MuFemin

The same is proven when Israel rejected the direct rule of God and demanded a king who would and did allow them to worship like the nations. This was finally consummated when David led "God in the Ark" in play to Jerusalem and separated "Him" from the center of worship which remained largely under the priests while David established a new "tent" for God. His musical dance was the same "play" that Israel performed at Mount Sinai. David could never again go to the old tabernacle "to inquire of the Lord" because of fear. Therefore the Levite-dominated altar in Jerusalem was a condescension to David (Acts 7) so that he could establish a secular state like the nations. This meant that their religion would be "like the nations" but at least God would protect a tiny remnant by protecting the civil state, temple and worship.

The same is true in Job 21, Amos 5 and 6, Isaiah 5 and Ezekiel 33.

The fact that the ten tribes of Israel were destroyed or scattered to the four winds and Judah endured 70 years of Babylonian captivity and only a tiny remnant returned to Jerusalem is proof positive that God spoke negatively of the forms of their worship which were both a cause and result of their total failure.

This is still true. The rise of performance music as "church worship" is a way to flout the old "decadent and deleterious" worship of the old broken wineskin as the almost-universal symbol of a second - but superior - incarnation of God in the church which will have a fuller power than Christ in the first incarnation. At the same time it is accompanied by an embarrassing non-use or misuse of Scripture to defend that which cannot be defended.

The battle has always been between the Word of God and the effeminate worship of pagan gods and goddesses -- fertility rituals to cause the grapes, lambs or "churches" to grow.

Amanda Eubanks, has requested that we remove her observations about the blurring of sexual roles during dramatic performances. However, ancient literature from Babylonian tablets and beyond agree with Johannes Quasten. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41 He uses many of the church Fathers and Classical resources we also rely upon:

"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.

Similar opinions may be found in the writings of Philo. On one occasion he spoke of the Jewish "Feast of Fasting," used by the Greeks for the Day of Atonement:

"Now, many a man from the false religions, which are not ashamed of criticising what is noble, will ask: how can there be a feast without carousing and overeating, without the pleasant company of hosts and guests, without quantities of unmixed wine, without richly set tables and highly stacked provisions of everything that pertains to a banquet, without pageantry and jokes,

bantering and merry-making to the accompaniment of flutes and citharas, the sound of drums and cymbals and other effeminate and frivolous music of every king,

enkindling unbridled lusts with the help of the sense of hearing. For in and through the same [pleasures] those persons openly seek their joy, for what true joy is their they do not know.

Women's singing was a vital part of all pagan worship. In very early times women became priestly singers of the gods in the temple.

"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'." (End of Quasten)

Music in the Old Testament was added after Israel demanded a king like the nations so that they could worship like the nations. Before that time music was a female or effeminate role. Clearly, the whole nation of Israel and even Miriam had been involved in the musical paganism of Egypt.

God is denounced when people believe that "church growth" is in the hands of my seeker model even when it spits Jazz (sexual act), Rock and Roll (sexual act) and other Voodoo-derived "heart-beats" to seek those who love it.

God is denounced when we build buildings specifically to "attract" people for a "bait and switch" move into "church membership."

God is denounced when we believe that we can sing and play music or dance or dramatize to "move into the presence of God" or to perform the worship for others (like making love for them in their own house).

God is denounced when we import gurus who have been exalted enough so that they can collect the masses when God cannot.

This is the most ancient warning which is much like the second incarnation of greater powers than God displayed through the lower level incarnation in Christ:

And thou say in thine heart, My power and the might of mine hand hath gotten me this wealth. Deuteronomy 8:17

And it shall be, if thou do at all forget the Lord thy God, and walk after other gods, and serve them, and worship them, I testify against you this day that ye shall surely perish. Deuteronomy 8:19

Like the nations the LORD destroyed before you, so you will be destroyed for not obeying the LORD your God. Deuteronomy 8:20

Anything we can salvage from legalistic animal sacrifices with loud music is imitating like the nations's worship:

And said unto him, Behold, thou art old, and thy sons walk not in thy ways: now make us a king to judge us like all the nations. 1 Samuel 8:5

But the thing displeased Samuel, when they said, Give us a king to judge us. And Samuel prayed unto the Lord. 1 Samuel 8:6

You say, "We want to be like the nations, like the peoples of the world, who serve wood and stone." But what you have in mind will never happen. Eze.20:32

Israel was put on probation at Mount Sinai but God knew that they would not repent. Therefore, He prescribed the form of king they should seek as they deserted Him. However, they did not follow the rules and the breaking point was worship like the nations which embarassed the pagans. Therefore, God sent them into captivity for destruction or restoration of a tiny remnant.

