A. with one accord,
“pantes ho.” Pl.Lg.805a,
etc. ; “ho. ek mias gnōmēs” D.10.59
; “ho. hapasin humin antilēpteon”
Ar.Pax484,
cf. Av.1015,
X.HG2.4.17,
LXXEx.19.8,
Plb.1.45.4,
, Act.Ap.15.25.
4.19.24
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Jesus defined Holy Scripture as the Prophets and other Prophecies "concerning Me." Ephesians 2:20 a church, by definition, will be built upon or educated by the Prophets and Apostles: that is the absolute one-piece pattern from the wilderness onward. 1 Peter 1:20 outlawed "private interpretation" or "Further expounding." False prophets and false preachers "go beyond that which is written for our LEARNING. Peter and the Spirit speaking throuth Isaiah 55 says that those who do anything else proves that they are false teachers. Isaiah 55 equates Spirit and Word and shows that any kind of performance (rhetoric or music) proves that "There is no Light In Them."
This is a quick look at Psalm 75, which like Numbers 10 defines the synagogue or Church of Christ in the wilderness which EXCLUDED vocal or instrumental rejoicing. NO ONE PLAYS A Harp in the WORSHIP SENSE in all of Scripture and most Church History. Worship means to FALL ON YOUR FACE. Worship otherwise is of Apollyon, Beast, 666 and his female-effeminate "fruits" in Revelation 18 called SORCERERS who will be or ARE being CAST ALIVE INTO THE LAKE OF FIRE.
John Mark Hicks: While Revelation 4 focused on the worth of the Creator who sits on the throne,
Revelation 5 turns our attention to the dramatic investiture
of the one who is worthy to break the seals and unroll the scroll.
Revelation 4 portrays the reality of the heavenly throne room where the sovereign God,
sitting on the throne, receives worship as the great benefactor of the cosmos–the one by whom all creation exists and to whom belong all creation’s gratitude. Revelation 5 portrays the story of redemption as the one who is worthy to open the book is worshipped because that one has redeemed creation from the powers of evil that enslave it. In essence we move from creation to redemption, from the sovereign enthroned one who invests another with redemptive authority, honor and power.
John Mark Hicks, Chris Seidman handled by David Faust to transistion to instrumental Idolatry.
If we had any doubt whom the twenty-four elders represented, what they hold in their hands removes it.
Enthroned around the throne, they hold harps (kithara) and bowls of incense.
They perpetually worshipped the one who sits on the throne,
and their worship includes musical praise (symbolized by the instruments) and prayer.
The kitharas and bowls of incense remind us of temple worship in Israel as they were part of the liturgical cultus (cf. Psalms 33:2-3; 141:2; 147:7; 150:3-5), and this worship continues in the heavenlies. The twenty-f0ur elders are gathered in the Holy of Holies to worship God. They embody Israel’s temple worship in which the twenty-four (both Israel and the church) participate.
Plutarch Marcus Antonius: Antonius living merrily and quietly abroad), he easily fell again to his old LICENTIOUS life.
For straight, one Anaxenor, a player of the cithern ,
Strab. 14.1 Magodi;84 Cleomachus the pugilist, who was enamoured of a certain cinædus, and a female servant, who was maintained by the cinædus, imitated the sort of dialect and the manners of the cinædi.The theatres had raised the reputation of Anaxenor, the player on the cithara, but Antony elevated him as high as possible, by appointing him receiver of the tribute from four cities, and by giving him a guard of soldiers for the protection of his personXoutus, a player of the flute,
Metrodorus a tumbler, and such
a rabble of minstrels and fit ministers for the pleasures of Asia
(who in fineness and flattery passed all the other PLAGUES he brought with him out of Italy), all these flocked in his court, and bare the whole sway: and after that all went awry. For every one gave themselves to riot and excess, when they saw he delighted in it: and all Asia was like to the city Sophocles speaketh of in one of his tragedies:For in the city of Ephesus, women, attired as they go in the feasts and sacrifice of Bacchus, came out to meet him with such solemnities and ceremonies as are then used:Was full of sweet perfumes and pleasant songs,
With woeful weeping mingled there-amongs.
with men and children disguised like fauns and satyrs.
Moreover, the city was full of ivy, and darts wreathed about with ivy,
psalterions flutes, and howboyes;
The melodious noyse of trumpets and howboyes;and in their songs they called him Bacchus, father of mirth,
The musicall instruments of schalmes, howboyes and sicklyk;
courteous and gentle: and so was he unto some,
but to the most part of men cruel and extreme.
For he robbed noblemen and gentlemen of their goods,
to give it unto vile flatterers: who oftentimes begged living men's goods, as though they had been dead,
and would enter their houses by force.
As he gave a citizen's house of Magnesia unto a cook, because (as it is reported) he dressed him a fine supper.
In the end he doubled the taxation, and imposed a second upon AsiaAristotle, P:olitics: -[1339b] Instead of learning to enjoy it rightly and be able to judge it when they hear others performing, as the Spartans do? for the Spartans although they do not learn to perform can nevertheless judge good and bad music correctly, so it is said.
