NACC 2013 Revelation 5
Randy Harris leading the NACC and Churches of Christ into a COSMIC Worship on Reevelati
Strabo in Geography 9.3 notes
- "By "melody 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 (reed or brass pipes related to the serpent) 4 players imitated the dragon as breathing its last in hissings. 5 (Strabo Geography 9.3.10)
Thērion , III. as a term of reproach, beast, creature, “ō deilotaton su thērion” Ar.Pl.439, cf. Eq.273; “kolaki, deinō thēriō” Pl.Phdr.240b; “Krētes, kaka th.” Epimenid.1; dusnouthetēton th., of poverty, Men. Georg.78; “hē mousikē aei ti kainon thērion tiktei” Anaxil.27, cf. Eup.132; ti de, ei autou tou thēriou ēkousate; said by Aeschines of Demosthenes, Plin.Ep.2.3.10; th. sunestiōmenon, of woman
Surigx , iggos, hē,
A. shepherd's pipe, Panspipe, “aulōn suriggōn t' enopē” Il.10.13; “nomēes terpomenoi surigxi” 18.526; “suriggōn enopē” h.Merc.512; “hupo ligurōn suriggōn hiesan audēn” Hes.Sc.278; “ou molpan suriggos ekhōn” S.Ph.213 (lyr.); kalaminē s. Ar.Fr.719; “kat' agrous tois nomeusi surigx an tis eiē” Pl.R.399d.
2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. “surizō” 11.2, surigmos:—the last part of the nomos Puthikos was called surigges, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.Greek Music: The prevailing doctrine of ethos, as explained by ancient Greek philosophers such as Plato and Aristotle,
was based on the belief that music has a direct effect upon the soul and actions of mankind.
As a result, the Greek political and social systems were intertwined with music, which had a primary role in the dramas of Aeschylus, Sophocles, Euripides, and Aristophanes.And the Grecian educational system was focused upon musica and gymnastica,the former referring to all cultural and intellectual studies, as distinguished from those related to physical training. (See ethos, dramatic literature.)
In Greek mythology, there are some eighty such mythological characters connected with some kind of "mythical sound event" (Restani 1995). These events tend to gravitate around a few pivotal figures (like the Muses and Apollo Abaddon, apollyon) and the euretai, inventors of musical instruments: Athena (aulos), Hermes (lyra and syrinx), Pan (syrinx), Cybele (tympana), Tyrrhenian (salpinx). The events emphasize also two main themes. The first is the teaching, conservation, control and transmission of the mousike, prohibitions and transgressions included; the second concerns the effects of sound on the performer and the audience, like, for instance, oblivion (Sirens), delight and sorrow (Phoemius and Demodox), bewitchment (Orpheus), calm (Achilles), attraction (Amphion), trance (Dionysus).
See Ken Cukrowski claiming that the old and new testaments authorizes women prophets. Maybe "covered"
Orpheus enchants the Thracians. Berlin, Antikenmuseum, 3172 (detail)
Ken Cukrowski Women in Ministry at ACU
Wiley Clarkson one of Ken Cukrowski's disciples
Mike Cope A Cappella Music
Mike Cope Women Worship Leaders
Pepperdine 2013 Annual Bible Lectures Mike Cope features Rick AtchleyAs we prepare the future of Bible Lectures and Church Relations at Pepperdine, Mike Cope and I are committed to doing all we can to build a network around and supportive programs for these young preachers. Though they have freed themselves from sectarian constrains, many have chosen to stay with their churches. At least for now. In the coming years, churches of Christ will need to respond, demonstrably, to the Restoration cry coming from this young generation and in so doing may restore their full role of influence in the unfolding Christian story.The Biggest Lie is the Drive led by the NACC to convince everyone that Churches of Christ SECTED out of the Christian Churches in 1906. The Lipscomb Mantra is that the Campbells blundered by opposing the Disciples of Christ in several realms:
- The Name of the Church
- Denominational organizations and Creeds
- The role of Baptism as FOR the Remission of Sins
- Fellowship (attend, defend, support) most denominations.
- The approval of instrumental music
- The role of women in "worship"
- The Apocalyptic view of the Millennium and a few more.
Therefore, the big lie is that the "young preachers" are clamoring for a RESTORATION of the Disciples of Christ--Christian Churches. The fact is that false teachers who know nothing about the Bible set themselves the task to RESTRUCTURE all churches of Christ under the documents and hand holding of agents from the NACC.
- Alexander Campbell denied that there COULD be unity with the Stoneites before the small meeting in 1832
- Barton W. Stone denied that their COULD be unity with the Reformers as long as they taught the necessity of baptism.
- After the agreement on principles in 1832 there was no UNION of the groups. Campbell mocked Stone for boasting that the Reformers had come over to the Christians and proved that a few handshakes did or would ever UNIT because the Reformers denied the demand for a Creed. Alexander Campbell insisted of properly baptized believers that THEY COME OUT OF BABYLON.
This is what Rick Gibson and Mike Cope intend to hatch out:
Littleton Church and in fine print A Church of Christ. Boys and fat girls singing, lifting, instrumental music: hard Rock and roll, Drama that girly stuff. They have LEGACY WORSHIP which is the big lie that Churches of Christ are based on traditions
This is spitting in the face of Jesus and Paul who said that we should pray for a Quiet and peacful life: He concludes that the women must not RULE OVER as long as they use a tune.
THE CHRISTIAN STORY HAS UNFOLDED: JUST WAITING FOR THE TRUMPET SOUNDS AS SIGNS OF JUDGMENT.
WE HAVE ALREADY HEARD THE SOUNDS-LIKE HARPS WHICH IS A SIGN OF JUDGMENT AND THE DEMAND TO PREACH THE GOSPEL. No one PLAYS harps "up in the air" over Spiritual Zion.
JESUS SAID THAT DOCTORS OF THE LAW TAKE AWAY THE KEY TO KNOWLEDGE. SO, IF IT IS OK THE MASSES OF CHURCH OF CHRIST WILL NOT JOIN IN THE URGE FOR WINE, WOMEN AND INSTRUMENTAL MUSIC.
There is an emphasis on the Book of Revelation. Rick Atchley speaks about about the beginning of new things. Rev 21:5 is mentioned as a proof chapter. The emphasis is on the Seven Churches: It is important to note that the letters begin with a message from Jesus in His post-glorifieid state and ends with warning us to hear what the SPIRIT says to the churches. Claiming that "a" spirit informs a new group of scholars might be true but not A Holy Spirit. We will post quick studies of the text which will be replaced by self-speak lectures. Revelation 21 NAMES those who will NOT be in the New Jerusalem but will be cast alive into the Lake of Fire.
