostitute."  Jesus Christ marked for identification the Babylon Mother of Harlots (Rev 17) who still uses "lusted after fruits" (Amos 8) as any religious teknokrat: self-speakers, singers, instrument players.  John calls them sorcerers who HAD deceived the whole world.  Jesus was sent to seek and separate those NOT of the World or Kosmos: NACC's Cosmic Worship led by a latter day Monk.

Instrumental Music in Worship is Sin: The Bible Tells Disciples (only) so. people have stolen the worship word to make it listening to self-speak preachers, singers and instrument players. That is defined as IMPURE religion. 

NACC 2013 Vioctorious Review. In the words of Dwayne E. Dunning "we have to lop off the branches one by one" since subverting the whole TREE has met with failure except a few "failures" from the once-Christian universities now wholly subverted.

Post Civil War: history: In 1890 the first convention was called at Chattanooga to organize the state society. The only churches in the state of Tennessee were those who had already adopted the organ in their worship. The Christian Standard pumped up the news and "it is reported that the brethren in Nashville, Tennessee are desirous of entertaining our National Convention next year."  This of course was just two congregations. A survey showed that out of 2500 members in Nashville, less than one hundred wanted the society. Lipscomb noted that among the Society people "the Bible is as popular as last year's almanac." "The supporters of the missionary society organized the Tennessee State Missionary Convention on October 6, 1890, with one purpose in mind, as stated by J. H. Garrison. He said at that time: "We will take Tennessee for organized mission work...within five years."

A. I. Myhr was dispatched to Tennessee to head the new state society despite the protestation of David Lipscomb that Tennessee was not a destitute mission territory. Myhr and his supporters moved resolutely ahead to accomplish their mission. "Their efforts met with some success and the intent was clear. Myhr was aggressive and abrasive in his operations. His actions were of such a nature, in promoting the missionary society, that he came under the direct attack of E. G. Sewel and David Lipscomb. And as later event proved, Myhr was no match for Lipscomb and the Gospel Advocate.

Stark  In the Stark Warlick Debate,  thought of worship as the emotion of the soul and that it might "produce singing, shouting, praising, leaping, dancing, hand clapping, or thanksgiving and such should not be suppressed by man made rules."

O. E. Payne Instrumental Music is Scriptural p 125

M.C. Kurfees Origin of Instrumental Music in Christian Worship

M.C.Kurfees Instrumental Music in Worship total book

Boswell-Hardeman Summary
The Book: The Boswell Hardeman Discussion on Instrumental Music.

Paul speaks of Lifeless Instruments which are Carnal Weapons.

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

This is not speaking as in the command to SPEAK one to another to teach and comfort. Sounding brass and tinkling cymbals here are identifying marks of people who have NO LOVE. Even if they COULD speak all of the languages in the world there would be no love. The command is to SPEAK or LOGOS the Word of Christ which is the opposite of rhetoric, singing or playing instruments. Speaking in the tongues of angels was IN FACT making music in tongues.  Tongues and Instruments INTEND to lull people to sleep with THE LOCUSTS OF REVELATION.

La^l-eō, Mark of the Locusts II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday,  III.  of musical sounds, “aulō [flute] laleō” Theoc.20.29; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echomagadin lalein sound the magadis,  [double flute]

Aggelos ,  of a loquacious person 2.  generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet
Aggelos , ho, ,
A. messenger, envoy, Il.2.26, etc.; “di' aggelōn homileein tini” Hdt.5.92.z, cf. SIG229.25 (Erythrae):— prov., Arabios a., of a loquacious person, Men.32.
2. generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet,“aggelon glōssan logōn” E.Supp.203; “aisthēsis hēmin a.” Plot.5.3.3; neut. pl., “aggela nikēs” Nonn.D.34.226.
4. In later philos., semi-divine being, “hēliakoi a.” Jul.Or.4.141b,  “a. kai arkhaggeloi”  also in mystical and magical writings, “aggela nikēs”
nik-ēi_, II. pr. n., Nike, the goddess of victory, Hes.Th.384, cf. Pi.I.2.26, etc.; “Nikē Athana Polias” S.Ph.134, cf. E. Ion457 (lyr.), 1529.
Eur. Supp. 203 Theseus
[195] Full often have I argued out this subject with others. For there are those who say, there is more bad than good in human nature; but I hold a contrary view, that good over bad predominates in man, [200] for if it were not so, we should not exist. He has my praise,
        whichever god brought us to live by rule from chaos and from brutishness,
        first by implanting reason, and next by giving us a tongue to declare our thoughts,
        so as to know the meaning of what is said..

And where sight fails us and our knowledge is not sure, the seer foretells by gazing on the flame, by reading signs in folds of entrails, or by divination from the flight of birds.
        Are we not then too proud, when heaven has made such [215] preparation for our life,
                 not to be content with it?
        But our presumption seeks to lord it over heaven,
                 and in the pride of our hearts we think we are wiser than the gods.

Col 2:18 Let no man beguile you of your reward in a voluntary humility and worshipping of angels, intruding into those things which he hath not seen, vainly puffed up by his fleshly mind,

Beguile (paralogizhtai). Only here and Jas. i. 22. See note. Rev., delude. So Ignatius, speaking of the duty of obedience to the bishopsays: "He that fails in this, does not deceive the visible bishop, but attempts to cheat (paralogizetai) the Invisible" (Epistle to Magnesians, 3.). The word is found in the Septuagint, Josh. ix. 22; 1 Sam. xix. 17; 2 Samuel xxi. 5.

Beguile
katabra^beuō
, A.  give judgement against one as brabeus, and so, DEPRIVE one of the prize, DEPRIVE one of one's right, c. acc., Ep.Col.2.18, Sch.Il.1.399: rule over, “ k. tōn loipōn”

Hom. Il. 1.[395] For often I have heard you glorying in the halls of my father, and declaring that you alone among the immortals warded off shameful ruin from the son of Cronos, lord of the dark clouds, on the day when the other Olympians wished to put him in bonds, even Hera and Poseidon and Pallas Athene

Vincent 18. Beguile of reward (katabrabeuetw). Only here in the New Testament. From kata against, brabeuw to act as a judge or umpire. Hence to decide against one, or to declare him unworthy of the prize. Bishop Lightfoot's rendering rob you of your prize, adopted by Rev., omits the judicial idea, 199 which, however, I think must be retained, in continuation of the idea of judgment in ver. 16, "let no man judge," etc. The attitude of the false teachers would involve their sitting in judgment as to the future reward of those who refused their doctrine of angelic mediation. Paul speaks from the standpoint of their claim.
Voluntary "PLAN" to be humble.
Ethelo  to be willing of consent rather than desire, they cared not to make a stand, i.e. they were unable
9. delight in, love, to express a future event, like our will or shall,
Isn't it predestinated of those OF the World for whom Jesus will not pray; and the wise [speakers, singers, instrument players] from whom God HIDES to GRAPPLE with the Psallo (same root as SOP) to prevent people from reading the massive connection between musical sounds and trying to silence the voice of the Victim?

See a fuller list of ACTUAL passages in the Bible which condemns instruments: the evil is that Self-speaking, singing or playing instruments PROVES that one does not Grasp that the Church of Christ is A School (only) of the Word (only) of Christ in the Prophets and Apostles. Therefore, Christ outlaws seeking your own pleasure or speaking your own words in the name of God is outlawed.  Paul calls this corruptiong the word or selling learning at retail which is defined as prostitution.

Genesis 3:1 Now the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?

Genesis 3.1  sed et serpens erat callidior cunctis animantibus terrae quae fecerat Dominus Deus qui dixit ad mulierem cur praecepit vobis Deus ut non comederetis de omni ligno paradisi

5175 nβchβsh naw-khawsh' From H5172 ; a snake (from its hiss):—serpent.
H5172 nβchash naw-khash' A primitive root; properly to hiss, that is, whisper a (magic) spell; generally to prognosticate:— X certainly, divine, enchanter, (use) X enchantment, learn by experience, X indeed, diligently observe.

Serpo
, of things, to move slowly or imperceptibly, to creep along, proceed gradually,
Of disease, etc.: “si ulcus latius atque altius serpit,” gradually spreads, “serpentes quasdam (bestias), quasdam esse gradientes,”  “chamaeleon,
 Fire: “exsistit sacer ignis et urit corpore serpens,” slowly spreading,  canam, qui leniter
(cf.: “sermones Repentes per humum,”
A creeping LOUSE

The newest song which the singers have, (Odyssey)...
"they will be afraid that he may be praising, not some new songs, but a
new kind of song; and this ought not to be praised, or conceived to be the meaning of the poet; for any musical innovation is full of danger in the whole State, and ought to be prohibited. 
"So Damon tells me, and I can quite believe him; he says that when modes of music change, the fundamental laws of the State always change with them..." 
"Then," I said, "our guardians must lay the foundations of their fortress in music?"
"Yes," I replied, 'in the form of amusement: and at first sight it always appears harmless
'." (The Great Dialogs, Plato, Classic edition, p. 312)

lēnis , I. soft, smooth, mild, gentle, easy, calm. sensus judicat dulce,
dulcis  II. Trop., agreeable, delightful, pleasant, charming, soft, flattering.
“orator,” Cic. Off. 1, 1, 3; cf. “of orators or writers,” “carmen,” id. 12, 10, 33: “poλmata,” Hor. A. P. 99
carmen , a tune, song, air, lay, strain, note, sound, both vocal and instrumental
“per me (sc. inem) concordant carmina nervis
Christ marked the king of Tyre as "lucifer" which He identified as a "singing and harp-playing prostitute in the garden of Eden." So the anti-God morning star is prophetically identified as the enemy of the LOGOS or true Day Star.  LOGOS is identified as the REGULATIVE PRINCIPLE.

o is Abaddon or yon: his musical worship team or muses are marked in the literature as dirty adulteresses, John calls them SORCERERS and says they will be cast alive into the Lake of Fire.

Quint. Inst. 12 10.33 Consequently the Greek language is so much more agreeable in sound than the Latin, that our poets, whenever they wish their verse to be especially harmonious, adorn it with Greek words.

pŏēma
, a composition in verse, a poem. Poλsis est perpetuum argumentum e id. A. P. 416: “scribere,
pangere,” Hor. Ep. 1, 18, 40;
Hor. Ars 416
Orpheus, the priest and interpreter of the gods. Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion. This was deemed wisdom of yore, to distinguish the public from private weal; things sacred from things profane;.. Oracles were delivered in poetry, and the economy of life pointed out, and the favor of sovereign princes was solicited by Pierian strains, games were instituted, and a [cheerful] period put to the tedious labors of the day; [this I remind you of,] lest haply you should be ashamed of the lyric muse, and o the god of song....he who sings the Pythian strains,2 was first a learner, and in awe of a master. But [in poetry] it is now enough for a man to say of himself:— "I make admirable verses: a murrain seize the hindmost: it is scandalous for me to be outstripped, and fairly to acknowledge that I am ignorant of that which I never learned."
2 “Pythia cantica” Hor. Ars 414, songs like the hymns which were sung in honor of o [Abaddon, yon], by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing.
THE SERPENT AS MUSICAL ENCHANTER(ESS) IS WISE BUT GOD HIDES FROM THE WISE OR SOPHISTS: SPEAKERS, SINGERS, INSTRUMENT PLAYERS, DANCERS, ACTORS

Callĭdus , a, um, adj. calleo, I.that is taught wisdom by experience and practice, shrewd, expert, experienced, adroit, skilful:  “in disputando,” Quint. 12, 2, 14
In reference to art, excelling in art, skilful, Hor. S. 2, 3, 23 — -sŏno

dis-pŭto ,
“isti in eo disputant, Contaminari non decere fabulas,”
Contamino
[Chalal or polluting the Rest means play the flute, steal other people's property, pollute or prostitute]

fābŭla
, “poλticae
1.
Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,
atque carminibus non a veritate modo,
Prov.: Lupus in fabula (like the Engl., talk of the devil, and he will appear), of a person who comes just as we are talking about him
THE SERPENT OR BEAST IS
Herpō , herpein es muthon, pros ōdas, Id.Hel.316, Cyc.423 ;
herpon tois odousi thērion an animal that walks on its teeth, 
Theiron or Beast is a New Style of Music of Drama suddenly attacking.
ēnthon, etc., “eis to hieron
Even a Levite was to be executed if he entered, sang or played in a holy place.
Muthos  2. public speech, “m. andressi melēsei” Od.1.358; “muthoisin skoliois” 
muthoisi kekasthai to be skilled in speech, OppositeLOGOS
LOGOS includes the Regulative Principle: is the opposite of singing, poetry or music.
Muthos , ho, A.word, speech
2.public speech, “m. andressi melēsei” Od.1.358; “muthoisin skoliois [crooked race]
either of a story which never comes to an end, or of one told to those who do not listen, 

Churches of Christ try to refuse to PERMIT those who intend to IMPOSE instruments: otherwise the subject would never come up.

Revised 5.24.13 Thou has Turned My Mourning into Dancing. Perhaps by God's design, they didn't read enough to understand that this is the GENDER mark well documented by Christ in Isaiah 3.

After the fall into musical idolatry of the trinity at Mount Sinai the Church of Christ (the Rock) was ordaineed to specificially outlaw the ALARM when calling the assembly. Moses had been told in Ezodus 18 how to select non-mercinary leaders down to groups as small as then families in the very isolated villages: Most Jews probably never say Jerusalem which was a Jebusite High place.  The Synagogue or Church was to Rest, Read and Rehearse the Word of God--Speak the Word and meditate IN the heart.  The Alarm or Triumph was outlawed because any person making vocal or instrumental rejoicing sounds or trying to preach would be MOCKING the Spirit OF CHRIST Who spoke through the Covenant and Prophets.

The MARK of another fall into musical polytheism was prophesied in the Psalms where always-effeminate musicians would mock Him up to the foot of the old rugged cross: when Jessus called the Scribes and Pharisees Christ in Ezekiel 33 had names self-speakers, singers and instrument players: this was a mark that people were MOCKING God because they had no intention of obeying God's Word.


THIS IS THE MARK OF THE PROGRESSIVES--BACK TO BABYLON: JAY GUIN KEEPS A LIST:

Matthew 27:29 And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand:
        and they bowed the knee before him,
        and mocked him, saying, Hail, King of the Jews!
Matthew 27:31 And after that they had mocked him, they took the robe off from him,
        and put his own raiment on him, and led him away to crucify him.

illūdo (inl-
I  Neutr., to play at or with any thing, to sport with, amuse one's self with (syn. colludo; cf. ludificor).
1. T
o scoff or mock at, to make a laughing-stock of, to ridicule (so most freq.): “satis superbe illuditis me,
“feminarum illustrium capitibus,”  : illusa pictae vestis inania, rhetorum),
How to use PSALLO to turn captives into WOMEN
Grant, then, forgiveness to the Lydians, and to
make sure of their never rebelling against thee, or alarming thee more,
send and
forbid them to keep any weapons of war, command them to wear tunics under their cloaks, and to put buskins upon their legs,
..........and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein),
..........and shop-keeping (Hucksterism). 
So wilt thou soon see them become women instead of men,
and there will be no more fear of their revolting from thee."

-[4] Ludoisi de sungnτmκn echτn tade autoisi epitaxon, hτs mκte aposteτsi mκte deinoi toi eτsi: apeipe men sphi pempsas hopla arκia mκ ektκsthai, keleue de spheas kithτnas -[khiton  David's garment] te hupodunein toisi heimasi kai kothornous hupodeesthai, proeipe d' autoisi -kitharizein te kai psallein kai kapκleuein [prostitutes, petty trade, playing tricks, corrupting] paideuein tous paidas. kai tacheτs spheas τ basileu gunaikas ant' andrτn opseai gegonotas, hτste ouden deinoi toi esontai mκ aposteτsi."

The word kitharizo means to PLAY THE CITHARA and does not include singing.

-Kitharizτ 1 [kitharis] to play the cithara, phormingi [o] kitharize Il., Hes.; lurκi eraton kitharizτn Hhymn. (so that there can have been no great difference between the kithara, lura, and phorminx ); kitharizein ouk epistatai, of an uneducated person,

-Kithar-isis , eτs, hκ, playing on the cithara, Pl.Prt.325e; k. psilκ, i.e. without the voice, Id.Lg.669e, cf. Pae.Delph.15; aulκsis kai k. Phld.Mus.p.23 K.

-Arassτ ,of any violent impact, with collat. notion of rattling, clanging, as of horses, hoplais, pound in a mortar, strike with a shower of stones.
a). kitharēn strike the lyre, Orph.A.382; humnon, melos, etc., Nonn.D.1.15,440, etc.
2. c. dat. modi, arassein tina oneidesi, kakois, assail with reproaches or threats,
II. Pass., to be dashed against, dash one against the other
Pound in a mortar, “holmō a.” Nic. Th.508

When they MOCKED Jesus the prophecy used the word Alarm or Triumph which is to play loud wind instruments and make a loud rejoicing sound.

G1702 empaizō emp-aheed'-zo From G1722 and G3815 ; to jeer at, that is, deride:
Empaizō , fut. A.“-xomai” LXXHb.1.10: pf. empepaikha ib.Nu.22.29mock at, mock, “tini” Hdt.4.134;
3.
Pass., to be deluded, Ev.Matt.2.16, AP10.56.2 (Pall.), Vett.Val.16.14; to be defrauded, of the revenues, Cod.Just.1.34.2.
II.
sport in or on, “hōs nebros khloerais e. leimakos hēdonais” E.Ba. 866 (lyr.); tois khoroisin e. to sport in the dance, Ar.Th.975; “ gumnasiō” Luc.Lex.5. 
E.Ba. 866 Euripides, Bacchae ........OnLine Text
 
Chorus
Shall I move my white foot in the night-long dance, aroused to a frenzy, [865] throwing my head to the dewy air, like a fawn sporting in the green pleasures of the meadow, when it has escaped a fearful chase beyond the watchers [870] over the well-woven nets, and the hunter hastens his dogs [Catamites] on their course with his call, while she, with great exertion and a storm-swift running, rushes along the plain by the river, rejoicing [875] in the solitude apart from men and in the thickets of the shady-foliaged woods.
What is wisdom? Or what greater honor do the gods give to mortals than to hold one's hand [880] in strength over the head of enemies? What is good is always dear.
Empaiktκs , ou, ho,A. mocker, deceiver, LXXIs.3.4, 2 Ep.Pet.3.3, Ep.Jud. 18.
2 Peter 2:13 And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you;

Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves.

Truphaτ , ( [truphκ]
2. part. truphōn as Adj., effeminate, luxurious, Ar.Nu.48, etc.; “t. kai amelēs” Pl.Lg.901a; “to truphōn” effeminacy, Ar.V.1455 (lyr.); also of things, dainty, delicate,  “paison,
II. to be licentious, run riot, wax wanton, Ar.Lys.405, etc.; to be extravagant

Paison paizτ [pais]
2. esp. dance, “paisate” Od.8.251; “dōma peristenakhizeto possin andrōn paizontōn” 23.147, cf. Hes.Sc.277; “p. te kai khoreuein”
alla pepaistai metriōs hēmin
, of the chorus,
4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16.
5.
play amorously,

IT'S TRUE: JESUS NEVER POSTED A LAW THAT SAID "THOU SHALT NOT MUSICALLY MOCK ME"

STRONG DELUSIONS LYING WONDERS REV 5.17.13

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

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

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

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

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

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


THE ONLY MEANING OF LITERAL WORSHIP:

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

G4352
proskuneō pros-koo-neh'-o From G4314 and probably a derivative of G2965 (meaning to kiss,
like a dog licking his master’s hand); to fawn or crouch to, that is, (literally or figuratively)
prostrate
oneself in homage (do reverence to, adore):—worship.
Proskun-eō obeisance to the gods or their images, fall down and worship, c. acc., Hdt.2.121
2. 
esp. of the Oriental fashion of prostrating oneself before kings and superiors, abs., Hdt.1.119, 8.118: c Plat.
  TRUTH:
Rep. 398a 3. welcome respectfully, respect, “prosekunēsa sou ta grammata” That which is written ; ta hiera g. the Holy Scriptures2 Ep.Ti.3.15, J.Ap.1.10;

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

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

Thaum-astos
, Ion. thōm- , ē, on, th. lokhos gunaikōn, “thaumaston poieis, hos .II. admirable, excellent
of the Furies, A.Eu.46; Aeschylus, Eumenides 34
III.
to be worshipped, “oudeis m' areskei nukti thaumastos theōn” E.Hipp.106.
Areskō a^, impf.  “to kolakeuein nun areskein onom' ekhei” “heautois” Ep.Rom.15.1:—Med., malista ēreskonto  pleased him most, Hdt.6.128.
kola^k-euō , A.to be a flatterer, a Lisping parasite. thaumatopoiōn, goēteuein [bewitch, be wizard] monon kai kolakeuein ton akroatēn dunamenon
Strab. 1.2 Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals, and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him...The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honour and virtue have nothing to do with our estimate.
13 A harvest-wreath of laurel or olive wound round with wool, and adorned with fruits, borne about by singing-boys at the puanepsia and thaogēlia, while offerings were made to Helios and the Hours: it was afterwards hung up at the house-door. The song was likewise called eiresionθ, which became the general name for all begging-songs.
Romans 15:1 We then that are strong ought to bear the infirmities of the weak, and not to please [Areskō] ourselves.
Romans 15:2 Let every one of us please his neighbour for his good to edification. [fill full: education]
Nux 3. in Comparisons, of anything dark and direful, nukti eoikōs like night, of o[Abaddon, yon]
 in his wrath, Il.1.47, cf. 12.463, Od.11.606
III.
Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224.
Plato. Republic [398a] who was capable by his cunning of assuming every kind of shape and imitating all things should arrive in our city, bringing with himself the poems which he wished to exhibit, we should fall down and worship him as a holy and wondrous and delightful creature, but should say to him that there is no man of that kind among us in our city, nor is it lawful for such a man to arise among us, and we should send him away to another city, after pouring myrrh down over his head and crowning him with fillets of wool, 
Commentary Epideik-nu_mi -nuō 2. . more freq. in Med., show off or display for oneself or what is one's own, mousikan orthan e. give a specimen of his art. of a rhetorician lecturing, Id.Phdr.235a; “polla kai kala” Id.Grg.447a; of epideictic orators, Arist.Rh.1391b26; of a musician, Ael.VH9.36: c. part., e. “hupertheōn” Pl.Lg.648d.
The idea suggested by proskunoimen and hieron, that the poet is a sort of theos or theios [god or goddess] anēr, is now elaborated with ironical politeness. The images of the gods were anointed, and crowned with garlands, not only on great occasions (cf. Cic. Verr. IV 77), but also at other times, according to Proclus, who remarks on this passage muron autēs (sc. tēs poiētikēs) ...Apropos of the present passage, Dio Chrysostom and other ancient writers cited by Ast refer to the anointing of swallows by Greek women: kai keleuei mala eirōnikōs (so Ast: MSS eirēnikōs) stepsantas auton eriō kai murō katakheantas aphienai par' allous: touto de hai gunaikes epi tōn khelidon ōn poiousi (Dio Chr. Or. 53 p. 276 ed. Reiske). To this custom Ast supposes that Plato is alluding, the poets being as it were faithless and garrulous swallows (cf. khelidonōn mouseia), as well as to the Pythagorean precept ‘not to admit swallows into the house’

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

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

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

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

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

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

Added quotes (misquotes) from Winder below


Robert Ballard:
This book refers to the over 180 places in the Bible where instrumental music is used to praise God.

Nevertheless, there is not a single instance of the church--beginning in the wilderness as the Qahal or synagogue--ever assemblying to sing with instrumental accompaniment.   2 Chronicles 29 as the proof text which justifies sowing massive discord and doing a hostile takeover of churches involved the King, city officials, priests and Levites ONLY. No one not of the cursed and abandoned tribe of Levi was permitted to be present. Those who can read understand that the command of God was for the Levites to stand in ranks under the king and commanders of the army. Where do preachers get the notion that they have become "a king set over us?" They stood guard to execute any civillian who ventured inside the gates.

Since the Levites were under the king and commanders of the army the PRAISE word intended to threaten the enemy and turn them into cowards: that is often repeated by the NACC.  The word "Lucifer" is derived from David's praise word which means to boast or make a fool of yourself: since "praise singers" were the world's OLDEST profession believing that they could appease or seduce the gods, preachers who never bother to define words answer to the charge of Jesus that "the doctors of the law take away the key to knowledge."  Jesus called these Scribes and Pharisees, hypocrites by quoting from Isaiah and specificially Ezekiuel 33 where Christ names "rhetoricians, singers and instrument players." It is true: God never said 'thou shall not be a hypocrite.'  However, the Greek language specificially defines rhetoricians, singers and instrument players hypocrites as well as enchanters or sorcerers.




The command to make instrumental noise was by the COMMAND OF DAVID for the burnt goat to try to appease Israel as the historic Instrumental Sect.  Christ says that God did not command sacrifices or burnt offerings.

The NACC and a few dupes have used extreme means to force churches of Christ to "unite" and make music.


Therefore, they have made a major industry to command people to do what Christ says God did not command.


Christ in Jeremiah 23 defines that as
blasphemy of the Holy Spirit of Christ.

The Jacob-cursed Levites volunteered to
slaughter 3,000 of the "brethren" for engaging in musical idolatry at Mount Sinai.  Moses then gave them the perpetual role of standing in ranks: any civilian not authorized as the Civil-Military-Clergy congregation was to be executed and never led in worship. The performance of the noise was by the command of David.