And the same argument applies also if music is to be employed for refined enjoyment and entertainment; why need people learn to perform themselves instead of enjoying music played by others?
And we may consider the conception that we have about the gods: Zeus does not sing and harp to the poets himself.
But professional musicians we speak of as vulgar people,
and indeed we think it not manly to perform music,
except when drunk or for fun.But perhaps these points will have to be considered afterwards; our first inquiry is whether music ought not or ought to be included in education, and what is its efficacy among the three uses of it that have been discussed--does it serve for education or amusement or entertainment?
It is reasonable to reckon it under all of these heads, and it appears to participate in them all.
Amusement is for the sake of relaxation, and relaxation must necessarily be pleasant, for it is a way of curing the pain due to laborious work;also entertainment ought admittedly to be not only honorable but also pleasant, for happiness is derived from both honor and pleasure; but we all pronounce music to be one of the pleasantest things, whether instrumental or instrumental and vocal music together, at least
Musaeus says, 'Song is man's sweetest joy,' and that is why people with good reason introduce it at parties and entertainments, for its exhilarating effect, so that for this reason also one might suppose that the younger men ought to be educated in music.
For all harmless pleasures are not only suitable for the ultimate object but also for relaxation; and as it but rarely happens for men to reach their ultimate object, whereas they often relax and pursue amusement
not so much with some ulterior object but because of the pleasure of it,
it would be serviceable to let them relax at intervals in the pleasures derived from music. But it has come about that men make amusements an end;
for the end also perhaps contains a certain pleasure, but not any ordinary pleasure,
and seeking this they take the other as being this because it has a certain
resemblance to the achievement of the end of their undertakings. There was never a church at Cenchrea: The Ekklesia was a Civil assembly which PUT LAWS FROM A HIGHER AUTHORITY IN EFFECT. Phoebe was the lady who made certain that traveling preachers claiming to speak for god be escorted to the next sheep leaving port. Greek civilized society did not tolerate speakers, singers, instrument players or actors who tried to SELL their parasitic trade: they escorted him across "County Line."
In Ephesians 4 Paul commanded the ELDERS as the only Pastor-Teachers commanded to teach that which has been taught are to EJECT the cunning craftsmen or SOPHISTS;
Sophists are speakers for Hire, singers or instrument players: Paul said that they are the mark of those LYING IN WAIT TO DECEIVE.
They are LYING because there is never any group singing with or without instruments.
They are lying in wait to AMBUSH: Music always deceived people and was defined as sorcery to MOUNT AN ATTACK.
Jesus said that God HIDES from the wise or SOPHISTS meaning speakers, singers or instrument players.
Saying that PSALLO has any MUSICAL meaning is to accuse God's Spirit and Paul with being too ignorant to know that MUSICAL melody is the Greek MELOS and is never used in Holy Scripture. Melody EXCLUDES rhythm or meter but is a series of single notes.. Chris thinks that melody means HARMONY which was unknown until after the Pipe Organ and the Monks discovered that they had ten fingers.
A heretic or sectarian is someone who TAKES what belongs to another for himself.
If you use musical worship teams with or without instruments you have directly trashed what Jesus died for. You have no intention of teaching "what is written for our learning" and you have no intention of speaking the same things and the aroma of disunity will always plague a church where instruments have been infiltrated.
Chris Seidman The Greek words translated make music and psalms, "psallo" and "psalmos", respectively, had in secular Greek the meanings to pluck, pull, twitch; then to play a stringed instrument (psallo); and twitching or twanging, the sound of a harp (psalmos)....The words "psallo" and "psalmos" as used in secular Greek literature from the 5th century B.C. to the 2nd century A.D. apparently never referred to singing but only to the playing or the sound of an instrument.
The Church in prophecy and definition is a SCHOOL OF THE WORD. You don't have to be literate to be a theatrical speaker or a RHETORICCIAN which is an ugly word. The translation into the Greek Septuagint was done by Jews. They used the PSAO words to express the ugly message of making war or making perverted religionism.
The word psallo NEVER at any time or place in history meant to "play an instrument" unless the instrument is named. The word means to smite or strike with the fingers and NEVER with a plectrum; you cannot psallo with a guitar pick, a piano or flute.
Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).
Negiynah (h5058) neg-ee-naw'; or nÿgynath neg- ee- nath'; from 5059; prop. instrumental music; by impl. a stringed instrument; by extens. a poem set to music; spec. an epigram: - stringed instrument, musick, Neginoth [plur.], songhttp://www.pineycom.com/Mark.10.They.Shall.Mock.Him.With.Music.html
H5060 nâga‛ naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strike (punish, defeat, destroy,
DSS: And at the beginning of their weeks for the season of JUBILEE. All my life the engraved Precept
shall be on MY tongue as the fruit of praise
and the portion of MY lips.I will sing with knowledge and all my music shall be for the glory of God. (MY) lyre (and) my harp shall sound for His holy order and I will tune the pipe of MY lips to His right measure.
