The Beginning of Musical Idolatry

He gave me the holy shrine.

He gave me the holy priestess of heaven.

He gave me the resounding musical instrument.

He gave me the art of song.

He gave me the art of the elder.

He gave me the kindling of strife.

He gave me counseling.

He gave me heart-soothing.

He gave me the giving of judgements.

He gave me the making of decisions."

Let the young men show the might of their weapons;

Let the little children laugh and sing.

Let all Uruk be festive!

Let the high priest greet the Boat of Heaven with song.

Let him utter prayers.

Let him slaughter oxen and sheep.

Let him pour beer out of the cup.

Let the drum and tambourine resound.

Let the sweet tigi-music be played.

Let all the lands proclaim my noble name.

Let my people sing my praises.

Job tells this ancient story of people who sought fertility or the favor of the gods with musical rituals: 

Wherefore do the wicked live, become old, yea, are mighty in power? Job 21: 7
Their seed is established in their sight with them,
        and their offspring before their eyes. Job 21: 8

Their houses are safe from fear, neither is the rod of God upon them. Job 21: 9
Their bull gendereth, and faileth not; their cow calveth, and casteth not her calf. Job 21: 10 They send forth their little ones like a flock, and their children dance. Job 21: 11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21: 12
They spend their days in wealth, and in a moment go down to the grave. Job 21: 13
Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Job 21: 14

I have collected 3 dozen versions of this account all of which point to Satan as the source of music and show that the Lamech family as Genun (Geni) was used by Satan to organize mixed-sex choirs, use of musical instruments and "putting on of apparel" to seduce the people away from the Living Word.  Click for the exact paralell moses used to warn you about Satan's musical deception.

Recognitions of Clement

"But when all these things were done, men turned again to impiety; [There is a similar chapter in Homily IX. 7, but in a discourse: on the following day.-R.] and on this account a law was given by God to instruct them in the manner of living.

But in process of time, the worship of God and righteousness were corrupted by the unbelieving and the wicked, as we shall show more fully by and by.

Moreover, perverse and erratic religions were introduced, to which the greater part of men gave themselves up,  by occasion of holidays and solemnities, instituting drinkings and banquets, following pipes, and flutes, and harps, and diverse kinds of musical instruments, and indulging themselves in all kinds of drunkenness and luxury.

Hence every kind of error took rise; hence they invented groves and altars, fillets and victims, and after drunkenness they were agitated as if with mad emotions.

By this means power was given to the demons to enter into minds of this sort, so that they seemed to lead insane dances and to rave like Bacchanalians; hence were invented the gnashing of teeth, and bellowing from the depth of their bowels; hence a terrible countenance and a fierce aspect in men, 
        so that he whom drunkenness had subverted and a demon had instigated, 
        was believed by the deceived and the erring to be filled with the Deity.

Paul regulated the women in the ekklesia because they were called The Mad Women of Corinth.  "Straight" men were never in a more polite society likely to fall under the spell. Enthousi-astikos , ê, on, inspired, phusis Pl.Ti.71e ; esp. by music, sophia divination, Plu.Sol.12 ; e. ekstasis II. Act., inspiring, exciting, of certain kinds of music, Arist.Pol.1341b34; nosêmata manika   Ekstasis, 2. distraction of mind, from terror, astonishment, anger. 4. trance, kai mania b. drunken excitement "Drunk with wine" can also mean 2. of persons, to be intoxicated with passion, pride, etc., hupo tês Aphroditês Thuias, ados, hê:- A. inspired, possessed woman, esp. Bacchant Manikos , ê, on, ( [mania] ) of or for madness, mad, blepei manikon ti she has a madwoman's eye, madness, manikon symptom of madness, II. enthusiasm, inspired frenzy, m. Dionusou para E.Ba.305 ; apo Mousôn katokôchê te kai m. Pl.Phdr. 245a ; theia m., opposite sôphrosunê anthrôpinê,  "The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (H. Bamfort Parkes, Of Gods and Men, p. 30). "Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods, and many tribes supposed lunatics and sexual deviants to be divinely possessed. H. Bamfort Parks, of Gods and Men

Chapter VII.-Sacrificial Orgies.

"But they did not cease to worship images, by reason of the evil intelligence of the magicians, who found excuses for them, which had power to constrain them to the foolish worship For, establishing this things by magical ceremonies, they assigned them feasts from sacrifices, libations, flutes, and shoutings,

by means ofj which senseless men, being deceived, and their kingdom being taken ofrom them, yet did not desist from the worship that they had taken up with.

To such an extent did they prefer error, on account of its pleasantness, before truth.

They also howl after their sacrificial surfeit, their soul from the depth, as it were by dreams, forewarning them of the punishment that is to befall such deeds of theirs.

CALLING ON THE NAME OF THE LORD WAS TO PROFANE HIS NAME.

Following the thesis that Moses wrote an inversion of the Babylonian accounts to prepare people doomed to return to Babylonia, we need to pick up on Nimrod who arrives on the scene just off the Ark.

Gen. 10:8 And Cush begat Nimrod: he began to be a mighty one in the earth.

Gen. 10:9 He was a mighty hunter before the LORD: wherefore it is said, Even as Nimrod the mighty hunter before the LORD. 

Before means to be enraged, to breath hard, wrath: Nimrod was

Gen. 10:10 And the beginning of his kingdom was Babel, and Erech, and Accad, and Calneh, in the land of Shinar. 

As Satan used "Genun" as a composite of Jubal, Jabal, Tubal-Cain and Naamah, he used Nimrod as a tool to set up the system of idolatry to Satan-- paganism. To fool people that he was Messiah (Genesis 3:15) he married his own mother, Semiramis, and from that is clearly proclaimed that Semiramis is descendant that they said at Genesis 3:15.

As the "mother--wife" counterfeit, Nimrod could be both God, Son and a savior. That is why Jesus was the SON of a FATHER.  This is also the story of Gnosticism in The Origin of the World and the Hypostasis of the Archon.  Sophia is the Mother but Zoe is called "the beast and female instructing principle." This is also the origin of the mother and child in Catholicism where "Mary is the mother of God." 

The word "Lucifer" (connect Zoe, Eve) is derived from David's praise word, halal.  This has the same meaning as making yourself vile from the word Chalal.  Any effort to "bring you into God's presence" is to treat Him like a lover whom you need to worship or PROP up with your rituals. That is why God said that He hated theiri music whatever their "mental attitude." This overtly  claims the role of Jesus Christ our only, competent Mediator. The Hebrew h2490 is the Chalal version of halal which means to make self vile and has the meaning of Lucifer.

Ezek. 28:12 Son of man, take up a lamentation upon the king of Tyrus, and say unto him, Thus saith the Lord GOD; Thou sealest up the sum, full of wisdom, and perfect in beauty.

Ezek. 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. 

Ezek. 28:16 By the multitude of thy merchandise they have filled the midst of thee with violence, and thou hast sinned: therefore I will cast thee as profane out of the mountain of God: and I will destroy thee, O covering cherub, from the midst of the stones of fire.

The Image of Jealousy just before John calls the rhetoricians, singers and musicians as "lusted after fruits" under the Mother of Harlots (Rev 17-18) he wrote:

AND I saw (present tense!) another sign in heaven [image of jealousy], great and marvellous, seven angels having the seven last plagues; for in them is filled up the wrath of God. Re 15:1

Morris Silver: The image of jealousy (Ezek 8:3) in the LXX and Old Latin may be trnslated as "statue/image of the trader/buyer." Torczyner suggests that the compound term sha mala was transmitted from Assyrian (not Babylonian) into Hebrew as semel, with sh being pronounced as s. Thus, again, the "image of jealousy" whose presence in the sanctuary enraged Ezekiel was a businessman, not an idol.

The Mark of the Beast has this connection:

When Apollo, the Having-fallen star unleashed the LOCUSTS or MUSES, they immediately began sowing discord and breaking up churches of all faiths. This is a MARK of he beast.

       Sêmeion 2. sign from the gods, omen Kathair-eô to s. to take it down, strike the flag,
       as a sign of dissolving an assembly, And.1.36; to tês ekklêsias,
       3. of sorcerers, bring down from the sky, selênên [sign in the moon].  *
       V. less freq. like the simple [heresy] hairein, take and carry off

They DISSOLVE the ekklesia and CONVERT it into a synagogue of Satan: a house of merchandise. This is he same HERESY connected to the SELF-pleasing terms used by Paul in Romans 15.  

Incentor , o-ris, m. [id.] , one who sets the tune or begins to sing, a precentor, singer I. Lit.: carminis, Paul. Nol. Carm. 15, 32 : [1] incentore [2] canam [3] Phoebo [4] Musisque [5] magistris, Avien. Perieg. 895 ; Isid. 6, 9, 13.--

II. Trop., an [A] inciter, exciter: [B] igneus [C] turbarum, Amm. 15, 1, 2 : civilis belli, Oros. 5, 19 : rebellionis [renewal of war] totius, id. 6, 11 . Flamen Hislop

Incensor I. one who kindles or sets fire to, II. Trop., an inciter, instigator: turbarum,