Furthermore, the church is built on the teachings of the prophets (by Christ) and the prophecies made more perfect by Jesus of Nazareth. Peter lists these two resources as Christ-revealed.  He identified anyone who taught otherwise as false teachers.   The exclusion of "vocal or instrumental rejoicing" which includes an elevated form of teaching defines the Holy Convocation for the holy people quarantined from the unholy assemblies of the tribe of Levi cursed by Jacob and abandoned to worship the starry host because of musical profaning of the Sabbath at Mount sinai. There is no command, example or remote inference that a Rabbi imposed an instrument until as late as the year 1815 in Germany: the ethical judge refused to let the musical discorder confiscate the synagogue.  Even in the lowest level of commercial ethics, the person wanting to take control is bound to leave and pay for his own property or be confined.

The historic pattern endorsed by Jesus, commanded by Paul and practiced by the historic Church of Christ was:


Acts 15:21 For Moses of old time

        hath in every city them that preach him,
        being read in the synagogues every sabbath day.

Why would the masses of theology NOT understand that?  Maybe because Jesus hid the word from the clergy in parables from the foundation of the world: the best place to hide the word from "doctors of the law" is in plain sight.


New 8.15.11 
Added Hezekiah's Plague Stopping Exorcism

New 8.15.11 
The Levites would kill you if you were inside the gatesduring the sacrifices.

It is impossible to be a Christian or a follower of Christ and refuse to follow
His command to teach what HE commanded to be taught.
Matthew 28:18 And Jesus came and spake unto them, saying,
        All power is given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore,
        and teach all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
        Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen.  Matthew 28:20
The commmands of God are assertive: one never tries to trump God by teaching what He DID not command as the core of the assembly. Because ALL authority is vested with the Son, there can be no imagined authority imposed on others by a human.

Because the Spirit of Christ informed the prophets to repudiate the Civil-Military-Clergy complex which had been abandoned to the worship of the starry host, including the worship of fire, The Church is built or educated by the Prophets and the prophecies made more perfect and left as a written memory of the Apostles. Furthermore, Jesus in person did not participate or command any kind of what we would call music.  Hymns are spoken; Spiritual songs exclude instruments and Psalms never imply the use of an instrument.  The Spirit does not have to IMPLY.


Jesus of Nazareth would die, be resurrected, be changed, ascend to the Father and receive the
PROMISE of the Holy Spirit: that is, He would continue to teach the Apostles in His post resurrected state: The "another Comforter" different in this respect is still named "Jesud Christ the Righteous."  Peter left that "memory" for us and outlawed private interpretation or further expounded.  He identified anyone who did not respect that Christ empowered memory as a false teacher.

A Christian is a disciple of Christ commanded to assemble only to
learn and confess the Word of Christ.  Disciples never try to convince the other disciples that he should make instrumental noise when the Master Teacher is teaching Chemistry.

The
Instrument war is built on the foundation of not grasping that the Church of Christ is an ekklesia or synagogue and has only one purpose: to instruct people from the Word of God.   Did you know that the effeminate enemies of Christ beat him to the bones with their "flutes?" Well, that's the prophecy.

It is a waste of time to try to refute the practices of a national Israel and Judah who were worshipping the starry host: except those lusting to be entertain fall into the pit of commanding that to which God abandoned God to slavery and death.


Even the, the Levites were God's guarantee that the godly people--who attended synagogue or the Church of Christ in the wilderness--did not even get close to the horrors quarantined behind closed doors.


The fact is that Jesus and the writers of the epistles reject any hypocritic or cunning sophists including speakers, singers or instrument players just before defiing the synagogue as a School of the Word of God only.


Jesus outlawed music for the Church of Chris
t, practiced it and endorsed the synagogue and never COMMANDED any kind of musical performance when He comes to be our teacher. That means that those who impose music do not know that a Christian is a disciple and not a ceremonial legalists or that the church is a place for preaching the word by Reading and discussing it.

Malachi 3 short notes to prove that the MARK is people using musical instruments as weapons: not mysterious, just a simple text.


Malachi 4 continues the MARKS.

  • Fact. God turned the Israelites over to worship the starry host because of musical idolatry at Mount Sinai (acts 7 etal).
  • We know the names of the starry host.
  • Why would the masses of religionism make a major industry out of forcing people to worship the starry host?
  • Why do you suppose they despise those who refuse to join with them? Don't they know that the church is built upon the teachiings of Christ in the prophets (repudiating music) and Jesus Whom God made to be both Lord and Christ who made the prophecies more perfect through the Apostles.
PROOF THAT THE PATTERN OF THE NACC WAS NOT COMMANDED BY GOD.

When they use the Israelite Civil-Military-Priestly class as the patternism for making "sacrificial" music without the literal sacrifices do they not know that

"The Israelite state was not founded with divine blessing. Rather, it was allowed as a grudging concession, just as a parent lets a child have his way in order that he may learn his folly from experience." (Anderson, Bernard, Theology of the O.T. p. 163).

"In one sense the creation of the monarchy was providential...In retrospect, one can say that events which brought about the collapse of the Confederacy and the rise of the Israelite state were not...devoid of divine purpose. God's revelation is relevant to the whole of human life--to economics, politics, and every sphere of human activity.

If God would speak to the nations through Israel, then Israel must undergo the experience of being a nation in order that she might appreciate the wealth of nationhood and attack the idolatrous power of nationalism." (Bernard Anderson, p. 163) 

Why would preachers claim that "God commanded instrumental praise and we must not be disobedient?" Why would they make that claim to thousands of people intending to impose musical machines knowing that it would sow discord among the owners so they could use their church as "a theater for holy entertainment?" Wouldn't they know that rhetorical preaching, singing, clapping, playing instruments and doing some body gyration would make it impossible for the elders to "teach that which has been commanded?"

IF COFFMAN AND ALL HISTORIC SCHOLARS ARE CORRECT THE INSTRUMENTALISTS ARE FORCING YOU TO WORSHIP THE STARRY HOST.

Coffman's Commentary  The great Cambridge scholar, Henry McKeating, has the following comment on this passage from Hosea:

"Hosea is not only antagonistic to the northern kings but to the monarchy as such. The monarchy is powerless to save the nation. Israel was wrong to ask for a king. Her punishment was that she got what she asked." 7: Henry McKeating, Amos, Hosea, and Micah (Cambridge: University Press, 1971), p. 148.

Coffman: "We are aware that it is popular among many able commentators today to make apologies for Israel's monarchy and to apply what the Scriptures plainly say about it to some specific monarch, Saul, for example, as did Dummelow, or to the kings of Northern Israel as did Hailey;

but it is the conviction of this writer that
Israel was totally and completely wrong in asking a king and that this rejection of God (that is what the text calls it) contained embryonically all of the later sorrows of the Chosen People.

Throughout the whole history of Israel, there were very few monarchs who even tried to serve the Lord. Solomon was to be blamed for the division of the kingdom under his son, because the people simply rejected the excesses of Solomon; and yet, even after God took the monarchy away from them, the nation wanted nothing in heaven or on earth as much as they wanted the restoration of that scandalous Solomonic empire.

It was this, more than anything else, that motivated their rejection of God Himself,

finally and irrevocably,
in their rejection of God's Son, Jesus Christ the Holy One.

All church fathers understood that. No Bible student could miss that. 

MOST DO NOT ACCEPT THAT CHURCH IS "A SCHOOL OF THE WORD." THEY FALL INTO THE FATAL DEFINITION OF MOST PAGAN INSTITUTES.

The Church had to fight the man cults among the paganism: the Jews had a covenant with Death. The women musicians wanted to help Jesus with the "dead" girl by honoring or appeasing her soul. Funeral festivals or Martyr's festivals or just about anything festivals gave people the opportunity to feast, sing, dance, play instruments offer sacrifices to the dead. God knew that they offered the worship to Him but THEY ate the food.  After all, the task of the church was to try to remove the superstitions and burdens of sacrifices, priesthoods, musicians and exorcists all identified as "parasites."

Hippolytus   We think, then, that the "psalms" are those which are simply played to an instrument, without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument;
"We think" won't work: you need fodder to think.  There is no instance where any of the psallo type words (including SOP) is used to mean "play a harp."   It requires three words to define singing AND playing AND the name of the instrument.

The Jews who translated the Greek or Septuagint (LXX) picked the word "psallo" to speak of psalms because so many of them are warrior's chant: "My god can destroy your god."  They picked the psallo rooted words which means SOP, do violence by shooting literal arrows, do sexual violence by shooting love arrows (Abaddon), or sing because the common expression was "shooting out seductive love songs." Tom Burgess collected many of the examples of "plucking" but did not tell you that ALL of them connect to older males--such as Alexander the Great--who embarassed his father because he skillfully played the harp trying to seduce a younger male whose pubic hairs had been plucked.

We are safe from sowers of discord because none of the Bible is metrical in a tuneful sense: God made certain that you cannot be faitful and teach that which is commanded for our learning AND do musical performance at the same time.

That is because "psalm" is derived from a stringed instrument which can be plucked with the fingers only. That is because it was used primarily of plucking a bow to make it "twang" to send forth a "singing" arrow into the literal heart. The Jacob-cursed Levites produced "fear" and not reverence.

It would prove a disrespect for facts to extend smiting a string with the FINGERS only into using a guitar pick, drums, cymbals, flute, trumpet, organ or piano: in fact it would prove a DELIBERATED and high handed violation of the LAW of "Psallo" knowing that it would sow discord and force godly peiople to toss themselves out of their own synagogue
This is derived from warriors plucking the bow string and pretty vile people plucking harp strings to seduce a younger male:

MARK: The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp. Source
MARK:  Nebel (h5035) neh'-bel; or nebel nay'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Nabel (h5034) naw-bale'; a prim. root; to wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked; causat. to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, * surely, make vile, wither..

Nabal (h5036) naw-bawl'; from 5034; stupid; wicked (espec. impious): - fool (-ish, -ish man, -ish woman), vile person.

Males who would sing and play at the same time were known to be "drunk, perverted or just having fun."
So, it was the translators of the Septuatint who used the "Psa" based words knowing fully well that in the Greek world the message was making war or making perverted sex.  Not all of the book of psalms are psalms:

MARK:  Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. 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 praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).
5059.  nagan, naw-gan΄; a primitive root; properly, to thrum, i.e. beat a tune with the fingers; expec. to play on a stringed instrument; hence (generally), to make music:—player on instruments, sing to the stringed instruments, melody, ministrel, play(-er, -ing).
H5060 nβga‛ naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strike (punish, defeat, destroy,
Of the singing and harp playing prostitute in the garden of Eden.

Isaiah 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.
BLB h5058 First, "MUSIC" of a stringed instrument
Isaiah 38:20 The LORD was ready to save me:
        therefore we will sing MY songs to the stringed instruments all the days of our life
        in the house of the LORD.  (Not in the holy places)

Singing TO a stringed instrument included plucking the string and then matching the single syllable to that sound: Two or three notes would do it very well when Cantillating.


Isaiah told Hezekiah that his sons would be taken into captivity: not to worry, says Hezekiah, just as long as it doesn't happen in my lifetime.  While Hezekiah was fiddling around
OUTSIDE of the holy places, little Manessah was getting ready to start burning infants again.

Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.

Lamentations 3:14 I was a derision to all my people; and their song all the day.
Second: names a stringed instrument (Psaltery) in the titles of Psalms 4, 6, 54, 55, 67, 76

Third: a song, sung to the music of stringed instruments.  Sounds were first produced by a bow and then the harp with perhaps 3 strings.  You can sing to the "notes" of a harp without using the harp.

Examples:
singing and making melody is IN the heart or spirit.
Psalms 77:6 I call to remembrance my song in the night:
       
I commune with mine own heart:
        and
my spirit made diligent search.

Learning is recycling what you know:

Co-gnosco
  II. To recognize that which is already known, acknowledge, identify , With the access. idea of individual exertio,
Narro
to tell, relate, narrate, report, recount, set forth from gignōskō ,

Matthew 26:30 And when they had sung an hymn, they went out into the mount of Olives.

Hymnus , i, m., = humnos, I. a song of praise, a hymn: “hymnus cantus est cum laude Dei,” Aug. Enarr. in Psa. 148, 17; Ambros. Expos. Psa. 118, prol. § 3; Lucil. ap. Non. 330, 9; Prud. Cath. 37 praef.; 4, 75: “divinorum scriptor hymnorum,” Lact. 4, 8, 14; Vulg. Psa. 60 tit.; id. Matt. 26, 30.

Dīcoto say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,
Ontōs
, Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs
a^, Dor. ala_thēs , es, (lēthō,
I.
Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3.
of oracles, true, unerring, “alathea mantiōn thōkon” Pi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthai” Hdt. 1.14
        Opposite Epos
1. song or lay accompanied by music, 8.91,17.519. b. generally, poetry, even lyrics
        5. celebrate, of poets, “Aiantos bian
Especially a song of derision, a satire. Again:

Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a
derision to all my people; and their song all the day.

Jer 20:7 Yahweh, you have persuaded me, and I was persuaded; you are stronger than I, and have prevailed: I am become a
laughing-stock all the day, every one mocks me.

Prince the Piper Phaedrus 5.7

A little, friv'lous, abject mind,
Pleased with the rabble, puff'd with wind,
When once, as fast as pride presumes,
Itself with vanity it plumes,
Is by fond lightness brought with ease
To any ridicule you please.

Behold, I am against them that prophesy false dreams, saith the Lord, and do tell them, and cause my people to err by their lies, and by their lightness; yet I sent them not, nor commanded them:therefore they shall not profit this people at all,   
        saith the Lord. Jeremiah 23: 32


One Prince, a piper to the play,
Was rather noted in his way,
As call'd upon to show his art,
Whene'er Bathyllus did his part,

Băthyllus , i, m., = Bathullos.
I. A Samian boy, beloved by Anacreon,
II. A celebrated pantomime of Alexandria, a favorite of Mœcenas, and rival of the equally celebrated Pylades, Tac. A. 1, 54 Gron.; Juv. 6, 63; Pers. 5, 123 Schol.; Sen. Q. N. 7, 32, 5; cf. Suid. s. v. Orkhēsis, tom. ii. p. 720 Kus t.

Tac. Ann. 1.54 The same year witnessed the establishment of religious ceremonies in a new priesthood of the brotherhood of the Augustales, just as in former days Titus Tatius, to retain the rites of the Sabines, had instituted the Titian brotherhood. Twenty-one were chosen by lot from the chief men of the State; Tiberius, Drusus, Claudius, and Germanicus, were added to the number. The Augustal games which were then inaugurated, were disturbed by quarrels arising out of rivalry between the actors. Augustus had shown indulgence to the entertainment by way of humouring Mζcenas's extravagant passion for Bathyllus, nor did he himself dislike such amusements, and he thought it citizenlike to mingle in the pleasures of the populace. Very different was the tendency of Tiberius's character. But a people so many years indulgently treated, he did not yet venture to put under harsher control.

He being at a certain fair,
(I do not well remember where,)
While they pull'd down the booth in haste,
Not taking heed, his leg displaced,

He from the scaffold fell so hard-
(Would he his pipes had rather marr'd!
Though they, poor fellow! were to him
As dear almost as life and limb).

Borne by the kind officious crowd,
Home he's conducted, groaning loud.
Some months elapsed before he found
Himself recover'd of his wound:

Meantime, according to their way,
The droll frequenters of the play
Had a great miss of him, whose touch
The dancers' spirits raised so much.

A certain man of high renown
Was just preparing for the town
Some games the mob to entertain,
When Prince began to walk again;

Whom, what with bribes and pray'rs, his grace?
Prevail'd upon to show his face
In this performance, by all means-
And while he waits behind the scenes,

A rumour through the house is spread,
By certain, that "the piper's dead."
Others cried out, "The man is here,
And will immediately appear."

The curtain draws, the lightnings flash,
The gods speak out their usual trash.
An ode, not to the Piper known,
Was to the chorus leader shown,

Which he was order'd to repeat,
And which was closed with this conceit--
"Receive with joy, O loyal Rome,
Thy Prince just rescued from his tomb."

They all at once stand up and clap,
At which my most facetious chap
Kisses his hand, and scrapes and bows
To his good patrons in the house.

First the equestrian order smoke
The fool's mistake, and high in joke,
Command the song to be encored;
Which ended, flat upon the board

The Piper falls, the knights acclaim;
The people think that Prince's aim
Is for a crown of bays at least.
Now all the seats perceived the jest,

And with his bandage white as snow,
White frock, white pumps, a perfect beauty
Proud of the feats he had achieved,
And these high honours he received,
With one unanimous huzza,
Poor Prince was kick'd out of the play.

Job 30:1 But now they that are younger than I have me in derision,
        whose fathers I would have disdained to have set with the dogs of my flock.

cănis (cănes A Cynic or Catamite excluded by Paul in Philippians 3
  2. As the regular designation of the hangers-on or parasites of an eminent or rich Roman; a follower, dog, creature:

Job 30:7 Among the bushes they brayed; (rejoiced, manured)
        under the nettles they were gathered together.
Job 30:8 They were children of fools,
        yea, children of base men:
        they were viler than the earth.
Job 30:9 And now am I their song, yea, I am their byword. [proverb]


6 He hath made me also a byword of the people; and aforetime I was as a tabret.
Tabret (Heb. toph ), a timbrel (q.v.) or tambourine, generally played by women (Gen 31:27; Sa1 10:5; Sa1 18:6). In Job 17:6 the word (Heb. topheth ) "tabret" should be, as in the Revised Version, "an open abhorring" (marg., "one in whose face they spit;" lit., "a spitting in the face").

Compare Psa 69:12, "I was the song of the drunkards;" Lam 3:14, "I was a derision to all my people, and their song all the day."

Job 30:10 They abhor me, they flee far from me,
        and spare not to spit in my face. (make a tabret of me)

Cantĭcum , i, n. cantus.
I. Lit., a song in the Roman comedy, sung by one person, and accompanied by music and dancing; a monody, solo: “nosti canticum (in Demiurgo Turpilii), meministi Roscium
II. A song, in gen.: “chorus canticum Insonuit,” Phaedr. 5, 7, 25: “canticum repetere,” id. 5, 7, 31
B. A magic formula, incantation, App. Mag. p. 301, 12.

They ăb-ōmĭnor me
con-spŭo , no 1: conspuere sinus, as a charm to prevent the gods from being provoked by proud words, Juv. 7, 111

Isaiah 50:[6] I gave my back to the strikers, and my cheeks to those who plucked off the hair; I didn't hide my face from shame and spitting.

per-cŭtĭo  I. (With the notion of the per predominating.) To strike through and through, to thrust or pierce through (syn.: percello, transfigo). “percussus ab aspide calcatā,” stung, bitten, Plin. 23, 1, 27, § 56; cf.: PERCVSSVS A VIPERA,
b. To strike, play a musical instrument (poet.): “lyram,” Ov. Am. 3, 12, 40; Val. Fl. 5, 100
2. To strike, shock, make an impression upon, affect deeply, move, astound (class.): “percussisti me de oratione prolatā,”
3. To cheat, deceive, impose upon one (class.

vello ,
2. Trop., effeminate: “mens,” Mart. 2, 36, 6

Shaming
in-crĕpo   and a., to make a noise, sound, resound, to rush, rustle, patter, rattle, whiz (class.).
B. Act., to utter aloud, produce, give forth (poet.): “saevas increpat aura minas,” Prop. 1, 17, 6: tuba terribilem sonitum. Verg. A. 9, 504
vincor ut credam miser Sabella pectus increpare carmina,” disturb, confuse, Hor. Epod. 17, 28

Verg. A. 9.504
But now the brazen trumpet's fearsome song
blares loud, and startled shouts of soldiery
spread through the roaring sky. The Volscian band
press to the siege, and, locking shield with shield,
fill the great trenches, tear the palisades,
or seek approach by ladders up the walls,
where'er the line of the defenders thins, and light
through their black circle shines.
It still happens when people use music which means "to make the lambs dumb before the slaughter."
Sacrificial musicians--called parasites in the Greek world--made the lambs dumb before the slaughter: it was prophesied that the Jews would attempt that on Jeus.  Malachi by the Spirit of Christ made that clear (to disciples) in Malachi 3. We have posted a partial view here.

Mark 10:34 And they shall mock him,
Latin Illudo  as a female: Applied as a term of reproach, effeminate men, eloquence, rhētor but with idea of contempt, caneret,”
A.
Of men: “si absurde canat, of the crooked race, a reed pipe, a guitar, crowing of a hen tibiae, tubaeGallus , i, m., = Gallos Strab., A. Galli , the priests of Cybele, on account of their emasculated condition) Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18.  “resupinati cessantia tympana Galli,”

See Paul in Galatians connect the emasculated "troublers" to witchcraft.

Tac. Ann. 14.52 Of Nero:  They further alleged against him that he claimed for himself alone the honours of eloquence, and composed poetry more assiduously, as soon as a passion for it had seized on Nero. "Openly inimical to the prince's amusements, he disparaged his ability in driving horses, and ridiculed his voice whenever he sang

Verg. A. 9.634

Of such loud insolence and words of shame
Ascanius brooked no more, but laid a shaft
athwart his bowstring, and with arms stretched wide
took aim, first offering suppliant vow to Jove:

The Father heard, and from a cloudless sky

thundered
to leftward, while the deadly bow
resounded and the arrow's fearful song
hissed
from the string; it struck unswervingly
the head of Remulus and clove its way
deep in the hollows of his brow. “Begone!
Proud mocker at the brave!

In-tŏno
. Pregn., to bring down with a thundering sound:
Sŏno
Neutr., to make a noise, to sound, resound: aes sonit, the trumpet sounds,
II.
Act., to sound, utter, give utterance to, speak, call, cry out, sing, pour forth (syn.: “edo, eloquor, cano): homines inconditis vocibus inchoatum quiddam et confusum sonantes,
“furem sonuere juvenci,” i. e. they betrayed him by their lowings, Prop. 4 (5), 9, 13. “Pythius in longā carmina veste sonat,” sings, pours forth, accompanies on the lyre, id. 2, 31 (3, 29), 16; cf.: “sonante mixtum tibiis carmen lyra,” Hor. Epod. 9, 5: “te sonantem ... dura fugae mala,” id. C. 2, 13, 26: te carmina nostra sonabunt, shall sing of, i. e. shall celebrate, praise, extol,

Paizo, 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2

Prospaizō, prospaizousa tois ōmois komē playing over, II. c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c. 2. banter , “tous rhētoras” Id.Mx.235c, cf. Euthd.285a; p. ton kuna, ton arkton, , humnon pr. ton Erōt

         and shall scourge him, and shall spit upon him, and shall kill him:
         and the third day he shall rise again 
Mark 14:65 And some began to spit [blasphemi] on him, and to cover his face,
        and to buffet him, and to say unto him, Prophesy: (sing, lament, dance)
        and the servants did strike him with the palms of their hands.

Alăpa , ae, f. akin to -cello, to smite, as if calapa; cf. kolaphos,
I. a stroke or blow upon the cheek with the open hand, a box on the ear: “ducere gravem alapam alicui,” to give, Phaedr. 5, 3: “ministri eum alipis caedebant,” Vulg. Marc. 14, 65; ib. Joan. 18, 22; 19, 3; esp. among actors, for the purpose of exciting a laugh among their auditors, * Juv. 8, 192; * Mart. 5, 61, 11.—When a slave was emancipated, his master gave him an alapa; hence, poet.: “multo majoris alapae mecum veneunt,” i. e. with me freedom is much more dearly purchased, Phaedr. 2, 5, 25.

ălăpus
, i, m. alapa, I. a parasite, who submitted to the box on the ear for gold,

PRUDENTIUS 40

Domus Caiphae

Inpia blasphemi cecidit domus ecce Caiphae,
in
qua pulsata est alapis facies sacra Christi,
hic
peccatores manet exitus, obruta quorum 160
vita
ruinosis tumulis sine fine iacebit.
The universal root:   Pulso , I. inf. parag. pulsarier, Lucr. 4, 931), 1, v. freq. a. id., to push, strike, beat (cf.: tundo, ferio, pello).
Of all musical instruments: Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62.—Of things: “pulsant arva ligones,” Ov. Am. 3, 10, 31; id. M. 11, 529: “nervo pulsante sagittae,” Verg. G. 4, 313
Caedo , 1. To cut, hew, lop, cut down, fell, cut off, cut to pieces: caesa abiegna trabes,
2.
In gen., to strike upon something, to knock at, to beat, strike, cudgel, etc.: “ut lapidem ferro quom caedimus evolat ignis,
II.
Trop.: caedere sermones, a Grecism, acc. to Prisc. 18, p. 1118 P., = koptein ta rhēmata, to chop words, chat, talk, converse, Ter. Heaut. 2, 3, 1;
hărundo F. A reed pipe, shepherd's pipe, Pan-pipes, = surigx (an instrument made of several reeds, fastened together with wax, each successive reed somewhat shorter than the preceding): “junctisque canendo vincere arundinibus servantia lumina temptat,” Ov. M. 1, 684; cf. id. ib. 1, 707 sq.; “11, 154: agrestem tenui meditabor harundine Musam,” Verg. E. 6, 8; cf.: “compacta solitum modulatur harundine carmen,” id. Cul. 100: “nec crepuit fissa me propter harundine custos,” Prop. 4 (5), 7, 25.—
DSS: All who have eaten my bread
.........have lifted their heel against me (cf John 13:18)
.........And all those joined to my Council
   ......
have mocked me with wicked lips. (Children piping and chiding.)
DSS: They have overtaken me in a narrow pass (gap) without escape
.........And there is no rest for me in my trial.
.........They sound my censure upon a harp
.........and their murmuring and storming upon a zither." Ps.41:11
WHEN THE MODERN MOCKING IS OVER:
18 DSS:
I will groan with the zither of lamentation
.........in all grief-stricken mourning and bitter complaint
.........until iniquity and wickedness are consumed

.........
and the disease-bringing scourge is no more.