Heb 13:14 For here have we no continuing city, but we seek one to come.
Heb 13:15 By him therefore let us offer the sacrifice to God continually, that is, the fruit of our lip giving thanks to his name.XV. A Psalm. Of Solomon. With a Song.
- 1 When I was in distress I called upon the name of the Lord,
- I hoped for the help of the God of Jacob and was saved;
- 2 For the hope and refuge of the poor art Thou, O God.
- 3 For who, O God, is strong except to give thanks unto
- Thee in truth?
- 4 And wherein is a man powerful except in giving thanks to Thy name?
- 5 A new psalm with song in gladness of heart,
- The fruit of the lips with the
- well-tuned instrument of the tongue,
- The firstfruits of the lips from a pious and righteous heart
Delitzsch, Psalms: The word "psalm", which is derived from the Greek word psalmos, is a translation of the Hebrew term mizmor, which is the title standing at the head of fifty-seven of the psalms. Thus it is evident that not every psalm has the superscription "psalm". But it is this word which has come to be the designation of the whole book.
Paul would have referred to 50 of these Mizmores used the Jews. None of these 50 mention a harp. Psallo means "Strick or Smite a String" which makes a whizzing arrow sound but ALWAYS follows up by NAMING the instrument to be STRUCK.
"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
Lexicons do not DEFINE words: they show how the word is used. "Plucking the lyre" examples--collected by Tom Burgess--speak of men plucking the harp to seduce a young male.
IF CHRIST THE SPIRIT WANTED YOU TO SING AND PLAY HE WOULD HAVE CAUSED PAUL TO USE NORMAL LITERACY: to say otherwise is to say that you have to SCRATCH the bottom of the wine barrel to get what the Spirit COULD NOT USE.
The literature ALWAYS uses compound word to define playing a harp
Psaō [a_, but always contracted], II. crumble away, vanish, disappear, S.Tr.678 (s. v. l.). (psaō, psaiō, psauō, psairō, psēkhō, psōkhō,
Psaiō , A. = psaō (q. v.), rub away, grind down
The Holy Spirit was smart enough to use a different word if he meant PLAYING.
Psal-ma , atos, to, A. tune played on a stringed instrument,
Paul commanded that we SPEAK psalms: if he wanted us to SING psalms he was pretty literate:
Psal-mizō , A. sing psalms, and psal-mistēs , ou, ho, psalmist
Psalmokha^rēs , es, A. delighting in harp-playing, of APOLLON
The Holy Spirit knew that you need a COMPOUND WORD if you sing TO the harp,
Psalmōd-ia , A. singing to the harp,
But, don't tell the apostates: Paul commanded that we SPEAK that which is WRITTEN for our LEARNING
ōdē OPPOSITE lexis 2. = epōdos, magic song, spell,Longus 2.7.The PATTERN is to use one mind and one mouthh to speak that which is written for our learning: this is recorded as UNISON SPEAKING of "Scriptures for our Comfort."
2.act of singing, song, thespesiosA.divinely sounding, divinely sweet,
Lexis A.speech, OPPOSITEōdē, orders given by word of mouth, thestyle used here (in courts of justice. word for word,
4.TEXT of an author, OPPOSITE exegesis,
Psalmōd-os , ho, A. psalmist, LXX Si.47.9 cod.Sin., 50.18.
Sirach 47:8. In all that he did he gave thanks to the Holy One, the Most High, with ascriptions of glory;
he SAMG praise with all his HEART, and he loved his Maker.9. He placed singers before the altar,
to make sweet melody WITH THEIR VOICES
49:18. And the singers praised him
with their VOICES in sweet and full-toned melody.50:18. And the singers praised him
with their voices in sweet and full-toned melody.Jamison-Fausett-Brown notes that:
"In the Jewish temple, musical instruments and singing resounded during the whole time of the offering of the sacrifices, which formed the first part of the service.
But at the offering of incense, solemn silence was kept ("My soul waiteth upon God," Ps 62:1; "is silent," Margin; Ps 65:1, Margin),
the people praying secretly all the time. The half-hour stillness implies, too, the earnest adoring expectation with which the blessed spirits and the angels await the succeeding unfolding of God's judgments. A short space is implied; for even an hour is so used (Re 17:12 18:10,19).Duwmiyyah (h1747) doo-me-yaw'; from 1819; stillness; adv. silently; abstr. quiet, trust: - silence, silent, waiteth.
