The Abomination of Desolation: first defined as the instrumental-trinitarian worship at Mount Sinai.

John T. Willis Instrumental Melody

11.19.21     By definition "Theology" points primarily to Apollyon and his locusts or adulterous worship team..
No level of Industrial Grade Religion will ever permit such a person to know anything of God. This person is said to be OF the world [Below-Tartarus] opposed to being FROM ABOVE

-Thei-azō , (theios A) A.to be inspired, frenzied, hoposoi autous theiasantes epēlpisan as many as made them hope by divinations Th.8.1;  , hoposoi teletais etheiazon   obtained inspiration through RITUAL, Philostr.Her.5.3.
II.worship as divine, Id.59.27; “Puthagoran kai Platōna” [“logos epi tē teleutē tou Alexandrou etheiasthē” Arr.An.7.18.6; “

Thuc. 8.1 with the soothsayers, and prophets, and all who by the influence of religion had at the time inspired them with the belief that they would conquer Sicily
khrēsmologois te kai mantesi

It is a STRONG DELUSION that God ever commanded a DAY for worship.
It is a STRONG DELUSION that God ever commanded any action by the hands of men as worship.
It is a STRONG DELUSION to claim that Jesus died in vain unable to "supply all that applies to life and godliness."
It is a STRONG DELUSION that God ever authorized ANY FUNDING for any funded STAFF to ride on the backs of widows
It is a STRONG DELUSION to claim that God commanded SINGING with or without a Mechanical Device.
It is a STRONG DELUSION and a LIE that there is a Law of Tithing or a Law of Giving

It is the DEFINITION of a CULT to operate a center of SANCTITY with command authority, controlling the member's life several days during the week.

Theolog-os A.one who discourses of the gods, of poets such as Hesiod and Orpheus [one of the sects silenced in Rome] Arist.Metaph.1000a9, cosmologists
        “theologoi kai poiētai” [poet, singers you make yourself] of diviners and prophets,
        “th. kai manties” Philol.14; hoi Delphōn th

This speaks of the Mad of Corinth well documented.

Arist.Metaph.1000a9, The school of Hesiod, and all the cosmologists, considered only what was convincing to themselves, and gave no consideration to us. For they make the first principles Gods or generated from Gods, and say that whatever did not taste of the nectar and ambrosia became mortal—clearly using these terms in a sense significant to themselves; but as regards the actual applications of these causes their statements are beyond our comprehension

manti^s  female witchcraft of Spiritual Formation. ho mantis mantin ekpraxas eme, of Apollo and Cassandra,
“ho Thrēxi m.” E.Hec.1267 (of Dionysus), That Thracian or Threskia as IMPURE religion. 2. metaph., presager, foreboder,
II. a kind of grasshopper, the praying mantis, Mantis religiosa, Theoc.10.18,
Delphoi , ōn, hoi, A.Delphi, “Delphōn es piona dēmon sacrificial meat.   [Paul cast out the Delphian spirit who used music]

Delphoi , ōn, hoi, A.Delphi, “Delphōn es piona dēmon sacrificial meat.   [Paul cast out the Delphian spirit who used music]

Arist.Metaph.1000a9, The school of Hesiod, and all the cosmologists, considered only what was convincing to themselves, and gave no consideration to us. For they make the first principles Gods or generated from Gods, and say that whatever did not taste of the nectar and ambrosia became mortal—clearly using these terms in a sense significant to themselves; but as regards the actual applications of these causes their statements are beyond our comprehension

manti^s  female witchcraft of Spiritual Formation. ho mantis mantin ekpraxas eme, of Apollo and Cassandra,
“ho Thrēxi m.” E.Hec.1267 (of Dionysus), That Thracian or Threskia as IMPURE religion. 2. metaph., presager, foreboder,
II. a kind of grasshopper, the praying mantis, Mantis religiosa, Theoc.10.18,

Delphoi , ōn, hoi, A.Delphi, “Delphōn es piona dēmon sacrificial meat.   [Paul cast out the Delphian spirit who used music]

Theolog-eō ,

A.discourse on the gods and cosmology, Arist. Metaph.983b29; “peri tinōn”c.; Dia auton ton Phaethonta [Jupiter, son of Apollon] zōogonon theologousi call him Zeus z. Antig.Mir. 10b:—Pass., ta theologoumena discourses about the gods,, Suet. Aug.94; “treis hai Moirai theologountai” Theol.Ar.16.

2. refer to a divine influence, tous tokous Sch.Ptol.Tetr.103.
--zōogon-os , on,
enerative, Aret.SD2.5, Orph.H.38.3; name of Apollo, AP 9.525.7; producing life, Procl.Inst.155; “theos” Jul.Or.5.175c, Dam.Pr. 267; rhoizēma ib.282; “rhathamigges

zōogonos2 zōē  zōē
tēn zoēn poieesthai or katastēsasthai apo or ek . . to get one's living by .
II. zōē,= “graus” 11, the scum on milk,
zôos alive, living, Homer, Hdt., etc.; zôon helein [heresy or sectarianism] tina to TAKE PRISONER,

Zoe is EVE or Evah in feminine or effeminate WORSHIP so they have to slander Paul.  Evah means an abomination because she is the MEDIATRIX as the dirty Muses were called the SHEPHERDS.  There is a mother behind every progressive.

THEOLOGY OF THE ANGEL OF THE MOTHER GODDESS. First, hints Paul, she will have to force you to emasculate yourself to be able to serve as a priest-priestess:

Thea with another Subst., “th. mētēr” 1.280; “theai numphai” 24.615; Pallas th. S.Ant.1184; “theoi theai te” A.Th.87(lyr.); “ma theous, ma theas” Pl.Smp.219c; “ma tous theous kai tas theas

mētēr , Dor. matēr , hē:  “Gallai mētros oreiēs philothursoi dromades”

gallazō , A.practise cult of Cybele
Mētēr, = Dēmētēr, tē Mētri kai tē Kourē hortēn agousi Hdt.8.65; also of Rhea,
Pi.N.5.6; Aphrodite of the Loves, Id.Fr.122.4; phatis ō mater aiskhunas emas, of a rumour,

Numph-ē  3. in mystical theology, “Zeus ambrotos epleto n.” Orph.Fr.21a4.

b. applied to souls seeking birth, Porph.Antr.18 ; cf. numpheuō.
II. Nymph or goddess of lower rank, “theai Numphai”
N. “kourai Dios aigiokhoio” Od.6.105 ; Adruades, Hamadruades, Druades

Phoebus or APOLLYON, Beast, leader of the Locusts (musicians),  666
He IS the leader of the MUSES of Revelation 18 who are SORCERESSES..
The MUSES were dirty adulterers who knew how to lie with music and they become the SHEPHERDESSES.

Phoebas ,,, a priestess of APOLLON; hence the inspired one, the prophetess,
“Rhodos,” where the worship of APOLLON prevailed, id. M. 7, 365: “lyra,” id. H. 16, 180: “sortes,” oracle
sortes fors, fero, any thing used to determine chances. C. In gen., an oracular response (which was often written on a little tablet or lot), a prophecy (cf. responsum): “cum (Spartiatae) oraculum ab Jove Dodonaeo petivissent

Măgistra , a mistress, superior, conductress, directress, etc. a directress, conductress, instructress: “nunc ego ad vos“ludo magistra esse,” school-mistress, instructress, Ter. Hec. 2, 1, 7.—A highpriestess,
 discipulus venio ad magistras,” arte magistrā,” with the aid of ART, Verg. A. 8, 442: “pietate magistrā,

1.07.16   
John T. Willis claims that: Sing and make melody" was a very common practice throughout the history of God's people. These two practices are inseparable as one.  2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.

Psallō IN THE HEART or SILENT simply means to SMITE a string (bow) with the FINGERS but not with the PLECTRUM to make a TWANGING sound.  The Psallō in the Bible has no musical component but speaks of the senior leaders plucking a lyre to seduce a younger male whose pubic hairs had been PLUCKED. That is who disciples obey the direct command to SPEAK that which is written for our LEARNING: Psallo an Ode are IN the heart and silent.  You cannot honor God nor Jesus by MAKING MUSIC when it is time for Jesus to be the ONLY MASTER or Teacher through His Word which IS Spirit and life,