[2] Căno I. Neutr., to utter melodious notes, to sing, sound, play.  2. Of the faulty delivery of an orator, to speak in a sing-song tone: inclinată ululantique voce more Asiatico canere,  once canituri,Vulg. Apoc. 8, 13 )

h2490 Chalal

"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 Adam Clark: Verse 26. Then began men to call upon the name of the Lord.] The marginal reading is, Then began men to call themselves by the name of the Lord; which words are supposed to signify that in the time of Enos the true followers of God began to distinguish themselves, and to be distinguished by others, by the appellation of sons of God;         those of the other branch of Adam's family, among whom the Divine worship was not observed, being distinguished by the name, children of men. It must not be dissembled that many eminent men have contended that ljwh huchal, which we translate began, should be rendered began profanely, or then profanation began, and from this time they date the origin of idolatry. Most of the Jewish doctors were of this opinion, and Maimonides has discussed it at some length in his Treatise on Idolatry; as this piece is curious, and gives the most probable account of the origin and progress of idolatry, I shall insert it here. "In the days of Enos the sons of Adam erred with great error, and the counsel of the wise men of that age became brutish, and Enos himself was (one) of them that erred; and their error was this: they said, Forasmuch as God hath created these stars and spheres to govern the world, and set them on high, and imparted honour unto them, and they are ministers that minister before him; it is meet that men should laud, and glorify, and give them honour. For this is the will of God, that we magnify and honour whomsoever he magnifieth and honoureth; even as a king would have them honoured that stand before him, and this is the honour of the king himself. When this thing was come up into their hearts they began to build temples unto the stars, and to offer sacrifice unto them, and to laud and glorify them with words, and to worship before them, that they might in their evil opinion obtain favour of the Creator; and this was the root of idolatry, &c. The historic understanding was that homosexuality was the major music-induced ACT of this early period along with beastiality. Ganymede: GANYMEDE stands for anybody who, like his Two-Spirit native brother, the coupan of the sub-Arctic Konyagas, stands "drinking in the light of the MOON, the stars, absorbing all its brilliance and splendors to become a man of god." "Upon hearing that Ganymede was to be cup bearer as well as Zeus' lover, the infinitely jealous Hera was outraged. Therefor Zeus set Ganymede's image among the stars as the constellation Aquarius [This IS the age of Aquarius], the water carrier. Aquarius was originally the Egyptian god over the Nile. The Egyptian god poured water not wine from a flagon. "All of Zeus' scandalous liaisons have allegorical meanings. Zeus' torrid affair with Ganymede was a religious justification for homosexuality within the Greek culture.  Before the popularity of the Zeus and Ganymede myth spread, the only toleration for sodomy was an external form of goddess worship. Cybele's male devotees tried to achieve unity with her by castrating themselves and dressing like women. . "While Platonic love needed women for regeneration purposes (grow the attendance) the philosopher used this myth to justify his sexual feelings towards his all male pupils.

 JUDE REFERRING TO THE BOOK OF ENOCH AND OTHER DOCUMENTS.

There are at least three dozen versions of the Book of Enoch: the fatal sin was being seduced by Satan by mixed-sex choirs, instrumental music and women "putting on of apparel" which has a liturgical meaning. Once seduced they fell into the vile homosexuality for which the music and theatrical persona is marked.

Of these ancient sins, Jude quotes Enoch:

But these speak evil of those things which they know not: but what they know naturally, as brute beasts, in those things they corrupt themselves. Ju.1:10

Phtheiro (g5351) fthi'-ro; prob. strength. from phthio, (to pine or waste): prop. to shrivel or wither, i.e. to spoil (by any process) or (gen.) to ruin (espec. fig. by mor. influences, to deprave): - corrupt (self), defile, destroy Pharmakon 3. enchanted potion, philtre: hence, charm, spell, [Used by Circe the mother of harlots]

Rev 18:21Then a mighty angel took up a stone like a great millstone and threw it into the sea, saying, “Thus with violence the great city Babylon shall be thrown down, and shall not be found anymore. 22 The sound of harpists, musicians, flutists, and trumpeters shall not be heard in you anymore. No craftsman of any craft shall be found in you anymore, and the sound of a millstone shall not be heard in you anymore. 23The light of a lamp shall not shine in you anymore, and the voice of bridegroom and bride shall not be heard in you anymore. For your merchants were the great men of the earth, for by your sorcery all the nations were deceived.  Epôidê , Ion. and poet. epaoidê , hê, A. song sung to or over: hence, enchantment, spell Od.19.457 Pi.P.4.217 ou pros iatrou sophou thrênein epôidas pros tomônti pêmati S.Aj. 582 ; of the Magi, Hdt.1.132, 

He then cuts the victim limb from limb into portions, and, after boiling the flesh, spreads the softest grass, trefoil usually, and places all of it on this. [3] When he has so arranged it, a Magus comes near and chants over it the song of the birth of the gods, as the Persian tradition relates it; for no sacrifice can be offered without a Magus. Then after a little while the sacrificer carries away the flesh and uses it as he pleases.

This has the same meaning as h2490 Chalal which we have posted above. I have posted a long list of similar words which defines music as that which abominates in this paper.

For true and righteous are his judgments; for he hath judged the great whore, which did corrupt the earth with her fornication, and hath avenged the blood of his servants at her hand. Re.19:2

Wherefore God also gave them up to uncleanness, through the lusts of their own hearts, to dishonour their own bodies between themselves: Ro.1:24

Akatharsia (g167) ak-ath-ar-see'-ah; from 169; impurity (the quality), phys. or mor.: - uncleanness.

For this cause God gave them up unto vile affections: for even their women did change the natural use into that which is against nature: Rom 1:26

JUBAL HANDLES IN THE SAME PSALLO SENSE.  

h8610 Taphas The HANDLE concept to prove that instruments were WITHOUT AUTHORITY.

Because Cain (a musical note) was OF that wicked one and Eve was "wholly seduced" as a new wife goes without the husband, HE and his family of Cabiri who used ENCHANTMENTS to sell the poor's own animals to them while entertaining them. You have to be blind to miss it:

Gen. 4:21 And his brother’s name was Jubal: he was the father of all such as HANDLE the harp and organ. WITHOUT AUTHORITY. 8610. Taphas, taw-fas´; a primitive root; to manipulate, i.e. seize; chiefly to capture, wield, specifically, to overlay; figuratively, to use unwarrantably: surprise, take

8608. Taphaph, taw-faf´; a primitive root; to drum, i.e. play (as) on the tambourine:--taber, play with timbrels.   8611.  topheth, to´-feth; from the base of 8608; a smiting, i.e. (figuratively) contempt:--tabret.    8612. Topheth, to´-feth; the same as 8611; Topheth, a place near Jerusalem:--Tophet, Topheth.

Fact or fiction, the modern collape into musical legalism is both superstitious and divine madness out of the "imagination of man which is only evile continually."  Spiritual warfare demands weapons against the spirit:

An instrument, of whatever kind, is a paradoxical fixing in visible form of this possibility of bodily morphology. A tool performs work upon an object in the world, enabling it to be reshaped and re-produced. As its name suggests, an instrument also works as a mediation: it is instrumental. 

But the object of the work performed by an instrument is the body itself. An instrument is an image of this body transformed, or rather of its transformability, a congelation of the idea of the body’s possibility of remaking itself in sound.

Instruments provide precipitations in space of the many different postures and phantasms of what I have elsewhere called the ‘voice-body’ (Connor 2000). These postures are usually ecstatic, involving various forms of stretching, twisting, unbalancing or doubling of the body. Here we might note that the very word instrument (from Latin instruere, to instruct) has acquired overtones suggestive not only of enacted purpose but also of torture.

The singing bones and skins of legend and ballad retain this connection between suffering and music. When the body has become an instrument of torture to its owner, it can then become a musical instrument to preserve and recall that suffering. Whisper Music, Stephen Connor

Organon , to, ( [ergon, erdô] ) Ergon  [Ergô] I.work, 1. in Il. mostly of deeds of war, polemêïaerga, 3.a hard piece of work, a hard task, Il.: also, a shocking deed or act, 3. musical instrument

Polemeios: warlike, aoida war-note, of the trumpet, B.17.4
aoid-ê  5. = eppsdê, spell, incantatio 

Of Jubal who handled musical instruments "without authority." Organum -Of musical instruments, a pipe, Vulg. Gen. 4, 21;

Qayin (h7014) kah'-yin; the same as 7013 (with a play upon the affinity to 7069); Kajin, the name of the first child, also of a place in Pal., and of an Oriental tribe: - Cain, Kenite (-s).

Qiynah (h7015) kee-naw'; from 6969; a dirge (as accompanied by beating the breasts or on instruments): - lamentation.

Qayin (h7013) kah'-yin; from 6969 in the orig. sense of fixity; a lance (as striking fast): - spear. 

Quwn (h6969) koon; a prim. root; to strike a musical note, i. e. chant or wail (at a funeral): - lament, mourning woman.

Ergon  [Ergô] I.work, 1. in Il. mostly of deeds of war, polemêï 3. a hard piece of work, a hard task, Il.: also, a shocking deed or act,

Polemeios: warlike, aoida war-note, of the trumpet, B.17.4
aoid-ê  5. = eppsdê, spell, incantation

Orgi-a rites of the Cabeiri [Jubal] and Demeter. most freq. of the rites of Dionysus, orgia Mousôn [dirty adultereses] Ar.Ra.356

Frogs

Let him be mute and stand aside from our sacred dances
who has no experience of mystical language, or has not cleansed his mind
Who never has seen and never has danced in the rites of the noble Muses
Nor ever has been inducted into the Bacchic mysteries of beef-eating Cratinus [Rom 14]

Or any politician who bites off the pay of the poets
For being ridiculed in the ancestral rites of Dionysus.  
All these I warn, and twice I warn, and thrice I warn again,
stand aside from our mystical dances; but as for you: arouse the song
and the night-long dances, that belong to our festival here.

Moving ahead to the fall from grace because of musical idolatry at Mount Sinai, God turned them over to worship the starry host (Acts 7) and sentenced them to return to their place of origin into captivity and death.  Moses wrote an inverted version of the Babylonian myths--you can read them here--to prepare Israel to be carried into slavery.  At the end of the cycle John sees the Babylon Harlot as the end-time MARK of the church: Inanna the prostitute goddess stole the powers of the eldership, musical worship and homosexuality.  She used people to build temples and then sowed discord to tear them down.  She shows up in Revelation 17-18 as the mother of harlots who uses "fruits" as rhetoricians, singers and musicians and loves to sow discomfort and discord.  She triumps over the lion as "the Lion of the Tribe of Judah."  Click to see her defined.

The later ELITE civil-religious monarchy served the rich and famous and the prophets call them robbers and parasites. Anyone who uses "proof texts" out of this record is clearly attempting to take you into captivity. Therefore, Genesis is like the HEAD of the serpent who is aroused to bite its tail in the endtimes.

MUSIC IN ANCIENT LITERATURE ALWAYS MARKED EMOTIONAL OR SEXUAL ABNORMALITY

"When tribes grew too large for effective co-operation (and inbred), they often became subdivided into smaller kinship groups (clans, sibs, gentes) which continued to regard each other as close allies. Government was exercised by individual chieftains assisted by councils of elders" (Of Gods and Men, H.B.Parkes, p. 26).