Mike Cope Women Worship Leaders
Mike Cope A Cappella Music
"Most are talking about the strengths of the tradition — a tradition that is preserved by several tribes. "
Worship Androgyny The Pagan Sexual Ideal Smith coming to a church "worship service" near you
We admire the sincerity and dedication to launch out and plant new churches in rough soil. However, it may be the case that most of the younger generation simply do not grasp that Christianity is a discipline: A School of Christ. It is a predestined, Christ affirmed fact that youth never did and will never flock to a place where the only Driven Purpose is to teach the Word as it has been taught. In Romans 15 the command is to use one mind and one mouth using "that which is written for our learning." The MANY are called but FEW are chosen.
Luke 17:20 And when he was demanded of the Pharisees, [speakers, singers, instrument players in Ezekiel 33]It has no religious observations because the kingdom of God is within you. Dave describes the Ethos church in various ways but you have to be very discerning to grasp that the Gospel worked so wonderfully well that he decided that he needed to come to God's aid and add instrumental music.
when the kingdom of God should come,
he answered them and said, The kingdom of God cometh not with observation:
Luke 17:21 Neither shall they say, Lo here! or, lo there!
for, behold, the kingdom of God is within you.
Luke 17:22 And he said unto the disciples,
The days will come, when ye shall desire to see one of the days of the Son of man, and ye shall not see it.
Luke 17:23 And they shall say to you, See here; or, see there:
go not after them, nor follow them.
Observātiō ōnis, observo, a watching, observance, investigation:
“observationi operam dare,
observationes animadvertebant, your searches for evidence: siderum.— Circumspection, care, exactness: summa in bello movendo.
An office, duty, service (eccl. Lat.): “Dei sui et expiationis “sermonis antiqui,
“religionibus suam observationem reddere,” Val. Max. 1, 1, 8: “Christianitatis, Cod. Th. 12, 1, 112: divina,”
E. Display, outward show (eccl. Lat.): “non venit regnum Dei cum observatione,” Vulg. Luc. 17, 20.—
JESUS CHRIST WARNED YOU NOT TO FLOCK TOGETHER WHERE EVERYTHING SEEMS TO BE SUPERNATURAL.
The urge is to Restore the Restoration Movement: this is informed by writers who do not know the bible or the Restoration Goal promoted by John Calvin urging the "restoration of the church of Christ." One of the ways was to REMOVE things like instrumental music. They want to be Christians only and Lindsay Hartselle says that "young Christians don't look for the name "church of Christ." That may be true because the air of superiority does not grasp that the once-Christian colleges have molded and forced that viewpoint. The "looking for how we can connect with God" is pretty pretentious.
The ethos word was used by the Greeks in connection with the pagan rituals to promote the supernatural power to influence emotions, behaviors and morals. When the women (always even in bad society) sang and played instruments it, then and now, brings on a state of ecstasy or Enthus-O-Mania. The gods never spoke to a sane person and therefore the Muses (dirty adulteresses) had to influence a state of mania and talented people need not apply. Paul defined the Corinthians Church in terms of musical instruments and said that to the unbelievers they would NOT be any different than the Mad Women of Corinth. While feeling superiority they are really influenced by churches such as Harpeth Hills in Brentwood as enablers.
FIRST, YOU SHOULD NOT BE AS AROUSED AS THOSE SEEKING A BETTER WAY THROUGH PLANNING: The Greeks believed that the "spirit" of a theater, arena or other place pervaded and influenced whatever happened there.
Many will say to me in that day, Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works? Matthew 7:22
Prophēt-euō one who speaks for a god and interprets his wil
A. to be aprophētēs or interpreter of the gods, “manteueo, Moisa, prophateusō d' egō” Pi. l.c.; tis prophēteuei theou; who is his interpreter? E.Ion 413
IV. to be a quack doctor, hē mania . . prophēteusasa with oracular power, Pl.Phdr.244d:
-prophētēs interpreter, expounder of the will of Zeus, of Tiresias, Pi.N.1.60; Bakkhou p., perh.
of Orpheus, E.Rh.972; [Dionusou p., of the Bacchae, Id.Ba.551
Delphic Apollo [Abaddon, Apollyon]
“Dios p. esti Loxias patros” A.Eu.19; of the minister [female] and interpreter at Delphi, Hdt.8.36,37
“Mousan p.” B.8.3, cf. Pl.Phdr.262d.Prophêtis [fem. of prophêtês]of the Pythia, 2. prophet's wife, LXXIs. 8.3.
(Puthia). The priestess of Apollo at Delphi who pronounced the oracles. See Delphi; Oraculum.
Puthios [u_; i_ metri gr. in h.Ap.373], a, on, ( [Pu_thô] ) Pythian, i.e. Delphian, epith. of Apollo, l.c., Pi.O.14.11, etc. (P. alone is f.l. in E. Ion 285); enPuthiou in
"Singing served as a means of inducing ecstatic prophecy (speaking in tongues). Thus the essential relationship between music and prophecy can be clearly seen. This relationship also explains why the expression for "making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67.
The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)
Dialog of Phaedrus and Socrates notes:
- It might be so if madness were simply an evil;
- but there is also a madness which is a divine gift,
- and the source of the chiefest blessings granted to men.
- For prophecy is a madness,
- and the prophetess at Delphi and the priestesses at Dodona
- when out of their senses have conferred great benefits on Hellas,
- both in public and private life,
- but when in their senses few or none.
And I might also tell you how the Sibyl and other inspired persons have given to many an one many an intimation of the future which has saved them from falling. But it would be tedious to speak of what every one knows.
There will be more reason in appealing to the ancient inventors of names, who would never have connected prophecy (mantike) which foretells the future and is the noblest of arts,
And when the Muses came and song appeared they were ravished with delight; and singing always, never thought of eating and drinking, until at last in their forgetfulness they died.The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)
And then will I profess unto them, I never knew you: depart from me, ye that work iniquity. Matthew 7:23
SECOND, Jesus called the Scribes and Pharisees, hypocrites. In the Ezekiel 33 version by the Spirit OF Christ He names slick speakers, singers and instrument players. The MARK was that people were there for the EVENT: the aroma of anything which attracts the masses.