Vocal or Instrumental Psallo is NOT Psallō IN THE HEART or SILENT.  The Key factor in the Christian Assembly is that both male and female remain silent "so that we might all come to a knowledge of THE TRUTH or the Word of God. Religious Music was performed by WOMEN or EFFEMINATE Males.  They both thought that their condition and public persona proved that they spoke for the "gods."  Paul then rebuffs all mediators in song and sermon but the READER because: 1Tim. 2:5 For there is ONE GOD         and one mediator between God and men,         the MAN Christ Jesus; Paul prevents and outbreak of WRATH or an ORGY The Evil Psallo  I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, 2  canituri,”  SING and cantare marked as SORCERY.    saltare et cantare; Cic. Catil. 2.10.23   Suet. Tit. 3 Saltatio   Dancing was originally closely connected with religion. Plato thought all dancing should be based on religion, as it was, he says, among the Egyptians. It has been shown under Chorus that the chorus in the oldest times consisted of the whole population of a city, who met in a public place to offer up thanksgivings to the god of their country by singing hymns and performing dances. These dances, which, like all others, were accompanied by music,  David's Dirty Dancing with the Camp following girls PATTERN In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting. There is a persistent association between theatrics, bad rhetoric and effeminacy. Rhetoric was forever at pains to disentangle itself from unwanted associations with female deception and histrionic art, because it was viewed as the art of socially weak women and slaves,and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups. However, from the examples that I have just used, it is evident, I believe, which art of music I consider appropriate in the training of the orator and to what extent. Nevertheless, I think that I need to be more explicit in stating that the music which I prescribe is not the modern music which has been emasculated by the lascivious melodies of the effeminate stage and has to no small extent destroyed the amount of manly vigor that we still possessed. I refer rather to the music of old with which people used to sing the praises of brave men and which the brave themselves used to sing.  But this fact does not justify degeneration into sing-song or the effeminate modulations now in vogue. There is an excellent saying on this point attributed to Gaius Caesar while he was still a boy: "If you are singing, you sing badly; if you are reading, you sing." The Evil Psallo “psallere saltare   ēlĕgans   I. In the ante-class. period in a bad sense, luxurious, effeminate, fastidious, nice: elegans homo non dicebatur cum laude “mulier (Phryne—with formo saltātor , ōris, m. salto, I.a dancer (generally among the Romans with an accessory contemptuous signif.), Cic. Off. 1, 42, 150; id. Mur. 6, 13; id. Deiot. 10, 28; id. Fin. 3, 7, 24; Quint. 1, 12, 14; 11, 3, 89; Suet. Calig. 54; id. Ner. 6; Macr. S. 2, 10 al. --saltātĭo , ōnis, f. id., I. a dancing; concr., a dance, Quint. 1, 11, 18 sq.; 2, 18, 1; Scipio Afric. ap. Macr. S. 2, 10: “multarum deliciarum comes est extrema saltatio,” Cic. Mur. 6, 13; id. Brut. 62, 225; id. Fin. 3, 7, 24; Quint. 11, 3, 128; Suet. Tit. 7 al.—Plur., Plaut. Stich. 5, 2, 11. --dēlĭcĭae , ārum, f. (sing. dēlĭcĭa , ae, f.; [delicio; that which allures, flatters the senses], delight, pleasure, charm, allurement; deliciousness, luxuriousness, voluptuousness, curiosities of art; sport, frolics, etc. (freq. and class.; for syn. cf.: voluptas, libido, delectatio, oblectatio, delectamentum, oblectamentum). E-lēgo , āvi, 1, v. a., I.to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215. Girardian Reflections on the Lectionary: 5.4.2 Behind the anthropological predilections against the victim's perspective, there is a very practical, quasi-historical reason: namely, the victim is shunned and often killed. In the ancient world, the role of music during ritual sacrifice was often to drown out any cries from the victim. (45) It is crucial that the victim not be heard. The practical mechanics of making victims means that it is unusual for the victim's perspective to survive. In the world of ancient ritual it was probably impossible. 45. The Greek verb myo means to close the mouth or shut the eyes. There is debate about whether myo plays a crucial role in the etymology of other significant words such as myth, mystery, and even music. These etymologies make sense within the Girardian hypotheses.           Myth means to close ourselves to the victim                 and tell the tale according to the perpetrator's perspective;           mystery cults are based on the silence of the victims; music derives from drowning out           the voice of the victim 5.5 In general, then, the survival of the victim's perspective is highly unusual as a historical phenomenon -- until more recent history, that is, when the victim's perspective has finally established a beachhead in Western culture, namely, the cultures most often in closest contact with the Gospel (more on this below). (And it must be emphasized that the close contact is in the category of being an accident of history and not by any meritorious claims for Western culture. In short, the perspective of the victim has established a place in Western culture not because of any inherent merit in Western culture but because of the historical accident of being in close proximity to the Gospel over a long period of time.) mŭlĭer , II. Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,” Plaut. Bacch. 4, 8, 4. Cic. Catil. 2.10.23 In these bands are all the gamblers,         all the adulterers, all the unclean and shameless citizens.         These boys, so witty and delicate,         have learnt not only to love and to be loved,             not only to sing and to dance,             but also to brandish daggers and to administer poisons;        and unless they are driven out,        unless they die, even should Catiline die,         I warn you that the school of Catiline would exist in the republic. But what do those wretches want? Are they going to take their wives with them to the camp? how can they do without them, especially in these nights? and how will they endure the Apennines, and these frosts, and this snow?       unless they think that they will bear the winter more easily       because they have been in the habit of dancing naked at their feasts. O war much to be dreaded, when Catiline is going to have his bodyguard of prostitutes! Suet. Tit. 3 While yet a boy, he was remarkable for his noble endowments both of body and mind; and as he advanced in years, they became still more conspicuous.         He had a fine person, combining an equal mixture of majesty and grace;         was very strong, though not tall, and somewhat corpulent. Gifted with an excellent memory, and a capacity for all the arts of peace and war; he was a perfect master of the use of arms and riding; very ready in the Latin and Greek tongues,         both in verse and prose; and such was the facility he possessed in both,         that he would harangue and VERSIFY extempore.         Nor was he unacquainted with MUSIC,                 but could both SING and PLAY upon the HARP sweetly and scientifically.         I have likewise been informed by many persons,                 that he was remarkably quick in writing short-hand,                 would in merriment and jest engage with his secretaries                 in the imitation of any hand-writing he saw, and often say, "                 that he was admirably qualified for forgery." The Evil Psallo includes: Phrȳnē , ēs, f., = Phrunē. I. A celebrated hetœra in Athens, so wealthy that she offered to rebuild the city of Thebes after it had been destroyed by Alexander: “nec quae deletas potuit componere Thebas Phryne,” Prop. 2, 6, 6; cf. Quint. 2, 15, 9; Val. Max. 4, 3, ext. 3.— II. A Roman courtesan, Hor. Epod. 14, 16.— Quint. Inst. 2 15.9 So also according to general opinion Phryne was saved not by the eloquence of Hyperides, admirable as it was, but by the sight of her exquisite body, which she further revealed by drawing aside her tunic. And if all these have power to persuade, the end of oratory, which we are discussing, cannot adequately be defined as persuasion. componere   Plin. praef. § 25: carmen,” Cic. Mur. 12, 26: “carmina,” Tac. Or. 12; id. A. 3, 49: “epistulas,  blanditias tremulā voce,” T 2. In a bad sense, soft, effeminate, unmanly, weak (syn. effeminatus): “philosophus tam mollis, tam languidus, tam enervatus,” Cic. de Or. 1, 52, 226: “Sabaei,” Verg. G. 1, 57: “viri molles, i. e. pathici,” Liv. 33, 28; Sen. Ep. 87: “disciplina,” effeminate, III. A procuress, Tib. 2, 6, 45. The Evil Psallo includes:  căno , cĕcĭni, cantum (ancient I.imp. cante = canite, “once canituri,” Vulg. Apoc. 8, 13), 3, v. n. and a. [cf. kanassō, kanakhē, konabos; Germ. Hahn; Engl. chanticleer; kuknos, ciconice; Sanscr. kōkas = DUCK; A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite Rev. 8:12 And the fourth angel sounded,         and the third part of the sun was smitten,         and the third part of the moon,         and the third part of the stars;         so as the third part of them was darkened,         and the day shone not for a third part of it, and the night likewise. Rev. 8:13 And I beheld, and heard an angel flying through the midst of heaven,         saying with a loud voice, Woe, woe, woe,         to the inhabiters of the earth by reason of         the other voices of the trumpet of the three angels,         which are yet to sound! ka^na^kh-ē , Dor. -Kha, hē, (kanassō) Od.6.82; odontōn men k. pele gnashing of teeth, Il.19.365, Hes.Sc.164: k. aulōn sound of flutes, Pi.P.10.39 (pl.), B.2.12, cf. S.Tr.642 (lyr.); of the lyre, h.Ap.185. ka^na^kh-eō , a Verb expressing various sounds, kanakhēse de Khalkos A.r ang, clashed, Od.19.469; kanakhousi pēgai plash, Cratin.186; kanakhōn holophōnos alektōr crowing, ., k. melos to let a song ring loud, A.R.4.907. CLANGING BRASS khalkos    “sidēros de kai kh. polemōn organa” Pl.Lg.956a  SUITABLE FOR OFFERINGS IN TEMPLES OR ANATHEMA organon , to, (ergon, erdō) A.instrument, implement, tool, for making or doing a thing, 3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhorda” Id.R.399c, al.; “met' ōdēs kai tinōn organōn” Phld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2. Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate;         she was skilled in Greek and Roman literature;         she could sing, play, and dance, *         with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. Whether she was more prodigal of her money or her reputation, it would have been difficult to decide. Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation. She had frequently, before this period, forfeited her word, forsworn debts, been privy to murder, and hurried into the utmost excesses by her extravagance and poverty. But her abilities were by no means despicable; she could compose verses, jest, and join in conversation either modest, tender, or licentious. In a word, she was distinguished by much refinement of wit, and much grace of expression. * Sing, play, and dance] “Psallere, saltare.” As psallo signifies both to play on a musical instrument,     and to sing to it while playing, I have thought it necessary to give both senses in the translation. However  Psallō.   used in Scripture does NOT include plucking a harp to make music. Even the Vocal or Instrumental Psallo  II. In partic., in ecclestiacal Latin, to sing the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1 Cor. 14, 15 Everyone in Corinth wanted to speak their own sermons and sing their own songs. They wanted to speak in their own tongue or MINOR DIALECT while most in Corinth could understand Koine Greek. Unless there was someone to translate they should keep silent. 1Cor. 14:15 What is it then?         I will pray WITH the spirit,         and I will pray WITH the understanding also:         I will sing WITH the spirit,         and I will sing WITH the understanding also. SPEAKING connected to TONGUES includes Playing Musical Instrument.

Maybe John T. Willis never read these passages:

Psa. 33:2 Praise  [hold our your arms or through a stone]
        the Lord        [Never TO an assembly]
        WITH harp:  [When a harp is intended God is smart enough to NAME it]
        sing unto him with the psaltery and an instrument of ten strings.
Psa. 33:3 Sing unto him a new song; play skilfully with a loud noise. [Outlawed for the synagogue: the Mark of Judas]

Play is not tuneful melody but h5059 Nagan "to beat a tune with the FINGERS" which like Psallo EXCLUDES a guitar pick or any musical instrument.

In Ephesians 4 Jesus as Holy Spirit through Paul gave only the elders as Pastor-teachers: job one was to eject the cunning craftsmen or sophists who are speakers, singers or instrument players. They are not just Ignorant of the Word but Paul says that "THEY ARE LYING IN WAIT TO DECEIVE."

Using the Exodus idolatry as a PATTERN Jude wrote:

Jude 3 Beloved, when I gave all diligence to write unto you of the common salvation,
        it was needful for me to write unto you,
        and exhort you that ye should earnestly contend for
        THE FAITH [CENI] which was once delivered unto the saints.
Jude 4 For there are certain men crept in unawares,
        who were before of old ordained to this condemnation,
        ungodly men, turning the grace of our God into lasciviousness,
        and denying the only Lord God,
        AND
        our Lord Jesus Christ.

John identified ANTICHRIST those who deny that there is ONE GOD the Father and ONE SON Jesus "whom God made to be both Lord and Christ."

Jude 5 I will therefore put you in remembrance, though ye once knew this,
        how that the Lord, having saved the people out of the land of Egypt,
        afterward destroyed them that believed not.
Jude 6 And the angels which kept not their first estate,
        but left their own habitation, he hath reserved in everlasting chains
        under darkness unto the judgment of the great day.

Disciples of Christ attend assembly ONLY as A School of the Word: the Word is the Logos or Regulative principle.  Logos outlaws rhetoric, singing or playing instruments. A disciple OF Christ would have no urge to hire someone to lead them into music which always meant "to make the lambs dumb before the slaughter."   Elementary Grammar knows what the Greek makes certain:

4.speech, delivered in court, assembly VI. verbal expression or utterance, lego, lexis       -Lexis A.speech, OPPOSITE ôidê
	-ôidê, 1.art of song 5. = eppsdê, spell, incantation 4. text of an author,  OPPOSITE exegesis [Peter's private interpretation outlaws exegesis] Arist.En1142a26

One of the certainties of Ephesians 5 is that Paul is not commanding any kind of musical performance because there is nothing tuneful in the commanded "that which is written for our learning." Because this included a well-documented Ephesian Women's problem the historic scholars including Plutarch fills in the blanks for anyone who cannot grasp that the external acts of Christ's assembly is to READ or SPEAK.  Plutarch also agrees with what Scripture makes clear that after the Instrumental-Trinitarian-Perverted Idolatry at Mount Sinai God turned the Jews over to worship the starry host.  Dionysus was the son of Zeus as the Greek and even Hebrew god.

APOLLO or APOLLON is the only Personified Spirit and the Leader of the Locusts or Muses as His musical worship team always intended to help fleece the lambs.
-
Although he was a distinct god in early Greek culture, in some traditions Apollo came to be associated with the SUN. He was always a god of light, and, like Dionysus, he inspired poetry and music. Unlike Dionysus, however, Apollo's poetry and music are elevated and orderly. He is sober, elegant, and eloquent; he plays the lyre; he is never ecstatic.

Plutarch also wrote defining why Paul SILENCED both the ODE and PSALLO in Ephesus when Antony visited.  Dionysus or Wineskins worship was exclusively that of women: in time it is noted that a few effeminate males began to cross dress and perform as religious musicians.  Selling Learning at retail is corrupting the Word: both Paul and Civil Greek society called such selling "prostitution."

EPHESIANS 5 AS THE JOHN T. WILLIS AND APOSTATE VIEW SOURCE OF ALL DISCORD.

XXIV. But when he was once come into Asia, having left Lucius Censorinus governor in Greece, and that he had felt the riches and pleasures of the east parts, and that princes, great lords, and kings, came to wait at his gate for his coming out: and that queens and princesses, to excel one another, gave him very rich presents,
        and came to see him, curiously setting forth themselves,
        and using all art that might be to shew their beauty, to win his favour
the more (Caesar in the mean space turmoiling [troubling] his wits and body
        in civil Wars at home,
        Antonius living merrily and quietly abroad), he easily fell again to his old licentious life.

For straight, [following the pattern]
        one Anaxenor, [40 years B.C. Priest of Zeus]  a player of the cithern [guitarist],
        Xoutus, a player of the flute,
        Metrodorus a tumbler, [orkhēstēs DANCER - Jay's Pattern
        and such a rabble of minstrels and
        FIT ministers for the pleasures of Asia [thia^s-os  Bacchic revel, rout “Mousōn]
                (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:

        Was full of sweet perfumes and pleasant songs,  [The church invaders]
        With woeful weeping mingled there-amongs.       [Those being invaded]

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;
John 6:63 It is the spirit that quickeneth; the flesh profiteth nothing:
        the WORDS that I speak unto you, they are SPIRIT, and they are life.

huperballō 1. outdo, excel, surpass, overpower hu. ton kairon exceed reasonable bounds, shoot beyond

la^mu^r-ia  

A.“lamuros” 111) wantonness, of women, Plu.Sull.35, Luc.6; of a man, Id.Ant.24; pertness, Id.2.66c, 1124b.
AND

bōmolokh-ia , hē,
A.mendicancy, Poll. 3.111.2. coarse jesting, buffoonery, ribaldry. Pl.R.606c, [As Opposed to the Public Into the Logos] Arist. EN1108a24, Plu.Lyc.12, etc. you take intense pleasure in buffooneries [

For in the city of Ephesus, WOMEN, attired as they go in the feasts and sacrifice of [Dionysus] Bacchus, [Wrath or Orgy]
        came out to meet him with such solemnities and ceremonies
        as are then used: with men and children disguised like fauns and satyrs.
        [Pans, Cappellas, Definition of Beasts]

Moreover, the city was full of ivy, and darts [SHAKEN REEDS]
        wreathed about with ivy, [HIDING A SPEAR]
        psalterions , flutes, and howboyes [hautboys]; [Oboe]

        and in their songs they called him Bacchus, father of mirth, courteous and gentle
                and so was he unto some,
                but to the most part of men cruel and extreme. [Savage]

That is why SPEAK excludes Singing or Instruments as Anti-Logos and Anti-Christ

These are the BEASTS of Revelation and the MARKERS. This is the PATTERN MARKED by music as ONLY PLEASURE, of the PROGRESSIVES

For he robbed noblemen and gentlemen of their goods, [lied about tithes and offerings]
        to give it unto vile flatterers: [Religious staff were known as Parasites]
        who oftentimes begged living men's goods
        as though they had been dead,
        and would enter their houses by force. [Congregation: been there, done to three times]
                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 Asia.

All musical terms and names of instruments point to sorcery or witchcraft. That is because the witch of Endor used an old wineskin stretched over a hole in the ground as her "familiar spirit." Bone flutes made a sound the earliest witch doctor understood to create the laded burden or "spiritual anxiety" through rituals performed by cunning craftsmen or sophists: rhetoricians, singers, instrument players, actors, dancers or even prostitute who could "bring you into the presence of the gods" -- for a price.

