Aresko (g700) ar-es'-ko; prob. from 142 (through the idea of exciting emotion); to be agreeable (or by impl. to seek
to be so): - please.
Music
was always the mark of the prostitute or Sodomite:
Areskos
A. pleasing, mostly in bad sense, obsequious, cringing,
II. areskos, ho, the staff borne by pornoboskoi [brothel keeper] on
the stage,
Airo
(g142) ah'ee-ro; a prim. verb; to lift; by
impl. to take up or away; fig. to raise
(the voice), keep in
suspense (the mind); spec. to
sail away (i.e. weigh anchor); by Heb.
[comp. 5375] to expiate sin: - away with, bear (up),
carry, lift up, loose, make to doubt,
put away, remove, take (away, up).
Airô to raise up, exalt,
Aesch.:--of passion, to exalt, excite, hupsou airein thumon to grow excited, to raise by words, to extol, exaggerate, to take up for oneself:
to carry off, win, gain
This had
the same meaning of EXTERNAL SINGING:
Aoidê 1. art of song, autar aoidên
thespesiên, spell,
incantation, thing sung,
song, whether of joy or sorrow,
Aeidô sing,.hence
of all kinds of vocal sounds, crow as cocks, hoot
as owls, croak as frogs,;
hoi tettiges chamothen aisontai,
crowing too soon.
The tettiges are the LOCUSTS which are the MUSES serving Apollo,
Abaddon or Apollyo
Aeirô
is connected to:
Kithar-izô ,( [kitharis] ):--play the cithara, phormingi [Apollyon's
instrument], kitharize. Instrument players were defined
as parasites.
The included
Attic word Airô to raise up, exalt,
Aesch.:--of passion, to exalt, excite, hupsou airein thumon to grow excited, to raise by words, to extol, exaggerate, to take up for oneself:
to carry off, win, gain
Romans XV. 1 debemus autem nos firmiores
imbecillitates infirmorum sustinere et non nobis placere
Sustinere I.
to hold up, hold upright, uphold,
to bear up, keep up,
support, sustain 1.To
sustain, support, maintain, by
food, money, or other means (maintain, preserve with dignity of a citizen II.
Concr., the citizens united in a community, the
body
- politic, the state, and as this consists
of one city and its territory, or of several cities, it
differs from urbs, i.e. the compass of the dwellings of
the collected citizens;
Imbecillitas Caes. B. G. 7, 77, 9
Caes. B. G. 7, 77, 9 Caesar, Gallic War 7.77.
LXXVII. But those who were blockaded at Alesia , the day
being past, on which they had expected auxiliaries from
their countrymen, and all their corn being consumed ignorant
of what was going on among the Aedui, convened an assembly
[Concilium Pastorium] and deliberated
on the exigency of their situation. After various opinions
had been expressed among them, some of which proposed a
surrender, others a sally, while their strength would
support it, the speech of Critognatus ought not to be
omitted for its singular and detestable cruelty.
Concilium is the same as Latin ecclesia
or Greek sulloge or synagogue. I.a
collection of people, an association, gathering, union,
meeting A.An assembly for
consultation pastorum pasco 2.To
feed, nourish, maintain, support, 3.To
cherish, cultivate, let grow, feed
4. Of animals, to graze, browse
(poet.): pascentes capellae,
Pastor 2.The
minister or superintendent of a church or congregation
Ezek XXXIV. The word
of Yahweh came to me, saying, [2]
Son of man, prophesy against the shepherds of
Israel, prophesy, and tell them, even to the shepherds,
Thus says the Lord Yahweh: Woe to the shepherds of Israel
who feed themselves! Shouldn't the
shepherds feed the sheep? [3]
You eat the fat, and you clothe you with the wool,
you kill the fatlings; but you don't feed the
sheep. [4] You
haven't strengthened the diseased, neither
have you healed that which was sick,
neither have you bound up that which was broken,
neither have you brought back that which was driven
away, neither have you sought that which was lost;
but with force and with rigor have you ruled
over them. [5] They
were scattered, because there was no shepherd; and
they became food to all the animals of the field, and were
scattered.
Eph 4:[11] He gave some to be apostles; and
some, prophets; and some, evangelists; and some, shepherds
and teachers; [12]
for the perfecting of the saints, to the work of serving,
to the building up of the body of Christ;
[13] until we all
attain to the unity of the faith, and of the knowledge
of the Son of God, to a full grown man, to the
measure of the stature of the fullness of Christ
Outlawed: Placeo to please, to be pleasing or agreeable, to be welcome, acceptable, to satisfy (class.).
1. In scenic lang., of players
or pieces presented, to please, find favor, give satisfaction: scenico placenti
Rom. 8:8 So then they that are in the flesh
cannot please God.
Rom. 8:9 But ye are not in the flesh, but in the
Spirit,
if so be that the
Spirit of God dwell in you.
Now if any man have
not the Spirit of Christ, he is none of his.
Outlawed:
Scaenicus I. of or belonging
to the stage, scenic, dramatic, ORGANA, theatrical
I. Lit.: poëtae, dramatic poets, ludi, stage-plays, theatrical representations, : fabula, a drama ,
2. Placere sibi, to be pleased or satisfied with one's
self, to flatter one's self, to pride or plume one's
self
I.
Lit.:
poëtae, dramatic poets, ludi, stage-plays,
theatrical representations, : fabula, a drama, organa, Suet. Ner. 44 :
coronae, id. ib. 53 : habitus, id. ib. 38 : gestus,
Cic. de Or. 3, 59, 220 : modulatio Comedy. Orator
Poi-êtês II. composer of a poem, author, p. kômôidias Pl.Lg.935e ; p. kainôn dramatôn, b. composer of
music, 2. author of a speech
Lynn
Anderson etal:
II. Inspired Scripture
I believe in a God who speaks
clearly through His Inspired Word. His important
truths are readily apparent throughout the whole
of scripture. Certainly there are finer
nuances to be gleaned by deeper study, but He does
not leave us to guess where He stands and then
hope to escape the wrath of hell if we guess
wrong.
I believe that all scripture is “inspired by God”
(2Tim. 3:16).
I have heard it said many times that the Bible
doesn’t address the issue of instrumental
worship for the church and that it is
conspicuously missing. |
Sorry, but I have never heard that the Bible doesn't
address instruments except from instrumental
apologists: I think they meant that the Bible did not authorize
it. The most overwhelming issue of the Old Testament
is the clergy being abandoned to pagan music and the
prophets universally condemning them as robbers and
parasites JUST what God promised when the elders fired God
and hired a DOMINANT PREACHER. God didn't tell you that you
cannot be a hypocrite either:
Hupokrinomai
I. to reply, make answer, answer,
Hom., Hdt.
2. to expound, interpret, explain, Od., Ar.:--the attic word
in this sense is apo-krinomai.
II. of actors, to answer on the stage: hence to play a part, be an actor
2. to represent dramatically: hence to exaggerate
3. metaph. to play a part, to feign, pretend, c. inf., id=Dem.
Latin canto I. Neutr., to produce melodious sounds (by the voice or an
instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the
actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound:
Parasi-tus , i, m., = parasitos, lit.
one who eats with another; hence,
I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods-Hence, parasitus Phoebi, a player, actor,
II. In partic., in a bad
sense, one who, by flattery and buffoonery, manages to live at another's
expense, a sponger, toad-eater, parasite
Some
claim that God is silent and his silence gives ME
the right to impose new practices whih BECOME the words of
God which cannot be disputed. And so totally inspired that
they claim that God COMMANDED instrumental praise and we
must not be disobedient.
When God brought Israel out of Egypt by pure grace, He gave
them The Book of the Covenant. They agreed to keep it but
refused to listen to the voice of God. While Moses was on
the mountain getting a written code of grace, the people
rose up in musical idolatry. For that transgression God
removed Grace and gave them The Book of The Law and turned
them over to worship the starry host.
Exod 32:1 AND when the
people saw that Moses delayed to come down out of the
mount, the people gathered themselves together unto Aaron,
and said unto him, Up, make us gods, which shall
go before us; for as for this Moses, the man that brought
us up out of the land of Egypt, we wot not what is become
of him.
Exod 32:2 And Aaron said
unto them, Break off the golden earrings,
which are in the ears of your wives, of your sons,
and of your daughters, and bring them unto me.
Exod 32:3 And all the
people brake off the golden earrings which were in their
ears, and brought them unto Aaron.
Exod 32:4 And he
received them at their hand, and fashioned it with a
graving tool, after he had made it a molten calf: and they
said, These be thy gods, O Israel, which brought
thee up out of the land of Egypt.
Exod
32:5
And when Aaron saw it, he built an altar before it; and
Aaron made proclamation, and said, To morrow is a feast
to the Lord.
Exod 32:6 And they rose
up early on the morrow, and offered burnt offerings, and
brought peace offerings; and the people sat down to eat
and to drink, and rose up to play.
"The triumphal
hymn of Moses had unquestionably a religious character
about it; but the employment of music in religious
services,
though
idolatrous, is more distinctly marked in the festivities which
attended the erection of the golden calf." (Smith's
Bible Dictionary, Music, p. 589).
"In the New Testament
there is nowhere any emphasis laid on the musical form of the hymns; and in
particular none on instrumental accompaniment whereas this is
significantly paganism."
(Delling, Gerhard, Worship in the New Testament,
trans. Percy Scott Phil. Westminster press, 1962, p.
86).
Both the Greek and Latin
define this is MUSICAL IDOLATRY;
Ludo A.To sport, play
with any thing, to practise as a pastime, amuse
one's self with any thing. B.To sport,
dally, wanton (cf. "amorous play,
Tertullian De Spectaculus
Chapter X. Theatrical Performance and Religion
Let us
pass on now to theatrical exhibitions, which we have already
shown have a common origin with the circus
[Circe=church], and bear like idolatrous designations-even as from
the first they have borne the name of "Ludi," and
equally minister to idols.
They resemble each other
also in their pomp, having the same procession
to the scene of their display from temples and altars, and that mournful profusion of incense and blood,
.........with music of pipes and trumpets,
........ all
under the direction of the soothsayer and the undertaker,
........ those
two foul masters of funeral rites and sacrifices.
2 Peter 2:13 And shall
receive the reward of unrighteousness,
..........as they that count it pleasure to riot in the day time.
..........Spots they are and
blemishes, sporting themselves
..........with their own
deceivings [delusions] while
they
feast with you;
..........All musicians
and rhetoricians are equated to parasites.
Entrupo (g1792) en-troo-fah'-o;
from 1722 and 5171; to revel in: - sporting
selves.
gamêliôi lechei
[marriage
couch-bed] hêdonais,
playing in
the wind, exult over, treat haughtily or
contemptuously, made a mock of, tinos sumphorais, III. use or abuse at
pleasure
Exod 32:17 And when Joshua heard the noise
of the people as they shouted, he said unto Moses, There
is a noise of war in the camp.
Lam. 2:6 And he hath
1. violently taken away his tabernacle,
as if it were of a garden:
2.
he hath destroyed his places of the assembly: [h4150 synagogues: good and bad]
the LORD hath
caused the solemn feasts and sabbaths to be
forgotten in Zion,
and hath despised in the indignation
of his anger the king and the priest.
Hos 8:3 Israel hath cast off the
thing that is good: the enemy shall pursue him.
Hos 8:4 They have set up kings,
but not by me: they have made princes, and I knew it
not: of their silver and their gold have they made them
idols, that they may be cut off.
Hos 8:5 Thy calf, O Samaria, hath
cast thee off; mine anger is kindled against them: how
long will it be ere they attain to innocency?
Hos. 13:11 I gave thee a king in mine
anger, and took him away in my wrath.
3. The Lord
hath cast off his altar (candlestick), he hath abhorred
his sanctuary,
he hath given up into the hand of the enemy the walls of her palaces;
they have made
a noise in the house [Temple] of the Lord, as in the day of a solemn feast. Lam
2:7
WES:
2:7 They - The enemies with their triumphs and
blasphemies, made as great a noise, as those that sang
holy songs, or played on instruments, were wont to
make to the glory of God.
Exod 32:18 And he said, It is not the voice
of them that shout for mastery, neither is it the voice of
them that cry for being overcome; but the
noise of them that sing do I hear.
Paul warned both the Romans and
Corinthians about this musical idolatry
1Co.10:7 Neither be ye idolaters,
as were some of them; as it is written, The people sat
down to eat and drink, and rose up to play.
Paizo
(g3815) paheed'-zo; from 3816; to sport (as a boy): - play.
Paig-ma , atos, to, A. play,
sport, whene'er the pipe sounds its sportive
strains, E.Ba.161(lyr.); Ludia
p. luras
E.Ba.161 Euripides
Bacchae
Chorus
[135] He is
sweet in the mountains, whenever after the
running dance he falls on the ground, wearing the
sacred garment of fawn skin, hunting the blood of the
slain goat, a raw-eaten delight, rushing to the [140] Phrygian, the Lydian
mountains, and the leader of the dance is Bromius,
evoe! The plain flows with milk, it flows with wine,
it flows with the nectar of bees. [145]
The Bacchic one, raising the flaming torch of pine on his
thyrsos, like the smoke of Syrian incense, darts about, arousing
the wanderers [planetes [Wandering stars] with his racing and dancing,
agitating them with his shouts, [150]
casting his rich locks into the air. And
among the Maenad cries his voice rings deep:
“Go,
Bacchae, go, Bacchae, with the luxury of Tmolus that flows
with gold, [155] sing
of Dionysus, beneath the heavy beat of drums,
celebrating in delight the god of delight with
Phrygian shouts and cries, [160]
when the sweet-sounding sacred pipe sounds a
sacred playful tune suited [165] to
the wanderers, to the mountain, to the
mountain!” And the Bacchante, rejoicing like a foal
with its grazing mother, rouses her swift foot in a
gamboling dance
êïos epithed of
Phoebus, A. êïe Phoib
[Apollo, Apollon, Apollyon]
enopê 3.
of things, sound, 08;
kitharas e. E.Ion882 O you, who cause a voice to sing from your
seven-stringed lyre, a voice that lets lovely-sounding
hymns peal forth in the rustic lifeless horn
Note 2. lura A.lyre,
a stringed instrument with a sounding-board formed of
the shell of a tortoise thrênon (since the
dirge was accompanied by the flute)
The Bible is NOT lyric
poetry.
Lynn
Anderson etal: Is not the Old Testament
part of our Bible? Is it not part of all
scripture? Was it not written to teach
us about God (Ro. 15:4) and what He values (love,
justice, mercy, faith, worship, etc.) and what He
hates (evil, idolatry, etc.)? When
the early church gathered to worship, what
scripture did they study together - not the New
Testament - it had not been written yet.
What was their hymnbook? - the psalms, which over
and over include mandates to use instruments
Rom 15:4
“For everything that was written in the
past was written to teach us, so that
through endurance and the encouragement of the Scriptures
we might have hope.”
|
GOD DID NOT COMMAND KING, KINGDOM, TEMPLE, ANIMAL
SACRIFICES OR LEVITE SORCERS MAKING NOISE
Paul excludes the diversities of Romans 15 and defines the
ekklesia or synagogue or school of the Bible in Romans 15: the
teaching was done by speaking "that which is written" using
one mind and one mouth. Self-pleasure excludes all form of
theatrics especially exhibitionism which was a female or
perverted mark.
This was written for our learning including telling us that
Israel fell from Grace because of musical idolatry.
Because there is no exception to this radical
condemnation, it is not possible for anyone taking an honest
look at the text to conclude that it teaches us to DO that
which caused God to abandon them to musical idolatry in
national-only animal sacrifices.
1Cor.
10:6 Now these things were our examples,
to the intent we
should not lust after evil things, as they also
lusted.
1Cor. 10:7 Neither be ye idolaters, as were some of
them; as it is written,
The people sat down to
eat and drink, and rose up to play.
"The triumphal hymn of
Moses had unquestionably a religious character about it;
but the employment of music in religious services, though idolatrous, is
more distinctly marked in the festivities which attended the
erection of the golden calf." (Smith's Bible Dictionary,
Music, p. 589).
"They sat down to eat
and drink and rose up to play. They practiced rites in
which they made themselves naked, perhaps similar to
those which were carried out by naked Babylonian priests." (Woodrow, p. 158)
Anton
Marks "We know that all of the Israelites brought
Egyptian gods and practices with them
and it is not far-fetched to think that Miriam, who had
not yet been exposed to the Covenant, was part of the consciousness-altering
rhythms and which was part
of a priestly myth-play brought to destructive
consummation at Mount Sinai as the golden calf was
called back into action.
This "rising up to play" involved eating,
drinking, nakedness and musical worship. The goddess, Hathor,
is the best candidate for the Mother Goddess
of the Mount Sinai idolatry. Here priestessess or prophetesses
were highly trained with musical instruments,
cultic songs and be able to join in the religious
dance.
1Cor. 10:11 Now all these
things happened unto them for ensamples: and they are
written for our admonition, upon whom the ends of the world
are come.
When Paul addressed those areas where pagan
singing with instruments--and music included the whole
body--he commanded that the SPEAK "that which is
written" (Rom 15), The Spirit (Eph 5; John 6:63) or the Word
of Christ (Col 3.) These were all forms of the BOOK of Psalms
or other inspired text. Modern writers do not write
inspired Scripture.
Where there were numerous prophets which usually meang
prophesiers or mad singing and playing people who arroused you
to pick your pocket, Peter told the churches to give attention
to the PROPHETS and the Day Star would arise in their
hearts.
The reason for both is that Peter left a written memory and
claimed that it was from an eye and ear witness of Jesus
Christ Who validated HIS mission by working miracles.
Therefore, singing that which is written is a MARK as
the only real way we can identify what Paul identified as the
pagan, perferted performers. A teacher who did not
"teach that which is written" was marked as a false teacher.
That is why God put that authority in the hands of
Pastor-Teachers as the elders and not young professional
performers to put on a show.
Jesus had a bound copy of the Greek version: maybe similar to
the one the eunuch was reading so that he knew that baptism
was prophesied. The meaning of a Scribe was that they
would be at every major event taking notes and making copies
to sell before the audience got away. Everything that
Jesus said would be recorded and became short accounts.
Therefore, they would need nothing more to assemble to read
whatever text they had, discuss it and be admonished to
observe it. With the addition of the Lord's Supper they could
conduct "church" until Jesus comes.
Lynn
Anderson etal:
Psa
4:1 For the director of music. With
stringed instruments.