THIRD, Paul said Your assemblies do more harm than good:Matt 15:6 And honour not his father or his mother, he shall be free.
.......... Thus have ye made the commandment of God of none effect
.......... by your tradition.
Matt 15:7 Ye hypocrites, well did Esaias prophesy of you, saying,
Hupokrites I. interpreter or expounder, “tēs di' ainigmōn phēmēs” Pl.Ti. 72b; “oneirōn”
II. in Att., one who plays a part on the stage, actor, Ar.V.1279, Pl.R.373b, Chrm. 162d, Smp.194b, X. Mem.2.2.9, etc. Krino judge.
2. of an orator, poikilos hu. kai perittos one who delivers, recites, declaimer, “epōn” rhapsōdoi; rhapsodist, D.S.14.109, 15.7; this sense or sense 11.1 is possible in PCair.Zen.4.44 (iii B. C.).
3. metaph., pretender, dissembler, hypocrite, LXX Jb.34.30, 36.13, Ev.Matt.23.13, al.
Poikilos, 2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōn”[Guitar] Id.N.4.14; “dedaidalmenoi pseudesi poikilois muthoi” Id.O.1.29; of style, “lexis poiētikōtera kai p.” Isoc.15.47 “skhēmatismoi” . [worship scheme]
Demosthenes, Speeches [15] but in fact he has deserted the path of right and justice, he has flinched from the proof of recent guilt, and then, after a long interval, he makes a hotchpotch of imputation and banter and scurrility, and stands on a false pretence, denouncing me, b
5. hupokrinetai, he plays his part: cf. etragôidei in § 13.6. The word implies not only pomposity dissimulation.-
Rhêtor-ikos , ê, on, oratorical, hê rhêtorikê (sc. technê). These are the craftsmen lumped with the singers, musicians and "grinder" doing merchandise in the house of prayer. Rev. 18:22
LATIN: Canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing, preach to deaf ears. occasion for singing, i. e. for imagination, fiction, Of an actor:
1Cor. 11:17 Now in this that I declare unto you I praise you notA Sectarian or Heretic is SPECIFICIALLY one who uses the performing arts to take away your property: maybe your soul.
that ye come together not for the better, but for the worse.
1Corinthians 13:1 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.1Cor. 11:18 For first of all, when ye come together in the church,
La^l-eō ,Mark of the Locusts
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 [flute] laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echo, magadin lalein sound the magadis, [double flute]
Aggelos , of a loquacious person 2. generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet,
I hear that there be divisions among you; and I partly believe it.
1Cor. 11:19 For there must be also heresies among you,
that they which are approved may be made manifest among you.
1Cor. 11:20 When ye come together therefore into one place,
this is not to eat the Lord’s supper.
Hairesis A. taking, especially of a town, Hdt.4.1, etc.; hē basileos hai. the taking by the king, Id.9.3; “elpizōn takhistēn -sin esesthai” Th. 2.75; hai. dunameōsacquisition of power Especially a religious party or sect, of the Essenes, J.BJ2.8.1; the Sadducees and Pharisees, Act.Ap.5.17, 15.5, 26.5; the Christians, ib.24.5,14, 28.22, generally, faction, party, App.BC5.2.Dave Clayton and Ethos misses the message of Revelation 5 and just SKIPS Revelation 17 which warns about the Babylonian Mother of Harlots. In Revelation 18 she uses "lusted after fruits" which are also identified by Amos. John marks out false preachers, singers and instrumnt players and calls them SORCERERS who HAD deceived the whole world that musical paganism was devoted to the ETHOS part as opposed to the ETHICAL and LOGOS "School of Christ."
The INSTRUMENTAL Groups became SECTARIANS when they IMPOSED something not held by the Bible or most of church history. To call people sectarian or traditionalists because they refuse to BEGIN TO DO what they under the name Church of Christ never did because it was outlawed even in the Church in the Wilderness. Christ the ROCK ordained the qahal, synagogue or Church to QUARANTINE the godly people from the Jacob-cursed tribe of Levi. They had been abandoned to worship the starry host because of musical idolatry at Mount Sinai and were sentenced to captivity and dath beyond Babylon. No one can defend instrumental music or a temple-like institution and are able to read BLACK text on BROWN paper in Acts 7.
God hates the "songs in the temple" in Amos and He hates sowing of discord. This is exactly the purpose driving these men.
They have "led" poor Dave Clayton and others--as PLANNED--to use music derived from mystery meaning "to make the lambs dumb before the slaughter." Heaven knows that they have even boasted about making people dumb about the Biblical and Historical use of musical instruments as the MARK which says "we will NOT preach the Word by READING the Word" while Jesus gives us REST from the laded burdens and burden laders for whom God gives no role and no dole:
FOURTH, Paul commanded the women to be silent so they would not bring on wrath or ORGY: maybe some of the arousal at Ethos is an orgy which Satan is using to stop the work of teaching the WORD as it has been taught.
See Mike Cope on Women Worship Leaders.
THE COMMAND IS TO PREACH THE WORD BY READING THE WORD. Therefore
First: pray that everyone be QUIET and PEACEABLE.
1Timothy 2:1 I exhort therefore, that, first of all, supplications, prayers, intercessions,
and giving of thanks, be made for all men;
1Timothy 2:2 For kings, and for all that are in ;
that we may lead a quiet and peaceable life in all godliness and honesty.
This is not an ACT of worship as a performance for which women EQUALITY. Paul will command the women to be quiet and sedentary because it was only women and effeminate males who could fall into the wrath or ORGE of performance religion
SOME GREEK AND LATIN DEFINITIONS OF A QUIET AND PEACEABLE LIFE
HOW TO REST
Ana-pauō make to cease, stop or hinder from a thing, 3. bring to a close, “ton logon”
Pauō , Stop Singing, aoid-ē spell, incantantations (arousal songs0
Stop the sorcery Pharmakon A. poisoner, sorcerer, magician, LXXEx.7.11 (masc.), Ma.3.5 (fem.), Apoc.21.8, 22.15. when he stopped playing,
Revelation 18
HOW TO BE QUIET
HOW TO BE PEACABLEQuĭesco 4. to make a pause in speaking: quiescere, id est, hēsukhazein
A. To suffer or allow quietly, to peaceably permit a thing to be done
B. Neutr., to cease, leave off, desist from any thing: “quiesce hanc rem modo petere,
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. : “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.:
All of the Muses were female goddesses and dirty adulteresses
Mūsa , ae, f., = Mousa, I. a muse, one of the goddesses of poetry, music
Tranquillus , I. quiet, calm, still, tranquil, Opposite to motion or excitement (syn. serenus).
perturbātĭo, I. confusion, disorder, disturbance. Mental or personal disturbance, disquiet, perturbation:
hēsukh-ios still, quiet, at rest1Timothy 2:9 In like manner also,
that women adorn themselves in modest apparel,
with shamefacedness and sobriety;
not with broided hair, or gold, or pearls, or costly array;
1Timothy 2:10 But (which becometh women professing godliness) with good works.