The Word or Logos is the Regulative Principle and defines GOD's power: it outlaws personal opinions, personal experiences, poetry, rhetoric, singing, playing instruments or acting. No one seem scholarly enough to read BLACK text on BROWN paper which is the strong delusions God uses to HIDE from the wise, sophists or speakers for HIRE, singers or instrument players.

John T. Willis as the FOUNT of two things God hates says that singing is vocal and melody is instrumental. Reading 101aa understands that melody as tunefulness oozed out of the Castrate Cappella singers in the 18th century.  Melody still means a series of single tones. Melody in the Bible and the original Castates might be several voices singing a SINGLE note.  Melody has never meant HARMONY in John T. Willis' chest of knowledge.

LOGOS: Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment, to sphodron kai enthousiastikon p. Longin.8.1; “pathos poiein” Arist. Rh.1418a12; “

Poiein something you create: works of art, bring into existence, schemes, of poets, compose, write,4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn Hellēsi” Id.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian, tragōdian, etc., Pl.Smp.223d; “palinōdian” Isoc.10.64, Pl.Phdr.243b, etc.; b. represent in poetry, c. describe in verse, “theon en epesin” Pl.R.379a; epoiēsa muthous tous Aisōpou put them into verse, Id.Phd. 61b; “muthon” Lycurg.100. The BEAST in Revelation is not a literal animal which you can resist: Thērion , to/ (in form Dim. of thēr),  Trag. only in Satyric drama, III. as a term of reproach, beast, creature, mousikē aei ti kainon thērion tiktei” Meaning A New Style of Music or Drama   CONTRARY TO ALMOST ALL CHURCH MUSIC AND RHETORIC Opposite Enthousi-astikos , ē, on, A. inspired, “phusis” Pl.Ti.71e; esp. by music, This is what must be sacrificed or "burned up" before we can worship IN SPIRIT (reasonable)and in truth.  Romans 12. Arist.Pol.1340a11; “hē e. sophia” divination, Plu.Sol.12; “e. ekstasis” Iamb.Myst.3.8; “to e.” excitement, Pl.Phdr. 263d: Sup. -ōtatos Sch.Iamb.Protr.p.129 P. Adv. “-kōs, diatithenai tina” Plu.2.433c: Comp. “-ōteron” Marin.Procl.6. II. Act., inspiring, exciting, of certain kinds of music, Arist.Pol.1341b34; “nosēmata manika kai e.” Id.Pr.954a36: Comp. “-ōtera, akousmata” Pl.Ep. 314a.

In Ephesians 4 which REPUDIATES Unity in Diversity insist that Apt elders remove the Cunning Craftsmen or Sophists: speakers for HIRE, singers or instrument players because this is the Mark stamped at Mount Sinai of those LYING IN WAIT TO DECEIVE.

They LIE because the pervert all of the mass of information connecting music to
        Making the Lambs dumb before the slaughter as the Clergy did by musically mocking Jesus
        They lie because they contradict all of the "instrument" passages connected to BURNING
        They LIE in the sense the instrumental noise was always used to sound peaceful so they could SET AMBUSH.
Jesus as Holy Spirit has Paul say that the musical-rhetorical ACTORS are LYING IN WAIT TO DECEIVE.

Paul knew ALL about Eve as Moses Warning about the Elohim of Sumer and Babylon who captures everyone's property and worship at the towers of Babylon including the one in Jerusalem called SODOM.

Paul said that Eve was wholly seduced as a young bride is always taken by the King-set-over-us just before the serf husband. The result was that Cain was OF that wicked one.

Theophilus.Autolycus.II.html 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.And he is called "demon" and "dragon," on account of his revolting from God. For at first he was an angel. And concerning his history there is a great deal to be said; wherefore I at present omit the relation of it, for I have also given an account of him in another place.

The word "abomination" is also key to understanding the context. In Hebrew, the word "to 'evah," (abomination) is almost invariably linked to idolatry. In the passages from which both verses are taken, God tells Moses to tell the people not to follow the idolatrous practices of the people around them, people who sacrificed their children to Molech, or who masturbated into the fire to offer their semen to Molech, for example. Chapter 20 starts off with the same warning.

"To 'evah" also means "something which is ritually unclean," not something evil in itself, like rape or theft. Eating pork or having sex during menstruation are ritually unclean.

THE VISION "A" SPIRIT COMMANDED RICK ATCHLEY ETAL TO GIVE BIRTH TO:

Moses prayed for the people but God did not save the SINNERS: 3000 of the brethren were executed by the Jacob-Cursed and God-Abandoned and Atchley-Affirmed Levites.

WHAT IS THE ABOMINATION IN A HOLY PLACE: Notice the females because no normal male would perform before David

God gave a visual aid when He commanded Abraham to offer his only son Isaac to Mount Moriah. When He understand that Abraham understood the Regulative Principle. God PROVIDED the Lamb but God Prophesied of Mount Moriah as a place where others provided. God would provide SHILOH INSTRUMENTAL SECTARIANS CANNOT GRASP SHILOH

Gen. 49:5 Simeon and Levi are brethren; instruments of cruelty are in their habitations. Gen. 49:6 O my soul, come not thou into their secret; unto their assembly, mine honour, be not thou united: for in their anger they slew a man, and in their selfwill they digged down a wall.Gen. 49:9 Judah is a lion’s whelp: from the prey, my son, thou art gone up: he stooped down, he couched as a lion, and as an old lion; who shall rouse him up? Gen. 49:10 The sceptre shall not depart from Judah, nor a lawgiver from between his feet, until Shiloh come; and unto him shall the gathering of the people be. Sileo  to be noiseless, still, or silent, to keep silence; act., not to speak of, to keep silent respecting a thing (class.; stronger than tacere). I.  Transf., to be still or quiet (OPPOSITE. to being in action), to remain inactive, to rest, cease (in class. prose, for the most part only of things; cf. “quiesco): et cycnea mele Phoebeaque Carmina consimili ratione oppressa silerent,” Lucr. 2, 506: “silent diutius Musae Varronis quam solebant,

THIS WAS THE PROTOTYPICAL ABOMINATION OF DESOLATION

Deut. 18:9 When thou art come into the land which the LORD thy God giveth thee, thou shalt not learn to do after the abominations of those nations.
Deut. 18:10 There shall not be found among you any one that maketh his son or his daughter to pass through the fire, or that useth divination, or an observer of times, or an enchanter, or a witch,

hărĭŏlus  soothsayer, prophet, prophetess
somnĭo , to dream; to dream of or see in a dream, to dream, i. e. to think idly or vainly, to talk foolishly:
psaltrĭa , ae, f., = psaltria, . a female player on the cithara, a lutist, “ineptias,” Col. 1, 8, 2: “ah stulte! tu de Psaltriā me somnias Agere,” Ter. Ad. 4, 7, 6; Plaut. Pers. 2, 3, 5.—Absol.: “vigilans somniat
“portenta non disserentium philosophorum sed somniantium,” Cic. N. D. 1, 8, 18.

Deut. 18:11 Or a charmer, or a consulter with familiar spirits, or a wizard, or a necromancer

A Charmer is an Abomination
incantātor , ōris, m. incanto, I. an enchanter, wizard (post-class.), Tert. Idol. 9; Isid. 8, 9, 15; Mos. et Rom. Leg. Coll. 15, 1, 2.

consŭlo (a). In the lang. of religion, to consult a deity, an oracle, omens, etc.: “Apollinem de re,” Cic. Leg. 2, 16, 40: “deum consuluit auguriis, quae suscipienda essent,” Liv. 1, 20, 7: “deos hominum fibris,” Tac. A. 14, 30 fin.: “Phoebi oracula,” Ov. M. 3, 9; Suet. Vesp. 5: “Tiresiam conjectorem,” Plaut. Am. 5, 1, 76:

Cantus A. Prophetic or oracular song: “veridicos Parcae coeperunt edere cantus,” Cat. 63 cf. Tib.

B. An incantation, charm, magic song, etc.: cantusque artesque magorum.
“cantus e curru Lunam deducere tentat,”
2. With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,”

This was outlawed for the Church of Christ (the Rock) in the wilderness

These ăb-ōmĭnor are always MARKED “semimares,” Liv. 31, 12, 8
  Signs or wonders "  Liv. 31, 12, 8 Along with "plundering" the temples, among the Sabines, a child of uncertain sex was born, while another was found whose sex, at the age of sixteen, could not be determined. All these disgusting and monstrous creatures seemed to be signs that nature was confusing species; but beyond all else the hermaphrodites caused terror,... In addition, they directed that a hymn be sung throughout the city by thrice nine maidens, and that an offering be made to Queen Juno.

Galli A form gallantes, as if from gallare, "to rave like a priest of Cybelé," is cited from Varro (ap. Non. p. 119Non., 5). In their wild, enthusiastic, and boisterous rites the Galli recalled the legends of the Corybantes (q.v.). According to an ancient custom, they were always castrated (spadones, semimares, semiviri, nec viri nec feminae), and it would seem that, impelled by religious enthusiasm, they performed this operation on themselves... Other names, however, are of distinctly Semitic affinities; Rhea perhaps=the Babylonian Ri (Mulita or Mylitta), and Nana more certainly=the Babylonian Nana, modern Syrian Nani.  Nana motherof Attis

RICK ATCHLEY'S COMMAND TO IMPOSE "INSTRUMENTAL PRAISE."

2Chr. 29:27 And Hezekiah commanded to offer the burnt offering upon the altar.
And when the burnt offering began, the song of the LORD began also with the trumpets,
        and with the instruments ordained by David king of Israel.

Hezekiah stopped the sacrifice of infants with the instrumental noise of the Levites who were an old Egyptian Infant burning priesthood.  As soon as Hezekiah died the sacrifices to Moloch began all over again. And THIS IS THE PATTERN of those LYING IN WAIT TO DECEIVE.
Hezekiah stopped the sacrifice of infants with the instrumental noise of the Levites who were an old Egyptian Infant burning priesthood.  As soon as Hezekiah died the sacrifices to Moloch began all over again. And THIS IS THE PATTERN of those LYING IN WAIT TO DECEIVE.

The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

ACTS 7 IS A DIRECT PARALLEL TO AMOS WHOM DAVID CLAIMS WERE JUST INTERNAL WRONG.

Acts 7:37 This is that Moses, which said unto the children of Israel,
        A PROPHET shall the Lord your God raise up unto you of your brethren,
        like unto me; him shall ye hear.
Acts 7:38 This is he, that was in the church in the wilderness
        with the angel which spake to him in the mount Sina, and with our fathers:
        who received the lively oracles to give unto us:
Acts 7:39 To whom our fathers would not obey,
        but thrust him from them, and in their hearts turned back again into Egypt,
Acts 7:40 Saying unto Aaron, Make us gods to go before us:
        for as for this Moses, which brought us out of the land of Egypt, we wot not what is become of him.
Acts 7:41 And they made a calf in those days,
        and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands.

Euphrainō , Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3   II. Pass., make merry, enjoy oneself, to sing,
i. mēkhanēn, [sound, lights ]in the theatre,  merriment of a feast
4. take up and bear, as a burden, “moron” A.Pers.547; “athlon” S.Tr.80; “algos” A.R.4.65.
2. raise by words, hence, praise, extol, E.Heracl.322, etc.; ai. logō to exaggerate, D.21.71.
mēkha^n-ē  

Acts 7:42 Then God turned,
        and gave them up to worship the HOST of heaven; 
        as it is written in the book of the prophets,
        O ye house of Israel,  have ye offered to me slain beasts and sacrifices
        by the space of forty years in the wilderness? 

Acts 7:43 Yea, ye took up the tabernacle of Moloch, 
        and the star of your god Remphan, 
        figures which ye made to worship them: 
        and I will carry you away beyond Babylon.

Paul hoped that the concision's knife slipped.

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

Chrysostom's Commentary on Galatians:

Galatians 5:1.-"With freedom did Christ set us free; stand fast therefore.115 ."
Ver. 12. "I would that they which unsettle you would even cut themselves off." And he says well "that unsettle you."  "A man that is heretical after the first and second admonition refuse." (Tit. iii: 10) If they will,  let them not only be circumcised, but mutilated. Where then are those who dare to mutilate themselves; seeing that they draw down the Apostolic curse, and accuse the workmanship of God, and take part with the Manichees?

Chrysostom understood that the pagans used vocal or instrumental noise to stir up or create anxiety so that they could steal your food money. Christ outlawed this in Isaiah 55.  Christ outlawed BLASPHEMY in the modern context of saying that God commanded instrumental distractions when  He DID NOT.

But if you will not allow this,  why do you not mutilate the tongue for blasphemy, the hands for rapine, the feet for their evil courses, in short, the whole body?

For the ear enchanted by the sound of a flute hath often enervated the soul;
and the perception of a sweet perfume by the nostrils hath bewitched the mind, and made it frantic for pleasure .

David's PRAISE word HALAL threatened the same sexual proof of superiority:

Ululo Ulŭlo  I. Neutr., to howl, yell, shriek, utter a mournful cry. B.Transf., of places, to ring, resound, re-echo with howling: penitusque cavae plangoribus aedes Femineis ululant,Verg. A. 2, 488 : resonae ripae, Sil. 6, 285 : Dindyma sanguineis Gallis, Claud. Rapt. Pros. 2, 269 .--

AS PROPHESIED AND FULFILLED BY THOSE PREDESTINED FROM OLD.