Psa 5:1 For the director of music. For
flutes.
Psa 6:1 For the director of music. With
stringed instruments.
Psa 33:2 Praise the LORD with the harp; make
music to him on the ten-stringed lyre.
Psa 33:3 Sing to him a new song; play
skillfully, and shout for joy.
Psa 43:4 Then will I go to the altar of God, to
God, my joy and my delight. I will praise you with the
harp, O God, my God.
Psa 47:5 God has ascended amid shouts of joy,
the LORD amid the sounding of trumpets.
Psa 49:4 I will turn my ear to a proverb; with
the harp I will expound my riddle:
Psa 54:1 For the director of music.
With stringed instruments.
Psa 55:1 For the director of music. With
stringed instruments.
Psa 61:1 For the director of music. With
stringed instruments.
Psa 67:1 For the director of music. With
stringed instruments. |
Who is the chief Musician:
the truth is that he is often the slave driver.
Commentators and critics have confessed
that they can make only conjectures as to the primitive
meaning and use of the word (for it is only one word in
Hebrew) lamenazzeah.
The Ancient Versions attempt a
rendering. The Sept. has eis to telos = unto, for, or, with a view to the end.
The Arabic, Ethiopic, and Vulgate render it "at the
end". The Chald. renders it (Ps. 45) "to the
praise". The Talmudists hold that it related to Him
Who is to come; while Aquila (one of the Sept. Revisers,
A.D. 130) renders it "to Nikopoio" = to the giver of victory.
It is clear that a Person was intended by
these various renderings; but they appear to be
interpretations rather than translations. Regarded as
the former, they may be useful in showing us how the Psalms
point to Christ; for He is the end. It is He Who
giveth victory; it is He Who is the Coming One : and,
while the book is called Sepher Tehillim, the Book of Praises,
it is He Who "inhabiteth the praises of Israel" (Ps. 22:3).
All ancient Hebrew manuscripts, with the
early and best later printed editions, show no break
whatever between the lines of one Psalm and another.
The Septuagint translators had been many
years in Babylon, and the oldest among them must have been
very young when carried away thither.
There was none who had full knowledge and
experience of the ancient usages of the Temple worship.
Consequently, when they came to their task
some 197 years after the latest carrying away to Babylon,
there was nothing to show them where one Psalm ended and
where the next began.
Hence, when they came to the word lamenazzeah, "To the chief Musician", they took it as
being the first line of a
Psalm, instead of the last
line of the preceding Psalm which they had just
translated. All subsequent Versions, in all languages,
have followed them in this mistake. For mistake it
was, as we may see from the only two examples of independent
Psalms given us in the Scriptures : viz. Isa. 38:9-20,
and Hab. 3.
In each of these isolated Psalms we have
the true models on which all the other Psalms are based.
In each case we have
1. The Super-scription, or Title proper.
2. The body of the Psalm itself.
3. The Sub-scription.
In each of these two cases the word lamenazzeah forms the sub-scription, and appears at the end of
the Psalm. Those who "set forward" the work of the temple excelled which means:
Nacach
(h5329) naw-tsakh'; to glitter from afar, to be eminent as a superintendent, especially of the
Temple services and its music; also to be permanent, to excel, chief
musician, singer, overseer, set forward. (The Worship team or Minister
of Music is the overseer or anxiety inducer).
Of which, twenty and four thousand were
to set forward the work of the house of the Lord; and six thousand were officers and
judges: 1Chr.23:4
There were also women musical singers "for
my own pleasure" or my "musical instruments" or "my
concubines" but there were never any Levitical women
worship team members.
Another description shows that the musical
worship teams were the overseers of the group:
Paqiyd
(h6496) paw-keed'; from 6485; a superintendent (civil, military or
religious): - which had the
charge, governor, office, overseer, [that] was set.
Of the sons of Asaph, the singers were
over the business of the
house of God. Ne.11:22b
Godly people performed no work on the REST DAY: work
involved sending out ministers of God.
Melakkah
(h4399) mel-aw-kaw'; from the same
as 4397; prop. deputyship, i. e. ministry; gen. employment (never
servile) or work (abstr. or concr.); also property (as the result of labor): -
business,
* cattle,
* industrious, occupation, (* -pied), * officer, thing
(made), use, (manner of) work ([man], -manship).
This
is
outlawed for the day of Rest:
The singers and
musicians were eminent (famous, celebrated, conspicuous or
exalted).
They were the chief singers, set forward to advance
the work
of the institution. They were in charge, they were officers, they were the overseers
of the "flock."
This was not because
of the elders or tribal leaders approved.
Rather, the chief "lion" organized his own teams to grasp
ruler ship after the wars were over. This led to the
displacement of the religious institution by the "peace
party." However, when they cry "peace, peace" we had
better watch out.
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 fathers loins. 2 Chron 10:10
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.
2 Chron 10:11
And answered them after
the advice of the young men, saying, My father made your
yoke heavy, but I will add thereto: my father chastised
you with whips, but I will chastise you with scorpions. 2
Chron 10:14
This caused Civil war after Solomon's
death
See that human hymns are idols.
John Murray defining Psalms as Inspired Psalms: We
cannot write those.
"In the Septuagint psalmos occurs some 67 times in the titles to the Psalms. In most cases it is the
translation of the Hebrew mismor, but in a few cases it translates other
Hebrew words.
Psalmos means simply "song of praise." The frequency with which
the word psalmos occurs in the titles is probably the
reason why the Book of Psalms is called in the LXX version simply psalmoi. In the Hebrew it is called
tehillim.
Tehillah (h8416) teh-hil-law'; from
1984; laudation; spec. (concr.) a hymn: - praise.
I will declare thy name unto my brethren: in the midst of the congregation will
I praise thee. Psalm 22:22
"There is nothing in the
context of these two passages requiring us to regard
"psalms" as referring to uninspired compositions.
On the other hand,
there are abundant instances in the usage of Scripture
elsewhere which show that the word "psalm" refers to an inspired composition.
"Furthermore, there is no instance in which the word "psalm,"
as used with reference to a song of praise to God, can be
shown to refer to an uninspired song.
It is therefore quite
unwarranted to regard "psalms" in these two passages as referring to uninspired songs, whereas there is abundant
warrant for regarding them as denoting inspired compositions.
Probably
most churches do NOT follow that direct command and are
therefore not informed. Paul outlawed SELF-pleasure
which we have proven excludes all forms of arousal singing
or instruments. He further defined the METHOD of
teaching "that which is written." He said us ONE MIND and
ONE MOUTH as the way to educate, glorify or praise God,
comfort WITH the Scriptures and thereby keep the unity of
the body. No one in history has ever imposed music without
knowing that they would sow discord which IS a burnable
offense.
No musical performers SPEAK that which is written in UNISON
and therefore violate the direct command for the teaching
purpose and the method of teaching: rarely will a Physics
professor let some musician rewrite his lectures and perform
them with a musical band.
Lynn
Anderson etal:
III. God
Never Changes
I believe in a God that never changes. He is not
given to whims and fancies that come and go. A
loving God would not desire and command something at
one time (Num. 10:2, Ps. 98, 150, I Chron. 25:6,
etc.), later decide that He hates it (and neglect to
mention that fact - just expect us to guess it), then
change His mind again and require it (I Cor. 15:52, I
Thess. 4:16, Rev. 5:8, 8:2, 14:2, 15:2). God
does not change. |
That is
partly true: Jacob cursed the tribe of Levi and warned
us NOT to attend their assemblies or enter into covenant
with them Genesis 49
People lived under the Abrahamic covenant
of Grace before they fell into musical idolatry
at Mount Sinai. God abandoned the national system of kings
and priests to make war and conduct NATIONAL animal
sacrifices to which the people's congregation never
attended. The serpent in the garden of Eden was a
"musical enchanter(ess)". The king/queen of Tyre was
typical of Lucifer called the "singing and harp playing
prostitute" in the garden of Eden. There are examples of
instrumental music during the Patriarchal period and the
concept is of giving Jacob a musical party so that he did
not even know that he was wedding the wrong woman.
If God abandones you to idolatry then maybe God DOES
change: He always changes when we repent.
The assembly for instruction did NOT
change when the curse of musical-sacrificial terror was
IMPOSED.
Gal. 3:14 That
the blessing of Abraham might come on the Gentiles
through Jesus Christ;
that we might receive the promise of the
Spirit through faith.
Gal. 3:15 Brethren, I speak after the manner
of men;
Though it be but a man’s
covenant, yet if it be confirmed,
no man disannulleth,
or addeth thereto.
By appealing to the Law imposed because
of musical idolatry one defacto rejects the Covenant of
Grace destroyed BY musical idolatry.
Gal. 3:16 Now to
Abraham and his seed were the promises made.
He saith not, And to seeds, as of
many; but as of one,
And to thy seed, which is Christ.
Gal.
3:19 Wherefore then serveth the law?
It was added because of transgressions,
till the seed should come to whom the promise
was made;
and it was ordained by angels
in the HAND of a mediator.
After we are baptized into
Christ:
Gal. 3:28 There is
neither Jew nor Greek, there is neither bond nor free,
there is neither male nor female: for ye
are all one in Christ Jesus.
Gal. 3:29 And if
ye be Christ’s, then are ye Abraham’s seed,
and heirs according to the promise.
At the same time the Qahal, synagogue or
church in the wilderness was ordained for all of the rest
as a school of the Bible. It excluded vocal and
instrumental rejoicing.
That neer changed and the synagogue was all that was left
for the most part after the Return.
Lynn
Anderson etal: A. Old Testament
1. Pre-Davidic
Ex. 15:20 - Pre-Davidic – “Miriam,
the prophetess, sister of Aaron and Moses, took a
timbrel in her hand and led the women in her song
of praise.” |
Job writes of the time before Miriam:
Mark me, and be astonished, and lay your hand
upon your mouth Job 21:5 .
Even when I remember I am afraid, and trembling taketh hold
on my flesh. Job 21:6
Wherefore do the wicked live, become old, yea, are
mighty in power? Job 21:7
Their seed is established in their sight with them,
and their offspring before their eyes.
Job 21:8
Their houses are safe from fear, neither is the rod
of God upon them. Job 21:9
Their bull gendereth, and faileth not; their cow
calveth, and casteth not her calf. Job 21:10
They send forth their little ones like a flock, and their
children dance. Job 21:11
They take the timbrel and harp, and
rejoice at the sound of the organ. Job 21:12
[The evil take
wind, string and percussion instruments]
They spend their days in wealth, and in a moment go
down to the grave. Job 21:13
Therefore
they say unto God,
Depart
from us;
for we
desire not the knowledge of thy ways. Job 21:14
What is the Almighty, that
we should serve him?
and what
profit should we have,
if we pray
unto him? Job 21:15
Lo, their good is not in their hand:
the counsel of the wicked is far
from me. Job 21:16
How oft is the candle of the wicked put out
and how oft cometh their
destruction upon them!
God distributeth sorrows in his
anger. Job 21:17
They are as stubble before the wind, [baptism of the spirit]
and as chaff that the
storm carrieth away. Job 21:18
Of the pipe which Jubal handles meaning without authority: "It (the
pipe meaning to love passionately) was apparently a
secular instrument and is never listed in the temple
orchestra; only in Ps. 150:4 it is mentioned in a
religious (but not ritual) function. Its ethos was not
blameless at all, as we see from Genesis Rabbah 50:
"The angels said to Lot: There are players
of the pipe (organ) in the country, hence it ought to be
destroyed. Its rabbinical identification with the aboda,
the flute of the notorious Syrian bayaderes, emphasizes
the erotic element which already the Hebrew name
suggests. (Interpreter's Dictionary of the Bible, p.
460, Abingdon).
Organum -Of musical instruments, a pipe, Vulg. Gen.
4, 21; an organ, water-organ: organa hydraulica, -Of a
church-organ
Organon, to, ( [ergon, erdô] ) a Musical instrument:
a machine for doing hard work in making war and creating the
"arousal" in pagan ceremonial legalism
Polemeios: warlike, aoida war-note, of
the trumpet, B.17.4
aoid-ê 5. = eppsdê, spell, incantation
All musical terms and names of instruments speak of casting
a spell: John called the speakers, singers and instrument
players in Revelation 18 SORCERERS. They worked UNDER the
Mother of Harlots (Rev 17)
Music is the MARK god reserved only for those making war on
His people as they try to "wear out the saints" to worship
THEM.
When Israel fell into musical idolatry, the
Law was written to warn a people condemned to return to their
Assyrian and Babylonian roots. Babylonian tablets were
up to 3,000 years old when Moses was born. That is where we
understand what the end Time Babylon Mother of Harlots means.
Inanna got the Ea (Lamech) the patron god of music drunk and
stole the magical chants--the ME: these included the power
over the eldership, the power over musical performers and the
power of homosexual seduction and many more.
"Long before Israel's
existence, we find in Akkadian tablets the word halhallatu
for 'double clarinet,' and we have many ancient
representations of this instruments... it served also to
express extreme joy as well as deep mourning. Its
liturgical function is dubious, to say the least.
According to Rabbinic literature, the days were limited to
twelve, or maximally eighteen, when (it) was played before
the altar.
"Extremely popular for
secular purposes the (double clarinet) was played at
weddings, banquets, and funerals. At funerals it served as
accompaniment to the customary wailing women; this
is the meaning of Matt. 9:23. The chief characteristics of
the clarinet were: popularity, juxtaposition with hand
drum and lyre, expression of extreme emotionalism,
and symbolic meaning of fertility and
resurrection." (Interpreters Dictionary of the Bible, p.
472, Abingdon).
Living in the princely quarters Miriam would
automatically be a prophetess of Hathor, the female
counterpart to Apis the golden calf worshipped at
Mount sinai. These represented the Egyptian trinity of
Osiris, Isis and infant Horus. The name of her prophesying is
called "soothsaying." When she pretended to speak for
God she got slapped with a dose of leprosy and dissapears.
Miriam means "bitter waters" and is the likely
prototypical usurping woman in Paul's writings:
Theodoret (Quasten, Music & Worship,
p. 65) claimed that the Jews brought liturgical
music from Egypt and Philo wrote that "Moses learned
rhythm, harmony, meter and everything concerned with
instrumental music from the Egyptians." This is why Moses
knew that the noise
at Mount Sinai was not the sound of defeat or of victory.
Rather, it was the "sound of them singing that I hear."
The Jews sang in the type of the Egyptian threnodies
(elegies for the dead):
Thus they
made a golden
bull,
the image of an animal that was held to be the most
sacred in that land;
they offered unholy
sacrifices, performed impious dances and sang hymns
which differed in no way from the pagan mourning
songs. Philo, De specialibus legibus
[Jesus threw them out
more or less violently like dung]
"This reference
probably indicates the use of songs from the cult of Osiris... it can hardly be denied
that Egyptian influence on Jewish musical practices was
quite significant. This would stand to reason because of
the high quality of Egyptian cultic music. The tambourine or timbrel, a hoop
of bells over which a white skin was stretched, came
from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red
Sea (Ex. 15).
"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken
used in the cult of Isis.
The music during the transferring the
Ark to Sion (David rose
up to play)
and
the dances
of the women at the Shiloh (Judges
21:21), were similar to the Egyptian liturgy and
parades.
"As Herodotus reports,
women sang the praises of Osiris while liknesses of the gods were born
about and, during the festival of Diana at Bubastis,
Women's singing was a vital part of all pagan worship.
In very
times women became priestly singers of the
gods in the temple.
When
males do that in the presence of God they have dug
deeper than any male in paganism unless it is recorded
"he was drunk, perverted or just having fun."
"Women and girls from
the different ranks of society were proud to enter the
service of the gods as singers and musicians. The understanding of this
service was universal: these singers constituted the 'harem of the gods'." (Johannes Quasten. In Music and Worship in Pagan
and Christian Antiquity, beginning on page 41
"Hebrew music... was
used in the luxurious times of the later monarchy the
effeminate gallants of israel, reeking with perfumes, and
stretched upon their couches of ivory, were wont at their
banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and
amused themselves with devising musical instruments while their nation was
perishing...
music was the legitimate expression of mirth and gladness, and the
indication of peace and prosperity." (Smith's Bible
Dictionary, Music, p. 590).
Here
is
what God thought of her "revelations."
Take heed in the plague
of leprosy, that thou observe diligently, and do according
to all that the priests the Levites shall teach you: as I commanded them, so ye
shall observe to do. Deut 24:8
Remember what the
Lord thy God did unto Miriam by the way, after that ye were
come forth out of Egypt. Deut 24:9
Here
is what Miriam did which was common to what the
Israelites did in Egypt and never ceased to do.
Sistrum,
a metallic rattle which was used by the Egyptians in celebrating the rites of Isis, and in other lascivious festivals,.Ov. Am. 2, 13, 11 By
the Jews, Vulg. 1 Reg. [Samuel] 18, 6 .--Hence sarcastically, as if used for a war - trumpet by the wanton Cleopatra
Verg.
A.8.696 Luc.
10.63
Exodus
15:[20]
sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam
cum tympanis et choris
Prophe-ta
I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call
out] Aegyptius, propheta primarius
Lynn
Anderson etal: Ex. 28:33-35 Jehovah
prescribes the high priest’s garments: “…and
beneath upon the hem of it thou shalt make . . . bells
of gold . . .that he die not”.
Num. 10:1-10 “The Lord said to Moses, ‘Make
two silver trumpets . . .”
I Sam. 10:5 Samuel tells
the newly anointed King Saul that he would meet “a band
of prophets coming down from the high place
with harp, tambourine, flute, and lyre before them,
prophesying. Then the Spirit of the Lord will
come mightily upon you, and you shall prophesy with
them and be turned into another man.” Wow -
talk about transforming worship!
|
See
Saul's
Madness induced by the prophets from the Philistine
HIGH PLACE.
"This is the first
mention in the OT of a band of prophets. These were men
who went about in companies and were able by means of music and dancing to work themselves up into a
convulsive and ecstatic frenzy (2 Ki. 3:1-10).
Their
abnormality was believed to be caused by the invasive influence of the spirit of god. The word prophesied here does
not mean either foretelling the future or preaching
after the manner of the later prophets, but
engaging in the ritual dance of the prophetic guild (19:18-24). Their behavior
was commonly regarded as a form of madness (2 Ki. 9:11; Jer. 29:26)"
(The Int. Bible Ency., I Sam. p. 932).