1Timothy 2:11 Let the woman learn in silence with all subjection.
1Timothy 2:12 But I suffer not a woman to teach,
nor to usurp over the man, [Aner, Presbyter]
but to be in silence.
Paul did not use a generic person but man is:
Anēr man, opposed to woman (anthrōpos being man as opp. to beast),
IV. man emphatically, man indeed, Od.18.53; but a. alone always means a man in the prime of life, esp. warrior, V. husband, presbutēs” X.Smp.4.17;
Second: FOLLOWING THE Jesus Pattern: the ONLY purpose of an assembly is as A School of the Word.
1Timothy 2:3 For this is good and acceptable in the sight of God our Saviour;
1Timothy 2:4 Who will have all men to be saved,
and to come unto the knowledge of the truth.
Most preachers, singers and instrument players perform the historic role of TAKING AWAY THE KEY TO KNOWLEDGE.
When God put MEN or ANERS in full authority it was to Teach that which had been taught and to refute or silence anyone who opposed that which had been taught. MEN in this case specificially EXCLUDES women. Now, the SAVED men is the Greek Word:
Anthrōpos
A. man, both as a generic term and of individuals, Hom. etc., opp. gods
3. in pl., mankind, “anthrōpōn . . andrōn ēde gunaikōn” Il.9.134;
II. as fem., woman, Pi.P.4.98, Hdt.1.60, Isoc.18.52, Arist.EN1148b20; contemptuously, of female slaves,
Andr-ōn , ōnos, ho, A. men's apartment in a house
Dave Clayton's new Ethos Church (not A Church of Chist) is pretty silent about their instrumental music focus and that is the best way to get the innocent hooked. However, the ETHOS Word seems to be God-Given because Dave Clayton, Mike Cope and Pepperdine's effort to spread the virus among young preachers. The ETHOS word specificial points to the
Dave Clayton just skips Revelation 19 and NEGLECTS to include the instrumentalists and defines the MARK OF THE BEAST.
Hdt. 5.6 Among the rest of the Thracians [source of IMPURE religion], it is the custom to sell their children for export and to take no care of their maidens, allowing them to have intercourse with any man they wish. Their wives, however, they strictly guard, and buy them for a price from the parents. [2] To be tattooed is a sign of noble birth, while to bear no such marks is for the baser sort.Dionysus or Bacchus was one of the INSTRUMENTAL sects in Rome: Paul outlawed any doubtful disputations about WHEN and WHERE they bought their food in the Agora or Marketplace.
The idler is most honored, the tiller of the soil most scorned;
he is held in highest honor who lives by war and robbery
Hdt. 5.7 These are most notable of their usages. They worship no gods but Ares, Dionysus, and Artemis. Their princes, however, unlike the rest of their countrymen, worship Hermes above all gods and swear only by him, claiming him for their ancestor.
ETHOS IS A WARNING SHOT THAT PRIDE LIFTS UP AND MUSICAL WORSHIP HAPPENS WHICH IS DEFINED AS DEMON WORSHIP in Exodus 32, 1 Corinthians 10, Romans 10 and all recorded history. Lucifer, as the Spirit OF Christ warned was the "singing and harp playing prostitute in the garden of Eden." He/she/it is also ZOE.
Ethos , A. custom, habit, e. to prosthe tokēōn Just your traditions
Ethos If you "lade burdens" as burden laders your character is not moral. If you "create mental anxiety" through the performing arts then your character is HABITUAL or TRADITIONAL but it is not moral.WHEN YOU TAMPER WITH THE WORD GOD SENDS STRONG DELUSIONS OR MUSICAL MANIA. Lying Wonders are MARKED by performance speaking, singing, playing instruments or drama. THAT is why the long-abused youth FLOCK to Ethos?
A. an accustomed place: hence, in pl., haunts or abodes of animals, “meta t' ēthea kai nomon hippōn” Il.6.511; [“suas erxan kata ēthea koimēthēnai” Od.14.411;
Accustomed place (traditionalism)
beltiōn tēs poleōs to ē. D.20.14; esp. moral character, OPPOSITE. dianoia, Arist.EN1139a1; as the result of habit, “to pan ē. dia ethos” Pl.Lg.792e,
Plat. Laws 790e they use a kind of crooning noise; and thus they literally cast a spell upon the children (like the victims of Bacchic frenzy) by employing the combined movements of dance and song as a remedy.2. “ēthōn te kai pathōn mimēsis” D.H.Pomp.3; “to ē. praos” Pl.Phdr.243c: less freq. in dat., agoraios tō ē. Thphr.Char.6.2, “
Athenian
Both these affections are forms of fright; and frights are due to a poor condition of soul. So whenever one applies an external shaking
Plat. Laws 7.790d “Corybantism” is a technical term for a state of morbid mental excitement (cp. “tarantism”) derived from “Corybantes,” the name given to the frenzied worshippers of Bacchus.Plat. Laws 7.791a to affections of this kind, the external motion thus applied overpowers the internal motion of fear and frenzy, and by thus overpowering it, it brings about a manifest calm in the soul and a cessation of the grievous palpitation of the heart which had existed in each case. the Bacchants, who are awake, it brings into a sound state of mind instead of a frenzied condition, by means of dancing and playing, with the help of whatsoever gods
katerg-azomai , III. work at, practise, “allēn meletēn k.” Pl.Ti.88c.
in pass. sense, “aretē apo sophiēs katergasmenē” Hdt.7.102.