SOP caused the devil to enter Judas: PSALLO caused the devil to deliberately sow discord. Not to worry that Doctors of the Law promote the heresy: Jesus said Doctors of the Law take away the key to knowledge. As Scribes and Pharisees, Hypocrites Christ in Ezekiel 33 names speakers for hire, singers and instrument players. The MARK says Jesus is on those who sell their words, have no intention of obeying God and intend to Viperize them since music from mystery means "to make the lambs dumb before the slaughter."

John.T.Willis.Women.in.Worship.Highland.Church.of.Chris

Jeanene P. Reese Theology of Women Teachers
Quoting  Gilbert Bilezikian claims that Eve as "helper" is the same as God is helper: he missed reading 101a.

John T. Willis claims that: Sing and make melody" was a very common practice throughout the history of God's people. These two practices are inseparable as one.  2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.

It may be accusing the Spirit OF Christ for failing to know that Psallo has nothing to do with musical melody.  Both melody and grace (Colossians 3) are qualities of speech and Paul DID command that we SPEAK the Biblical Text. The "logos" speak words such as LEXIS is opposite to an ODE and Psallo points to Apollon, shooting literal arrows and shooting "love arrows" after seducing them with his harp.  That is why Paul demanding ODE and PSALLO common to all of the sexual worship services be IN THE HEART.  In1 Corinthians 14 Paul said that if you cannot speak something which TEACHES that which is written (prophesying) then KEEP IT SILENT.

Reading 101 knows that all of the examples used to deceive people always demands three or four words: sing, play, a named instrument (stringed only) and a melody: a melody might consist of one or two notes because SPEAKING God's Word was called CANTILLATION..

All citizens of the kingdom are saved or SAFE from the laded burden (witchery music) and burden laders called parasites in all paganism.  The laded burden also includes freedom from tithes or religious taxes.

The citizens of the ekklesia assemble ONCE A WEEK by command and example. The one-piece pattern Christ the Spirit commanded for the wilderness was to hear the Word (only) PREACHED by being READ for doctrine and comfort.

There is no "standing army" in the synagogue as there was for the God-abandoned Temple so that no one has the authority to use up our time and money on the PREACHER'S hidden agends.

Al Maxey Legalisms Twin Proof Texts
Olan Hicks Instrumental Music in Worship
Olan Hicks The Law of Silence
Olan Hicks Ray Downen The Law of Silence
Olan Hicks: Non-Instrumentalists and Pharisees

David Young Minister North Boulevard Church of Christ.

Disclosing the name of the UNKNOWN GOD who is the SPIRIT people hear commanding them to impose musical worship teams or instromental performers or any of what Scripture defines as PARASITES.

THE SHELL GAME: Ignorant or evil?  Conservatives pretend that the twin text is a LAW of singing and it does not matter who writes the "that which is NOT written for our learning."

Progressives (not liberal) pretend that the Twin Texts are the only New Testament teaching about "music", that the Law of Moses commanded instruments (a lie) and Jesus didn't change the LAW.

Both SHELLS depend on legalism since talent, learning, practicing, rehearsing, performing and getting judged"by the strict laws of rhetoric, music or acting.

Both SPIRITUS and NOMOS are words which point directly to Abaddon or Apollon as the Jew's "worship of the tarry host" and the end time king of the locusts or MUSES who separate those having different marks. The BEAST is the word Therion meaning "a new style of music or satyric drama." Satyric is the Pan or Cappella or the effeminate-musical form of rhetoric, singing, acting, dancing and engaging in real or virtual sexual activity. That is the Purpose Driving the Wimber Vineyard lady who landed with the New Style of Praise Song books.

Paul said that those who meddle with the Word (Logos, Regulative principle) God sends strong delusions that they believe their own lie. Lying Wonders are performed by them as religious performances of rhetoric, singing, playing instruments, acting, dancing and worse. In 2 Corinthians 3 Paul said that they cannot HEAR when the Word is READ in the synagogue (one-piece pattern) nor can the READ BLACK text on BROWN paper. 

The ACTIVE part is to SPEAK to YOURSELVES.  That is obviously AUDIBLE and the commanded resource is "that which is written for our learning" (Romans 15)

Eph. 5:19 Speaking to yourselves 

la^l-eō , A. talk to one,
b. generally, talk, speak, opp. poiēsis siōpōsa  flutes make SOUNDS as do trees or harps
3. in later writers, = legō, speak, NOT: II. chatter, opp. articulate speech, as of locusts, chirp, Theoc.5.34;

        legō   1.to say, speak, explain more fully, to recite what is written, labe to biblion kai lege 

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

-ōdē , hē, contr. for aoidē,  OPPOSITE lexis,
Lyric poetry: “en tais ōdais kai melesin” Musical melody is MELOS and never PSALLO, various songs associated with particular employments or conditions, 2. = epōdos, MAGIC song, spell, Longus 2.7.

YOURSELVES not professionals, opinions of others such as orators. No one can speak for Joe but Joe.

heautou  of himself, herself, itself, itself by itself, absolutely allēlois, one another, they surpassed themselves
ipse  one another, of themselves,
        Opposite Adversarius mercantile language, Standing opposite or opposed to one, opinio oratori

in psalms and hymns and spiritual songs,  [3 of the four types in the BOOK of Psalms]

OBVIOUSLY THE ANTITHESIS MEANS SILENT:

singing and making melody
        \ IN your heart to the Lord;

In is Ho or place or EIS  that spirit of thine,  there, on that spot, here, NO ONE can hear you.

In 1 Corinthians 14 if you can't speak articulately then Paul commands that you be silent. Lifeless Instruments cannot articulate. Paul called them Lifeless Instruments or Carnal weapons.  The assembly was for speaking the Word of God. Unknown tongues are equated to musical instruments which do not edify or TEACH.

1Cor. 14:27 If any man speak in an unknown tongue,
        let it be by two, or at the most by three, and that by course;
        and let one interpret.
1Cor. 14:28 But if there be no interpreter,
        let him keep silence in the church;
        and let him speak to himself, and to God.

David wanted to AWAKEN his lyre so that he could awaken the DAWN. Christ says:

Hab. 2:19 Woe unto him that saith to the wood, Awake; to the dumb stone, Arise,
        it shall teach!
Behold, it is laid over with gold and silver,
        and there is no breath at all in the midst of it.
Hab. 2:20 But the LORD is in his holy temple:
        let all the earth keep silence before him.

Both men and women are to be silent while the Word is PREACHED by being READ.  Women get special notice because they were the "mad women of Corinth always used as "oracles" to mediate with the gods:

1Ti 2:2 For kings, and for all that are in authority; that we may lead a QUIET and PEACABLE life in all GODLINESS and HONESTY [gravity].
1Ti 2:4 Who will have all men to be SAVED, and to come unto the KNOWLEDGE of the TRUTHS.
1Tim. 2:5 For there is one God,
        and one mediator between God and men, the man Christ Jesus;
1Tim. 2:11 Let the woman learn in silence with all subjection.

Paul said that men should pray for PEACE and QUIETNESS.
The Women and men were to be SILENT.
So that "all might be saved or safe and come to a knowledge of the truth."

SPEAK to your wife about the credit card
But, mouth your complaints silently IN THE SHOWER.

THE PLACE
Kardi-a   as the seat of feeling and passion, as rage or anger, full of heart, what do you think are his feelings?
mind, “hōs anoon  Acts 5:4 How is it that you have conceived this thing in your heart?  

Click for John T. Willis' Sing and Make Melody list of passages which are out of context and therefor refute the "Doctor of the Law who take away the key to knowledge, says Jesus."  Jesus called the Scribes and Pharisees, hypocrites and Christ in Ezekiel 33 names speakers for pay, singers and instrument players.  He says that these are MARKS of Noting at all of people who have no intention of obeying the Word.

John T. Willis misses the point that it was because of instrumental idolatry of the always-pagan trinity represented by the golden calves that God gave Israel The Book of the Law of Moses and "turned them over to worship the starry host." You can get all of the Phds from Phds and miss the instrumental fall from grace which had no redemption.  The Spirit OF (a preposition) Christ speaking through the prophets called the Civil-Military-Clergy complex robbers and parasites.   A Parasite is specificially the Jacob-cursed and God-abandoned Levites who made instrumental NOISE.  Christ says that God did not command animal sacrifices nor burnt offerings. He gave them KINGS in His anger and took the away in His anger as He sent them packing back to Babylon.

The Latin ways in which PSALLO is used and agrees with the NACC's proof text where it marks men plucking the harp skillful in order to seduce young boys whose hairs had been plucked (psalloed)