"In this fashion evey common tribal interest--the recurrence of the seasons, the increase of the food supply, successful hunting--was likely to become embodied

in some regularly repeated ceremony, which usually included group dancing, singing, and feasting.

Besides enabling men to express, and thereby to allay, ANGER and ANXIETY, such ceremonies also promoted tribal UNITY and strengthened the loyalty of the individual to TRIBAL TRADITION, for the emotional excitement they aroused had the effect of breaking down the barriers between individuals  and thus fusing all tribesmen into a collective whole. Meanwhile, whole systems of magical devices were gradually elaborated." (Parkes, p. 29)

'Certain members of a tribe, marked out either by unusual skills or by some emotional abnormality, ususally became particularly adept at these operations, and gradually assumed specialized functions. RELEASED from the duty of hunting, and concentrating on the practice of MAGIC, the shaman, SORCERER, or medicine man was the world's first professional." (Parkes, p. 29).

can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Parkes, Henry Bamford, On Gods and Men, p. 30).

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods, and many tribes supposed lunatics and sexual deviants to be divinely possessed.

In Revelation is commentary on all of the "pagan" worship among the Jews and the Mother of Harlots appears at some level as Eve whom--Paul says--was wholly seduced in a sexual sense--Inanna, Ishtar, Zoe (Eve), Aphrodite and others. Mother Goddess worship is marked by a dominant female trying to restore Matriarchal worship.  Before one can become a musical priests of Cybele etal, one must be emasculated.  Paul speaks of this in--

Gal 5:12 As for those agitators, I wish they would go the whole way and emasculate themselves!

Gregory Nazianzen
Nor are we concerned with Phrygian mutilations and flutes and Corybantes, and all the ravings of men concerning Rhea, consecrating people to the mother of the gods, and being initiated into such ceremonies as befit the mother of such gods as these. Nor have we any carrying away of the Maiden, nor wandering of Demeter, nor her intimacy with Celei and Triptolemi and Dragons; nor her doings and sufferings ... for I am ashamed to bring into daylight that ceremony of the night, and to make a sacred mystery of obscenity. Eleusis knows these things, and so do those who are eyewitnesses of what is there guarded by silence, and well worthy of it. Nor is our commemoration one of Dionysus, and the thigh that travailed with an incomplete birth, as before a head had travailed with another; nor of the hermaphrodite god, nor a chorus of the drunken and enervated host; nor of the folly of the Thebans which honours him; nor the thunderbolt of Semele which they adore. Nor is it the harlot mysteries of Aphrodite, who, as they themselves admit, was basely born and basely honoured; nor have we here Phalli and Ithyphalli, shameful both in form and action; nor Taurian massacres of strangers; nor blood of Laconian youths shed upon the altars, as they scourged themselves with the whips; and in this case alone use their courage badly, who honour a goddess, and her a virgin. For these same people both honour effeminacy, and worship boldness.

Paul wanted women silent and sedentary because: 1Tim. 2:8 I will therefore that men pray every where, lifting up holy hands, without wrath and doubting.  Wrath is the ORGY brought on when evil women "rule over." Doubting is the doubtful disputations of the marketplace (Rom 14) so the ekklesia or school of the Bible could take place excluding self-pleasure which excludes music in Romans 15.

^{Note 11} There was a temple of Rhea [ZOE] in Phrygia, in which at her festivals people mutilated themselves to do her honour. The flutes alluded to served to turn the thoughts of the sufferes from the pain of the operation. 

The Corybantes were the ministers of the goddess, who led the wild orgies of her worship. It is believed that there is an allusion to this practice of self-mutilation in Galat. v. 12. So at least S. Jerome, S. Ambrose, and all the Greek Fathers take the passage.  

The ancient view was that Adam's sin was sodomy.

Hippolytus Book V
Apocryphon of John
Testament of Solomon

PROPHESIED Isaiah 3: see notes in Anderson Psallo Part One.

Boys: Effemino II.Trop., to make womanish, effeminate, to enervate, A.Womanish, effeminate,
            Histrio, stage-player, actor, mimus, boaster, used with
            Scaena, 1. Of a place like a scene of a theatre, school of rhetoric, display of eloquence.
B. In mal. part., that submits to unnatural lust: pathicus, Cinaedos: a sodomite, catamite, one who dances publicly

PROPHESIED TO BE TRIED ON JESUS (Psalm 41 DSS)

They tried that on Jesus:

Matt. 11:16 But whereunto shall I liken [MEN] this generation? 
        It is like unto children sitting in the markets, and calling unto their fellows,
Matt. 11:17 And saying, We have piped unto you, and ye have not danced;
        we have mourned unto you, and ye have not lamented.
 saying, We have piped unto you, and ye have not danced;
        we have mourned to you, and ye have not wept.

Plato, Protogoras: All distinguish between the low class in the market-place and the decent, educated people.

[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

That includes the performance preaching:
Agoraios  epith. of Artemis and Athena, v. infr.):--
A. in, of, or belonging to the agora, Zeus A. as guardian of popular assemblies,
2. of things, vulgar,
III. generally, proper to the agora, skilled in, suited for forensic speaking
b. agoraios, market-day, IGRom.4.1381 (Lydia). (The distn. agoraios vulgar, agoraios public speaker, drawn by Ammon.
Hupokritikos 2.suited for speaking or delivery, actor's art, acting a part, pretending to. Hupokrites 2. of an orator, poikilos  rhapsodist, pretender, dissembler, hypocrite

Matthew 23:[13]  "Woe to you, scribes and Pharisees, hypocrites! For you devour widows' houses, and as a pretense you make long prayers. Therefore you will receive greater condemnation. [14]  "But woe to you, scribes and Pharisees, hypocrites! Because you shut up the Kingdom of Heaven against men; for you don't enter in yourselves, neither do you allow those who are entering in to enter

Jesus points to Isaiah 29 and Ezekiel 33 where Jesus identified the Scribes and Pharisees as "rhetoricians, singers and instrument players."

[347d] such is their lack of education--put a premium on flute-girls by hiring the extraneous voice of the flute at a high price, and carry on their intercourse by means of its utterance.

But where the party consists of thorough gentlemen who have had a proper education, you will see neither flute-girls nor dancing-girls nor harp-girls, but only the company contenting themselves with their own conversation, and none of these fooleries and frolics--each speaking and listening decently in his turn,

When Isaiah says that children or boys and women will rule over you the word clearly means Catamites which MARKED all religious music and musicians.

Isaiah III. For, behold, the Lord, Yahweh of Hosts, takes away from Jerusalem and from Judah supply and support, The whole supply of bread, And the whole supply of water; [2]  The mighty man, The man of war, The judge, The prophet, The diviner, The elder, [3]  The captain of fifty, The honorable man, The counselor, The skilled craftsman, And the clever enchanter. [4]  I will give boys to be their princes, And children shall rule over them Isaiah 3.III. ecce enim Dominator Deus exercituum auferet ab Hierusalem et ab Iuda validum et fortem omne robur panis et omne robur aquae [2] fortem et virum bellatorem iudicem et prophetam et ariolum et senem [3] principem super quinquaginta et honorabilem vultu et consiliarium sapientem de architectis et prudentem eloquii mystici [4] et dabo pueros principes eorum et effeminati dom Prŏphēta and prŏphētes I.a foreteller, soothsayer, This invoved many sacerdotes Aegyptiorum, Mysticus, mustikos Vannus  mystica Iacchi, fan borne about in the Bacchic festival, Verg. G. 1, 166  See this See Strabo and the Musical Vile pervert connection 9) Strabo Geography 10.3.13 Corybantes (Phrygian castrate priests of Cybele) in their caverns invented this hide-stretched circlet, (tambourine) and blent its Bacchic revelry with the high-pitched, sweet-sounding breath of Phrygian flutes, and in Rhea's hands placed its resounding noise, to accompany the shouts of the Bacchae, (ev-ah!) Mother and from Mother Rhea frenzied Satyrs obtained it and joined it to the choral dances of the Trieterides, (Triennial Festivals) in whom Dionysus takes delight. Bacchae And in the Palamedes the Chorus says, Thysa, daughter of Dionysus, who on Ida rejoices with his dear mother in the Iacchic revels of tambourines. "This Eve, on account of her having been in the beginning deceived by the serpent, and become the author of sin, the wicked demon, who also is called Satan, who then spoke to her through the serpent, and who works even to this day in those men that are possessed by him invokes as Eve." (Theophilus, p. 105) Boys: Effemino II.Trop., to make womanish, effeminate, to enervate, A.Womanish, effeminate,             Histrio, stage-player, actor, mimus, boaster, used with             Scaena, 1. Of a place like a scene of a theatre, school of rhetoric, display of eloquence. B. In mal. part., that submits to unnatural lust: pathicus, Cinaedos: a sodomite, catamite, one who dances publicly Outlawed by Paul for the ekklesia or synagogue. XV. debemus autem nos firmiores inbecillitates infirmorum sustinere et non nobis placere [2]  unusquisque vestrum proximo suoplaceat in bonum ad aedificationem Placere B. In partic 1. In scenic lang., of players or pieces presented, to please, find favor, give satisfaction: primo actu placeo, Ter. Hec. prol. alt. 31: cui scenico placenti, organa, Scaenicus I.of or belonging to the stage, scenic, dramatic, theatrical (class.). I.Lit.: poëtae, dramatic poets, Varr. L. L. 9, § 17 Müll.: artifices,players, actors, ludi, stage-plays, theatrical representations, orgănum , i, n., = organon, -Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21    an organ, water-organ: organa hydraulica, Modulatio a regular measure. II. In partic., a rhythmical measure, modulation; hence, singing and playing, melody, in poetry and music Musica  [Mousikos] 1 Chronicles 16: [41]  and with them Heman and Jeduthun, and the rest who were chosen, who were mentioned by name, to give thanks to Yahweh, because his lovingkindness endures forever; [42]  and with them Heman and Jeduthun [with] trumpets and cymbals for those that should sound aloud, and [with] instruments for the songs of God; and the sons of Jeduthun to be at the gate. [43]  All the people departed every man to his house: and David returned to bless his house et omnia musicorum organa Magicus, belonging to magic, magic, magical. superstitiones, vanitates, that were invoked by incantations: linguae= skilled in incantations, cantus, magicae resonant ubi Memnone chordae, mysterious, id. 15, 5 1 Kings 14:[22]  10. and will utterly sweep away the house of Jeroboam, as a man sweeps away dung, until it be all gone. Judah did that which was evil in the sight of Yahweh, and they provoked him to jealousy with their sins which they committed, above all that their fathers had done. [23]  For they also built them high places, and pillars, and Asherim, on every high hill, and under every green tree; [24]  and there were also sodomites in the land: they did according to all the abominations of the nations which Yahweh drove out before the children of Israel. They were still in charge when Jesus came: He said that the MEN of that generation were like children (effemino) in the marketplace piping hoping to initiate people into the singing and danceing of Dionysus.