An evil disease, say they, cleaveth fast unto him: and now that he lieth he shall rise up no more. Ps.41:8

DSS: Then will I play on
the zither of deliverance
and harp of joy,
on the tabors of prayer and the pipe of praise
without end.
DSS: And at the beginning of their weeks
for the season of Jubilee.
All my life the engraved Precept shall be on my tongue
as the fruit of praise
and the portion of my lips.
 
I will sing with knowledge and all my music
shall be for the glory of God.
(My) lyre (and) my harp shall sound
for His holy order
and I will tune the pipe of my lips
to His right measure.
Mark 15:19 And they smote him on the head with a reed, and did spit upon him,
        and bowing their knees worshipped him.
Luke 7:31 And the Lord said, Whereunto then shall I liken the men of this generation?
        and to what are they like?
Luke 7:32 They are like unto children sitting in the marketplace, and calling one to another, and saying,
        We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept.
Auleō ,, to be played on the flute, “ho Bakkheios rhuthmos ēuleito” X. Smp.9.3

Hărundo
M. A rod (for beating, punishing): “ac me iterum in cellam perduxit, et harundinem ab ostio rapuit iterumque mulcavit

But a musical instrument: a flute.


G.
A flute (made of the kalamos aulētikos, Theophr. 4, 12): “Satyri reminiscitur alter, quem Tritoniaca Latoόs arundine victum affecit poena,” Ov. M. 6, 384
Don't blame me: this is the universal message and persona in all recorded literature.

Satyrus a kind of ape II. A Satyr, one of the satyri, a kind of wood-deities resembling apes, with two goat's  [cappella] feet, and very lascivious; Hor. Ars 235
In Greek mythology, satyrs are a troop of male Pan and Dionysus — "satyresses" were a late invention of poets — that roamed the woods and mountains. In myths they are often associated with pipe-playing. companions of The square shape on the flute case is the Judas Bag.
Hor. Ars 235 The poet, who first tried his skill in tragic versegoat, soon after exposed to view wild satyrs naked,1 and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with wine  and disorderly, was to be amused with captivating shows and agreeable novelty. But it will be expedient so to recommend the bantering, so the rallying satyrs, so to turn earnest into jest; that none who shall be exhibited as a god
for the paltry [prize of a]
1 There was a kind of tragic comedies among the Greeks, which they called Satyrs, because the chorus was formed of Satyrs, who sung the praises of Bacchus between the acts, and said a thousand low pleasantries.

THE MUSICAL INSTRUMENT AS WEAPON IS A COMMON THEME: Carnal weapons are lifeless instruments
.
What happened to Jesus can be verified by parallel events in the pagan world at the time: Isn't it amazing that so many people still havethe urge to beat Jesus to the bones with their "flutes" or other musical instruments.
Ov. Met. 6.384
When one of Lyce (I wote not who) had spoken in this sort, Another of a Satyr streight began to make report,

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

Alas, he
cride, it irketh me. Alas a sorie pipe
Deserveth not so cruelly my skin from me to stripe.
For all his crying ore his eares quight pulled was his skin. Nought else he was than one whole wounde.

The
griesly bloud did spin From every part,
the sinewes lay discovered to the eye,

The
quivering veynes without a skin lay beating nakedly.
    The panting bowels in his bulke ye might have numbred well,
     And in his brest the shere small strings a man might easly tell.
    The Countrie Faunes, the Gods of Woods,
     the Satyrs of his kin,
Is. 53:5 But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed.

Per-cŭtĭo
, To strike through and through, to thrust or pierce through (syn.: percello, transfigo). a vein is opened, blood is let, To make a covenant. To strike or mark.
  
b. To strike, play a musical instrument (poet.): “lyram,” Ov. Am. 3, 12, 40; Val. Fl. 5, 100

Hebrew: h2490 : to wound, an opening wedge to lay open, play the flute, steal an inheritance, player on instruments, pollute, prostitute, slay. [the warrior's praise halal]

Psalms 22:6 But I am a worm, and no man; a reproach [naked] of men, and despised of the people.
Psalms 22:7 All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying,
Psalms 22:8 He trusted on the LORD that he would deliver him: let him deliver him, seeing he delighted in him.

CAL΄AMUS

2. A light flute, formed of a single reed (harundo, Ov. Met. 6.384; kalamos, Pind. O. 10.100,
Pind. O. 10 For I owed him a sweet song, and I have forgotten.
        But come, Muse, you and the daughter of Zeus, unforgetting Truth:
        with the hand that puts things right,
        [5] keep from me the blame for lying, for wronging my friend.
        Approaching from far away, the future has arrived
        and made me ashamed of my deep debt
Even now we will follow the first beginnings, and as a namesake song of proud victory,
        we will shout of the thunder [80] and the fire-wrought shaft of Zeus who rouses the thunder-clap,
        the burning bolt that suits omnipotence.
        Swelling
music will answer the reed-pipe in songs
        [85] which have come to light beside famous Dirce
3. The shaft of an arrow, and in poetry an arrow made of a reed which was not hollow, but filled with pith.  Nem. 5.70; donax, id. Pyth. 12.44; Theocr. 20.29). The reed-flute figured in the following woodcut was found in an Egyptian tomb and is in the British Museum.

My deer bone tibia could hurt you real bad.
However, the harp given by God:

Job 30:30 My skin is
black upon me,
        and my bones are burned with heat.
Job 30:31 My harp also is turned to mourning,
        and my organ into the voice of them that weep.
Metamorphose 11.
Behold (sayes shee) behold yoon same is he that doth disdeine
Us women. And with that same woord shee sent her lawnce amayne
At Orphyes singing mouth. The Lawnce armd round about with leaves,
Did hit him, and without a wound a marke behynd it leaves.
[This is the thyrus: the shaken reed, phallic symbol with lance hidden in pine cone]

Another threw a stone at him, which vanquisht with his
sweete
And most melodius harmonye, fell humbly at his feete
As sorye for the furious act it purposed. But rash
And heady ryot out of frame all reason now did dash,

And frantik outrage reigned. Yit had the
sweetenesse of his song
Appeasd
all weapons, saving that the noyse now growing strong
With blowing shalmes, and beating drummes, and bedlem howling out,
And clapping hands on every syde by Bacchus drunken rout,
Did drowne the sownd of Orphyes harp. Then first of all stones were
Made ruddy with the prophets blood, and could not give him eare.
This image absolutely defines what you can do with the "psallo" word: you must smite or pluck a string with your fingers and never with a plectrum or "pick." It would be dishonest to try to stretch the word to wind and percussion instruments. You cannot even stretch the modern meaning of melody to include harmony
NEBUCHADNEZZAR the king made an image of gold, whose height was threescore cubits (60), and the breadth thereof six (6) cubits: he set it up in the plain of Dura (circle), in the province of Babylon. Dan 3:1

That at what time ye hear the sound of the (1) cornet, (2) flute, (3) harp, (4) sackbut, (5) psaltery, (6) dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Dan 3:5

When the translators of the Septuagint (LXX) needed a word they used the psaltery as the base: that is because the use of the psalms under the king and commanders of the army was mostly making war and threatening people such as in building the not-commanded Temple as slaves.  Religion is "threskia." Impure religion came from Orphus of Thrace and outlawed as one of the sects in Romans 14.
Strabo 10:3.16. Also resembling these rites are the Cotytian and the Bendideian rites practiced among the Thracians, among whom the Orphic rites had their beginning. Now the Cotys who is worshipped among the Edonians, and also the instruments used in her rites, are mentioned by Aeschylus; for he says,“O adorable Cotys among the Edonians, and ye who hold mountain-ranging instruments 
”and he mentions immediately afterwards the attendants of Dionysus:“ one, holding in his hands the bombyces,
         toilsome work of the turner's chisel,
        fills full the fingered melody,
        the call that brings on frenzy,
        while another causes to resound the bronze-bound cotylae (clanging cymbal)
 ”and again,“stringed instruments raise their shrill cry, and frightful mimickers from some place unseen bellow like bulls, and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound;

”for these rites resemble the Phrygian rites, and it is at least not unlikely that, just as the Phrygians themselves were colonists from Thrace, so also their sacred rites were borrowed from there. Also when they identify Dionysus and the Edonian Lycurgus, they hint at the homogeneity of their sacred rites.

Dionysian music especially awoke in that world fear and terror. If music was apparently already known as an onian art, this music, strictly speaking, was a rhythmic pattern like the sound of waves, whose artistic power had developed for presenting onian states of mind. The music of o was Doric architecture expressed in sound, but only in intimate tones, characteristic of the cithara [a traditional stringed instrument}. The un-onian character of Dionysian music keeps such an element of gentle caution at a distance, and with that turns music generally into emotionally disturbing tonal power, a unified stream of melody, and the totally incomparable world of harmony.  Nietzsche.Tragedy

Where did Gregory the Great get the idea of doing the same thing?

Osiris, Isis and Horus was the Egyptian trinity worshipped under Apis, the golden bull calf, at Mount Sinai.

Now the name of Linus or Osiris, as the "husband of his mother," in Egypt, was Kamut (BUNSEN). When Gregory the Great introduced into the Church of Rome what are now called the Gregorian Chants,

he got them from the Chaldean mysteries, which had long been established in Rome; for the Roman Catholic priest, Eustace, admits that these chants were largely composed of "Lydian and Phrygian tunes" (Classical Tour), Lydia and Phrygia being among the chief seats in later times of those mysteries, of which the Egyptian mysteries were only a branch. (i.e. Barbarians)

These tunes were sacred--the music of the great god, and in introducing them Gregory introduced the music of Kamut. And thus, to all appearance, has it come to pass, that the name of Osiris or Kamut, "the husband of the mother," [See the musical idolatry at Mount Sinai]

is in every-day use among ourselves as the name of the musical scale; for what is the melody of Osiris, consisting of the "seven vowels" {Ephesians Letters} formed into a hymn, but--the Gamut?

MELODY:

Melos , eos, to, melκ, ta, lyric poetry, choral songs opposite Epic or Dramatic verse,2.music to which a song is set, tune, Arist.Po.1450a14; opp. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhκma, Id.Lg.656c; Krκtikon, Karikon, Iτnikon m logou te kai harmonias kai rhuthmou ib.398d.

What Melic poetry like Sappho's [Lesbian] actually was is best comprehended in the light of Plato's definition of melos, that it is 'compounded out of three things, speech, music, and rhythm.' Sappho is said by Athenaeus, quoting Menaechmus and Aristoxenus, to have been the first of the Greek poets to use the Pκktis (pκktis), a foreign instrument of uncertain form, a kind of harp (cf. fr. 122), which was played by the fingers without a plectrum.

 "Its (pipe = to love passionately) was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, as we see from Genesis Rabbah 50:

'The angels said to Lot: 'There are players of the pipe (organ) in the country, hence it ought to be destroyed'." Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests." (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

Psallo is alwas to SING unless melody and the name of an instrument is included.

That is why Paul excluded the HARP by using Psallo to speak of melody in the HEART.  The proof is that in Colossians 3 he used GRACE: both melody and grace are qualities of speech: Paul commanded us to SPEAK.

2. Music Before and During the Law of Moses.............................15
3. Instrumental Music During the Period of the Prophets...........21
4. Instrumental Music in the New Testament Church..................58
5. HISTORICAL, SECULAR EVIDENCE
    Proves Instrumental Musid was used in the Early Church................75
1. Instrumental-Non Instrumental Problem....................................7

Robert Ballard:
In 2006, it will be a hundred years since a huge fracture came in the Restoration Movement

That is false:
In 1832 those who followed Barton W. Stone sought to "unite" with what became the Churches of Christ. A few men agreed on a working paper and shook hands.  Alexancer Campbell laughed at the notion that a few handshakes could merge two groups which held nothing in common but trust in the Bible.   The ink must not have been dry before the Disciples (Anglican, Catholic rooted) began to do what it agreed not to do.  See H. Leo Boles for the "contract" between a few preachers.
The agreement composed by John Smith is listed in this paper.
The Christian Church, NACC, did not begin until 1927 and did not finally sect out of the Disciples until 1971.  Since Robert Ballard sected out of the Disciples he is under obligation to restore the unity he broke.

The Disciples split among their own group over instrumental music and confiscated the churches of those who disagreed. Everyone can meet without instruments and most agree that it is more acceptable than musical performance.  However, when Robert's group added instruments with no need for authority beyond finances, he
EXCLUDED  half of the people.

It was because of musical
idolatry at Mount Sinai that God removed The Book of The Covenant of Grace, gave them The Book of The  Law and gave them the unredeemable promise that they would be returned to Babylon where they began as robbers of caravans.  Abraham's covenant was the ONLY spiritual covenant and the New Testament ignores the Monarchy as a Goyim, Gentile or Babylonish Temple-State and consigned them to spiritual blindness until they turned, were converted or were baptized into Christ (2 Cor 3) or wer washed with water INTO the School of the Word (only).

The godly people were
quarantined from anything you can discover about "instrumental praise." The qahal, synagogue or Church of Christ in the Wilderness was:

Inclusive
of Rest, Reading and Rehearsing the Word of God--only
Exclusive
of vocal or instrumental rejoicing.

The godly people were prepared for the reign of Jesus as The Holy Spirit because there is not a single instance of this pattern being violated------

Acts 15:21 For Moses of old time
        hath in every city
        them that preach him,
        being read in the synagogues every sabbath day.
The synagogue never ceased and the godly people attended BIBLE CLASS while the Civil-Military-Clergy were profaning God on the REST day.

The "praise" word is devoted to "making self vile" or "feigning madness" as a way to threaten the enemy: After all, the Jacob-cursed Levites were under the King and Commanders of the Army: they made war and never God commanded or approved spiritual devotion to Him. The praise word--halal--is the source for the word Lucifer: Lucifer was the singing and harp playing prostitute in the garden of Eden according to Christ in the prophets.


2. MUSIC BEFORE AND DURING THE LAW OF MOSES ....... 15

When Israel rose up in musical idolatry at Mount Sinai, the Levites jumped at the chance to slaughter 3,000 people among the sinning "brethren." Because the Levites had carried out this execution because of musical idolatry, Moses set the tribe of Levi aside to serve the priests.  They were to STAND IN RANKS and execute anyone who came inside the gates during sacrifices without authority.


THE LEVITES Stood in ranks to execute you if you were inside the gates when they made a great noise.

We suggest that you read the role of the NEW MUSICAL LEVITES
before you give them your tithe and offering to "stand in the holy place" to threaten and dare you to perform as preacher,  singer or instrument player.

A Jubal "handled" all of the musical instruments meaning "without authority."


Genesis 4:19 And Lamech took unto him two wives
       the name of the one was Adah, and the name of the other Zillah.
Genesis 4:20 And Adah bare Jabal: he was the father of
        such as dwell in tents, and of such as have cattle.
Genesis 4:21 And his brother’s name was Jubal:
        he was the father of all such as handle the harp and organ.
 
8610. taphas, taw-fas΄; a primitive root; to manipulate, i.e. seize; chiefly to capture, wield, specifically, to overlay; figuratively, to use unwarrantably:-catch, handle, (lay, take) hold (on, over), stop, x surely, surprise, take.

H8608 taphaph taw-faf' A primitive root; to drum, that is, play (as) on the tambourine: taber, play with timbrels.
H8611 tτpheth to'-feth From the base of H8608 ; a smiting, that is, (figuratively) contempt:--tabret.
H8612 tτpheth to'-feth The same as H8611 ; Topheth, a place near Jerusalem:--Tophet, Topheth.

Christ in Isaiah 30 and John identifies all of the musical performers  [Reve18] who are marking God driving His enemies into hell or cast alive into the Lake of Fire. That is because all musical terms identify enchantment or sorcery of someone stealing your property.

Genesis 4:22 And Zillah, she also bare Tubalcain,
        an instructer of every artificer in brass and iron:
        and the sister of Tubalcain was Naamah.
Genesis 4:23 And Lamech said unto his wives, Adah and Zillah,
        hear my voice;
        Ye wives of Lamech, hearken unto my speech:
        for I have slain a man to my wounding, and a young man to my hurt.
Genesis 4:24 If Cain shall be avenged sevenfold, truly Lamech seventy and sevenfold.

Job 17:1  My breath is
corrupt, my days are extinct, the graves are ready for me.
Job 17:2 Are there not mockers with me?
        and doth not mine eye continue in their provocation?
Job 17[2] non peccavi et in amaritudinibus moratur oculus meus

mŏror
, 2. To fix the attention of, to delight, amuse, entertain: morata recte Fabula Valdius oblectat, populum meliusque moratur, Quam, etc., delays, i. e. entertains, Hor. A. P. 321: “carmina, quae possint oculos auresque morari Caesaris,” arrest, id. Ep. 1, 13, 17: “tardior stilus cogitationem moratur,” Quint. 1, 1, 28:

UNIVERSAL THESIS:
2Timothy 4:2 Preach the word; be instant in season,
        out of season; reprove, rebuke,
        exhort with all longsuffering and doctrine.
2Timothy 4:3 For the time will come when they will not endure sound doctrine;
        but after their own lusts shall they heap to themselves teachers,
        having itching ears; [eager for combat, pleasure, to be wanton]


UNIVERSAL ANTITHESIS:

2Timothy 4:4 And they shall turn away their ears from the truth,

        and shall be turned unto fables.


FABLES TO FOOL:
Fābŭla , ae, f. fari,
B.  Of particular kinds of poetry.
1.  Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo

FABLES TO FOOL:  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1.
With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: cantibus 
2.
With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine

HE MOST POWERFUL WEAPON TO FOOL:
Orgănum , i, n., = organon, Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,” Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.—  B. Transf.: organum oris, the tongue of a man, Prud. steph

Jubal "Handled" musical instruments "without authority."

Hor. Ars 321 When this sordid rust and hankering after wealth has once tainted their minds, can we expect that such verses should be made as are worthy of being anointed with the oil of cedar, and kept in the well-polished cypress?

Poets wish either to profit or to delight; or to deliver at once both the pleasures and the necessaries of life. Whatever precepts you give, be concise; that docile minds may soon comprehend what is said, and faithfully retain it. All superfluous instructions flow from the too full memory.
Job 17:3 Lay down now, put me in a surety with thee;
        who is he that will strike hands with me?
Job 17:4 For thou
hast hid their heart from understanding:
        therefore shalt thou not exalt them.
Job 17:5 He that speaketh flattery to his friends,
        even the eyes of his children shall fail.
Job 17:6 He hath made me also a byword of the people; 
h4914 Mesol a song of derision.
h4911 Mashal a "psalm": parables song or derision Joel 2:17
        and aforetime I was as a tabret.
Job 17:7 Mine eye also is dim by reason of sorrow,
        and all my members are as a shadow.
Job 17:8 Upright men shall be astonied at this,
        and the innocent shall stir up himself against the hypocrite.
Moses writes of the common story of Genun the composite children of Cain through Lamech in Babylon. This was to warn people who had fallen into musical idolatry at Mount Sinai and were on there way back for captivity and death.
Uwgab (h5748) oo-gawb'; or uggab oog-gawb'; from 5689 in the orig. sense of breathing; a reed-instrument of music: - organ
And his brothers name was Jubal: he was the father of all such as handle the harp and organ. Gen 4:21
Handle
is: Taphas (h8610) taw-fas'; a prim. root; to manipulate, i. e. seize; chiefly to capture, wield; spec. to overlay; fig. to use unwarrantably: - catch, handle, (lay, take) hold (on, over), stop, * surely, surprise, take.
Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.
THE ACCOUNT BY Maimonides

The traditional Jewish interpretation of this verse implies that it marked the beginning of idolatry, i.e. that men starting dubbing "Lord" things that were mere creatures. This is because the previous generations, notably Adam, had already "begun calling upon the name of the Lord", which forces us to interpret הוחל huchal not as "began" but as the homonym "profanated". In this light, Enosh suggests the notion of a humanity (Enoshut) thinking of itself as an absolute rather than in relation to God (Enosh vs. Adam). Wikipedia     See the Account by Adam Clark:
B. Blowing the trumpet for the Tabernacle

There was a direct command to use the 2 (only) trumpets to send signals: they were used to accompany congregational singing.  Restricting the two trumpets in the hands of the priests was important in sending "certain signals" since the life of the community depended on warning and signals to move the camp.  However, the Qahal, synagogue or Church of Christ in the wilderness was not to "worship" but to listen to the Word of God: that pattern never changed since the Lord's Supper is a teaching activity.

The Latin defines the synagogue or church in the wilderness as an ACADEMIA

Numbers 10:[7]  But when the assembly is to be gathered together,
        you shall blow,
        but you shall not sound an alarm.
THIS IS THE ONLY WAY YOU CAN HOLD SYNAGOGUE OR SCHOOL OF THE BIBLE

Numbers 10.[7]  [7] quando autem congregandus est populus simplex tubarum clangor erit et non conciseululabunt

Con-grĕgo
Academia congregation. Collect into a flock,  where plato taught, scholars are called Academici, and his doctrine Philosophia Philosophia Academica,

in distinction from Stoica, Cynica, etc., Cic. de Or. 1, 21, 98; id. Or. 3, 12; id. Fin. 5, 1, 1 al.—
..

The
philosophy of the Acadamy, A. For The philosophy of the Academy: “instaret academia, quae quidquid dixisses,
Dixisses: to say, speak, utter, tell, mention, relate, affirm, declare, state, assert
However, the Academy of the Cynics or "Dogs" are excluded from Christian worship IN THE SPIRIT as opposed to IN THE FLESH (Philippiand 3)
Cyrenaica pleasure is the only good. Good in a pleasing agitation of the mind or in active enjoyment. hedone. Nothing is just or unjust by nature, but by custom and law.

Cynĭcus , i, m., = κυνικός (doglike). I. Subst., a Cynic philosopher, a Cynic, Cic. de Or. 3, 17, 62; id. Fin. 3, 20, 68; Hor. Ep. 1, 17, 18; Juv. 13, 121: “nudi dolia,” i. e. of Diogenes, id. 14, 309.—Hence, adj.: Cynĭcus , a, um, Cynic: “institutio,” Tac. A. 16, 34: “cena,” Petr. 14; and in * adv.: Cynĭcē , after the manner of the Cynics, Plaut. Stich. 5, 4, 22

Pl. St. 5.4 SAGARINUS
PARASITE REBUFFED
STICHUS

As many as there are fingers on your hand. The Greek song is, "Drink either your five cups or your three, but not your four."

You say right; I care for no dainties. Drink away,
Piper; drink, if you do drink. I' faith, this must be drunk--don't shirk it. Holds the goblet to the PIPER. Why flinch at what you see must be done by you? Why don't you drink? Do it, if you are to do it. Take it, I tell you, for the public pays for this. That's not your way to shirk your drink. Take your pipes14 out of your mouth. The PIPER drinks.
14 Take your pipes: The "Tibicines," "Pipers" or "flute-players," among the Greeks and Romans, were in the habit of playing upon two pipes at the same time. These were perfectly distinct, and were not even, as has been supposed by some, connected by a common mouth-piece. The Romans were particularly fond of this music, and it was introduced both at sacrifices, funerals, and entertainments. See a comical story about the Roman "Tibicines" in the Fasti of Ovid, B. 6, l. 670 et seq. From the present specimen they appear to have been merry souls, occupying much the same place as the country fiddlers of modern times
SAGARINUS
to the PIPER . How now? Although you did make a fuss about it, still it didn't hurt you. Come, Piper, when you've done drinking, put back your pipes to your lips; quickly puff out your cheeks, just like a reptile serpent. Come now, Stichus, whichever of the two breaks order, shall be fined a cup.

Augustine
stating that they had, "in violation of the modest instincts of men, boastfully proclaimed their unclean and shameless opinion, worthy indeed of dogs." De Civitate Dei 14.20.

De Civitate Dei 14.20.
Even at this day there are still Cynic philosophers to be seen; for these are Cynics who are not content with being clad in the pallium, but also carry a club; yet no one of them dares to do this that we speak of. If they did, they would be spat upon, not to say stoned, by the mob. Human nature, then, is without doubt ashamed of this lust; and justly so, for the insubordination of these members,
and their defiance of the will, are the clear testimony of the punishment of man’s first sin. And it was fitting that this should appear specially in those parts by which is generated that nature which has been altered for the worse by that first and great sin,
That's why worship must be IN THE SPIRIT as opposed to IN THE FLESH as Jesus commanded in John 4. If you do FLESH WORSHIP do not be surprised that the dogs (catamites) don't consume you.

Philippians 3:1 Finally, my brethren, rejoice in the Lord. To write the same things to you, to me indeed is not grievous, but for you it is safe.

Philippians 3:2 Beware of dogs, beware of evil workers, beware of the concision.
Philippians 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.
Robert Ballard: The Bible speaks of the burnt offering bringing a sweet smell to God.