Outward Command: SPEAK "that which is written for our Learning" ODE and PSALLO IN the heart. Meaning Keep it Silent BECAUSE: LEXIS or LOGOS is the OPPOSITE of ODE which means to enchant. Psallo is a word often connected to Apollo, Abaddon or Apollyon. He carried his bow and made the string "twang" to send forth a sinning arrow into the literal heart of enemies. He also carried the Lyre which he "plucked" intending to send forth a Love Arrow into his male of female frieds. Abaddon or Apollyon has been unleased from the pit and is the leader of the LOCUSTS which we understand to be the MUSES as his musical worship team. The muses are known in the literature as dirty adulteresses who become SHEPHERDESSES at Apollo's Worship Center at Delphi and Corinth. Psallo is USED primarily as: psallō   pluck, pull, twitch,ps. etheiran pluck the hair: esp. of the bow-string, toxōn kheri psallousi neuras twang them, E.Ba.784; “kenon kroton” Lyc.1453; ek keraos ps. belossend a shaft twanging from the bow, When used of musical instruments Psallo means play or pluck II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron: Psallo can never be used of a stringed instrument PLAYED with a guitar pick. A string cannot be hammered or bowed or you violate the command to psallo.  You cannot blow a wind instrument and claim that psallo give you God's authority to impose instrumental noise which disturbs the spirit before the endorphins kick in.  You cannot beat on a percussion instrument withouut Plato give you and F instead of a doctorate.  You cannot play the piano or organ.  It can NEVER, EVER be used ethically and morally other than PLUCK something with your FINGERS ONLY. Jesus said MY WORDS are SPIRIT and LIFE.  John T. Willis was led by a female false teacher to believe that the Spirit (mind, mental disposition) OF Christ is another "people" small enough to get inside and tell you that Jesus did NOT command that we teach and observe what He commanded to be taught.  TAUGHT is the very narrow "gate" which is EXCLUSIVE of anything beyond TAUGHT.  A Christian is a Disciple and a Disciple does not DO worship rituals which gives men or women the right to TAUGHT out of their own imagination and lust for glory and honor for thyself. Psa. 63:11 But the king shall rejoice in God; every one that sweareth by him shall glory:         but the mouth of them that speak lies shall be stopped. John 7:18 He that speaketh of himself seeketh his own glory:          but he that seeketh his glory that sent him,         the same is true, and no unrighteousness is in him. 1Cor. 2:7 But we speak the wisdom of God in a mystery,         even the hidden wisdom,         which God ordained before the world unto our glory: Rom. 15:1   We then that are strong ought to bear the infirmities of the weak,         and not to PLEASE ourselves Remember that I told you that a Christian is a Disciple. It would shock doctors of the law if they could only grasp that Paul is repeating the PATTERN defined by the Spirit OF (preposition) Rom. 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. 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, [the one Theos]         even the Father of our Lord [Kurios] Jesus Christ. 1Tim. 4:6   If thou put the brethren in remembrance of these things,         thou shalt be a good minister of Jesus Christ,         nourished up in the words of faith and of good doctrine,         whereunto thou hast attained.  1Tim. 4:7 But refuse profane and old wives’ fables,         and exercise thyself rather unto godliness. 1Tim. 4:13 Till I come, give attendance to READING, to exhortation, to doctrine. prosekhō  Anagignōskō , 1. know well, know certainly,  of written characters, know them again, anagignōskontes” 2. know again, recognize, students, Plu.Alex. 1,  ta biblia ta anegnōsmena books read aloud, hence, published opposite II. unpublished "The word that is employed for this "anaginosko, anagnosis) is the technical term for the cultic reading aloud of the Old Testament in the synagogue. By applying this terminology to the reading of his own epistles he not only ascribes the same authority to the apostolic word as to the Old Testament writings...he also combines a quotation from the Old Testament with a word of Jesus and introduces the whole with the familiar formula: 'for the Scripture says.'" (Ridderbos, Hermon, Paul, an Outline of His Theo., Eerdmans, p. 483) Acts 15:21 For Moses of old time hath in every city         them that preach him,         being READ in the synagogues every sabbath day Latin : lectĭo ,  I. A gathering, collecting. B. In partic., a picking out, selecting: “judicum,” Cic. Phil. 5, 6, 16. — II  A reading, perusal; a reading out, reading aloud. B.  Transf. that which is read, reading, text (post-class.): “lectio tamen docet, eo tempore solitos, etc.,” Macr. S. 7, 7, 5: “haec sunt quae lectio pontificalis habet,” id. ib. 7, 13, 11 fin.: “juris lectiones,” passages of the laws Para-klēsis  calling to one's aid, summons,  exhortation, address, not a mere address to their feelings, but counsel to act rightly, consolation, LXX Is.30.7, Na.3.7, Ep.Hebr.6.18, The Abilene Kingdom speaks FABLES: 1 Timothy 4 G4107 planees plan-ay'-tace From G4108 ; a rover ("planet"), that is, (figuratively) an erratic teacher:wandering 2. Pass., wandering, roaming, fickle, “poikilon pragm' esti kai planon Poikilos i^, ē, on, 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.   2Timothy 4:4 And they shall turn away their ears from the truth,  and shall be turned unto fables. FABLES TO FOOL: Fābŭla , ae, f. fari, B.  Of particular kinds of poetry. 1.  Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo FABLES TO FOOL:  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing, 1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: “fit etiam saepe vocum gravitate et cantibus ut pellantur animi, etc., 2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine As the antithesis to the "spirit" as a person or people Ventus , B.  PERSONIFIED as deities, the winds: te, Apollo sancte,  omnipotens Neptune, invoco; Vosque adeo, Venti! Turpil. ap. Cic. Tusc. 4, 34, 73  Lucr. 5, 1230 (1228); cf. Ov. H. 17 (18), 37.— Spīrĭtus The air: imber et ignis, The BREATH of a god, inspiration: “ spiritum Phoebus [Apollo, Abaddon, Apollyon]  mihi, Phoebus artem Carminis Carmen , dedit, poetic spirit or inspiration, Hor. C. 1, 7, 23;Q. Horatius Flaccus, Odes (ed. John Conington) Let others Rhodes or Mytilene sing, Or Ephesus, or Corinth, set between Two seas, or [Baccho] Thebes, or [Apollo] Delphi, for its king Each famous, or Thessalian Tempe green;   There are who make chaste Pallas' virgin tower The daily burden of unending song, And search for wreaths the olive's rifled bower: The praise of Juno sounds from many a tongue, Telling of Argos' steeds, Mycenae's gold. Mark 6.7 He called to himself the twelve, and began to send them out two by two; and he gave them authority over the unclean spirits. Luke 8:2 and certain women who had been healed of evil spirits and infirmities: Mary who was called Magdalene, from whom seven demons had gone out; The Spirit OF God is the BREATH of God and not a "people." Psallo marks as Lawless those who used a "guitar pick", beat on a drum or blew a flute. John T. Willis, Rick Atchley etal 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. 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! They’re not leaving the kingdom of God, and I’m not saying that — so please hear me say, I’m not placing the health of the Movement above the kingdom of God How can the human spirit grasp a group of people who use the CHRISTIAN Logo to collect a hoard of people, collect as much money as possible, get the new building in order, get the finances in order and blurt out: A "spirit" told me that the promise I made to you was "that was then but this is now" and threaten people with being divisive sinners if they opoosed turning their own property into A Theater for Holy Entertainment.  We can barely tolerate people who do that in the name of commerce but shock and awe breaks out all over when men CLAIM that God commanded "instrumental praise" and "we are not going to disobey God."  They use Ephesians 4 as both/and or "unity in diversity" but Christ gifted APT elders to CAST OUT the cunning craftsmen or sophists because THEY ARE LYING IN WAIT TO DECEIVE. Wow! Jesus said "Don't GO there: the kingdom of God does not come with observation meaning Religious Observations. Lk 17:20 And when he was demanded of the Pharisees, when the kingdom of God should come, he answered them and said, The kingdom of God cometh not with observation: Why would people blaspheme by calling Jesus a liar? Because they can: you can fool most of the people most of the time and that is good enough. Christ in the wilderness defined the Church as a set-time-place to READ the Word of God and discuss it: even the Lord's Supper is a teaching or educating event.  Anything performed a religious observation or ritual is a sign of a DEAD BODY: that's when the ministry team will pick your bones and pick the purse of the widows. Paratēr-ēsis , eōs, hē, observation, dieilēmmenoi eis paratērēsin kept under surveillance, so that it can be observed, Ev. Luc. 17.20 : in bad sense, close observation, to detect faults, ets 2.. observance of rules,  pathos [a^, eos, to, （paskhō)  poieō , empirical observation, Opposite logismos, so kata historian ē  Against Recorded History poieō ,A. make, produce, first of something material, as manufactures, works of art your skhēma, 4. after Hom., of Poets, compose, write, p. dithurambon, epea “p. theogoniēn Hellēsi p. Phaidran, Saturous, [the BEAST] kōmōdian, tragōdian,  “palinōdian b. represent in poetry, c. describe in verse, “theon en epesin” d. invent, “kainous theous (the BEAST is a KAINOS or New Style of music or Satyric Drama.) Pathos  A.that which happens to a person or thing, incident, accident, II. of the soul, emotion, passion sophia , A.cleverness or skill in handicraft and art, in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, divination, sensation (including pleasure and pain)V. Rhet., emotional style or treatment, to sphodron kai enthousiastikon p. Longin.8.1; “pathos poiein” 3. of sacrifices, festivals, etc., celebrate, Latin: Observātiō ōnis, observo, a watching, observance, investigation: observationes animadvertebant, your searches for evidence: siderum.— Circumspection, care, exactness: summa in bello movendo. D.  Regard, respect, esteem, reverence (post-class.): “religionibus suam observationem reddere,” Val. Max. 1, 1, 8: “Christianitatis, Cod. Th. 12, 1, 112: divina,” ib. 12, 1, 104.— E. Display, outward show (eccl. Lat.): “non venit regnum Dei cum observatione,” Vulg. Luc. 17, 20.—  Lk 17:21 Neither shall they say, Lo here! or, lo there! for, behold, the kingdom of God is within you That's why  Paul commanded both men and women to be SILENT and PEACEFUL so that "we might all be saved and come to a knowledge of the TRUTH. The Phrase:  psallere saltare elegantius, ē-lēgo , āvi, 1, v. a., I.to convey away (from the family) by bequest, to bequeath away, pulso I.   Lucr. 4, 931),  to push, strike, beat (cf.: tundo, ferio, pello). Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” (harp) Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62. A.   In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet: C.  To drive away, remove, put out of the way Psalmus , = psalmos,  I.      In gen., to play [psalmus] upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, Elego I. to convey away (from the family) by bequest, to bequeath away,  Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature; she could sing, play, and dance, with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. The Phrase:  “cantare et psallere jucunde,” jūcundus (jōcundus ), a, um, adj. jocus, I. pleasant, agreeable, delightful, pleasing (syn.: gratus, blandus; “class.): est mihi jucunda in malis et grata in dolore vestra erga me voluntas,   “verba ad audiendum mălus , evil, wicked, injurious, destructive, mischievous, hurtful : carmen, i. e. an incantation, Leg. XII. Tab. ap. Plin. 28, 2, 4, § 17: “abi in malam rem,” go and be hanged! burdensome,  plagis “male tibi esse malo quam molliter,” I would rather you should be unfortunate than effeminate, Sen. Ep. 82, 1:  “cantare et psallere,” Suet. Tit. 3: The Graces as Muses were "blue-eyed blond musical prostitutes." They were Abaddon-Apollyon's Praise Team. "Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit. He found it significant that, on the whole, only women and effeminate men fell into this folly. Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did. The Phrase: gratus, blandus; The New Hermeneutics or the Kairos Time Grātus or  kharis religion beloved, dear, acceptable, pleasing, agreeable “Herophile Phoebo grata and: “superis deorum gratus (Mercurius) et imis,  “carmina,” id. C. 1, 15, 14; 3, 11, 23: “artes,” id. ib. 4, 13, 22: “error mentis, favorite, darling:  deserving or procuring thanks Grata testudo Jovis,” [G1361 Diotrephes] testūdo   Hermes made the first lute or lyre from a tortoise-shell while still in his crib. He is a type of Jubal. 1. Of any stringed instrument of music of an arched shape, a lyre, lute, cithern Mercŭrĭus , ii, m., = Hermēs,  as a herald, the god of dexterity; in speaking, of eloquence; the bestower of prosperity; the god of traders and thieves; the presider over roads, and conductor of departed souls to the Lower World:   Mercury or Hermes (Kairos) while still in his cradle scouped out a turtle and made the first lyre: the turtle should be graceful that it would be worshipped even today for its contribution Diotrephes He gave this harp to Apollo, Abaddon or Apollyon who is YOUR musical worship leader even today. G1361 Diotrephes dee-ot-ref-ace' From the alternate of G2203 and G5142; Jove nourished; Diotrephes, an opponent of Christianity:   From:. Trepho (g5142) tref'-o; a prim. verb (prop. threpho, but perh. strength. from the base of 5157 through the idea of convolution); prop. to stiffen, i.e. fatten (by impl. to cherish [with food, etc.], pamper, rear): - bring up, feed, nourish  trephô similar words mean that the was RAISED UP by Zeus. Hor. Ars 395 Orpheus, the priest and interpreter of the gods, deterred the savage race of men from slaughters and inhuman diet; hence said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion “Pythia cantica” Hor. Ars 414, songs like the hymns which were sung in honor of Apollo, by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing. Grata or GRACE in the sense of the Graces and Muses who were musicians under Apollo or Abaddon at Delphi where the Phythian serpent was worshipped.  Other forms are: khairō1. c. dat. rei, rejoice at, take pleasure in a thing, “nikē”Il.7.312; “phēmē” Od.2.35; “dōrō” Hes.Op.358; “molpa [sing and dance], hē, (melpō)A.dance or rhythmic movement with song, 2. more freq. song, suriggos ekhōnthe note,  klagg-ē klagg-ē twang of the bow howling of wolves and lions, baying of dogs, also, of musical instruments of song k. aēdoneios

Contrary to the Unity in Diversity in Ephesians 4, The Spirit OF Christ gave gifts to APT ELDERS as the only pastor-teachers. IF you have APT elders their Job One is to purge the cunning craftsmen or Sophists: Sophists are rhetoricians for hire (hirelings), singers and instrument players.  The reason they MUST be purged to enable what Paul defined as the School of the Word is that the "hypocritic mockers at feasts" are LYING IN WAIT TO DECEIVE. No! They are not just Bible illiterate: of the speakers, singers in instrument players in Revelation 18 John calls them SORCERERS who HAD ONCE deceived the whole world.

No Unity in Diversity in Ephesians 4: Paul commands that you EJECT the Diverters just as Jesus CAST OUT the musical minstrels.

SELLING the authority to speak for the SPIRIT or BUYING that authority and then selling it at retail is called Prostitution and Simony.

The command from the wilderness onward was to PREACH the Word (only) by READING the Word for Comfort and Doctrine.  An procured "spiritual" authority to speak beyond the sacred pages or the various "ministries" not related to teaching that which has been taught or the hoast of MINISTRY LEADERS are identified in Scripture and recorded literature as PARASITES.  The Jacob-Cursed and God-Abandoned Levites were called PARASITES  and their instruments were NOT commanded by God.

Robert Ballard Musical Performers are called PARASITES.

The translators into Greek used the PSAO words because they speak of military or religious violance and of sexual deviants such as those Paul hoped would emasculate themselves.  The Psallo "proof texts" most often speak of Apollo (Abaddon, Apollyon) making the bow string twang to send forth a singing arrow into a literal heart.  He always carried his Lyre to shoot "love arrows" into his male or female friends.

FIRST: Tamper with the Word (Logos, Regulative Principle) and God sends strong delusions that you believe your own lie and be damned.  Lying Wonders are the hypocritc arts and craft: rhetoric, singing, playing instruments or acting performing a religious OPERATION.  However, Jesus said tha the kingdom does not come with observation.

The inability to read BLACK text on BROWN paper proves that people have never turned or been converted to Christ:

SPEAK to one another with "That which is written for our learning" (Romans 15)
ODE and PSALLO IN the heart or mind to God. Means Keep It Silent Silly

ōdē , hē, contr. for aoidē, 2. = epōdos, magic song, spell, Opposite lexis,
lexis , eōs, hē, (legō B) A.speech, Opposite ōdē 4. text of an author, Opposite exegesis

Psilos IV. logos ps. bare language, i. e. prose, Opposite to poetry which is clothed in the garb of metre, Pl.Mx.239c, pl., “ps. logoi” Pl.Lg.669d; Opposite ta metra,
2. poiēsis ps. mere poetry, without music, i. e. Epic poetry, Opposite Lyric (hē en ōdē), Pl.Phdr.278c; so “aneu organōn [Musical Instrument] ps. logoi” Id.Smp.215c, ; hē ps. phōnē the ordinary sound of the voice, Opposite singing (hē ōdikē), D.H. Comp.11.

1 Cor. 14:21 In the law it is written, With men of other tongues and other lips will I speak unto this people; and yet for all that will they not hear me, saith the Lord.

la^l-eō , GENERALLY TAUGHT

Paul compared tongues to Lifeless Instruments
II. chatter, OPPOSITE articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday,
III. of musical sounds, “aulō laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.” Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin lalein sound the magadis, A

1 Cor. 14:28 But if there be no interpreter, let him keep silence in the church;
        and let him speak to himself, and to God. 