2. c. acc. pers., make an end of, finish, kill,
Aretē b. of the gods, chiefly in pl., glorious deeds, wonders, miracles
of God, “doxa kai a.” 2 Ep.Pet.1.3: in pl., glories, Thgn.30, Pi.N.10.2, al.;
n LXX freq. of the praises of God,
Sophia A. cleverness or skill in handicraft and art, in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8, in divination, S.OT 502
Pind. O. 1 From there glorious song enfolds the wisdom of poets,1 so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts,
For me the Muse tends her mightiest shaft of courage. Some men are great in one thing, others in another; but the peak of the farthest limit is for kings. Do not look beyond that! [115] May it be yours to walk on high throughout your life, and mine to associate with victors as long as I live, distinguished for my skill among Greeks everywhere.
Kronos , ho, Cronos, KAIROS
2. ho tou K. (sc. astēr) the planet Saturn, Id.Metaph.1073b35, Mu.392a24, 399a11; so later Kronos, ho, Placit.2.32.1, Cleom.2.7; hē tou K. hēmera Saturday, D.C.37.16.
THE SIGN OF THE TIMES?
Baccho . . . Apolline: abl. of cause with insignis.—Thebas: according to the myth Bacchus was born at Thebes.—Delphos: the seat of the famous oracle of Apollo.
Apollo is Abaddon or Apollyon who UNLEASHES the Locusts or Muses in John's world..
Ăpollo , ĭnis (earlier Ăpello , like hemo for homo, Paul. ex Fest. p. 22 Müll.;
= Apollōn, Apollo, son of Jupiter and Latona, twinbrother of Diana, and god of the sun. On account of his omniscience, god of divination;
and since he communicated oracles in verse, god of poetry and music, presiding over the Muses,
THE SIGN a charismatic leader
Insignis , e, adj. in-signum, I. distinguished by a mark; remarkable, noted, eminent, distinguished, prominent, extraordinary “totā cantabitur urbe,” i. e. notorious, Hor. S. 2, 1, 46: “spectaculum,” Tert. Spect. 12: “religio,”
insignĭter , remarkably, extraordinarily, notably
canto , to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.). “saltare et cantare,” Cic. Cat. 2, 10, 23: for imagination, fiction, Juv. 4, 35.
III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm, “cantata Luna,” exorcised by magic, Prop. 4 (5), 5, 13
Spectācŭlum exposed to public view, in the sight of all,
A. Lit., in the theatre, circus, etc., a public sight or show, a stageplay, spectacle (cf.: “munus, ludi, fabula): spectacula sunt tributim data,” Cic. Mur. 34, 72: “scenae,” Ov. A. A. 3, 351: “ludorum, “resonant spectacula plausu,” Ov. M. 10, 668:
C. A wonder, miracle: spectacula septem, the seven wonders of the world: “
D. Delphis , ĭdis, f., = Delphis, a priestess of the Delphic Apollo, Mart. 9, 43, 4
Hes. Th. 137 Hail, children of Zeus! Grant lovely song... But afterwards she lay with Heaven and bore deep-swirling Oceanus, Coeus and Crius and Hyperion and Iapetus, [135] Theia and Rhea, Themis and Mnemosyne and gold-crowned Phoebe [Apollyon] and lovely Tethys. After them was born Cronos [Kairos] the wily, youngest and most terrible of her children, and he hated his lusty sire.
Astēr , ho, gen. eros: dat. pl.
II. metaph. of illustrious persons, etc., “phanerōtaton aster' Athēnas” E.Hipp.1122 (lyr.); “Mousaōn astera kai Kharitōn
d. dramatis persona, eisagei andra ē gunaika ē allo ti ē. Arist.Po.1460a11, al.
Agoraios A. in, of, or belonging to the agora, Zeus A. as guardian of popular assemblies
Hermēs A. as patron of traffic but = traders (i.e. sutlers), Ael.Tact.2.2:—hence, the common sort, low fellows
2. of things, vulgar, agoraios public speaker, drawn by Ammon.Mim-ēsis , eōs, hē, A. imitation, II. representation by means of art, Pl.Sph.265b, R.598b, al.; esp. of dramatic poetry, Arist.Po.1447a22, al. III. generally, proper to the agora, skilled in, suited for forensic speaking,Daimōn , “daimon” Theoc.2.11, ho, hē, god, goddess, of individual gods or goddesses, (while theos denotes a God in person),
2. the power controlling the destiny of individuals: hence, one's lot or forlune. I will deal thee fate, i.e. kill thee,
personified as the good or evil genius of a family or person,
Musta^gōg-os , on, (mustēs, agō)Pathos [Logos is opposite to poetry, music or your personal experiences]A. introducing or initiating into mysteries, IG5(1).1390.149 (Andania, i B.C.), Plu.Alc.34, etc.
V. Rhetoric emotional style or treatment, to sphodron kai enthousiastikon “pathos poiein” Arist. Rh.1418a12; “pragmata p. ekhonta” Plu.2.711e, etc.: pl., “pathē diestōta hupsous” Longin.8.2.
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”
Enthousi-astikos
A. inspired, “phusis” Pl.Ti.71e; Especially by music, Arist.Pol.1340a11; “hē e. sophia” divination, Plu.Sol.12; “e. ekstasis” excitement, Pl.Phdr. 263d:
II. Act., inspiring, exciting, of certain kinds of music, Arist.Pol.1341b34; “nosēmata manika kai e.” p. “-ōtera, akousmata” Pl.Ep. 314a.
Sophia A. cleverness or skill in handicraft and art, as in carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412; of the Telchines, Pi.O.7.53; hē entekhnos s., of Hephaestus and AthenaSēmainō 3. of the Delphic oracle, “oute legei oute kruptei alla sēmainei” Heraclit.93; so of omens, X.Mem.1.1.2, etc.; “s. en tois hierois” Id.An.6.1.31;
In music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8 in divination, S.OT 502
2. In war or battle, give the signal of attack, etc., Th.2.84, etc.; in full, “s. tē salpiggi” And.1.45, X.An. 4.2.1,
STRIKE THE FLAG IN THE EKKLESIA
In Romans 15 after silencing the Dionysiacs in Romans 14 OUTLAWED self-pleasure. The Latin is Placeo which includes all of the speaking, singing, playing instruments, dancing (contrary to Dave) or anything which caused mental excitement or the laded burden Jesus died ot silence.THE MEANING OF SECTARIANISM OR HERESY POINTS TO THE MUSICAL SECTS INTENDING TO LIFT YOU UP WITH MUSIC AND DRAMA SO THEY CAN "TAKE AWAY YOUR PROPERTY AND USE IT FOR THEMSELVEC.