In places where instruments are imposed by ZOE who is called "the beast and female instructing principle" the promised quiet strings quickly evolves into Rock and Roll which is clearly a sexual ritual out of Voodoo.  In the garden of eden the Serpent is the nahash which means a "Musical Enchanter(ess)"  Among the Disciples of Christ this was outed at Cane Ridge in what others have identified as an outbreak of Devil worship.

THE USE OF STRONG-ARMED FORCE

In the most ancient literature you could force people to be your slaves by force of arms or by "upsetting their comfort zones" to slowly manipulate minds to make people want to be your servants.  Machiavelli, used by Lynn Anderson's friend says that you can "become a prince over someone elses lands by force or prayer but prayer rarely works." Therefore, just marginally short of physical harm, the idea of "navigating the winds of change" uses a "lunge forward and retreat" process until you. Nimrod was one such change agent who led around a female musical worship team claiming to change morals through external means.

Jer. 23:26 How long shall this be in the heart of the prophets that prophesy lies?
        yea, they are prophets of the deceit of their own heart;
Jer. 23:27 Which think to cause my people to forget my name
        by their dreams which they tell every man to his neighbour,
        as their fathers have forgotten my name for Baal.

Dan. 7:25 And he shall speak GREAT words against the most High,
        and shall wear out the saints of the most High,
        and think to change times and laws:
        and they shall be given into his hand
        until a time and times and the dividing of time.

Max Lucado's church was slowly manipulated into using "soft wind instruments in an extra room"into a fully blown to a Rock and Roll performance with the "owners" now relegated to owl-eyed audience. This is the natural progression using Lynn Anderson's view that to UPSET people's equilibrium as the fastest way to manipulate their minds.  The Promise Keepers speak of shepherding along with creating dissociation which some have branded a form of schizophrenia.  It fits perfectly as the end-time driven purpose of the Locusts or muses as dirty prostitute "sorcerers" aiding Apollo, Apollyon or Abaddon to SEPARATE people according to their MARKS.  Lynn Anderson "shepherding" or "or discipling dilemna" has been used in the very few congregations lied into adding instruments.

Rick Atchley at Richland Hills followed the same agenda of "blowing the winds of change" by adding a Sabbath worship using instruments.  Here is how the promises work for those who don't think that truth counts:

Rick Atchley says that "We prayed and studied and fasted and got the message that this is what we gonna do.

"First I gotta apologize for what I am going to tell you that WE are goinng to do.
I KNOW that you understood me to say that "we will never use instrumental music on Sunday until Jesus returns." But what I REALLY MEANT was that "this is what we promised at the time."

They and I understood that to be a "promise" but it only lasted until the next frog-boiling step. An eye and ear witness informed me that:

After Rich Atchley's announcement--where he basically said, "Sorry, we lied but it wasn't a lie because times have changed"--my mother-in-law left Richland Hills and will never return.

But, Rick has a problem just as Max Lucado had a Purpose Driven Agenda:

"But, we gotta problem: our traditional service at 8:30 (smile Donnie) has room to grow.
Most of our growth has been at our instrumental Saturday "worship."
Most of those new members want instrumental music but they also want a Sunday School.
No Sunday School on Sabbath

So the, instrumentalists sucked in by a Sabbath Service are the justification for THEM to have a Sunday instrumental service ALSO.

"So, we will move the first service up to 9:00. Then we will have Sunday School. THEN we will add an INSTRUMENTAL service at 11:30

However, before the musical worship team was added they told the Christian Chronicle that they had 6,400 members.

Now that they have grown to about 3,600 members they NEED to add an instrumental service on SUNDAY to make more room for growth in the old 8:30 "a capella traditional service" in spite of what YOU heard me promise.

THE THREAT OF PSYCHOLOGICAL VIOLENCE 

I.  The Question:  What Kind of Worship is Pleasing to God? While we want to be considerate of feelings and comfort zones, we should be much more interested in being obedient to God and considering what He desires.  “Am I now seeking the favor of men, or of God?  Or am I trying to please men?  If I were still pleasing men, I should not be a servant of Christ.” Gal.1:10.  Rather than asking what kind of worship we are comfortable with, each of us should be asking what kind of worship is pleasing to God.

"Worship" to give rest to those discomfited by the religionists was defined by the Spirit of Christ as the synagogue or church in the wilderness. It was inclusive of REST, reading and rehearsing the Word. It was exclusive of "vocal or instrumental rejoicing" which was reserved for camp movements or going to war.  Paul's UNIQUE worship word means to give heed to the Word of God: "singing that which is written" and "teaching that which has been taught.

We have discussed the presumption to UPSET COMFORT ZONES here.  Click to Read.

Is. 57:15 For thus saith the high and lofty One that inhabiteth eternity, whose name is Holy;
        I dwell in the high and holy place, with him also that is of a contrite and humble spirit,
        to revive the spirit of the humble, and to revive the heart of the contrite ones.
Isaiah 57:18 I have seen his ways, and will heal him: I will lead him also,
        and restore comforts unto him and to his mourners.
Isaiah 57:19 I create the fruit of the lips;
        Peace, peace to him that is far off, and to him that is near, saith the Lord; and I will heal him.
Isaiah 57:20 But the wicked are like the troubled sea, when it cannot rest,
        whose waters cast up mire and dirt.
Is. 57:21 There is no peace, saith my God, to the wicked.

God will judge without mercy those who boast aboud destroying the commfort Jesus died to give us FREE from the laded burdens and burden laders.

The "gospel" is "come to me all ye that labor and are heavy laden and I will give you rest. The Scribes and Pharisees laded the burden and Jesus calls them hypocrites.  He pointed to Isaiah or Ezekiel where the hypocrites are defined as "rhetoricians, singers and instrument players." In fact in both Hebrew and Greek a burden defines most forms of singing which are always called enchantment or Sorcery (Rev 18:23).  All "worship" concepts intended to create a sense of panic by telling you that they could "musically lead you into the presence of the gods." A musical instrument is defined as "a machine for doing hard work mostly in making war and creating this shock and awe." This upset your COMFORT ZONES and you paid the priestess where the flute-girls and harp-girls were always prostitutes who TAUGHT you that getting an induced sexual arousal was the "gods' inside of you.

But, Jesus died to give us COMFORT ZONES: What do they think Psalm 23 means?  The church as the school of the Bible INCLUDES the commforts of the Scriptures. God would never impose a burden on US so that we can appease Him: doesn't this mean "legalism?"  Jesus came to give us REST specificially from the musical rituals which are defined by all "musical" terms as witchcraft or sorcery meaning that someone assumes the right to make US feel uncomfortable so their idea of worship can be imposed.  Because church is a school of the Bible to feed lambs, we should grasp that sheep will not feed around the sounds of rushing waters which defines music.  God imposed the Law of Moses BECAUSE of musical idolatry and the Monarchy because the elders wanted to "worship LIKE the nations." Therefore, what is always called NOISE was part of the common pagan sacrificial system and was known as "exorcism" meaning to try to make the GODS happy.

Later, we will look at the word PSALLO which was grasped for the first time in history in 1878 by the Disciples. They had sectarianized out of the agreement to work with The Church of Christ in 1849 by establishing a Missionary Society and in 1859 by adding the organ without any need for Biblical authority.  Only as a way to try to include The Church of Christ in their new denomination they appealed to the word "psallo." Unfortunately their scholars proved that it did not have anything to do with "playing a musical instrument": it simply meant to "pluck" something such as a bowstring, a harp string or pluck the hair out of a prisoner's head.

First, however, there is no "music" word ever used of God's people and it is used of Satan as the source, warriors, sacrificial musicians performing exorcism, prostitutes and sodomites.  The Spirit of Christ OUTLAWED the use of vocal and instrumental rejoicing at the same time He defined the synagogue or church in the wilderness.  It takes a lot of deliberate twisting Scriptures to even hallucinate a "musical" term while the assembly gathers ONLY for instructio.

PERVERTING WHAT WAS ABSOLUTELY COMMANDED.

Lucky for us we have the Israelite Elite--serving the rich and famous--falling into musical idolatry at Mount Sinai. God then turned the Levi Tribe over to perform the worship of the starry host (Acts 7 etal).  The Spirit of Christ quarantined the godly people to the qahal, synagogue or church in the wilderness. It was inclusive of REST from the "discomfort" of worship rituals, READING and hrhearsing the Word of God.

It was exclusive of the ALARM which was "vocal and instrumental rejoicing." The synagogue existed for the people beginning in the wilderness. They were not permitted to participate in the animal slaughter where "music was always to make the lambs dumb before the slaughter priests."  The very word music is derived from mystery which was to "silence the voice of the victim." That is the only driven purpose of Lynn Andersons effort to impose instrumental music to "steal the church house and happy family life of the owners."

IMPOSING WHAT WAS ABSOLUTELY OUTLAWED FOR THE ASSEMBLY.

On the other hand, the alarm or PRAISE word was proof of the "worship of the starry host" where David's naked dance was a whirling dance imitating the stars.  The Temple was the practice of Sabazianism or the old Dionysus worship to which they had been abandoned because of musical idolatry at Mount Sinai.