It was now God's will that the king and kingdom be established but only because the people rejected His rule over them so that they could serve wood and stone. According to all of recorded history of this time this was an implicit demand to worship with singing, dancing, instruments and its product - sex as a means to produce the fertility which only Yahweh could bring.

However, in the end, they would be punished as God pronounced His judgment in actions:

"The trained musicians which eventually appear around the time of David and Solomon mark a distinctive change in the history of Jewish music.

Before this time much of the music was made by women." (Zondervan Pict., Music p. 313).

Saul was "turned into another man" which was, in that culture, equivalent to saying that he was perverted. The singing and harp playing was another supernatural sign sent from God because it threw Saul into the frenzied "prophesying" or singing and dancing naked. To worship like the nations, in fact, could never happen unless it added feminine or effeminate performers in song, instrument and dance!

"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephthah's daughter, and the women hailing the young hero David have become almost archetypes of female musicians.

"Characteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating.

This is the scene known to the entire Near East, and not
"even the severe rule of Islam could wholly suppress this age-old practice." (Int Dict of the Bible, Music, p. 457).

See our review of Al Maxey's use of Miriam as authority for a female musical worship minister. Of course, the text makes it clear that as a prophetess Miriam was called a soothsayer in Egypt.

For instance, the professional mourners would sell themselves to perform for weddings or funerals to create artificial tears which the foolish people interpreted as real sentiment. Because God had abandoned them to worship the Starry Host (Acts 7 etal) we are not surprised that all of the musical guilds were of pagan origin:

"There is incontrovertible archaeological evidence for the antiquity of the musical guilds themselves. The Phoenicians (Canaanites) outshone their contemporaries in music, and the Israelites were early influenced by them.

Musical guilds of the Hebrews may be traced back in some instances,
to old Canaanite families whose designations, such as Hemen the Ezrahite (I Chron. 2:6),
became a part of later Hebrew family names." (Unger, Merril, Archaeology and the Old Testament, Zondervan, P. 216-7)

WHEN PEOPLE LUST FOR MUSICAL RELIGIOUS WORSHIP IT IS PROVEN TO BE A HERMAPHRODITIC URGE:

1Chr. 15:20 And Zechariah, and Aziel, and Shemiramoth, and Jehiel, and Unni, and Eliab, and Maaseiah, and Benaiah, with psalteries on Alamoth

ALL MUSICAL INSTRUMENTS HAVE VILE ROOTS: THE PSALTERY

5035. nebel, neh´-bel; nebel, nay´-bel; from 5034; a skin-bag for liquids (from collapsing when empty); hence, a vase (as similar in shape when full); also a lyre (as having a body of like form):--bottle, pitcher, psaltery, vessel, viol.

5034. nabel, naw-bale´; a primitive root; to wilt; generally, to fall away, fail, faint; figuratively, to be foolish or (morally) wicked; causatively, to despise, disgrace:disgrace, dishounour, lightly esteem, fade (away, -ing), fall (down, -ling, off), do foolishly, come to nought, x surely, make vile, wither.

5036. nabal, naw-bawl´; from 5034; stupid; wicked (especially impious):—fool(-ish, -ish man, -ish woman), vile person. 5050 disgrace, female pudenda, lewness

THEIR FORM OF PERFORMANCE: AS FEMALES, A CAPELLA

5961. Alamowth, al-aw-moth´; plural of 5959; properly, girls, i.e. the soprano or female voice, perhaps falsetto:--Alamoth. 1) young women, soprano?
b) a term in psalm heading - Alamoth
Psalm.Delitzsch.Psalm.html

Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing. We therefore adopt Perret- Gentil's rendering, chant avec voix de femmes, and still more readily Armand de Mestral's, en soprano

5959. almah, al-maw´; feminine of 5958; a lass (as veiled or private):--damsel, maid, virgin.

1 Chr. 15:27 And David was clothed with a robe of fine linen, and all the Levites that bare the ark, and the singers, and Chenaniah the master of the song with the singers: David also had upon him an ephod of linen.

The command of God was that the Levites STAND in ranks and EXECUTE anyone who came near any holy thing or place.

The performed SOOTHSAYING with instrumental accompaniment.