Aphair-eō , Ion. apaireōDave Clayton is a disciple of Mike Cope and Rich Atchley. Therefore, the ETHOS is a mark or a provided way of escape from Dave's Purpose Driven Church;
—take away from:— b. exclude, separate, “to Hellēnikon hōs hen apo pantōn aphairountes khōris”
bereave or deprive of, 3. folld. by mē c. inf., prevent, hinder from doing to be robbed or deprived of a thing, ti A.Ch.962 (lyr
Hdt.3.137,
includes:
Rick Atchley: The era of the progressive Church of Christ is over.
Back in the 80’s you could go to any major city, especially in the South, and you could find a progressive Church of Christ — and if they would preach grace, and if they would put words on a screen, and if they would let divorced people place membership, they would grow.More Mark of Ethos and Pathos as THE way to be a HERETIC by taking away other people's property.
The generation of Boomers has enough denominational loyalty that they’re going to find the least legalistic
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!
Jesus cast the PIPERS trying to force people to lament or sing and dance into the MARKETPLACE. They were like MEN who had become CHILDREN. In Isaiah 3 the Spirit OF Christ warns about women and children or women and the effeminate ruling over.Sophia , Ion. -iē, hē, prop. A. cleverness or skill in handicraft and art
of the Telchines, Pi.O.7.53; hē entekhnos s., of Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and Palamedes, X.Mem.4.2.33, cf. 1.4.2; in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry
in divination, S.OT 502 cunning, shrewdness, craft, Hdt.1.68, etc.; to loidorēs ai theous ekhthra s. Pi.O. 9.38.
sophia tis apōsetai” Heracl.615 (lyr.); to sophon ou sophia (v. “sophos” 1.3) Ba.395 (
You will remember that Paul cast out the PYTHIAN SPIRIT usually using females to carry out their plot.Agoraios a^g, on, (fem. -aia epith. of Artemis and Athena,
belonging to the agora, Zeus A. as guardian of popular assemblies, Hdt.5.46, A.Eu.973 (lyr.), E.Heracl.70; Hermēs A. as patron of traffic,
2. of things details of market-business, Pl.R.425c.
those who frequented the agora, Hdt.1.93, 2.141
but = traders (i.e. sutlers), Ael.Tact.2.2:—hence, the common sort, low fellows, Ar.Ra.1015, Pl.Prt.347c, Thphr.Char.6.2; of agitators, Act.Ap.17.5, Plu.Aem.38:
III. generally, proper to the agora, skilled in, suited for forensic speaking,
Hdt. 1.93 It was built by the men of the market and the craftsmen and the prostitutes. [3] There survived until my time five corner-stones set on the top of the tomb, and in these was cut the record of the work done by each group: and measurement showed that the prostitutes' share of the work was the greatest. [4] All the daughters of the common people of Lydia ply the trade of prostitutes, to collect dowries, until they can get themselves husbands; and they themselves offer themselves in marriage
Heredotus also told Cyrus how to take CAPTIVE and NEUTER them so that they could never again be a threat.
How to Make Men Into Women With Music
Grant, then, forgiveness to the Lydians, and to make sure of their never rebelling against thee, or alarming thee more,
send and forbid them to keep any weapons of war, command them to wear tunics under their cloaks, and to put buskins upon their legs,
..........and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein),
..........and shop-keeping (Hucksterism).So wilt thou soon see them become women instead of men,
and there will be no more fear of their revolting from thee."-[4] Ludoisi de sungnômên echôn tade autoisi epitaxon, hôs mête aposteôsi mête deinoi toi eôsi: apeipe men sphi pempsas hopla arêia mê ektêsthai, keleue de spheas kithônas -[khiton David's garment] te hupodunein toisi heimasi kai kothornous hupodeesthai, proeipe d' autoisi -kitharizein te kai psallein kai kapêleuein [prostitutes, petty trade, playing tricks, corrupting] paideuein tous paidas. kai tacheôs spheas ô basileu gunaikas ant' andrôn opseai gegonotas, hôste ouden deinoi toi esontai mê aposteôsi."
The word kitharizo means to PLAY THE CITHARA and does not include singing.
- -Kitharizô 1 [kitharis] to play the cithara, phormingi [Apollo, Abaddon] kitharize Il., Hes.; lurêi eraton kitharizôn Hhymn. (so that there can have been no great difference between the kithara, lura, and phorminx ); kitharizein ouk epistatai, of an uneducated person,
-Kithar-isis , eôs, hê, playing on the cithara, Pl.Prt.325e; k. psilê, i.e. without the voice, Id.Lg.669e, cf. Pae.Delph.15; aulêsis kai k. Phld.Mus.p.23 K.
-Arassô ,of any violent impact, with collat. notion of rattling, clanging, as of horses, hoplais, pound in a mortar, strike with a shower of stones.
a). kitharēn strike the lyre, Orph.A.382; humnon, melos, etc., Nonn.D.1.15,440, etc.
2. c. dat. modi, arassein tina oneidesi, kakois, assail with reproaches or threats,
II. Pass., to be dashed against, dash one against the other
Pound in a mortar, “holmō a.” Nic. Th.508
Therefore, it could not be redundant. The word psallo means to PLUCK or to make a noise by a harp string or bow string. It later came to mean JUST SING. Without the word KITHARIZEIN Heredodus would have had to used PSALLO and then define WHAT is to be plucked.
-Ovid Elegy 2.6: On the Death of His Mistress's Parrot. By Creech.
Alas! poor Poll, my Indian talker, dies!
Go, birds, and celebrate his obsequies;
Go, birds, and beat your breasts, your faces tear,
And pluck your gaudy plumes instead of hair;
Let doleful tunes the frighted forest wound,
And your sad notes supply the trumpet's sound.
Why, Philomel, dost mourn the Thracian rage?Orpheus is the Thracian who invented musical "worship" called threskia.
Psittacus, Eois imitatrix ales ab Indis,
Occidit -- exequias ite frequenter, aves!
Ite, piae volucres, et plangite pectora pinnis
Et rigido teneras ungue notate genas;Horrida pro maestis lanietur pluma capillis,
Pro longa resonent carmina vestra tuba!