Dionysus:   bak'-us Dionusos; later Bakchos, the Feast of Bacchus; Dionusia: The god of wine. His worship had extended over the whole Greek and Roman world centuries before the Christian era, and had degenerated into an orgy of drunkenness and unnamable immoralities, possibly under the influence of oriental Baal worship, such as the Hebrew prophets condemned. It has been surmised that Dionysus was originally not a Greek, but an oriental deity. His worship had been introduced into Egypt, perhaps by the Ptolemies, and Ptolemy Philopator (222-204 BC) had branded the Jews there with his emblem, the sign of the ivy. When Antiochus Epiphanes made his assault upon Jerusalem in the year 168 BC, he determined to extirpate the worship of Yahweh, which he recognized as the strength of the Jewish resistance, and to replace it by Greek religion. All worship of Yahweh and the observance of Jewish rites, such as the Sabbath and circumcision, were prohibited. Heathen worship was set up all over Judea, and in the temple at Jerusalem on the altar of burnt offering an altar to Jupiter was erected, "the abomination that maketh desolate" (Dan 11:31), and a swine was sacrificed upon it (see ABOMINATION OF DESOLATION). 

The immoral practices associated with heathen worship in those days established themselves in the temple. When this feast of Bacchus (Dionysus) with all its revelry came round, the Jews were compelled to go in procession in honor of Bacchus (Dionysus), wearing wreaths of ivy,the emblem of the god (2 Macc 6:7). Some years later, when the worship of Yahweh had been restored, Nicanor the general of Demetrius I, in conducting the war against Judas Maceabacus, threatened the priests that, unless they delivered Judas up as a prisoner, "he would raze the temple of God even with the ground, break down the altar, and erect there a temple unto Bacchus (Dionysus) for all to see" (2 Macc 14:33).
See DIONYSUS

Yet at least one major strand of mythic narrative and religious art diverges to tell another kind of story, one in which the power of the strange and chaotic gains the upper hand. This is the triumph of Dionysos: god of wine and theatre, raucous music and frenzied dance; god of the wild, weird and exotic; god of the ecstatic, sexual and fertile; god of mystery, madness and the irrational; god of passion, comedy and tragedy; god of bloody raw feasts and secret initiation rites; and, significantly, a deity also known as "the god of women." Gender and the Phallus

Where Feminists theology "destroys patriarchal religion by small acts of treachery" says Carroll D. Osburn, you should REALLY think twice before you drink that JUICE.  Historically women llthought they could work magic by spiking the wine with "juices."

In connection with "Come to the Table" where the Lord's Supper should be a "sacrificial feast" where God eats with us while we burn the fat, Rubel Shelly was certain that as a common meal Jesus would love to eat barbecue with us. Probably more than one church used that to have the Lord's Supper with swine's flesh still in their teeth.

The International Standard Bible Encyclopedia Serpent Worship.

"Traces of this superstition are thought by certain critics to be discoverable in the religion of Israel. Stade mentions that W. R. Smith supposed the serpent to be the totem of the house of David (Geschichte, I, 465). H. P. Smith says: "We know of a Serpent's Stone near Jerusalem, which was the site of a sanctuary (1 Kings 1:9), and this sanctuary was dedicated to Yahweh" (Hist of Old Testament, 239, 240). Special reliance is placed on the narrative of the brazen serpent, which Hezekiah is recorded to have destroyed as leading to idolatry, (2 Kings 18:4). "In that case," says H. P. Smith, "we must treat the Nehushtan as a veritable idol of the house of Israel, which had been worshipped in the temple from the time of its erection. Serpent worship is so widespread that we should be surprised not to find traces of it in Israel" (ut supra). In the same line, see G. B. Gray, Nu, 275-76. The fancifulness of these deductions is obvious. See NEHUSHTAN. James Orr

What the "praise singers" want to impose.

g1984 Halal: most often used of PRAISE which means to make self vile as a musical threat to the enemy to turn them coward. The implied threat in was was always "we will rob you, rape you and 'rapture' you if you don't run awa.	g1966 heylel or Lucifer from g1984.  Lucifer was personified by the king of Tyre as the "singing and harp playing prostitute in the garden of Eden."  The "snake" was really a musical enchanter(ess) based on word definition and history.

ISRAEL FELL FROM GRACE BECAUSE OF MUSICAL IDOLATRY WHICH PROFANED THE REST.

Again, it was because of musical idolatry God turned the Elite over to worship the starry host: this was well documented as that of Dionysus--the god of the new wineskin--in Egypt and Greece. That is why the Greek translation of the MIZMORS used the word PSALM which pointed only to polluted forms of pagan worship. Many of the musical terms and names of instruments are Greek and therefore ALL point to forms of mad religions.  For instance, Miriam was not a prophet but a prophetess and could have been Paul's example of a "prototypical usurping woman."

Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et choris

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

The same mother of harlots uses "lusted after fruits" as rhetoricians, singers and instrument players whom John in Rev 18 called "sorcerers."

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,

Here is how the daughters of Lucifer upset your Comfort Zones.

Părăsītus, i, m., = parasitos, lit. one who eats with another; hence, I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods, Hence, parasitus Phoebi, a PLAYER. actor, II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite
   -Comically, of a whip: ne ulmos parasitos faciat, that he will make his elm-twigs stick to me like parasites, i. e. give me a sound flogging, he tutelar deity of parasites was Hercules, Plaut. Curc. 2, 3, 79.

THE UNIVERSAL MARK OF THE FEMININE AND EFFEMINATE.

Before the time of David only FEMALES sang and played instruments: a later church father said that a male would "be drunk, perverted or just having fun."  God had abandoned the Israelites to "worship the starry host" (Acts 7) and God promised that the Kings would lead them into captivity and death.  All of the Levitical Guilds of musicians had Canaanite names and performed panic making war or gave glory to the king, kingdom and temple God HAD NOT needed or wanted. That is why the Levitical Warrior musicians were males but provided the FEMALE roles of pagan temples.

MARK of the musical and other MINISTRIES to fleece you and jump and craunch your bones: the staff infection.

Isaiah III. For, behold, the Lord, Yahweh of Hosts, takes away from Jerusalem and from Judah supply and support, The whole supply of bread, And the whole supply of water; [2]  The mighty man, The man of war, The judge, The prophet, The diviner, The elder, [3]  The captain of fifty, The honorable man, The counselor, The skilled craftsman, And the cleverenchanter. [4]  I will give boys to be their princes, And children shall rule over them

Boys: Effemino II.Trop., to make womanish, effeminate, to enervate, A.Womanish, effeminate,
            Histrio, stage-player, actor, mimus, boaster, used with
            Scaena, 1. Of a place like a scene of a theatre, school of rhetoric, display of eloquence.
B. In mal. part., that submits to unnatural lust: pathicus, Cinaedos: a sodomite, catamite, one who dances publicly

MARK: "Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (See the Effeminate Mark of Music Quasten)

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: "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).

"The institution of dancing girls, therefore, became an accepted part of Indian society, even after it became a Muslim society in the Mughal era. Non-temple dancers known generally as tavaifs were not devadasis,

but were sophisticated courtesans
and repositories of culture and refinement.

However, the tavaifs were also "married" to trees and flowers in the same sense that the temple dancers were married to the deity. The institution was so accepted that no respectable wife would admit to training in singing and dancing because those were needed only by the lower caste dancing girls. In later times, these dancers would also be known as "Bayaderes" and would appear in other countries.

Around 1500 B.C. the Egyptians brought the Indian Bayaderes into their temples. Resource

You should understand that Miriam a Prophetess of Hathor by virtue with her connection to the Egyptian Court. Miriam is not a patternism for female worship ministers but she performed sorcery as does the singers of the Mother of Harlots in Revelation 17-18.

MARK: The organ which Jubal used without authority to control others was the:

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.

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.

Vine: Psallo primarily "to twitch, twang,"
then, "to play a stringed instrument with the fingers,"

O.T. "and hence, in the Sept., "to sing with a harp, sing psalms,"
[never without including the name of the instrument] 

N.T. denotes, in the NT, "to sing a hymn, sing praise;" in Eph 5:19, "making melody" (for the preceding word ado, see SING). Elsewhere it is rendered "sing," Rom 15:9; 1 Cor 14:15; in James 5:13, RV, "let him sing praise" (AV, "let him sing psalms"). 

Hymns "was that part of the Hallel consisting of Psalms 113-118; where the verb itself is rendered 'to sing praises' or 'praise' Acts 16:25; Heb 2:12. The Psalms are called, in general, 'hymns,' by Philo; Josephus calls them 'songs and hymns.'" Vine on Humneo 

You can no more compose silly, erotic praise songs than you can compose your new Scripture.

HISTORY NOTES THAT IT WILL ALWAYS BE BAD PREACHERS AND WOMEN WHO IMPOSE "RELIGIONISM."

To boast about upsetting the owner's Comfort Zones to let the women and men PERFORM music is the boast of planning to PROFANE the church which speaks of "playing the flute, stealing other's inheritance, polluting and prostitution.  Assuredly those who "corrupt the word" by imposing their own songs "sell learning at retail" where Paul's word also means to PROSTITUTE. If you seel the sound and sight of females or the effeminate that IS the meaning of prostitution.

They PROFANED the sabbath (rest) at Mount sinai by musical idolatry: this would have been led by women in all of the Egyptian cults.  This is what people intend to do when they presume the authority for THEM to upset YOUR comfort zones:

The word h2490 Chalal has about the same meaning as h1984.  Lucifer is similar to Inanna, Ishtar, Aphrodite and Zoe. Lucifer is ALWAYS in the form of a female who probably knows how to use the "Lucifer Principle" to manipulate males. The word ZOE is the same as EVE and Paul knew the symbolic language of "eve" is the mother of beasts, congregations, merry multitudes or troups of people. She was "wholly seduced" in a sexual way says Paul and the seducer is most often female as a musical enchanter.  The Nahash is derived from the red brass which allowed "cainites" such as Jubal to make brass instruments which drove people into a frenzy: Jubah "handled" means without authority.

<----Is. 53:5 But he was wounded [defined to the left including musical mocking] for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed.