Music is defined as a terminal sin (Mount Sinai) and the mark of the beast (a new style of music and drama). That is because it has such an arrogant and ungodly view of a Spirit Deity.  Israel was abandoned to worship the starry host named by Amos and Stephen.  After Nadab and Abihu God further abandoned Israel to the Day of Atonement and to appeasing Azazel or the devil.  Burning animals replaced burning infants for a short time.   History notes this as DEMON worship
Psalms 50:7 Hear, O my people, and I will speak; O Israel, and I will testify against thee: I am God, even thy God.
Psalms 50:8 I will not reprove (don't care) thee for thy sacrifices or thy burnt offerings, to have been continually before me.
Psalms 50:9 I will take no bullock out of thy house, nor he goats out of thy folds.
Psalms 50:10 For every beast of the forest is mine, and the cattle upon a thousand hills.
Psalms 50:11 I know all the fowls of the mountains: and the wild beasts of the field are mine.
Psalms 50:12 If I were hungry, I would not tell thee: for the world is mine, and the fulness thereof.
Psalms 50:13 Will I eat the flesh of bulls, or drink the blood of goats?
Psalms 50:14 Offer unto God thanksgiving; and pay thy vows unto the most High:
That was the opinion of the Scribes whom Jesus denounced and in the prophets warns about the "lying pen of the Scribes." In Ezekiel 33 he calls them rhetoricians, singers and instrument players.
Jeremiah 7:21 Thus saith the LORD of hosts, the God of Israel;
        Put your burnt offerings unto your sacrifices, and eat flesh.
Jeremiah 7:22 For I spake not unto your fathers,
        nor commanded them in the day that I brought them out of the land of Egypt, c
        concerning burnt offerings or sacrifices:
Jeremiah 7:23 But this thing commanded I them, saying, Obey my voice, and I will be your God, and ye shall be my people: and walk ye in all the ways that I have commanded you, that it may be well unto you.
Jeremiah 7:24 But they hearkened not, nor inclined their ear, but walked in the counsels and in the imagination of their evil heart, and went backward, and not forward.
Jeremiah 7:25 Since the day that your fathers came forth out of the land of Egypt unto this day I have even sent unto you all my servants the prophets, daily rising up early and sending them:
Jeremiah 7:26 Yet they hearkened not unto me, nor inclined their ear, but hardened their neck: they did worse than their fathers.
Jeremiah 7:27 Therefore thou shalt speak all these words unto them; but they will not hearken to thee: thou shalt also call unto them; but they will not answer thee.
Jeremiah 7:28 But thou shalt say unto them, This is a nation that obeyeth not the voice of the LORD their God, nor receiveth correction: truth is perished, and is cut off from their mouth
THE EXAMPLE OF MIRIAM:  When the Red Sea swallowed Pharaoh and his chariots, Miriam led the Hebrfew women with tambourines and dancing and a chorus of praise to God (Ezodus 15:20, 21)

See Al Maxey using Miriam
as an example of a femal musical worship minister in the church: that's a long way from being a soothsayer just out of "baptism" leading the women to escape the SPEAKING of Moses.

All scholars note that while Moses SPAKE the Song, Miriam took probably the Sistrum and LED THE WOMEN out which meant to ESCAPE.  The sistrum and the "answering" or responsisve singing was a form of browbeating and not worship.
"In the first place, it will be noticed from the account of the triumphant rejoicing on the shore of the Red Sea that the men sang only: 'Then sang Moses and the children of Israel this song unto the Lord, and SPAKE saying.'" (Girardeau, George, p. 33)

Masculine is SPEAK or SAY (as in Speak one to another). Feminine or effeminate is to "SANG and CLANG": no recorded exception to the rule,

"In the second place, it was Miriam and the women who used instruments of music on the occasion: 'And Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went after her with timbrels and with dances." (Girardeau, p. 33).

Of course a tabret or sistrum is NOT a musical instrument and it gave its name for TOPHETH or HELL.

The sistrum was a RATTLE and not a musical instrument. It did not even make a SINGLE note.  It was to establish a BEAT--Jewish music was not metrical. Therefore, 
 Ex 15:20 And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand;
        and all the women went out after her with timbrels and with dances.

Here is what Miriam really did "as saith the law"
ē-grĕdĭor ,  to mount up, B. Trop., to overstep, surpass, exceed: “per omnia fortunam hominis egressus,
yet had attained no higher honor
Mŭlĭer , woman, a female, whether married or not. II.  Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,” Plaut. Bacch. 4, 8, 4.

If males do this the word is:

mŭlĭĕro
, āvi, 1, v. a. id., I. to make womanish, render effeminate

1 Macc 1:10 - From them came forth a sinful root, Antiochus Epiphanes, son of Antiochus the king; he had been a hostage in Rome. He began to reign in the one hundred and thirty-seventh year of the kingdom of the Greeks.

11 - In those days lawless men came forth from Israel, and misled many, saying,

"Let us go and make a covenant with the Gentiles round about us, for since we separated from them many evils have come upon us."

15 - and removed the marks of circumcision, and abandoned the holy covenant. They joined with the Gentiles and sold themselves to do evil.  

See how Tom Burgess uses the PLUCKING or the word PSALLO to prove that churches should do likewise.

The Deipnosophists of Athenaeus of Naucratis

And among the barbarians the Celts also, though they have very beautiful women, enjoy boys more; so that some of them often have two lovers to sleep with on their beds of animal skins.

As for the Persians, Herodotus says they learned the use of boys from the Greeks.

King Alexander also was madly devoted to boys. Dicaearchus, at any rate, in his book On the Sacrifice at Ilium, says that he was so overcome with love for the eunuch Bagoas that, in full view of the entire theatre, he, bending over, caressed Bagoas fondly, and when the audience clapped and shouted in applause, he, nothing loath, again bent over and kissed him. But Carystius in Historical Notes says:

"Charon of Chalcis had a beautiful boy who was dear to him. But when Alexander, at a drinking-party in the house of Craterus, praised the boy, Charon bade him kiss Alexander
Yaca (h3318) yaw-tsaw'; a prim. root; to go (causat. bring) out, in a great variety of applications, lit. and fig... break out, ..be condemned, departure), draw forth, escape, exact, fail, fall (out), fetch forth (out), get away.. lead out, pluck out, proceed, pull out,

Some examples of breaking out:

And Cain went out from the presence of the Lord,
        and dwelt in the land of Nod, on the east of Eden.Ge.4:16

And I said unto them, Whosoever hath any gold, let them break it off. So they gave it me: t
        hen I cast it into the fire, and
there came out this calf. Ex.32:24

There is one
come out of thee, that imagineth evil against the Lord, a wicked counsellor. Na.1:11
Then shall the Lord go forth, and fight against those nations, as when he fought in the day of battle. Zec.14:3

Here is what God thought of her "revelations."

Take heed in the plague of leprosy, that thou observe diligently, and do according to all that the priests the Levites shall teach you: as I commanded them, so ye shall observe to do. Deut 24:8

Remember what the Lord thy
God did unto Miriam by the way, after that ye were come forth out of Egypt. Deut 24:9

Here is what Miriam did which was common to what the Israelites did in Egypt and never ceased to do.

tympănum
, i (collat. form typă-num , Cat. 63, 8 sq.), n., = tumpanon,
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
This was also the instrument of the prophetess of Isis: the golden calf was the symbol of Osiris, Isis and Horus the always-pagan trinity.
Sistrum, a metallic rattle which was used by the Egyptians in celebrating the rites of Isis, and in other lascivious festivals,.Ov. Am. 2, 13, 11 By the Jews, Vulg. 1 Reg. [Samuel] 18, 6 .--Hence sarcastically, as if used for a war - trumpet by the wanton Cleopatra Verg. A.8.696   Luc. 10.63

Both Miriam and the Levites who prophesied with instruments performed SORCERY.


Prophe-ta  I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call out] Aegyptius, propheta primarius

PHRASE
:
Aegyptius, propheta primarius 1.  Aegyptius,
2.  Prophetai
3.  Primarius I. one of the first, of the first rank, chief, principal, excellent, remarkable,
primarius parasitus,


Image of Bast:
Ovid, art of love
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, [re: golden calf]
And be to thee, as thou'rt to her, a friend.
Look down, oh Isis! on the teeming fair,

1 Samuel 18:[6]  It happened as they came, when David returned from the slaughter of the Philistine, that the women came out of all the cities of Israel,
singing and dancing, to meet king Saul, with tambourines, with joy, and with instruments of music. [7]  The women sang one to another [h6030 Anah] as they played, and said, Saul has slain his thousands, David his ten thousands. [8]  Saul was very angry

"was a typical woman's instrument... Although it occurs in the Psalter and in religious hymns (Exod. 15; Jer. 31:4), it was not permitted in the temple. Its functions in the bible was restricted to secular or religious frolicking, cultic dances, or processions (e.g., II Sam. 6:5; I Chr. 13:8; Ps. 68:25-26). Its absence in the temple ritual was possibly due to its strong female symbolism, which always accompanied the tambourine, and which made its use so popular at all fertility rites." (The Int. Std. Bible Dict., p. 474).
Ovid: book 9, Metamorphoses
the sacred rattles were there, and Osiris, known
the constant object of his worshipers' desire,
and there the Egyptian serpent whose quick sting
gives long-enduring sleep. She seemed to see
them all, and even to hear the goddess say
to her, "O Telethusa, one of my
remembered worshipers, forget your grief;
your husband's orders need not be obeyed;
and when Lucina has delivered you,
save and bring up your child, if either boy
or girl. I am the goddess who brings help
to all who call upon me; and you shall
never complain of me--that you adored
a thankless deity." So she advised
by vision the sad mother, and left her.

"Thus they made a golden bull, the image of an animal that was held to be the most sacred in that land; they offered unholy sacrifices, performed impious dances and sang hymns which differed in no way from the pagan mourning songs. Philo, De specialibus legibus

"This reference probably indicates the use of songs from the cult of Osiris... it can hardly be denied that Egyptian influence on Jewish musical practices was quite significant. This would stand to reason because of the high quality of Egyptian cultic music. The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).

"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the cult of Isis.

"The music during the transferring the Ark to Sion (David rose up to play)
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.

"As Herodotus reports, women sang the praises of Osiris while liknesses of the gods were born about and, during the festival of Diana at Bubastis.

See Ezekiel explaining.

"Unfortunatcly, Scripture gives us no details about Miriam's prophetic skills, but they seem to be at the root of the darkest period in her life, for in her next appearance she is vying in prophecy with Moses. She and Aaron have been whispering to each other, first against the "Cushite" wife Moses married and then against his leadership. "Has the Lord spoken only through Moses?" they say. "Has He not spoken through us as well?" (Numbers 12: ).

MUSICAL IDOLATRY AT MOUNT SINAI

We should note that the worship of Israel in Egypt would have been according to their practices: these practices are well documented in the religious texts of the whole area.


Remembering that God had already virtually abandoned the People when they refused to listen to The Book of the Covenant.  ACU missed Exodus that Moses is being given instructions NOT given before the rejection. One of the commands was.
Read Exodus 32 and find out WHY music causes a fall from grace because it despises resting and learning the Words of GOD: Sure, they had rather listen to their own words.
Exod 31:12 And the Lord spake unto Moses, saying,
Exod 31:13 Speak thou also unto the CHILDREN OF ISRAEL,
        saying, Verily my sabbaths ye shall keep:
        for it is a sign between me and you
        throughout your generations; [your revolution of time]
        that ye may know that I am the Lord that doth sanctify you.

That doesn't sound like A DAY OF WORSHIP to me! The word KEEP is:


Exod 31:14 Ye shall
keep the sabbath therefore; for it is holy unto you:
        every one that defileth it shall surely be put to death:
        for whosoever doeth any work therein, that soul shall be cut off from among his people.

8104. shamar, shaw-mar΄; a primitive root; properly, to
hedge about (as with thorns), i.e. guard; .

Keep in Latin:
Custodio II. With the access. idea of hindering free motion, A. In gen., to hold something back, to preserve, keep: To prevent PLAY or Ludo A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing, B. To sport, dally, wanton Esp., to play on an instrument of music, to make or compose music or song:  Soft, weak oration
The Israelites did what all of the pagans did. Therefore, if you want deliberately sow discord defining words would seem important.
Verg. G. 2.386
For no offence but this to Bacchus bleeds
The goat [caper, auriga, capella ]
at every altar,
and old plays [ludi]
Upon the stage find entrance; therefore too
The sons of Theseus through the country-side—
Hamlet and crossway—set the prize of wit,

And on the smooth sward over oiled skins

Dance
in their tipsy frolic. Furthermore
The Ausonian swains, a race from Troy derived,
Make merry with rough rhymes and boisterous mirth,
Grim masks of hollowed bark assume, invoke
Thee with glad hymns, O Bacchus, and to thee
Hang puppet-faces on tall pines to swing.
Hence every vineyard teems with mellowing fruit,
Till hollow vale o'erflows, and gorge profound,
Where'er the god hath turned his comely head.
Therefore to Bacchus duly will we sing
Meet honour with ancestral hymns, and cates
And dishes bear him; and the doomed goat
Led by the horn shall at the altar stand,
Whose entrails rich on hazel-spits we'll roast.
llūdo
2.  To sport or fool away a thing, i. e. to destroy or waste in sport; in mal. part., to violate, abuse

Rhetoric


Cano  
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.

I. Neutr., to utter melodious notes, to sing, sound, play.
C.
Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,
HERE IS THE WAY YOU CAN DEFILE THE SABBATH h2490 like David's "praise word" and as "Lucifer was cast as profane out of heaven."


THIS DEFINES THE MYSTERIES WHICH WERE USUALLY CONNECTED TO THE SEVENTH DAY
When they rose up to PLAY in musical idolatry, they profaned the Sabbath.  The word is used by older Jews to identify the days of Enoch when people began to CALL THEMSELVE JEHOVAH.

Ex. 31:18 And he gave unto Moses, when he had made an end of communing with him upon mount Sinai, two tables of testimony,
tables of stone, written with the finger of God.

THE SINGING WITH DAVID'S INSTRUMENTS


Robert Ballard: Tehillim is the Hebrew word for Psalms:


3. Instrumental Music During the Period of the Prophets..............21

Robert Ballard:

Eph 2:20 And are built upon the foundation of the apostles and prophets,
        Jesus Christ himself being the chief corner stone;

Eph 2:21 In whom all the building fitly framed together
        groweth unto an holy temple in the Lord:
Eph 2:22 In whom ye also are builded together
        for an habitation of God through the Spirit.
Because the prophets lived at the same time as the kings, his view is that whatever the kings taught was affirmed by the prophets.  However, Christ guided the prophets to repudiate everything involved in the cursed Monarchy which worshipped the starry host.
2 Peter 3:1 This is now, beloved, the second letter that I have written to you; and in both of  I stir up your sincere mind by reminding you;
 
All of the end time musical discorders have the MARK of using the curse of the sacrificial system as the pattern. The Monarchy was recorded by what the prophets call the Lying Pen of the Scribes. Christ, on the other hand speaks to those with the MARK of the spirit only through the Prophecies by Christ and the prophecies made more perfect by Jesus Christ Whom God made to be both Lord and Christ to fulfill these prophecies in a human form.

2 Peter 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:

That is the CURRICULUM for DISCIPLES who attend the School of the Word and not pagan ceremonial legalism

2 Peter 3:3  Knowing this first,
        that there shall come in the last days scoffers,
        walking after their own lusts,

G1702 empaizō emp-aheed'-zo
From G1722 and G3815  (paizo); to jeer at, that is, deride:—mock.

Paizo, 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2

Prospaizō, prospaizousa tois ōmois komē playing over, II. c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c.

2. banter, “tous rhētoras” Id.Mx.235c, cf. Euthd.285a; p. ton kuna, ton arkton, , humnon pr. ton Erōt
See Enoch
Jude 14 And Enoch also, the seventh from Adam, prophesied of these, saying,
        Behold, the Lord cometh with ten thousands of his saints,
Jude 15 To execute judgment upon all, and to convince all that are ungodly among them
        of all their ungodly deeds which they have ungodly committed,
        and of all their hard speeches which ungodly sinners have spoken against him.
Jude 16 These are murmurers, complainers, walking after their own lusts;
        and their mouth speaketh great swelling words,
        having men’s persons in admiration [lying wonders] because of advantage.
Jude 17 But, beloved, remember ye the words
         which were spoken before of the apostles of our Lord Jesus Christ;
Jude 18 How that they told you there should be mockers in the last time,
        who should walk after their own ungodly lusts.
G1703 empaiktēs emp-aheek-tace' From G1702 ; a derider, that is, (by implication) a false teacher:—mocker, scoffer.
Jude 19 These be they who separate themselves, sensual, having not the Spirit.
Robert Ballard: See 2 Peter 1 which outlaws adding to the prophecies madeperfectg.
2 Pet 1:18 And this voice which came from heaven
        WE
heard
, when
        WE
were with him in the holy mount.  

2 Pet 1:19 
WE have also a more sure word of prophecy;
        whereunto YE
do well that ye take heed,
   as unto a light that shineth in a dark place,
       until the day dawn,
       and the day star arise in your hearts: Robert Ballard:

Robert Ballard
In verse twenty-Five, it says the Holy Spirit rightley spoke through Isaiah the prophet.  If it was right for theHoly Spirit to speak through a prophet, would it also be right for us to speak through a prophet?
No, you are not the Holy Spirit. The Spirit OF Christ spoke through the prophets and apostles.

Jesus made the prophecies more perfect and since you are not the the Holy Spirit (Christ) you cannot "private interpret."

2 Pet 1:20 Knowing this first, that no prophecy of the scripture is of any private interpretation.

Epilusis (g1955)ep-il'-oo-sis; from 1956; explanation, i.e. application: - interpretation.
Epiluo (g1956) ep-ee-loo'-o; from 1909 and 3089; to solve further, i.e. (fig.) to explain, decide: - determine, expound.

Epi-lusis  A. release from, e. phobτn [fear] didou A.Th.134 (lyr.): abs., exemption from banishment, [purgatory?]. The word dissertio also carries the idea of trying to REMOVE fear by explaining away any worry about keeping laws. 2. . solution, “sophismatōn” S.E.P.2.246; explanation, 2 Ep.Pet.1.20

Sophisticus    I. sophistic, sophistical; res admodum insidiosa et sophistica, neque ad veritates magis quam ad captiones reperta, Gell. 18, 2, 6: “ostentatio,” sophistically: “interpretari legem et cavillari,

Sophos A. skilled in any handicraft or art, clever, mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238

Robert Ballard Page 39 Hezekiah's plague stopping ritual.

The plague stopping animal slaughter happened only once in the whole Bible involving the Levites under the King and Commanders of the Army.  Isn't it strage that people work so hard to use that as a "pattern" for the assembly which is defined inclusively and exclusively as A School of the Word: The Prophets and Apostles.
This was a CIVIL-MILITARY-CLERGY  ceremony.
STOOD guard with silence
When the Levites made NOISE.
2Chr. 29:25 And he set the Levites in the house of the LORD

Constituo
1. To station or post troops somewhere, to draw up, set in order: “legionem
Con-custōdītus
closely watched, carefully guarded:
Numbers 18:1 And the LORD said unto Aaron,
Thou and thy sons and thy father’s house with thee
    shall bear the iniquity of the sanctuary:
    and thou and thy sons with thee
    shall bear the iniquity of your priesthood.

Num 18:3 And they shall keep thy charge, and the charge of all the tabernacle:  only they shall not come nigh the vessels of the sanctuary and the altar, that neither they, nor ye also, die.

Num 18:7 Therefore thou and thy sons with thee shall keep your priest’s office for every thing of the altar, and within the veil; and ye shall serve: I have given your priest’s office unto you as a service of gift:  and the stranger that cometh nigh shall be put to death.

with
cymbals, with psalteries, and with harps,
        according to the
commandment of David,
        and of Gad the king’s seer,
2Chr. 29:27 And Hezekiah commanded to offer the burnt offering upon the altar.


Thus saith the Lord of hosts, the God of Israel;
   Put your burnt offerings unto your sacrifices, and eat flesh. Jeremiah 7:21 

21. Put ... burnt offerings unto ... sacrifices ... eat flesh--Add the former (which the law required to be wholly burnt) to the latter (which were burnt only in part), and "eat flesh" even off the holocausts or burnt offerings. As far as I am concerned, saith Jehovah, you may do with one and the other alike. I will have neither (Isa 1:11 Ho 8:13 Am 5:21,22).

For I spake NOT unto your fathers, nor commanded themin the day that I brought them out of the land of Egypt, oncerning burnt offerings or sacrifices: Jeremiah 7:22
But this thing commanded I them, saying,
       Obey my voice, and I will be your God, and ye shall be my people:

But they HEARKENED NOT, nor inclined their ear,but walked in the counsels and in the imagination of their evil heart,and went backward, and not forward. Jeremiah 7:24

       
and Nathan the prophet: for so was the commandment of the LORD by his prophets.
And when the burnt offering began,
2Chr. 29:26 And the
Levites
stood with the instruments of David,
  
Sto, a. To stand in the ranks or under arms, to fight: “quisque uti steterat, jacet obtinetque ordinem, Sententiā,”
the song of the LORD began also with the trumpets
        and the priests with the trumpets. and with the instruments ordained by David king of Israel.

and the stranger that cometh nigh shall be put to death.
The godly people attended Synagogue to quarantine them from the Jacob-cursed and God-abandoned Levites.

Synagogue was INCLUSIVE of Rest, Reading and Rehearsing the Word (only) of God (only)

Synagogue was EXCLUSIVE of "vocal or instrumental rejoicing or elevated sermons."
Scripture often uses forms of parallelism to make it "impossible" to get deluded.

The
SUBJECT is "He SET the Levites."
         
2Chr. 29:25 And he SET the Levites in the house of the LORD [court]
          A. with cymbals, with psalteries, and with harps,
                according to the commandment of David, and of Gad the king’s seer, [star gazer]  
B. and Nathan the prophet:
               for so was the commandment of the LORD by his prophets.   
Moses SET the Levites to make certain that no one not of the tribe of Levi came near or they would be killed. God spoke through Moses in The Book of the Law which contains no example of instruments used in connection with the singular Tabernacle of Testimony.
Constituo 1. To station or post troops somewhere, to draw up, set in order: “legionem
Con-custōdītus closely watched, carefully guarded:
Under the King and Commanders of the Army they were SET up in ranks to guard the not-commanded animal slaughter from any intrusion by any of the civillians.

The PERFORMANCE was under both the Priests and the Civil-Military.
2Chr. 29:26 And the Levites stood with the instruments of David,
2Chr. 29:27 And Hezekiah commanded
        to offer the burnt offering upon the altar.
                And when the burnt offering began,
                       B.  the song of the LORD began also with the TRUMPETS
      A.  and with the INSTRUMENTS ORDAINED by David king of Israel.

THE LEVITES WERE SET TO GUARD AND KILL ANY ONE NOT OF LEVI. The "praise" word is the root for "lucifer" and means "to make yourself vile."  

BEFORE YOU BLASPHEME THE HOLY SPIRIT OF CHRIST BY SAYING THAT GOD COMMANDED YOU TO IMPOSE THE ROLE OF THE LEVITES, TAKE A LOOK AT WHO COMMANDED WHAT.

They stood in ranks under King and Commanders
A. with cymbals, with psalteries, and with harps,
          according to the commandment of David,
          and of Gad the king’s seer,
[star gazer

B. and Nathan the prophet:
       for so was the commandment of the LORD by his prophets.

B.  the song of the LORD began also with the TRUMPETS
They played
A. 
and with the INSTRUMENTS ORDAINED by David king of Israel.

Because the Levites slaughtere 3,000 of the brethren because of musical idolatry: Moses commanded the Levites to stand guard to guarantee that no godlly person came near the slaughter pen: they attended synagogue on the Rest Days.  The loud noise in all sacrificial systems was to ward off the demons as well as any civillian or any Levite who came too close.  Their role was SOOTHSAYING with Instrumental accompaniment: they would execute you if you came into that mes.

There are parallel examples to warn those who would blaspheme.

God: Then Solomon offered burnt offerings unto the Lord on the altar of the Lord, which he had built before the porch, 2Chr 8:12

This violated the law to build an altar of dressed stones and a stairway:

Even after a certain rate every day, offering according to the commandment of Moses, on the sabbaths, and on the new moons, and on the solemn feasts, three times in the year, even in the feast of unleavened bread, and in the feast of weeks, and in the feast of tabernacles. 2 Chr 8:13

David: And he appointed, according to the order of David his father, the courses of the priests to their service, and the Levites to their charges, to praise and minister before the priests, as the duty of every day required: the porters also by their courses at every gate: for so had David the man of God commanded. 2Chr 8:14

"It was by the hand or commandment of the Lord and his prophets that the Levites should praise the Lord; for so the Hebrew text may be understood:

"and it was by the order of David that so many instruments of music should be introduced into the Divine service." (Adam Clark, Commentary on 2 Chron. 29:25).

Also Jehoiada appointed the offices of the house of the Lord by the hand of the priests the Levites, whom David had distributed in the house of the Lord,

to offer the burnt offerings of the Lord, as it is written in the law of Moses,
with rejoicing and with singing, as it was ordained by David. 2Chr 23:1
HOW DID THE LEVITES COME TO BE THE EXECUTIONERS OF THOSE WHO "CAME BOLDLY BEFORE THE THRONE OF GRACE?"
We should note that Jacob had warned that we should not attend the assemblies of the Levi Tribe.  After the fall from Grace at Mount Sinai, God turned them over to worship the starry host under Levites.  God quarantined the worship behind closed doors and gates and Levites stood guard and could not come near any holy thing or enter any holy place. Their instruments were solemn warnings or threats that you had better be outside of the gates or on your face or bowing in submission.
Gen. 49:5 Simeon and Levi are brethren;
        instruments of cruelty are [h3627 psaltery, weapon]
        in their habitations. [stabbing, burning Bello ]
Iniquitas B. Unfairness, injustice, unreasonableness: luxuria, praetoris, unreasonable demands in the shape of taxes,
1 See some history of the Jacob-Cursed tribe of Levi
Evil Thesis:
Gen. 29:34 And she conceived again, and bare a son; and said,
        Now this time will my husband be joined unto me,
        because I have born him three sons:
        therefore was his name called [3]  Levi.
H3878  lκvıy lay-vee' From H3867; attached; Levi, a son of Jacob:--Levi. See also H3879 , H3881 .