Quod scelus Ismarii quereris, Philomela, tyranni,-In Plato's Ion 881 we see both the singing and playing
O you, who cause a voice to sing from your seven-stringed lyre, a voice that lets lovely-sounding hymns peal forth in the rustic lifeless horn,
ô tas heptaphthongou melpôn
-Hepta-phthongos , on,
kitharas enopan, hat' agraulois
kerasin en apsuchois achei
mousan humnous euachêtous,
A. seven-toned, kithara E.Ion881 (lyr.); sumphônia Nicom.Exc.6 .-Melpô, Verb, celebrate with song and dance, 2. intr., sing, aulôi play on, to dance a war-dance in honour of Ares, by a bold metaph. for to fight on foot
-Enopê A. crying, shouting, as of birds, especially war-cry, battle-shout,,
Agraulois: field . crying, shouting, as of birds, “Trōes men klaggē t' enopē t' isan, ornithes hōs” Il.3.2; esp. war-cry, battle-shout, “makhē enopē te” 12.35, 16.246, et
3. of things, sound, “aulōn suriggōn t' enopēn” Il.10.13; iakhēn t' enopēn te, of thunder, Hes.Th.708; “kitharas e.” E.Ion882 (anap.); “sarkōn e. ēd' osteōn” crushing, Pi.Fr.168.—Ep. and Lyr. word, used by E. in lyr.
-Keras I. the horn of an animal, in Hom. mostly of oxen. III. anything made of horn,
2. of musical instruments, horn for blowing, “sēmēnai tō kerati” X.An.2.2.4, cf. Arist.Aud.802a17; also, the Phrygian flute, because it was tipped with horn (cf. Poll.4.74), “aulein tō k.” Luc.DDeor.12.1; “kai kerati men aulein Turrēnoi nomizousi” Poll.4.76, cf. Ath.4.184a.Apsuchois achei lifeless sound
Mousan Muses under Apollo, Abaddon or Apollyo
Humnos in praise of gods or heros[885] son of Leto, I will blame you before this light. You came to me, your hair glittering with gold, when I was plucking into the folds of my robe yellow flowers [890] to bloom with golden light; grasping my white hand in yours, you led me to the bed in the cave, hearing me call on my mother, god and consort, [895] shamelessly paying homage to Aphrodite. I, the unhappy one, bore you a son, whom in fear of my mother I placed in that bed of yours, [900] where you joined with me, the miserable, the unfortunate one, in unhappy union. Alas! and now my son and yours, oh cruel one, is gone, torn apart, a feast for birds;
[905] but you are singing to the lyre, chanting hymns.
Asphasia
Modern scholars agree that the basic facts of Aspasia's life as recorded by Diodoros the Athenian (FGrHist 372 F 40 ), Plutarch (Plut. Per. 24.3 ) and the lexicographers are correct. She was born in the city of Miletus between 460-455 B.C., the daughter of Axiochus. Miletus, part of the Athenian empire, was one of the leading cities in Ionia, an area of Greek settlement located along the coast of Asia Minor.
It was probably in Ionia, before she left for Athens, that Aspasia was educated. Women in that part of the Greek world were generally given more of an education than women in Athens.
As a hetaira she would have been trained in the art of conversation and of musical entertainment including singing, dancing and playing instruments.
Next, we will look at the Sophia-Performance versus the Logos-Word which in history MARKS the effeminate or worse from the Word of God people who are OF TRUTH or OF FAITH. The rise of the historic urge for males to perform the religious roles of women was marked even by David whose "praise" word means "to make myself vile" among the camp followers.
- "As for the contests at Delphi, there was one in early times between citharoedes, who sang a paean in honor of the god; it was instituted by the Delphians. But after the Crisaean war, in the time of Eurylochus, the Amphictyons instituted equestrian and gymnastic contests in which the prize was a crown, and called them Pythian Games. 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 (brass pipes). Now the melody was composed by Timosthenes, the admiral of the second Ptolemy, who also compiled The Harbours, a work in ten books; and
- "By "melody 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 (reed or brass pipes related to the serpent) 4 players imitated the dragon as breathing its last in hissings. 5 (Strabo Geography 9.3.10)
The SERVICE of the Jacob-Cursed Levites was Abad or Abadown: that is because they had been ABANDONED to worship the starry host identified in Greece as under Apollo, Abaddon or Apollyon. Apolllo was the father of instrumental worship and "shooting love arrows" with his lyre as the father of perverted worship. This worship has been restored as defined by the Vineyard Movement as more of a visual or aural orgasm which is what the Egyptians taught.
Strabo in Geography and many others defined the NEW STYLE OF SINGING OR DRAMA which defines the BEAST in Revelation. Dave Clayton speaks of the Kainos form of newness.
-[10] As for the contests at Delphi, there was one in early times between citharoedes, who sang a paean in honor of the god; it was instituted by the Delphians. But after the Crisaean war, in the time of Eurylochus,17 the Amphictyons instituted equestrian and gymnastic contests in which the prize was a crown, and called them Pythian Games.
-Ki^tha^rōd-os , ho, (kithara, aoidos)A. one who plays and sings to the cithara, Hdt.1.23, IG12.547, Pherecr.6.1, Phld.Mus.p.28K., etc.: as fem., “k. gunē” Alciphr.3.33.
-Aeidô [compare the morphological problems with aeirô]
I.to sing, Il., etc.:--then of any sound, to twang, of the bowstring, Od.; to whistle, of the wind, Mosch.; to ring, of a stone struck,
whistle, of the wind through a tree, Mosch.Fr.1.8; ring, of a stone when struck, Theoc.7.26:
also, vie with one in singing, Theoc.8.6; a. pros aulon ē luran sing to . . , Arist.Pr..918a23; “hup' aulois”
Outlawed by Paul in Romans 15:1 aeirō , Ep., Ion., and poet.; airō ( aresthai a^
I. Act., lift, raise up, “nekun” Il.17.724; hupsos' aeiras kuneēn] 10.465; “pinakas parethēken aeiras” Od.1.141; “Eumastas me aēren apo khthonos”
3. take up and carry or bring,
4. take up and bear, as a burden, “moron” A.Pers.547; “athlon” S.Tr.80; “algos” A.R.4.65.
II. raise up, exalt, “apo smikrou d' an areias megan” A.Ch.262, cf. 791; olbon <*>n Dareios ēren Id.Pers.164:—esp. of pride and passion, exalt, excite, hupsou ai. thumon grow excited, S.OT914; 2. make away with, destroy, Ev.Matt.24.39;Sing is USED WITH kitharizo which confirms that there is no single word in the Bible which includes BOTH singing and playing the guitar.