Of Lucifer (h1966):
Eze 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created.

Ezek. 28:16 By the multitude of thy merchandise they have filled the midst of thee with violence, and thou hast sinned: therefore I will cast thee as profane [h2490] out of the mountain of God: and I will destroy thee, O covering cherub, from the midst of the stones of fire.
    PREPARED: H3559 Kun A primitive root; properly to be erect (that is, stand perpendicular);. hence (causatively) to set up, in a great variety of applications, whether literal (establish, fix, prepare, apply), or figurative (appoint,

    CREATED: means to created (qualified) to cut down, selected, dispatch.

"As Prince of the power of the air (Eph.2: 1-2), he is continuously broadcasting his lies and deceptions into their minds via the five sense gates. Helel works very hard in the children of disobedience (Eph.2: 1-2). Helel seldom inspires indifference to religion, as religion is his favorite form of deception. His children are usually the opposers of the true religion or energetic transgressors of the Torah (Clark's Commentary Vol.6, page 437).

Plutarch, Lives Pericles  IV. His teacher in music, most writers state, was Damon (whose name, they say, should be pronounced with the first syllable short); but Aristotle says he had a thorough MUSICAL training at the hands of Pythocleides.  Now Damon seems to have been a consummate SOPHIST,

DAMON

"Rise, Lucifer, and, heralding the light,
bring in the genial day, while I make moan
fooled by vain passion for a faithless bride,
for Nysa, and with this my dying breath
call on the gods, though little it bestead--
the gods who heard her vows and heeded not.
'Begin, my flute, with me Maenalian lays.'

Lucifer or Phosphorus "the bringer of light"). The name of the planet Venus, when seen in the morning before sunrise. The same planet was called Hesperus, Vesperugo, Vesper, Noctifer, or Nocturnus, when it appeared in the heavens after sunset. Lucifer as a personification is called a son of Astraeus and Aurora or Eos, of Cephalus and Eos or of Atlas By Philonis he is said to have been the father of Ceyx. He is also called the father of Daedalion and of the Hesperides. Lucifer is also a surname of several goddesses of light, as Artemis, Aurora, and Hecaté.

"Damon had taken REFUGE behind the name of MUSIC in order to CONCEAL from the multitude his REAL power, and he associated with Pericles, that political athlete,  as it were, in the capacity of RUBBER and TRAINER. [2] However, Damon was not left unmolested in this use of his LYRE as a SCREEN, but was ostracized for being a great SCHEMER and a friend of TYRANNY,  and became a BUTT of the comic poets.

Musical Instruments were the SCREENS used at Mount Sinai but history knows that it involved music, sexuality and homosexuality.  The Christian Church proof texts of PSALLO fail to note that all male plucking was intended to seduce a young male whose hairs had been plucked:

"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.

That is why a large percentage flee when the effeminate take over and add "music." They may not fully grasp the terrifying feeling that they are in the presence of something SCREENED behind the musical instruments. Noting that the A Cappella singers were castrated and performed better than the falsettos in the Sistine Chapel for the Pope's pleasure.

THE A CAPPELLA WORSHIP LEADER: THE GOAT SINGERS OR CASTRATOS.

A deeper-reaching attempt to explain the significance of the castrato age has been made by Moses (1960) in an interesting paper on the psychology of the castrato voice. He interprets the emergence of this vocal fashion as the fulfillment of an age-old dream wish of bisexual hermaphroditism.

Plato notes that Damon said that when people introduce a NEW STYLE they intend to introduce a new style of laws. At first, Damon the deceiver said, it must be in the form of entertainment.

Lynn Anderson Proof Text: 2 Sam 6:5  David and the whole house of Israel were celebrating with all their might before the LORD, with songs and with harps, lyres, tambourines, sistrums and cymbals. 2 Sam 6:15  while he and the entire house of Israel brought up the ark of the LORD with shouts and the sound of trumpets. WE ADD because none of the godly women would be involved: 2 Sam 6:16 And as the ark of the Lord came into the city of David, Michal Sauls daughter looked through a window, and saw king David leaping and dancing before the Lord;  and she despised him in her heart.

Before using this ritual as authority to COMMAND instrumental music Anderson etal misses God's abandonment of the nation to king, kingdom, sacrifices, exorcism noises and the robbing and destruction of those "they wanted to rule over."  First Samuel Eight has god promising as a curse that which Lynn Anderson wants to impose.

See First Samuel Eight for the patternism of "set a senior preacher over us."

Rick Atchley teaches the utter falsehood that the worship in Amos 5 was AUTHORIZED but they had a bad mental attitude. In fact it was because of Israel's musical idolatry at Mount Sinai that God abandoned the ELITE to worship the starry host. Stephen in Acts 7 should alert any serious Bible student that this was the SAME musical idolatry continued. Why not, God ABANDONED them to it.  When the elders demanded a king the captivity and death sentence began to be carried out. The kings were chosen to carry out the sentence.  The worship in Amos is the vile worship of Dionysus which they had worshipped in Egypt: the same Abomination of music, sexuality and homosexuality in the temple.

Of David engaging in the spiral dance as part of the "worship of the Starry host" it is a MARK of, as Rick Atchley, God preaching a funeral song over these divisive teachers.  Of the dance connected to Sun and Lucifer worship:

2 Sam 6:5 And David and all the house of Israel PLAYED before the Lord

on all manner of instruments made of fir wood,
even on harps, and on psalteries, and on timbrels,
and on cornets, and on cymbals

3769.  karar, kaw-rar´; a primitive root; to dance (i.e. whirl): dance(-ing).

lu-do Esp., to play on an instrument of music, to make or compose music or song: B. To sport, dally, wanton (cf. "amorous play," C. Ludere aliquem or aliquid, to play, mock, imitate.  Ov. A. A. 2, 389; Cat. 61, 207

Nu-doI. to make naked or bare; to strip, bare, lay bare, expose to view, uncover (syn.: exuo, detego, revelo).

Scurra , ae, m. 1. A city buffoon, droll, jester (usually in the suite of wealthy persons, and accordingly a kind of parasite; syn.: -Of the clown in a pantomime,  

Sannio ,
I. one who makes mimicking grimaces, a buffoon
Parasi-tus , i, m., = parasitos, lit. one who eats with another; hence,
parasitus Phoebi, a player, actor [For APOLLO or Apollyon and his MUSES]

II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite  

By taking over and adapting Jerusalem's ancient cult, David provided Israel with a new worship, one that featured his own status and its sacral significance. Britannica religious role

"The process by which David achieved this status for himself, his house, and his city may be traced in II Samuel 5–8. When David took Jerusalem, he assumed the rule over its inhabitants and their religious institutions with the cult centred on Mt. Zion. The previous (Jebusite) ruler had been both king and high priest, and played the role of mediator between the city and its deity. There was no precedent for such a mediative and priestly role of kings in Israelite religion, nor of walled cities as the seat of government and worship. Apparently, David simply took over the Jebusite cult on Zion and adapted it to his own (and Israelite) use. Beginning with David and throughout the entire period of the monarchy, for about four centuries, Israel’s worship on Zion gave a central place to the king, not simply as officiant but substantively, as the figure who in his office and person embodied the relationship between God and the nation. In contrast, the premonarchic worship of Israel, at Shechem and elsewhere, had featured a Covenant between God and the people, through their tribal heads, as the bond in the relationship. By taking over and adapting Jerusalem’s ancient cult, David provided Israel with a new worship, one that featured his own status and its sacral significance. 

And walked in the statutes of the heathen, whom the Lord cast out from before the children of Israel,

and (statutes) of the kings of Israel, which they had made. 2 Kings 17: 8 

"The ritual dance was probably widespread in the ancient East. David's performance has Egyptian parallels. Seti I, the father of Rameses II, and three other Pharaohs are said to have danced before a deity, and Asiatic monuments attest the custom elsewhere... The description of David's dance: he 'danced before Jehovah with all his might... leaping and dancing before Jeh' (2 S 6: 14-16) suggests three features that particular display and the mode of dancing which it represented: violent exertion, leaping (Mephassez) and whirling round (mekharker) . Perhaps the whirling dance of Islam is a modern parallel to the last." (Int Std Bible Ency., Games, p. 1170).

PAUL OUTLAWED WHAT HE CALLED DEMON WORSHIP AT MOUNT SINAI.

1Co.10:7 Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play. 

Paizo (g3815) paheed'-zo; from 3816; to sport (as a boy): - play.
Paig-ma , atos, to, A. play, sport,  whene'er the pipe sounds its sportive strains, E.Ba.161(lyr.); Ludia p. luras 

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;

Truphaô , ( [truphê] ) A. live softly, luxuriously, fare sumptuously,  paison,  paison

Paizô [pais]. to play (on an instrument), to sport, play, jest, joke, to make sport of one, mock him, 

B. To sport, dally, wanton (cf. "amorous play," 
Ov. A. A. 2, 389 Ovid's Art of Love: Book II.....Latin

Or when she combs or when she curls her hair,1
Commend her curious art and gallant air.
Singing, her voice, dancing, her steps, admire;
Applaud when she desists, and still desire. 

Let all her words and actions wonder raise;
View her with raptures, and with raptures praise
Fierce as Medusa though your mistress prove,
These arts will teach the stubborn beauty love.

Be cautious lest you overact your part,
And temper your HYPOCRISY with ART;
Let no false action give your words the lie,
For once deceiv'd, she's ever after shy. 

THE USE OF PSALLO TO JUSTIFY DELIBERATE SOWING OF DISCORD--Upsetting people's comfort zones

Lynn Anderson Proof Text: Garrett, Leroy.  Restoration Review.  January, 1991.  “The argument we have always made that instruments were authorized in the Old Testament, but not the New, hardly applies to the Psalms, for it is not a matter of the instruments being ‘authorized’ or legislated.  They were used out of the spontaneous devotion of the people.  They praised God in every way available to them, which would of course include instruments of music.  We need to question a hermeneutics that keeps saying, ‘But that’s in the Old Testament.’  We should at least be able to understand how our Christian friends who choose to use instruments consider it odd that we elect to make use of all the spiritual values in the Psalms except “Praise Him with stringed instruments” (Ps. 150:4).”

