Psallo

The Greek PSALLO: ANATHEMA, Dancing, perversion, delectatio,  effeminate, unmanly, weak, opposite the Word, Logos or the Regulative Principle which OUTLAWS Rhetoric, personal opinions, rhetoric, singing, playing instruments or acting.

Holy Scripture does not contain one example of anyone said to WORSHIP by rhetoric, listening, singing, playing an instrument or Acting.

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 THE KITHARA MYSTERIES: Suddenly organists and pianist were fired and the wimpy Guitar picker with fat girls showed up--at just the right time in prophecy: Xenophon.Symposium.Lying.Wonders.Music.html The Lyre and Kithara were traditional instruments played in a variety of events, public and private, and were often accompanied by song, either by the performer him/herself or a singer.  Aristotle attests that those musicians came from the lower social strata, and many of them, both men and women, were prostitutes hired to entertain guests in private parties. Moreover there are numerous specific references to psaltery and kithara players employed as prostitute entertainers. Aeschines, for example, attests that Misgolas, one of the alleged lovers of Timarchos, had a reputation for being very fond of kithara boys, while Antiphanes and Alexis confirm this with jokes about Misgolas and his kithara boys. Xenophon.Symposium.Lying.Wonders.Music.html Now the tables were removed, and in due order they had poured out the libation, and had sung the hymn. [1] To promote the revelry [Komos], there entered now a Syracusan, with a trio of assistants: the first, a flute-girl, perfect in her art; and next, a dancing-girl, skilled to perform all kinds of wonders; lastly, in the bloom of beauty, a boy, who played the harp and danced with infinite grace. This Syracusan went about exhibiting his troupe, whose wonderful performance was a source of income to him. DEFINING A LYING WONDER Wonders Thauma puppetshow, theater, montebank-gambols, juggler, mimic, mechanical devices, astonishment, poetry, oratory, sophist  Teras III. in colloquial language, “teras legeis kai thaumaston” III. to be worshipped, “oudeis m' areskei nukti thaumastos theōn” E.Hipp.106. Plat. Hipp. Maj. 283c Socrates That is a prodigious marvel that you tell, Hippias; and say now: is not your wisdom such as to make those who are in contact with it and learn it, better men in respect to virtue? 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, were 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 formosa),” 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). 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.

Musical Instruments in the Bible always say "we will not listen to God's Word" (Ezekiel 33), making the lambs dumb before the slaughter and almost always with ritualistic BURNING of animals or infants, and as the protypical pattern of God casting the "speakers or craftsmen, singers and instrument players ALIVE INTO THE LAKE OF FIRE.

Those unable to read BLACK text on BROWN paper says Paul in 2 Corinthians 3 have not TURNED to Christ which is defined as Baptism which requests A holy spirit or "washed with water INTO the Word" or School of Christ Who has supplied all that we need for Life and Godliness.

The Messianic Judaism has a strong influence "among the scholars" insisting that The Law of Moses or the Lawless worship of the Civil-Military-Clergy preparing the people to return to Babylon BECAUSE of Instrumental Idolatry.

Matt.Dabbs.Denies.Law.Nailed.to.the.html Whose lack of knowledge of the Story Line may prove Falling From Grace for adopting anything of the Law of Moses or the Lawless Laws of the Monarchy.

The fatal flaw is studying Theology from Theologians whose writing prove that they cannot define words or quote Scripture or Historic Scholars.



The Greek word PSALLO and other PSAO-like words were used by those who translated the Hebrew or other texts into GREEK.  The word PSALLO translates ZAMAR type word which means to Prune YOUR vines or take your inheritance. Everyone who seeks authority for deliberately sowing discord and diverting the church house of others depend on the PSALLO word.  This is the foundation upon which they believe they can escape God's Wrath for sowing discord. Furthermore, recorded history notes that people "set their lies to melodies to steal from the simple mind." In fact, they are tapping into the modern "string theory" which says that all of what we call matter is made of resonant "strings."

Paul warned that people who corrupt the Word or sell learning at retail are defined by the word "prostitute."  They may believe their own lies but the text says that they are ancient spirits unleashed by Abaddon or Apollyon who is the Musical Worship Leader.

Lack of understanding is clear from the text which can be read by people with "A" holy spirit or "A" good conscience.

Ephesians 5:17 Wherefore be ye not unwise, but understanding what the will of the Lord is.
Ephesians 5:18 And be not drunk with wine, wherein is excess; but be filled with the Spirit;

Jesus said My Words are SPIRIT and they are LIFE. The only Resource is the Will of the Lord.
Colossians 3:16 Let the word of Christ dwell in you richly in all wisdom

Ephesians 5:19 Speaking to yourselves in psalms and hymns and spiritual songs,

Col 3:16 teaching and admonishing one another in psalms and hymns and spiritual songs,

singing and making melody in your heart to the Lord;

Col 3:16 singing with grace IN your hearts to the Lord.

Romans 15:4 For whatsoever things were written aforetime were written for our learning,
        that we through patience and comfort of the scriptures might have hope
Romans 15:6 That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ.

The Purpose is to Teach, Comfort and Glorify God with "that which is written for our learning."  If simple reading cannot eleminate the external Instrumental Noises, perhaps word definitions can help:

Logos  computation, reckoning 2. statement of a theory, argument, ouk emeu alla tou l. akousantas prob. in Heraclit.50; logon ēde noēma amphis alētheiēs discourse and reflection on reality,
IV. inward debate of the soul, reflection, deliberation
Regulative and formative forces, derived from the intelligible and operative in the sensible universe,

Opposite to epithumia
 A. desire, yearning, longing after a thing, desire of or for it, Theaomai :--gaze at, behold, mostly with a sense of wonder, 3. view as spectators
Opposite Pathos  A. that which happens to a person or thing, incident, accident,
Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment,
Opposite Enthousi-astikos , ē, on, A. inspired, “phusis” Pl.Ti.71e; esp. by music,

VI. verbal expression or utterance, lego, lexis       -Lexis A.speech, OPPOSITE ôidê
	-ôidê, 1.art of song OPPOSITE Lexis 5. = eppsdê, spell, incantation 4. text of an author,  OPPOSITE exegesis Arist.En1142a26

Prose,  OPPOSITE -poiêsis, Id.R.390a;
OPPOSITE -poiêtikê, D.H.Comp.6; opp. poiêmata, onomatopoeic word

OPPOSITE  emmetra Modus   2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: Mūsĭcus a, um, adj., = mousikos.
X. the Word or Wisdom of God, personified as his agent in creation and world-government,

THE END-TIME PROPHECY IS THAT APOLLO, ABBADON OR APOLLYON AND THE LOCUSTS OR MUSES WILL BE UNLEASHED. THEIR JOB IS TO DRIVE OUT THE GODLY PEOPLE AND HOLD THE UNGODLY CAPTIVE WITH THE MUSES JOHN CALLS SORCERERS.

Mousa_geta_s , a, ho, Dor. for Mousēgetēs (v. infr.), A.leader of the Muses, epith. of Apollo, Pi.Fr.116; “ho m. kai arkhagetas tas poiētikas theos” (Delph. Mousēgetēs , Pl.Lg. 653c, D.S.1.18, Jul.Or.4.132a, al.; voc. Mousēgeta^ , IG12(5).893 (Tenos); also Epithet of Heracles, in dat. Mousagētē ,

Strabo Geography [-10.3.10] And on this account Plato, and even before his time
        the Pythagoreians, called philosophy music;  

andthey say that the universe is constituted in accordance with harmony,
assuming that every form of music is the work of the gods.
And in this sense, also, the Muses are goddesses,
and Apollo is leader of the Muses,
and poetry as a whole is laudatory of the gods.

And by the same course of reasoning they also attribute to music the upbuilding of morals, believing that everything which tends to correct the mind is close to the gods.

Now most of the Greeks assigned to Dionysus, Apollo, Hecate, the Muses (9 women team), and above all to Demeter, everything of an orgiastic or Bacchic or choral nature, as well as the mystic element in initiations; and they give the name "Iacchus" not only to Dionysus but also to the leader-in-chief of the mysteries, who is the genius of Demeter.

Rev. 9:11 And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon.

Apollo is considered to have dominion over plague, light, healing, colonists, medicine, archery, poetry, prophecy, dance, reason, intellectualism, Shamans, and as the patron defender of herds and flocks. Apollo had a famous oracle in Crete and other notable ones in Clarus and Branchidae.

Apollo is known as the leader of the Muses ("musagetes") and director of their choir. His attributes include: swans, wolves, dolphins, bows and arrows, a laurel crown, the cithara (or lyre) and plectrum. The sacrificial tripod is another attribute, representative of his prophetic powers.

The swan and grasshopper symbolize music and song; the hawk, raven, crow and snake have reference to his functions as the god of prophecy.The chief festivals held in honour of Apollo were the Carneia, Daphnephoria, Delia, Hyacinthia, Pyanepsia, Pythia and Thargelia.

Thalrgelia in Greek religion, one of the chief festivals of Apollo at Athens, celebrated on the sixth and seventh days of Thargelion (May-June). Basically a vegetation ritual upon which an expiatory rite was grafted, the festival was named after the first fruits, or the first bread from the new wheat.

On the first day of the festival, one or two men (or a man and a woman), representing the deity but also acting as scapegoats for community guilt, were first led through the city and then driven out. Occasionally, as in times of heavy calamity, they were sacrificed, being either thrown into the sea or burned on a funeral pyre. On the second day of the festival, there were a thanks offering, a procession, and the official registration of adopted persons.

-Apollo  Apollo exercises an elevating and inspiring influence on the mind as god of music, which, though not belonging to him alone any more than atonement and prophecy, was yet pre-eminently his province.

In Homer he is represented only as a player on the lyre,
while song is the province of the Muses;
but in course of time he grows to be the god, as they are the goddesses, of song and poetry,
        and is therefore Mousagetês (leader of the Muses) as well as master of the choral dance,
        which goes with music and song. And as the friend of all that beautifies life he is intimately
    associated with the Graces [Graces meaning CHARIS meaning Charismatic
        meaning the MARK of homosexual "worship"]

This elevating and inspiring influence on the mind is the Laded Burden Jesus came to put down or the Self-pleasure or "creation of mental excitement" outlawed by Paul in Romans 15 SO THAT

A CHRISTIAN is a DISCIPLE and a DISCIPLE is a STUDENT.  Disciples of Christ "command to teach and observe what Jesus commanded to be taught.  Jesus did not COMMAND any music concept and did not practice it either in the Jewish synagogues or when He assembled or synagogued with the Christians two first days of the week in a row.