No one can INTERPRET Lifeless Instruments or Carnal Weapons, the command is to keep them silent.

ODE and PSALLO are SILENT so that SPEAK that which NEEDS no interpretation can be mutually confessed.

Strange Languages or musical instruments must be SILENT because this is the MARK that people WILL NOT HEAR the Word of God.

CHRIST IN THE PROPHETS MARKS THOSE WHO SPEAK ON THEIR OWN OR USE WITCHCRAFT

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

Paul Cast out the Pythian spirit from the girl used by evil men to MAKE PROFIT or increase the ATTENDANCE.   The serpent in the Gardenn of Eden was the "spirit of Appollo, Abaddon, Apollyon" and when God turned the Jacob-cursed Levites over to worship the starry host their SERVICE was to APOLLO: known as a S.U.N. God.  He was unleashed by Max Lucado and Rubel Shelly along with the "musical worship team" which intended to impose the curse on the Levites in YOUR Church. 

ACU, Ken Cukrowski, Mark Hamilton, and James Thompson invited God's Holy Fire
Elaine Heath ACU Summit 2012 

ELAINE HEATH CHAPTER 10 TONGUES OF FIRE. 

[159] What we really need today are new tongues of fire, a new Pentecost in American.  This alone will open us to the divine hospitality that is so radical that the walls of gender, race, and class dissolve in its healing reach.  We need a Pentcostal outpouring that is about the love of God, a mighty wind that sweeps away the sinful cast systems that have deformed the Americal Church.  We need a baptism of cleansing that will heal the wounds of domestic violence and sexual abuse, that will liberate both the oppressed and the oppressor, tht will send God's people out of the church into their neighborhoods with God's redeeming and reconciling love....The untamed presence of the living God is the only power that can heal the threefold wound. Nothing else will do.
        I am talking about a widespread surrender and obedience to God the Holy Spirit.  Outside of North America, Pentecostalism is the fastest form of Christianity in the World.  It is pan-denominational. 

ZOE conference Look To the Hills Spreading Holy Fire.   No! is says, weil will NOT look to the Hill's god but to the God Who made the hills.

And Lucifer is ZOE dominating the "minor jehovahs" and forcing them into organizing musical worship bands.

And Zoe (Life giver, enlightener, female instructor), the daughter of Pistis Sophia, cried out and said to him, "You are mistaken, Sakla!" - for which the alternative name is androgynous. She breathed into his face, and her breath became a fiery angel for her; and that angel bound Yaldabaoth (an empty type of Jehovah) and cast him down into Tartaros below the abyss. Now when his offspring Sabaoth saw the force of that angel, he repented and condemned his father and his mother, matter.  He loathed her, but he sang songs of praise up to Sophia and her daughter Zoe.

See Worship Androgyny The Pagan Sexual Ideal

Tertullian.Valentinians.html Chapter XII.-The Strange Jumble of the Pleroma. The Frantic Delight of the Members Thereof. Their Joint Contribution of Parts Set Forth with Humorous Irony.

Thus they are all on the self-same footing in respect of form and knowledge, all of them having become what each of them severally is; none being a different being, because they are all what the others are. 135 They are all turned into 136 Nuses, into Homos, into Theletuses; 137 and so in the case of the females, into Siges, into Zoes, into Ecclesias, into Forunatas, so that Ovid would have blotted out his own Metamorphoses if he had only known our larger one in the present day.
        Straightway they were reformed and thoroughly established, and being composed to rest from the truth, they celebrate the Father in a chorus 138 of praise in the exuberance of their joy. The Father himself also revelled 139 in the glad feeling; of course, because his children and grandchildren sang so well. And why should he not revel in absolute delight? Was not the Pleroma freed (from all danger)? What ship's captain 140 fails to rejoice even with indecent frolic? Every day we observe the uproarious ebullitions of sailors' joys. 141 Therefore, as sailors always exult over the reckoning they pay. in common, so do these ¦ons enjoy a similar pleasure, one as they now all are in form, and, as I may add, 142 in feeling too.
        With the concurrence of even their new brethren and masters, 143 they contribute into one common stock the best and most beautiful thing with which they are severally adorned. Vainly, as I suppose. For if they were all one by reason by the above-mentioned thorough equalization, there was no room for the process of a common reckoning, 144 which for the most part consists of a pleasing variety. They all contributed the one good thing, which they all were. There would be, in all probability, a formal procedure 145 in the mode or in the form of the very equalization in question. Accordingly, out of the donation which they contributed 146 to the honour and glory of the Father, they jointly fashion 147 the most beautiful constellation of the Pleroma, and its perfect fruit, Jesus. Him they also surname 148 Soter (Saviour) and Christ, and Sermo (Word) after his ancestors; 149 and lastly Omnia (All Things), as formed from a universally culled nosegay, 150 like the jay of ¦sop, the Pandora of Hesiod, the bowl 151 of Accius, the honey-cake of Nestor, the miscellany of Ptolemy. How much nearer the mark, if these idle title-mongers had called him Pancarpian, after certain Athenian customs. 152 By way of adding external honour also to their wonderful puppet, they produce for him a bodyguard of angels of like nature. If this be their mutual condition, it may be all right; if, however, they are consubstantial with Soter (for I have discovered how doubtfully the case is stated), where will be his eminence when surrounded by attendants who are co-equal with himself?

Isaiah 8[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis

-strīdō  to make a shrill noise, sound harshly, creak, hiss, grate, whiz, whistle, rattle, buzz: stridentia tinguunt Aera lacu, V.: cruor stridit, hisses, O.: belua Lernae Horrendum stridens, V.: horrendā nocte (striges), O.: mare refluentibus undis, V.: aquilone rudentes, O.: videres Stridere secretā aure susurros, buzz, H.

H7442 rânan raw-nan' A primitive root; properly to creak (or emit a stridulous sound), 2. tremulous sound of a mast or pole "Shaken by the wind" also the sound of a torrent. Vibrate the voice TRILL which is the WOMEN'S sound of Halal above.

-cantus , ūs, m. id., 2. With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,” Hor. C. 3, 7, 30:
B. An incantation, charm, magic song, etc.: cantusque artesque magorum. Ov. M. 7, 195; 7, 201: “at cantu commotae Erebi de sedibus imis Umbrae ibant,” Verg. G. 4, 471: “magici,”

-măgĭcus , a, um, adj., = magikos,

I.of or belonging to magic, magic, magical (poet. and in post-Aug. prose): “artes,” Verg. A. 4, 493: “magicis auxiliis uti,” Tib. 1, 8, 24: “arma movere,” Ov. M. 5, 197: “superstitiones,” Tac. A. 12, 59: “vanitates,” Plin. 30, 1, 1, § 1: “herbae,” id. 24, 17, 99, § 156: “aquae,” Prop. 4, 1, 102 (5, 1, 106): di magici, that were invoked by incantations (as Pluto, Hecate, Proserpine), Tib. 1, 2, 62; Luc. 6, 577: “linguae,” i. e. hieroglyphics, id. 3, 222; “but lingua,” skilled in incantations, Ov. M. 7, 330; Luc. 3, 224: “cantus,” Juv. 6, 610: “magicae resonant ubi Memnone chordae,” mysterious, id. 15, 5.

-rĕ-sŏno   “qui (cornus) ad nervos resonant in cantibus, carmina resonantia chordis Romanis, to the strings, “in vocibus nostrorum oratorum

-pŏētĭcus , a, um, adj., = poiētikos,
I.poetic, poetical: “verbum,” Cic. de Or. 3, 38, 153: “non poëtico sed quodam oratorio numero et modo,” id. ib. 1, 33, 151: “di,” represented by the poets,

Mŏdus , 2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: “vocum,” Cic. Div. 2, 3, 9: “musici,” Quint. 1, 10, 14: “lyrici,” Ov. H. 15, 6: “fidibus Latinis Thebanos aptare modos,” Hor. Ep. 1, 3, 12: Bacchico exsultas (i. e. exsultans) modo, Enn. ap. Charis. p. 214 P. (Trag. v. 152 Vahl.): “flebilibus modis concinere,” Cic. Tusc. 1, 44, 106: saltare ad tibicinis modos, to the music or sound of the flute, Liv. 7, 2: “nectere canoris Eloquium vocale modis,” Juv. 7, 19.—Fig.: “verae numerosque modosque ediscere vitae,” moral harmonies, Hor. Ep. 2, 2, 144.—

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

The women are commanded to be SILENT as the fulfillment of the Prophetic Type by Christ in Isaiah 57. The REASON that male and female are silent and reverent is so that "All might be saved and come to a knowledge of the TRUTH" or that commanded to be spoken with one mind and one mouth speaking that which is written for our learning.

Isa 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.

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

Lynn Anderson The Beginning of Musical Idolatry

Danny Corbitt and Matt Dabbs Psallo

Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma
 
John T. Willis claims that: Sing and make melody" was a very common practice throughout the history of God's people. These two practices are inseparable as one.  2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.

See all of the ways PSALLO is used in the Greek and Latin Text. There are two words and they all point to really ugly religions or making war.  Psallo based words were used by the translators of the Septuagint or LXX.

"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

"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)

David never led the WORSHIP SERVICE and he sang and played "upon his bed."

I will also praise thee with the psaltery,
        even thy TRUTH,
        O my God:
unto thee willI sing
        with the harp,
        O thou Holy One of Israel. Psalm 71:22

My lips shall greatly rejoice
        when I sing unto thee;
        and my soul, which thou hast redeemed. Psalm 71: 23

My tongue also shall talk
        of thy righteousness all the day long:
        for they are confounded, for they are brought unto shame,
        that seek my hurt. Psalm 71: 24

O give thanks unto the Lord; call upon his name:
        make known his deeds among the people. Psalm 105:1

"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).

Sing to the LORD, for he has done glorious things;
        let this be known to all the world. Isaiah 12:5

By him therefore let us offer the sacrifice of praise to God continually,
........... that is, the fruit of our lips,
........... giving thanks to his name. Heb.13:15
...........Thanks is homologeo SPEAKING the same things

By forcing "melody with an instrument" when it is not demanded or so translated John t. Willis intends to say that you must make melody with an instrument when you sing but you must have a good mental attitude.

The Disciples/Christian Church first proposed that 'psallo' MEAN to make music with an instrument when it never means more than pluck with your fingers and NEVER with a plectrum.  In fact, if you used this folly and make melody with anything but a fingered string you VIOLATE their direct command and are a divisive sinner.

1. They also claimed that God COMMANDED instrumental music in worship in the Old Telstament. Now, they say that if you do NOT then you are disobedien.
2. There is no evidence that God commanded any kind of "musical" device at any time or place even when He abandoned them to worship the starry host because of musical idolatry at Mount Sinai which was a terminal sin.
3. If God did not command musical instruments then The Holy Spirit of Christ in Jeremiah 23 says that you blaspheme the Holy Spirit.

There are many instances where the fall into the use of instruments told God to stop speaking to them. This is a sin without redemption.

No one can read the Old Testament without understand that David radically changed the roles of the Levites from servants into linen-wearing musicians: God did not do that.  Christ in Ezekiel insists that David's demoting the Zadok priesthood was when the Levites Went Astray.

See How David was chosen to carry out the captivity and death sentence imposed at Mount Sinai and began when the elders fired God and demanded a "senior pastor" to let them worship like the nations.

Melody,  in music, the aesthetic product of a given succession of pitches in musical time, implying rhythmically ordered movement from pitch to pitch. Melody in Western music by the late 19th century was considered to be the surface of a group of harmonies. The top tone of a chord became a melody tone;

Melody as tunefulness was not known until the 19th century: then, all you can get is a series of single tones. Harmony at this time would define unison cantillation but never tuneful because none of the Bible is metrical and you cannot sing it.

Harmony, In music, the sound of two or more notes heard simultaneously. In a narrower sense harmony refers to the extensively developed system of chords and the rules that govern relations between them in Western music
Melody and rhythm can exist without harmony. By far the greatest part of the world’s music is nonharmonic Alhough the music of ancient Greece consisted entirely of melodies sung in unison or, in the case of voices of unequal range, at the octave, the term harmony occurs frequently in the writings on music at the time

Romans 15:4 For whatsoever things were
        written aforetime
        were written for our learning, (doctrīna)
                (Christians are Disciples: not ritualists)
        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

[4] quaecumque enim scripta sunt ad nostram doctrinam scripta sunt ut per patientiam et consolationem scripturarum spem habeamus

What is the meaning of Scripture?
Matthew 28:19 Go ye therefore, and teach (dŏcĕo didasko) all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
        Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen. Matthew 28:20

The word for "observe" has no statute of limitations.

Does that exclude silly willy and his praise ditties?

Homophōn-ia , hē, in Music, A. unison (v. homophōnos II), Arist.Pol.1263b35 ; “adontōn  [sing of, chant]    homophōnia”

Aristot. Pol. 2.1263b. For in one way the state as its unification proceeds will cease to be a state, and in another way, though it continues a state, yet by coming near to ceasing to be one it will be a worse state, just as if one turned a harmony into unison or a rhythm into a single foot.