No Bible student would ever assume that when God "turned them over to worship the starry host" (Acts 7 etal) that this constituted a worship PATTERNISM.  Why would a political king slaughter to try to get the priests to return to a temple totally polluted with Assyrian worship including music and burning infants be OUR direct command? Tthe "praise" singing connected to making war their practices were defined by the word Hillel, Judgex 12:13

There is what the Hireling-Changelings intend to drage you into like a wolf gnawing the bones of the fleeced lamb.

Sal·ta·to·ry (slt-tôr, sôl-) adj.

1. Of, relating to, or adapted for leaping or dancing.

2. Proceeding by leaps rather than by smooth, gradual transitions.

ALWAYS THE MARK OF EFFEMINATE MEN

Saltō āvī, ātus, āre, freq. [salio] , to dance: in convivio saltare nudus coeperat: nemo enim fere saltat sobrius, nisi, etc.: scire saltare, O.: Fac saltet, O.: ad tibicinis modos, L.--Fig., to speak jerkingly, speak in short clauses: saltat incīdens particulas.--With acc: aliquam mimo saltante puellam, dancing a girl's part, O.: Cyclopa, H.: saltata poëmata, recited with rhythmical movements TIbīcĭna, I. a female fluteplayer,

Choreia,A. dance, esp. choral dance with music chorous choreias tôi Dionusôi [new wineskins god]
2. of any circling motion, as of the stars planêtôn te kai aplanôn choreiais [Wandering Stars] dance tune

Antigone, my daughter, come out of the house; [1265]  this heaven-sent crisis is no time for dances or girlish pursuits. But you and your mother must prevent two brave men, your own brothers, from plunging into death and falling by each other's hand.

Choros 2. from the Dionysiac Chorus arose the Attic Drama, which consisted at first of tales inserted in the intervals of the Dance (epeisodia ), II. a chorus, choir, i. e. a band of dancers and singer

Chŏrus II. Meton. (abstr. pro concr.), a troop or band of dancers and singers, a chorus, choir: saltatores, citharistas,

Chorus Start off [970] while you sing to the god of the lyre and to the chaste goddess armed with the bow. Hail! thou god who flingest thy darts so far, grant us the victory! The homage of our song is also due to Here, the goddess of marriage, [975] who interests herself in every chorus and guards the approach to the nuptial couch.

That the dance was a Bacchic frenzy is apparent. Sistra were used on the occasion, and the taunt of Michael and the king's reply are very expressive. "The king of Israel uncovered himself before his maid-servants as one of the vain (or debauched) fellows shamelessly uncovereth himself." And he retorts: "I will play (act wantonly) before [[Heb char]], and I will be yet more vile than this, and I will be base in my own sight."

No Israelite group ever met to sing congregationally with instrumental accompaniment. Never ever.  The instruments made noise and not music according to God: when you blow 120 horns tuned to the same note you make noise and not music. The "instruments" used in the sacrificial system was used in a pagan system IMPOSED because of musical idolatry at Mount Sinai.  The common people were quarantined to the synagogues which always existed where "vocal and instrumental rejoicing were outlawed.  The noise during the sacrificial systems was called "exorcism" and "music was always to silence the voice of the victim." That is why they musically mocked up to the Cross and he remained silent.

David was a king left to himself to kill all of the Gentiles. David planned that the Levitical Warrior musicians (who made noise) would be under the king and the commanders of the army.  The Psalms are often taunt songs intended to drive the enemy into panic by boasting.  While no reader could have missed it:

1 Chr 25:1  David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service:

Payne insists that the Hebrew of 1 Chronicles 25:1 unambiguously identifies these leaders as militarycommanders, an interpretation favoured by several Bible translations. (Payne, p 423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible) If military commanders had a particular interest in the appointment of musicians, it suggests a strong link between music and warfare

Upsetting people's comfort zones is a MAKING WAR concept.  Because the Elite had been abandoned to "worship the starry host" just like the surrounding nations, it comes as no surprise that the names of the musical guilds, the names of the instruments and the style of "prophesying" were all FEMALE practices which were for the first time introduced by David.

"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (Quasten)

"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

The word PROPHESYING does not mean to be a PROPHET by the Spirit of Christ: it means to drive yourself into a mad frenzy believing that the gods only spoke to the insane or sexually abnormal:

"The Hithpa'el of nb', in the ancient texts, refers to ecstasy and delirium rather than to the emission of a 'prophecy'." (de Vaux, Roland, The Bible and the Ancient Near East, p. 243 Doubleday

"Maniac inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed or glaring eyes-- have no place in the self-controlling dignity of Christian inspiration. Even Jewish prophets, in the paroxysm of emotion, might lie naked on the ground and rave (1 Sam. xix. 24); but the genuine inspiration in Christian ages never obliterates the self-consciousness or overpowers the reason. It abhors the hysteria and stimulation and frenzy which have sometimes disgraced revivalism and filled lunatic asylums." (Pulpit Commentary, 1 Cor., p. 460).

The word PSALLO is also primarily a MAKING WAR word and has no direct musical meaning.

Only 57 of the Book of Psalms are psalms or mizmors.  The Greek words were used because they have a universal perverted meaning unless they are used for LEARNING ONLY. We don't ACTUALLY bash infants heads. The word "psalmos" is a song: you have to define an instrument IF one is included.

Lynn Anderson Proof Text: We should at least be able to understand how our Christian friends who choose to use instruments consider it odd that we elect to make use of all the spiritual values in the Psalms except “Praise Him with stringed instruments” (Ps. 150:4).”

The only "praise" with stringed instruments marks warriors, sacrificial exorcists, prostitutes and Sodomites.  Psalmos, like the rest of the Bible as "that which is commanded" has NO metrical content and you cannot use the Word of God to make "music" if your life depended on it.  

Psalm 150 has a lot more to say which most people would not want to use for their "worship services" when Jesus died to found "a school of the Bible": Disciples are students and not ceremonial legalists.

Speaking of Miriam's instrument it is said that it--

"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).

"This membranophone, translated in the AV as 'timbrel' and 'tabret,' was not permitted in the Temple, although it was mentioned in the Psalter and in religious hymns" (Ps 150:4; Jer. 31:4) Harrison, Into to OT, p. 988).

Edersheim makes it clear that the pipe was played only in the procession to Jerusalem from the far cities.

Isaiah 30 compares the Assyrians procession to the "place of burning" with the Timbrels and harps. In the LXX or Septuagint version, God asks, "Must you always go in procession to the temple with music." This was a common practice when they marched to the Temple and then to Topheth which was the place where innocent children were burned in the red-hot arms of Molech as they played loud instruments to drown out the evil sounds of sacrificed children and to help the priest get a message from the idol:

And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it. Isa 30:32

"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).

"Only in Ps 150:3 is it (shophar) mentioned with most of the other really musical instruments. Hence, we must conclude that the function of the shophar was to make noise--be it of earthly or of eschatological character--but not to make music. After the destruction of the temple and the general banishment of all instrumental music, the shophar alone survived, just because it was not a musical instrument." (International Diction6ary of the Bible, p. 473, Abingdon).

Paul commanded the word "speak" the Biblical content and this is opposite to poetry or music.  Before you can teach, comfort and admonish WITH "that which is written" you have to know the WILL of the Lord: Sister Suzy Singing Elder cannot compose that:

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

Eph 5:18 And be not drunk with wine, wherein is excess; but be filled with the Spirit; [Col 3 The Word of Christ]

Latin: [18] suniete ti to thelêma tou kuriou: kai mê methuskesthe oinôi, en hôi estin asôtia, alla plêrousthe en pneumati, lalountes heautois psalmois kai humnois kai ôidais pneumatikais,

The synagogue or ekklesia was not JUST to bring people together, but to bring them TOGETHER in understanding that portion of Scripture which Paul commanded Timothy to Read and then discuss the DOCTRINE and EXHORT people to obey: the AMEN meant "we hear, we understand and we will obey." Further dialog could take place at home

Suniete to bring or set together [Sunago or synagoge is similar to syllogos where the ASSEMBLY came to UNDERSTAND information.  Dialog instead of sermonizing just an IDEA contained in the passage which is then BLOWN UP into a lecture.

2. Med., come together, come to an agreement, 3. understand, x. allêlôn understand one another's language, II. metaph., perceive, hear, 2. to be aware of, take notice of, observe

Will is: Thelema (g2307) thel'-ay-mah; from the prol. form of 2309; a determination (prop. the thing), i.e. (act.) choice (spec. purpose, decree; abstr. volition) or (pass.) inclination: - desire, pleasure, will.

WHAT LYNN ANDERSON IS TRYING TO IMPOSE.

Pindar, Nemean, 9 [6] There is a saying among men: a noble deed when it is accomplished should not be buried silently in the ground; and divine song is suited to boasting. But we will wake the shouting lyre and the flute in honor of the very pinnacle of horse-contests, which Adrastus established for Phoebus [Apollo] by the streams of the Asopus. Father Zeus, I pray that I may celebrate this excellence by the favor of the Graces, and excel many poets in honoring victory with my verses, [55] throwing my shaft nearest of all to the mark of the Muses.

The GRACE word God replaced is the basis of Charismatic Music: perverse and perverting:

Charis, outward grace or favour  4. love-charm, philtre,
2. esp. in erotic sense, of favours granted, charites aphrodisiôn erôtôn Pi.Fr.128 , cf. Pl.Phdr.254a, al.

Aphrodisios [From Aphroditê] [Or ZOE or Lucifer]
I. belonging to Aphrodite, Plat.
II. Aphrodisia, ta, sexual pleasures, Xen.
2. a festival of Aphrodite, id=Xen.
III. Aphrodision, ou, to, the temple of Aphrodite, id=Xen.
IV. gratification, delight, tinos in or from a thing, sumposiou Pi. O.7.5

Pindar, Olympian.7

[5] honoring the grace of the symposium and the new marriage-bond, and thereby, in the presence of his friends, makes him enviable for his harmonious marriage-bed; 

[7] I too, sending to victorious men poured nectar, the gift of the Muses, the sweet fruit of my mind, I try to win the gods' favor [10] for those men who were victors at Olympia and at Pytho. That man is prosperous, who is encompassed by good reports.