A. Psalmoi toxôn does not mean "sing and play a harp" WITH a bow. Psalmoi just means pluck or twang a bow.
-Toxon Bow implicates galliambus , i, m. [3. Gallus, II. A.] , I.a song of the priests of Cybele,
III. metaph., toxa hēliou its rays, E.HF 1090; ampelinois toxois damentes, of the effects of wine, Pi.Fr.218; “toxon merimnēs”
kottabos . . hon skopon es latagōn toxa kathistametha for shooting of liquor from the cup
B. toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).
Toxeuo A.shoot with the bow,t inosat a mark
[Furnished with the Bow] + [Twitching with the fingers] + [Shoot with the bow or metaphor Send forth a hymn]2. Metaphor, “Erōs etoxeus' auton” E.Tr.255; “hē turannis pantothen toxeuetai” is aimed at,, [255] The dart of love has pierced his heart, love for the frenzied maid. .3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, “t. humnous” Pi.I.2.3;
-Erôs mostly sexual passion, goddess of love, Aphrodites,
II. as pr.n., Eros, the god of love, Hes.Th.120, Alcm. 36, Sapph.74, Theoc.29.22.
Christ-gifted APT elders are the Pastor Teachers commanded to "teach that which has been taught." Their JOB ONE is to eject or cast out the cunning craftsmen or sophists as EXAMPLED by Jesus who cast out the musical minstrels performing a religious ritual for the "dead" more or less violently as one ejects dung. The reason they should be CAST OUT rather than HIRED is that They are Lying in Wait to Deceive.
2 Chron 20:21 And when he had consulted with the people, he appointed singers unto the Lord, and that should praise the beauty of holiness, as they went out before the army, and to say, Praise the Lord; for his mercy endureth for ever.
2 Chron 2022 And when they began to sing and to praise,
the LORD set ambushments against the children of Ammon, Moab, and mount Seir,
which were come against Judah; and they were smitten.
Rinnah (h7440) rin-naw'; from 7442; prop. a creaking (or shrill sound), i. e. shout (of joy or grief): - cry, gladness, joy, proclamation, rejoicing, shouting, sing (-ing), triumph.
And when they began to sing and to praise, the Lord set AMBUSHMENTS against the children of Ammon, Moab, and mount Seir, which were come against Judah; and they were smitten. 2 Chron 20: 22
Ranah (h7439) raw-naw'; a prim. root; to whiz: - rattle.
He mocketh at fear, and is not affrighted; neither turneth he back from the sword. Job 39:22
The quiver rattleth against him, the glittering spear and the shield. Job 39:23
[The Rule of the Trumpets: the trumpets] of alarm for all their service for the [ . . . ] for their commissioned men, 17[by tens of thousands and thousands and hundreds and fifties] and tens. Upon the t[rumpets . . . ]
[ . . . ] )8[ . . . ] 19[ . . . which ] 20 [,, . they shall write . . . the trumpets of Col. 3 the battle formations, and the trumpets for assembling them when the gates of the war are opened so that the infantry might advance, the trumpets for the signal of the slain, the trumpets of 2 the ambush, the trumpets of pursuit when the enemy is defeated, and the trumpets of reassembly when the battle returns.
2 Chron 20:23 For the children of Ammon and Moab stood up against the inhabitants of mount Seir, utterly to slay and destroy them: and when they had made an end of the inhabitants of Seir, every one helped to destroy another.
The BEAST in Revelation or Theiron means "a new style of music or Satyric Drama." The Satyrs were like Pan or the Cappella goats.
FULFILLING PROPHECY FOR THE FIRST AND LAST ADVENT
Luke 18:32 For he shall be delivered unto the Gentiles,
and shall be mocked, and spitefully entreated, and spitted on:
Paizo dance, play a game, 4. play on a musical instrument, h.Ap.206: c. acc., Pan ho kalamo phthongapaizôn [played on a reed] Ar.Ra.230 ; dance and sing, Pi. O.1.16.
5. play amorously, prosallêlous X.Smp.9.2
Xen. Sym. 9.2 “Gentlemen, Ariadne will now enter the chamber set apart for her and Dionysus; after that, Dionysus, a little flushed with wine drunk at a banquet of the gods, will come to join her; and then they will disport themselves together.”The Serpent in the Garden of Eden was a Musical Enchanter(ess) since real men don't do that. Christ defined the Kings of Babylon and Tyre (ditto Jerusalem) as "a singing and harp-playing prostitute."
herpeton II. creeping thing, reptile, esp. snake, kinad-os , eos, hence, cunning rogue, dog, catamite.
epi-triptos thērion, psōmo-kolax , a^kos, ho, A.flatterer for morsels of bread, parasite
2. hē nun e. kai kateaguia mousikē the disreputable and effeminate music of to-day, oulomenos
II. ruined, lost: hence, unhappy, wretched: pharmakon preachers, singers,
instrument players SORCERERS to be cast alive int the lake of fire.