Up Front we can dogmatically assert that Psallo at no time in recorded history DID or could be translates as to "sing to the accompaniment of a harp." Nevertheless,

Lexicons can be Wrong: In 1957 William F. Arndt and F. Wilbur Gingrich brought Walter Bauer's German lexicon of the Greek New Testament into English. Bauer had translated psallo to mean "sing." Arndt and Gingrich, on their own, added a phrase, "to the accompaniment of a harp."

The new lexicon was considered to be "first rank in its field" (J.W. Roberts), and it gave welcome assurance to instrumentalists that the New Testament commands mechanical music in Christian worship.
        Previous lexicons (Grimm-Thayer, Green, Abbott-Smith, etc.) had limited the New Testament meaning of psallo to "sing," but now that a lexicon with scholarly credentials had added the words, "to the accompaniment of a harp," the matter was considered settled once for all in favor of the instrument.

Of course, psallo never meant "sing" either in any historic literature. In fact, Psallo has no DEFINITION of making music in any sense. If one plucks a harp string with the fingers and never with a plectrum then it makes a twanging sound. But telling a guitarist to smite a string with his finger would not tell him to "make music."

The ROOT of Psallo was used by the translators to define something literally quite evil or perverted: Psalms were used to "praise" or make self vile to intimidate the enemy warrior to turn tail or he would be robbed, sexually molested (a power sign) and then killed.

This is because the NAGAN or NAGASH type words were used of the naked men stomping out grapes in a vat (at Gath) while the women (always before David) provided a Makes Work Sound like using slavery to build the Temple with the Musical Master setting the pace:

Of the Priests and Levites who made noise and were called Parasites:

He don' plant taters, he don't plant cotton
An' dem dat plants' em is soon forgotten
But ol'man river
He jes' keeps rollin' along

Of Those God warned the elderr that the King set over them would make them slaves of the watchtower:

You an' me, we sweat an' strain
Body all achin' an' wracked wid pain,
Tote dat barge! Lif' dat bale!
Git a little drunk an' you lands in jail

Jesus died to remove the Burden Laders and the Laded Burdens which were songs "which created spiritual anxiety" in the religious ovservations to which the Kingdom does not come.

Ah gits weary an' sick o' tryin'
Ah'm tired o livin' an' skeered o' dyin'
But ol' man river
He jes' keeps rollin' along!e

If Jesus and the Kingdom of God does not come with OBSERVATION: your religious services, then it is a fact that institutional churches live, move and have their being on a latter day serfdom.

And Solomon told out three score and ten thousand men to bear burdens, and fourscore thousand to hew in the mountain, and three thousand and six hundred to oversee (excel) them. 2Chr 2:2

2Chronicles 10:8 But he forsook the counsel which the old men gave him, and took counsel with the young men that were brought up with him, that stood before him.
2Chronicles 10:9 And he said unto them, What advice give ye that we may return answer to this people, which have spoken to me, saying, Ease somewhat the yoke that thy father did put upon us?
2Chronicles 10:10 And the young men that were brought up with him spake unto him, saying, Thus shalt thou answer the people that spake unto thee, saying, Thy father made our yoke heavy, but make thou it somewhat lighter for us; thus shalt thou say unto them, My little finger shall be thicker than my father’s loins.
2Chronicles 10:11 For whereas my father put a heavy yoke upon you, I will put more to your yoke: my father chastised you with whips, but I will chastise you with scorpions.

And the men did the work faithfully: and the overseers of them were Jahath and Obadiah, the Levites, of the sons of Merari; and Zechariah and Meshullam, of the sons of the Kohathites, to set it forward; and other of the Levites, all that could skill of instruments [orgănum organon, of musick. [căno] 2Chr.34:12

ŏpus   Meaning WORK.

2Chronicles 29:35 And also the burnt offerings were in abundance, with the fat of the peace offerings, and the drink offerings for every burnt offering. So the service of the house of the LORD was set in order.

H5656 ‛ăbôdâh ‛ăbôdâh ab-o-daw', ab-o-daw' From H5647 ; work of any kind:—act, bondage, + bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, X wrought.

Which has the same meaning as:
H11 ’ăbaddôn ab-ad-done' Intensively from H6 ; abstractly a perishing; concretely Hades:—destruction.

Because God had abandoned them to worship the Starry host because of musical idolatry at Mount Sinai.

"Other expressions of popular singing are the working songs, of which the early rabbinic literature speaks with contempt." (Interpreters Dictionary of the Bible, p. 460, Abingdon).

Prae-pōno II. Trop., to set before or above, to prefer:
A. praepŏsĭtus , i, m., a prefect, president, head, chief, overseer, director, commander:
B. In partic., to place or set over as chief, commander, or superintendent, to place at the head of, intrust with the charge or command of; to appoint or depute as

Under Christ there can be no Chief Musician:

Matthew 20:27 And whosoever will be chief among you, let him be your servant:
Matthew 23:11 But he that is greatest among you shall be your servant.

Prīmus B.  First in rank or station, chief, principal, most excellent, eminent, distinguished, noble   poëtae tradiderunt movisse aliqua circa rhetoricen

The Absolute MARK of  a School of Christ:

1Peter 4:11 If any man speak, let him speak as the oracles of God;
        if any man minister, let him do it as of the ability which God giveth:
        that God in all things may be glorified through Jesus Christ,
        to whom be praise and dominion for ever and ever. Amen.

Without having a remote idea of the evil that lurks under the PSALLO words or the HALAL words, new Lords of the Plantation use music which from clay tablets onward were recognized as having unreasonable power over the minds of people who are in fact built on a wave-like foundation.

It is a fact that all playing of musical instruments are derived from something violent. For instance, if psallo is used to make a bowstring twang to send forth a singing arrow, that might sound like 'music' but the arrow abrades (psallo) or destroys the literal heart.

If one plucks a harp string that does not make music. Why would one be so anxious to use words rooted in evil to imagine that God wants you to use the ROOT CONCEPT in "worship." If Psallo has the same root meaning as SOP why would Christ's action toward Judas which caused Satan to enter into him be a spiritual concept unless you intend to hurt someone. Music derived from mystery meant "to make the lambs dumb before the slaugher" or to make the initiates cries of agony when being sodomized unnoticed.  Paul therefore makes the psallo an effect upon the human heart to exclude machines for doing hard work.

  If PSALLO is authority to deliberately sow discord and become an instrumental Sect then the FIRST meaning of Choice which you probably don't want to do as ACTS of worship.

 -psallō .“psa^lō” LXX Jd.5.3, 1 Ep.Cor.14.15: aor. “epsēla” Pl.Ly. 209b, etc., and in LXX “epsa_la” Ps.9.12, al.:—

Judges 5:1 Then sang Deborah and Barak the son of Abinoam on that day, saying,
Judges 5:3 Hear, O ye kings; give ear, O ye princes;
        I, even I, will sing unto the LORD;

[Psallo or h7891 from 7788 sing travel about as a harlot or merchant which is obviously excluded]

        I will sing praise to the LORD God of Israel.

Praise h2167 striking with the fingers, from 2168 Zamar to trime a vine, prune.
                        touch the strings of an instrument
                        play upon a musical instrument
                        make music
                        accompanied with the voice
                        give praise, sing forth psalms

Sing is translated and never PLAY unless you name an instrument and a melody

1Corinthians 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.

Psalms 9:11 Sing praises TO the LORD, which dwelleth in Zion:
        declare [speak] among the people his doings.

Plat. Lysis 209b And, I suppose, when you take your lyre, neither your father nor your mother prevents you from tightening or slackening what string you please, or from using your finger [psēla] or your plectrum at will: or do they prevent you?

  Second, you may want to IMPOSE an act of Worship called plucking out hair including pubic hairs of the emasculated priests of the Mother Goddess.

pluck, pull, twitch, ps. etheiran pluck the hair, A.Pers.1062:

Aesch. Pers. 1062
Xerxes [1060] And with your fingers tear the robe which drapes you.
Chorus Anguish, anguish!
Xerxes Pluck out your locks, and lament our host.
Xerxēs    kai psall' etheiran kai katoiktisai straton.

Plutarch, Lives [4] Such objects are to be found in virtuous deeds; these implant in those who search them out a great and zealous eagerness which leads to imitation. In other cases, admiration of the deed is not immediately accompanied by an impulse to do it. Nay, many times, on the contrary, while we delight in the work, we despise the workman
        as, for instance, in the case of perfumes and dyes;
        we take a delight in them but dyers and perfumers we regard as illiberal and vulgar folk

[5] Therefore it was a fine saying of Antisthenes, when he heard that Ismenias was an excellent piper: But he's a worthless man," said he, "otherwise he wouldn't be so good a piper."

And so Philip [Philip of Macedon, to Alexander.] once said to his son, who, as the wine went round, plucked the strings charmingly and skilfully, "Art not ashamed to pluck the strings so well?" It is enough, surely, if a king have leisure to hear others pluck the strings, and he pays great deference to the Muses if he be but a spectator of such contests

  Third, you may want to have a Minister of Archery to make his bow string twang to send forth an singing arrow into the literal heart of those who question the anointing of the clergy.

Especially. of the bow-string, toxōn kheri psallousi neuras twang them, E.Ba.784; “kenon kroton” Lyc.1453; ek keraos ps. belos send a shaft twanging from the bow, APl.4.211 

E.Ba.784 Already, look you! the presumption of these Bacchantes is upon us, swift as fire, a sad disgrace in the eyes of all Hellas. No time for hesitation now! away to the Electra gate! order a muster of all my men-at-arms, of those that mount fleet steeds, of all who brandish light bucklers,

of archers too that make the bowstring twang; for I will march against the Bacchanals. By Heaven this passes all, if we are to be thus treated by women.