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

A deeper-reaching attempt to explain the significance of the castrato age has been made by Moses (1960) in an interesting paper on the psychology of the castrato voice. He interprets the emergence of this vocal fashion as the fulfillment of an age-old dream wish of bisexual hermaphroditism. Even if one does not follow Moses in some of his somewhat overdrawn conclusions, there is left enough of a solid basis for his theory. Hermaphroditic mythology plays an important part in cultural history. In collections of primitive art one sometimes see sculptures of idols each with female breasts and a penis

Voices mirror not only individual characters but the spirit of a period as well. In this sense the voice of the castrato personifies the bisexual ideal with its unity of a female voice in a man's body. In the mythological atmosphere of the baroque opera the castrato portrayed gods and mythological persons who presented male and female characteristics in a Halal.Names.gif

In an unfinished book that Paul Moses left at his death he predicted, over ten years ago, quite correctly the approach of another age of crossover of the sexes. The young generation of today favors fashions that obliterate the differences between the sexes. Girls wear pants, and young men sport girlish long hair and wear necklaces and bracelets. The classical love song of the nineteenth century, the love-centered operettas, and the popular songs of the "June-moon" variety of the first half of this century have given way to the harsh rhythms of rock and roll of the unisex generation. And the phoniatrist sees among his patients an increasing number of young adult males who do not use the deep masculine voice that the pubertal growth of the larynx offers but continue to speak in an artificial high pitch of almost female sound. Friedrich S. Brodnitz, M.D.

CONSISTENT WITH RESTORING HEBREW ROOTS

Delitzsch on Psalms: Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing. We therefore adopt Perret- Gentil's rendering, chant avec voix de femmes, and still more readily Armand de Mestral's, en soprano; whereas Melissus' rendering, "upon musical instruments called Alamoth (the Germans would say, upon the virginal)," has nothing to commend it.

"Hebrew music... was used in the luxurious times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and stretched upon their couches of ivory, were wont at their banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and amused themselves with devising musical instruments while their nation was perishing... music was the legitimate expression of mirth and gladness, and the indication of peace and prosperity." (Smith's Bible Dictionary, Music, p. 590).

Signs of the Times Warning

Jeremiah connected the need for professional (professional worship music was always spiritual adultery) "musical worship teams" to the end-time period of a people. They were lost but didn't want to repent.

"Jingling, banging, and rattling accompanied heathen cults, and the frenzying shawms of a dozen ecstatic cries intoxicated the masses. Amid this euphoric farewell feast of a dying civilization, the voices of nonconformists were emerging from places of Jewish and early Christian worship ..." (Encyclopaedia Judaica, 1971 ed., s.v. "Music")

The solution, then and now, is to create artificial feelings of worship (sad songs or happy "praise" songs but no teaching songs) by the use of women trained to create a tranquilizing drug for the rational mind (endorphin) so their emotional nature could bear their lostness.

Thus saith the Lord of hosts, Consider ye, and call for the mourning (strike a musical note) women, that they may come; and send for cunning women, that they may come: Jeremiah 9:17

And let them make haste, and take up a wailing for us, that our eyes may run down with tears, and our eyelids gush out with waters. Jeremiah 9:18

The professional mourners or celebrators are called only when the "body" is already dead and you need a whole profession of musical performers to do religion. Like little David playing on his harp, they are -- in a perverse way -- doing the will of the Lord because the will of the Lord is that they be destroyed after they have rejected Him and called for a professional king or a professional musical worship team:

The Zoe-like (Gnosticism, female dominated) groups teaching their sons and daughters how to perform the worship to create sad, happy or "spiritual" feelings had better get on with it, have lost the land and need a Jubilee to help find it:

For a voice of wailing is heard out of Zion, How are we spoiled we are greatly confounded, because we have forsaken the land, because our dwellings (old church fellowships) have cast us out. Jeremiah 9:19

Yet hear the word of the Lord, O ye women, and let your ear receive the word of his mouth, and teach your daughters wailing (to cry aloud to assemble), and every one her neighbour lamentation. Jeremiah 9:20

For death is come up into our windows, and is entered into our palaces, to cut off the children from without, and the young men from the streets. Jeremiah 9:21

In the story of Genun (a composite of Jabal, Jubal, Tubal-Cain and Naamah) Satan came into him in his youth and taught him how to seduce the Sethites off the Holy mountain controlled by the Word. When the Sethites fell for the wine, women and song it was a fall beyond redemption. Therefore, when they could not get out of the trap they had jumped into, they needed to seduce all of their brethren to make them feel justified.

It is consistent with this story that the musical professionals needed to train their daughters to mediate tears for the entire "congregation." To that end, the Look to the Hills and the Zoe group train new performers.