Stoma ,2. esp. the mouth as the organ of speech, speech, utterance e.  ex henos s. with one voice, Id.Eq.670. Pl.R.364a, PGiss.36.13 (ii B.C.), Gal.15.763; so hōs aph' henos s. AP11.159 (Lucill.).

Speaking of the musical idolatry at Mount Sinai:

Romans 10 [6] But the righteousness which is of faith says this, "Don't say in your heart, 'Who will ascend into heaven?' (that is, to bring Christ down); [7] or, 'Who will descend into the abyss?' (that is, to bring Christ up from the  dead.)"  [8] But what does it say? "The word is near you, in your mouth, and in your heart;" that is, the word of faith, which we preach: [9] that if you will confess with your mouth the Lord Jesus, and believe in your heart that God raised him from the dead, you will be saved. [10] For with the heart, one believes unto righteousness; and with the mouth confession is made unto salvation.

Glōssa , Ion. glassa, 2. tongue, as the organ of speech

2. obsolete or foreign word, which needs explanation, Arist. Rh.1410b12, Po.1457b4, Plu.2.406f: hence Glōssai, title of works by Philemon and others.

3. people speaking a distinct language, LXX.Ju.3.8
1. in Music, reed or tongue of a pipe, Aeschin.3.229, 

Aeschin. 3 229 But when a man who is made up of words, and those words bitter words and useless—
        when such a man takes refuge in “simplicity” and “the facts,”
        who could have patience with him?
 If you treat him as you might a clarinet, and take out his tongue, you have nothing left!

Aulos pipe, clarionet 2. hollow tube, pipe, groove, peronē tetukto auloisin didumoisi the buckle was furnished with two pipes or grooves (into which the tongue fitted)

Genesis 31:27 Wherefore didst thou flee away secretly, and steal away from me; and didst not tell me, that I might have sent thee away with mirth, and with songs, with tabret, and with harp?

Yes! the universal message is WITHOUT your wives, children and catttle! As "Lucifer":

Ezekiel 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.
Ezekiel 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 down)
Ezekiel 28:14 Thou art the anointed cherub that covereth; and I have set thee so: thou wast upon the holy mountain of God; thou hast walked up and down in the midst of the stones of fire.
Ezekiel 28:15 Thou wast perfect in thy ways from the day that thou wast created, till iniquity was found in thee.
Ezekiel 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.

Profane: play the flute, steal people's inheritance, pollute, prostitute.

Ezekiel 28:17 Thine heart was lifted up because of thy beauty, thou hast corrupted thy wisdom by reason of thy brightness: I will cast thee to the ground, I will lay thee before kings, that they may behold thee.
Ezekiel 28:18 Thou hast defiled thy sanctuaries by the multitude of thine iniquities, by the iniquity of thy traffick; therefore will I bring forth a fire from the midst of thee, it shall devour thee, and I will bring thee to ashes upon the earth in the sight of all them that behold thee.

Dox-azō , II. magnify, extol, “epi pleon ti hauton d.” Th.3.45, cf. LXX Ex.15.2, al.; “ton theon” Ep.Rom.1.21, al.:—Pass., to be distinguished, held in honour, magnified,

Romans 1:21 Because that, when they knew God, they glorified him not as God,
        neither were thankful; but became vain in their imaginations,
        and their foolish heart was darkened.
Romans 1:22 Professing themselves to be wise, they became fools, (morons)

Those Jesud called "hypocrites" alwayss think they are wise and even inspired.

Sophos , ē, on, A. skilled in any handicraft or art, clever, harmatēlatas s. Pi.P.5.115, cf. N.7.17; “kubernētēs” A.Supp.770; “mantis” Id.Th.382;  Margites Fr.2; but in this sense mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 also en oiōnois, kithara, E. IT662, 1238 (lyr.

Romans 1:23 And changed the glory of the uncorruptible God into an image
        made like to corruptible man, and to birds, and fourfooted beasts, and creeping things.
Romans 1:24 Wherefore God also gave them up to uncleanness
        through the lusts of their own hearts,
        to dishonour their own bodies between themselves:
Romans 1:25 Who changed the truth of God into a lie,
        and worshipped and served the creature more than the Creator,
        who is blessed for ever. Amen.

Rising up to PLAY means to play instruments and play sexually: a terminal sin.

ALL modern church music intends to glorify the song writer or the singer even if it is the whole congregation competing to "do their part."

Thuc. 3.45 [6] Fortune too assists the illusion, for she often presents herself unexpectedly, and induces states as well as individuals to run into peril, however inadequate their means; and states even more than individuals, because they are throwing for a higher stake, freedom or empire,
        and because when a man has a whole people acting with him,
        he magnifies himself out of all reason.
         [7] In a word then, it is impossible and simply absurd
        to suppose that human nature when bent upon some favourite project
        can be restrained either by the strength of law or by any other terror.

Music, Art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, usually according to cultural standards of rhythm, melody, and, in most Western music,

This is not a Biblical concept or example.

5.06.11 I have added some Biblical text to suppliment Worship and the Hebrew Bible: essays Reviewed.

Rev 5.4.11 Our task is not to promote sowing of musical discord: the church has ONE TASK which is to "teach that which is written for our LEARNING." No theologian is immune from the urge to use proof texts to advance their agenda which is to turn the School of Christ (the Campbells) into a theater for holy entertainment. This is an occasion to prove the statement of Jesus that "doctors of the law take away the key to knowledge" and that Scribes and Pharisees are hypocrites Christ named in Ezekiel 33 as speakers, singers and instrument players: in many Old Testament passges musical instruments was to MARK the preacher for pay and the audience which had no intention of obeying the Words of God. I have added links to the Greek and Latin Text for your own power to "not go out" when they tell you they have the kingdom in a loud, visible, audible and expensive theater.

See Royce Ogle Affirm Danny Dodd

It is not feasible to respond on a blog.  There is never more than 5 "melody" translations in an version I could search other than the RSV and these words never mean melody in a tuneful sense which "belongs to the 19th century."

Quick review:

Jacob warned us not to attend the assemblies of Levi not enter their covenant.

Psalms 105:9 Which covenant he made with Abraham, and his oath unto Isaac;
Acts 3:25 Ye are the children of the prophets,
        and of the covenant which God made with our fathers,
        saying unto Abraham, And in thy seed shall all the kindreds of the earth be blessed.

God restated the Abrahamic Covenant but the people refused to listen.
They immediately were strongly deluded and fell back into the Egyptian etal Sabazianism
God turned the Levi tribe over to worship the starry host because of musical idolatry.
Christ ordained the Qahal, synagogue or Church of Christ in the wilderness. It was

INCLUSIVE of Rest, Reading and Rehearsing the Word: what disciples do.
EXCLUSIVE of vocal or instrumental rejoicing. What Disciples do not do

Christ spoke to the spiritual people through the prophets which the Civil-Military-Clergy complex murdered from the time of Abel.  He warned about the Lying pen of the Scribes and defined the Scribes and Pharisees, hypocrites.  In the Ezekiel 33 version He named speakers, singers and instrument players.

In Isaiah 50 Christ warned about the pluckers or smiters
In Isaiah 55 He told us not to pay for the Word because no man's thoughts are God's Thoughts.
In Isaiah 58 He commanded us not to seek our own pleasure or even speak our own words.

That is why in the Synagogue
        Moses was PREACHED
        By being READ in the Synagogue each Sabbath.

Christ in Isaiah 55 says you have nothing of value to add and Isaiah 58 forbids you to speak your own words.

Sing and Make Melody

Psallo is never translated as "melody" in a musical sense: it is parallel to "Grace" in Colossians 3:16 both of which are qualities of narrated speech used to teach and admonish.

Both melody and grace are something IN THE HEART.

Aristot. Rh. 3.6 ”But for the purpose of conciseness the reverse—use the name instead of the description. [2] You should do the same to express anything foul or indecent; if the foulness is in the description, use the name; if in the name, the description. [3] Use metaphors and epithets by way of illustration, taking care, however, to avoid what is too poetical. .... for in this way amplification may be carried on ad infinitum. This method may be applied to things good and bad, in whichever way it may be useful.
        Poets also make use of this in inventing words, as a melody “without strings” or “without the lyre”;
        for they employ epithets from negations, a course which is approved in proportional metaphors,
        as for instance, to say that the sound of the trumpet is a melody without the lyre.

Because of musical idolatry at Mount Sinai God turned Israel over to worship the starry host. God gave them The Book of The Law to legislate for the lawless. He promised to return them to "beyond Babylon."  When the elders fired God He began to carry out the captivity and death sentence: He gave them kings in His anger and took them away in His anger.

The Levites who had been an old infant burning cult in Egypt were later chosen to make warrior chants under the KING and COMMANDERS of the Army. They made war and not worship. The proof texts from the sacrificial system flies in the face of Christ in Spirit wo denied that God commanded sacrifices or burnt off
gs: they came as baggagewhen God abandoned them to worship the starry host. 

Christ who speaks through the Prophets and Jesus who fulfilled the prophecies,is the resource for the church which does not make war. The church is built upon the teachings of the Prophets and Apostles.

That means that many of the Psalms were warrior taunt songs to turn the enemy into cowards.

"Hebrew singing or rhymic prose had no fixed meter: "Since in all languages a sentence changes its meaning by mere intonations without adding or removing nounds, verbs or particles, the Syrian scholars who laid the fundament of correct language discovered a way by devising accents... and since these accents are a form of musical modulation, there is no possibliity of learning them except by hearing and through tradition from the master's tongue or the pupils hear. It follows from Bar Hebraeus' statement that the main concern was to secure an unadulterated and unadulterable version of the text This required (a) correct vocalization and (b) correct intonation. (p.87) " Nor is there a constant number of feet in a verse. Hebrew poetry is poetic p;rose. "Hebrew prosedy differes fundamentlly from classical prosody.  No poem is written according to a repeating meter scheme.

Classical verse is mechanical; Hebrew verse is dynamic (p 89.  Music in Ancient Western Orient Curt Sachs

The word Law or nomos defines a legal form of performance dedicated most often to Apollo (Abaddon, Apollyon)

The godly Jews who rested on the Prophets (by Christ) understood:

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

Dīco , Only speak, only to affirm Lŏquor , 1. To speak out, to say, tell, talk about, mention, utter, name
Testĭmōnĭum , ii, n. testor, I.  witness, evidence, attestation, testimony (oral or written):
Christ in Spirit supplied ALL of the Testimony: 2 Cor 3; 1 Peter 1:11; Rev 19:10

Synagogue singing

" It has been shown in the article Cantillation (Jew. Encyc. iii. 537b) that the desire to read the Scriptures in the manner indicated in Neh. viii. 8 has from time immemorial resulted in the use of some sort of musical declamation for the passages uttered aloud in the synagogue. For reasons very similar to those there discussed, the prayers and praises equally with the lessons have always been thus musically declaimed; and this declamation... the absence of instruments from the synagogue in no way modified the system of the song itself. This presented little that to modern ears would appear worthy the name of melody, being, like the Greek melodies which have been deciphered, entirely of the character of a cantillation; that is, a recitation dependent on the rhythm and sequence of the words of the text instead of on the notes of the tune, and influenced by the syntactical structure of the sentence instead of by the metrical form of the musical phrase. Nor would the style of singing, nasal, shrill, and alternately full of intricate graces and of sudden pressures on emphatic notes, altogether commend itself to Western ears as graceful or harmonious.

John T. Willis: The expression "sing and make melody" [Hebrew is shir and zamar] occurs 12 times in the Hebrew Psalter:

But, Zamar has nothing to do with modern melody: a series of single tones. A harp might have only 3 strings and the melody was never tuneful.

The KJV uses melody in three important passages in the Old Testament: Notice Christ speaking of Tyre as Lucifer the singing and harp playing prostitute in the garden of eden says:

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

5059. nagan, naw-gan´; a primitive root; properly, to thrum, i.e. beat a tune with the fingers; expec. to play on a stringed instrument; hence (generally), to make music:—player on instruments, sing to the stringed instruments, melody, ministrel, play(-er, -ing).

Implications: 5060.  nagan, naw-gah´; a primitive root; properly, to touch, i.e. lay the hand upon (for any purpose; euphem., to lie with a woman); by implication, to reach (figuratively, to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.):—beat, (x be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.

A Neo-Hebraic noun formed from the "pi'el" of the verb = "to play strings," "make music"; hence meaning generally "tune," "melody." In the rubrics of the Maḥzor of the northern uses "be-niggun N." heads a piyyuṭ with the signification "to the tune of N," as does "laḥn N."  in the southern liturgies. The word is also used to designate a droning, formless set to a text, and, more especially,
        the particular melody-type or prayer-motive to which a service is traditionally rendered,
        e.g., the Sabbath Niggun. See Music, Synagogal.

The accents in cantillation were specificially to prevent even altering the read text by the tone of voice. The direct command of Paul was to SPEAK Psalms, hymns and spiritual songs: melody or grace (Colossians 3) was IN THE HEART.

Jesus said that worship was IN Spirit as opposed to IN Jerusalem or IN Samaria. Worship IN THE PLACE of the human spirit was devoted to TRUTH or the Word of Christ. Paul warned against the DOGS or Cynics who were the old style praise singers seeking whom they might devour:

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

B. Isa 51:3 For the LORD shall comfort Zion:
         he will comfort all her waste places;
         and he will make her wilderness like Eden,
         and her desert like the garden of the LORD;
         joy and gladness shall be found therein,
         thanksgiving, and the voice of melody.