Psallous to touch sharply, to pluck, pull, twitch
Neura, A.string or cord of sinew,

2. harpstring, Poll.4.62.

3. strand of a torsion-engine, IG22.554.15.

4. withe, to bind.

Baru-phthoggos , on, A. loud-roaring, “leōn” h.Ven.159, B.8.9; deep-lowing, of cows, Arist.GA787a33; b. neura loud-twanging bowstring, Pi.I.6(5).34; deep-toned, “auloi” [flute] 

Pind. I. 6 Just as we mix the second bowl of wine when the men's symposium is flourishing, here is the second song of the Muses for Lampon's children and their athletic victories: first in Nemea, Zeus, in your honor they received the choicest of garlands, [5] and now in honor of the lord of the Isthmus and the fifty Nereids, for the victory of the youngest son, Phylacidas. May there be a third libation of honey-voiced songs to pour over Aegina in honor of Zeus Soter of Olympia.

Bakkhē  A. Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, Bakkhē Haidou frantic handmaid of Hades, E.Hec.1077; “b. nekuōn” Id.Ph.1489 (lyr.).

Mainas , ados, h(, (mainomai)The Mad Women of Corinth (1Cor 11) are well documentd.

A. raving, frantic, lussa v. l. in S.Fr.941.4; “bakkhē” E.Ba.915.

2. as Subst., mad woman, esp. Bacchante, Maenad, “mainadi isē” Il.22.460, cf. h.Cer.386, A.Fr.382, S.OT212 (lyr.), etc.; of the Furies, A.Eu.500 (lyr.); of Cassandra, E.Tr. 173 (lyr.).

3. = pornē, Poll.7.203 cod. A, Hdn.Epim.83.

II. Act., causing madness, esp. of love, “mainas ornis” Pi.P.4.216.

Pind. P. 4 Aphrodite of Cyprus brought the maddening bird to men for the first time, and she taught the son of Aeson skill in prayerful incantations,
        so that he could rob Medea of reverence for her parents,
        and a longing for Greece would lash her, her mind on fire,
        with the whip of Persuasion.

krotos , ho,

A.rattling noise, made to collect a swarm of bees, Arist.HA 627a16; k. podōn beat of the feet in dancing, E.Heracl.783 (pl.), Tr. 546 both lyr.); “k. sikinidōn” Id.Cyc.37; ho tōn daktulōn k. snapping of the fingers, Ael.NA17.5; enoplios k. clash of arms, Plu.Mar.22; “ho k. tōn logōn” Luc.Dem.Enc.15 (but perh. 'welding'); “hē euroia kai ho tēs glōssēs k.” Philostr.VS2.25.6; “rhuthmoio k.” APl.4.226 (Alc. Mess.).

2. k. kheirōn clapping of hands, applause, Ar.Ra.157: abs., X.An.6.1.13, etc.; “thorubon kai k . . . epoiēsate” D.21.14, cf. 19.195.

   b. in token of ridicule, “gelōs kai k.” Pl.La.184a.

Fourth, you are probably now predestinated to have two ministers of MARK FOR AVOIDANCE of the preacher, worship minister and his chorus, sellers of CDs in the foyer and any advertizing of recent books. They will MARK them and OUTLAWING any performance of Rhetoric, Singing or Playing which Jesus marks as hypocrites by quoting Ezekiel 33.

so miltokharēs skhoinos psallomenē a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, AP6.103 

Psallo is never used in connection with a carpenter's red line: the red line or papyrus rope was polluted with all kinds of filth.  It was used to TWITCH any person who dallied in the Agora or marketplace where all the performance self-speakers, singers, instrument players, actors, pagan temples, radishes and male prostitutes and radishes were sold.  They were forcefully driven to the PNX in Athens to the ekklesia which was the pattern for the assembly of the Christian assembly as a school of the Word only. They were MARKED, fined and not permitted to participate with the decent citizen members of the ekklesia.

EXCLUDED: AGORA: The agora also served for theatrical and gymnastic performances until special buildings and spaces were reserved for these purposes. In Athens respectable women were seldom seen in the agora. Men accused of murder and other crimes were forbidden to enter it before their trials. Free men went there not only to transact business and to act as jurors but also to talk and idle--a habit often mentioned by comic poets. [This included the temple of Apollo Patroös, as well as the altar of the Twelve Gods and the 12 hermae or colums which were giant penises.]
EXCLUDED BY JESUS: singers, pipers, actors.
INCLUDED: ECCLESIA: In Athens the ecclesia, or assembly, was moved to the Pnyx (a hill to the west of the Acropolis), 
INCLUDED BY JESUS: speaking that which is written ONLY.

Agora a^g, as, Ion. agorē , ēs, hē, (ageirō):— 2. market-place,

III. business of the agora:

1. public speaking, gift of speaking, mostly in pl., eskh' agoraōn withheld him from speaking, generally, provisions, supplies,
Agoraios b. agoraios, hē, market-day, IGRom.4.1381 (Lydia). (The distn. agoraios vulgar, agoraios public speaker, drawn by Ammon., etc., is prob. fictitious.)
Agorazō a^g, fut. asō Ar.Lys.633,
Men. 828:—frequent the “agora, hai gunaikes a. kai kapēleuousi” Hdt.2.35, 4.164, cf. Arist.Ph.196a5, Com.Adesp.710; occupy the market-place, Th.6.51.

-Phurô  I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, to be doomed to have one's hair defiled with earth, II. metaph. to mingle together, confuse, bioton ek pephurmenou kai thēriōdous diestathmēsato from a confused and savage state, E.Supp. 201.

Jesus consigned the Pipers trying to get others to sing or lament and dance to the marketplace or the AGORA.

In Isaiah 55 The Spirit OF Christ denied that the free water of the Word could be sold: by definition if it has to be sold to attract the paying audience it is not the WORDS of Christ  which are to be taught as He commanded they be taught.  Christ equates His Words to His Spirit or the Mind of Christ: Jesus paid it all.

In Isaiah 58 the Spirit OF Christ defined His rest as not seeking our own pleasure and not speaking our own words. No man knows the mind of God and therefore has nothing to say.

2Corinthians 2:14 Now thanks be unto God, which always causeth us to triumph in Christ,
        and maketh manifest the savour of HIS knowledge by us in every place.
2Corinthians 2:15 For we are unto God a sweet savour of Christ, in them that are saved, and in them that perish:
2Corinthians 2:16 To the one we are the savour of death unto death;
        and to the other the savour of life unto life. And who is sufficient for these things?
2Corinthians 2:17 For we are not as many, 

Jesus doesn't speak to the many or POLUS: we have to go outside of the came to find Jesus and accept the invitation to "come learn of Me." The MANY Corrupt the Word of God by selling what Jesus died for:

Polus great, mighty, “megas kai pollos egeneo” Hdt.7.14, cf. E.Hipp.1; ho p. sophistēs, stratēgos
stra^tēg-os 5. an officer who had the custody of the Temple at Jerusalem, “ho s. tou hierou” Ev.Luc. 22.52, Act.Ap.4.1, J.BJ6.5.3.

which corrupt the word of God:
but as of sincerity, but as of God,
        in the sight of God
        speak we in Christ.

ka^pēl-euō , A. to be a retail-dealer, drive a petty trade, Hdt.1.155, 2.35, Isoc.2.1
2. metaph., k. ta prēgmata, of Darius, Hdt.3.89; k. ta mathēmata sell learning by retail, hawk it about, Pl. Prt.313d; “k. ton logon tou theou” 2 Ep.Cor.2.17;  adultery

Hdt. 1.155 [4] But pardon the Lydians, and give them this command so that they not revolt or pose a danger to you:
        send and forbid them to possess weapons of war,
        and order them to wear tunics under their cloaks and knee-boots on their feet,
        and to teach their sons lyre-playing [kitharizein]
        and song [psallein] and dance and shop-keeping. [kapēleuein]
And quickly, O king, you shall see them become women instead of men, so that you need not fear them, that they might revolt.”

The Psallo based words MARK a church, Kirke, or Circe: it is the mark of marke time religion. You remember that Jesus cast the pipers inducing singing or lamenting or dancing into the MARKETPLACE along with all of the other merchandisers: there SHALL NOT--CANNOT be a Canaanite or Trader in the House of God

Zech 14:21 Yea, every pot in Jerusalem and in Judah shall be holiness unto the Lord of hosts: and all they that sacrifice shall come and take of them, and seethe therein:
        and in that day there shall be no more the Canaanite in the house of the Lord of hosts.

Kennaniy (h3669) ken-ah-an-ee'; patrial from 3667; a Kenaanite or inhabitant of Kenaan; by impl. a pedlar (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker.

H3667 kena‛an ken-ah'-an From H3665 ; humiliated; Kenaan, a son of Ham; also the country inhabited by him:—Canaan, merchant, traffick.

Mercātor , ōris, m. id.,

I. a trader, merchant, esp. a wholesale dealer (opp. to caupo, a retailer; class.).

I.  Lit.: “venalicii mercatoresque,” Cic. Or. 70, 232: “multi ad eos mercatores ventitant,” Caes. B. G. 4, 3. —

II.Transf.A. A dealer, speculator: “non consules, sed mercatores provinciarum,” Cic. post Red. in Sen. 4, 10.—Rarely of a petty dealer: “vilis sacci mercator olentis,” Juv. 14, 269.—

B.A buyer, purchaser: “signorum,” Cic. Verr. 1, 20, 60: “veneni,” Juv. 13, 154.

Prophetic type fulfilled in 1 Corinthians:
1 Corinthians 1:20 Where is the wise? (singer, player, actor)
          where is the scribe?  (writer of sermons and songs)
          where is the disputer of this world?
          hath not God made foolish [moronic] the wisdom of this world?
Scribe: Grammatikos  a scholar 2. one who occupies himself with literary texts, grammarian, 3. concerned with textual criticism, exêgêsis similar to hermeneuma

The word CHURCH does not define the Ekklesia:
kuklos   of the circle which hunters draw round their game,
3  place of assembly, of the “agora, hieros k.” Il.18.504; “ho k. tou Zēnos tōgoraiou”
b. crowd of people standing round, ring or circle of people,

Eur. Hipp. 953  Continue then your confident boasting, take up a diet of greens and play the showman with your food, make Orpheus your lord and engage in mystic rites, holding the vaporings of many books in honor.² [955] For you have been found out. To all I give the warning: avoid men like this. For they make you their prey with their high-holy-sounding words while they contrive deeds of shame.