And the Lord said unto
Samuel, Hearken unto the voice of the people in all that they say unto
thee: for they have not rejected thee, but they have rejected me, that I should not reign over them. 1 Samuel 8:7
According to all
the works
which they have done since the day that I brought them
up out of Egypt even unto this day, wherewith they have
forsaken me, and served other gods, so do they also unto
thee. 1 Samuel 8:8
O Israel, thou hast destroyed thyself; but in me is thine help.
Hosea 13:9
I will be thy king: where is any other that
may save thee in all thy cities? and thy judges of whom thou saidst, Give me a king and
princes? Hosea 13:10
I gave thee a
king in mine anger, and took him away in my wrath. Hosea 13:11
Lynn
Anderson etal: 2 Sam 6:5 David and the
whole house of Israel were celebrating with all
their might before the LORD, with songs and with
harps, lyres, tambourines, sistrums and cymbals.
|
"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the cult of Isis.
The music during the transferring the Ark
to Sion (David rose up to
play)
and
the dances
of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and
parades.
| Lynn
Anderson etal: 2 Sam 6:15 while he and the
entire house of Israel brought up the ark of the
LORD with shouts and the sound of trumpets. |
2 Sam 6:13 And it
was so, that when they that bare the ark of the Lord had gone six paces, he sacrificed oxen and fatlings
2 Sam 6:15 So David and
all the house of Israel brought up the ark of the Lord
with shouting, and with the sound of the trumpet.
Ju-bilo , a-vi, a-tum, 1, v. n. and
I. a. [jubilum], to
shout, to raise a shout of joy: quiritare, jubilare, V to call out to a person:
io buccol quis me jubilat? Poet. ib.: jubilate Deo, Vulg. Psa.
99,
4
2 Sam 6:16 And as the
ark of the Lord came into the city of David,
............ Michal Sauls daughter looked
through a window,
............ and saw king David leaping and dancing before the Lord;
............ and she despised him in her
heart.
Latin Play:lu-do B. To
play, sport, frisk, frolic an ad pugnandum,
pugno , a-vi, a-tum, 1, v. n.
and very rarely
I. a. [root pug-, to thrust, strike, whence pugil,
pungo, etc.], to fight, either singly or in armies, to combat, give battle, engage, contend (very freq. and class.).
A. To sport, play with any
thing, to practise as a pastime, amuse one's self with any
thing: illa ipsa ludens conjeci in communes locos, Cic.
Par. prooem.: Prima Syracosio dignata est ludere versu
Nostra ... Thalia, Verg. E. 6, 1 .--Esp., to play on an instrument of music, to make or compose music or song:
B. To sport, dally, wanton (cf. "amorous play," Ov.
A. A. 2, 389; Cat. 61,
207;
2 Sam 6:20 Then David
returned to bless his household.
............ And Michal the daughter of
Saul came out to meet David,
............ and said, How glorious was
the king of Israel to day,
............ who uncovered himself to
day
............ in the eyes of the handmaids
of his servants,
............ as one of the vain fellows shamelessly
uncovereth himself
Nu-doI. to make naked or bare; to
strip, bare, lay bare, expose to view, uncover (syn.:
exuo, detego, revelo).
Scurra , ae, m. 1. A city buffoon,
droll, jester (usually in the suite of wealthy
persons, and accordingly a kind of parasite; syn.: -Of the clown in a pantomime,
Vain is
h205. aven, aw-ven´; from an unused root
perhaps meaning properly, to pant (hence, to exert
oneself, usually in vain; to come to naught); strictly
nothingness; also trouble. vanity, wickedness;
specifically an idol:affliction, evil, false, idol,
iniquity, mischief, mourners(-ing), naught, sorrow,
unjust, unrighteous, vain, vanity, wicked(-ness). Compare
369.
Ezek 22:28 And her
prophets have
daubed them with untempered [Taphel,
Tabret,
frivolity] morter,
seeing vanity, and divining lies [magical
songs] unto them, saying,
Thus saith the Lord God, when the Lord hath
not spoken.
Latin:
Vānus
Ghost, emptiness, nothingness, naught, of persons, show,
false, lying, deceptive, delusive, untrustworth,
vainglorious, ostentatious, boastful, vain,
weak, wavering.
Vanities
are
Magica which is equated to Exegetice or those people who
add to the Word of God.
Magica
Vanities: This is the Garden of Eden Story. Which is the
Lucifer-Zoe story etal.
Vanitas I.Lit., emptiness,
nothingness, nullity, want of
reality:
B. Esp.,
falsity, falsehood, deception, untruth, untrustworthiness,
fickleness, magice I. the magic art, magic,
sorcery (post-Aug.): pariter utrasque artes effloruisse,
medicinam [p. 1097] dico magicenqu.
Included
Vanitas: tŭmultus an uproar,
bustle, violent commotion, disturbance
Included
Tumultus pulso and
psallo have the
same meaning: to push, strike,
beat, Of military engines, Of musical instruments:
chordas digitis et pectine eburno, to strike,
play upon, cymbala,A. In gen., to
urge or drive on, to impel, to set
in violent motion, to move, agitate,
disturb, disquiet:
C.To drive away, remove, put out
of the way,
A. In gen., to urge or drive
on, to impel, to set in violent motion,
to move, agitate, disturb, disquiet:
Similar Vanitas: to Rythmice
I. the art of observing rhythm
Lynn
Anderson etal:2. Davidic
1 Chr 6:32 “They ministered with music before
the tabernacle, the Tent of Meeting, until Solomon
built the temple of the LORD in Jerusalem. They
performed their duties according to the regulations
laid down for them.” NIV |
God gave Israel kings to
carry out the captivity and death sentence imposed because
of musical idolatry at Mount Sinai.
Acts 7:41 And they made a calf in those days, and
offered sacrifice unto the idol,
and rejoiced in the
works of their own hands.
Acts 7:42 Then God turned, and gave them up to worship
the host of heaven;
as it is written in the
book of the prophets, O ye house of Israel,
have ye offered to me
slain beasts and sacrifices by the space of forty years in the
wilderness?
Acts 7:43 Yea, ye took up the tabernacle of Moloch,
and the star of your god Remphan,
figures which ye made to
worship them:
and I will carry you
away beyond Babylon.
Acts 7:45 Which also our fathers that came after brought in
with Jesus into the possession of the Gentiles, whom God drave
out before the face of our fathers, unto the days of David;
Acts 7:46 David Who found favour before God,
and desired to find a tabernacle for the
God of Jacob.
Acts 7:47 But Solomon built
him an house.
Acts 7:48 Howbeit the most High dwelleth not in temples
made with hands; as saith the prophet,
Acts 7:49 Heaven is my throne, and earth is my footstool: what
house will ye build me? saith the Lord: or what is the place
of my rest?
Acts 7:50 Hath not my hand made all these things?
Acts 7:51 Ye stiffnecked and uncircumcised in heart and
ears, ye do always resist the Holy Ghost: as your fathers did,
so do ye.
That is the proof text Lynn Anderson and
others are using to sow discord and subvert your church: he is
still honored at ACU and LU!
When David sinned so that he could never
again return to GOD'S Tabernacle, God gave him a Jebusite High
Place already fitted for idolatry. David made his OWN
tent and transferred the Ark and the singers to ZION (Nor
Moriah totally consumed in paganism):
After the
processional with music in which the ark was brought to
Jerusalem it is said:
"The ancient Tabernacle was now divided; the
ark was brought into Zion, whereas the brazen altar at
least, and probably the vessels of the holy place (ex.
25:23-40; 37:10-28; 40:22-27), were established in the
high place at Gibeon.
Asaph and the singers (1 Chron. 6:31-47; 15:16-19;
16:5; 25:6) were left before the ark, while the priests
ministered in Gibeon before the Tabernacle (16:39)." (Schofield Bible,
p. 478-479).
"The original altar of Burnt-offering continued
at Gibeon with the Tabernacle (2 Chr.
1:3, 5). David must have erected a new altar for sacrifice
at Jerusalem.
>
The sacrifices commanded by the Law were, it appears, offered at
the former place (Gibeon);
> at the latter were offered voluntary additional
sacrifices." (Albert Barnes, 1
Chron, p. 347).
1Chr. 6:15 And Jehozadak went into captivity, when the LORD
carried away Judah and Jerusalem by the hand of
Nebuchadnezzar.
1Chr. 6:32 And they ministered before the dwelling place of
the tabernacle of the congregation with singing, until
Solomon had built the house of the LORD in Jerusalem: and
then they waited on their office according to their order.
The KJV uses the word SINGING: Zamar NEVER includes an
instrument without naming that instrument.
This
just
means SINGING because David never performed WORSHIP with
either singing or instruments. Ecclesiasticus
was in the bound Bible Jesus quoted from:
48:8.
In all that he did he gave
thanks to the Holy One,
the Most High, with ascriptions of glory;
..........HE sang praise with all his heart, and he loved his Maker.
48:9. He placed singers before the altar,
..........to make
sweet melody with their voices.
48:10. HE gave
beauty to the feasts, and
arranged their times throughout the year,
..........while they praised God's holy name,
..........and the sanctuary resounded from early morning.
From What the Bible Says
1Chr. 13:8 And David and all
Israel played before God with all their might,
and with singing,
and with harps, and with psalteries, and
with timbrels,
and with cymbals, and
with trumpets.
1Chr. 13:9 And when they came unto the threshingfloor
of Chidon, Uzza put forth his hand to hold the ark; for the
oxen stumbled.
1Chr. 13:10 And the anger of the LORD was kindled against
Uzza, and he smote him, because he put his hand to the ark:
and there he died before God.
1Chr. 13:11 And David was displeased, because the LORD had
made a breach upon Uzza: wherefore that place is called
Perezuzza to this day.
"we recognize the same
elements: the sacrifices and libation, the cultic feast in which the congregation
gets a share of food and drink after it has been blessed
by the king, and the merry-making, now in the form of instrumental and vocal music. But the central act of the
ritual, which was performed by the king, is called literally 'drinking' the god (Gurney, O. R. Some Aspects
of Hittite Religion, p. 33-34, Oxford University Press,
1977)
| Lynn
Anderson etal:
1
Chr 15:16 David told the leaders of the Levites
to appoint their brothers as singers to sing joyful
songs, accompanied by musical instruments: lyres,
harps and cymbals. |
These were Levitical Warrior Musicians
under the KING and COMMANDERS OF THE ARMY: the
singing was ordained by the KING because these were to give
glory to the king whom God had given in His Anger and
whom God said would destroy the nation: and they did.
1Chr. 25:1 Moreover David and the
captains of the host separated to the
service [hard bondage]
of the sons of Asaph, and of Heman, and of Jeduthun, who
should prophesy with harps,
with psalteries, and with cymbals: and the number of the
workmen according to their service was:
1Chr. 25:2 Of the sons of Asaph; Zaccur, and Joseph, and
Nethaniah, and Asarelah, the sons of Asaph under the hands
of Asaph, which prophesied according to the order of
the king.
Asaph is from
h622: a primitive root; to gather for any purpose;
hence, to receive, take away,
i.e. remove (destroy, leave behind, put up,
restore, etc.):—assemble, bring, consume, destroy,
felch, gather (in, together, up again), x generally, get
(him), lose, put all together, receive, recover (another
from leprosy), (be) rereward, x surely, take (away,
into, up), x utterly, withdraw.
"As we have seen in the passage
discussed above (I Sam. 10:5-13), prophecy was intimately associated with politics from the very first moment it appeared in
Israel. The prophetic band was stationed right next to a Philistine
garrison. Their purpose was to incite Israelites to
engage in holy war against the Philistine
foe, and to do this they must have sung, with the
fervor of their ecstasy, war songs which aroused the people to action. Like the
charismatic judges of an earlier day, they were intoxicated
with
'enthusiasm." (Anderson,
Bernard, p. 231).
From What the Bible Says
From the warning of God and the
retrospective of Nehemiah and the statement that the "law
was against us" we know that the kings were imposed whey
the elders fired God. They were told that the kings would
enslave them and carry then into captivity and death. And
because God had turned them over to worship the starry
host we understand that the military and clergy were
involved with thee worship of Dionysus which they had
inherited from Egypt as a curse:
1 Chr 25:1 David, together
with the commanders of the army, set
apart some of the sons of Asaph, Heman and Jeduthun for
the ministry of prophesying, accompanied by harps, lyres
and cymbals. Here is the list of the men who performed
this service:
Payne insists that the Hebrew of 1
Chronicles 25:1 unambiguously identifies these leaders
as military commanders, an
interpretation favoured by several Bible translations.
(Payne, p 423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible)
If military commanders had a particular interest in the
appointment of musicians, it suggests a strong link
between music and warfare.
Service is: H5656 ăbôdâh From H5647 ;
work of any kind: bondage, + bondservant,
effect, labour, ministering (-try), office, service
(-ile, -itude), tillage, use, work, X wrought.
H5647
‛âbad
aw-bad' A primitive root; to work (in any sense); by
implication to serve, till, (causatively) enslave, be, keep in bondage, be bondmen,
bond-service, compel
1 Chron 25:2 Of
the sons of Asaph; Zaccur, and Joseph, and Nethaniah,
and Asarelah, the sons of Asaph under the hands of
Asaph, which prophesied according to the order of the
king.
H623 ’âsâph
aw-sawf' From H622 ; collector; Asaph, the name of
three Israelites, and of the family of the first:---Asaph.
H622 ’âsaph aw-saf' A primitive
root; to gather for any purpose; hence to receive,
take away, that is, remove (destroy,
leave behind, put up, restore, etc.):--assemble, bring, consume,
destroy, fetch, gather (in, together, up
again), surely, take (away, into, up), X
utterly, withdraw.
"The Hithpa'el of nb', in the ancient texts, refers to ecstasy and delirium rather than to the emission of a 'prophecy'." (de Vaux, Roland, The Bible
and the Ancient Near East, p. 243 Doubleday
"Maniac inspirations, the violent
possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed or glaring eyes-- have no place in the
self-controlling dignity of Christian inspiration. Even
Jewish prophets, in the paroxysm of emotion, might lie naked
on the ground and rave (1 Sam. xix. 24); but the genuine
inspiration in Christian ages never obliterates the
self-consciousness or overpowers the reason. It abhors the hysteria and stimulation and frenzy which have sometimes disgraced revivalism and filled lunatic asylums." (Pulpit Commentary, 1 Cor.,
p. 460).
David's
Praise
word in the instrumental Psalms is Halal from which we get
the word for LUCIFER which speaks of a light and sound
show to steal people's prophecy. Hillel,
Judges 12:13. Sophocles,
Antigone
Chorus
[791] You seize the minds of just men and drag them to
injustice, to their ruin. You it is who have incited this
conflict of men whose flesh and blood are one. [795] But
victory [Nike] belongs to radiant Desire swelling from the
eyes of the sweet-bedded bride. Desire sits enthroned in
power beside the mighty laws. [800] For in all this divine
Aphrodite plays her irresistible game.
Commentary [800] empaizei,
'wreaks her will' in that contest which nikai implies. We
find empaizô with a dat. (1) of the object, as Her. 4.134
empaizontas hêmin, 'mocking us': (2) of the sphere,
as Ar. Th. 975 choroisin empaizei, 'sports in
dances.' The en of empaizei here might also
be explained as (a) in the imeros, or the blephara, i.e.
by their agency: or (b) 'on her victim.' But the
interpretation first given appears simpler. (Cp. Vergil's
absol. use of illudere, G. 1. 181, Tum
variae illudant pestes.)
Both Zamar and Psallo are a WARFARE word and never a
WORSHIP word.
Psallô
(psao)
1. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps. to twang the
bow-string, Eur.; belos
ek keraos ps. to send a shaft twanging from the bow,
schoinos miltophurês psallomenêI phurôI. metaph. to mingle together so as to soil or defile, confuse, to be doomed to have one's hair defiled with
earth, thêriôdous from a confused and savage
Tox-euma , atos, to, A. arrow, metaphor, of songs
and words S.Ant.1085
Sophocles,
Antigone Teiresias 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
There was a half hours silence
before the incense altar to which no harp player could come
without getting killed.
| Lynn
Anderson etal: Rev 14:2 “And I heard a sound
from heaven like the roar of rushing waters and
like a loud peal of thunder. The sound I heard was
like that of harpists playing their harps.” |
Note that the 144,000 are on the Earth:
AND I looked, and, lo, a
Lamb stood on the mount Sion, and with him an hundred
forty and four thousand, having his Fathers name written in their foreheads. Rev 14:1
What they heard
was from heaven.
And I heard a voice from heaven,
..........like the sound of many waters and
..........like
the sound of loud thunder, and the voice which I heard was
..........like the sound of harpists playing
on their harps. Rev 14:2NAS
And I heard
a voice from heaven
..........like the sound of many waters
and
..........like the sound of loud thunder; the voice I heard was
..........like the sound of harpers playing on their harps Revelation
14:2RSV
And they sung as it were a new song before the throne, and before the four beasts, and the elders: and no man could learn
that song but the hundred and forty and four thousand,
which were redeemed from the earth. Rev 14:3
Unless you are
literally or spiritually dead, there is another angel:
And
I saw another angel fly in the midst of heaven,
..........having the everlasting gospel to preach unto them that dwell on the earth,
..........and to every nation, and
kindred, and tongue, and people, Rev 14:6
The
word
preach like the Latin sermo means "in a
conversational language."
INSTRUMENTAL NOISE is always the
MARK or SOUND of Judgment and NOT Spiritual worship.
Saying
[not
singing] with a loud voice, Fear God,
and give
glory to him;
..........for the hour of his judgment
is come:
..........and worship him that made heaven, and earth, and the sea,
..........and the fountains of waters.
Rev 14:7
Proskuneo (g4352) pros-koo-neh'-o; from 4314 and a prob.
der. of 2965 (mean. to kiss, like a dog licking his master's
hand); to fawn or crouch to, i.e. (lit. or
fig.) prostrate oneself in homage (do reverence to,
adore): - worship.
Rev 14:9 And the third
angel followed them, saying with a loud voice,
If any man worship
the beast and his image, and receive his mark
in his forehead, or in his hand,
Rev 14:10 The same shall drink
of the wine of the wrath of God, which is
poured out without mixture into the cup of his indignation;
and he shall be tormented with fire and brimstone
in the presence of the holy angels,
and in the presence of the Lamb:
God always warns you and those whom the
gods destroy first drive mad.
Wisd
17.16 -
And whoever was there fell down, and thus was kept
shut up in a prison not made of iron;
17 - for whether he was a farmer
or a shepherd or a workman who toiled in the
wilderness, he was seized, and endured the
inescapable fate; for with one chain of
darkness they all were bound.