3867
. lavah, law-vaw΄; a primitive root; properly, to twine, i.e. (by implication) to unite, to remain; also to borrow (as a form of obligation) or (caus.) to lend: abide with, borrow(-er), cleave, join (self), lend(-er).

3880.  livyah, liv-yaw΄; from 3867; something attached, i.e. a wreath:
ornament.

3881. 
Leviyiy, [Chaldee] lay-vee-ee΄;  Leviy, lay-vee΄; patronymically from from H3878 ; a Leviite or descendant of Levi:--Levite.

3882.
livyathan, liv-yaw-thawn΄; from 3867; a wreathed animal, i.e. a serpent (especially the crocodile or some other large sea-monster); figuratively, the constellation of the dragon; also as a symbol of Babylon:--leviathan, mourning.
Job 3:8
Isa 27:1 In that day the LORD with his sore and great and strong sword
shall punish leviathan the piercing serpent,
even leviathan that crooked serpent;

H3868 lϋz looz A primitive root; to turn aside (compare H3867 , H3874 and H3885 ), that is, (literally) to depart, (figuratively) be
perverse:--depart, froward, perverse (-ness).
Godly Antithesis: Gen. 29:35 And she conceived again, and bare a son: and she said,
        Now will I praise the LORD: therefore she called his name [4] Judah; and left bearing.

Evil Thesis:
Gen. 49:5 Simeon and Levi are brethren;
        instruments of cruelty are [h3627 psaltery, weapon]
        in their habitations. [stabbing, burning Bello  to wage or carry on war, to war, to fight in war.

Caes. Gal. 1.2 incited by lust of sovereignty, formed a conspiracy among the nobility, and persuaded the people to go forth from their territories with all their possessions, [saying] that it would be very easy, since they excelled all in valor, to acquire the supremacy of the whole of Gaul.

From these circumstances it resulted, that they could range less widely, and could less easily make war upon their neighbors; for which reason
men fond of war [as they were] were affected with great regret. They thought, that considering the extent of their population, and their renown for warfare and bravery, they had but narrow limits, although they extended in length 240, and in breadth 180 [Roman] miles.

This was the condition when David had destroyed all of the enemies and he had a host of Levites on his hand.

Iniquitas B. Unfairness, injustice, unreasonableness: luxuria, praetoris, unreasonable demands in the shape of taxes,
Cruelty h2555 unjust gain Habitations h4380 Stabbing, a sword a furnace, boiling
Instruments:  7015. qiynah, kee-naw΄; from 6969; a dirge (as accompanied by beating the breasts  or on instruments):—lamentation.       
  6969. quwn, koon; a primitive root; to strike a musical note, i.e. chant or wail (at a funeral):— lament, mourning woman [from CAIN]
Remember That Cain was of the wicked one and Paul said that Eve was totally deceived as a wife is taken before her husband.
Gen. 49:6 O my soul, come not thou into their secret;  [counsel: don't look to Levi for a pattern]
        unto their assembly
, mine honour, be not thou united:
        for in their anger they slew a man, and in their selfwill they digged down a wall.
Gen. 49:7 Cursed be their anger, for it was fierce; and their wrath, for it was cruel:
        I will divide them in Jacob, and scatter them in Israel.
Divido I. To force asunder, part, separate, divide (very freq. and class.; cf.: distribuo, dispertio; findo, scindo, dirimo, divello, separo, sejungo, segrego, secerno).
Godly Antithesis:
Genesis 49:8 Judah, thou art he whom thy brethren shall praise:
        thy hand shall be in the neck of thine enemies;
        thy father’s children shall bow down before thee.
Genesis 49:9 Judah is a lion’s whelp:
        from the prey, my son, thou art gone up:
        he stooped down, he couched as a lion,
        and as an old lion; who shall rouse him up?
Genesis 49:10 The sceptre shall not depart from Judah,
        nor a lawgiver from between his feet, until Shiloh come;
        and unto him shall the gathering of the people be.
You CANNOT be an assembly of Christ is you build on the foundation of the Tribe of Levi: Maybe that is why those associated with the NACC (ex Disciples) are so aggressive in pretending to hold unity meetings but calling people who will not uses instruments legalistic.
WHY WOULD THE NACC PICK THE EVIL THESIS AND THEN TURN ON PEOPLE WHO WILL NOT CONFORM?
And don't forget that they volunteered to slaughter 3000 including their own "brethren" for engaging in musical idolatry.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of
music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).  See Musical Idolatry at Mount Sinai
Robert Ballard Page 68 Psalms, hymns and spiritual songs P. 92 "To His saints in this Christian dispensation He says: "Speak to yourselves in psalms and hymns and spiritual songs" (Eph. 5:19).

Why would the NACC translate that as "SING to yourselves with Fanny Crosby and make melody with a HARP?"

Robert Ballard To forbid instruments as being unfit for CHRISTIANS to use in the accompaniment of "psalms and hymns and spiritual songs" is to speak where God had not spoken,

When Jesus and the Disciples HYMNED and went out they didn't play a harp.
Matthew 26.30  et hymno dicto exierunt in montem Oliveti
Hymnus , i, m., = humnos, “divinorum scriptor hymnorum,” Vulg. Psa. 60 tit.; id. Matt. 26, 30.

Psalm 60 A teaching poem by David, when he fought with Aram Naharaim and with Aram Zobah, and Joab returned, and killed twelve thousand of Edom in the Valley of Salt.

There is no SINGING TUNEFULLY involved in hymning:

Dīcoto say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,
Ontōs , Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs
a^, Dor. ala_thēs , es, (lēthō,
I.
Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3.
of oracles, true, unerring, “alathea mantiōn thōkon” Pi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthai” Hdt. 1.14
        Opposite Epos
1. song or lay accompanied by music, 8.91,17.519.
                 b. generally, poetry, even lyrics
        5. celebrate, of poets, “Aiantos bian
IN GREEK

Matthew 26.30
  Kai humnēsantes exēlthon eis to Oros tōn Elaiōn.
John 1:30 This is he of whom I said, After me cometh a man which is preferred before me: for he was before me.
This never means SING a song in a tuneful sense: the word means chant or speak as in SPEAK to yourselves.

Humn-eō , Ep. humneiō Hes.Op.2; Ep.3pl.
II.
tell over and over again, harp upon, repeat, recite,
        ton nomon humnein recite [erō say] the form of the law, Id.Lg.871a:
2. 
in pass. sense, phēmai . . humnēsousi peri ta ōta will ring in their ears Pl.R.463d

Phēmē  I. utterance prompted by the gods, significant or prophetic saying, II. any voice or words, speech, saying, logōn ph. poet. periphr. for logoi, S.Ph.846 (lyr.
Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II.
of the soul, emotion, passionlegō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”

Matthew 26:31 Then saith Jesus unto them,
        All ye shall be offended because of me this night:
        for it is written, I will smite the shepherd,
        and the sheep of the flock shall be scattered abroad.

Pa^tassō , Ep. impf.
krouō
, fut. - E.El.180: aor. 2. strike one against another, strike together, k. kheiras clap the hands
5. strike
a stringed instrument with a plectron, Simon.183, Pl.Ly.209b: generally, play any instrument (v. krouma, kroumatikos)“, aulei  [flute]. . krouōn iasti” Com.Adesp.415: c. dat., k. krembalois, = krembalizein, Ath.14.636d.
10.
krouein akratō, v. patassō 11.2. (Cf. Lith. krωšti 'bruise', 'pound', Lett. krausēt 'thresh'.)
Robert Ballard: and to refuse to permit that which God Himslef has (P93) SAID TO USE. To forbid their use, where God has  SAID TO USE THEM, as in Eph. 5:19 and Col. 3:16 is flagrant sin (Rev 22:18:19)

God commanded two silver trumpets to be used ONLY to signal movements of the tribe: any instrumental noise was outlawed for the Church of Christ in the wilderness.  Those known as The Church of Christ have always existed under that name and NEVER violated the many direct commands to SPEAK  or READ the Biblical text.


The NACC has made a major industry out of calling people who will not endorse them sinners, sectarians, legalists, hypocrites and all of the violent words violent men can dig out of their RACA bag. The modern claim is that you MUST use instruments (every member) or you are a SINNER.  A Sinner will not be saved.  By defining the Church of Christ which has never been "joined" to the Disciples/Christian churches as heretics they are free to use any means possible to do hostile takeover of simple minded preachers.


The Word "psallo" is a
making war or making perverted sexual worship derived from o.  The word means to SMITE something with your FINGERS and not with a PLECTRUM.
Psallō , fut. II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron, “psēlai kai krouein plēktrō”
If the NACC permits guitar picks then they violate the direct command of Paul in Ephesiahs 5. They sin.
If they use a piano, trumpet, flute, drums or anything other than a harp string they it
is flagrant sin

If you say that God commanded instrumental music in the ekklesia / synagogue

And, God has not said use instruments
Then Christ says in Jeremiah 23 that you have blasphemed the Holy Spirit of Christ.

Somewhere we learned that the command to
SPEAK can never be a command to make music.  Nor, can the command to use "that which is written for our learning" ever mean that which WE have written. Because both the "sing" word and the "psallo" word are all speaking of enchantment or making war:
AntiThesis Wherefore be ye not unwise,
Thesis but understanding what the will of the Lord is. Ephesians 5:17

AntiThesis And be not drunk with wine, wherein is excess;

kat-auleτ  methuτn kai katauloumenos drinking wine to the strains of the flute, 

Thesis but be filled with the Spirit; Ephesians 5:18
John 6:63 It is the spirit that quickeneth; the flesh profiteth nothing:
        the words that I speak unto you,
        they are spirit, and they are life.
Thesis Speaking to yourselves in psalms and hymns and spiritual songs,
Paul commands with one mind and one mouth or unison: they chanted the word and knew nothing of modern melody which would exclude HARMONY.
AntiThesis singing and making melody in your heart to the Lord; Ephesians 5:19
If God commanded anyone to do "church" by congregational singing and instrumental accompaniment, then God commanded the same people to be abandoned to Worship the Starry Host.  If God commanded instrumental music even for the curse of the sacrificial system then Christ in the Prophets lied.  If God commanded us to use instruments in the School of the Prophets and Apostles then all of the historic scholars did not know about it.

You cannot SPEAK and SING at the same time: if you SING and PLAY many instruments you have no command and the mark is that you do not want people to hear or understand Christ SPEAKING when we speak what He has left us.

The proposal of Pausanias to restrict the potations,  (don't get drunk on wine)
        in view of yesterday's banquet,
        and that of Eryximachus to dismiss the flute-girl
               
(Matt 9: Jesus cast out the minstels like dung)

        and amuse themselves by logoi, are unanimously agreed to. 
                    (speak that which is written)

Then Eryximachus propounds an idea of Phaedrus, that Eros is the best possible theme for encomia, and suggests that each of the party in turn, commencing with Phaedrus, should now deliver an encomium on Eros. This suggestion is applauded by Socrates. 
SPEAKING IN RELATIONSHIP TO THE EKKLESIA, SYNAGOGUE OR CHURCH must be stripped of everything human talent can bring: that woud deny that Christ as the personified WORD who spoke only what He heard from God the Father was good enough.
Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II.
of the soul, emotion, passionlegō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”

Sophia
, A. cleverness or skill in handicraft and art 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,
in divination, S.OT 502 (lyr.
Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment, to sphodron kai enthousiastikon p. Longin.8.1; “pathos poiein” Arist. Rh.1418a12; “
See Logos (Word and masculine) versus Mythos (arts and feminine)

See Psalm 1 which speaks to the godly and not to the Levitical Infant Burners


DAVID WHO NEVER ATTENDED AS A WORSHIP LEADER OR PERFORMED PUBLICALLY WARNED.


WHAT IS ALWAYS CONDEMNED


Antithesis:

Ps 1:1  Blessed is the man that

        walketh not in the counsel of the ungodly,
        nor standeth in the way of sinners,
        nor sitteth in the seat of the scornful.
Impĭus (inp- ), a, um, adj. 2. in-pius, I. without reverence or respect for God, one's parents, or one's country; irreverent, ungodly, undutiful, unpatriotic; abandoned, wicked, impious (rare but class.; cf.: nefarius, sacrilegus. Tumultus  “quis sonitu ac tumultu tanto nomine nominat me atque pulsat aedes?” Plaut. Bacch. 5, 2, 1B. Of speech, confusion, disorder: “sermonis,” Plin. 7, 12, 10, § 55: “criminum,” 
Sono . Neutr., to make a noise, to sound, resound: aes sonit, the trumpet sounds,
II.
Act., to sound, utter, give utterance to, speak, call, cry out, sing, pour forth (syn.: “edo, eloquor, cano): “Pythius in longā carmina veste sonat,” sings, pours forth, accompanies on the lyre, id. 2, 31 (3, 29), 16; cf.: “sonante mixtum tibiis carmen lyra,” Hor. Epod. 9, 5: “te sonantem ... dura fugae mala,” id. C. 2, 13, 26: te carmina nostra sonabunt, shall sing of, i. e. shall celebrate, praise, extol, Ov. M. 10, 205;

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

Pulso
Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,”

B.
Transf., to strike against, to strike, touch any thing (poet.): “ipse arduus altaque pulsat Sidera,” Verg. A. 3, 619; 10, 216; Sil. 9, 450: “vasto qui vertice nubila pulsat,” Val. Fl. 4, 149.—Of abstract subjects: “ululatus pulsat aures,”
ŭlŭlātŭs , ūs, m. id.,
I. a howling, wailing, shrieking, as a sound of mourning or lamentation, Verg. A. 4, 667; Ov. M. 3, 179; 5, 153; 8, 447; Plin. 8, 40, 61, § 145: “lugubris,” Curt. 4, 15, 29; 5, 12, 12; Stat. Th. 9, 178 al.—The wild yells or warwhoops of the Gauls, Caes. B. G. 5, 37; 7, 80The wild cries and shouts of the Bacchanals, Cat. 63, 24; Ov. M. 3, 528; 3, 706.

ŭlŭlo
, “ululanti voce canere,
B.
Transf., of places, to ring, resound, re-echo with howling: “penitusque cavae plangoribus aedes Femineis ululant,” Verg. A. 2, 488: “resonae ripae,” Sil. 6, 285: “Dindyma sanguineis Gallis,”
căno , cĕcĭni, cantum (ancient I. imp. cante = canite, Carm 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.
I. Neutr., to utter melodious notes, to sing, sound, play.
C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,” Cic. N. D. 2, 8, 22: “maestae cecinere tubae,” Prop. 4 (5), 11, 9: “frondiferasque novis avibus canere undique silvas,” and the leafy forest everywhere resounds with young birds, Lucr. 1, 256;

Isa 3:12 As for my people, children are their oppressors, and women rule over them. O my people, they which lead thee cause thee to err, and destroy the way of thy paths.

5953.  ALAL, aw-lal΄to effect thoroughly; specifically, to glean (also figuratively); by implication (in a bad sense) to overdo, i.e. maltreat, be saucy to, pain, impose (also literal): abuse, affect, x child, defile, do, glean, mock, practise, thoroughly, work (wonderfully).

5954 THRUSTING youself, 5955 Grape Gleaning.

chALAL wound, profane, play flute, take inheritance, gather the grapes, playe on an instruments, pollute PROSTITUTE.
Scornful: Pestĭlentĭa II. Trop., a plague, pest, pestilence (poet. and in postclass. prose): “oratio plena veneni et pestilentiae,” Cat. 44, 11: “cathedra pestilentiae,” the seat of the scornful, Vulg. Psa. 1, 1.— In plur.: “animorum labes et pestilentiae,” Gell. 1, 2, 4.
WHAT IS ALWAYS COMMANDED:

Thesis

Ps 1:2  But his delight is in the law of the LORD;
        and in his law doth he meditate day and night.

vŏluntas
, ātis, f. 1. volo, I. will, freewill, wish, choice, desire, inclination.
a. Suā (alicujus) voluntate, or simply voluntate, of one's own will, of one's own accord, willingly, voluntaril

Mĕdĭtor , ātus, 1, I.  v. dep. a. and n. Sanscr. madh-a, wisdom; Gr. mathos, manthanō, mēdomai; cf.: medeor, re-med-ium, etc.; act., to think or reflect upon, to muse over, consider, meditate upon; neutr., to think, reflect, muse, consider, meditate; to design, purpose, intend
A. Exercised, practised, instructed

Melos or melody is almost idental to melet which means to meditate.  People in the School of Christ SPEAK the words externally and them meditate on them IN THE HEART.

1Sam. 15:21 But the people took of the spoil, sheep and oxen,
        the chief of the things which should have been utterly destroyed,
        to sacrifice unto the LORD thy God in Gilgal.
1Sam. 15:22 And Samuel said,
        Hath the LORD as great delight in burnt offerings and sacrifices,
        as in obeying the voice of the LORD?
        Behold, to obey is better than sacrifice,
        and to hearken than the fat of rams.
1Sam. 15:23 For rebellion is as the sin of witchcraft,
        and stubbornness is as iniquity and idolatry.
        Because thou hast rejected the word of the LORD,
        he hath also rejected thee from being king.

Pharmakos (on the accent v. Hdn.Gr.1.150), o(, h(,
A. poisoner, sorcerer, magician, LXXEx.7.11 (masc.), Ma.3.5 (fem.), Apoc.21.8, 22.15.
pharma^kon Paionios
“paiōnia” A.Ag.848
Paian , anos  2. title of o (later as epith., “ōni Paiani” BCH11.94 (Hierocaesarea); “ō basileu P. . . on” BMus.Inscr.1151); “ Paiēon' aeidon” h.Ap.517, cf. also of other gods, “Asklēpios Paiōn” Ar. Pl.636, cf. Pae.Erythr.1; of Zeus at Rhodes, Hsch.; of Dionysus,
II.
paian , Ep. paiēōn , Att., Ion. paiōn , paean, i.e. choral song, addressed to o or Artemis (the burden being or Paian, v. supr. 1.2), in thanksgiving for deliverance from evil
2.
song of triumph after victory, prop. to o, Il.22.391 sq.; “halōsimos p.” A.Th.635, etc.; also, battle-song,

Paiōn-ios
, a, on,
A. belonging to Paeon or medicine, healing, kheir, kheires, A.Supp.1066 (lyr.), S.Ph.1345, Ar.Ach.1223; “pharmaka” A.Ag.848; “eukhai” Id.Fr.144: in later Prose, Jul.Or.8.240b: c. gen., “khrusos erōtos aei paiōnios” AP 9.420 (Antip.):—fem. paiōnias sophiē, healing art, medicine, ib.11.382.6 (Agath.); also paiōnis tekhnē, S.E.M.1.51; cf. paionios.

WHAT ALL HISTORIC SCHOLARS UNDERSTOOD:

Tertullian Chapter III. Direct Commands of God and Necessary Inferences

Fortified by this knowledge against heathen views, let us rather turn to the unworthy reasonings of our own people;
..........for the faith of some, either too simple or too scrupulous,
..........demands direct authority from Scripture for giving up the shows,
......... and holds out that the matter is a doubtful one,
........because such abstinence is not clearly and in words imposed upon God's servants.

Well, we never find it expressed with the same precision,

"Thou shalt not enter circus or theatre, thou shalt not look on combat or show;" as it is plainly laid down, "Thou shalt not kill; thou shalt not worship an idol; thou shalt not commit adultery or fraud." Ex. xx. 14.

But we find that that first word of David bears on this very sort of thing: "Blessed," he says,
        "is the man who has not gone into the assembly of the impious,
        nor stood in the way of sinners, nor sat in the seat of scorners." Ps. i. 1.

Though he seems to have
predicted beforehand of that just man, that he took no part in the meetings and deliberations of the Jews, taking counsel about the slaying of our Lord, yet divine Scripture has ever far-reaching applications: 
after the immediate sense has been exhausted,
in all directions it fortifies the practice of the religious life,
so that here also you have an utterance
which is not far from a plain interdicting of the shows.
If he called those few Jews an assembly of the wicked,
        how much more will he so designate so vast a gathering of heathens!
        Are the heathens less impious, less sinners, less enemies of Christ, than the Jews were then?
        And see, too, how other things agree.

For at the shows they also stand in the way
        For they call the spaces between the seats going round the amphitheatre,
        and the passages which separate the people running down, ways.
        The place in the curve where the matrons sit is called a chair.

Therefore, on the contrary, it holds, unblessed is he who has entered any council of wicked men, and has stood in any way of sinners, and has sat in any chair of scorners.
WHAT ALL DECENT SOCIETIES REJECTED (musical parasites)

Quintus Horatius Flaccus, Hor. S. 1.2

Bad men, when they avoid certain vices, fall into their opposite extremes.

1.2.5 The tribes of female flute-players,1 quacks, vagrants, mimics, blackguards;  all this set is sorrowful and dejected on account of the death of the singer Tigellius; for he was liberal [toward them]. On the other hand, this man, dreading to be called a spendthrift, will not give a poor friend [5] wherewithal to keep off cold and pinching hunger.

1 Ambubaiarum , "Women who played on the flute." It is derived from a Syrian word; for the people of that country usually excelled in this instrument. Pharmacopolae is a general name for all who deal in spices, essence, and perfumes.

2 “Mendici, mimae, balatrones” . The priests of Isis and Cybele were beggars by profession, and under the vail of religion were often guilty of the most criminal excesses. Mimae were players of the most debauched and dissolute kind; and balatrones, in general, signifies all scoundrels, buffoons, and parasites, who had their name, according to the old commentator, from Servilius Balatro. “Balatrones hoc genus omne”, for omne hoc balatronum genus, is a remarkable sort of construction.

Pharmacopōla

pharmakopōlēs). A vender of medicines (pharmaka), described by Cato and Cicero as frequenting the market-places and haranguing the people on the merits of their nostrums like our modern travelling quacks. See Cato ap. Gell. i.5.3, and Pro Cluent. 14, with Hor. Sat. i. 2, 1

There is the UNIVERSAL pattern of Tom Burgess' proof texts.

Aeschin. 3 162 
For, as the people of the Paralus say,1 and those who have been ambassadors to Alexander—and the story is sufficiently credible—there is one Aristion, a man of Plataean status,2 son of Aristobulus the apothecary, known perhaps to some of you. This young man, distinguished for extraordinary beauty of person, once lived a long time in Demosthenes' house (what he used to do there or what was done to him, is a scandal that is in dispute, and the story is one that would be quite improper for me to repeat). Now I am told that this Aristion, his origin and personal history being unknown to the king, is worming himself into favour with Alexander and getting access to him. Through him Demosthenes has sent a letter to Alexander, and has secured a certain degree of immunity for himself, and reconciliation; and he has carried his flattery to great lengths.

1 The citizen crew of the dispatch-ship Paralus.

2 The “Plataean status” was that of foreigners (slaves in some cases) who had received citizenship in return for services to the state. The status was named “Plataean” after those Plataean exiles who were made Athenian citizens after the destruction of Plataea in the fifth year of the Peloponnesian war.

Tom Burgess quotes the part in blue: 1. Philip also was in these matters somewhat more petty and childish than became him, since he had acquired his knowledge late in life.

Thus they tell the tale that Philip once argued with a certain harp-player about the technique of his instrument, and even thought he was confuting the man; but the harp-player smiled gently and said,

"God forbid, your Majesty, that you should ever fall so low as to know more of these matters than I."

2. But Alexander, knowing well in what matters he should be merely a spectator and listener, and in what he should play the chief rτle, trained himself..... [My extended quotes] Thus they tell the tale that Philip once argued with a certain harp-player about the technique of his instrument, and even thought he was confuting the man; [Traditional subsection D] but the harp-player smiled gently and said, "God forbid, your Majesty, that you should ever fall so low as to know more of these matters than I."

This art he inherited from his ancestors, the Aeacidae, and from Heracles; but upon the other arts he freely bestowed honour without jealousy according to their worth and artistic excellence; but he was not so easily carried away by the pleasure they gave him as to try to imitate them.

Heracles had many homosexual lovers and his rituals were first celebrated at Tyre: thus Christ calls the king of Tyre the singing and harp-playing prostitute in the garden of Ede.
Ambūbāĭa , ae, usu. in the plur., am-būbāĭae , ārum, f. from Syr. , plur. = tibia, Vulg. 1 Cor. 14, 7, I. a class of Syrian girls in Rome, who supported themselves by their music and immorality: ambubajarum collegia, * Hor. S. 1, 2, 1: “ambubajarum ministeria,” Suet. Ner. 27.—In sing., Petr. 74, 13.