2 Theseus compares Hippolytus to the Orphics, an ascetic religious sect that ate a vegetarian diet and had a reputation for hypocrisy.

Bakkh-euō , A.  celebrate the mysteries of Bacchus, Hdt.4.79.

Eur. IT 1243 Lovely is the son of Leto, [1235] whom she, the Delian, once bore in the fruitful valleys, golden-haired, skilled at the lyre; and also the one who glories in her well-aimed arrows. [1240] For the mother, leaving the famous birth-place, brought him from the ridges of the sea to the heights of Parnassus, with its gushing waters, which celebrate the revels for Dionysus.

Miltophurês
Miltos, A.red earth, red ochre, ruddle, Hdt.4.191,7.69, Ar.Ec.378, Diocl.Com.9, 10, IG22.1672.16,al., 42(1).115.19 (Epid., iv/iii B. C.), Dsc.5.96, POxy.2144.6 (iii A. D.), etc.

2. red lead, Plin.HN33.115; “m. Lēmnis” Nic.Th.864.

II. = erusibē, Paus.Gr.Fr.257.

III. magical term for blood, “m. peristeras” PMag.Lond.121.222; “m. Tuphōnos”

-Miltoô 1 2o paint red:—Pass. to paint oneself red or be painted red, Hdt.; skhoinion memiltōmenon the rope covered with red chalk with which they swept loiterers out of the Agora to the Pnyx,

-Miltophurês 1 [phurô] daubed with red, skhoinos”

-Phurô  I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, to be doomed to have one's hair defiled with earth, II. metaph. to mingle together, confuse, bioton ek pephurmenou kai thēriōdous diestathmēsato from a confused and savage state, E.Supp. 201.

Thêriôdês [eidos]

Beluo-sus , abounding in beasts or monsters: Oceanus,

II. of men, beast-like, wild, savage, brutal, Lat. bellui_nus, Eur., Plat., etc.:--
        to th. the animal nature, Eur.
2. in Pass. also to mix with others, have dealings with him,  

Mito-omai  metaph., phthoggon mitōsasthai let one's voice sound like a string,  also, of Fate, “Moira houtō emitōsato” 

Moira ,one's destiny, Division of people, political party  B. Moira , as pr. n., the goddess of fate, Hom. always (exc. Il. 24.49) in sg.,
three first in Hes. Th.905, etc.; as the goddess of death, Il.4.517, 18.119: generally of evil

Hes. Th. 905 And Eurynome, the daughter of Ocean, beautiful in form, bore him three fair-cheeked Charites （Graces）... And again, he loved Mnemosyne with the beautiful hair: and of her the nine gold-crowned Muses were born who delight in feasts and the pleasures of song. And Leto was joined in love with Zeus who holds the aegis, [920] and bore Apollo and Artemis delighting in arrows,

Il.24.209,Surig-matôdês, A. like the sound of a pipe, whistling,

BEAST  excluding four-footed animals the Therion is defined as A New Style of Son or Drama

Thērion , to (in form Dim. of thēr),
A. wild animal, esp. of such as are hunted, mala gar mega thērion ēen, of a stag, Od.10.171, 180 (never in Il.); in Trag. only in Satyric drama, S.Ichn.147 (dub. in A.Fr.26): used in Prose for thēr, X.An.1.2.7, Isoc.12.163, etc.; of the spider's prey, Arist.HA623a27; freq. of elephants, Plb.11.1.12, al.: pl., beasts, opp. men, birds, and fishes, h.Ven.4, Hdt.3.108.
III. as a term of reproach, beast, creature, , cf. Eq.273; “kolaki, deinō thēriō” Pl.Phdr.240b;
 “hē mousikē aei ti kainon thērion tiktei” 

mousikê aei ti kainon thêrion tiktei

A.  Mousikos, musical, agônes m. kai gumnikoi  choroi te kai agônes ta mousika music,  

II. of persons, skilled in music, musical, X.l.c., etc.; poiêtikoi kai m. andres Pl.Lg.802b ; kuknos [minstrel]  kai alla zôia; peri aulous - professional musicians, mousikos kai melôn poêtês, use with singing, skilled in speaking before a mob. Melody, 

B. aei always
C. kainos , esp. of new dramas, the representation of the new tragedies,  (Aphrodisias dedicated to Aphrodite (ZOE); comedy, sexual love, pleasure, a woman's form of oath, Aster or Venus or ZOE.
Therion
D. Tikto mostly of the mother 
E. of Rhea one of the zoogonic or vivific principles

Phur-aō 2. metaph., malakēn phurasamenos tēn phōnēn pros ton erastēn ebadizen making one's voice supple, i.e. soft, towards one's lover 

See Jay Guin / Ryan Christian to see that the BEAST means "A new style of song or drama" the hunting is erotic.

They hoped that John wore SOFT clothing.

Con-fundo mingle, or mix together. to confound, to force people together in speech. b.Trop., of intellectual confusion, to disturb, disconcert, confound, perplex

B. Meton 2. Esp., with the idea of confounding, disarranging, to confound, confuse, jumble together, bring into disorderb. Trop., of intellectual confusion, to disturb, disconcert, confound, perplex 

Clamor: I. A loud call, a shout, cry; of men and (poet.) of animals (very freq. in all periods and species of composition) B. In partic., a friendly call, acclamation, applause:

EVEN IF YOU ARE DRIVEN TO THE EKKLESIA BY CIVIL AND NON-POLLUTED AUTHORITIES YOU ARE MARKED BY THE RED DEFILING PAINT OF THE PSALLO ROPE: IF YOU REFUSED TO GO THE AUTHORITIES (GOD) WOULD HURT YOU.

Aristophanes, Acharnians

SCENE: The Athenian Ecclesia on the Pnyx; afterwards Dicaeopolis' house in the country.

In the marketplace where Jesus consigned the pipers, singers and instrument players where all performances were quarantined FROM the Ekklesia

But the day when I was impatiently awaiting a piece by Aeschylus,⁴ what tragic despair it caused me when the herald called, “Theognis,⁵ introduce your Chorus!” Just imagine how this blow struck straight at my heart! On the other hand, what joy Dexitheus caused me at the musical competition, when he played a Boeotian melody on the lyre! But this year by contrast! Oh! what deadly torture to hear Chaeris6 perform the prelude in the Orthian mode! 7 --Never, however, since I began to bathe, has the dust hurt my eyes as it does to-day. Still it is the day of assembly; all should be here at daybreak, and yet the Pnyx8 is still deserted.

Note 8 A hill near the Acropolis, where the Assemblies were held.

THE MEANING OF PSALLO: Pollutes you to disqualify you from "church".

They are gossiping in the marketplace, slipping hither and thither to avoid the vermilioned rope.9 The Prytanes10 even do not come; they will be late, but when they come they will push and fight each other for a seat in the front row. They will never trouble themselves with the question of peace. Oh! Athens! Athens! As for myself, I do not fail to come here before all the rest, and now, finding myself alone, I groan, yawn, stretch, break wind, and know not what to do; I make sketches in the dust, pull out my loose hairs, muse, think of my fields, long for peace, curse town life and regret my dear country home,11 which never told me to `buy fuel, vinegar or oil'; there the word `buy,' which cuts me in two, was unknown; I harvested everything at will. Therefore I have come to the assembly fully prepared to bawl,
        interrupt and abuse the speakers, if they talk of anything but peace.
But here come the Prytanes, and high time too, for it is midday! As I foretold, hah! is it not so? They are pushing and fighting for the front seats.

Note 9 -Miltophurês  A gang of slaves, called Scythians, carrying ropes dipped in red ochre (miltos, hence Miltiades, i.e. the Red-Haired) would travel through the city on the days the Ecclesia was to meet, and would lash those citizens not in attendance with their ropes. With garments thus stained, shamed citizens could legally carry out no business until they visited the meeting grounds of the Ecclesia on the hill called the Pnyx.

But the day when I was impatiently awaiting a piece by Aeschylus, what tragic despair it caused me when the herald called, “Theognis, introduce your Chorus!”

   Fifth,  you are OBLIGATED to remove the men and women shooting VIRTUAL arrows into your heart while pretending to lead you into the presence of God: that means claim to be MEDIATORS.

Metaphor., “gunaikas ex andrōn psogos psallei, kenon toxeuma” E.Fr.499.

1. Women and Men
2-psogos , ho, (psegō) A.blamable fault, blemish, flaw, “aneu psogou tetugmenos”
        II. blame, censure, “oneidea kai ps.” Xenoph.11.2; “skoteinos ps.” lampoon

MAKING poetry 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,

Saturus identifies the BEAST in Revelation performing A New Style of Music or Drama

3.  psallei
4. -kenos , ē, I. mostly of things, empty, Opoosite. pleōs, Ar.Eq.280;

2. empty, fruitless, void, “kena eugmata eipōn” Od.22.249  [empty, boasting, speech]

5. -tox-euma , atos, to, before an arrow reached them, X.An.1.8.19; epeidē eis t. aphikointo came within shot, metaph., of songs and words, Pi.I.5(4).47; so “kardias toxeumata” S.Ant.1085; “ommatos thelktērion toxeuma” A.Supp.1005.  throw without a projectile,

Aesch. Supp. 1005 The tender ripeness of summer fruit is in no way easy to protect; beasts despoil it—and men, why not?— [1000] and brutes that fly and those that walk the earth. Love's goddess spreads news abroad of fruit bursting ripe. . . . So all men, as they pass, [1005] mastered by desire, shoot an alluring arrow of the eye at the delicate beauty of virgins.