18 - Whether there came a whistling wind,
or a melodious
sound of birds in wide -
spreading branches, or the rhythm of violently rushing water,
19 - or the harsh crash of
rocks hurled down, or the unseen running
of leaping animals, or the sound of the most
savage roaring beasts, or an echo thrown back from a hollow of
the mountains, it paralyzed them with
terror.
20 - For the whole world was
illumined with brilliant light,
and was engaged in unhindered work,
21 - while over those men
alone heavy night was spread, an image
of the darkness that was destined
to receive them; but still heavier
than darkness were they to themselves.
18:1 - But for thy holy ones there was
very great light. Their enemies heard their
voices but did not see their forms, and counted
them happy for not having suffered,
Wisd
19.13 - The
punishments did not come upon the
sinners
without
prior signs in
the violence
of
thunder, [Rev 14]
for they
justly suffered because of their wicked
acts;
for they
practiced a more bitter hatred of
strangers.
Amos 3:6
Shall a trumpet be blown in the city,
and the people not be afraid? shall
there be evil in a city, and
the LORD hath not done it?
Amos 3:7 Surely the Lord GOD will do nothing,
but he revealeth his secret
unto his servants the prophets.
14 - Others had refused to receive strangers when they came to them,
but
these made slaves of guests who were
their benefactors.
Stole
the church house of widows.
15 - And not only so, but
punishment of some sort will come upon the
former for their hostile reception of the
aliens;
16 - but the latter, after receiving them with festal celebrations,
afflicted
with terrible sufferings
those who had already
shared the same rights.
17 - They were stricken
also with loss
of sight -
- just as were those at the door of the
righteous man - - when, surrounded by yawning
darkness, each tried to find the way through
his own door.
18 - For the elements changed places with
one another,
as on a harp the notes vary the nature of the rhythm,
while each
note remains the same.
This may
be clearly inferred from the sight
of what took place.
19 - For land animals were transformed
into water creatures,
and
creatures that swim moved over to the land.
20 - Fire even in water
retained its normal
power,
and water forgot its fire
-quenching nature. |
God's Wrath is: G2372 thumos
thoo-mos' From G2380 ; passion (as if breathing
hard):—fierceness, indignation, wrath. Compare G5590 .
However, the wrath Paul warned about
when the women wave unholy ARMS is;
Org-aô , I.to
be getting ready to bear, growing ripe for
something, and of fruit, swell as it ripens,
II. of men, swell with lust, wax
wanton, be rampant, 2. generally, to
be eager or ready, to be excited,
3. metaph., full-blooded, swollen with
passion or pride, sphrigôntathumonA.Pr.382 ; muthon
E.Supp.478 . 4.swell with desire, be at
heat,
Orgi-azô, A.
celebrate orgia, E.Ba.415 thusias, pompas, choreias
pay ritual service to a god or goddess, tautêi
Str.10.3.12 :--so in Med., orgiazesthai daimosi,
orgia Mousôn
Alalazo 2.
generally, cry, shout aloud, Pi.l.c., E.El.855;
esp. in orgiastic rites, A.Fr.57;
of Bacchus and Bacchae, E.Ba.593
sound loudly, psalmos d'alalazei A.Fr.57
;
kumbalon alalazon1 Ep.Cor.13.1
| Lynn
Anderson etal: Rev 15:3 “They held
harps given them by God and sang the song of Moses
the servant of God and the song of the Lamb:
"Great and marvelous are your deeds, Lord God
Almighty. Just and true are your ways, King of the
ages.” |
The Greek ECHO means hold (used in very
various applications, literally or figuratively, direct or
remote; such as possession, ability, contiguity.
It
never
means PLAY. Furthermore, the harps in the
cursed monarchy are always the HARPS OF DAVID. These are
the harps of God. God created us all with "harp strings"
which make the "heart string" twang.
Like the incense,
however, the harps are only symbolic,
reflecting the
Jewish temple worship.
The fact that both
hands of the elder were occupied
does not present
an insuperable barrier to prostration in worship."
(William S. Smith).
AND I saw (present tense!)
another sign
in heaven [image of jealousy], great and marvellous, seven angels having the seven last plagues; for in them is filled up the
wrath of God. Re 15:1
Morris Silver: The image of jealousy
(Ezek 8:3) in the LXX and Old Latin may be trnslated as "statue/image
of the trader/buyer." Torczyner
suggests
that the compound term sha mala was transmitted from
Assyrian (not Babylonian) into Hebrew as semel,
with sh being pronounced as s. Thus, again,
the "image of jealousy" whose presence in the sanctuary
enraged Ezekiel was a businessman,
not an idol.
When Apollo, the Having-fallen star
unleashed the LOCUSTS or MUSES, they immediately began
sowing discord and breaking up churches of all faiths.
This is a MARK of he beast.
Sêmeion 2. sign from the
gods, omen Kathair-eô to s. to take it down, strike
the flag,
as a sign of dissolving
an
assembly, And.1.36; to tês ekklêsias,
3. of sorcerers,
bring down from the sky, selênên [sign in the moon].
*
V. less freq. like
the simple [heresy] hairein, take and carry off
Did you notice that the urge is to STRIKE THE FLAG
and remove the name of Christ from the ekklesia
or church sign. They DISSOLVE the ekklesia and
CONVERT it into a synagogue of Satan: a house of
merchandise. This is he same HERESY connected to the
SELF-pleasing terms used by Paul in Romans 15.
Incentor , o-ris, m. [id.] ,
one who sets the tune or begins to sing, a precentor, singer I. Lit.: carminis, Paul. Nol. Carm.
15, 32 : [1] incentore [2] canam [3] Phoebo [4] Musisque [5] magistris, Avien. Perieg. 895 ; Isid. 6, 9, 13.--
II. Trop., an [A] inciter, exciter: [B] igneus [C] turbarum, Amm.
15, 1, 2 : civilis belli, Oros. 5, 19 : rebellionis [renewal
of war] totius, id. 6, 11 . Flamen Hislop
Incensor
I. one who kindles or sets fire to, II. Trop.,
an inciter, instigator: turbarum,
[2] Căno
I. Neutr., to
utter melodious notes, to sing, sound, play.
2. Of the faulty delivery of an orator, to speak in a
sing-song tone: inclinată ululantique voce more Asiatico
canere, once canituri,Vulg.
Apoc.
8, 13 )
2 Cor 2:17 For we are
not as many, which corrupt the word of God: but as
of sincerity, but as of God, in the sight of God speak we
in Christ.
kapêl-euô, (g2585) A. to be a retail-dealer, drive a
petty trade...
kapêleu' drive
a
trade, mathêmata sell learning by retail, hawk it
about, 2
Ep.Cor.2.17, of prostitutes, playing tricks with life
Hdt.1.155 Heredotus: Cyrus told how to take the FIGHT
out of the enemy: [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 [huckstering].
........... And
quickly, O king,
........... you shall see them become women instead of men,
........... so that you need not fear
them, that they might revolt."
And I saw as it were a sea of glass mingled with fire: and them that had gotten the
victory over the beast, and over his image, and over his mark, and over the number of his
name, stand on the sea of glass, (as it were) HOLDING the harps of God. Revelation 15:2
And they
sing the song of Moses the servant of God,
........... and the song of the Lamb,
saying (3004), Great and marvellous
are thy works,
Lord God Almighty; just and true are thy ways, thou King of
saints. Revelation 15:3
Jamison-Fausett-Brown notes that:
"In the Jewish temple,
musical instruments and singing resounded during the
whole time of the offering of the sacrifices, which
formed the first part of the service.
But at the offering
of incense, solemn silence was kept ("My soul waiteth
upon God," Ps 62:1; "is silent," Margin; Ps 65:1, Margin),
Duwmiyyah
(h1747) doo-me-yaw'; from 1819; stillness; adv. silently;
abstr. quiet, trust: - silence, silent, waiteth.
the people praying secretly
all the time. The half-hour stillness implies, too,
the earnest adoring expectation with which the blessed
spirits and the angels await the succeeding unfolding of
God's judgments. A short space is implied; for even an hour
is so used (Re 17:12 18:10,19).
Scripture
is clearly not ‘silent’ on the use of instruments.
Rather, the understanding of God that I gain from it is that
He greatly appreciates that form of worship, to the point of
even commanding it at times, and providing the gifts and
instruments to do so!
Rev 15:8 And the temple
was filled with smoke from the glory of God,
and from his power; and
NO MAN WAS ABLE TO ENTER
till the seven plagues of the
seven angels were fulfilled.
Lynn
Anderson etal:
IV. Tradition
Since there is no scriptural basis for the lack
of instruments, the only reason is tradition.
For
those holding to traditions of men, Jesus rebukes
with the words of Isaiah,
Mark 7:7-9
“’They worship me in vain; their teachings are but rules
taught by men.’You have let go of the
commands of God and are holding on to the traditions
of men." And he said to them: "You have a fine
way of setting aside the commands of
God in order to observe your own traditions!” |
If you look up words in a lexicon
be assured that you will find strong delusions.
Why would anyone search from cover to cover for
"instruments" and then use those knowing that they are trying
to trump the Bible and all of church history before them.
Is this mystical or what? We have shown that ALL
of the proof texts show negative or Satanic implications:
Peter told the Jews blinded at Mount Sinai that they would not
be able to read black text on white paper until they turned or
converted to Christ. No one removes the name of CHRIST: Jesus
comes and takes the lampstand or the "seven spirits of God"
all related to divine knowledge which proves that God will not
judge you by your sight or sound so you are wasting time and
lives.
Next, let us establish that the hypocrites are slick speakers,
singers, musicians, actors or dancers.
Matt. 15:7 Ye hypocrites, well did Esaias prophesy of
you, saying,
Hypokrites (g5273)
hoop-ok-ree-tace'; from 5271; an actor under an assumed
character (stage-player), i.e. (fig.) a dissembler
("hypocrite"): - hypocrite.
Hupokrinô reply, make answer, of
an oracle, 2. expound, interpret, explain [Peter outlawed this as private
interpretation.] 2. deliver a speech,
declaim, of orators and rhetoricians,
represent dramatically, erôtikôn dramatôn 3. of an orator, use histrionic arts, exaggerate, ape, mimic, Mania or religious
frenzy.
Rhêtor-ikos , ê,
on, oratorical, hê rhêtorikê (sc. technê).
These
are
the craftsmen lumped with the singers, musicians and
"grinder" doing merchandise in the house of prayer. Rev.
18:22
LATIN: canto I. Neutr., to produce melodious
sounds (by the voice or an instrument), to sound, sing, play
(class. in prose and poetry; to sing and play while the
actor
accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 2. Of the singing
pronunciation of an orator, to declaim in a
singing tone, to sing
How
Isaiah
defines the hypocrites:
For the Lord
hath poured out upon you the spirit of deep sleep,
and hath closed
your eyes:
the prophets and your rulers,
the seers hath he covered. Isa 29:10
And the vision
of all is become unto you
as the words
of a book that is sealed,
which men deliver
to one that is learned, saying,
Read this, I pray
thee: and he saith, I cannot;
for it is sealed: Isa 29:11
And the book is
delivered to him that is not learned,
saying,
Read this, I pray thee:
and he saith, I am
not learned. Isa 29:12
Wherefore the Lord said,
Forasmuch as this
people draw near me with their mouth,
and with their lips do honour me,
but have removed their heart far from me,
and their fear toward me is taught
by the precept of men: Isa
29:13
Seems
like
the "law of silence" as preventing the addition to
anything not commanded which does not assist the
teaching of the Words of God.
How
Ezekiel
defines the same hypocrites:
Jesus
spoke
in parables to the professional "sermon" speakers and
"prayer" sayers where a hymn is a prayer. That was
to MAKE SURE that the truth would NOT penetrate and
they be saved.
Ezek 33:30 Also, thou son of man, the
children of thy
people still are talking
against
thee
by the walls and
in the doors of the houses, and
speak one to another, every one
to his brother, saying,
Come, I pray
you, and hear
what is the word
that cometh forth from the Lord.
Ezek 33:31 And they come unto thee as the people cometh,
and they sit before
thee as
my people,
and they hear thy
words,
but they will
not do them:
for with their mouth
they shew much love,
but their heart goeth
after their covetousness.
Only corrupters of the Word or
selling stuff for a prophet is a hypocrite. Because
no performing art contributes to anything but the
pleasure of idle people, they are defined by the
lexicon as hypocrites and therefore parasites.
GOD'S PICTURE OF VAIN
RELIGION, ENDORSED BY JESUS
Ezek 33:32 And, lo, thou art unto them
as a very lovely
song
of one that hath a pleasant
voice,
and can play well on an
instrument:
for
they
hear thy words,
but
they
do them not.
JFB 30. Not only the remnant in
Judea, but those at the Chebar, though less flagrantly,
betrayed the same unbelieving spirit. talking against thee--Though going to the prophet
to hear the word of the Lord, they criticised, in an unfriendly
spirit, his peculiarities of manner and his
enigmatical style (Eze 20:49); making these the excuse for
their impenitence. Their talking was not directly "against" Ezekiel, for they professed to like
his ministrations; but God's word speaks of
things as they really are, not as they appear.
Jameson
Fawcett Brown notes: Vulgate translates, "They turn thy words into
a song of their mouths." heart goeth after
covetousness--the grand rival to the love of God;
therefore called "idolatry," and therefore associated
with impure
carnal love, as both alike transfer the heart's
affection from the Creator to the creature
| Lynn
Anderson etal: (It is interesting to
note that the very next chapter in Isaiah
promises a day with song with flutes,
tambourines, and harps. Isaiah 30.) |
We have looked at Isaiah 30 as the REASON
for
which HELL was created. The definition of a HYPOCRITE
gives us a clue. Because the Jews and Israelites burned
children to Molech to the beat of musical
instruments, God pronounces doom on similar national
worship by showing them going in musical procession
to Topheth (from tambourine) to do their dirty work.
The SOUNDS of God driving His enemies into HELL will
be the same wind, string and percussion
instruments lucifer--the singing and harp playing
prostitute--used to wholly seduce Eve in a sexual sense says
Paul. I will repeat it from the version we know Jesus quoted
from.
Because spiritual people run for their lives, the only ones
performing or "enjoing" the hypocritic arts to replace the
Word of God are THE ONES doomed to hell.
See that HELL will be filled by
people led there by God's enemies to the beat of wind,
string and percussion instruments.
Again,
the SOUNDS in Revelation are of impending doom: get busy
and preach the gospel or burn! The baptism of spirit and
fire are promised to the "generation of Vipers."
Behold, the name
of the Lord comes after a long time, burning wrath; the word of his lips is with glory, a word full of anger, and the anger of his wrath shall
devour as fire. Isaiah 30:27 LXX
And his breath, as rushing water
in a valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue
them and overtake them. Isaiah 30:28 LXX
The
Septuagint
translates Verse 29 consistent with the rest of the
chapter.
Must ye always
rejoice,
and go into my holy places continually,
as they that keep
a feast? and must ye go with a pipe,
as those that rejoice into
the mountain of the Lord, to the God of Israel
Isaiah 30:29 LXX
and the Lord shall make
his glorious voice to be heard and the wrath
of his arm [Messiah the
Intercessor], to make a display with wrath and anger and devouring flame: he shall lighten
terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX
For by the voice of the
Lord the Assyrians shall be overcome, even by the stroke where with he shall smite
them. Isaiah 30:31 LXX
And it shall happen to
him from every side, that they from whom their hope
of assistance was, in which he trusted, themselves shall war against him in turn with drums and
with harp.
Isaiah 30:32 LXX
For thou shalt be
required before thy time: has it been prepared for
thee also to reign? nay, God has prepared for thee a deep trench, wood piled fire and much
wood: the wrath of the Lord shall be as a trench kindled with sulphur.
Isaiah 30:33 LXX
Is.
14:11
Thy pomp is brought down to the grave, and the
noise of thy viols: the worm is spread under
thee, and the maggots cover thee.
Amos 5:23 Take thou away from me the noise of
thy songs; for I will not hear the melody of
thy viols.
Again, those who bought the house and
who run when the trumpet blows in the holy place will
have been there and gone. Therefore, the ONLY ones
being beaten into hell to the beat of Lucifer's
instruments are the MUSES who are known as the LOCUSTS
of Apollyon's musical worship team.
| Lynn
Anderson etal: The early church fathers do
not mention the use of instruments (except
in referring to songs as psalms).
|
That is just a flat
untruth: The church fathers understand the "singing and
harp playing prostitute" in the garden of Eden and the
fallen angels who seduced with music. Thse are the same
"lusted after fruits" John calls sorcerers in Rev 18 who
HAD deceived the whole world.
The church fathers literature is filled with the
repudiation of musical instruments even in social settings
because the music engendered lust and disorderly conduct.
Those who lie about Clement of Alexander should know
that he says that it is not a sin to use a liar, BUT they
fail to tell you that he was speaking of social meals or
OUTSIDE OF CHURCH.
Those sowing discord claims that the church of Christ is historyless
and make such claims know that most people will believe it
to be honest. Nothing could be less true or miss
leading:
"Such allegorizing
passages contain the nucleuses of the later substance, and
perhaps the presage of the future trends of Christian
music. The first three centuries of the church
witnessed many controversies; some of them
concerned themselves directly with music. The most
important of these issues were: (a) organized versus
spontaneous praying and singing; (b) scriptural versus
extrascriptural poems; (c) fusion with Hellenistic music;
(d) vocal versus instrumental music; (e) the rise of monasticism
and its influence upon ecclesiastical chant."
(Interpreter's Dict of the Bible, Music, p. 467).
The first problem
occurred when the doxologies of the Bible which were like
Psalms were replaced by "a great number of spontaneous and
highly individualized doxologies." However, the
non-Biblical responses were ratified and codified at the
second synod of Vaison in 529. This writing of their own
"song book" virtually destroyed spontaneous or Biblical
worship.
In fact, the ACT of
singing was not introduced until about th eyear 373.
"Already at the
end of the second century the Byzantine, Syrian, and
later the Armenian church showed a marked preference for
new, nonscriptural hymns, despite all warnings by
the catholic authorities. Even Canon 59 of the Council of
Laodicea (360-81), which expressly prohibited
nonscriptural texts, was constantly circumvented and
openly violated, as the enormous hymn literature of the
Eastern churches demonstrates."