We know from Exodus, Job, Amos, Isaiah and Ezekiel that all falls from God's grace were caused by musical worship (entertainment) to replace the quiet study of God's word and right living. Therefore, God warned the Jubilators not to glory in their own talent and scholarship:

Thus saith the Lord, Let not the wise man glory in his wisdom, neither let the mighty man glory in his might, let not the rich man glory in his riches: Jeremiah 9:23

But let him that glorieth glory in this, that he understandeth and knoweth me, that I am the Lord which exercise lovingkindness, judgment, and righteousness, in the earth:

for in these things I delight, saith the Lord. Jeremiah 9:24

Is God lifted up with music; or understanding Him?

Is God lifted up with dance; or loving kindness?

Is God lifted up with drama; or judgment and righteousness?

The ritual dramas at the Dionysus theater were comedies or tragedies. When an emotive preacher, choir or drama team dramatize the crucifixion of Christ it is just their opinion of what should be added to the revealed record Jesus inspired, and it is to force artificial feelings which a prose account would not "inspire" in the non-seekers.

The mourning they tried to force John and Jesus into was a profession. They were called to artificially stimulate feelings to make the lusters feel better and to show their superiority:

And Jeremiah lamented for Josiah: and all the singing men and the singing women spake of Josiah in their lamentations (dirge beating the breasts or an instrument) to this day,

and made them an ordinance in Israel: and, behold, they are written in the lamentations. Jeremiah 35:25

Their form of singing is from:

Shuwr (h7788) shoor; a prim. root; prop. to turn, i. e. travel about as a harlot or a merchant: - go, sing. See also 7891.

The king/queen of Tyre as the incarnation of Lucifer was the harp-playing prostitute:

And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Is.23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered (as a male). Is.23:16

Music and the homosexual connection is absolute in the ancient world.

What is Like the Nations

Euripides Phoenician Women

Antigone

"I do not veil my tender cheek shaded with curls, nor do I feel shame, from maiden modesty, at the dark red beneath my eyes, the blush upon my face, as I hurry on,

in bacchic revelry for the dead,

casting from my hair its mantle and

letting my delicate saffron robe fly loose,

a tearful escort to the dead. (burrying the dead)

"Ah me! Oh, Polyneices! you were rightly named, after all; woe to you, Thebes! Your strife--not strife, but murder on murder-- has brought the house of Oedipus to ruin with dire and grim bloodshed.

What harmonious or tuneful wailing can I summon, for my tears, my tears, oh, my home! oh, my home! as I bear these three kindred bodies, my mother and her sons, a welcome sight to the Fury?

She destroyed the house of Oedipus, root and branch, when his shrewdness

solved the Sphinx's unsolvable song

and killed that savage singer.

Alas for you, father! What other Hellene or barbarian, what mortal from a noble line ever endured the anguish of such visible afflictions? Ah! poor girl, how piteous is your cry! What bird, perched on the high-leaved branches of oak or pine, will come to mourn with me, left motherless?

With cries of woe, I lament before it comes the piteous lonely life,

that I shall live for the rest of time, in streaming tears.

On which of these shall I throw my offerings first,

plucking the hair from my head? on the breast of the mother that suckled me, or beside the ghastly death-wounds of my brothers' corpses?"

Aristotle in Politics made a scientific statement:

bodily toil impeding the development of the mind

and mental toil that of the body.

"About music on the other hand we have previously raised some questions in the course of our argument, but it is well to take them up again and carry them further now, in order that this may give the key so to speak for the principles which one might advance in pronouncing about it.

"For it is not easy to say precisely what potency it possesses, nor yet for the sake of what object one should participate in it--

1. whether for amusement and relaxation, as one indulges in (1) sleep and (2) deep drinking (for these in themselves are not serious pursuits but merely pleasant, and 'relax our care,' as Euripides says;

owing to which people actually class music with them and employ all of these things,

sleep, deep drinking and music, in the same way,

and they also place dancing in the same class);

2. or whether we ought rather to think that music tends in some degree to virtue (music being capable of producing a certain quality of character just as gymnastics are capable of producing a certain quality of body,

music accustoming men to be able to rejoice rightly);
or that it contributes something to intellectual entertainment and culture

3. (for this must be set down as a third alternative among those mentioned). Now it is not difficult to see that one must not make amusement the object of the education of the young;

for amusement does not go with learning--

learning is a painful process.

Nor yet moreover is it suitable to assign intellectual entertainment to boys and to the young; for a thing that is an end does not belong to anything that is imperfect.

But perhaps it might be thought that the serious pursuits of boys
are for the sake of amusement when they have grown up to be men. But, if something of this sort is the case, why should the young need to learn this accomplishment themselves, and not,

like the Persian and Median kings, participate in the pleasure and the education of music by means of others performing it?

for those who have made music a business and profession must necessarily perform better than those who practise only long enough to learn.