1 Corinthians 14.7
homōs ta apsukha phōnēn didonta, eite aulos eite kithara, ean diastolēn tois phthoggois , pōs gnōsthēsetai to auloumenon ē to kitharizomenon;

[7] Even things without life, giving a voice, whether pipe or harp, if they didn't give a distinction in the sounds, how would it be known what is piped or harped


Apsu_kh-os , on, A. lifeless, inanimate, “pothō” Archil.84; “mnēmei' apsukh' empsukhōn” Simon.106.4, cf. E.Fr.655, Tr. 623; “lōtos a. empnoun aniei Mousan” Sopat.10; ha -otata tōn ostōn with least life or sensation, Pl.Ti.74e, cf. Arist.de An.413a21, etc.; a. theoi, of statues, Timae.127.
2.  a. bora non-animal food, E.Hipp. 952.
II. spiritless, faint-hearted, “kakē” A.Th.192; “anēr” Trag.Adesp.337: apsukhoterai hai thēleiai elephantes] Arist.HA610a21; of style, lifeless, D.H.Dem.20. Adv. “-khōs” Poll.2.227.
III. materialistic, “logos”
4. INSTRUMENTAL MUSIC IN THE CHRISTIAN CHURCH

Paul said to
SPEAK one to another: now how do disciples teach one another? they SPEAK that which is written. Almost never outside of institutions do we find people playing instruments and singing human songs when the MASTER has come to Instruct us. You would wonder how people can literally SEE that as "sing to one another and make melody on a harp."
Gregorian Chant. it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in synagogues for centuries after the Destruction of the Second Temple in AD 70.

Gregorian Chants were always in unison when choirs were used and were not metrical.

THE PROPHETS PROVE IT: STEPHEN PROVED IT AND GOT MURDERED BY THE CLERGY

> 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

> But this thing commanded I them, saying,
       Obey my voice, and I will be your God, and ye shall be my people:
       and walk ye in all the ways that I have commanded you,
       that it may be well unto you. Jeremiah 7:23

> But they HEARKENED NOT, nor inclined their ear,
       but walked in the counsels and in the imagination of their evil heart,
       and went backward, and not forward. Jeremiah 7:24

If Christians did not perform naked dances in the assembly BECAUSE the pagans danced naked, were they so looney that they would give up their best attraction JUST BECAUSE of the pagans. Of course not: they did not use music, dancing, sacrifices, feasting or anything but PREACH the word by READING the Word.

Acts 7:41 And they made a calf in those days,
        and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands.

Euphrainō
, Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3

Pind. I. 6
Just as we mix the second bowl of wine when the men's symposium is flourishing, here is the second song of the Muses for Lampon's children and their athletic victories: first in Nemea, Zeus, in your honor they received the choicest of garlands,

Pind. I. 7   In which of the local glories of the past, divinely blessed Thebe, did you most delight your spirit? Was it when you raised to eminence the one seated beside Demeter of the clashing bronze cymbals, flowing-haired [5] Dionysus? Or when you received, as a snow-shower of gold in the middle of the night, the greatest of the gods, when he stood in the doorway of Amphitryon, and then went in to the wife to beget Heracles?

Plat. Laws 796b
when we reach this point in our legislation—that the latter should impart these lessons gently, and the former receive them gratefully. Nor should we omit such mimic dances as are fitting for use by our choirs,—for instance, the sword-dance of the Curetes1 here in Crete, and that of the Dioscori2 in Lacedaemon; and at Athens, too, our Virgin-Lady3 gladdened by the pastime of the dance deemed it not seemly to sport with empty hands,

1 Priests of the Idaean Zeus.
2 Castor and Pollux.
3 Athene.
Paign-ion
, to,
2. of persons, darling, pet, Anaxandr.9.3: also in pl. (of one person), Ar.Ec.922, Plu.Ant.59.
II. in Theoc.15.50, the Egyptians are called kaka paignia, roguish cheats,—unless here it be acc. cogn. (dirty tricks) after paizō.
Paizō , Dor. paisdō Theoc.15.42: Lacon. pres. part. gen. pl. fem. paiddōhan Ar. Lys.1313 (lyr.): fut. paixoumai Syrac. in X.Smp. 9.2,
4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16.
5.
play amorously, “pros allēlous” X.Smp.9.2; “meta tinos” LXX Ge.26.8; of mares, Arist.HA572a30.
6.
hunt, pursue game, “p. kat' alsos” S. El.567.

III. game, “Kourētōn enoplia p.” Pl. Lg.796b: metaph., child's play, of an easy task, Euphro 1.35.
2. comic performance, Pl.Lg.816e, Ephipp.7, Suet.Aug.99.
3. light poem, AP6.322 (Leon.), Plb.16.21.12; Homērou, Kratētos p., Jul.Or. 2.60d, 6.199d; title of poems by Philetas, Stob.2.4.5, al.; applied to those of Theocritus, Ael.NA15.19: metaph., of the merry chirp of the cicada, AP7.196.6 (Mel.).
4. of a prose trifle, Gorg.Hel. 21.
5. “Dēmokritou paignia” jocular recipes,
The Egyptian Opis (Apis) and others which Israel worshipped at Mount Sinal were worshipped throughout the area. "In preference to all other hymns these choirs generally sang the so-called epiphany hymns,which were intended to invite the gods to appear. Plutarch wrote:
Why do the women of Elis call upon God in song to approach them with the bull's foot? Their song is the following:
Come, Dionysus, Hero,
into the holy temple of Elis,
together with the Graces
come violently into the temple with the bull's foot!
Then they sang twice at the end: "Sacred Bull!" (Johannes Quasten, Music & Worship in Pagan and Christian Antiquity, p. 76)
"For nonliterate peoples, music often serves purposes other than entertainment or aesthetic enjoyment. Certain wind instrumentare closely associated with the supernatural, and their sounds connote powerful magic. Australian Aborigines, for instance, identify the sound of a bull-roarer with thevoices of supernatural beings; for the Plains Indians, the same sound signifies an awesome natural phenomenon, such as thunder. Wind instruments are often among a group's most important ritual objects, and in some cultures they are specially venerated. The Kamairua Indians of the Amazon rain forest keep their giant flutes (three to four feet long), wherein spirits are believed to dwell, in a special shrine where they are worshiped. The flutes and drums of New Guinea are similarly housed and worshiped.
The word Psallo has no remote connection to music: it simply means "pluck with your fingers and NEVER with a plectrum."  You cannot psallo with a guitar pick, blow a flute, beat on drums or play a keyboard. Paul  ALWAYS excludes the common pagan understanding of words before he defines Spiritual worship. In these passages the operative word is SPEAK which is defined as the opposite of poetry or music. If you hold classes for disciples commanded to be taught what Jesus commanded to be taught you could not even hallucinate the use of the pagan meaning of the Word. Psallo related to o (Abaddon, yon) speaks of plucking a bow string or plucking a lyre string to seduce a young boy. All of Tom Burgess' proof text so identify the vile pagan practices in the Greek world.



EPHESIANS 5:17-20KJV
COLOSSIANS 3:16-17

Wherefore be ye not unwise, but understanding what the will of the Lord is. Eph 5:17

And be not drunk with wine,

Allen: For Plato as for the Christians, there was another reason for disallowing instruments -- they stir up the emotions in excitement Niceta is keen to claim that the songs of the Church put out, rather than excite, the passions'28 Basil contrasts psalms, fasting and prayer' with auloi, dancing and drunkenness Homily Psa 114

ĭn-ēbrĭo Saturate, full of talk


kat-auleō , A. charm by flute-playing, methuōn kai katauloumenos drinking wine to the strains of the flute katauloumenon subdued by a flute accompaniment, metaph., to be piped down, ridiculed, “gelōmenoi kai -oumenoi” mētrōa melē” Metroos the worship of Cybele, b. Mētrōa, Mother goddess: music played in her honour, Mele Melos 3. melody of an instrument, “phormigx d' [mark of o]  au phtheggoith' hieron m. ēde kai aulos”

wherein is excess;  (Greek: vanity)

The results of being drunk on wine


luxŭrĭa Of style: “in qua (oratione), ut

luxŭrĭo
, wanton, revel, sport, skip, bound, frisk: Deliciis that which allures, flatters the senses], delight, pleasure, charm, allurement; deliciousness, luxuriousness, voluptuousness, curiosities of art; , to make sport paizō dance  4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16saltātĭo, David's naked dance.

Paul always defines away all of the hypocritic arts.

BUT, be filled with the Spirit; Eph 5:18

      John 6:63b the words that I speak unto you,
       they are spirit, and they are life.

Colossians 3:1 If ye then be risen with Christ, seek those things which are above, where Christ sitteth on the right hand of God.

Colossians 3:5  Mortify therefore your members which are upon the earth; fornication, uncleanness, inordinate affection, evil concupiscence, and covetousness, which is idolatry

Phĭlŏsŏphĭadoctores săpĭentĭa sermons, interpret, sects Cic.Off.2.2.5 Wisdom, = sophia


Sophia , A. cleverness or skill in handicraft and art, in music and singing, poetry, divination

interprĕtor , ātus (in tmesi interpres, to explain, expound, interpret, give expression to, translate; to understand, conclude, infer. A. To decide, determine
12, 29: “haec ex Graeco carmine interpretata recitavit,” Liv. 23, 11, 4; 45, 29, 3.
Carmen
, I. In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental“barbaricum,” id. M. 11, 163.—With allusion to playing on the cithara

Rom 8[13] For if you live after the flesh, you must die; but if by the Spirit you put to death the deeds of the body, you will live.


Pathos emotion, to create passion, drama MY experiences Sophia cleverness or skill in handicraft and art, in music and singing, tekhnē kai s, poetry, in divination pleonexia assumption, one's own advantage. Financial gain

Colossians 3:10 And have put on the new man,
    which is renewed in knowledge
    after the image of him that created him:

Colossians 3:16 Let the word of Christ dwell in you richly in all wisdom;


Speaking to yourselves
in psalms and hymns
      and spiritual songs, [Scripture]
teaching and admonishing one another
      in psalms and hymns
      and spiritual songs, [Scripture]

singing and making melody
     
in your heart to the Lord;
singing with grace
      in your hearts
to the Lord.

always giving thanks
     to God the Father for everything,
     in the name of our Lord Jesus Christ.
And whatsoever ye do in word or deed, do all
    In the name of the Lord Jesus,
    giving thanks to God and the Father by him.


IS THERE NOTHING AGAINST INSTRUMENTS IN SCRIPTURE OR DO WE HAVE A DELUSION PROBLEM?

See 2 Peter 2 for Peter's warning

2 Peter 2:13 And shall receive the reward of unrighteousness,

        as they that
count it pleasure [Hedonism: sensual pleasure, LUST. Outlawed Rom 15]
        to riot in the day time.

       Spots
they are and blemishes,
       sporting
themselves  Rising up to PLAY
        with their
own deceivings
        while they
feast with you
It's true enough for those not OF TRUTH that God did not say THOUS SHALT NOT BE A "SPORT."
Truph-ē softness, delicacy, daintiness, 2 Ep.Pet.2.13; II. luxuriousness, wantonness, “tōn gunaikōn t.” Ar.Lys.387; t. kai akolasia, t. kai malthakia,

Paison paizτ [pais] 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2; “meta tinos” LXX Ge.26.8; of mares

[See Plato-Symposium]
Symposium;
Then, said Eryximachus, as you are all agreed that drinking is to be voluntary, and that there is to be no compulsion,
I move, in the next place, that the flute-girl,
        who has just made her appearance,
        be told to go away and play to herself,
        or, if she likes, to the women who are within.
        To-day let us have conversation instead
5. HISORICAL SECULAR EVIDENCE

Robert Ballard p 76


Francis J. Winder attempts to show that the organ was in use before the traditional accounts used to refute the use of instruments in the church.  Winder quotes from books defending instruments and does not include all of the evidence. However, picking out specific statements is likely to show that the writer has an agenda and not a hunger for the truth.

William Green

The writers of the Western church reproduced in Latin much that was traditional in the commentaries of Greek writers. Ambrose and Jerome in particular were indebted to Origen and those who followed him in the East. And the work of all these writers is gathered up in the great work of Augustine. His Enarrationes, or Sermons on the Psalms became one of the most popular works for readers of the Middle Ages. On Psalm 33, verse 2, he comments:

""Confess to the Lord with the harp,"that is, confess to the Lord presenting your bodies to him as a living sacrifice. "Sing praises to him with the psaltery of ten strings,"that is, let your members be subject to the love of God and love of your neighbor, In which the three and seven commandments are kept."10


1. Rejoice in the Lord, O you righteous: rejoice, O you righteous, not in yourselves, for that is not safe; but in the Lord. For praise is comely to the upright Psalm 32:1: these praise the Lord, who submit themselves unto the Lord; for else they are distorted and perverse.

2. Praise the Lord with harp: praise the Lord, presenting unto Him your bodies a
living sacrifice. Romans 12:1 Sing unto Him with the psaltery for ten strings Psalm 32:2: let your members be servants to the love of God, and of your neighbour, in which are kept both the three and the seven commandments.

3. Sing unto Him a new song: sing unto Him a song of the grace of faith. Sing skilfully unto Him with jubilation Psalm 32:3: sing skillfully unto Him with rejoicing.


4. For the
Word of the Lord is right: for the Word of the Lord is right, to make you that which of yourselves ye cannot be. And all His works are done in faith Psalm 32:4: lest any think that by the merit of works he has arrived at faith, when in faith are done all the works which God Himself loves.

10. The Lord brings the counsel of the heathen to nought; of them that seek not His Kingdom, but kingdoms of their own. He makes the devices of the people of none effect: of them that covet earthly happiness. And reproves the counsels of princes Psalm 32:10: of them that seek to rule over such peoples.

11. But the counsel of the Lord stands for ever; but the counsel of the Lord, whereby He makes none blessed but him that submits unto Himself, stands for ever. The thoughts of His Heart to all generations Psalm 32:11: the thoughts of His Wisdom are not mutable, but endure to all generations.

Music at the Crossroads of Empire: Ambrose and Milanese Chant

The liturgical music in use in Milan at the time of Ambrose seems, according to surviving sources, to have been characterized by a strong eastern influence (Byzantine and Graeco-Syrian) that was added to a base of local music. Paulinus of Nola, Ambrose's secretary and biographer, suggests that the liturgy in Milan at this time--if not the liturgical and musical sensibilities of Ambrose himself--was changing because of such influences:

Apart from the development of hymnody, in which Ambrose was certainly involved, and the use of antiphonal singing, which he may have introduced,

During his exile in Asia Minor (356-360), Bishop Hilary of Poitiers was influenced by the compositions and practices attributed to Ephrem of Syria and Gregory of Nazianzus; he brought these traditions back with him when he returned to Poitiers.

In Fact, Ephraem was the FIRST to introduce SINGING as an ACT ABOUT 373.

Other than using the commanded Biblical text, singing was invented to combat the Arians. : "antiphonal singing may have been introduced to Milan--alternating verses or partial verses of a psalm between two choirs. "

You CAN'T accompany a chant with an organ: the Catholics used the organ in the NON-mass part of the assembly and not to accompany congregational singing.

p.77 (Ballard) "for we are tgold that St Ambrose joined instruments with the public service in the Cathedral Church of Milan."

He quotes the
Britannica

Everywhere the early missionaries they had to contend with pagan temples who had always offered singing, clapping, dancing and other favors which made them think that the priest could heal them. 


Christianizing the Romann Empire ad 100-400 p 64f Ramsay MacMullen,.

The pagan priests attracted disciples by singing, clapping, drumming, drinking wine and claiming that they could bestow supernatural power. Early missionaries spread the propoganda that when they left a pagan temle the demons would not return. Others claimed that just their shadow could heal and they could raise the dead. These claims of supernatural power lost their "power."  The church as a purely intellectual movement

p. 63 In the late fourth century the point made here is illustrated by a little poem of Christian propaganda.  It clearly  means to incline gentle readers to believe through the versified coversation  overheard among three shepherds. Baculus complains that all his sheep are dying; but Tityrus tellls him salvation lies through the sign of the cross, and "no altar wet with blood" is needed; to which Aegon adds, "If, tityrus you should make good on thes easservations about paganism, without delay I'll serve true cult.  

Toward the end of or period  Christians could publicize their faith quite openlhy sso a sto reach non-Christians. Hymns written for the same purpose, written in the hope of their being sung  by non-believers as well  as  inside the Christian community too. There were tracts of aggressive debate addressed to non-Christians, to argue them down."  These songs "could make the pagans flee" and so were added, as by the Arians, as propoganda which resulted in literal warfare.

When they could not convince, they tore down all pagan signs and temples and replaced them with the sign of the cross.

p.74f Bishop Basil Reproved the dancers in the very chapels of Caesarea.  Other church leaders in Syria and the Levant tried to suppress dancing, or hand -clapping, or piping along with hymns or at weddings.  And returning to the west, in North Africa Bishop Augustine encountered the same custom and spoke out against it. So everwhere we look we find the problem.
But had not David danced? "Those actions [likeDavid's which areperformed disgracefulloy, if looked at only as physical, are, when viewed through holy religion, rather to be held in respect." those wrote Ambrose.
"Exactly, and non-Christians did hold them in respect and everywhere joined music and motion to their occassions of worship, often accompanied by pipe or castanet or little drum.
Because the pagans merged pleasuer and worship, the church decided to Christianize the hymns and that process produced Christian hymns.  The Church, considering how the boundaries around itself were defined, and to set it off from rival cults without too musch reducing the rewards of life for those who were converted, had to take account of such practical considerations.
Because Jesus spoke ONLY the words delivered from the Father by His "breath" it was WITHOUT METER as the word often means. That is why no one ever tried to sing any of the commanded Biblical text using melody in a tuneful sense.  So, before you can use violence to impose instruments you have to get past the absolute fact that the command is to  SPEAK that which is written and not SING that which is written:
Robert Ballard p 78-79 The "Encyclopedia of Religion and Ethics," James Hastings, 1917 "in the Hebrew Temple, at the beginning of the Christian era, the harp, lute, flute, trumpet and drum were used as accompament to the Psalms and canonical hymns; yet owing to the necesity of avoiding comparison with pagan rites, instrumental music was forbidden in the early Christian Church.

No: history notes that the early church only gradually accepted the practices of the pagans but only on the pagan festival days. No one who has ever read the Bible would think that music was commanded for holding a school of Christ where they read the Biblical text and discussed it. The early church had no RITES which would be both pagan and legalistic.


The church was ordained in the wilderness to quarantine the godly people FROM the temple.  The Civil-Military-Clergy had been "turned over to worship the starry host" because of musical idolatry at Mount Sinai.  No speaker, singer or instrument player came near or in the Holy Place as a type of the synagogue or future church without getting executed.


Furthermore, no Levite, used as Warrior Noise makers a
nd later under the king and commanders of the army--could come near the holy places of the sanctury or they would be executed. The patternism is that if a musician enters into the body of Christ as fulfilment of the Holy Place he / she / it is worthy of death.
Num 18:2 And thy brethren also of the tribe of Levi, the tribe of thy father, bring thou with thee, that they may be joined unto thee, and minister unto thee: but thou and thy sons with thee shall minister BEFORE the tabernacle of witness. [never IN]

H8334 sharath shaw-rath' A primitive root; to attend as a menial or worshipper; figuratively to contribute to:--minister (unto), (do) serve (-ant, -ice, -itor), wait on. 

Num 18:3 And they shall keep thy charge, and the charge of all the tabernacle:
        only they shall
not come nigh
the vessels of the sanctuary and the altar,
        that neither they, nor ye also, di
e.

Contrary to being a spiritual worship service, the sacrificial system had been imposed and if it were not performed it would bring down God's wrath as punishment due for NOT performing what they had been abandoned to.

Num 18:6 And I, behold, I have taken your brethren the Levites from among the children of Israel:
         to you they are given as a gift for the LORD,
         to do the service of the tabernacle of the congregation.
 

Num 18:7 Therefore thou and thy sons with thee shall keep your priest’s office for every thing of the altar,
        and within the veil; and ye shall serve: I have given your priest’s office unto you as a service of gift:

        and the stranger that cometh nigh shall be put to death.
"Neither must the children of Israel henceforth come nigh the tabernacle of the congregation,
        lest they bear sin, and die. Numbers 18:22

NONE of the Bible including the psalms were metrical: they were cantillation or metrical prose. You can stroke an instrument between stanzas but you cannot ACCOMPANY any of the Bible. And if you do not use that which is written for our learning then you are not a disciple of Christ.

"prophesing with harps" or other instruments is called soothsaying: that's what you do when God ABANDONS you to worship the starry hosd.  The sacrificial system was NOT commanded says Christ in the prophets. Therefore, in Jerusalem as in all national temples the singers were called parasites.

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., kenκs p. trapezκs [MONEY CHANGING TABLE] AP11.346 (Autom.) : metaph., ichthusκn p. (v. opson) Luc.Lex.6.  Parasitus Phoebi, a player

knikos , κ, on, ( [kuτn] ) dog-like, X.Cyr.5.2.17 (v.l. for huοkon); to k. kai thκriτdes tτn orexeτn 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 anthrτpos k. currish, churlish, Vulgate 1 Sa 25.3 (?). Adv. -kτs, spτmenoi Heliod. ap. Orib.48.38 tit.; in doglanguage, opp. boοkτs, etc., Porph.Abst.3.3

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.551.

The common people and the prophets knew the facts:

Ezek 22:27 Her princes in the midst thereof are like wolves [YELLOW] ravening the prey,  o shed blood, and to destroy souls, to get dishonest gain.
Zeph. 3:3 Her princes within her are roaring lions; her judges are evening wolves; they gnaw not the bones till the morrow 

Epictetus, Works XLIII.

XLII. Instead of herds of oxen, endeavor to assemble flocks of friends about your house.
XLII As a wolf resembles a dog, so much does a flatterer, an adulterer, a parasite, resemble a friend. Take heed, therefore, that instead of guardian dogs, you do not inadvertently admit ravening wolves.

[All musicians were also called PARASITES and not allowed to feed on polite society]

The Deipnosophists of Athenaeus of Naucratis Book XIII: Concerning Women

"Hear, ye Styacs, vendors of twaddle, hypocritical mouthers of words who alone by yourselves gobble up everything on the platters before a wise man can get a share, and then are caught doing the very opposite of what you solemnly chant;" oglers of boys you are, and in that alone emulating the founder of your philosophy, Zeno the Phoenician, who never resorted to a woman, but always to boy-favourites.

Bdellolarunx, leech-throat, name for a greedy parasite

Mark 13:14 But when ye shall see the abomination of desolation, spoken of by Daniel the prophet, standing where it ought not, (let him that readeth understand,) then let them that be in Judaea flee to the mountains:
GOD HAD NOT COMMANDED SACRIFICES WHEN HE SAVED THEM BY GRACE

Robert Ballard p 82. CLEMENT "Clement writessa; "He is a guest with us. For the apostle add again, "Teaching and admonishine one another in all wisdom, in psalms and hymns and spiritual songs, singing with grace in your heart to God." And again "whatsoeverye 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. Thous shalt IMITATE the righteous Hebrew king in his thanksgiving to God."

However, Clement is speaking of
HOW TO CONDUCT OURSELVES AT FEASTSMost city people took their meals at the kitchens in the Agora or Marketplace.

You will readily see that, as with many psalms and David's instruments, they were
known to arouse hostility and signal war: there was simply no sensical reason that anyone should have thought that instruments which arouse spiritual anxiety would be tolerated when Christ comes to be our only Teacher.

Godly people do not BEAT ON DRUMS when Christ speaks through the elders BECAUSE the pagans beat on drums: that would charge the historic scholarship with being stupid. We do not beat on drums when the preacher is sermonizing BECAUSE it would be ungodly and disgraceful.

In their wars, therefore, the Etruscans use the trumpet, the Arcadians the pipe, the Sicilians the pectides, the Cretans the lyre, the Lacedaemonians the flute, the Thracians the horn, the Egyptians the drum, and the Arabians the cymbal.

The one instrument of peace, the Word alone by which we honour God, is what we employ.

We no longer employ the ancient psaltery, and trumpet, and timbrel, and flute,
which those
expert in war and contemners of the fear of God
were wont to make use of also in the choruses at their
festive assemblies;

that by such strains they might raise their dejected minds.

But let our genial feeling in drinking be twofold, in accordance with the law.

For "if thou shalt love the Lord try God," and then "thy neighbour," let its first manifestation be towards God in thanksgiving and psalmody, and the second toward our neighbour in decorous fellowship.

For says the apostle, "Let the Word of the Lord dwell in you richly." 103 And this Word suits and conforms Himself to seasons, to persons, to places.

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. 104 [At feasts]

Clement says "Imitate" David but David never led worship in the synagogue where music was outlawed or in the sacrificial systems which God did not command.  If David played the harp on his bed what authority would that be to play the harp in the synagogue?

Thou shalt imitate the righteous Hebrew king in his thanksgiving to God. "Rejoice in the Lord, ye righteous; praise is comely to the upright," 105 says the prophecy.

"Confess to the Lord on the harp ; play to Him on the psaltery of ten strings. Sing to Him a new song." And does not the ten-stringed psaltery indicate the Word Jesus, who is manifested by the element of the decad?

And as it is befitting, before partaking of food, that we should bless the Creator of all; so also in drinking it is suitable to praise Him on partaking of His creatures. 106 For the psalm is a melodious and sober blessing. The apostle calls the psalm "a spiritual song." 107

Gregory of Nyssa agrees that the "harp" FROM GOD is not FROM DAVID.

3. Now the music of the human instrument is a sort of compound of flute and lyre,

sounding together in combination as in a concerted piece of music.

For the breath, as it is forced up from the air-receiving vessels through the windpipe, when the speaker's impulse to utterance attunes the harmony to sound, and as it strikes against the internal protuberances which divide this flute-like passage in a circular arrangement, imitates in a way the sound uttered through a flute, being driven round and round by the membranous projections

X. That the Mind Works by Means of the Senses.

1. As the mind then produces the music of reason by means of our instrumental construction, we are born rational,

while, as I think, we should not have had the gift of reason if we had had to employ our lips to supply the need of the body-the heavy and toilsome part of the task of providing food.

As things are, however, our hands appropriate this ministration to themselves, and leave the mouth available for the service of reason.