They rejected musical performers along with
sorcerers, instrument players, prostitutes
and Sodomites. They understood the Bible and were
Old Testament literate which non of the "advanced degrees"
apparently have ever read. They ALL explain
WHY they didn't use instruments: because it was
universally condemned in the Bible and because it has an
evil effect on both performers and the "audience." "Melody
as tunefulness belongs to the 19th century" says the
Britannica an other sources. Harmony began to
develop after about 100 by monks and professionals trying
to fit the Psalms to organ pitches. To do that they had to
add the oooos, aaaaahs and other sounds.
And Neander says, that it was not until
the 8th
century that
the idea was first heard of Instrumental
music, in the worship of God, was not practised by the
primitive christians, as is evident from church
history.
The organ was first introduced into the church service by Marianus Sanutus, in the year 1290; and the first that was
known in the West, was one sent to Pepin, by Constantinus
Copronymus, about the middle of the 8th century.
But
that
they were not used in the christian church in
the primitive times, is attested by all
the ancient writers with one consent.
This I might
easily show by a thousand testimonies,
from Clement of
Alexandria, Basil, Ambrose, Jerome, Augustine,
Chrysostom, am many others; all of whom figuratively explain the
passages of the Old Testament, which speak of musical
instruments. For these and many more click for
details.
See Unity Impact
354-430 Augustine of Hippo For the
Jews slew Christ, lest they should lose their place.
When
we
have to do with Pagans, and show this coming to pass
in the Church of
Christ, which before was predicted
of the Name
of Christ,
of the Head and Body of Christ, lest they think that we
have forged
these predictions, and from things which have happened, as
though they were future, had made them up, we bring
forth the books of the Jews
- Augustine on Psalm 149
When people take CHRIST out of their
identifier it is proof that Jesus has been there and gone
and the songs in the temple will be howlings because He has
come to remove His candlestick of seven spirits OF Divine
knowledge.
Lynn
Anderson etal: There could be several
reasons for this.
1. Suffering severe persecution, it
may have been inconvenient to tote around a
harp in secret.
In fact toting around a harp
would make them extremely welcome in the
marketplaces and all low class activities.
2.
Instruments were a sign of joy. Destruction
of
the Temple, dispersion of the Jews, persecution of the
church were all occasions for lament. The
prophets warned of cursed times when joyous
instruments would be silent. |
I have a nice flute my dog and I made
out of a deer leg bone: why do you think they named the TIBIA?
They could have clapped their hands: they didn't since
it was most often to hiss the looser. They could have
stretched a piece of gut across a chair and produced the
rhythm because harps did not play tunefully. The lyre
didn't even have a sound box. They could have met in the
forums and the people who went there for entertainment would
have enjoyed it. They might have been more EVANGELICAL if they
had added the methods of the world to attract the world.
Christians were despised because they did not do singing
musically or use instruments.
All of thes passages are not just LAMENTING
for the loss of their flutes and harps which anyone could
afford and many people could play. Their lamenting
is the RESULT of false leaders using wine, women and music
and fleecing the people by taking unlawful tithes. The
result was that the people hungered and thirsted for the WORD
and wandered from sea to sea but could not find it. As a
result, the pagan leader's wives could no longer steal wine to
get drunk while the people starved. As a result of
failure to teach the word, the people went into exile and the
PROUD musical wives were led captive with fishhooks
in their nose.
Amos 8:2 And he
said, Amos, what seest thou? And I said, A basket [homosexual singers]
of summer fruit. Then said the LORD unto me, The end is come
upon my people of Israel; I will not again pass by them any
more.
Amos 8:3 And the songs
of the temple shall be howlings in that day,
saith the Lord GOD: there shall be many dead bodies in every
place; they shall cast them forth with silence. [As Jesus cast out the musical minstrels LIKE
DUNG.]
Amos 8:11 Behold, the days come,
saith the Lord GOD, that I will send a famine in the
land, not a famine of bread, nor a thirst for water, but of
hearing the words of the LORD:
Lynn
Anderson etal confusing
cause
and effect: Isa
14:11 “All your pomp has been brought
down to the grave, along with the noise of
your HARP; maggots are spread out
beneath you and worms cover you.”
This speaks of Lucifer |
Both Tyre and Babylon are types of Lucifer
and we have drawings of a burial site where the king went into
the grave with his harps and buried alive harpists.
Notice that this is the kings or the "senior pastors" of
the nations of which Israel was one.
Thy glory has
come down to Hades, and thy great mirth: under thee they shall
spread corruption and the worm shall
be thy covering. Isaiah 14:11 LXX
T. Maccius Plautus, Miles
Gloriosus, or The Braggart Captain
Now I will disclose to you both the
subject and the name of the play which we are just now
about to act, and for the sake of which you are now
seated in this mirthful place , "Alazon" is
the name (86)
[11]
detracta
est ad inferos superbia tua concidit cadaver
tuum subter te sternetur tinea et operimentum tuum erunt
vermes
Superbia
I. In a bad sense, loftiness,
haughtiness, pride, arrogance,
vanity, rudness, discourtesy,
Ludibrium
I. a mockery, derision,
wantonness. . A laughing-stock, butt, jest,
sport B. A scoff, jest, sport: to reproach
jestingly, scoff, such a drunkard as to be a standing
jest, C. Abuse, violence done to a woman: in corporum
ludibria deflere,
Moses saw that the
people were running wild and that Aaron had let
them get out of control and so become a laughingstock to their enemies. Exodus
32:25
Chrysostom notes: For dancing, and cymbals, and flutes, and shameful words, and songs, and drunkenness, and revellings, and all the Devil's great heap (polu o tou diabolou forutoj) of
garbage is then introduced. they are
indignent that the woman is not exhibited to a multitude, that she is not set forth as a stage
spectacle, common to all
beholders: whereas most assuredly they should
rather count it insult when these things do take place;
and a laughing stock,
and a farce.
to look upon the beauty of the damsel's
countenance; nor yet in
the house only but even through the market-place do they lead her in pomp to make an
exhibition;
Isa 14:12 How art thou
fallen from heaven, O LUCIFER son of the morning!
how art thou cut down to the ground, which didst
weaken the nations!
Heylel
(h1966) hay-lale'; from 1984 [David's Praise] (in the sense of brightness); the
morning-star: - lucifer.
Isaiah 14:15 Yet
thou shalt be brought down to hell, to the sides of the pit
And Isaiah 30 says that the MARKS of
being brought down to hell will be the same Lucifer's
wind, string and percussion instruments.
See how the Abominable Branch was the "song with instruments opposed
to Christ the True Branch.
Behold, the Lord will
cast her out, and he will smite her power in the sea; and
she shall be devoured (burned
up) with fire. Zechariah 9:4
And it shall come to
pass in that day, that Tyre shall be forgotten seventy years, according to the days of
one king: after the end of seventy years shall Tyre sing as an
harlot.
Is.23:15
"Take an harp, go about the city, thou
harlot that hast been
forgotten; make sweet melody, sing many songs, that
thou mayest be remembered (as a male)." Is.23:16
| Lynn
Anderson etal: Isa 24:6-8 “Therefore
a curse consumes the earth; its people must
bear their guilt. Therefore earth's
inhabitants are burned up, and very few are
left. The new wine dries up and the vine
withers; all the merrymakers groan. The
gaiety of the tambourines is stilled, the noise
of the revelers has stopped, the joyful harp
is silent.” |
Their lostness was CAUSED by their reveling
with music: does anyone suggest that we CAN now
revel?
And it shall be, as with the people, so with the priest;
as with the servant, so with his master; as with the
maid, so with her mistress; as with the buyer, so
with the seller; as with the lender, so with the
borrower; as with the taker of usury, so with
the giver of usury to him. Isa 24:2
See Revelation 18 Parallel.
The land shall be utterly
emptied, and utterly spoiled: for
the Lord hath spoken this word. Isa 24:3
The earth mourneth and
fadeth away,
the world languisheth and fadeth away,
the haughty people of the earth do
languish. Isa 24:4
The earth also is defiled
under the inhabitants thereof;
because they have transgressed
the laws,
changed the ordinance,
broken the everlasting covenant.
Isa 24:5
Does that sound
like a law of silence?
Therefore hath the
curse devoured the earth, and they
that dwell therein are desolate: therefore the
inhabitants of the earth are burned, and
few men left. Isa 24:6
The new wine mourneth,
the vine languisheth,
..........
all the merryhearted
do sigh. Isa 24:7
The mirth
of tabrets ceaseth,
the noise of
them that rejoice endeth,
..........
the joy of the harp
ceaseth. Isa 24:8
4885. masows, maw-soce´;
from 7797; delight, concretely
(the cause or object) or abstractly (the
feeling):-joy, mirth, rejoice.
They shall not drink wine
with a song; [Parallel strolling minstrel /
prostitute]
..........strong drink shall be bitter
to them that drink it. Isa 24:9
The city of confusion is
broken down: every house is shut up, that
no man may come in. Isa 24:10
There is a crying for wine in the streets;
all joy is darkened, the mirth of the land
is gone. Isa 24:11
In the city is left desolation, and the
gate is smitten with destruction. Isa
24:12
When thus it shall be in the midst of the land
among the people,
there shall be as the shaking
of an olive tree,
and as the gleaning grapes when the
vintage is done. Isa 24:13
The word Chalal
(h2490) means play the flute, cut YOUR
vines, pollute and prostitute.
The pruning
hook was also a musical instrument.
Mizmowr (h4210) miz-more';
from 2167; prop.instrumental
music; by impl. a poem set to notes: -
psalm. For afore the harvest, when
the bud
is perfect, and the sour grape is
ripening in the
flower,
he shall both cut off
the sprigs with pruning hooks, and take away and cut down the
branches. Is.18:5
They shall be
left
together unto the fowls of the mountains, and to the beasts of
the earth: and the fowls shall summer upon them, and
all the beasts of the earth shall winter upon
them. Isa 18:6
They shall lift up their
voice, they shall sing for the majesty of
the Lord, they shall cry aloud from the
sea. Isa 24:14
H5375 This is the Hebrew
word for the Pleasuring or creating
excitement Paul outlawed in the synagogue in
romans
15.
No reader of the
Greek literature can escape the fact that this
was caused by singing and music.
Wherefore glorify ye the Lord in
the fires, even the name of the Lord God of Israel
in the isles of the sea. Isa 24:15
The universal MARK of being lost
beyond redemption and taken captive.
From the uttermost
part of the earth have we heard songs, even glory to the righteous. Isa
24:16
Zamiyr (h2158) zaw-meer';
or zamir zaw-meer'; and (fem.) zÿmirah
zem-ee-raw'; from 2167; a song to be accompanied with
instrumental music: - psalm (-ist), singing, song
Zamar is never used without
defining the instrument: therefore, one CAN
sing with a harp but SING does not include a
harp.
Horror hath
taken hold upon me because of the wicked that
forsake thy law. Psa 119:53
But,
David who was never a Worship Leader said:
Thy statutes
have been my songs in the house [self] of
my pilgrimage. Psa 119:54
I have remembered thy name, O Lord, in the night, and have kept thy law. Psa 119:55
But I said, My leanness, my leanness,
The Lord will be
terrible unto them: for he will famish all the gods of the
earth; and men shall worship him, every one from his
place, even all the isles of the heathen. Zep.2:11 |
| Lynn
Anderson etal: Isa 27:13 And in that day a
great trumpet will sound. Those who were perishing
in Assyria and those who were exiled in Egypt will
come and worship the LORD on the holy mountain in
Jerusalem. |
Isa
27:12
And it shall come to pass in that day, that the LORD
shall beat off from the channel of the
river unto the stream of Egypt, and ye shall be
gathered one by one, O ye children of Israel.
Isa
27:13
And it shall come to pass in that day, that the great
trumpet shall be blown, and they shall come which
were ready to perish in the land of Assyria, and the outcasts in
the land of Egypt, and shall worship the LORD in the holy
mount at Jerusalem.
This
trumpet
DOETH NOT music make! One note!
7782.
showphar, shophar, sho-far´; from 8231 in the
original sense of incising; a cornet (as giving a
clear sound) or curved horn:--cornet,
trumpet.
The Shofar was a horn which was tuned by
the priest to ONE NOTE: no one could cut holes in it and
therefore it could not MAKE MUSIC. Hear
the Sounds.
We learn from the Mishna
and the Talmud that in the Hellenistic period no improvements or modifications that might affect the tone were
permitted: no gold-plating of its
interior, no plugging of holes, no alteration of its
length (the minimum permissible length of a ritually
approved horn was 3 handbreadths); the shofar tone was
to be preserved unaltered. Nor was the process
of steaming or boiling permitted.
Here
is
the literal meaning of PSALMOS!
Apart from its liturgical uses the shofar was closely
connected with magical
symbolism. Its blast destroyed the walls of
Jericho, and in the Dead
Sea scrolls we read that during battles shofar blowers sounded a
powerful war cry to instill fear into the hearts of the enemy while priests
blew the six trumpets of
killing. Historically the shofar has also served
in a number of popular usages: it was sounded during rites to bring rain, in the event of local disasters, and so on. In our times its
liturgical use is restricted to New Year (Rosh Hashanah) and the Day of Atonement (Yom
Kippur). See Photos HERE.
Psalmos ho,
twitching or twanging with the fingers, psalmoi toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas]
Id.HF1064 (lyr.).
Psalmoi
toxôn does not mean "sing and play a harp"
WITH a bow. Psalmoi just means pluck
or twang a bow.
Phoebus' lyre, that sings with
you, [165] would not
protect you from my bow. Alter
your wings' course; go to the Delian lake; if you do not
obey, you will steep your lovely melody in blood.
[170] Ah, ah! what is
this new bird that approaches; you will not place under
the cornice a straw-built nest for your children, will
you? My singing
[psalmoi] bow will keep
you off. Will you not obey?
"Only in Ps 150:3 is it
(shophar) mentioned with most of the other really musical
instruments. Hence, we must conclude that the function of
the shophar was to make noise--be it of earthly or of eschatological
character--but
not to make music. After the destruction of the temple and the
general banishment of all instrumental music, the shophar
alone survived, just
because it was not a musical instrument."(International
Dictionary of the Bible, p. 473, Abingdon).
Lynn
Anderson etal:
Isa
30:29
And you will sing as on the night you celebrate a holy
festival; your hearts will rejoice as when
people go up with flutes to the mountain of
the LORD, to the Rock of Israel.
Isa 30:32 Every stroke the LORD lays on them
with his punishing rod will be to the music of
tambourines and harps, as he fights them in battle
with the blows of his arm. |
The Jews went in musical processions to
Jerusalem specificially to worship Molech as they had at
Tyre where the king is called "the singing and harp playing
prostitute in the garden of Eden." Isaiah 30 defines
FOR WHOM God comes in judgment. He speaks of the
Assyrians, Egyptians and includes Judah where they burned
children just before and just after the PROOF TEXT fo
musical instruments in a Plague Stopping rituals where
Levitical Warrior Musicians could NOT enter or come close to
the holy things EVEN TO CLEAN OUT THE GARBAGE.
THE PROPHECY
And thou shalt pollute the plated idols,
and thou shalt grind to powder (like "melody" in Greek) the gilt ones,
and shalt scatter
them as the water
of a removed woman,
and thou shalt thrust them forth as dung.
Isaiah 30:22 LXX
THE
FULFILLMENT
Jesus CAST OUT
the minstrels like DUNG. A minstrel is: Aaoidos [a^], ho, ( [aeidô]) singer, minstrel, bard, 3. enchanter
Aoidos ( [aeidô] ) singer, MINSTREL, bard, I goôn, chrêsmôn aoidos, E.HF110, Heracl. 403;
pratos a., of
the
cock,
2. fem., songstress of the nightingale, aoidos Mousa
Of GOON or the weeping song and
dancing when the clergy Piped:
The MUSES are agents
of Apollo, Abaddon or Apollon: the LOCUSTS.
But when the people were
put forth, he went in, and took her by
the hand, and the maid arose. Matthew 9:25
PUT
FORTH: Ekballô I. to
throw or cast out of a place, 2. to cast out of a place,
banish
VI. to produce, of women
IV. Dem.; to drive an actor from the
stage,
Lat. explodere,
I. to drive out or off by clapping;
orig. a scenic word said of a player, to hiss
or hoot off, explode him.
Ballo (g906) bal'-lo; a prim.
verb; to throw (in various applications, more or less violent or
intense): - arise, cast
(out) dung,
lay, lie, pour, put (up),
send, strike, throw (down),
thrust. Comp. 4496.
And the light of the moon shall be as the light of the sun, and
the light of the sun shall be seven fold in the
day when
the Lord shall heal the breach of his people, and shall heal the pain
of thy wound. Isaiah 30:26 LXX
Behold, the name of
the Lord comes after a long time, burning wrath; the word of his lips is with glory, a word full of anger, and the anger of his wrath shall
devour as fire. Isaiah 30:27 LXX
And his breath, as rushing water in a
valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue
them and overtake them. Isaiah 30:28 LXX
The
Septuagint
translates Verse 29 consistent with the rest of the
chapter.
Must ye always
rejoice,
and go into my holy places
continually, as they that keep a feast? and
must ye go with a pipe, as those that rejoice into the
mountain of the Lord, to the God of Israel
Isaiah 30:29 LXX
and
the
Lord shall make his glorious voice to be
heard and the wrath of his arm [Messiah
the Intercessor],
to make a display with wrath and anger and devouring flame: he shall lighten
terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX
For by the voice of
the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite
them. Isaiah 30:31 LXX
And it shall happen to
him from every side, that they from whom their hope
of assistance was, in which he trusted, themselves shall war against him in
turn with drums and with harp.
Isaiah 30:32 LXX
For thou shalt be
required before thy time: has it been prepared
for thee also to reign? nay, God has prepared for thee a deep trench,
wood piled fire and much wood: the wrath of
the Lord shall be as a trench kindled with sulphur.
Isaiah 30:33 LXX
THE
BURNING OF HARPS AND HARPISTS
It is said that there were tens of
thousands of harps and other musical instruments stored on
the temple grounds. The Levites, according to
Josephus, had gotten permission to "wear linen garments"
and restore the priestly musicians: this would give glory
to the KING. They got permission but Josephus attributes
the failure of the nation to these Levites and they would
do it again.