The word for VOICE is never used of a musical instrument:

Voice h6963 qôl qôl kole, kole From an unused root meaning to call aloud; a voice or sound:

Exodus 24:3 And Moses came and told the people all the words of the LORD, and all the judgments:
        and all the people answered with one voice, and said,
        All the words which the LORD hath said will we do.

Psalms 3:4  I cried unto the LORD with my voice,
        and he heard me out of his holy hill. Selah.
Psalms 3:5 I laid me down and slept; I awaked; for the LORD sustained me.

Psalms 142:1 I cried unto the LORD with my voice;
        with my voice unto the LORD did I make my supplication.
Psalms 142:2 I poured out my complaint before him; I shewed before him my trouble.
Psalms 142:3 When my spirit was overwhelmed within me, then thou knewest my path. In the way wherein I walked have they privily laid a snare for me.

Ezra 10:10 And Ezra the priest stood up, and said unto them,
        Ye have transgressed, and have taken strange wives,
         to increase the trespass of Israel.
Ezra 10:11 Now therefore make confession unto the LORD God of your fathers,
        and do his pleasure:
        and separate yourselves from the people of the land, and from the strange wives.
Ezra 10:12 Then all the congregation answered and said with a loud voice,
        As thou hast said, so must we do.

Zimrah is h2172 and does not MEAN melody

First, it is used of singing (vocal) or instrumental: the song of the land praised fruits or production. Cf Greek aoide celebrate in songs. Isaiah spoke of the VOICE of melody and not an INSTRUMENT.

Zimrah is LIKE ZAMAR (H2167)

Psalms 47:6 Sing praises to God, sing praises: sing praises unto our King, sing praises.
Psalms 47:7 For God is the King of all the earth: sing ye praises with understanding.

It ALWAYS translates as SING: it still means only SING when in a few instances it is to sing with a harp.  The words were separated from the tone of the string.

The Latin for "melody" is:

Laus A.  A praiseworthy thing, a ground for praise, a laudable or glorious action, a laudable enterprise; 

John T. Willis: 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.

C. Amos 5:23 Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols.

[23] aufer a me tumultum carminum tuorum et cantica lyrae tuae non audiam

Tŭmultus, ūs tumalas, tumulas, disturbing; cf. tumeo, an uproar, bustle, violent commotion, disturbance ,

B. In partic. 1. In milit. lang., a sudden or impending war, civil war, insurrection, tumult, sedition, rebellion:

A. Disturbance, disquietude, agitation, tumult of the mind or feelings: “tumultus Mentis,” Hor. C. 2, 16, 10; Luc. 7, 183: “pulsata tumultu pectora, Petr. poët. 123: sceleris tumultus,” Hor. S. 2, 3, 208.

Hor. Carm. 2.16 No pomp, no lictor clears the way 'Mid rabble-routs of troublous feelings, Nor quells the cares that sport and play Round gilded ceilings. mŏvĕo, to move, affect, excite, inspire: charms, to stir up, excite, provoke to move people from their place, “cantus vocis juvat sociatā nervorum concordiā,” Quint. 5, 10, 124: “citharam cum voce,” id. ib. 5, 112: Kithera along with Voice. tympana id. H. 4, 48; beaten by the priests of Cybele and Isis Mount Sinai Bacchantine females 1 Cor 13 Emasculated Galatians 5 of witchcraft to disturb: “novis Helicona cantibus,” With double dyes; a small domain, The soul that breathed in Grecian harping, My portion these; and high disdain Of ribald carping. Lego  A. In gen.: “oleam, The sweet smell of an offering. 1. To take out, pick out, extract, remove:  2. To pluck, strip, gather fruit from (a tree, etc.): “oleam qui legerit,” Cato, R. R. 144, 1: “ficus non erat apta legi, 5. To take to one's self unjustly, to carry off, steal, purloin, plunder, “soceros legere et gremiis abducere pactas,” Verg. A. 10, 79 Abducto 3. To carry away forcibly, to ravish, rob:  rhetori tradendus, abducendum protinus a grammaticis putem,” Quint. 2, 1, 12: Abduction from allegiance, study. religious scruples, fear of God.

Always evil: always violent: Identical to Psallo pulso I. inf. parag. pulsarier, Lucr. 4, 931), 1, v. freq. a. id., to push, strike, beat (cf.: tundo, ferio, pello). Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” (harp)  Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62. A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet: C. To drive away, remove, put out of the way Psalmus , i, m., = psalmos, i. q. psalma, I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, 2 Elego I. to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215. TO RECRUCIFY CHRIST: Anastatoo (g387) an-as-tat-o'-o; from a der. of 450 (in the sense of removal); prop. to drive out of home, i.e. (by impl.) to disturb (lit. or fig.): - trouble, turn upside down, make an uproar, to stir up, excite, unsettle to excite tumults and seditions in the state to upset, unsettle, minds by disseminating religious error.

Quint. Inst. 2 1.1 THE custom has prevailed and is daily growing commoner of sending boys to the schools of rhetoric much later than is reasonable: this is always the case as regards Latin rhetoric and occasionally applies to Greek as well. The reason for this is twofold: the rhetoricians, more especially our own,        have abandoned certain of their duties        and the teachers of literature have undertaken tasks which rightly belong to others [2] For the rhetorician considers that his duty is merely to declaim and give instruction in the theory and practice of declamation and confines his activities to deliberative and judicial themes, regarding all others as beneath the dignity of his profession;

Outlawed: laded burden: creation of spiritual anxiety through religious rituals (legalism).  Melody in Greek is;

2172.  zimrah, zim-raw´; from 2167; a musical piece or song to be accompanied by an instrument:—melody, psalm.

In Amos the instrument is named but not included.

Canticum I. Lit., a song in the Roman comedy,
        sung by one person, and accompanied by music and dancing; a monody, solo

Citharoedus: the word signifies a vocalist, who with his singing gave an accompaniment on the harp.

Mercury or Hermes used music to steal Apollo's cattle: he forced them to walk backward. This is the same story as that of Jubal who used music (without authority) to steal other people's cattle and then sell them back.

Ov. Met. 2.691
It was the time when under shape of shepehierde with a wande
Of Olyve and a pipe of reedes thou kept Admetus sheepe.
Now in this time that (save of Love) thou tooke none other keepe,
    And madste thee merrie with thy pipe, the glistring Maias sonne
    By chaunce abrode the fields of Pyle spide certaine cattle runne
    Without a hierde, the which he stole and closely did them hide
    Among the woods.

All singers sang their own song and accompanied it with his own instrument:
A PsalmOdia sings and plays a harp. Psallo never means to play a harp.

If Paul intended both sing AND Play the word is:

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

Melody is VOCAL only.

Aristoph. Birds 218 Epops
From within; singing.
Chase off drowsy sleep, dear companion.
        [210] Let the sacred hymn gush from thy divine throat in melodious strains;
        roll forth in soft cadence your refreshing melodies to bewail the fate of Itys,
        which has been the cause of so many tears to us both.
[215] Your pure notes rise through the thick leaves of the yew-tree right up to the throne of Zeus, where Phoebus (Apollo, Abaddon) listens to you, Phoebus with his golden hair. And his ivory lyre responds to your plaintive accents; [220] he gathers the choir of the gods and from their immortal lips pours forth a sacred chant of blessed voices

Elegos , ho, A.song, melody, orig. accompanied by the flute
Play is also katapsallô , A.play stringed instruments
Scripture used neither.

II. A song, in gen.: “ B. A singing tone in the delivery of an orator, Cic. Or. 18, 57; Plin. Ep. 2, 14, 13; cf. Quint. 1, 8, 2; 11, 3, 13.—B. A magic formula, incantation,

Lyra lute, lyre, a stringed instrument invented by Mercury and presented to Apollo (Abaddon, Apollyon)
I. a lute, lyre, a stringed instrument resembling the cithara, fabled to have been invented by Mercury and presented to Apollo,
A. Lyric poetry, song: “imbellis,” Hor. C. 1, 6, 10: “Aeoliae Lesbis amica lyrae,” Ov. Am. 2, 18, 26; id. P. 3, 3, 45.—
C. Lyra, the constellation, the Lyre: “exoriente Lyra,”

Hor. Carm. 1.6
Not mine such themes, Agrippa; no, nor mine
To chant the Wrath that fill'd Pelides' breast,
Nor dark Ulysses' wanderings o'er the brine,
Nor Pelops' house unblest.

Vast were the task, I feeble; inborn shame,
And she, who makes the peaceful lyre submit,
Forbid me to impair great Caesar's fame
And yours by my weak wit.

But who may fitly sing of Mars array'd
In adamant mail, or Merion, black with dust
Of Troy, or Tydeus' son by Pallas' aid
Strong against gods to thrust

Amos 5:24 But [Instead] let judgment run down as waters, and righteousness as a mighty stream.

Melody never MEANS that of an instrument: it is used IN CONNECTION with instruments. PLUCK a lyre means to make a single tone: PLUCK does not MEAN to make a musical tone.

h1995. hamown, haw-mone´; or NOmDh hamon (Ezek. 5:7), haw-mone´; from 1993; a noise, tumult, crowd; also disquietude, wealth:—abundance, company, many, multitude, multiply, noise, riches, rumbling, sounding, store, tumult.

Ezekiel 5:7 Therefore thus saith the Lord GOD; Because ye multiplied more than the nations that are round about you, and have not walked in my statutes, neither have kept my judgments, neither have done according to the judgments of the nations that are round about you;

h1993. hamah, haw-maw´; a primitive root (compare 1949); to make a loud sound like Engl. “hum”); by implication, to be in great commotion or tumult, to rage, war, moan, clamor:—clamorous, concourse, cry aloud, be disquieted, loud, mourn, be moved, make a noise, rage, roar, sound, be troubled, make in tumult, tumultuous, be in an uproar.

H2172 zimrâh zim-raw' From H2167 ; a musical piece or song to be accompanied by an instrument:—melody, psalm.

Genesis 43:11  And their father Israel said unto them, If it must be so now, do this; take of the best fruits in the land in your vessels, and carry down the man a present, a little balm, and a little honey, spices, and myrrh, nuts, and almonds:

h2167  You will notice that we are still speaking of rhymic speaking since none of the Bible can be sung tunefully: that was possible only after Calvin allowed rewriting some psalms (only) to be sung in unison until simply harmony was added.  Melody does not and never meant harmony.

You will notice that the word means PLUCK: psallo means PLUCK: neither means play an instrument.  Like al instrumental terms it is derived from "stealing one's inheritance" as in h2490.  The pruning hook was a musical device.

Next, the Word means to SING or cantillate in prose: there were no tuneful notes: one might have a one note or two note melody. The object was to tell some factual story in a style which communicated knowledge.

Then it means a musical instrument although the SING is almost always added in addition to the NAME of the instrument.

Then it mean to play and dance and sing which was not calculated to communicate anything but terror in warfare or lust.

Zamar then never means play an instrument and sing unless you specificy which instrument you want to be used.  Otherwise, if you tell people to PLUCK you can never tell what they are going to do: in the case of all of the NACC prooftexts it implicates an older male and a younger plucked boy.

Eur. Alc. 578 Chorus
Under his shepherd care, in joy at his songs, were also spotted lynxes, [580] and there came, leaving the vale of Othrys, a pride of tawny lions, and the dappled fawn stepping beyond the tall fir-trees with its light foot [585] danced to your lyre-playing, rejoicing in your joyful melody.

Eur. Cycl. 483 Singing within.
Hush! Hush! For now the Cyclops, drunk and making graceless melody, [490] comes forth from the rocky cave, a singer who is inept and shall pay dearly. Come, let us with our revelling songs impart some culture to this lout. In any case he shall be blind.

An ancient stage-direction preserved in the text.

Eur. Ion 144 Move your crimson foot elsewhere! Phoebus' (Apololyon)  lyre, that sings with you, [165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singingpsalmoi bow [ s' eirxousin toxōn.] will keep you off. Will you not obey?  Plat. Ion 534a 

Strab. 9.3 And to the citharoedes they added both fluteplayers and citharists who played without singing, who were to render a certain melody which is called the Pythian Nome. There are five parts of it: angkrousis, ampeira, katakeleusmos, iambi and dactyli, and syringes. Now the melody was composed by Timosthenes, the admiral of the second Ptolemy, who also compiled The Harbours, a work in ten books; and through this melody players imitated the dragon as breathing its last in hissings. he means to celebrate the contest between Apollo and the dragon, setting forth the prelude as anakrousis, the first onset of the contest as ampeira, the contest itself as katakeleusmos, the triumph following the victory as iambus and dactylus, the rhythms being in two measures, one of which, the dactyl, is appropriate to hymns of praise, whereas the other, the iamb, is suited to reproaches (compare the word "iambize"), and the expiration of the dragon as syringes, since with syringes

4.29.11  8.15.11 152  4.03.13 479  10.07.13 534  7.20.14  722  10.07.14  750 12.29.14 781 3.30.16 924 5.28.16 932  11.07.16  991. 10.1.18  1268

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