Grace, which causes life to flourish, looks with favor now on one man, now on another, with both the sweet-singing lyre and the full-voiced notes of flutes.

[13] And now, with the music of flute and lyre alike I have come to land with Diagoras, singing the sea-child of Aphrodite and bride of Helios, Rhodes, [15] so that I may praise this straight-fighting, tremendous man who had himself crowned beside the Alpheus and near Castalia, as a recompense for his boxing,

ALL of our Christian friends rejectes the use of "making self vile" using musical instruments at the SAME TIME the Church of Christ continued to NOT do what it had NEVER done.  None of the denominations used "machines for making war" and it was the Disciples to introduced the ORGAN because their mega churches built on carpet bagging money would collapse without instruments--so J.W.McGarvey was twww.  You may click for the table showing that Lynn Anderson working for the NACC had to make the Church of Christ look like evil ediots before sowing discord was possible.

Musical Worship Index: All known history confirms the profane, polluted, vile connection to adultery.  It was the disciples who invented psallo to try to defend their SECTARIANISM to which lynn Anderson has returned.

Lynn Anderson Proof Text: Eph. 5:19 and Col. 3:16 refer to “psalms, hymns, and spiritual songs”.  Every source I checked ties instrumental music to the word “psalm”.

That is radically wrong a psalm is a song which can be accompanied with an instrument: it never TIES unless it names the instrument. Some people pluck harp strings or the hairs of youn men but  pluck means neither.

Only 50 of the BOOK of Psalms are Mizmors available to be used by people in a non-making war sense.  None of these 50 used by the Jews have any instrumental content. The Greek translation when using any of the PSALM type words understood the Greek use to always speak of making war with litteral arrows, polluting people with music such as "shooting out love arrows," and psallo never means more than "pull with your fingers and NEVER with a plectrum." That is because it is rooting in the use of the bow to destroy people.  Only in a metaphor sense was it ever used meaning to "shoot forth hymns."  

Is. 23:16 Take an [1] harp, go about the city, thou harlot that hast been forgotten; make sweet [2] melody, [3] sing many songs, that thou mayest be remembered.

Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [2] melody of thy [3] viols.

Paul told them to SPEAK which is what you do when you "teach that which is written" or "teach that which has been taught."

The command was to SPEAK with one mind and one mouth "using that which is written." The purpose was to teach so that a faithful believer would attend assembly having memorized a whole psalm or other passage. Even if the psalmists is lusting to bash heads of infants, the purpose is not unlearned praise singing but to understand the underlying prose history.

Eph 5: [19]WEB loquentes vobismet ipsis in psalmis et hymnis et canticis spiritalibus cantantes et psallentes in cordibus vestris Domino
Loquor
I. inf. loquier, Naev. ap. Gell. 1, 24, 2), v. dep. n. and a. [Sanscr. lap-, to talk, whisper; to speak, talk, say (in the lang. of common life, in the tone of conversation; cf. Quint. 9, 4, 10; 11, 3, 45). A. To speak, declare, show, indicate or express clearly

logik-os , ê, on, ( [logos] ) the organs of speech
A. of or for speaking or speech, logikê, hê, speech, opposite to mousikê,

Lynn Anderson Proof Text: Note:  The psalmos denoted that which had a musical accompaniment; the ode was the generic term for a song; hence the accompanying adjective ‘spiritual.’”

That is not true: a song may be read, recited, sung or sung with an instrument.  The Psalms are not metrical and cannot be sung tunefully.  To sing TO a hap meant that you struck a string and then spoke in tune with the string.

We have covered that in the beginning. The Britannica and others not that "melody as tunefulness belongs to the 19th century." A melody is still "a series of single tones" and does not identify "music."  The Psalms were chanted but NEVER to the BEAT of a musical instrument. The word SPEAK commanded by Paul defines "Psalmos as in Hebrew Cantillation."

This does not DEFINE Psalmos but shows how it is used in the literature. Anyone not willing to risk their souls would deliberately destroy the peace and harmony for which Jesus died by looking up words in distionaries or lexicons which define the numerous ways the word is CONNECTED to music but never MEANS music.

Not true: A psalmos is a songand says nothing about how it is presented: singing then meant using the "normal inflections of the human voice." On the other hand singing demands a much higher pitch which intends to arouse spiritual anxiety Jesus died to remove.

Shipping much of the important MARKS of end time delusion, we jump to the END-TIME mother of harlots which is identical to the beginning time "singing and harp playing prostitute" always marked by real or virtual perversion. 

The Ourobos or Cockatrice: the Head Bites the Tail
The End Time Mother of Harlots Marked

Rev. 17:1 And there came one of the seven angels which had the seven vials,
        and talked with me, saying unto me, Come hither; I will shew unto thee
        the judgment of the great whore that sitteth upon many waters:
Rev. 17:2 With whom the kings of the earth have committed fornication,
        and the inhabitants of the earth have been made drunk with the wine of her fornication.
Rev. 17:3 So he carried me away in the spirit into the wilderness: and
        I saw a woman sit upon a scarlet coloured beast, [Pan] full of names of blasphemy,
        having seven heads and ten horns. [includes Pan Pipes]
Rev. 17:4 And the woman was arrayed in purple and scarlet colour,
        and decked with gold and precious stones and pearls,
        having a golden cup in her hand full of abominations and filthiness of her fornication:
Rev. 17:5 And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT,
        THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
Rev. 17:6 And I saw the woman drunken with the blood of the saints,
        and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.

This is the same Lucifer (Zoe) as the king/queen of Tyre:

Is. 23:15 And it shall come to pass in that day, that Tyre shall be forgotten seventy years,
        according to the days of one king: after the end of seventy years shall Tyre sing as an harlot.
Is. 23:16 Take an harp, go about the city, thou harlot that hast been forgotten;
        make sweet melody, sing many songs, that thou mayest be remembered.

This is the same CAST OUT AS PROFANE creature who may look human:

Ezek. 28:13 Thou hast been in Eden the garden of God;
        every precious stone was thy covering, the sardius, topaz,
        and the diamond, the beryl, the onyx, and the jasper, the sapphire,
        the emerald, and the carbuncle, and gold:
        the workmanship of thy tabrets and of thy pipes
        was prepared in thee in the day that thou wast created. [Cast Out]

LOOKING BACK TO THE BEGINNING

This story is told in The Book of Enoch, Books of Adam and Eve and on clay tablets 3,000 years old when moses was born.

Gen. 4:19 And Lamech took unto him two wives: the name of the one was Adah, and the name of the other Zillah.

H5711 Adah aw-daw' From H5710 ; ornament; Adah, the name of two women: Adah.

H5710 Adah aw-daw' A primitive root; to advance, that is, pass on or continue; causatively to remove; specifically to bedeck (that is, bring an ornament upon): adorn, deck (self), pass by, take away.

Gen. 4:20 And Adah bare Jabal: he was the father of such as dwell in tents, and of such as have cattle.
Gen. 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.

Gen. 4:22 And Zillah, she also bare Tubalcain, an instructer of every artificer in brass and iron: and the sister of Tubalcain was Naamah.

Gen. 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.

Gen 4:24 If Cain shall be avenged sevenfold, truly Lamech seventy and sevenfwww.

Gen 4:25 And Adam knew his wife again; and she bare a son, and called his name Seth: For God, said she, hath appointed me another seed instead of Abel, whom Cain slew. 

Gen 4:26 And to Seth, to him also there was born a son; and he called his name Enos: then began men to call upon the name of the LORD.

Call upon means to accoust somewhat violently and 270. achaz, aw-khaz´; a primitive root; to seize (often with the accessory idea of holding in possession): be affrighted, bar, (catch, lay, take) hold (back), come upon, fasten, handle, portion, (get, have or take) possess(-ion).

I repeat: here is how Lucifer was Cast as Profane out of heaven and how the Mother of Harlots is in your charge "stealing your inheritance." h2490

Lucretius (98 - c. 55 BC): The Worship of Cybele Wherefore great Mother of gods, and Mother of beasts, And parent of man hath she alone been named. Her hymned the old and learned bards of Greece.... Do name Idaean , giving her Escort of Phrygian bands, since first, they say,	Rev. 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: Rev. 17:5 And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
From out those regions 'twas that grain began Through all the world. To her do they assign The Galli, the emasculate, since thus They wish to show that men who violate The majesty of the Mother and have proved Ingrate to parents are to be adjudged Unfit to give unto the shores of light A living progeny. The Galli come: When Attis, spurious woman, had thus chanted to her comity, the chorus straightway shrills with trembling tongues, the light tambour booms, the concave cymbals clang, and the troop swiftly hastes with rapid feet to verdurous Ida. Then raging wildly, breathless, wandering, with brain distraught, hurries Attis with her tambour, their leader through dense woods, like an untamed heifer shunning the burden of the yoke: and the swift Gallae press behind their speedy-footed leader	Rev. 18:14 And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all. THUS hath the Lord God shewed unto me: and behold a basket of summer fruit. Amos 8:1 And he said, Amos, what seest thou? And I said, A basket of summer fruit. Then said the Lord unto me, The end is come upon my people of Israel; I will not again pass by them any more. Amos 8:2 Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog. For dogs have compassed me: the assembly [multitude, swarm] of the wicked have inclosed me: they pierced my hands and my feet. Ps.22:16
And hollow cymbals, tight-skinned tambourines Resound around to bangings of their hands; The fierce horns threaten with a raucous bray; The tubed pipe excites their maddened minds	Rev. 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee;
In Phrygian measures; they bear before them knives,  Wild emblems of their frenzy, which have power The rabble's ingrate heads and impious hearts To panic with terror of the goddess' might.	Rev. 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. Rev. 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.

When you lie about the prophets you quench the Spirit and blaspheme because the Spirit OF Christ informed the prophets to reputiate all of the lies to God and about God making the MARK of evil into a COMMANDED form of worship.

Back to part One to see that all of the PSALLO based words speak of warfare or pollution: only as a metaphor did people "shoot out hymns" or "shoot out love arrows."


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