Tox-euma    eballon Bakkhiou toxeumasi kara gerontos, of the cottabus,
METAPHOR, of songs and words, Pi.I.5(4).47; so “kardias toxeumata” S.Ant.1085;

Bakkh-eios  A.of or belonging to Bacchus and his rites, “botrus” S.Fr.255.2; “nomos” E.Hec.686 (lyr.); “rhuthmos” X.Smp.9.3, etc.: hence, frenzied, rapt,
Bakkheie despot'” Ar.Th.988

Xen. Sym. 9.3 Then, to start proceedings, in came Ariadne, apparelled as a bride [numphē], and took her seat in the chair. Dionysus being still invisible, there was heard the Bacchic music played on a flute. Then it was that the assemblage was filled with admiration of the dancing master. For as soon as Ariadne heard the strain, her action was such that every one might have perceived her joy at the sound; and although she did not go to meet Dionysus, nor even rise, yet it was clear that she kept her composure with difficulty.

Symbol of a drakon A. dragon, serpent,
interchangeable with ophis which is the serpent in Revelation. Metaphor ptênon argêstên ophin, of an arrow, A.Eu.181

Pind. I. 5 Men whose voices name the outstanding island of Aegina as their fatherland, built long ago [45] as a tower for lofty excellence to ascend. My swift tongue has many arrows, to shout the praises of these heroes.

Soph. Ant. 1085 There, now, are arrows for your heart, since you provoke me, [1085] launched at you, archer-like, in my anger. They fly true—you cannot run from their burning sting. Boy, lead me home, so that he may launch his rage against younger men, and learn to keep a quieter tongue [1090] and a better mind within his breast than he now bears.Exit Teiresias.

In Psalm 41 it was prophesied that Judas would not be able to triumph over Messiah: that act is excluded from the synagogue and excludes "vocal or instrumental rejoicing" including elevated forms of speech.  The Judas bag was always attached to a flute case for carrying the mouth pieces of wind instruments.  At the last supper Jesus had ground the SOP for him as the mark that Satan had entered him.

Sixth, you should know that music is derived from mystery meaning "to make the lambs dumb before the slaughter" or silence the voice of the Victim. Levite instrument players performed as soothsayers or sorcerers as the word is often interchanged. They and all sacrificial instrument players were called PARASITES because they lived off the NOT commanded animal sacrifices.

  The root of PSALLO has the meaning as SOP: the mark for Satan to enter Judas. The Judas bag was for "carrying the mouthpieces of wind instruments" because he was a thief.

Psōmos , ho, (psōō)

A.morsel, bit, ps. andromeoi gobbets of man's flesh, Od.9.374, cf. Amips.19.2 (anap.), X.Mem.3.14.5, Pericles ap. Arist. Rh.1407a2, Plb.30.26.6; “ps. artou” LXXJd.19.5, al. (ps. alone, Ru.2.14).

-Psaō 

A.“psē” S.Tr.678, inf. psēn （peri-) Ar.Eq.909: impf. contr. 3sg. prob. apepsē (v. apopsaō): fut. psēsō （apo-) Id.Lys.1035: aor. “epsēsa” Hippon.12 Diehl, A.R.3.831, (kat-, peri-) Pl.Phd.89b, Ar.Pl.730:—Med., freq. in compos. with apo:— Pass., aor. epsēthēn （sun-) LXX Je.31(48).33 (v.l. -psēsth-）; epsēsthēn （an-) BGU530.17 (i A. D.): pf. epsēsmai （par-) Poll.4.152. Later authors sts. use the contr. by a_ instead of ē, inf. “ana-psan” Dsc.4.64:— rub, wipe, “tis omphalētomos se . . epsēse kapelousen;” Hippon. l. c.; polish, PHolm.3.19; rub smooth, “austaleas d' epsēse parēidas” A.R. l. c.; of solderers, PLond.3.1177.285 (ii A. D.).

II. intr., crumble away, vanish, disappear, S.Tr.678 (s. v. l.). (psaō, psaiō, psauō, psairō, psēkhō, psōkhō, and perh. psiō, psōmos, seem to be different enlargements of ps-, which corresponds to ps- in Skt. psā ´ti, bhes- in Skt. babhasti 'crush, chew, devour',

  Seventh, psallo is used of plucking a string with your fingers but NOT with the plectrum. Therefore, you violate the authority used to sow discord and silence the Words of Christ. Psallo has no musical content and you cannot use it to justify wind or percussion instruments.  Playing musical instruments in a worship sense is also enchantment or sorcery.

II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron, “psēlai kai krouein tō plēktrō”

Krouo 2. strike one against another, strike together, k. kheiras clap the hands,
would have knocked their heads together,
4. metaph. from tapping an earthen vessel, to try whether it rings sound
5. strike a stringed instrument with a plectron, [but NOT unless the plectron is named]
pa^tassō II. with acc. of the thing set in motion, strike, smite, of a deadly blow
b. smite, slaughter, c. afflict, visit, pataxai se Kurios,  pothos kardian

You must name Psallo, smite or strike and name the guitar pick.

Using guitar picks, flutes, trumpets, drums, organs, piano or ANY musical instrument is OUTLAWED by Psallo.  Otherwise it speaks of vile people.

Athenaeus, The Deipnosophists, Book 14
book 14, chapter 35: ... estin, ho men gar hēdistos Anakreōn legei pou: psallō d' eikosi khordaisi magadin ekhōn, ō Leukaspi, su

But some people raise a question how, as the magadis did not exist in the time of Anacreon (for instruments with many strings were never seen till after his time), Anacreon can possibly mention it, as he does when he says-
      I hold my magadis and sing,
      Striking [psallō] loud the twentieth string,
      O Leucaspis.
But Poseidonius is ignorant that the magadis is an ancient instrument, though Pindarus says plainly enough that Terpander invented the barbitos to correspond to, and answer the pectis in use among the Lydians-
      The sweet responsive lyre
      Which long ago the Lesbian bard,
      Terpander, did invent, sweet ornament
      To the luxurious Lydian feasts, when he
      Heard the high-toned pectis.
However, Diogenes the tragic poet represents the pectis as differing from the magadis; for in his Semele he says-
      And now I hear the turban-wearing women,
      Votaries of the Asiatic Cybele,
      The wealthy Phrygians' daughters, loudly sounding
      With drums, and bull-roarers, and brazen-clashing
      Cymbals, their hands each striking in concert,
      Pour forth a wise and healing hymn to the gods.
  Likewise the Lydian and the Bactrian maids
      Who dwell beside the Halys, loudly worship
      The Tmolian goddess Artemis, who loves
      The laurel shade of the thick leafy grove,
      Striking the clear three-cornered pectis, and
      Raising responsive tunes upon the magadis,
      While flutes in Persian manner neatly joined
      Accompany the chorus.

Pl. l. c., et ibi Sch.; “ean tis psēlas tēn nētēn epilabē” Arist.Pr.919b15; “mousikōtatos ōn khata kheira dikha plēktrou epsalle” Ath.4.183d; Opposite. kitharizō, Hdt.1.155,  ; prin men s' heptatonon psallon (sc. tēn luran) Ion Eleg.3.3:

Mousikos II. of persons, skilled in music, musical, X.l.c., etc.; “poiētikoi kai m. andres” Pl.Lg.802b;
III. of things, elegant, delicate, “brōmata” Diox.1; “hēdion ouden, oude -ōteron” Philem.23; harmonious, fitting, “trophē mesē kai m., ton Dōrion tropon tēs tukhēs hōs alēthōs hērmosmenē”

Rev. 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.

Thêrion , to (in form Dim. of thêr), wild animal in Satyric drama, was called sikinnis or sikinnon. IV. Astron., the constellation Lupus,
III. as a term of reproach, beast, creature

Sicinnis, a nymph of Cybele, although originally danced in honour of Sabazios, The Old Wineskin god even at Mount Sinai.

Plat. Phaedrus 240 has mingled with most of them some temporary pleasure; so, for instance, a flatterer is a horrid creature and does great harm, yet Nature has combined with him a kind of pleasure that is not without charm, and one might find fault with a courtesan as an injurious thing, and there are many other such creatures and practices which are yet for the time being very pleasant; but a lover is not only harmful to his beloved

kolax , a^kos, o(, A. flatterer, fawner, parasite, Eup.159.1, Antisth. ap. D.L.6.4.

2. in later Gr., = Att. goēs, Moer. p.113 P.

II. lisping pronunciation of korax, Ar.V.45.

Goēs , ētos,

A. sorcerer, wizard, Phoronis 2, Hdt.2.33,4.105, Pl.R. 380d, Phld.Ir.p.29 W.; “g. epōdos Ludias apo khthonos” E.Ba.234, cf. Hipp.1038; prob. f.l. for boēsi Hdt.7.191.

2. juggler, cheat, “deinos g. kai pharmakeus kai sophistēs” Pl.Smp.203d; “deinon kai g. kai sophistēn . . onomazōn” D.18.276; “apistos g. ponēros” Id.19.109; “magos kai g.” Aeschin.3.137: Comp. “goētoteros”

THE LADED BURDEN JESUS DIED TO REMOVE:

Epōd-os , on, （epadō）

A. singing to or over, using songs or charms to heal wounds, “epōdoi muthoi” Pl.Lg.903b. A BURDEN.

b. Subst., enchanter, “e. kai goēs” E.Hipp. 1038 (but “goēs e.” Ba.234): c. gen., a charm for or against, “ethusen hautou paida epōdon Thrēkiōn aēmatōn” A.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.

--katep-adō ,

A. subdue by song or enchantment, tina Pl.Grg.483e, Men.80a, Plu.Dio14, Lib.Or.64.91; “tas tōn neōn psukhas” Max.Tyr.23.3; overcome by a spell, Phld.Lib.p.290.; soothe, tinos Ach.Tat.7.10.

2. sing by way of enchantment, Id.2.7.

II. to be always repeating,  BURDEN

Examples:

Plat. Gorg. 483e march against Greece, or his father against Scythia? Or take the countless other cases of the sort that one might mention. Why, surely these men follow nature—the nature of right—in acting thus; yes, on my soul, and follow the law¹ of nature—though not that, I dare say, which is made by us; we mold the best and strongest amongst us, taking them from their infancy like young lions, and utterly enthral them by our spells

1 Callicles boldly applies the word nomos, which so far has been used in the sense of man-made law or convention, in its widest sense of “general rule” or “principle.”

goēt-euō ,

A.bewitch, beguile, Pl.Grg.483e, etc.:—Pass., Id.R.412e, 413b, D.19.102, etc.; fascinate, as a snake, Plot.4.4.40.