2 35 . The operation of the instrument , however, is twofold; one for the production of sound, the other for the reception of concepts from without;

and the one faculty does not blend with the other, but abides in the operation for which it was appointed by nature, not interfering with its neighbour either by the sense of hearing undertaking to speak, or by the speech undertaking to hear;

for the latter is always uttering something, while the ear, as Solomon somewhere says, is not filled with continual hearing

P 82 AUGUSTINE "St. Augustine likewise encourages the singing of Psalms to the lyre or psaltery." pg. 82
Book ten. XXXIII.49 But the pleasures of my flesh -- to which the mind ought never to be surrendered nor by them enervated -- often beguile me while physical sense does not attend on reason, to follow her patiently, but having once gained entry to help the reason, it strives to run on before her and be her leader. Thus in these things I sin unknowingly, but I come to know it afterward.

50.  At other times, shunning over-anxiously this very deception, I err in too great strictness; and sometimes to that degree, as to wish the whole melody of sweet music which is used to David’s Psalter, banished from my ears, and the Church’s too; and that mode seems to me safer, which I remember to have been often told me of Athanasius Bishop of Alexandria, who made the reader of the psalm utter it with so slight inflection of voice that it was nearer speaking than singing.  Yet again, when I remember the tears i shed at the Psalmody of  Thy Church, in the beginning of my recovered faith; and how at this time, I am moved, not with the singing, but with the things sung, when they are sung with a clear voice and modulation most suitable, I acknowledge the great use of this institution.  Thus I fluctuate between peril of pleasure and approved wholesomeness; inclined the rather (though not as pronouncing an irrevocable opinion) to approve of the usage of singing in the church; that so by the delight of the ears, the weaker minds may rise to the feeling of devotion.  Yet when it befalls me to be more moved with the voice than the words sung, I confess to have sinned penally, and then had rather not hear music.  See now my state; weep with me, and weep for me, ye, who so regulate your feelings within, as that good action ensues.  For you who do not act, these things touch not you.  But, Thou, O Lord my God, hearken; behold, and see, and have mercy, and heal me, Thou, in whose presence I have become a problem to myself; and that is my infirmity.

In Psalm 149 Augustine utterly condemns out ward praise by performers and puts spiritual praise "in the hearts" and even upon thy bed:

6. "The saints shall exult in glory" (ver. 5). I would say somewhat important about the glory of the saints. For there is no one who loveth not glory.

But the glory of fools, popular glory as it is called, hath snares to deceive, so that a man, influenced by the praises of vain men, shall be willing to live in such fashion as to be spoken of by men, whosoever they be, in whatsoever way.

Hence it is that men, rendered mad, and puffed up with pride, empty within, without swollen, are willing ever to ruin their fortunes

by bestowing them on stage-players, actors, men who fight with wild beasts, charioteers. What sums they give, what sums they spend! They lavish the powers not only of their patrimony, but of their minds too.

They scorn the poor, because the people shouteth not that the poor should be given to, but the people to shout that the fighter with wild beasts be given to. When then no shout is raised to them, they refuse to spend; when madmen shout to them, they are mad too:

nay, all are mad, both performer, and spectator, and the giver.

This mad glory is blamed by the Lord, is offensive in the eyes of the Almighty. ...Thou choosest to clothe the fighter with wild beasts, who may be beaten, and make thee blush: Christ is never conquered; He hath conquered the devil, He hath conquered for thee, and to thee, and in thee; such a conqueror as this thou choosest not to clothe. Wherefore? Because there is less shouting, less madness about it.

They then who delight in such glory, have an empty conscience. Just as they drain their chests, to send garments as presents, so do they empty their conscience, so as to have nothing precious therein.

7. But the saints who "exult in glory," no need is there for us to say how they exult: just hear the verse of the Psalm which followeth: "The saints shall exult in glory,

they shall rejoice in their beds:" not in theatres, or amphitheatres, or circuses, or follies, or market places, but "in their chambers."

What is, "in their chambers"? In their hearts. Hear the Apostle Paul exulting in his closet: "For this is our glory, the testimony of our conscience."

For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation in the world, and more abundantly to youward. 2 Cor. 1:12

Suneidesis (g4893) soon-i'-day-sis; from a prol. form of 4894; co- perception, i.e. moral consciousness; - conscience.

Suneido (g4894) soon-i'-do; from 4862 and 1492; to see completely; used (like its prim.) only in two past tenses, respectively mean. to understand or become aware, and to be conscious or (clandestinely) informed of: - consider, know, be privy, be ware of.

For we write none other things unto you, than what ye read or acknowledge; and I trust ye shall acknowledge even to the end; 2 Cor. 1:13

"On the other hand, there is reason to fear lest any be pleasing to himself, and so seem to be proud, and boast of his conscience. For every one ought to exult with fear, for that wherein he exulteth is God's gift, not his own desert.

For there be many that please themselves, and think themselves righteous; and there is another passage which goeth against them, which saith, "Who shall boast that he hath a clean heart, and that he is pure from sin?" There is then, so to speak, a limit to glorying in our conscience, namely, to know that thy faith is sincere, thy hope sure, thy love without dissimulation.

"The exultations of God are in their mouths" (ver. 6). In such wise shall they "rejoice in their closets," as not to attribute to themselves that they are good, but praise Him from whom they have what they are, by whom they are called to attain to what they are not, and from whom they hope for perfection, to whom they give thanks, because He hath begun.

Robert Ballard pg 83 Marvin R. Vincent , in his "Word studies in the New Testament" states "some thank that the verb has here its original signification of singing with an instrument. This IS its dominant sense in the Septuagint and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment."

NEVER:  A  psalm is a song and a song may be read, recited, sung or sung with instrumental accompaniment. The Bible always uses three words to meand Sing + Play + Instrument.  In fact the word does not MEAN with an instrument because most often an instrument is not named.

GREGORY OF NYSSA (died c394)

8 . Now since man is a rational animal,
the
instrument of his body must be made suitable for the use of reason;
as you may see musicians producing
their music according to the form of their instruments,

and not piping with harps nor harping upon flutes,

so it must needs be that the organization of these instruments of ours
should be
adapted for reason, that when struck by the vocal organs
it might be able to sound properly for the use of words.

As late as the fourth century, Gregory, bishop of Nyssa, gave this definition of psalm:

"There is a distinction between psalm, ode, praise, hymn, and prayer. A psalm is the melody of a musical instrument; and ode is a melodious expression made by the mouth with words.

This does not mean PLAY the melody. Tunes were derived from plucking the bow string or a lyre.

Hippolytus

"The psalterion is a musical instrument making its sound from the upper parts of iits construction and the music from this instrument is called a psalm." (p. 29)

7. As there are "psalms," and "songs," and "psalms of song," and "songs of psalmody," it remains that we discuss the difference between these.

We think, then, that the "psalms" are those which are simply played to an instrument,

without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument;

And thus much as to the letter of what is signified by these terms. But as to the mystical interpretation,

it would be a "psalm" when, by smiting the instrument, viz. the body, with good deeds we succeed in good action though not wholly proficient in speculation;

and a "song," when, by revolving the mysteries of the truth, apart from the practical, and assenting fully to them,

we have the noblest thoughts of God and His oracles, while knowledge enlightens us, and wisdom shines brightly in our souls; and a "song of psalmody," when, while good action takes the lead, according to the word,

The translators of the Septuagint used the Greek word "psallo" in its various forms.  In the Greek world it is USED meaning to "Smite the strings of a harp with the FINGERS but never with a PLECTRUM.  Because they spoke of "shooting forth hymns" is is ALWAYS translated as to SING.  If a harp is being plucked then psallo just means PLUCK: you must name what is to be plucked.  It is used meaning MELODY. But, we have just heard that when it means MELODY it includes ONLY the instrument WITHOUT the human voice.  You would be lying if you applied "psallo" to anything other than a simple harp.

There are are three terms: Singing, playing, name of instrument.  The fact that one PLAYS and instrument does not mean that PLAY means to play an instrument.

Vincent's: Word Studies Of The New Testament, Vol. III, pg. 269-270 "...The noun psalm (Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to this verb (psallo in I Cor. 14:15 DEM), is used in the New Testament of a religious song in general, having the character of an Old Testament psalm...

"Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment...

"But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise.

No, psalm is EVER used in the Septuagint of SINGING with an instrument.  In most cases the word is translated as "sing" and when a harp is intended it is named. Again, none of this was related to modern "performance music."  See Psalms in the LXX

Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. 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 praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).

        Lam 3:12 He hath bent his bow, and set me as a mark for the arrow.
        Lam 3:13 He hath caused the arrows of his quiver to enter into my reins.
        Lam 3:14 I was a derision to all my people; and their song all the day.
        Lam 3:15 He hath filled me with bitterness, he hath made me drunken with wormwood.
        Lam 3:16 He hath also broken my teeth with gravel stones, he hath covered me with ashes.
        Lam 3:17 And thou hast removed my soul far off from peace: I forgat prosperity.

NO PSALLO-LIKE WORD SPEAKS OF PLAYING AN INSTRUMENT

Psalmos , ho, twitching or twanging with the fingers, psalmoi toxτn E.Ion173 (lyr.); toxκrei psalmτi [toxeusas] Id.HF1064 (lyr.).

Psalmoi toxτn does not mean "sing and play a harp" WITH a bow.  Psalmoi just means pluck or twang a bow.

toxκrei psalmτi [toxeusas]
[Furnished with the Bow]  +  [Twitching with the fingers] + [Shoot with the bow or metaphor Send forth a hymn]
3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, t. humnous Pi.I.2.3 hath shot these arrows in vain, E.Hec.603
Pi.I.2.3 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. 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: “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time.

IF YOU WANT TO SING AND PLAY WITH AN INSTRUMENT THE WORD IS:

Anti-psallτ , A. [1] play a [2] stringed instrument [3] 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.

IF YOU WANT TO PLAY A STRINGED INSTRUMENT WITH A PLECTRUM

Pektis a stringed instrumnent, played with the fingers (not plēktron), shepard's pipe, pan's pipes, cage or net for catching birds.

With psallo you CANNOT use a guitar pick or play ANY other musical instrument.

Plektron
A. anything to strike with:
1. instrument for striking the lyre, plectrum,
spear point.
You cannot play an instrument and sing psalms defined by psallo.

Krekon Krekτ ,
2. strike
a stringed instrument with the plectron, magadin Diog.Ath.1.10 ; barbita D.H.7.72 : generally, play on any instrument, aulonAr.Av. 682 (lyr.): less freq.c.dat., krekeindonakiAPl.4.231 (Anyte): c. acc. cogn., pκktidτn psalmois k. humnon
Robert Ballard pg 90 "But god, speaking through His prophet, Isaiah says (8:20: "To the law and to the testimony: if they speak not according to this word, it is because there is no light in them."

SEE THE MISSED MESSAGE OF CHRIST IN ISAIAH 8

Isa 8:19
And when they shall say unto you,
        Seek unto them that have familiar spirits,
        and unto wizards that peep, and that mutter:
                should not a people seek unto their God?
                for the living to the dead?  

The familiar spirit is a dry, empty wineskin. It serves as the echo chamber of the nebel which means 'VILE.' It has the same meaning as the harp and the sounding gongs in 1 Cor. 13.

The Wizzard is one who thinks that they can hear the Word of God "beyond the sacred page."  John called them sorcerers because they used rhetoric, singers and instrumentalists to STEAL the Word and money from others
Yiddeoniy (h3049) yid-deh-o-nee'; from 3045; prop. a knowing one; spec. a conjurer; (by impl.) a ghost: - wizard.

"In Isa 8:19 the
'obhoth and yidh'onim are spoken of those who 'chirp and mutter." These terms refer to the necromancers themselves who practiced ventriloquism in connection with their magical rites. In Isa 29:4 it is said 'Thy voice shall be as an 'obh, out of the ground.'... They are stamped in these passages, as in the Witch of Endor narrative, as deceivers practising a fraudulent art. By implication their power to evoke spirits with whom they were in familiar intercourse is denied." (Int Std Bible Ency., ency, p. 690)

H178  ’τb obe From the same as H1 (Ab, Ab, Lord, Lord sayers: apparently through the idea of prattling a father’s name); properly a mumble, that is, a water skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar):—bottle, familiar spirit.

Pȳthon ,, I. the serpent slain, according to the myth, near Delphi by o, who was fabled to have been called Pythius in commemoration of this victory, Ov. M. 1, 438;
Stewart sculpture 2.4 the epithet derives from his boyhood battle against the Pythoness at Delphi, when "the lord o, the far-shooter / shot a strong arrow at her / and she lay there, torn with terrible pain" (Homeric Hymn to Pythian o 356-59).

Pȳtho ,
ūs, f., = Πυθώ,
I. the former name of Delphi and its environs, Tib. 2, 3, 27 (Python, Mόll.); Luc. 5, 134.—Hence,
I. Pȳthĭcus , a, um, adj., = Πυθικός, another form for Pythius, Pythian: “o,” Liv. 5, 21: “oraculum,” id. 5, 15: “sortes,” id. 5, 23: “divinatio,” Val. Max. 1, 8, 10: “agon,” Tert. adv. Gnost. 6
II. Pȳthĭus , a, um, adj., = Πύθιος, Pythian, Delphic, onian: Delphis prognatus Pythius o, Naev B. P. 2, 20; so, “o,” Cic. Off. 2, 22, 77; “also incola,” Hor. C. 1, 16, 6; “and deus,” Prop. 2, 31 (3, 29), 16: “oraculum,” Cic. Div. 1, 1, 3: “regna,” i. e. Delphi, Prop. 3, 13 (4, 12), 52: “antra,” Luc. 6, 425: vates, i. e. the Pythoness, Pythia, Juv. 13, 199; cf. in the foll. —
B. Substt.
1. Pȳthĭa , ae, f., = Πυθία, the priestess who uttered the responses of the Delphic o, the Pythoness, Pythia, Cic. Div. 1, 19, 38; Nep. Milt. 1, 3. —
incantātĭo , ōnis, f. id.,
I. an enchanting, enchantment (post-class.): “magicae, Firm. Math. 5, 5: incantationum vires,” 

Verg. A. 6.98

But you, if pious minds by pray'rs are won,
Oblige the father, and protect the son.
Yours is the pow'r; nor Proserpine in vain
Has made you priestess of her nightly reign.
If Orpheus, arm'd with his enchanting lyre,
The ruthless king with pity could inspire,
And from the shades below redeem his wife;
If Pollux, off'ring his alternate life,

Amos and Jeremiah speak of the Marzeah connected with the wine, women and musical instruments. The Marzeah was a festival WITH and FOR the DEAD: Israel had a COVENANT WITH DEATH.

"The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria...

The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)

"These five elements are:
........(1) reclining or relaxing,
........(2) eating a meat meal,
........(3) singing with harp or other musical accompaniment,
........(4) drinking wine and
........(5) anointing oneself with oil." (King, p. 37).

To the law and to the testimony:
        if they speak not according to this word,
        it is because there is no light in them. Isa 8:20
[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis

-strīdō —, —, ere,

to make a shrill noise, sound harshly, creak, hiss, grate, whiz, whistle, rattle, buzz: stridentia tinguunt Aera lacu, V.: cruor stridit, hisses, O.: belua Lernae Horrendum stridens, V.: horrendā nocte (striges), O.: mare refluentibus undis, V.: aquilone rudentes, O.: videres Stridere secretā aure susurros, buzz, H.
H7442 rβnan raw-nan' A primitive root; properly to creak (or emit a stridulous sound), 2. tremulous sound of a mast or pole "Shaken by the wind" also the sound of a torrent. Vibrate the voice TRILL which is the WOMEN'S sound of Halal above.

-cantus , ūs, m. id., 2. With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,” Hor. C. 3, 7, 30:
B.
An incantation, charm, magic song, etc.: cantusque artesque magorum. Ov. M. 7, 195; 7, 201: “at cantu commotae Erebi de sedibus imis Umbrae ibant,” Verg. G. 4, 471: “magici,”
-pŏētĭcus , a, um, adj., = poiētikos,
I.
poetic, poetical: “verbum,” Cic. de Or. 3, 38, 153: “non poλtico sed quodam oratorio numero et modo,” id. ib. 1, 33, 151: “di,” represented by the poets,
Isa. 8:19 And when they shall say unto you, 
        Seek unto them that have familiar spirits,
        and unto wizards that peep, and that mutter:
        should not a people seek unto their God? for the living to the dead?

[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis

To the law and to the testimony:
        if they speak not according to this word,
        it is because there is no light in them. Isa 8:20

-Puthōn  cf. Puthō

I. the serpent Python, slain by o.
II. pneuma Puthōnos a spirit of divination, NTest.: ventriloquists eggastrimuthoi were called Puthōnes, Plut.
-Pu_thō , gen. ous, dat. oi, h(, Pytho, the region in which lay the city of Delphi, A. “Puthoi eni petrēessē” Il.9.405; “P. en ēgatheē” Od.8.80, Hes. Th.499, etc.; of Delphi itself, Pi.P.4.66, 10.4, Hdt.1.54, etc. (Acc. to the legend, derived from the rotting of the serpent, h.Ap.372.
incantātĭo , ōnis, f. id.,
I. an enchanting, enchantment (post-class.): “magicae, Firm. Math. 5, 5: incantationum vires,” Tert. Hab. Mul. 2.

in-canto , āvi, ātum, 1, v. a. and n. *
I. To sing in, with dat.: “passer incantans saepiculae (i. e. in saepicula),” App. M. 8, p. 210, 26. —
II. In partic.
A. To say over, mutter, or chant a magic formula against some one: QVI MALVM CARMEN INCANTASSET, Fragm. XII. Tab. ap. Plin. 28, 2, 4, § 17
B. Transf.
1. To consecrate with charms or spells: “incantata vincula,” lovelcnots, Hor. S. 1, 8, 49
2. To bewitch, enchant: “quaesisti, quod mihi emolumentum fuerit incantandi (sc. illam)?” App. Mag. p. 305: “incantata mulier,” id. ib.: “pileum vetitis artibus,” Amm. 14, 7, 7.

vincŭlo , āvi, ātum, 1, v. a. id.,
I. to fetter, bind, chain: “multa animalia redimiculis gaudent, et phalerari sibi magis quam vinculari videntur,” Ambros. in Psa. 118, Serm. 3, 6; Cael. Aur. Tard. 4, 8, 108.
vincŭlum
, or (also in class. prose), contr., vinclum , i, n. id.,
I. that with which any thing is bound, a band, bond, rope, cord, fetter, tie (cf.: catena, manica, compes).
măgĭcus , a, um, adj., = magikos,
I. of or belonging to magic, magic, magical (poet. and in post-Aug. prose): “artes,” Verg. A. 4, 493: “magicis auxiliis uti,” Tib. 1, 8, 24: “arma movere,” Ov. M. 5, 197: “superstitiones,” Tac. A. 12, 59: “vanitates,” Plin. 30, 1, 1, § 1: “herbae,” id. 24, 17, 99, § 156: “aquae,” Prop. 4, 1, 102 (5, 1, 106): di magici, that were invoked by incantations (as Pluto, Hecate, Proserpine), Tib. 1, 2, 62; Luc. 6, 577: “linguae,” i. e. hieroglyphics, id. 3, 222; “but lingua,” skilled in incantations, Ov. M. 7, 330; Luc. 3, 224: “cantus,” Juv. 6, 610: “magicae resonant ubi Memnone chordae,” mysterious, id. 15, 5.

măgĭcē , ēs, f., = magikē (sc. tekhnē),
I. the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam dico magicenque, Plin. 30, 1, 2, § 10; 30, 1, 2, § 7: “magices factio,” id. 30, 1, 2, § 11.

And the book is delivered to him that is not learned, saying, Read this, I pray thee:
and he saith, I am not learned. Isa 29:12

Wherefore the Lord said,
        Forasmuch as this people draw near me with their mouth,
        and with their lips do honour me,
        but have removed their heart far from me,
        and their fear toward me is taught by the precept of men: Isa 29:13

   Therefore, behold, I will proceed to do a marvellous work among this people, 
        even a marvellous work and a wonder:
        for the WISDOM of their wise men shall perish,
        and the understanding of their prudent men shall be hid. Isa 29:14
WHAT IS A WISE MAN? 
I. Sapientia ” Mart. 9, 6, 7: “sapisset,” Plaut. Rud. 4, 1, 8), 3, v. n. and a. [kindr. with opos, saphēs, Sophia
and sophosA. skilled in any handicraft or art, clever
Sophia  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; 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,

Sophos   A. skilled in any handicraft or art, clever, mostly of poets and musicians,
Pi.O.1.9
, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.), cf. Ar.Ra.896 (lyr.),

Sophis-tκs , ou, ho, master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets,
meletan sophistais prosbalon
Pi.I.5(4).28 , cf. Cratin.2; of musicians, sophistκs . .
parapaiτn
chelun A.Fr.314 , cf. Eup.447, Pl.Com. 140; sophistκi Thrκiki
Cergy Musicians.  panu thaumaston legeis s. Pl.R.596d;
3.
later of the rhētores, Professors of Rhetoric, and prose writers
Robert Ballard:  Men truly havea zeal for God, but it may not be according to knowledge (Rom 10:2).

Those who have imposed instruments--machines for doing hard work--do so because they think that they can make themselves more appealing to God.  However, that implies that God has not been wise enough to define Himself inclusively and exclusively.

Romans 10:1 BRETHREN, my hearts desire and prayer to God for Israel is, that they might be saved.

Romans 10:2 For I bear them record that they have a zeal of God,
........... but not according to knowledge.

Romans 10:3 For they, being ignorant of Gods righteousness,
........... and going about to establish their own righteousness,
............have not submitted themselves unto the righteousness of God.

3. agnoountes gar tēn tou theou dikaiosunēn, kai tēn idian zētountes stēsai, dikaiosunē tou theou oukh hupetagēsa

The claim is that people who have NEVER used instruments in the School of Christ are ignornat. No one works harder to defend themselves than instrumentalists which have no hint from Jesus that He needs help.

zēt-eō 4 search or inquire into, investigate, examine, of philosophical investigation,
5.
equire, demand, 2. c. inf., seek to do . III. have to seek, feel the want of,

Submitting is the Greek Hupotasso (g5293) hoop-ot-as'-so; fRomans 5259 and 5021; to subordinate; reflex. to OBEY: - be UNDER obedience (obedient), put under, subdue unto, (be, make) subject (to, unto), be (put) in subjection (to, under), submit self unto.

Romans 10:4 For Christ is
........... the end of the law for righteousness
........... to every one that believeth.

What about people who spend so much time seeking to justify themselves from all of the instrumental sounds under a sacrificial system God did not command?

Romans 10:5 For Moses describeth the righteousness which is of the law,
        That the man which doeth those things shall live by them.

Next, Paul points to the musical idolatry at Mount Sinai:  there was no redemption for this idolatry.

Romans 10:6 But the righteousness which is of faith speaketh on this wise,
........... Say not in thine heart, Who shall ascend into heaven?
........... (that is, to bring Christ down Romans above:)

Romans 10:7 Or, Who shall descend into the deep?
........... (that is, to bring up Christ again fRomans the dead.)

Romans 10:8 But what saith it?
........... The word is nigh thee, even in thy mouth, and in thy heart:
........... that is, the word of faith, which we preach;

But the word is very nigh unto thee, in thy mouth, and in thy heart,
........... that thou
mayest do it. Deut 30:14

P. 90 Robert Ballard: God Himself pointed out, in Isaiah 55:8 that "My thoughts are not your thoughts, neither are your ways My ways." Christians are NOT to withdraw themselves out of the world, nor disassociate themselves from its rightful activities, ad did those who followed the monastic-asthetic principle, which led them eventially and inevitably to exclude instruments as being "worldy."

All of the musical forms came out of the monastic orders working with the professional composers. They were not INCLUDED in connection with congregational singing in the Bible or church history in the public assemblies.


The clear command is that YOU don't use your thoughts or YOUR words.
Isaiah 58:12 And they that shall be of thee shall build the old waste places:
         thou shalt raise up the foundations of many generations;
        and thou shalt be called, The repairer of the breach, The restorer of paths to dwell in. 
Isaiah 58:13 If thou turn away thy foot from the sabbath,
        from doing thy pleasure on my holy day;
        and call the sabbath a delight, the holy of the LORD, honourable;
        and shalt honour him, not doing thine own ways,
        nor finding thine own pleasure, nor speaking thine own words:
Isaiah 58:14 Then shalt thou delight thyself in the LORD;
        and I will cause thee to ride upon the high places of the earth,
        and feed thee with the heritage of Jacob thy father:
        for the mouth of the LORD hath spoken it.
SEE ISAIAH 55 WHICH DEFINES THE FUTURE REST DAY
HO, every one that thirsteth,
        come ye to the waters,
        and he that hath no money;
        come ye, buy, and eat; yea,
        come, buy wine and milk WITHOUT MONEY
        and WITHOUT PRICE. Isa 55:1
2 Cor. 2:17 For we are not as many,
............ which corrupt the word of God:
............ but as of sincerity, but as of God,
............ in the sight of God speak we in Christ.
kapēl-euō,  A. to be a retail-dealer, drive a petty trade Hdt. 3.89  ta mathēmata sell learning by retail, hawk it about, Pl. Prt.313d , 2 Cor. 2:17, of prostitutes,
Plat. Prot. 313d  For among the provisions, you know, in which these men deal, not only are they themselves ignorant what is good or bad for the body, since in selling they commend them all, but the people who buy from them are so too, unless one happens to be a trainer or a doctor. And in the same way, those who take their doctrines the round of our cities, hawking them about to any odd purchaser who desires them, commend everything that they sell, and there may well be some of these too, my good sir, who are ignorant which of their wares is

[313e]
good or bad for the soul; and in just the same case are the people who buy from them, unless one happens to have a doctor's knowledge here also, but of the soul. So then, if you are well informed as to what is good or bad among these wares, it will be safe for you to buy doctrines from Protagoras or from anyone else you please: but if not, take care, my dear fellow, that you do not risk your greatest treasure on a toss of the dice.