Probably almost all of the harpists and
harps were burned up at topheth as a type of hell and
rested on a bed of maggots. The Jews are still looking for
these harps in order to restart the sacrificial system in
a rebuilt temple. We know where the harps went!
| Lynn
Anderson etal: Jer 31:4 I will
build you up again and you will be rebuilt, O Virgin
Israel. Again you will take up your tambourines and go
out to dance with the joyful. |
You see, there IS a difference
between what you do in the vintage festivals and what you
do in the SYNAGOGUES which outlawed loud vocal and
instrumental rejoicing;
Again I
will build thee, and thou shalt be built, O virgin of Israel:
..........thou shalt again be adorned with thy tabrets,
..........and shalt go forth in the dances of them that make merry. Jer. 31:4
Go forth
means:
Yaca (h3318) yaw-tsaw'.. break
out, bring forth (out, up), carry out, come (abroad,
out, thereat, without), / be condemned, depart(-ing, -ure), draw forth, in the end, escape, exact, fail, fall (out),
fetch forth (out), get away (forth, hence, out)...
Of Miriam: The timbrel "was a typical women's
instrument. It is mentioned seven times in the OT; thus
it must have been very popular. Although it occurs in
the Psalter and in religious hymns (Exod 15; Jer. 31:4),
it was not permitted in the temple. Its function in the
Bible was restricted to secular or religious frolicking,
cultic dances, or processions (e. g., II Sam. 6:5; 1I
Chr. 13:4; Ps. 68:25). Its absence in the temple ritual was possible due to
the strong female symbolism, which
always accompanied the tambourine, and which made its
use so popular at all fertility rites." (Interpreter's
Dictionary of the Bible, p. 474, Abingdon).
Adorned and destroying COMFORT ZONES
is a sign of doom.
Adah (h5710) aw-daw'; a prim.
root; to advance, i. e. pass on or continue; causat. to remove; spec. to bedeck (i.
e. bring an ornament upon): - adorn, deck (self),
pass by, take away.
As he that taketh away a garment in
cold weather, and as vinegar upon nitre, so is he that
singeth songs to an heavy heart. Pr.25:20
This dance was a repeat of Mount
Sinai because Jeremiah FIRST speaks of the dreamed of
restoration of the nation.
Mechowlah (h4246) mekh-o-law'; fem. of
4234; a dance: - company, dances (-cing).
And it came to pass, as
soon as he came nigh unto the camp, that he saw the calf, and the dancing: and Moses anger waxed hot,
and he cast the tables out of his hands, and brake them
beneath the mount. Ex.32:19
And see, and, behold, if
the daughters
of Shiloh come out to dance in dances, then come ye out of the vineyards, and catch you every man his
wife of the daughters of Shiloh, and go to the land of
Benjamin. Jud.21:21
Is not this David, of whom they sang one to
another in dances, saying, Saul slew his
thousands, and David his ten thousands? 1S.29:5
Upon this I
awaked, and beheld; and my sleep was sweet unto me.
Jer. 31:26
All just a dream?
Lynn
Anderson etal:
Ezek
33:2 "Son of man, speak to your countrymen and
say to them: 'When I bring the sword against a
land, and the people of the land choose one of their
men and make him their watchman,
Ezek 33:3 and he sees the sword coming
against the land and blows the trumpet to warn the
people,
Ezek 33:4 then if anyone hears the trumpet
but does not
take warning and the sword comes and takes his life,
his blood will
be on his own head.
Ezek 33:5 Since he heard the sound of the
trumpet
but did not take
warning, his blood will be on his own head.
If he had taken
warning, he would have saved himself.
Ezek 33:6 But if the watchman sees the
sword coming
and does not
blow the trumpet to warn the people
and the sword
comes and takes the life of one of them,
that man will be
taken away because of his sin,
but I will hold
the watchman accountable for his
blood.' |
Do we have to comment? The trumpet was
ordained to WARN and was reserved for that
purpose. When they blew the trumpet to assemble the
synagogue they DID NOT make an alarm meaning "vocal and
instrumental rejoicing." If some turkey uses the fire alarm
or Tornado warning bell to PLAY MUSIC we put such creatures
into jail.
People are trying to MAKE MUSIC insteading of seeing ALL
musical sounds as WARNINGS.
Matt.
15:7 Ye hypocrites, well did Esaias prophesy of you,
saying,
Hypokrites (g5273)
hoop-ok-ree-tace'; from 5271; an actor under an assumed
character (stage-player), i.e. (fig.) a dissembler
("hypocrite"): - hypocrite.
Hupokrinô reply, make
answer,
of an oracle, 2.
expound,
interpret, explain
[Peter outlawed this as private interpretation.] 2. deliver a speech, declaim,
of orators and rhetoricians, represent dramatically, erôtikôn dramatôn 3. of an orator, use histrionic arts, exaggerate, ape, mimic, Mania or religious
frenzy.
Rhêtor-ikos , ê,
on, oratorical, hê rhêtorikê (sc. technê).
These
are
the craftsmen lumped with the singers, musicians and
"grinder" doing merchandise in the house of prayer. Rev.
18:22
LATIN: Canto I. Neutr.,
to produce
melodious
sounds
(by the voice
or an instrument), to sound, sing, play (class. in prose
and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 2. Of the singing
pronunciation of an orator, to declaim
in a singing tone, to sing
Ezek 33:30 Also, thou son of man, the
children of thy
people still are talking
against thee
by the walls and in
the doors of the houses, and
speak one to another, every one to
his brother, saying,
Come, I pray you,
and hear
what is the word
that cometh forth from the Lord.
Ezek 33:31 And they come unto thee as the people cometh,
and they sit before
thee as my
people,
and they hear thy
words,
but they will
not do them:
for with their mouth they
shew much love,
but their heart
goeth after their covetousness.
GOD'S PICTURE OF VAIN
RELIGION, ENDORSED BY JESUS
Ezek 33:32 And, lo, thou art unto them as
a very lovely song
of one that hath a
pleasant voice,
and can play well
on an instrument:
for they hear thy
words,
but they do them
not.
| Lynn
Anderson etal: Hosea 8:1 "Put the
trumpet to your lips! An eagle is over
the house of the LORD because the people have broken
my covenant and rebelled against my law. |
See Hosea as the proof text for the
Praise Team.
Fact: when you hear the trumpet sound which was NOT a musical
instrument you may know that you have broken God's Covenant.
The musical instrument always means that people have refused
to hear the Word of God. The final TRUMPET sound will be
the SORCERERS invading the church little bits at a time like
when you boil a frog.
When you hear theINSTRUMENTS in the house it is a MARK that
God has cast you off.
Hos 8:1 Set the trumpet
to thy mouth.
He shall come as an
eagle against the house of the LORD,
because they have transgressed
my covenant,
and trespassed
against my law.
The
MARK of violating the Word of God is absolute.
Hos 8:2 Israel shall cry
unto me, My God, we know thee.
Hos 8:3 Israel hath cast off the thing
that is good: the enemy shall pursue him.
Hos
8:4
They have set up kings, but not by me:
they have made princes, and I knew it not: of their
silver and their gold have they made them idols,
that they may be cut off.
Compare
Amos:
Hos 8:5 Thy calf, O Samaria, hath
cast thee off; mine anger is kindled against them:
how long will it be ere they attain to innocency?
Hos 8:6 For from Israel was it also:
the workman made it; therefore it is not God:
but the calf of Samaria shall be broken
in pieces.
If you make the songs, it is not from God.
| Lynn
Anderson etal: Joel 2:1 Blow the trumpet
in Zion; sound the alarm on my holy hill.
Let all who live in the land tremble, for
the day of the LORD is coming. It is close at hand-- |
Joel 2:1 Blow
ye the trumpet in Zion, and sound an alarm in my
holy mountain: let all the inhabitants of the land
tremble: for the day of the LORD cometh, for
it is nigh at hand;
H7321 rua
roo-ah' A primitive root; to mar
(especially by breaking); figuratively to
split the ears (with sound), that is, shout
(for alarm or joy):blow an alarm, cry
(alarm, aloud, out), destroy, make a joyful
noise, smart, shout (for joy), sound an
alarm, triumph.
Outlawed
for the synagogue or church in the wilderness: |
- Psallo (g5567) psal'-lo; prob.
strengthened from psao, (to rub or touch the surface; comp. 5597); to twitch or twang, i.e. to play on a
stringed instrument (celebrate the divine
worship with music and accompanying odes): -
make melody, sing (psalms)
|
| H7322 ruph roof A primitive root;
properly to triturate
(in a mortar), that is,
(figuratively) to agitate (by
concussion):--tremble. |
Psocho (g5597) pso'-kho;
prol. from the same base as 5567; to triturate,
i.e. (by anal.) to rub out (kernels from husks with
the fingers or hand): - rub. |
Joel
2:2
A day of darkness and of gloominess, a
day of clouds and of thick darkness, as
the morning spread upon the mountains: a great
people and a strong; there hath not been ever the
like, neither shall be any more after it, even to the
years of many generations.
Joel
2:3
A fire devoureth before them; and behind them a flame
burneth: the land is as the garden of Eden before
them, and behind them a desolate wilderness; yea, and
nothing shall escape them.
H7264 ragaz raw-gaz' A
primitive root; to quiver (with any violent emotion,
especially anger or fear):--be afraid, stand
in awe, disquiet, fall out, fret, move, provoke,
quake, rage, shake, tremble, trouble
Lynn
Anderson etal: Zep 1:15 That day
will be a day of wrath, a day of distress
and anguish, a day of trouble and ruin,
a day of darkness and gloom, a day of
clouds and blackness,
Zep 1:16 a day of trumpet and battle
cry against the fortified cities and
against the corner towers. |
The trumpet was given to send warnings: it was excluded for
the syngaogue or church in the wilderness. Therefore it would
be foolish to use the trumpet when there is now war or no
signal that the camp was being removed from its present
location. None of the proof text fail to prove that in
the church the noise is a sign of God's wrath or doom. No one
tries to justify the use of such machines in the ekklesia
without intentionally failing to tell the while truth:
Zep 1:12 And it
shall come to pass at that time, that I will search
Jerusalem with candles, and punish the men
that are settled on their lees: that say in their heart, The
LORD will not do good, neither will he do evil.
Zep
1:13
Therefore their goods shall become a booty, and their
houses a desolation: they shall also build houses, but
not inhabit them; and they shall plant vineyards, but
not drink the wine thereof.
Zep 1:14 The great day of the
LORD is near, it is near, and hasteth greatly, even
the voice of the day of the LORD: the mighty
man shall cry there bitterly
Zep 1:15 That day is a
day of wrath, a day of trouble and distress,
a day of wasteness and desolation, a day
of darkness and gloominess, a day of clouds
and thick darkness,
Zep 1:16 A day of the trumpet
and alarm against the fenced cities, and against
the high towers.
Zep 1:17 And I will bring distress
upon men, that they shall walk like blind
men, because they have sinned against the
LORD: and their blood shall be poured out as
dust, and their flesh
as the dung.
| Lynn
Anderson etal: Rev 18:21-22 “Then
a mighty angel picked up a boulder the size of a large
millstone and threw it into the sea, and said: "With
such violence the great city of Babylon
will be thrown down, never to be found again.
The music of harpists and musicians,
flute players and trumpeters, will never be
heard in you again. No workman of any trade
will ever be found in you again. The sound of a
millstone will never be heard in you again.” |
Revelation is a warning message for those with a right to
know: this is a MARK of the invasion of the church by a swarm
of locusts which in John's area were known as the muses or
musical worship team under Apollyon or Abaddon. When you
see or hear these signs then you know that the feminist mother
of harlots has begun to "rule over you" as women and children.
Wisd 19.13 - The punishments did not come upon
the sinners
without prior signs in the violence of thunder, [Rev
14]
for they justly
suffered because of their wicked acts;
for they practiced
a more bitter hatred of strangers.
Amos 3:6 Shall a trumpet
be blown in the city, and the people not be afraid?
shall there be evil in a city, and the
LORD hath not done it?
Amos 3:7 Surely the Lord GOD will do nothing, but he revealeth
his secret unto his servants the prophets.
Revelation 17 defines
the Mother of Harlots who is the feminist
goddess worshipped by all musical people: you did
not MAKE MUSIC to a Patriarchal god. Therefore, the music is
the MARK great distress
The Mother of Harlots USES the "lusted after fruits."
These are the same "baskets of summer fruits" in Amos which
implicates the musicians as dogs or male prostitutes.
John would have been familiar
with Hesoid who recognizes the MUSES as HARLOTS
(ll. 1-25) From the Heliconian Muses let us begin to sing,
who hold the great and holy mount
of Helicon, and dance on soft feet about the deep-blue
spring and the altar of the almighty son of Cronos,
and, when they have washed their tender bodies in
Permessus or in the Horse's Spring or Olmeius, make
their fair, lovely dances upon highest Helicon and
move with vigorous feet.
Thence they arise and go abroad by night, veiled in thick mist, and utter
their song with lovely
voice, praising
Zeus the aegis-holder and queenly Hera of Argos
who walks on golden sandals and the daughter of
Zeus the aegis-holder bright-eyed Athene, and
Phoebus Apollo, and Artemis who delights in arrows, and Poseidon the earth-holder who
shakes the earth, and reverend Themis and quick-glancing (coquettishness)
Aphrodite, and Hebe with the crown of gold,
and fair Dione, Leto, Iapetus, and Cronos
the crafty
counsellor, Eos
and great Helius and bright Selene,
Earth too, and great Oceanus, and dark Night, and
the holy race of all the other deathless ones that
are for ever. And one day they taught Hesiod
glorious song while he was shepherding his lambs
under holy Helicon, and this word first the
goddesses said to me -- the Muses
of Olympus, daughters of Zeus who holds the aegis:
(ll. 26-28) `Shepherds of the wilderness, wretched things of shame, mere
bellies,
............we know how to speak many false
things as though they were true;
............but we know, when we will, to utter
true things.'
(ll. 29-35) So said the
ready-voiced daughters
of great Zeus,
and they plucked and gave me a rod,
a shoot of sturdy
laurel,
a marvellous thing,
and breathed into me a divine voice
to celebrate things that shall be and things there were aforetime;
and they bade me sing
of the race of the blessed gods that are
eternally,
but ever
to sing of themselves both first and
last.
Skêptron ,II.
staff or baton, esp. as the badge of
command, sceptre: in Hom. borne by kings and
chiefs, and transmitted from father to son, by
speakers, who on rising to speak received it from
the herald, by priests and soothsayers
|
Revelation 18 implicates the rhetoricians,
singers and instrument players and calls the SORCERERS who had
deceived the whole world. The Muses were the dirty
adulteresses as Apollyon's musical worship team. John
is pointing directly to Delphi just up the coast from
Corinth and close to Patmos. John lumps sorcerers
(religious musicians) and dogs as doomed to hell.
The craftsmen is the word TECHNE
which includes all of the PERFORMING religionists
Jesus called Hypocriites and John called Sorcerers as does all
Greek musical terms. In the Greek theater which was
always religious this points to "theater builders and stage
managers." In these end times it is CRAFTY to steal the church
house of widows and turn it into a "theater for holy
entertainment" as they boast.
The end like the beginning will be marked by Mother Goddess
led by women. Therefore, let's back up to Revealtion 17:
Rev
17:1 And there came one of the seven angels which
had the seven vials, and talked with me, saying unto me,
Come hither; I will show unto thee the judgment of the great
whore that sitteth upon many waters:
Rev 17:2 With whom the kings
of the earth have committed fornication, and the inhabitants of the
earth have been made drunk with the wine of her fornication.
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.
Rev 17:4 And the woman
was arrayed in purple and scarlet colour,
and decked with gold and precious stones and pearls,
having a golden cup in her hand full of abominations and
filthiness of her fornication:
Rev 17:5 And upon her
forehead was a name written, MYSTERY, BABYLON THE
GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF
THE EARTH.
When Paul warned about the
rising up to PLAY at Mount Sinai in the musical idolatry
of the trinity, in 1 Cor 10 he identifies it as DEMON
WORSHIP. There "is not tradition other than that
demigods intruduced musical instruments" to SECUCE
people.
Rev
18:1
And after these things I saw another angel come down
from heaven, having great power; and the earth was
lightened with his glory. 2 And he cried mightily with
a strong voice, saying,
Babylon the great is fallen, is fallen, and is
become the habitation of devils, and the hold of every
foul spirit, and a cage
of every unclean and hateful
bird. [seed
pickers]
Rev 18:14 And the fruits
[faithful dogs Ph 3] that thy soul lusted after are departed from
thee, and all things which were dainty and goodly are
departed from thee, and thou shalt find them no more at
all.
However,
all of these habitations of devils will
cease and the musicators will cease and Jesus will visit
for the last time and pick up the Candlestick of "the
seven spirits of God" all related to teaching
knowledge--as it has been taught.
And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no
more at all in
thee; and no craftsman, of whatsoever craft he be,
shall be found any more in thee; and the sound of a millstone shall be heard
no more at all in thee; Rev 18:22
Rev 18:23 And the light of a
candle shall
shine no more at all in thee; and the voice of the bridegroom and of
the bride shall be heard no more at all in thee: for thy
merchants were
the great men of the earth; for by thy sorceries were all nations
deceived
| Lynn
Anderson etal: The Oxford Companion to
Music. Oxford University Press. London,
1956. p. 541. The Synagogue
system came about ‘so that those who cannot take
part more than the statutory three times a
year in the worship of the Temple at Jerusalem may
have their regular and frequent
local worship. |
These festivals were not called WORSHIP
SERVICES: only warrior aged males were forced to
muster. Older males, children and females were not forced
to attend and most probably did not because it was like
summer camp: one of the tithes could be turned into money
and used to by wine and strong drink for themselves and
the Levite ministers--who were always poor.
After the fall from grace by musical
idolatry at Mount Sinai the Spirit of Christ defined the
Holy Convocation or synagogue as a school of the Bible
which excluded vocal or instrumental rejoicing. See the
facts about the Synagogue for the spiritual people which
QUARANTINED them from the regulat sabbatic or Dionysus
worship with wine, women and music.
"The
Pharisees asserted that God could and should be worshiped even away from the Temple and outside Jerusalem. To the Pharisees, worship
consisted not in
bloody sacrifices--
the practice of the
Temple priests--
but in prayer and in the study of God's law.
That is what the agents of change
want to shut down: that is always the motive for
music. The Phraisees were bad but originally had pure
motives but the hassidim had been superceded by false
Jews.
Hence
the
Pharisees fostered the synagogue as an institution of
religious worship, outside and separate from the Temple.