2. abs., play the wizard, D.L.8.59.

Plat. Rep. 412e  for the interest of the state, and who would be least likely to consent to do the opposite.” “That would be a suitable choice,” he said. “I think, then, we shall have to observe them at every period of life, to see if they are conservators and guardians of this conviction in their minds and never by sorcery nor by force can be brought to expel¹ from their souls unawares this conviction that they must do what is best for the state.” “What do you mean by the 'expelling'?” he said. “I will tell you, said I; “it seems to me that the exit of a belief from the mind is either voluntary or involuntary.

1 Cf. Crito 46 B, Xenophon Memorabilia iii. 12. 7.

Plat. Meno 80a that yours was just a case of being in doubt yourself and making others doubt also: and so now I find you are merely bewitching me with your spells and incantations, which have reduced me to utter perplexity. And if I am indeed to have my jest, I consider that both in your appearance and in other respects you are extremely like the flat torpedo sea-fish; for it benumbs anyone who approaches and touches it, and something of the sort is what I find you have done to me now. For in truth

The beast is: hê mousikê ae iti kainon thêriontiktei
III. as a term of reproach, beast, creature, hê mousikê aei ti kainon thêrion tiktei

A.  Mousikos, musical, agônes m. kai gumnikoi  choroi te kai agônes ta mousika music,  

II. of persons, skilled in music, musical, X.l.c., etc.; poiêtikoi kai m. andres ; kuknos [minstrel]  kai alla zôia; peri aulous - professional musicians, mousikos kai melôn poêtês, use with singing, skilled in speaking before a mob. Melody, 

Of the phrase

mousikê aei ti kainon thêrion tiktei

A. mousikos
B. aei always
C. kainos, esp. of new dramas, the representation of the new tragedies,  (Aphrodisias dedicated to Aphrodite (ZOE); comedy, sexual love, pleasure, a woman's form of oath, Aster or Venus or ZOE.
Therion
D. Tikto mostly of the mother 
E. of Rhea one of the zoogonic or vivific principles

Hdt. 1.155 [4] But pardon the Lydians, and give them this command so that they not revolt or pose a danger to you:
        send and forbid them to possess weapons of war,
        and order them to wear tunics under their cloaks and knee-boots on their feet,
        and to teach their sons lyre-playing [kitharizein]
        and song [psallein] and dance and shop-keeping. [kapēleuein]
And quickly, O king, you shall see them become women instead of men, so that you need not fear them, that they might revolt.”

Kapeleuo be a retail dealer, drive a petty trade, sell learning by retain, hawk it all about. “k. ton LOGOS tou theou (GOD)” 2 Ep.Cor.2.17; k. tēs hōras anthos or tēn hōran, of prostitutes,

Seee Isaiah 55 for Christ's promise of the free water of the Word not to be sold.

See Isaiah 58 where Christ outlawed seeking our own pleasure or speaking our own words.  There is nothing to traffick.

Acts 15:21 For Moses, from times long past,
        has his preachers in every town,
        reading his law in the Synagogues every Sabbath.

2 Cor 2.[17] For we are not as so many, peddling the word of God. But as of sincerity, but as of God, in the sight of God, we speak in Christ.

Adultĕro, I. Fig., to falsify, adulterate, or give a foreign nature to a thing, to counterfeit: “laser adulteratum cummi aut sacopenio aut fabā fractā,” Plin. 19, 3, 15, § 40: “jus civile pecuniā,” Cic. Caecin. 26: “simulatio tollit judicium veri idque adulterat,” id. Lael. 25, 92; id. Part. 25, 90: “adulterantes verbum,” Vulg. 2 Cor. 2, 17.—Poet. of Proteus: “faciem,”

Simulatio I. a falsely assumed appearance, a false show, feigning, shamming, pretence, feint, insincerity, deceit, hypocrisy, simulation, etc. (class. and very freq.; cf. imitatio). under pretence of a divine command, Tac. H. 2, 61.

OSTENTATIO. In gen., a showing, exhibition, display A. An idle show, vain display, pomp, parade, ostentation (the predom. signif. of the word)

Plat. Prot. [313d] For among the provisions, you know, in which these men deal, not only are they themselves ignorant what is good or bad for the body, since in selling they commend them all, but the people who buy from them are so too, unless one happens to be a trainer or a doctor.
        And in the same way, those who take their doctrines the round of our cities,
        hawking them about to any odd purchaser who desires them,
        commend everything that they sell, and there may well be some of these too,
        my good sir, who are ignorant which of their wares is

"Corrupting the Word" is "selling lerning at retail, adultery."

Ar.Eq.522,
Aristoph. Kn. 507 it is not without grounds that he has courted the shade, for, in his opinion, nothing is more difficult than to cultivate the comic Muse; many court her, but very few secure her favours. Moreover, he knows that you are fickle by nature and betray your poets when they grow old. [520] What fate befell Magnes, when his hair went white? Often enough had he triumphed over his rivals; he had sung in all keys, played (psallōn) the lyre

"And so the lyre-player [psaltees] not rudely nor inelegantly put the curb on Phillip when he tried to dispute with him about the way to strike [psalles] the lyre [psalteerion]. -Moralia, p. 67F.

Again, Phrynichus says in The Phoenician Women, '
        With [1] plucking [psalmoisin]
        of the [2] strings they [3] sing [aeidontes]
        their lays in answering strains." -The Deiphnosphists, XIV. 635,
        Translated by Gulick, Vol. 6, p. 427.
The voice always MATCHED the sound of the STRING.

-Psallō , A. “psa^lō” LXX Jd.5.3, 1 Ep.Cor.14.15: aor. “epsēla” Pl.Ly. 209b, etc., and in LXX “epsa_la” Ps.9.12, alA. “psalō” LXX Jd.5.3, 1 Ep.Cor.14.15: aor. “epsēla” Pl.Ly. 209b, etc., and in LXX “epsa_la” Ps.9.12, al.:

A. 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 (mind, spirit) also.
1 Cor 14:15  ti oun estin; proseuxomai tō pneumati, proseuxomai de kai tō noi:
         psalō tō pneumati, psalō de kai tō noi:

Psallo in the spirit
Psallo in the Mind
Never Psallo A stringed instrument.

B.  Plat. Lysis 209b And, I suppose, when you take your lyre, neither your father nor your mother prevents you from tightening or slackening what string you please, or from USING your finger or [USING] your plectrum at will: or do they prevent you? Oh, no.

C. 
Psa. 9:11 SING praises TO the LORD,
        which dwelleth in Zion:
        DECLARE among the people his doings.
Psalm 9.[12] For he who avenges blood remembers them.
        He doesn't forget the CRY

Clāmor  I. A loud call, a shout, cry, Of things, noise, sound, din:

1 Kings 1 [40] All the people came up after him, and the people piped with pipes, and rejoiced with great joy, so that the earth shook with the sound of them. [41] Adonijah and all the guests who were with him heard it as they had made an end of eating. When Joab heard the sound of the trumpet, he said, Why is this noise of the city being in an uproar?

Exodus 3: Moses hid his face; for he was afraid to look at God. [7] Yahweh said, "I have surely seen the affliction of my people who are in Egypt, and have heard their cry because of their taskmasters, for I know their sorrows. [8] I have come down to deliver them out of the hand of the Egyptians,

Jeremiah 4. [19] My anguish, my anguish! I am pained at my very heart; my heart is disquieted in me; I can't hold my peace; because you have heard, O my soul, the sound of the trumpet, the alarm of war. [20] Destruction on destruction is cried; for the whole land is laid waste: suddenly are my tents destroyed, [and] my curtains in a moment. [21] How long shall I see the standard, and hear the sound of the trumpet? [22] For my people are foolish, they don't know me; they are foolish children, and they have no understanding;

Psalm 9.12  psallite Domino qui habitat in Sion adnuntiate inter gentes studia eius
ADNUTIATE I. to announce, declare, report, relate, narrate, make known, inform, give intelligence of, who will be the first bearer of the tidings. you bring good news

In Psalm 41 it was prophesied that Judas would not be able to triumph over Messiah: that act is excluded from the synagogue and excludes "vocal or instrumental rejoicing" including elevated forms of speech.  The Judas bag was always attached to a flute case for carrying the mouth pieces of wind instruments.  At the last supper Jesus had ground the SOP for him as the mark that Satan had entered him.

Psaō [a_, but always contracted],

A. “psē” S.Tr.678, inf. psēn （peri-) Ar.Eq.909: impf. contr. 3sg. prob. apepsē (v. apopsaō): fut. psēsō （apo-) Id.Lys.1035: aor. “epsēsa” Hippon.12 Diehl, A.R.3.831, (kat-, peri-) Pl.Phd.89b, Ar.Pl.730:—Med., freq. in compos. with apo:— Pass., aor. epsēthēn （sun-) LXX Je.31(48).33 (v.l. -psēsth-）; epsēsthēn （an-) BGU530.17 (i A. D.): pf. epsēsmai （par-) Poll.4.152. Later authors sts. use the contr. by a_ instead of ē, inf. “ana-psan” Dsc.4.64:— rub, wipe, “tis omphalētomos se . . epsēse kapelousen;” Hippon. l. c.; polish, PHolm.3.19; rub smooth, “austaleas d' epsēse parēidas” A.R. l. c.; of solderers, PLond.3.1177.285 (ii A. D.).

II. intr., crumble away, vanish, disappear, S.Tr.678 (s. v. l.). (psaō, psaiō, psauō, psairō, psēkhō, psōkhō, and perh. psiō, psōmos, seem to be different enlargements of ps-, which corresponds to ps- in Skt. psā ´ti, bhes- in Skt. babhasti 'crush, chew, devour', bhasman 'ashes'.)

How to use PSALLO to turn captives into WOMEN
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] 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

  Eighth, Lucian is used as PROOF that Psallo DEMANDED plucking a musical instrument.  However, Lucian wrote in Attic Greek because he was a PARASITE and knew how to attract the more educated classes of the Civil and military.