thērion The Beast is a new style of music or drama including satyric dramas. THE MARK of the beast is to PLAY or mock Jesus
Serpo II. Trop., to creep, crawl; to extend gradually or imperceptibly; to spread abroad, increase, prevail (a favorite trope of Cic.): occulto
Of a low, grovelling poetic style: “(poëta) Serpit humi tutus,” crawls along the earth, Hor. A. P. 28 (cf.: “sermones Repentes per humum,”
“sapor,” Verg. G. 3, 397: b. Of persons, close, reserved, secret, not opendissembling his hate,
Canam, qui leniter ... placidis per vada serpis aquis,” creepest, windest along,
occŭlo (obc- ) In partic., to cover up, hide, conceal
puncta argumentorum,” Cic. de Or. 2, 41, 77: “narratum ab iis,” to keep secret, conceal, Tac. A. 3, 16:
“occulta conjurationis retexere,” id. ib. 15, 74: “occulta cordis,” Vulg. 1 Cor. 14, 25:
Săpor , 1. Of style: “vernaculus,” i.e. taste, elegance, Cic. Brut. 46, 172; Arn. 3, p. 108: “Atticus,” Quint. 12, 10, 75; cf. id. 6, 4, 107: “sermo non publici saporis,” of uncommon elegance, Petr. 3, 1Chris Seidman and all of the sowers of musical discord confess to taking a decade or two of false teaching in order to deceive a church into believing that "a" spirit told them to impose what they call instrumental worship.
Rick Atchley confesses that he was lying in wait to deceive:
Well, we discipled the children of those progressive churches
for a whole generation to grow past us Boomers.
They never heard the sermons we heard. [by design]
They never heard the rationale for a cappella music.
We sent them to youth rallies and Church of Christ events
with some of the finest Christian bands in the world.
We discipled our children to leave our Movement!IN THE BUSINESS WORD WE WOULD CALL THAT TREACHERY: LIKE A MADOFF PONZI SCHEME
'Dinias?' I put in; 'Who is Dinias?' 'Oh, he's a dance-for-your-supper carry-your-luggage rattle-your-patter gaming-house sort of man; eschews the barber, and takes care of his poor chest and toes.' 'Well,' said I, 'paid he the penalty in some wise, or showed a clean pair of heels?' 'Our delicate goer is now fast bound. The governor, regardless of his retiring disposition, slipped him on a pair of bracelets and a necklace, and brought him acquainted with stocks and boot. The poor worm quaked for fear, and could not contain himself, and offered money, if so he might save his soul alive.'
I am deathly cold; if I could get some warmth into me, I had rather listen to these light-fingered gentry of flute and lyre.' 'What is this you say, Eudemus?' says I 15. 'You would exact mutation from us? are we so hard-mouthed, so untongued?
Parasi_t-i^kos , ē, on, A.of a parasitos : hē -kē （tekhnē) the trade of a parasitos, toad-eating, ib.4 ; in full, Ath.6.240b.
LEGALISM: tekhn-ē , hē, (tektōn) A. art, skill, cunning of hand of a soothsayer,
A.Ag.249 (pl., lyr.), Eu.17, S.OT389, etc.; “tekhnai heterōn heterai” Pi.N.1.25; “ōpase t. pasan” Id.O.7.50.
III.an art or craft, i.e. a set of rules, LAWS system or method of making or doing, whether of the useful arts, or of the fine arts, Pl.Phdr.245a, Arist.Rh.1354a11, EN1140a8; “hoi tas t. tōn logōn suntithentesLAWS of rhetoric, Arist.Rh.1354a12, but rather TRICKS of Rhetoric, in Aeschin. 1.117)
Plat. Phaedrus 244e Moreover, when diseases and the greatest troubles have been visited upon certain families through some ancient guilt, madness has entered in and by oracular power has found a way of release for those in need, taking refuge in prayers and the service of the gods, and so, by purifications and sacred rites, he who has this madness is made safe for the present and the after time, and for him who is rightly possessed of madness a release from present 245a ills is found. And a third kind of possession and madness comes from the Muses. This takes hold upon a gentle and pure soul, arouses it and inspires it to songs [ōdas opposite Logos] and other poetry, and thus by adorning [kosmousa] countless deeds of the ancients educates later generations.
But he who without the divine madness comes to the doors of the Muses, confident that he will be a good poet by art, meets with no success, and the poetry of the sane man vanishes into nothingness before that of the inspired madmen.
The Adornment is the Lying Wonders: This is particularly telling when the commanded SPEAKING the Word of God is replaced with the songs honoring the experiences and opinions of human preachers and song writers. The Kosmos or WORLD is that for which Jesus said He will not even pray.
kosm-eō 2. generally, arrange, prepare, “dorpon ekosmei” Od. 7.13; “k. aoidēn ē” Bacch.59; “erga” Hes.Op.306;
RELIGIONISTS OUTSIDE OF GOD'S GRACE: We are saved BY Grace (teaching) THROUGH faith (obedience). But saved or safe FROM WHAT?ALL names of instruments and musical terms are defined as enchantment or sorcery because it intends to tap into the fears and superstitious people ALWAYS to pick their pockets.
Ephesians 2:2 Wherein in time past ye walked according to the course of this world,
Kosmos , ho, natgural, II.rnament, decoration, esp. of women; “hieros k.” OGI90.40 (Rosetta, ii B. C.): pl., ornaments, A.Ag.1271; “hoi peri to sōma k.” Isoc.2.32: metaph., of ornaments of speech, such as epithets, Id.9.9 (pl.), Arist.Rh.1408a14, Po.1457b2, 1458a33; hadumelē k. keladein to sing sweet songs of praise, Pi.O.11 (10).13 (s.v.l.).
according to the prince of the power of the air,
the spirit that now worketh in the children of disobedience:
Hēdu^-melēs , Dor. had- , Aeol. ad- , es, A. sweet-singing, “khelidoi” Anacr.67, cf. Sapph.122（Comp.), Pi.N.2.25; sweet-sounding, “xoana” S.Fr.238, etc.: poet. fem., “hēdumeleia surigx” Nonn.D.29.287.