The synagogue may thus be considered a Pharisaic
institution since the Pharisees developed it, raised it
to high eminence, and gave it a central place in Jewish
religious life. (Britannica Members)
Why there was
never any rationale for music?
Aristotle:
Melody Deceives: "Poets also make use of this
in inventing words, as a melody "without strings" or "without the
lyre"; for they employ epithets from negations,
a course which is approved in proportional metaphors..
- The form of diction should be neither metrical nor without rhythm.
- If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's
attention,
since it sets him on the watch for the recurrence of such and such a cadence..
According to Philo, the
gods of the pagans exploit this weakness of
men. For the sake of a better effect, and with the intention
of more easily cheating
their devotes, that they have set their
lies to melodies, rhythms and meters.." Click for more.
The Qahal as the major word for the
synagogue was set up in the wildernes for rest FROM
religion, reading and discussing the Word of God: Jesus
did NOT change that. This excluded vocal and
instrumental rejoicing because only simple simons would
want to make musical noise when you meet for what the
Campbells called "A School of Christ."
| Lynn
Anderson etal: Every village has its synagogue
and a ritual is laid down which, after the
destruction of Jerusalem under the Roman rule in
A.D. 70, is to develop the vocal part of the
Jewish musical traditions in all the
Mediterranean lands and, at the greater dispersal
that followed, to carry it into every part of the
civilized world. But a dispersed Jewry was a
sorrowing Jewry, and in the
synagogues that were now to be found almost
everywhere in the known world an abstention from
instrumental music served as a lasting reminder of
the glories of the Temple worship
of the past, which should, it was confidently
believed, after a period of patient waiting some
day be renewed.’ |
By
direct command, practice from the wilderness onward, the
practice of Jesus, the command through the word
"ekklesia," the practices of Paul, the commands of Paul
and the universal practice of the PRE-apostate church
"there was never any praise service in the synagogue"
The sacrificial system of which "noise" was exorcism was
restricted to Jerusalem, inside the walls, at but never
IN the temple. The Jews ceased the use of music
because it would have been a sin to use it after the
sacrificial system was about dead long before the time
of Christ.
See our notes on the Synagogue.
No, the synagogue was by definition NOT a place to do
musical rejoicing because THAT was what lost them their
nation and temple. No synagogue added an instrument
until 1815. It is true that cantillation or chanting
developed into something very elaborate. We would still not
call it singing in the "churchy sense."
None of the Bible is metrical and CANNOT be sung in a tunful
sense if your life depended on it.
Cantillation Jewish
Encyclopedia
These conventionalities of pitch
result in an elementary form of song, and thus became early
known as "singing to speech" ( accentus). But when a
larger audience is addressed the assistance of a sing-song
utterance in marking this accent or prosody, and
rendering the precise interdependence of the successive words
unmistakable, has been recognized by all who have ever had
to speak in the open air or in a large building, and has
been from the earliest ages adopted for the public
recitation of sacred texts. Among Jews the desire to read
the Scriptures in the manner described in Neh. viii. 8 has
from time immemorial resulted in the use of some sort of
musical declamation. This mode of recitation, depending not
upon the rhythm and sequence of the sounds chanted, but upon
the rhythm and sequence of the syllables to which they are
chanted, is known as cantillation.
Music in the Synagogue: Britannica
Members
"The description of the
synagogue service above noted the role of the hazzan, or cantor. It is he who reads the service and declaims the
scriptural lessons to certain set musical modes
that vary with the season and occasion.
In the 19th century in Western Europe
much of the traditional music was either discarded or re-worked under the
influence of western forms and styles. In addition the
pipe-organ was introduced and was the centre of stormy
controversy.
The
synagogue or church in the wilderness was to QUARANTINE the
civillians FROM the pagan sacrificial systems. The Sabbath
was an evil day and rituals were held and this derived from
Babylon along with the tithe. The citizens met in thes
synagogues which always existed but which was the only
"religious" institution after the RETURN. The
synagogue was devoted to the WORD and prayer and "never had
a praise service." When the temple was destroyed there
was no rationale and not legal to use instrumental music.
They continued with the psalms which were chanted or spoken
in cantillation as defined by PSALMOS.
Only in time did the changing get more embellished and
no one dared use an organ until the year 1815.
Lynn
Anderson etal: Zondervan, p.562 – “The Jews refused
to play the lyre (kinnor) during the Babylonian
Exile. They suspended their kinnorim
on the willows; how could they ‘sing the
Lord’s song in a strange land?’ (Ps. 137:4).
The kinnor was gay,
and when the prophets of
old admonished the people, they threatened that
the kinnor, the symbol of joy and happiness,
would be silenced unless the people repented
from their sins.” |
Those involved with the sacrificial system knew that it was
not legal to play sacrificial music outside of Canaan. The Willow
Tree also has symbolid association with Orpheus:
it was Orpheus and the Lesbian women who invented THRESKIA
or IMpure religion. The added tune or rhythm but "tunefulness"
did not really exist. The symbol of Orpheus to which the
Jews had been abandoned at Mount Sinai because of Musical
Worship was usually meant when they spoke of Lord. This
also connects with Dionysus and Zeus in the Abomination of
Desolation which proves that this MUSICAL worship was always
the MARK of sexual and homosexual JOY. They made TOO
MUCH JOY with wine women and song and lost everything that had
any meaning to them. However, they were exiled BECAUSE
of this idolatry and the tiny remmant were largely
cured so that there was NO musical worship connected with
Jehovah.
Jesus warned that truth had been hidden in parables
from the foundation of the world. This was to fool the fools
like the Scribes and Pharisees whom Jesus identified as hypocrites:
rhetoricians, singers and musicians. The
connections between the abandoned Jews and the Greeks and
Egyptians is clear.
Pausanias, Greece. [6] Turning our gaze again to the lower part
of the picture we see, next after Patroclus, Orpheus sitting
on what seems to be a sort of hill; he grasps with his left
hand a harp, and with his right he touches a willow. It is
the branches that he touches, and he is leaning against the
tree. The grove seems to be that of Persephone, where grow,
as Homer thought,2 black poplars and willows. The
appearance of Orpheus is Greek, and neither his garb nor his
head-gear is Thracian.
[7] On the other side of the
willow-tree Promedon is leaning against it. Some there are
who think that the name Promedon is as it were a poetic
invention of Polygnotus; others have said that Promedon was a Greek who
was fond of listening to all kinds of music,
especially to the singing of Orpheus.
During their captivity the
Jews were really "going home." Remember that it was Jubal,
Jabal, Tubal-Cain and Naamah who introduced the Babylonian
form of magic and music.
"Some of the psalms express a
tribalistic hatred of foreign powers; even the beautiful
laments of the exiles 'by the waters of Babylon,' for
example, concludes with the assurance that the daughter of
Babylon will be destroyed. 'Happy shall he be, that taketh
and dasheth the little ones against the stones.'
"But in nearly a third of the
collection the 'enemies' whose death the psalmist so
confidently prays for and anticipates are not Gentile
nations, but indivitual Jews who do not share the
religious conviction of the Hasidim (Pharisees). In the
words of Psalm 58, 'the righteous shall rejoice when he
seeth the vengeance: he shall wash his feet in the blood
of the wicked. So that a man shall say, Verily there is
reward for the righteous: verily he is a God that judgeth
in the earth." (Parkes, Henry Bamford, Gods and Men The
Origins of Western Culture, p. 134, Knopf)
Naamah 'Lilith' is usually derived
from the Babylonian-Assyrian word 'lilitu,' 'a
female demon, or wind-spirit' -- one of a triad mentioned in Babylonian
spells. But she appears earlier as 'Lillake' on a 2000 BC
Sumerian tablet from
Ur containing the tale of
Gilgamesh and the Willow Tree.
There she is a demoness dwelling in the trunk of a willow tree
tended by the Goddess Inanna (Anath) on the banks of the
Euphrates.
Lilith typifies the Anath-worshipping Canaanite women,
who were permitted pre-nuptial promiscuity. Time after
time the prophets denounced Israelite women for following
Canaanite
practices;
at first, apparently, with the priests' approval --
since their habit of dedicating to God the
fees thus earned is expressly forbidden in
Deuteronomy XXIII:18.
Lilith's flight to the
Red Sea recalls the ancient Hebrew view that water
attracts demons. Tortured and rebellious demons" also
found safe harbourage in Egypt. Thus Asmodeus, who had
strangled Sarah's first six husbands, fled "to the
uttermost parts of Egypt" (Tobit VIII:3), when Tobias
burned the heart and liver of a fish on their wedding
nigh. Click for More
"The very name Orpheus is just a synonym for Bel, the name of the great
Babylonian god, which, while originally given to Cush,
became hereditary in the line of his deified descendants. Bel signifies 'to mix,'
as well as to confound,' and 'Orv' in Hebrew, which in Chaldee becomes Orph signifies
also 'to mix.'
But 'Orv,' or 'Orph,'
signifies besides 'a willow-tree;' and therefore, in exact
accordance with the mystic system, we find the symbol of Orpheus among the
Greeks to have been a willow tree.
"Since the Babylonian Jews were unable to participate in the
worship of the cultus as in former days, the exile marked
an important turning-point in their religious developmemt.
Open-air meetings by the Kabar irrigation-canal
replaced gatherings in the Temple and its precincts,
Kabar or Chebar is
derived from:
Chabar (h2266) khaw-bar'; a prim.
root; to join (lit. or fig.); spec. (by means of spells)
to fascinate: - charm (-er), be compact, couple
(together), have fellowship with, heap up, join (self,
together), league.
Ephraim is joined to
idols: let him alone. Ho.4:17
| Lynn
Anderson etal: 3. Since instruments were not used
in the synagogues and there was no longer a temple
in which to use them, they were increasingly
associated with pagan worship and secular theater. |
They were PROOFS of paganism even at Mount Sinai when they
rose up to play in musical idolatry. They are connected with
paganism (king-clergy) by the prophets by the Spirit of Christ
who calls the monarchy robbers and parasites. In the
Greek world a PARASITE was one who made loud noise during
animal sacrifices.
Instruments were never used IN the Holy Place as
typical of the body or Church of Christ. It is said that when
Jesus came the Jews had no GOD and had no TEMPLE. The
temple was called HEROD'S temple and the priestly leadership
were HIRELING and not Israelites. Even if the temple had
stood the common people would be put OUTSIDE the gates when
the animal burning was signalled by the trumpets and NOISE of
instruments. That is why Paul says that if we want to find
Jesus we have to go OUTSIDE the massed multituted or camp and
suffer reproaches with Jesus. The "congregation"
assembled for sacrificial noise or music was only the king,
clergy and national leadership. And THEY had been turned over
to worship the starry host BECAUSE of musical idolatry at
Mount Sinai.
| 4. There
may have been few skilled musicians
among the new Christians since it was the priests
who were responsible for developing their skills
in Temple service. |
I believe the priests blew the authorized
trumpets of God: it was the Levitical Warrior Musicians who
played instruments to make a great crashing noise.
Whey would they even think about it since the culture
of the synagogue outlawed both singing and instruments and
the universal mark of instruments was perverted paganism.
The prophecy of the King of Babylon is really pictured at
Topheth which was once the King's Music Grove where Asherah
was worshipped and infants were sacrificed to Molech with
music. We are not aware of any of the NATIONAL
Levites who were converted and they and their harps were
cause to ROT and burn up or be consumed by MAGGOTS at
Hell--just outside the city walls. Jews lament the
tens of thousands of harps which were destroyed. Maybe
if God LOVED instrumental music He might have saved one or
two. No. No Bible student can even hallucinate "making
music" in the ekklesia.
The Apostolic Constitions which
may date about the year 200 but certainly reflects the
general understanding of the church assembly notes:
For He has delivered us from the
sword, and hath freed us from famine, and sustained us;
has delivered us from sickness, has preserved us from an
evil tongue. For all which things do we give Thee thanks
through Christ,
who has given
us an articulate
voice
to confess withal,
and added to it a suitable tongue as an instrument to modulate withal,
and a proper taste, and a suitable touch, and a sight for contemplation,and the hearing of sounds, and the smelling of vapours, and hands for
work, and feet for walking.
And all these members dost
Thou form from a little
drop
in the womb;
and after the formation dost Thou bestow
on it an immortal
soul,
and producest it into the light as a rational creature, even
man.
If one belonging to
the theatre
(1) come, whether it be
man or woman, or charioteer, or dueller, or racer, or
player of prizes, or Olympic gamester, or one that plays
on the pipe, on the lute, or on the harp at those games, or a dancing-master or an huckster,
(2) either let them
leave off their employments, or let them be rejected. If a
soldier come, let him be taught to "do no injustice, to
accuse no man falsely, and to be content with his
allotted wages:"
(3)
if
he submit to those rules, let him be received; but if he
refuse them, let him be rejected. He that is guilty of
sins not to be named, a sodomite, an effeminate person, a
magician, an enchanter, an astrologer, a diviner, an
user of magic verses, a juggler, a mountebank, one that
makes amulets, a charmer, a soothsayer, a fortune-teller, an observer of palmistry; he
that, when he meets you, observes defects in the eyes or
feet of the birds or cats, or noises, or symbolical
sounds:
let these be proved for some time,
Lynn
Anderson etal: 5. The use of instruments may
have been implicit in the early fathers’
use of the word Psalm.
Zondervan, p. 564. The Psaltery –
“. . . ten-stringed, rectangular zither. To the
early Church Fathers this psaltery was symbolic: the
ten strings, the Ten Commandments; and
the four sides, the Gospels.” |
Psalm
like song can be read, recited, sung or sung with an
instrument. However PSALM does not include the
instrument. Because the BOOK of Psalms is a GREEK
translation we know that they used a word consistent with
the form of music recognized in the Greek pagan rituals
which was always destructive. That is why all of the
"instrumental" Psalms have destructive or even polluted
meanings because they were "warrior chants." The Psalms
are NOT metrical and cannot be sung as the apologist plans
to do which was always called charming, enchanting or
sorcery.
"The name of psaltery entered Christian literature
in the 3rd century B.C. translation of the Old Testament
called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus,
Nebuchadnezzar's
idolatrous ensemble included
the Aramic psantria. Notice, also, that the book of Psalms has
also become known as the Psalter (or psalterium), from the hymns sung with this harp.
Source
http://www.s-hamilton.k12.ia.us/antiqua/psaltery.htm
NEBUCHADNEZZAR the king made an image of gold, whose height was threescore
cubits (60), and the breadth thereof six
(6) cubits:
he set it up in the plain of Dura (circle), in
the province of Babylon. Dan 3:1
The Temple in Jerusalem had two of
these Phallic Imagtes out front!
That at what time ye
hear the sound of the (1) cornet, (2) flute, (3) harp, (4)
sackbut, (5) psaltery, (6) dulcimer, and all kinds of
musick, ye fall down and worship the golden image that
Nebuchadnezzar the king hath set up: Dan 3:5
Six instruments
are named Six Times in in Six verses.
Psaltery reminds
us of a NEW WINESKIN religion which is made of THAT
WHICH DIED OF ITSELF:
Nebel (h5035) neh'-bel; or nebel
nay'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence
a vase (as similar in shape when full); also a lyre (as having a body of like
form): - bottle, pitcher, psaltery, vessel, viol
Nabel (h5034) naw-bale'; a prim.
root; to wilt; gen. to fall away, fail, faint; fig. to be
foolish or (mor.) wicked; causat. to despise,
disgrace: - disgrace, dishonour, lightly esteem, fade
(away, - ing), fall (down, -ling, off), do foolishly, come
to nought, * surely, make vile, wither..
Nabal (h5036) naw-bawl'; from
5034; stupid; wicked
(espec. impious): - fool (-ish, -ish man, -ish woman),
vile person.
| Lynn
Anderson etal: Whatever the reasons for
the lack of instruments in the early
church, we must hold scripture supreme over
tradition. |
True: and all Bible students and
historic scholars KNEW that instruments were OUTLAWED and
always associated with destructive events and even Satan,
prostitutes and Sodomites.
Justin Martyr a.d. 110-165
And the wealthy among us help the
needy; and we always keep together; and for all
things wherewith
we are supplied, we bless the Maker of all through His Son
Jesus Christ, and through the Holy Ghost.
And on the day called Sunday, (th tou Hliou legomenh
hmera.) all who live in cities or in the country gather
together to one place, and the memoirs of the apostles
or the writings of the prophets are read,
as long as time permits; then, when the reader has ceased,
the president verbally instructs, and exhorts
to the imitation of these good things .
Till I come, give attendance to (public) reading, to
exhortation, to doctrine.1Ti.4:13
Apost. Const. Then let the
high priest say: It is very meet and fight before all
things to sing an hymn to Thee, who art the true God, who
art before all beings, "from whom the whole family in
heaven and earth is named;"
Of a memorial for the dead: XLII. Let the third day of the
departed be celebrated with psalms, and lessons,
and prayers, on account of Him who arose within the space of
three days;
Demonstrations of Aphrahac c 337 wrote
§19. Now thus is faith; when a man
believes in God the Lord of all, Who made the heavens and
the earth and the seas and all that is in them; and He
made Adam in His image; and He gave the Law to Moses; He
sent of His Spirit upon the prophets; He sent moreover His
Christ into the world.
Furthermore that a man should believe in the resurrection
of the dead; and should furthermore also believe in the
sacrament of baptism.
This is the faith of the Church of God. And (it is
necessary) that a man should separate himself from the
observance of hours and Sabbaths and moons
and seasons, and divinations and sorceries and Chaldaean
arts and magic, from fornication and from festive
music, from vain doctrines, which are instruments
of the Evil One, from the blandishment of honeyed
words, from blasphemy and from adultery.
And that a man should not bear false witness, and that a
man should not speak with double tongue. These then are
the works of the faith which is based on the true Stone
which is Christ, on Whom the whole building is reared up.
And on and on which
you can read here.
Barton Stone
– “The past is to be consigned to the rubbish heap
upon which Christ died.”
Lynn
Anderson etal:
Martin Luther--1521—“Unless I am convinced
by Scripture and plain reason--I do not
accept the authority of popes and councils, for
they have contradicted each other--my
conscience is captive to the Word of God.”
|
See Luther on music.
By 1501: "By
re-introducing public worship, the reformers
displaced virtually overnight a thousand years of high church
ritual.
The Reformation fathers condemned the Gregorian Chant for
some very telling reasons, revealing along the way their own evolving concepts of
music.
They objected to the
distractions of elaborate vocal and instrumental music, the dangers of overly theatrical performances, the unwarranted expense of elaborate ceremonies and enormous pipe organs and the uselessness of text unintelligible to the common man.