Eilikrineia (g1505( i-lik-ree'-ni-ah; from 1506; clearness, i.e. (by impl.) purity (fig.): - sincerity.

2 Co.1:12 For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation in the world, and more abundantly to youward.

Sophia A. cleverness or skill in handicraft and art,  in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry,

Incline your ear, and come unto me:
        hear, and your soul shall live;
        and I will make an everlasting covenant with you,
        even the sure mercies of David. Isa 55:3
Matt. 11:28 Come unto me,
        all ye that labour
        and are heavy laden,
        and I will give you rest.
Click for the Laded Burden

Phortos
i A. load, freight, cargo, Od.8.163, 14.296, Hes.Op. 631, Hdt.1.1, S.Tr.537, and later Prose, as PEnteux.2.11 (iii B. C.), Plu.Marc.14, Luc.VH1.34; epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai, Call.Fr.4.10P.; ph. erōtos, of Europa on the bull, Batr.78, cf. Nonn.D.4.118.
 Epoiēsanto A. make, produce, first of something material, as manufactures, works of art, expld. as pepragmateumai, prodedomai, phortos gegenēmai,
A. Pragmateuomai work at at thing, labour to bring it about, take in hand, treat laboriously, be engaged in. Work at writing religious poetry for use around the shrine or Hieros the temple of Athena for the hierodoulo
     Hierodoulos  Nethinim 1 Esdras 1:2 especially of the temple courtesans at Corinth and elsewhere
      also male prostitutes.
Str.8.6.20, 6.2.6; Neokoros

B.  Prodidomi pay in advance, play false, be guilty of treachery, surrender

4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p.
Represent in verse,or poetry, invent, represent, myths, comedy, tragedy 

Click for the meaning of REST.
Is. 55:8 For my thoughts are not your thoughts,
        neither are your ways my ways, saith the LORD.
Is. 55:9 For as the heavens are higher than the earth,
        so are my ways higher than your ways,
        and my thoughts than your thoughts.

If the musical discorders THINK then it cannot be from God: that is why the clear command is for the elders to teach that which has been taught.

WHY IS THAT, asks Peter as explained by Christ?

2Pet. 2:1 But there were
false prophets also among the people,
        even as there shall be false teachers among you,
        who privily shall bring in damnable heresies,
        even denying the Lord that bought them,
        and bring upon themselves swift destruction.
2Pet. 2:2 And many shall follow their pernicious ways;
        by reason of whom the WAY OF TRUTH shall be evil spoken of.

Aselgeia  demagogon  tōn dēmagōgōn” Arist.Pol.1304b22

II. licentiousness, “peri tas sōmatikas epithumias” Plb.36.15.4  Lust toward boys Xen. Const. Lac. 2.13
Xen. Const. Lac. 2.13 The customs instituted by Lycurgus were opposed to all of these. If someone, being himself an honest man, admired a boy's soul and tried to make of him an ideal friend without reproach and to associate with him, he approved, and believed in the excellence of this kind of training. But if it was clear that the attraction lay in the boy's outward beauty, he banned the connexion as an abomination; and thus he caused lovers to abstain from boys no less than parents abstain from sexual intercourse with their children and brothers and sisters with each other [14] I am not surprised, however, that people refuse to believe this. For in many states the laws are not opposed to the indulgence of these appetites.
Lusting after Theaomai —gaze at, behold, mostly with a sense of wonder, at a work
3. view as spectators, esp. in the theatre, Isoc.4.44; hoi theōmenoi the spectators, Ar.Ra.2, cf.Nu.518, al. (but also, onlookers, bystanders, Antipho 3.3.7)
5. HISTORICAL, SECULAR EVIDENCE

Danny Corbitt: The 4-year ascetic experience of John Chrysostom (died 407) permanently damaged his health,20 and he was “twice deposed and sent into exile because of his asceticism which he wanted to impose on others.”21 Jerome (died 420) taught that a virgin shouldn’t even know what a musical instrument is22 and that no man should ever hear a woman sing.23 Augustine (died 430) thought that singing itself was a concession to weak brothers.24
Chysostom Letter to Theodore After His Fall

Where are they now who used to strut through the market place with much pomp, and a crowd of attendants? who were clothed in silk and redolent with perfumes, and kept a table for their parasites, and were in constant attendance at the theatre?

What has now become of all that parade of theirs? It is all gone;-the costly splendour of their banquets, the throng of musicians, the attentions of flatterers, the loud laughter, the relaxation of spirit, the enervation of mind, the voluptuous, abandoned, extravagant manner of life-it has all come to an end.
The musical discorders shoud be happy that these "libertarians" now do that in what they call "the worship service."

IT IS A FACT THAT IT WAS THE ASCETICS WHO IMPOSED INSTRUMENTS.

Nicetas in his works ' On Vigils' and ' On the good of Psalmody' illustrates further the similarity of ideals of private and corporate devotional hours in East and West c. A.d. 400 ; 
        and he was one of the pioneers of the newer feeling which allowed hymns
        other than those in Scripture
,
the Psalter above all,
        to form part of corporate Christian worship, though the prejudice against this died hard.'

"The authority of St. Ambrose, who himself wrote hymns for public worship, had no doubt great influence. The musical difficulty to their more general use was a real one. It was in monastic circles, then, that hymns proper took real root, and from their daily offices passed in the later Middle Ages into the Breviary of the ordinary clergy. The early Celtic monks in particular were active in the use and production of hymns; and from the 12th cent, onwards we can trace the periods of fresh revival in monastic religion by this spontaneous form of devotional expression—James Hastings, Encyclopedia of religion and Ethics, V12, 770-774

"Rome was always conservative in usages, as appears most clearly in its manner of reciting the Psalms, which were the staple of worship other than prayer. The Eastern form was antiphonal singing between two choirs, a method which took definite shape at Antioch about 350, and spread westwards rapidly — through Cappadocia, Constantinople, Milan. In Rome, as also in Africa, the old 'plain song'—with its simpler style of music—continued longer to prevail, probably seeming to the Roman mind, as to Augustine, to be 'better adapted to the sober gravity of Divine worship.' Net the practical advantages of the new system, especially as 'winning weaker brethren to devotion by the delight which it ministered to the ear,' were manifest; and ere Augustine's death in 430 the change in Rome had begun to act, though it took etfect only gradually

Following their ascetic map, it is no wonder that the Swiss reformer Zwingli banished even vocal singing from the churches.25 We speak of how these ascetics chanted, but we don’t chant.

That's false: there was no congregational singing during the time of Zwingli: being Bible literate he knew that none of the TEACHING the Word of Christ had any external musical content. After Zwingli was dead Calvin allowed some of the Psalms to be rewritten to make singing remotely possible. That violated the direct command not to "private interpret" of further expound. He responded to the masses used to attending secular performances in the great cathedrals. In fact both singing and harmony were developed by the monastic orders who had time to fiddle around.
300. Even in Egypt, where asceticism appeared earliest, as late as the end of the 4th cent, there were only two corporate daily seasons of worship, evening and morning. At Antioch we hear that c. 350 Bishop Leontins 'brought the congregations collected by the ascetics Flavian and Diodorus in the cemetery chapels, into the city churches,' and so introduced antiphonal singing, by two opposite choirs, into wider use. James Hastings, Encyclopedia of Religion and Ethics p 770

2 The hymn-singing of the 'Lollards' was personal rather than in public worship, but illustrates the tendency of fresh personal religion to break into song.

Further, largely in consequence of this Biblicism, the reformation he directed was more radical. What Zwingli specially detested in the later growths which had buried this early Christianity was anything that could be called ' the worship of the creature.' Worship belonged to God alone, ' the God and Father ot our Lord and Saviour Jeans Christ.' He did not undervalue art or music in themselves—far from it—but, when they were so employed as to hinder an intelligent Creator, then to him they were anathema.  876.

In fact, no one did congregational singing with or without an instrument: if none of the Bible is metrical, and Calvin permitted some psalms (only) to be radically rewritten and set to meter to be sung in unison (only).  Zwingli knew that yu cannot obey the DIRECT COMMAND  to use one mind and one mouth to speak that which is written for our learning. All eastern "songs" were spoken or cantillated: chanted something like this:
^^^- ^^^- ^^^- ^^^
"Reformed' or Calvinitt worship,—The germ of this type is seen already in Zwingli  who made the Protestant emphasis on the Word of the gospel rather than its Sacraments determine the order and forms of public worship: such worship, too, was to him only a special mode of the worship of the whole Christian life, and here 'obedience is better than sacrifice' or any formal act of worship. Simplicity, then, in cnltns was hia practical role, in the interests of worship ' in spirit and in truth.'
Don't you wonder why all of the latter day musical idolaters pour down so much wrath on Zwingli who said it just like the Church in the Wilderness, all of the New Testament and the Campbells who knew that:

Church
is A School of Christ
Worship
is reading and musing the Word of God.

However, the Catholic cathedrals which had been used for secular musical performances had a lot of church members wanting to sing instead of speak:
"In keeping with these principles, Calvin insisted on the value of congregational singing, as helping the soul to rise into the atmosphere of worship; but. he limited the contents of sacred song to the inspired Scriptural models, the Psalter in particular, adapted only verbally to musical melody
Catholicism built on the Jewish model restricted the singing or chanting to a clergy person: none of the Catholic orders permitted the congregaton to sing: indeed, you couldn't sing the commanded Biblical text nor accompany chanting with an instruments.

Notice, that you cannot begin something if people always sang to attract the weaker people by the lust of the ear:

"Another feature characteristic of the Protestant form of worship, one expressive of its concern for the active participation of the whole congregation, with a faith fully conscious of its proper objects of adoration, is vernacular singing, whether of psalms or of other forms of devotion.
        Here a mode of worship which in mediaeval Catholicism had been confined to the few,
        particularly those separated by vows to a specialized ' religious' life,
        was made part of common worship for all
James Hastings, Encyclopedia of Religion and ethics.       
The early church was called into assembly only to study the Bible.  However, the monastic system developed into a pool of people--parasites in the eyes of Erasmus--who spent every day in work or "worship." The singing and playing was made a part of the assembly of the working people began proving that it was not historical.

So, no one ever appealed to Scripture for singing as an act nor for the use of instruments. As with all ceremonial legalism,
"A special note of medieval worship, inherited from this later patristic a'ge, was the sense of sins calling for the constant 'propitiation' of God."

P. 96 Robert Ballard:
On Chrysostom

John Chrysostom Momily XII Colossians
I dare say you consider me offensive. For this too is a property of extreme
pervertedness, that even one that rebuketh you incurs your ridicule as one that is austere. Hear ye not Paul, saying, "Whatsoever ye do, whether ye eat or drink or whatsoever ye do, do all to the glory of God"? (1 Cor. x. 31)

These writers do not speak about the church with the intention of REMOVING instruments: they always speak about how to conduct yourself in secular affairs.

"When then thou makest a marriage, go not round from house to house borrowing mirrors and dresses; for the matter is not one of display, nor dost thou lead thy daughter to a pageant; but decking out thine house with what is in it, invite thy neighbors, and friends, and kindred. As many as thou knowest to be of a good character, those invite, and bid them be content with what there is.

Let no one from the orchestra be present, for such expense is superfluous, and unbecoming.

See Clement Pedagogue 3

But ye do all to ill report and dishonor. Hear ye not the Prophet, saying, "Serve the Lord with fear, and rejoice unto Him with trembling?" (Ps. ii. 11) But ye are wholly without restraint. Is it not possible both to enjoy pleasure, and to do so with safety?

Art thou desirous of hearing beautiful songs? Best of all indeed, thou oughtest not; nevertheless,

I condescend if thou wilt have it so: do not hear those Satanic ones, but the spiritual.

Art thou desirous of seeing choirs of dancers? Behold the choir of Angels. And how is it possible, saith one, to see them?

"If thou drive away all these things, even Christ will come to such a marriage, and Christ being present, the choir of Angels is present also. If thou wilt, He will even now work miracles as He did then; He will make even now the water, wine (John ii.); and what is much more wonderful, He will convert this unstable and dissolving pleasure, this cold desire, and change it into the spiritual. This is to make of water, wine.

Where pipers are, by no means there is Christ; but even if He should have entered,
He first casts these forth, and then He works His wonders.
What can be more disagreeable than this Satanic pomp?
        where everything is inarticulate, everything without significancy;
        and if there be anything
articulate, again all is shameful, all is noisome.
Reverent, god fearing people call it REVERENCE for that short period:
Hebrews 12:18 For ye are not come unto the mount that might be touched,
        and that burned with fire, nor unto blackness, and darkness, and tempest,
Hebrews 12:19 And the sound of a trumpet, and the voice of words;
        which voice they that heard intreated that
``the word should not be spoken to them any more:
Hebrews 12:20 (For they could not endure that which was commanded,
        And if so much as a beast touch the mountain, it shall be stoned,
        or thrust through with a dart:
Hebrews 12:21 And so terrible was the sight, that Moses said, I exceedingly fear and quake:)
Hebrews 12:22 But ye are come unto mount Sion,
        and unto the city of the living God, the heavenly Jerusalem,
        and to an innumerable company of angels,
Hebrews 12:23 To the general assembly and church of the firstborn,
        which are written in heaven, and to God the Judge of all,
        and to the spirits of just men made perfect,
Hebrews 12:24 And to Jesus the mediator of the new covenant,
        and to the blood of sprinkling, that speaketh better things than that of Abel.
Hebrews 12:25 See that ye refuse not him that speaketh.
        For if they escaped not who refused him that spake on earth,
        much more shall not we escape,
        if we turn away from him that speaketh from heaven:
Hebrews 12:26 Whose voice then shook the earth:
        but now he hath promised, saying,
        Yet once more I shake not the earth only, but also heaven.
Hebrews 12:27 And this word, Yet once more,
         signifieth the removing of those things that are shaken,
         as of things that are made,
         that those things which cannot be shaken may remain.
If YOU make it, God will burn it: He cannot use and will not tolerate the offer of help.
Poieō, make, produce, first of something material, as manufactures, works of art, etc. (opp. prattein, Pl.Chrm.163b), also tōn ta kerea . . hoi pēkhees poieuntai the horns of which are made into the sides of the lyre, Hdt.4.192;
4.
after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn Hellēsi” Id.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian, tragōdian, etc., Pl.Smp.223d; “palinōdian” Isoc.10.64, Pl.Phdr.243b, etc.; “poiēmata” Id.Phd.60d: abs., write poetry, write as a poet, “orthōs p.” Hdt.3.38; “en toisi epesi p.” Id.4.16, cf. Pl.Ion534b: folld. by a quotation, “epoēsas pote . .” Ar.Th.193; “eis tina” Pl.Phd.61b; “peri theōn” Id.R.383a, etc.
c.
describe in verse, “theon en epesin” Pl.R.379a; epoiēsa muthous tous Aisōpou put them into verse, Id.Phd. 61b; “muthon” Lycurg.100.
2. Procure  for oneself, gain,
3. of sacrifices, festivals, etc., celebrate,

Hebrews 12:28 Wherefore we receiving a
kingdom which cannot be moved,
        let us have grace, whereby we may serve God acceptably
        with reverence and godly fear:
Hebrews 12:29
For our God is a consuming fire.
latr-euō , Elean latreiō (q.v.), to be in servitude, serve, enslaved.
There was no redemption for Israel when they rose up against God in musical idolatry well documented in all of the surrounding nations. God abandoned them to worship the STARRY HOST and sentenced them back to Babylon.

The end-time Babylon mother of whores is spiritual Babylon: she uses lusted after fruits (same as in Amos) as rhetoricians, singers and instrument players: John called the sorcerers and said that they would be cast alive into the lake of fire.  When you accuse godly people of musical discord they introduced, can there be any redemption:

Psalms 36:1 The transgression of the wicked saith within my heart,
        that there is no fear of God before his eyes.
Psalms 36:2 For he flattereth himself in his own eyes,
        until his iniquity be found to be hateful.
Psalms 36:3 The words of his mouth are iniquity and deceit:
        he hath left off to be wise, and to do good.
Psalms 36:4 He deviseth mischief upon his bed;
        he setteth himself in a way that is not good; he abhorreth not evil.
Psalms 36:5 Thy mercy, O LORD, is in the heavens;
        and thy faithfulness reacheth unto the clouds.
Psalms 36:6 Thy righteousness is like the great mountains;
        thy judgments are a great deep:
        O LORD, thou preservest man and beast.
Psalms 36:7 How excellent is thy lovingkindness,
        O God! therefore the children of men put their trust under the shadow of thy wings.
Psalms 36:8 They shall be abundantly satisfied with the fatness of thy house;
        and thou shalt make them drink of the river of thy pleasures.
Psalms 36:9 For with thee is the fountain of life:
        in thy light shall we see light.
Psalms 36:10 O continue thy lovingkindness unto them that know thee;
        and thy righteousness to the upright in heart.
Psalms 36:11 Let not the foot of pride come against me,
        and let not the hand of the wicked remove me.
Psalms 36:12 There are the workers of iniquity fallen:
        they are cast down, and shall not be able to rise.
Con-turbo , āvi, ātum, 1, I. v. a., to throw into disorder or confusion, to confuse, derange, disorder, confound  B. Trop., to disturb, disquiet in mind or feeling: “valetudo tua me valde conturbat,” Cic. Att. 7, 2, 2: plāga , . to exchange in confused multitudes,
Plāga , B. In partic., a blow which wounds or injures; a stroke, cut, thrust; a wound (class.).
Psalms 36:12 There are the workers of iniquity fallen:
        they are cast down, and shall not be able to rise.
It is not possible to be a Christian if you do not know the difference betwee a disciple and a ceremonial legalist.
It is not possible to be a Christian if you cannot undertand the standing orders for making disciples.
Matthew 28:18 And Jesus came and spake unto them, saying,
        All power is given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore, and teach all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
Matthew 28:20 Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen
Christ repudiated instruments in the prophets as the MARK of people refusing to teach His word and delibertely starving people who thirst for the free water of the Word.  He cast out the musical minstrels 'like dung' and consigned the pipers (perverted Dionysus agents) who wanted Him to sing and dance at their initiation to the marketplace with all other commerce.

It is not possible to be a Church of Christ if you do not grasp that church is ekklesia or synagogue. Paul spoke of coming together, assemblying and gathering using "synagogue" words. There was no praise service in the
synagogue by direct command.  There is no record of music in the historic synagogue Jesus affirmed.  There is no praise service based on minimal reverence and Godly fear when Christ somes with His songs and sermons when the elders "teach that which has been taught" and refutes those who oppose it. 

On page 75 Winder is quoted trying to prove that instruments were used and approved very early in the church. He thinks that the Jews sang congregationally with instrumental accompaniment INSIDE the temple.  I fact the Levites were under the King and Commanders of the army: they stood in ranks to execute even a Levite who came near any holy thing or INTO any holy place. All of the sacriricial noise was mad in the outer court where they slaughtered tens of thousands of God's creatures believing that He could be appeased.


NO COMMAND TO SING IN THE BIBLE OR IT WOULD NOT HAVE BEEN INSTITUTED VERY LATE

Hymnody developed systematically, however, only after the emperor Constantine legalized Christianity (AD 313); and it flourished earliest in Syria, where the practice was possibly taken over from the singing by Gnostics and Manichaeans of hymns imitating the psalms. The Byzantine Church adopted the practice; in its liturgy, hymns maintain a much more prominent place than in the Latin liturgy; and Byzantine hymnody developed complex types such as the kanon and kontakion (qq.v.; see also Byzantine chant). Saint Ephraem--a 4th-century Mesopotamian deacon, poet, and hymnist--has been called the "father of Christian hymnody." Britannica Online

In the West, St. Hilary of Poitiers composed a book of hymn texts in about 360. Not much later St. Ambrose of Milan instituted the congregational singing of psalms and hymns,
        partly as a counter to the hymns of the Arians,
        who were in doctrinal conflict with orthodox Christianity.
        In poetic form (iambic octosyllables in four-line stanzas),
        these early hymns--apparently sung to simple, possibly folk melodies--
        derive from Christian Latin poetry of the period. [not metrical]

LATER----long after the organ gave rise to polyphony
By the late Middle Ages trained choirs had supplanted the congregation in the singing of hymns. Although new, often more ornate melodies were composed and many earlier melodies were elaborated, one syllable of text per note was usual.

Some polyphonic hymn settings were used, usually in alternation with plainchants,
and were particularly important in organ music.
Does not say that Ambrose used the organ.

Congregational singing in the liturgy was re-established only during the Reformation, by the Lutheran Church in Germany.

The early chorale (q.v.), or German hymn melody,
was unharmonized and sung unaccompanied,
        although harmonized versions,
        used by varying combinations of choir, organ, and congregation,
        appeared later. 

Melody as tuneful did not exist until the Psalms (only) could be REwritten and set to meter for UNISION singing only.

Swiss, and later, French, English, and Scottish Calvinism promoted the singing of metrical translations of the psalter (see psalmody), austerely set for unaccompanied unison singing. English and Scottish Protestantism admitted only the singing of psalms. English metrical psalms were set to tunes adapted from the French and Genevan psalters. These were fairly complex melodies written on French metres. The English psalter used only a few metres, and the custom of singing each psalm to its “proper” tune was soon replaced by the use of a few common tunes. The common metre 8, 6, 8, 6 (the numbers give the number of syllables in each line), a form of English ballad metre, remains the archetypal English hymn metre.

ALL singing carries the idea of enchantment or soothsaying (the Levites) or sorcery (Rev 18) because it uses external means to alter the mind.

Arius, like Bardesan and Ephraem, used the genre of the theological song, music as propaganda. Besides the Thalia, Arius is said to have written and set to music songs for sailors, millers and travellers.73 Valentinus too had written psalms to spread his opinions.7

Augustine provides a vivid example of the way music was used to promote a theological cause in the acrostic song he wrote detailing the mistakes and wrongs of the Donatists.

As with many other Christian developments, it seems that heretics catalysed the emergence of the Christian hymn in the fourth-century.

That there really were significant new developments at this time is most easily seen later in the century, in the West. Augustine, among others, tells us about Ambrose's introduction of new musical practices from the East.

The Arian Justina, Valentinian's mother, was persecuting the orthodox congregation of Milan;

'The decision was taken to introduce hymns and psalms sung after the custom of the eastern Churches, to prevent the people from succumbing to depression and exhaustion.

From that time to this day the practice has been retained and many, indeed almost all your flocks, in other parts of the world have imitated it. It is clear that the new practices, introduced at Milan during a time of difficulty, were intended to appeal to the congregation, and that they were successful in doing so:

people sang 'with both heart and voice in a state of high enthusiasm' these characteristics had previously recommended similar practices to fringe groups: from an orthodox viewpoint, heretics, schismatics, and gnostics.(Kenneth Latourette, A History of Christianity, p. 760).

THE BATTLE OVER IMPOSING HUMAN HUMNS INSTEAD OF PSALMS RAGED IN 1750 IN ENGLAND

However, even earlier:

"In Gnostic circles religious poetry arose to compete with the Old Testament Psalms. Some Catholics therefore distrusted the composition of hymns after this pattern, on the ground that they might smack of heresy. Yet from at least the second century hymns were written by the orthodox which, like their Gnostic counterparts, employed the forms of Greek poetry...

Until near the end of the fourth century, in the services of the Catholic Church
only the Old Testament Psalms and
the
hymns or canticles from the New Testament were sung:

the other hymns were for personal family, or private use.
Gradually
there were prepared versical paraphrases of the Psalms, hymns
with lines of equal length, and hymns which were acrostic." (Latourette, Christianity. p. 207).</i>
Still no melody (a series of single notes) and no harmony: the Greek Sumphonia (music) means sounding together: the unison speaking of that which is written for our learning in Romans 15
From Ephraim the Syrian and Aphrahat the Persian Sage

To Ephraim pertains the high and unique distinction of having originated-or at least given its living impulse to-
a new departure
in sacred literature; and that, not for his own country merely, but for Christendom.

From him came, if not the first idea, at all events the first successful example,
of making song an essential constituent of public worship,
and an exponent of theological teaching;
and from him it spread and prevailed through
the Eastern Churches
, and affected even those of the West.

To the Hymns, on which chiefly his fame rests, the Syriac ritual in all its forms owes much of its strength and richness;
and to them is largely due the place which Hymnody holds throughout the Church everywhere.

And hence it has come to pass that, in the Church everywhere, he stands as the representative Syrian Father, as the fixed epithet appended to his name attests-" Ephraim the Syrian,"-the one Syrian known and reverenced in all Christendom.

From a few lines of Proba's work can be seen the problems with this approach: little of what was created could justifiably be placed alongside the great works of the past, and since that was an implicit target the failure to meet it was embarrassing;

more pressingly, such Christianisations did not appeal to the highly educated, who preferred to read the imitated originals,

and did not appeal to Christians who would not otherwise have read the originals, who needed something written to their own culture and not to that of a past elite.

This kind of imitation had its brief flourishing at the time of the emperor Julian, who forbade Christians to teach pagan works, but had no lasting effect

People trying to impose instruments WILL NOT quote original sources including the context of the Bible.



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