Ar.Eq.522, Hippias (?) in PHib.1.13.24; “korais” Men.Epit.260; “psallein ouk eni aneu luras” Luc.Par.17:

Kore or Core   of maiden-goddesses, however old, as the Eumenides, A.Eu.68, S.OC127 (lyr.); the Phorcids, A.Pr.794; the Sphinx, S.OT508 (lyr.); the Fates, concubine, of a hetaira

Lucian the Parasite:
17 Other arts, again, are useless to their professor unless he has his plant;
you cannot play [aulein] the flute [aulōn] if you have not one to play;
lyrical music requires a lyre,
Or you cannot play [psallein] a harp without a harp. [luras]
horsemanship a horse.

But of ours one of the excellences and conveniences is that no instrument is required for its exercise. Other arts we pay, this we are paid, to learn18. Further, while the rest have their teachers, no one teaches19 sponging; it is a gift from Heaven, as Socrates said of poetry.

Lucian the Parasite17 kai hai men allai tekhnai khōris organōn oudamōs tō kektēmenō hupēretein dunantai:
oute gar aulein eni khōris aulōn
oute psallein aneu luras
oute hippeuein aneu hippou:
hautē de houtōs estin agathē kai ou bareia tō tekhnitē, hōste huparkhei kai mēden ekhonti hoplon khrēsthai autē

—Prov., rhaon ē tis an khordēn psēleie 'as easy as falling off a log', Aristid.Or.26(14).31.

Ninth, when psallo is used meaning to sing TO a harp that meant of strike a string and match the voice to that note.  However, psallo is NEVER defined as singing to a harp. The lexicon means that psallo is used in connection with the harp.

2. later, sing TO harp, LXX Ps.7.18, 9.12, al.;

But NEVER in the Bible.  When you sing TO a harp you SMITE a string and then MATCH the sound with YOUR voice. Singing is not a NATURAL thing. IF you want to impose PSALLO in the assembly you need only ONE harp. The "worship leader" smites one of a few strings. Then YOU match your voice to the struck string.  There is no example of a harpists PLAYING with a group of others accompanying him.  The Musical idolatry at Mount Sinai involved some kind of MASSES falling from grace by PROFANING the REST day.

If, on the other hand, psallo demands playing on a harp then every person must have their own harp.

There is no harp in any of these Psalms

Psa. 7:6 Arise, O LORD, in thine anger,
        lift up thyself because of the rage of mine enemies:
        and awake for me to the judgment that thou hast commanded.
Psa. 7:7 So shall the congregation of the people compass thee about:
        for their sakes therefore return thou on high.
Psa. 7:8 The LORD shall judge the people: judge me, O LORD,
        according to my righteousness, and according to mine integrity that is in me.

Psa. 7:13 He hath also prepared for him the instruments of death;
        he ordaineth his arrows against the persecutors.

All plucking or playing words implicate warfare.

Psa. 7:17 I will praise the LORD according to his righteousness:
        and will sing praise to the name of the LORD most high.

"And so the lyre-player [psaltees] not rudely nor inelegantly put the curb on Phillip when he tried to dispute with him about the way to strike [psalles] the lyre [psalteerion]. -Moralia, p. 67F.

Playing a harp AND singing at the same time was the mark of Children or gender-confused males.

Again, Phrynichus says in The Phoenician Women, '
        With [1] plucking [psalmoisin]
        of the [2] strings
        they [3] sing [aeidontes]
        their lays in answering strains." -The Deiphnosphists, XIV. 635,     

  Likewise the Lydian and the Bactrian maids
      Who dwell beside the Halys, loudly worship
      The Tmolian goddess Artemis, who loves
      The laurel shade of the thick leafy grove,
      Striking the clear three-cornered pectis, and
      Raising responsive tunes upon the magadis,
      While flutes in Persian manner neatly joined
      Accompany the chorus.

Psalms 7:17 I will praise the LORD according to his righteousness: and will sing praise to the name of the LORD most high.

Psalm 7.18 confitebor Domino secundum iustitiam eius et psallam nomini Domini altissimi

Psalms 9:11 Sing praises [psallite] to the LORD, which dwelleth in Zion: declare [adnuntiate] among the people his doings.

nuntĭo (nunc- ), āvi, ātum, 1, v. a. nuntius, I. to announce, declare, report, relate, narrate, make known, inform, give intelligence

Confĭtĕor , fessus, 2 (arch. II. Esp., after the Aug. per., sometimes, to reveal, manifest, make known, show.
II. In eccl. writers, to confess, own, acknowledge: Christum, Prud. steph. 5, 40.— With dat.: “tibi, Domine,” Vulg. Psa. 137, 1: “nomini tuo,” id. ib. 141, 8.—Absol., Cypr. Ep. 15.—confessus , a, 

Psalm 9.[12] psallite Domino qui habitat in Sion adnuntiate inter gentes studia eius

In the same way without any harps:

Tenth, psallo is used in connection with the HEART.  If Paul thought of playing a harp then he would have violated all the rules of ancient and modern grammar.  If anyone today asks someone to PLUCK or SMITE he might get smacked in the face. To make this connection DESPISES the Holy Spirit of Christ by saying that He was too ignorant not to NAME a mechanical instrument or use COMPOUND words for each instrument and each form of smiting an instrument.

  “tē kardia” Ep.Eph.5.19; tō pneumati 1 Ep.Cor. l. c.

The EXTERNAL command is to SPEAK using "that which is written for our learning."
The INTERNAL result is that we sing and make the melody IN the heart and directed TO God.

Kardia 2. inclination, desire, purpose, as the seat of feeling and passion, as rage or anger, “oidanetai kradiē Kholō” Il.9.646;

Notice the semicolon

tē kardia” Ep.Eph.5.19; tō pneumati Is IN THE PLACE of the heart

Paul said 
Speak one to another
                    \_ With
                             Psalms, hymns and spiritual songs (all "that which is written")
Singing AND psalloing
                 \_In the heart and to God

This would be a common expression to readers:

The man who was dying blessed me; I made the widow's heart sing. Jb.29:13

So my heart laments for Moab like a flute;
        it laments like a flute for the men of Kir Hareseth.
        The wealth they acquired is gone. Je.48:36
My heart laments for Moab like a harp,
        my inmost being for Kir Hareseth. Is.16:11
And my spirit hath rejoiced in God my Saviour.Lu.1:47
        Therefore did my heart rejoice,
        and my tongue was glad; moreover also my flesh shall rest in hope: Ac.2:26

In that hour Jesus rejoiced in spirit, and said, I thank thee, O Father, Lord of heaven and earth, that thou hast hid these things from the wise and prudent, and hast revealed them unto babes: even so, Father; for so it seemed good in thy sight. Lu.10:21

Plautus, Curculio CAPPADOX My spleen is killing me, my reins are in torment, my lungs are being torn asunder, my liver is being tortured, my heart-strings are giving way, all my intestines are in pain.

Hecuba Alas! a dreadful trial is near, it seems, [230] full of mourning, rich in tears. Yes, I too escaped death where death had been my due, and Zeus did not destroy me but is still preserving my life, that I may witness in my misery fresh sorrows surpassing all before. But if the bond may ask the free of things that do not GRIEVE them or WRENCH their heart-strings, you ought to speak in answer to my questions and I ought to hear what you have to say

GREGORY OF NYSSA (died c394)

8 . Now since man is a rational animal,
the instrument of his body must be made suitable for the use of reason;
as you may see musicians producing their music according to the form of their instruments,

and not piping with harps nor harping upon flutes,

so it must needs be that the organization of these instruments of ours should be adapted for reason, that when struck by the vocal organs it might be able to sound properly for the use of words.

2. And as some skilled musician, who may have been deprived by some affection of his own voice, and yet wish to make his skill known,

might make melody with voices of others,
and publish his art by the aid of flutes or of the lyre,

so also the human mind being a discoverer of all sorts of conceptions, seeing that it is unable, by the mere soul, to reveal to those who hear by bodily senses the motions of its understanding, touches, like some skilful composer, these animated instruments, and makes known its hidden thoughts by means of the sound produced upon them.

THIS WAS ALWAYS THE MEANING IN A RELIGIOUS SENSE, AS OPPOSED TO MAKING WAR AND SEX.

Psalmus , i, m., = psalmos, i. q. psalma, I. a psalm (eccl. Lat.; cf.: “carmen, hymnus),” Tert. adv. Prax. 11; Lact. 4, 8, 14; 4, 12, 7; Vulg. Isa. 38, 20.—Esp., the Psalms of David, Vulg. Luc. 20, 42; id. Act. 13, 33 et saep

Our external Teaching and Admonishing one another is vocal where LOGOS excludes poetry or music.
Our internal "worship" is IN the Spirit: God is Spirit and we must worship in SPIRIT (a Place) and in TRUTH (thy Word is truth.)

Eleventh, psallo speaks of the harp being STRUCK. Therefore, a lifeless instrument of carnal weapon cannot participate just because it is struck.
 
3. Passive OF the instrument, to be struck or played, STRIKE “psallomenē A GUT string khordē” Arist.Pr.919b2; also of persons, to be played to on the harp, Macho ap.Ath.8.348f.

khord-ē , hē, pl.,  I. that which is made from guts: 1. string of gut, “ta hupokhondria telamōsi kai khordais diasphiggei  b. musical note, Pl.Phlb.56a.

Plat. Lysis 209b And, I suppose, when you take your lyre, neither your father nor your mother prevents you from tightening [epiteinō screw up], or slackening [aniēmi] what string [gut] you please, or from using your finger [psēlai] or your plectrum [plēktrō] at will: or do they prevent you? Oh, no. Then whatever can be the reason, Lysis, why they do not prevent you here,

kai psēlai kai krouein tō plēktrō. ē diakōluousin;

Psallo OUTLAWS the plectrum: II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron, “psēlai kai krouein tō plēktrō”

The later Jews did not use the harp on the Sabbath (Rest) day because "psallowing" or "aniemi" the gut strings would be considered WORK.

The Spirit OF Christ knew that if He intended to say "Play a Harp" or other instrument you MUST use two words or compound words. If the Spirit did not know better, those who use PSALLO accuse Him of being ignorant and that is blasphemy.