Surigx , iggos, hē,A. shepherd's pipe, Panspipe, “aulōn suriggōn t' enopē” Il.10.13; “nomēes terpomenoi surigxi” 18.526; “suriggōn enopē” h.Merc.512; “hupo ligurōn suriggōn hiesan audēn” Hes.Sc.278; “ou molpan suriggos ekhōn” S.Ph.213 (lyr.); kalaminē s. Ar.Fr.719; “kat' agrous tois nomeusi surigx an tis eiē” Pl.R.399d.2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. “surizō” 11.2, surigmos:—the last part of the nomos Puthikos was called surigges, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.3. mouthpiece of the aulos,
Aoid-ēa^], Att. contr. ōdē (q. v.), hē, : (aeidō):— 5. = eppsdē, spell, incantation, “okhēes ōkeiais . . anathrōskontes aoidais” A.R.4.42, cf. 59. Cf. ōdē. A.divinely sounding, divinely sweet,
ōdē OPPOSITE lexis 2. = epōdos, magic song, spell,Longus 2.7.
2.act of singing, song, thespesiosA.divinely sounding, divinely sweet,
Lexis A.speech, OPPOSITEōdē, orders given by word of mouth, thestyle used here (in courts of justice. word for word,
4.TEXT of an author, OPPOSITEexegesis,
1Cor. 14:23 If therefore the whole church be come together into one place, and all speak with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad?
La^l-eō , II. chatter, opp. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, LOCUST
III. of musical sounds, “aulō laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.” Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin laleinsound the magadis,
MousaA.“Olumpiades M., Dios aigiokhoio thugateres” [ALWAYS "DAUGHTERS"]
II.mousa, as Appellat., music, song “kanakhan . . theias antiluron mousas” S.Tr.643
Chris Seidman has been one of the earliest preachers used by the NACC through their "white paper" and personal mentoring. This is evident in all of the few non-instrumental Churches of Christ who try to justify their massive sowing of discord by quoting from the list of proof-texts.
Farmer's Branch Church of Christ: Greek And Hebrew Word Meanings
Chris Seidman and The second area of interest centers on the meaning and usage of the Greek words for make music and psalms. In order to avoid a lengthy discussion with considerable linguistic jargon and technical terminology only a few summary statements are offered.
After noting that the Psalms and Chronicles were the primary Scriptures of the Hasidics (who became the Pharisees)> The word "make music" is exclusively applied to the secular parties with wine, dancing, singing and playing instruments. When Christ ordained the Qahal, synagogue or Church of Christ in the wilderness it was to PROTECT the godly people after the elite fell into the musicla idolatry of the Egyptian Trinity. That neve changed and you need to know that the word SPEAK is commanded to TEACH and comfort what Paul called "synagogue."
SINGING PSALMS WITH MUSIC WAS THE ARENA OF THE SCRIBES AND PHARISEES: Christ warned against the lyingpen of the Scribes.
"But it must be added that the main theme of the entire book, repeated in all but a dozen of its hundred and fifty chapters, is the certainty that God will reward the righteous who obey the law, and the rewards expected by the psalmist usually include the promise of destruction for his enemies.JESUS CALLED THE SCRIBES AND PHARISEES HYPOCRITES.
Some of the psalms express a tribalistic hatred of foreign powers; even the beautiful laments of the exiles 'by the waters of Babylon,' for example, concludes with the assurance that the daughter of Babylon will be destroyed. 'Happy shall he be, that taketh and dasheth the little ones against the stones.'
But in nearly a third of the collection the 'enemies' whose death the psalmist so confidently prays for and anticipates are not Gentile nations, but indivitual Jews who do not share the religious conviction of the Hasidim (Pharisees). In the words of Psalm 58, 'the righteous shall rejoice when he seeth the vengeance: he shall wash his feet in the blood of the wicked. So that a man shall say, Verily there is reward for the righteous: verily he is a God that judgeth in the earth." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 134, Knopf)
Ezekiel 33:30 Also, thou son of man, the children of thy peopleTHE DIRECT COMMAND AND APPROVED EXAMPLES OF THE NEW TESTAMENT AND HISTORIC CHURCH
still are talking against thee by the walls and in the doors of the houses,
and speak one to another, every one to his brother,
saying, Come, I pray you, and hear what is the word that cometh forth from the LORD.
Ezekiel 33:31 And they come unto thee as the people cometh,
and they sit before thee as my people,
and they hear thy words,
but they will not do them:
for with their mouth they shew much love,This is the best example to define people who will not hear and obey God: Paul used a similar example to equate their speaking their own songs to lifeless musical instruments.
but their heart goeth after their covetousness.
