Instrumental.Music.Intends.to.Destroy

"But we have already spoken of spectacles: there remains one thing which is to be overcome by us,
        that we be not captivated by those things which penetrate to the innermost perception. (emotions only)
        For all those things which are unconnected with words, (just speaking in tongues)
        that is, pleasant sounds of the air and of strings,
        may be easily disregarded, because they do not adhere to us, and cannot be written...

Is God, therefore, the contriver both of the mind, and of the voice, and of the tongues, unable to speak eloquently? Yea, rather, with the greatest foresight,
He wished those things which are divine to be without adornment,
that all might understand the things which He Himself spoke to all."

Therefore God made all things to supply a contest between two things.

Those enticements of pleasures, then, are the instruments of that whose only business it is to subdue virtue, and to shut out justice from men. With these soothing influences and enjoyments it captivates their souls;
for it knows that pleasure is the contriver of death. (Lactantius, The Divine Institutes, Ante-Nicene Fathers, VII, p. 188).

THE ANCIENTS BEFORE THE POST-LITERATE ERA OF THEOLOGIANS KNEW THE MEANING OF MUSIC

Aristot. Nic. Eth. 1102b.1 But there also appears to be another element in the soul, which, though irrational, yet in a manner participates in rational principle. In self-restrained and unrestrained¹ people we approve their principle, or the rational part of their souls, because it urges them in the right way and exhorts them to the best course; but their nature seems also to contain another element beside that of rational principle, which combats and resists that principle. [16] Exactly the same thing may take place in the soul as occurs with the body in a case of paralysis: when the patient wills to move his limbs to the right

LITERATE PEOPLE UNDERSTOOD THE REGULATIVE PRINCIPLE:

Aristot. Nic. Eth. 1102b.20 they swerve to the left; and similarly in unrestrained persons their impulses run counter to their principle. But whereas in the body we see the erratic member, in the case of the soul we do not see it; nevertheless it cannot be doubted that in the soul also there is an element beside that of principle, which opposes and runs counter to principle （though in what sense the two are distinct does not concern us here）. [17] But this second element also seems, as we said, to participate in rational principle; at least in the self-restrained man it obeys the behest of principle—and no doubt in the temperate and brave man it is still more amenable, for all parts of his nature are in harmony with principle. [18]

1 According to the psychology here expounded, the intellect ‘has a plan or principle,’ in the sense of understanding principle, and being able to reason and make a plan: in other words, it is fully rational. The part of man's nature ‘has a plan or principle’ in so far as it is capable of following or obeying a principle.
It happens that this relationship of following or obeying can itself be expressed by the words
to have logos’ in another sense of that phrase, viz. ‘to take account of, pay heed to.’
To be precise the writer should say that the part logon ekhei tou logou ‘has logos （takes account） of the logos.’ The phrase has yet a third sense in mathematics, where “to have logos” （ratio） means ‘to be rational’ in the sense of commensurable.

Aristot. Nic. Eth. 1175b.1

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

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

[4] The same thing occurs in other cases when a man tries to do two things at once; the pleasanter activity drives out the other, the more so if it is much more pleasant, until the other activity ceases altogether.

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

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

XV Theatrical performance creates spiritual anxiesty

Tertullian understood the destructive effect of spectacle on the human body. For instance we discuss the creation of endorphins in the body by music or any visual-audible performance.

Having done enough, then, as we have said, in regard to that principal argument, that there is in them all the taint of idolatry-having sufficiently dealt with that,

let us now contrast the other characteristics of the show with the things of God.
God has enjoined us to deal calmly, gently, quietly, and peacefully with the Holy Spirit,

because these things are alone in keeping with the goodness of His nature,
with His tenderness and sensitiveness,

"and not to vex Him with rage, ill-nature, anger, or grief.
Well, how shall this be made to accord with the shows?

For the show always leads to spiritual agitation,
since where there is pleasure,
there is keenness of feeling giving pleasure its zest;
and where there is keenness of feeling,
there is rivalry giving in turn its zest to that.
Then, too, where you have rivalry,
you have rage, bitterness, wrath and grief."
(Tertullian, de Spectaculis, Ante-Nicene, III, p. 86).

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

Commands, Examples and Necessary Inferences (CENI) became a issue when the Disciples of Christ imposed musical instruments insisting that they needed no authority even when it intended to sow massive discord. The CENI is usually used to justify or not those ACTS (legalism) which will permit the Evangelist to STAY instead of GO and in recorded history to try to rescue a failing idolatry of Buildings and Grounds and Staff.

"Nay, rather, to speak out more truly, the augurs, the dream interpreters, the soothsayers, the prophets, and the priestlings, ever vain, have devised these fables;

for they, fearing that their own arts be brought to nought,
and that they may extort but scanty contributions from the devotees, now few and infrequent,
whenever they have found you to be willing
        that their craft should come into disrepute,
        cry aloud, the Gods are neglected,
        and in the temples there is now a very thin attendance.

For ceremonies are exposed to derision,
        and the time-honoured rites of institutions once sacred
        have sunk before the superstitions of new religions.

And men--a senseless race--being unable, from their inborn blindness, to see even that which is placed in open light,

dare to assert in their frenzy what you in your sane mind do not blush to believes." (Arnobius, Against the Heathen, Ante-Nicene Fathers, VI, p. 418).

People who DENY God's Right to regulate the Assembly PRETEND that "a" spirit guided them into some new ACT almost always imposing the use of musical instruments to "make the lambs dumb before the slaughter."

Arnobius, Heresies IV May it not happen, may it not come to pass, although you craftily conceal it, that the one should take the other's place, deluding, mocking, deceiving, and presenting the appearance of the deity invoked?

If the magi, who ares o much akin to soothsayers [Levites], relate that, in their incantations, pretended gods steal in frequently instead of those invoked; that some of these, moreover, are spirits of grosser substance, who pretend that they are gods, and delude the ignorant by their lies and deceit,- why should we not similarly believe that here, too, others substitute themselves for those who are not, that they may both strengthen your superstitious beliefs, and rejoice that victims are slain in sacrifice to them under names not their own?

33. Your gods, it is recorded, dine on celestial couches, and in golden chambers, drink,
        and are at last soothed by the music of the lyre, and singing .
        You fit them with ears not easily wearied;
        and do not think it unseemly to assign to the gods
        the pleasures by which earthly bodies are supported,
        and which are sought after by ears enervated by the frivolity of an unmanly spirit.

Plutarch.God.Jews

2Pet. 1:16 For we have not followed cunningly [sophizo] devised fables,

Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]

Muthos 2. fiction (Opposite. logos, historic truth)
Pind. 0. 1 From there glorious song enfolds the wisdom of poets,¹ so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts,

Yes, there are many marvels, and yet I suppose the speech of mortals beyond the true account can be deceptive, stories adorned with embroidered lies; [30] and Grace, who fashions all gentle things for men, confers esteem and often contrives to make believable the unbelievable. But the days to come are the wisest witnesses.

embroidered lies Poikilos
2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōn” Id.N.4.14; “dedaidalmenoi pseudesi poikilois muthoi” Id.O.1.29; of style, “lexis poiētikōtera kai p.” Isoc.15.47 (Comp.); “skhēmatismoi” D.H.Is.3.

Fables are myths from MUO [to shut the mouth: music forces the lambs to be silent before the slaughter]

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