PLAYING and AN INSTRUMENT always uses a compound word such as:

Kat-auleō ,A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tina Alciphr.2.1: metaph., se . . -ēsō phobō I will flute to you on a ghastly flute, E.HF871 (troch.):—Pass., of persons, methuōn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros khelōnidos psophon to be played to on the flute with lyre accompaniment,  

2. make a place sound with flute-playing, Thphr.Fr.87:— Pass., resound with flute-playing, “nēsos katēuleito” Plu.Ant.56.

II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute accompaniment,   to be piped down, ridiculed, “gelōmenoi kai -oumenoi”  

III. c. acc. rei, play on the flute, “ta mētrōa”  , to have played to one as an accompaniment on the flute, -“oumenoi pros tōn hepomenōn ta mētrōa melē”

Eph. 5:18 And be not drunk  [methuōn] with wine, wherein is excess;
        but be filled with the Spirit; (The Word of Christ Col 3:16; John 6:63)
Eph. 5:19 Speaking to yourselves
                    \ in psalms and hymns and spiritual songs,
                             \ singing and making melody in your heart to the Lord;
Eph. 5:20 Giving thanks [praying] always for all things unto God and the Father
         in the name of our Lord Jesus Christ;

Hymns are prayers: you cannot be worshiping God if you are getting eraptured over the boy and girl singers always a mark of gender confusion by the leaders.

Epi-psallō ,

A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois” 
                SING, “tous humnous” LXX 2 Ma.1.30:—30 - Then the priests sang the hymns.

Psallo means to pluck and make a sound: it does not include either melody or rhythm.

Katapsallō ,
A. play stringed instruments to, [“sumposion kataulein kai k.” Pass., have music played to one, enjoy music, ib.785e; of places, resound with music, Id.Ant.56.

2. Pass., to be buried to the sound of music, Procop.Pers.2.23.

3. metaph., katapsalletai . . ho dēmiourgos is drummed out, Porph.

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.

epi-psallō , A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois” Plu.2.713b ; sing, “tous humnous” LXX 2 Ma.1.30:—Pass., Ph.1.626.

A DIFFERENT PSALLO

✓ Psallo , i, 3, v. n., = psallō.

I. In gen., to [1] play upon a [2] stringed instrument; esp., to [1]  play upon the [2]  cithara, to sing TO the cithara: “psallere saltare elegantius,”  The instrument must be NAMED.

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,”

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 [grace]. p. 214 P. (Trag. v. 152 Vahl.): “flebilibus modis concinere,” Cic. Tusc. 1, 44, 106: saltare [dance] ad tibicinis modos, to the music or sound of the flute, Liv. 7, 2: “nectere canoris Eloquium vocale modis,” Juv. 7, 19.—Fig.: “verae

Dēlĭcĭae [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, to sport as lovers,

Salto (to dance (in the widest signif. of the word, including pantomime and gesticulation; mostly with a contemptuous accessory “pantomimus Mnester tragoediam
“saltatur Venus, saltatur et Magna Mater,” [The Mother Goddess: Venus is Zoe or Lucifer]

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.)

✓ Sall. C. 25, 2 (but in Cic. Cat. 2, 10, 23 the correct read. is saltare et cantare;

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... Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation.

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 [sēmĭnārĭus] 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!

Notes commentary
imberbis: a mark of effeminacy; bene barbatos, full-bearded, doubtless a military affectation, as, until lately, the wearing of a mustache.
velis, veils, rather than the substantial toga, which was of unbleached wool. The whole description suggests foppishness and effeminacy.
saltare et cantare, these accomplishments were hardly regarded as respectable by the better classes.

✓ “v. Halm ad h. l.): qui canerent voce et qui psallerent,” Gell. 19, 9, 3;

[1]  Cano  canite ; kuknos, [Swan sacred to Apollo, Abaddon, Apollyon] to produce melodious sounds, whether of men or animals; tubae,
idyllia erōtika  conviviis symphonia caneret,

Luc. 6.686  Thus spake the hag And through redoubled night, a squalid veil
Luc. 9.931Swathing her pallid features, stole among Unburied carcases.
First all the sandy space within the lines
With song they purify and magic words
From which all serpents flee:

[2]  vox , I.a voice, sound, tone, cry, call. A. That which is uttered by the voice, i. e. a word, saying, speech,
“siderā excantata voce Thessalā,” incantation, id. Epod. 5, 45:

ex-canto   I.to charm out or forth, to bring out by enchantment. had removed them by enchantment into another field, Luc. 6.686  Thus spake the hag And through redoubled night, a squalid veil

Luc. 9.931Swathing her pallid features, stole among Unburied carcases.
First all the sandy space within the lines
With song they purify and magic words
From which all serpents flee:

Gel. 703. When there was an end of eating and drinking, and the time came for conversation, Julianus asked that the singers and lyre-players be produced, the most skilful of both sexes, whom he knew that the young man had at hand. And when the boys and girls were brought in, they sang in a most charming way several odes of Anacreon and Sappho [Lesbian], as well as some erotic elegies of more recent poets that were sweet and graceful. But we were especially pleased with some delightful verses of Anacreon, written in his old age,  which I noted down, in order that sometimes the toil and worry of this task of mine might find relief in the sweetness of poetical compositions:

[3]  psallerent,

✓ cf.: “cantare et psallere jucunde,” Suet. Tit. 3; Aur. Vict. Epit. 14:

[1] Cantare or canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play
“saltare et cantare dance and cantare
Of an actor: “cantante eo (Nerone) ne necessariă quidem causă excedere theatro licitum
“bibere jucundius, agreeably, delight fully: “vivere,
        lūdo , B. To play, sport, frisk, frolic Esp., to play on an instrument of music,
                to make or compose music or song:
        B. To sport, dally, wanton (cf. "amorous play," imitation work.
        bĭbo to drink from passion, habit, vinum (cf. pinein kratēras [wine vat]

While Canto can be used of playing it must be named

[2] psallere

[3]  Jūcundus  I.pleasant, agreeable, delightful, pleasing “jucundissimi ludi, agreeably, delight fully:

1. Ludi, public games, plays, spectacles, shows, exhibitions, which were given in honor of the gods
“hoc praetore ludos Apollini faciente, 2. Stage-plays
“Dionysius Corinthi dicitur ludum aperuisse,” id. Fam. 9, 18, 1:
ludos facere aliquem, to make sport of, make game of, to banter, jeer at, mock:
ludus aetatis, the pleasures of love

They sat down to eat and ROSE up to PLAY.

Suet. Tit. 3 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."

✓ “docta psallere Chia,” Hor. C. 4, 13, 7; id. Ep. 2, 1, 33. —Of singing to the cithara: Calliope princeps sapienti psallerat ore, Caesius Bassus ap. Prisc. p. 897 P.;

[1] dŏcĕo ,
II. In partic.: fabulam, like the Gr. didaskein, qs. to teach a play to the actors, to rehearse; hence, to produce, exhibit on the stage
“doctus vir et Graecis litteris eruditus, (Maecenas) docte sermones utriusque linguae,
“dulces modos (with citharae sciens),”
Sapphica puella Musa doctior,” more skilled in song, Cat. 35, 17:

2. Of things as subjects: “frontes,” Hor. C. 1, 1, 29: “tibia,” Prop. 2, 30, 16 (3, 28, 16 M.): “carmina,” Tib. 2, 3, 20; cf. “vox,” Ov. P. 2, 5, 52: “voces Pythagoreorum,”
B.2. Cunningly, shrewdly, cleverly: “docte et sapienter dicis,”

săpĭo  opos, saphēs, and sophos
sophos , ē, on, A.skilled in any handicraft or art, clever, harmatēlatas s. Pi.P.5.115, cf. N.7.17;
Margites mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.), cf. Ar.Ra.896 (lyr.)

Matthew 11:25 ¶ At that time Jesus answered and said, I thank thee, O Father, Lord of heaven and earth, because thou hast hid these things from the wise and prudent, and hast revealed them unto babes.
Matthew 21:16 And said unto him, Hearest thou what these say? And Jesus saith unto them, Yea; have ye never read, Out of the mouth of babes and sucklings thou hast perfected praise?

[2] psallere

[3]  Chia,
[4]   Hor. Od. 4.13

The gods have heard, the gods have heard my prayer;
Yes, Lyce! you are growing old, and still
You struggle to look fair;
You drink, and dance, and trill
impŭdens without shame, shameless, impudent
trĕmŭlus
lūdĭus ,

Your songs to youthful Love, in accents weak
With wine, and age, and passion. Youthful Love!
He dwells in Chia's cheek,
And hears her harp-strings move.

Who reign'd in Cinara's stead, a fair, fair face,
Queen of sweet arts? but Fate to Cinara gave
A life of little space;
And now she cheats the grave

Of Lyce, spared to raven's length of days,
That youth may see, with laughter and disgust,
A fire-brand, once ablaze,
Now smouldering in grey dust.

✓  Aur. Vict. Caes. 5; Prud. steph. 10, 837.—Impers.: “in caelo cantatur et psallitur,” Arn. 3, 21.—

caelo , engrave, carve, fabricate B. Of poetry: carmina compono, hio elegos.

✓ II. In PARTICULAR in Ecclesiastical Latin, to sing the Psalms of David, ; Vulg. 1 Cor. 14, 15

1Corinthians 14:15 What is it then?
        I will pray with the spirit,  [Not just my breath]
        and I will pray with the understanding also:
        I will sing with the spirit, and I will sing with the understanding also.

Oro Speak with To pray, beg, beseech, entreat one
spīrĭtus a breathing or gentle blowing of air, a breath,
2.  he breath of a god, inspiration: Spirit, soul, mind.
2. Spiritus, personified, a spirit

God said that the imagination of man is only evil continually. Therefore, that which flows out of impulse must be weighed by the mind to determine whether it fits the demand to edify or educate.

Mens ,  feelings, sentiments, The conscience:
B. the intellectual faculties, the mind, understanding, intellect, reason, judgment, discernment, consideration, reflection,
1 Cor 14.15] quid ergo est orabo spiritu orabo et mente psallam spiritu psallam et mente

3.26.13 9.28.13 169 451. 11.21.18. 615 1.14.19. 657

 

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