Ezekiel 33:32 And, lo, thou art unto them
as a very lovely song
of one that hath a pleasant voice,
and can play well on an instrument:
for they hear thy words, but they do them not.
Romans 15:3 For even Christ pleased [all performance] not himself; but, as it is written,We will show that the ONE ANOTHER is antithetical and outlaws musical performers.
The reproaches of them that reproached thee fell on me.
Romans 15:4 For whatsoever things were written aforetime were written for our learning,
that we through patience and comfort of the scriptures might have hope.
Romans 15:5 Now the God of patience and consolation
grant you to be likeminded one toward another according to Christ Jesus:
Romans 15:6 That ye may with one mind and one mouth glorify God,
even the Father of our Lord Jesus Christ.
Ephesians 5:19 Speaking to yourselves in psalms and hymns and spiritual songs
Colossians 3:16 Let the word of Christ dwell in you richly in all wisdom;
teaching and admonishing one another in psalms and hymns and spiritual songs,
No instruments were used in the return of the prodigal: one hopes that the Church made up of Children of God are not prodical. It is almost impossible but the goal to be able to sort out the difference in a once in a lifetime event and the weekly assembly where the command is to SPEAK one to another: that specificilly excludes performing choirs or instruments.
THE SECULAR WORLD
ANTITHESIS for the Assembly: On the other hand, From Christ in the church in the wilderness the command for disciples who attend the School of Christ to be taught what HE commanded to be taught:
Luke 15:25 Now his elder son was in the field:
and as he came and drew nigh to the house,
he heard musick and dancing
Sumphonia the only time MUSIC is used in the New Testament
A.concord or unison of sound, “tēn en tē ōdē harmonian, ē dē s. kaleitai”
2. of two sounds only, musical concord, accord, such as the fourth, fifth, and octave
3. harmonious union of many voices or sounds, concert, hoi tōn s. logoi,
"speak "that which is written" using one mind and one mouth (glossa, not a flute) Rom 15
the Pythag. doctrine of the music of the spheres, (Jesus doesn't pray for the KOSMOS or world)
Dan. 3:5 That at what time ye hear the sound of the cornet, flute, harp, sackbut,
psaltery, dulcimer, and all kinds of musick,
ye fall down and worship the golden image that Nebuchadnezzar the king hath set up:And "musician" is exclusively applied to the MUSES or the 9 Sister Singers wo worked for Apollo who is Abaddon or Apollyon or Lucifer or Zoe or Satan. Apollo had his SEEKER CENTER at Delphi and he is the father of "musical harmony, twanging bowstrings to send a singing arrow into your heart, thieves and liars.
If you are going to repudiate the Bible and 2,000 years of scholarship you had better be prepared with some proof. If you are willing to DELIBERATELY SOW DISCORD AMONG BRETHEREN AND OFFEND MANY then you had better be able to flash credentials from someone beyond a "christian" college:
Rom. 15:5 Now the God of patience and consolation
grant you to be likeminded one toward another
according to Christ Jesus:
Rom. 15:6 That ye may with one mind and one mouth glorify God,
even the Father of our Lord Jesus Christ.
Rom. 15:7 Wherefore receive ye one another,
as Christ also received us to the glory of God.
6 hina homothumadon en heni stomati doxazēte ton theon kai patera tou kuriou hēmōnIēsou Khristou.They all Speak the Word together:
They all take part:Homothu_m-a^don , Adv.
They Sweep the Qacks And Imposters out of the assembly: In 1 Corinthians 13Anti-lēpteon, A. one must take part in a matter III. Adj. anti-lēpteos , a, on“, ho logos”
Logos is opposite to Ergon III. Pass., that which is wrought or made, work
Opposite: rhetoric, poetry, music, Pathos or personal experiences (real or fabricated)
Mēkha^n-ē II. any artificial means or contrivance for doing a thing
3. theatrical machine by which gods, etc., were made to appear in the air
Soph-isma , atos, to, A. acquired skill, method II. clever device, ingenious contrivance, stage-trick, claptrap,
Ekhn-ē , hē, (tektōn) A. art, skill, cunning of hand, soothsayer (Levites)
2. craft, cunning,
II. an art or craft, i.e. a set of rules, system or method of making or doing,
whether of the useful arts, or of the fine art Art of Rhetoric,Pind. O. 13 But the fame for every work is due to its inventor. Whence did the graces of Dionysus first come to light, with the ox-driving dithyramb?Plek-ō , Pi.O. 6.86,
II. metaph., devise, contrive, mostly of tortuous mean
2. of Poets, p. humnon, rhēmata, Pi.O.6.86, N.4.94; “ōdas” Critias Fr.1 D.; “p. logous” E.Rh.834, Pl.Hp.Mi.369b; form the plot of a tragedy, opp. luein, Arist.Po.1456a9:—hence in Pass., muthoi peplegmenoi complex,
Pind. O. 6 [85] who bore horse-driving Thebe, whose delicious water I drink, while I weave my embroidered song for heroic spearmen. Now rouse your companions, Aeneas, first to shout the praises of Hera Parthenia, and then to know whether we have truly escaped the ancient reproach [90] of men's speech, “Boeotian pig.” For you are a faithful herald, a message-stick of the lovely-haired Muses, a sweet mixing-bowl of loud-sounding songs.