But if it is proper for them to labor (work) at accomplishments of this sort, then it would also be right for them to prepare the dishes of an elaborate cuisine; but this is absurd.

And the same difficulty also arises as to the question whether learning music can improve their characters; for why should they learn to perform edifying music themselves,

Note: The term diagôgê, 'pastime,' is idiomatically used of the pursuits of cultured leisure--serious conversation, music, the drama.

The Bible uses the Greek word:

Diago (g1236) dee-ag'-o; from 1223 and 71; to pass time or life: - lead life, living.

For we ourselves also were sometimes foolish, disobedient, deceived, serving divers lusts and pleasures, living in malice and envy, hateful, and hating one another. Titus 3:3

Ye know that ye were Gentiles, carried (g71) away unto these dumb idols, even as ye were led. 1 Corinthians 12:2

Akatastatos (g182) ak-at-as'-tat-os; from 1 (as a neg. particle) and a der. of 2525; inconstant: - unstable. (James 1:8)

Music is the WORK of human body parts - God Will Not Accept It!

"One works to hammer out the copper or brass (symbol of the serpent in the garden), bends and grinds it (melody) and the perforates it (pollutes) it to make a flute.

Usually the instruments of the Old Testament are derived from polluting terms because they were often made of bones or skins of "animals which died of themselves." The flute player then looks like he/she is performing a sexual act and it embarrassed Athena and she threw her flute away and punished the male who found it and played it.

The musician works for many years and then is honored for his work of talent -- the work of his hands and mouth (Note: this was only a problem in a religious context).

Then the musician can easily be perverted into believing that they can "move the worshipers into the presence of God" or "call God down to alight on the drama dance team all sweaty from their own work.

Indeed, musical, dramatic or dancing "worship" is ceremonial legalism because it tries to worship God with the Body and deliberately closes down the mind which is the only thing God accepts since He is pure or Holy Spirit and not three bodies.

Augustine on the Psalms noted that making melody external is a work which David always performed trying to find God whom he believed had become lost:

"Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5). Praise Him not with the voice only; take up works, that ye may not only sing, but work also.

He who singeth and worketh,

maketh melody with psaltery and upon the harp.

Melody in a literal sense in Ephesians 5:19 means to "grind into bits or powder, like sop. Therefore, Paul insisted that the work be done in the human heart which eliminates physical instruments as "the work of human hands" and always believed to be the home-away-from-home for the demon called forth by striking the instrument. Paul said nothing about "singing as an act." Rather, he commanded speaking the Words of Christ one to another. Why?

As an obviously agnostic and feminist (and possibly pagan) "scholar," Shlain fails to grasp the true significance of his discovery that (in the words of the June 1999 The Quality Paperback Book Review), "the very act of reading an alphabet reinforce[s] the brain's left hemisphere (linear, abstract, predominantly masculine) at the expense of the right (holistic, concrete, visual, feminine)." From Resource.

Therefore, Augustine makes the harp figurative:

Now see what sort of instruments are next spoken of, in figure: "With ductile trumpets also, and the sound of the pipe of horn" (ver. 6). What are ductile trumpets, and pipes of horn?

Ductile trumpets are of brass: they are drawn out by hammering; if by hammering, by being beaten,

ye shall be ductile trumpets, drawn out unto the praise of God, if ye improve when in tribulation: tribulation is hammering, improvement is the being drawn out. Job was a ductile trumpet.

Music, we repeat, is the visible and audible sign that Isaiah's prophecy is being fulfilled before your eyes and ears: that women and children rule over you. This is not female and children just trying to spiritually destroy the older Generation (heard a shaker and mover even make fun of his mother at Jubilee 98). Rather, it is the effete musical styles of the world - modern gospel is a blend of hillbilly "gospel" and African "hide the worship from white master" and even Voodoo. All of these lead to the emasculating of the male gender.

But you say, "We are not really effeminate deep down inside of our spiritual nature." However, click on this link to see the Classical understanding that

to destroy the male leadership

you first get them to "act" effeminate in musical style, hand clapping and "raising unholy hands."

Professional Change agents call this "prayerful brinkmanship." However, Jesus knew that if the professional clergy could get Him in the choral dance of the Dionysus women His Authority could never be established and, indeed, Judas would have triumped over Him with his wind instruments (Psalm 41).

How to use music to make men into women: Heredotus

Click for Part Two

Kenneth Sublett

Musical Worship Index

Home Page

3.07.11 1528 7.221.19 2938. 2.23.20. 3039 10.14.22 100

Musical Worship Teams - Effeminate Worship - I