Mousa , ēs, hē, Aeol. Moisa Sapph.84, IG42(1).130.16, etc.; Dor. Mōsa Alcm. 1, etc.; Lacon. Mōha (for Mōsa) Ar.Lys.1298, cf. An. Ox.1.277:—Muse,-Paian , Paian (Apollo] 3.physician, heale “paiōn genou tēsde merimnēs” A.Ag.99 (anap.); “paiōna kakōn” S.Ph.168 (anap.). b. saviour, deliverer, “ō thanate Paian” A.Fr.255.1, cf. E.Hipp.1373A. “Olumpiades M., Dios aigiokhoio thugateres” Il.2.491, cf. Hes.Th.25, etc.; nine in number, first in Od.24.60; named in Hes.Th.75 sqq.
2. hautē hē Sōkratous m. that was Socrates's way, Gal.UP1.9.
Usually connected with Apollon and Dionysus.
Rev 18:14 And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all.
Rev 18:20 Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her.
Rev 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying, Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all.
Rev 18:22 And the voice of harpers, and musicians [Apollyon's muses or locusts] and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, [theater builders and stage managers] of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone [called a pipe, made a wistling sound to attract] shall be heard no more at all in thee;
Rev 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride [“apaideuton tōn peri tas numphikas m.”] shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.
Homer: XIV. TO THE MOTHER OF THE GODS (6 lines)
(ll. 1-5) I prithee, clear-voiced Muse, daughter of mighty Zeus, sing of the mother of all gods and men. She is well-pleased with the sound of rattles and of timbrels, with the voice of flutes and the outcry of WOLVES and bright-eyed LIONS, with echoing hills and wooded coombes.
(l. 6) And so hail to you in my song and to all goddesses as well!
"Now Rhea, as Ceres, in Hymn XIV, is called 'brass-sounding' and 'drum-beating'. This has reference to the mystical results of certain sounds and rhythm, part and parcel of what the Hindus call Mantravidyâ. I remember reading a curious old French book in the Bibliothèque de la Ville of Clermont-Ferrand, one of the books confiscated from the Minime Monastery of the same town, at the time of the Revolution.
II paian , Ep. paiēōn , Att., Ion. paiōn , paean, i.e. choral song, addressed to Apollo or Artemis (the burden being iē or iō Paian, v. supr. 1.2 ), in thanksgiving for deliverance from evil, “molpē theon hilaskonto, kalon aeidontes paiēona” Il.1.473-Melos , eos, to, 2. music to which a song is set, tune, Arist.Po.1450a14; Opposite. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma, Id.Lg.656c; Krētikon, Karikon, Iōnikon m.,2. song of triumph after victory, prop. to Apollo, Il.22.391 sq.; “halōsimos p.” A.Th.635, etc.; also, battle-song, “paian' ephumnoun semnon Hellēnes” Id.Pers.393, cf. Lys.2.38, X.Cyr.4.1.6; addressed to Ares, Sch.Th.1.50; exarkhein ton p. or tou paianos, X. Cyr.3.3.58, Plu.Rom.16; “p. poieisthai” X.HG7.4.36.3. any solemn song or chant, esp. on beginning an undertaking, Th.7.75 (pl.); “p. gamēlios” Ar.Th.1035 (lyr.); “tritospondos p.” A.Ag.247 (lyr.); “egkhei kapiboa triton paiōna” Pherecr.131.5, cf. Antiph.4, 85.5.III. in Prosody, paeon, a foot consisting of 3 short and 1 long syll., _^^^, ^_^^, ^^_^, or ^^^_, Arist.Rh.1409a2 (
-Melôid-ia , hê,A.singing, chanting, E.Rh.923, etc. II.chant, choral song, melôidias poiêtês Pl.Lg.935e , cf. 812d; lullaby, ib.790e: generally, music, Phld.Mus.p.12 K short and . A.
And to the citharoedes18 they added both fluteplayers and citharists who played without singing,
aul-ētēs , A. flute-player, Thgn. 941, Hdt.1.141, 6.60, 129, Ar.V.581, And.1.12, Pl.Prt.327b, OGI51.62 (iii B. C.); Boeot. auleitas IG7.3195 (Orchom. Boeot.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;19 and through this melody he means to celebrate the contest between Apollo and the dragon, (Python)
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 (pipes) 20 players imitated the dragon as breathing its last in hissings.21 (pipings)
Thērion , III. as a term of reproach, beast, creature, “ō deilotaton su thērion” Ar.Pl.439, cf. Eq.273; “kolaki, deinō thēriō” Pl.Phdr.240b; “Krētes, kaka th.” Epimenid.1; dusnouthetēton th., of poverty, Men. Georg.78; “hē mousikē aei ti kainon thērion tiktei” Anaxil.27, cf. Eup.132; ti de, ei autou tou thēriou ēkousate; said by Aeschines of Demosthenes, Plin.Ep.2.3.10; th. sunestiōmenon, of woman
“hē mousikē aei ti kainon thērion tiktei” meaning A NEW STYLE OF MUSIC OR DRAMA: the Muses were dirty adulteresses but Apollo used them for his "worship team."
Surigx , iggos, hē,
A. shepherd's pipe, Panspipe, “aulōn suriggōn t' enopē” Il.10.13; “nomēes terpomenoi surigxi” 18.526; “suriggōn enopē” h.Merc.512; “hupo ligurōn suriggōn hiesan audēn” Hes.Sc.278; “ou molpan suriggos ekhōn” S.Ph.213 (lyr.); kalaminē s. Ar.Fr.719; “kat' agrous tois nomeusi surigx an tis eiē” Pl.R.399d.
2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. “surizō” 11.2, surigmos:—the last part of the nomos Puthikos was called surigges, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.Greek Music: The prevailing doctrine of ethos, as explained by ancient Greek philosophers such as Plato and Aristotle,
was based on the belief that music has a direct effect upon the soul and actions of mankind.
As a result, the Greek political and social systems were intertwined with music, which had a primary role in the dramas of Aeschylus, Sophocles, Euripides, and Aristophanes.And the Grecian educational system was focused upon musica and gymnastica,the former referring to all cultural and intellectual studies, as distinguished from those related to physical training. (See ethos, dramatic literature.)
Good work Dave Clayton feel honored to have been prophesied in something of end-times Biblical Proportions.
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Musical Worship Index
This will Include Revelation 5 to prove how easy it is to fool the merchant class.
<img src="/cgi-bin/Count.cgi?df=piney/counter_NACC.2013.Revelation.5 html.dat">
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