1Corinthians 13:1 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling [alalazō] cymbal.
The tinkling cymbal was a woman prophet who was all tongues and could not quit talking: she was a sounding gong and tinkling cymbal.
Aristoph. Birds 1015 Pisthetaerus
We are agreed to sweep [smite] all quacks and impostors far from our borders.
Alaz-ōn ) prop. A. wanderer about country, vagrant,
II. charlatan, quack, esp. of Sophists, [rhetoricians, singers, instrument players]
2. the sound of the cithara or harp, “psalmos d' alalazei” there were contests in to psallein,Sophis-tês poets, meletan sophistais prosbalon Pi.I.5(4).28 , cf. Cratin.2; of musicians, sophistês . . parapaiôn chelun [flute]of the lyre, “phormigx ph. hiron melos”
Melody with a harp in a holy place was always dedicated to Apollo (Abaddon, Apollyon) proven by the 'phorminx'.
Alal-azô (formed from the cry alalai): --raise the war-cry shout the shout of victory, nikên alalazein
2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; ôloluxan hai gunaikes, êlalaxan de hoi andres Hld.3.5 .
T. Maccius Plautus, Miles Gloriosus, or The Braggart Captain
Of Ephesus:
Now I will disclose to you both the subject and the name of the play which we are just now about to act, and for the sake of which you are now seated in this mirthful place , "Alazon" is the name (86)
This city is Ephesus; then, the Captain, my master, who has gone off hence to the Forum, a bragging, impudent, stinking fellow, brimful of lying and lasciviousness, says that all the women are following him of their own accord. Wherever he goes, he is the laughing stock of all; and so, the Courtesans here--since they make wry mouths at him, you may see the greater part of them with lips all awry Alazon is the name:
Plato Republic 3
And so when we have anointed him with myrrh, and set a garland of wool upon his head,
And therefore when any one of these pantomimic gentlemen, who are so clever that they can imitate anything, comes to us, and makes a proposal to exhibit himself and his poetry,
we will fall down and worship him as a sweet and holy and wonderful being;
but we must also inform him that in our State
such as he are not permitted to exist; the law will not allow them.
we shall send him away to another city.
For we mean to employ for our souls' health the rougher and severer poet or story-teller, who will imitate the style of the virtuous only, and will follow those models which we prescribed at first when we began the education of our soldiers.
Ephesians 5:19 Speaking to yourselves
in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord;
Colossians 3:16 Let the word of Christ dwell in you richly in all wisdom;
Teaching and admonishing one another
in psalms and hymns and spiritual songs,
singing with grace in your hearts to the Lord.
Exodus 19:8 And all the people answered together, and said,
All that the LORD hath spoken we will do.
And Moses returned the words of the people unto the LORD.
Acts 15:25 It seemed good unto us, being assembled with one accord,You use YOUR OWN mouth and not the MOUTH of a musician.
to send chosen men unto you with our beloved Barnabas and Paul,
Stoma 2 Especially the mouth as the organ of speech, “deka men glōssai, deka de stomat'” 2.489,
NOT:
Moisan kapuron s. their mouthpiece, organ, Theoc.7.37, with Preps., apo glōssēs by frankness of speech, Thgn.63; “phtheggesthai” Pi.O.6.13 [the seer] (but apo g. lēissetai,
also, by word of mouth, Hdt.1.123,
NOT:Phtheggomai of the recitative of the chorus
3. of inanimate things, thunder, trumpets, the flute,
of the lyre, “phormigx ph. hiron melos” [Apollo's Harp] Id.761, cf. Arist. Metaph.1019b15; of an earthen pot, eite hugies eite sathron ph. whether it rings sound or cracked, Pl.Tht.179d; ph. palamēsi to clap with the hands,
Sing, or celebrate one aloud, Pi.O.1.36;
NOT: Mousa I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts, Hom.: the names of the nine were Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia or Polyhymnia, Urania, and Calliope, Hes.,II. mousa, as appellat., music, song, Pind., Trag.:—also eloquence, Eur.:—in pl. arts, accomplishments, Ar., Plat.
BECAUSE: A heretic or sectarian SEIZES your property FOR himself.
lēizomai I. to seize as booty, to carry off as prey,
2. to plunder, despoil, esp. by raids or forays
opp. khersi biē, of fraud opp. violence, Hes. Op.322);
Hes. WD 320 Wealth should not be seized: god-given wealth is much better; for if a man takes great wealth violently and perforce,
or if he steals it through his tongue,
as often happens when gain deceives men's sense
and dishonor tramples down honor,
[325] the gods soon blot him out and make that man's house low, and wealth attends him only for a little time.