"Contrasting the high church's entrenched musical
traditions was the simple and pragmatic approach of men like Martin
Luther. One of Luther's stated goals was the restoration
of true worship.
He understood the
tremendous benefit resulting from hearing the word of God and then uniting as a congregation to offer thanksgiving in song.
This stress on
congregational participation in worship became a lynchpin of the
Reformation.
It might
come as a surprise that the Catholic church NEVER engaged in
"congregational singing with instrumental accompaniment."
Whey they began singing of sorts in the year 373 even when
organs were imposed it was by people in high places and used
by composers and fiddled around with by the idle monks.
Harmony was thus beginning to develop after the year
1200. The organ was used for preludes, interludes and
recessional. It was only playing by the professionals for
entertainment which polluted the churches in the eyes of the
reformers.
Lynn
Anderson etal: V.
Heritage
[a virus you caught from your
mother]
Many are concerned that we
should preserve our Church of Christ heritage.
|
Right off the bat this is perjorative
and intended to dissociate people to make them think
that we DON'T use instruments because it is a disease we
caught from out ignorant parents. This is absurd:
there is nothing but universal condemnation of instrumental
music as a warning even to those "outside of church' who
would fall into a trap because the performance style is perverted
and perverting. All scholars note that when you move
from SPEAK or SAY to even rhetoric you both MARK and CAUSE
effeminancy. At the time of the American Restoration
Movement none of the denominations looking for something
better used instruments and all refuted their use:
Methodists and Baptists went through the same musical
sectarianism as the Church of Christ. Furthermore, it
is a fact that The Church of Christ was never "joined" to
the Disciples who imposed instruments planning to sow
discord.
The Bible is perfectly clear and and ALL of the historic
scholars rejected instruments on the same basis they would
reject dirty dancing or brothel stalls in the temple.
All of the denomonitations which fed into the church
of Christ rejected instruments: it was the Disciples of
Christ which followed the denominations after the Civil war
because they confessed that their institute could not
survive without entertainment.
Not even the Catholic churches ever engaged in
"congregational singing with organ accompaniment." The organ
was EXTRA liturgy and used between events: the organ marked
preludes, interludes and recessionals. That is, it was
purely entertainment because no priest ever installed an
organ in a church.
So the heritage or traditional is about as evil a lie as
possible especially since it is intended to inflict pain and
sow discord.
Most historic church had DIRECT COMMANDS and APPROVED
EXAMPLES of speaking or chanting ONLY the Biblical text. The
purpose was to Teach and Admonish one another. One would
have to be mad to hallucinate music if they understood the
nature of the ekklesia which institution excluded all but
vocal instruction.
| Lynn
Anderson etal: I wholeheartedly agree! The
heritage that I received was this - that we
should be as the ‘noble Beroeans’ who ‘examined
the scriptures daily to see if these
things were so.’ Acts 17:11. The Church of
Christ taught me to constantly be studying God’s
Word. If we have already found all of the answers
and there is no room to come up with any different
conclusions, what is the point of study?
|
Because "vocal and instrumental
rejoicing" was outlawed in the synagogue or "church in the
wilderness" and there was no praise service in the
synagogue, there was never a QUESTION which needed anyonw
who THINKS they have a latter day answer. The point of
study was directly commanded to "sing that which is
written" and "teach that which has been taught." You could
be severely brain damaged and never hallucinate the
possibility of making noise and doing gyrations when Jesus
comes to be our.
The synagogue and later ekklesia or church was devoted
TOTALLY to reading and examining "that which is written"
as the elders "taught that which had been taught." Peter
left it as a MARK of false teachers those who did not
teach that which he and others had left for our "memory."
One good reason would be to study the Old Testament and
especially the Prophets to understand that God totally
repudiates MUSIC of any form because it is a slick way to
navigate people where you want to go usually with the
intention of bringing them into bondage to fleece the
lambs and craunch their bones. Isaiah 58 defines a TRUE
Sabbath and outlaws "seeking your own pleasure or speaking
your own words." That is because to do so CLAIMS that God
left a lot of silence holes for us to fill in--and pay
them too. None of the proof texts in this paper show
that the writer has read the CONTEXT and assuredly does
not know the story line.
Lynn
Anderson etal: A willingness and
determination to follow scripture,
even in the face of deeplyentrenched
traditions, is what the reformation and
restoration movements were built upon.
‘Scripture alone’ became the
rallying cry of the Reformation. For the
pioneers of the Restoration Movement, the favorite
motto was: ‘In matters of faith, unity; in matters
of opinion, liberty; in all things, love.’ Only things
clearly stated in Scripture were considered
matters of faith.
|
Even if you were simple simon
you would know that there was no music commanded in the New
Testament and it therefore could not be a matter of faith.
On the other hand, music is the MARK of people telling
God to shut up and is therefore the MARK of ANTI-biblical
false teachers.
In fact, ALL church fathers demand that we use Scripture
only for matters of faith and practice. This was not
invented for the Restoration Movemement. The High Church
principle was the motto of the Disciples of Christ out of
their Methodist, Anglican, Church of England, Catholic
roots. However, the Church of England never voted to
aprove the right of the church to IMPOSE anything not
commanded by Scripture.
It would not be remotely possible to have ever studied the
Bible without knowing that the "serpent" in the garden of
Eden was a "singing and harp playing prostitute" or a
musical enchanter(ess). Revelation 17 ends with the
Mother of Harlots (marked by music) uses lusted after
"fruits" as rhetoricians, singers and instrument players.
Lynn
Anderson etal: Zwingli (1484-1531)
rejected audible music of any kind, believing that
whatever Scripture does not explicitly command is
forbidden. Since Paul, in Col. 3:16 calling
us to ‘teach and admonish one another with all
wisdom, and as you sing psalms, hymns and
spiritual songs with gratitude in your hearts to
God,’ specifies ‘in your hearts,’ it must be done
silently.
|
The direct command was to SPEAK
one to another with the INSPIRED TEXT ONLY. The INTERNAL
act was to sing AND make melody IN the heart. The
concept of speaking a Psalm in order to learn it
took place at church: then, you went home and sang
SILENTLY as much as you wished. Philo denied that humans
have the ability or words to praise God audibly.
None of the Bible was metrical and you could not sing ANY
of it in a tuneful sense if your life depended on it.
Zwingli knew that the Psalms would have to be RADICALLY
RECOMPOSED in order to set them to Meter. To do so
was a matter of disrespect for the written Word which had
NEVER been "sung" in the modern musical sense.
Why should be be down on Zwingli for opposing the
REWRITING of the Psalms with very bad errors being
inserted and NOT utterly condemn someone for rewriting
Acts just so the females and effeminates can SING?
No, that is another lie: Paul said SPEAK one to another in
Psalms, hymns and spiritual songs (inspired text) AND sing
and make melody IN THE HEART. The word SPEAK is the
opposite of poetry or music and the word ODE is the same
as Hebrew Cantillation which is not TUNEFUL but accented
SPEAKING just like Paul commanded and Jesus exampled.
| Lynn
Anderson etal: For this reason, Zwingli did not
even allow congregational singing. The
fallacy of Zwingli’s interpretation is
apparent--how can we teach and admonish each other
with songs that we sing silently to
God? |
Again, it would not be possible to SING in a
tuneful sense and obey the direct command to speak or sing
"that which is written." Zwingli was not condemning
sining the commanded text because it COULD NOT be sung. Even
when Calvin allowed some paraphrases of the Psalms to make
them metrical this would not be acceptable to MOST people
who understand that the REWRITE the Word of God.
We can SPEAK outwardly and SING inwardly! That is EXACTLY
what Paul commanded. And you cannot SING and SPEAK at the
same time and making melody on a harp in the heart would
hurt really bad as the word PSALLO means. Philo said the
same thing because worship is in the PLACE of the human
spirit and Paul said we worship IN the spirit as opposed to
IN the flesh because there be dogs or catamites with their
old style praise singing. Because worship is what you think,
the only way to literally worship would be to fall on your
face--now try doing dirty dancing, singing and plan a
"machine for doing hard work."
Euphêmos I. uttering sounds of good omen, or abstaining
from inauspicious words, i. e. religiously silent, opp. to dusphêmos, Aesch., etc.; euphêmou
stoma phrontidos hientes uttering words of religious
thought, i. e. keeping a
holy silence, Soph.; so,
hup' euphêmou boês, i. e. in silence,
Opposite to: hierourg-eô,
A. perform sacred rites, . zôia sacrifice
them, telet-ê
, hê, ( [teleô] ) A.
rite, esp. initiation in the mysteries, 3.
a making magically potent, II.a
festival accompanied by mystic rites, Of Dionysus.
Johannes Quasten, Music and
Worship in Pagan andd Christian Antiquity, notes of Philo:
"One cannot truly offer
thanks to God as the vast majority of men do, with external effects, consecrated gifts and
sacrifices..., but rather with songs of praise and hymns--
not so much as the audible voice sings, but such as are raised
and re-echoed by the invisible mind."
Philo saw that the high
priest had to lay aside his long flowing robe, set with
little bells and colorfully adorned, when he went into the holy of
holies.
This was an indication that one must not worship God with
music and colorful array; owe should rather pour out to
him one's soul's blood and offer him one's whole spirit as
incense. For
if the soul has opened
itself totally in word and deed and is filled with God
then the voices of the senses and all other burdensom
and hateful noises cease..
Zwingli
knew that the word SPEAK is defined as "the opposite
of poetry or music." That is because melody
conceives to deceive:
Aristotle:
Melody Deceives: "Poets also make use of this
in inventing words, as a melody "without strings" or "without the
lyre"; for
they employ epithets from negations, a course which is
approved in proportional metaphors..
- The form of diction should be neither metrical nor without rhythm.
- If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's
attention,
since it sets him on the watch for the recurrence of such and such a cadence..
According to Philo, the
gods of the pagans exploit this weakness
of men. For the sake of a better effect, and with the intention of more
easily cheating their devotes, that
they have set their lies to melodies, rhythms and
meters.." Click for more.
Zwingli
had a point because the Scripture is NOT metrical and
therefore CANNOT be sung in a tuneful sense. That is why
Calvin reluctantly allowed the Psalms to be REWRITTEN or
paraphrased to make singing simple harmony remotely
possible. So, maybe Zwingli wa against REWRITING the Bible.
Modern musical performers make no attempt to "sing
that which is written" so there is little connection with
historical rationality. deceives and so people set
their lies to a melody and invent The Law of Giving or The Law
of Singing. The word Ode further defines PSALMOS as "in Hebrew
Cantillation." The singing marks did not denote tunefulness
but ACCENT and rhythm of SPEAKING. Several resources
note that "Melody as tunefulness belongs to the 19th century"
so I SUPPOSE that their singing was not MAKING MUSIC.
Any prose devoted to a god when READ was called singing
and singing was "using the normal inflections of the human
voice."
Pindar,
Nemean
Odes 7. [20] And I expect that the story of
Odysseus came to exceed his experiences, through the sweet
songs of Homer, [22] since there is a certain solemnity
in his lieswinged artfulness, and poetic skill
deceives, seducing us with stories, and the heart of the
mass of men is blind. For if For if [25] they had been
able to see the truth, then mighty Aias, in anger over the
arms, would never have planted in his chest the smooth
sword--Aias, who was the most powerful in battle, except for
Achilles, and whom the breath of the unswerving Zephyr
conveyed in swift ships, to bring back the wife of
golden-haired Menelaus [30] from the city of Ilus. and
| Lynn
Anderson etal: Luther believed that
Zwingli’s approach to Scripture turned the gospel into
a new legalism. Luther’s call to return to
Scripture supported his greater call to return to
Christ. |
See
how Martin Luther reads Romans 15 to exclude the organ.
See that Martin Luther rejected
instruments and congregational singing replaced "the
musical worship team."
This means that hymn singing is
preaching, a return of
God's Word to the people!
Luther, then,
restored singing to the church as preaching,
the speaking "to one another with psalms and
hymns and spiritual songs" (Eph. 5:19)
so that "the Word of Christ [might]
richly dwell" in them (Col. 3:16).
Because the hymn was regarded as a proedicatio
sonora -- a resounding
sermon, it was placed "on
the same level as the proclamation and prayers
of the pastor." (Schalk,
C., ed. Key Words in Church Music (St. Louis: Concordia
Publishing House, 1978)
Consequently, the Reformation accorded
congregational song an autonomous place in the
liturgy. It was not
simply regarded as the people's answer to the sermon,
but instead stood side by side with the sermon, albeit in sequential order.
(Blankenburg. W. "Der Gottdienstliche Liedgesang der
Geineinde," in Leiturgia (Kassel: Johannes
Stauda-Verlag. 1961)).
The Word of God could become the Living Word only when
it was preached, and only then could it awaken faith.
--Since music (the notes) "make the text live," God
preached the Gospel also through music.
--Both music and theology then are "bearers and
interpreters of the Word of God, being living voices
of the Gospel."
In 1523, Thomas Muntzer was the first
to replace the clerical choir with congregational
singing, using virtually the same music. He
translated the text into the vernacular--a true beginning of the
restoration of biblical psalm singing among the people. Chuck From
| Lynn
Anderson etal: John Calvin (1509-1564), like
Luther, stressed ‘Christ alone.’
In his effort to restore the original Christian
ordinances, Calvin hoped his doctrine of Christ
might restrain the impulse toward legalistic
imitation. In discussing such things
as ceremonies, he said that the ‘church
must not be too fastidious.’ Rather, they must
keep first things first, not letting questions of
form and organization occupy too large a place. |
Not true: Martin Luthers "Sola Fide" was based on
"Sola Scriptura" because you cannot have faith without
Scripture. And because Scriptura commanded baptism he said
that you could not be saved withoout baptism
John Calvin called His a Restoration Movement and defended the
CENI as does the Bible and all historical theologians.
For adults, John Calvin defined baptism just about the
way Alexander Campbell did it.
Harmony of the Law - Volume
2 by John Calvin understood that the Qahal, synagogue or
church in the wilderness OUTLAWED loud vocal and
instrumental rejoicing which was reserved for warfare or
victory:
"Profane nations also had their ceremonies,
such as auguries, supplications, soothsayings, victims, because natural
reason dictated that nothing could be engaged in
successfully without
Divine assistance; but God would have His people bound to Him
in another way,
so that, when called by the sound
of the sacred
trumpets
as by a voice from heaven,
they should assemble to holy
and pious deliberations.
The circumstance of
the place also has the same object. The door of the Tabernacle
was to them, as if they placed themselves in
the sight; of God.
We
will speak of the word dewm, mogned (synagogue) elsewhere. Although
it signifies an appointed time, or place, and also an assembly
of the people, I
prefer translating it convention, because God there in a
solemn manner, as if before His
sacred tribunal, called the people to witness, or, according to
appointment, proceeded to make a covenant with them.
If you could not CALL the
synagogue with instruments then how could you REST, read
and rehearse the Word of God when people sing and play
instruments:
Thus Malvenda in Poole's
Syn., "et clangetis taratantara." The
word is used by Ennius "At tuba terribili sonitu
taratantara dixit." -- Serv. in, AEn, 4. A.V., "an alarm."
A difference is to be
observed in this respect between his people under the Old
and under the New Testament; for now that Christ has
appeared, and the church has reached full age,
it were only to bury the light of the gospel should we introduce the shadows of a departed dispensation.
From this it appears that the
Papists, as I shall have occasion to show elsewhere, in
employing instrumental
music
cannot be said so much to imitate the practice of God's ancient people as to
Psalm
78: it
in a sense less
and absurd manner,
exhibiting a silly
delight
in that
worship of the Old Testament which was figurative and terminated with the
gospel." (On Ps. xcii. 1.)
"Were
any
one to ask why the Apostle speaks with so little respect
and even with contempt of Sacraments divinely instituted, and extenuates their
efficacy? This he does, because he separates them from Christ; and we know that when
viewed in themselves they are but beggarly elements, as Paul calls them. (Gal. 4: 9.)
Because the music in
connection with animal sacrifices
[a curse] under the Law were part of a training or
disciplinary system, John Calvin
understands the difference between the Old Law and the New
Covenant
Then
Calvin
notes what the Catholics confess: that it was not really
a borrowing from the sacrificial system but from the
world of entertainment from all pagans:
"From this it appears
that the Papists, as I shall have occasion to show
elsewhere, in employing instrumental music
cannot be
said so much to imitate the practice of God's
ancient people as to ape it in a senseless and absurd manner, exhibiting a silly delight in
that worship of the Old Testament which was figurative and terminated
with the gospel." (Psalm 92:1)
| Lynn
Anderson etal: Alexander Campbell called for
Christians to “reduce to practice that simple
original form of Christianity, expressly exhibited
upon the sacred page; without attempting to
inculcate anything of human authority, of
private opinion, or inventions of men, as having
any place in the constitution, faith, or worship,
of the Christian Church, or anything as a matter
of Christian faith or duty, for which there can
not be expressly produced a ‘Thus saith the Lord,’ either in
express terms or by approved precedent.” |
And everyone knows that there is no command, example or
inference for music in the Bible or most of church history.
The point is that you cannot IMPOSE a practice on the church
unless it is absolutely required to carry out the purpose of
the church.
The Campbell's defined church as "a school of Christ"
and "worship" as reading and musing the Word of God.
They repudiated instrumental music and Alexander refused
to preach in a church until they silenced the organ
and organists. That means that if Jesus has not
COMMANDED something necessary to carry out the school of the
Bible then others have no right to IMPOSE something unless
they can prove that it is commanded and necessary.
Campbell wrote: speaking for
Mr G. has him say:
"Music exerts a
mysterious charm upon man--it takes captive the citadel of life--carries him out of himself, and leads him where it will. The shrill fife
and the rattling drum, inspire the soldier
just about to enter into battle, with a zeal and daring
which no hardship can overcome, and no danger intimidate,
and causes
him to rush headlong into the
thickest of the combat, regardless of
consequences.
If martial music thus inspires the worshipers of Mars, will sacred music do less
for the humble followers of the meek and lowly
Jesus--the worshipers of the true and living God? No!
"It will not. It will
inspire them, too, with zeal and courage, and impel them
on to resist--not flesh and blood with instruments of
death, but principalities and powers--spiritual wickedness
in high places, with the armor of God and the sword of the
Spirit.
Lynn Anderson defends the worship of MARS but Alexander Campbell
repudiated it simply by stating the case for instruments
(restoration of paganism) and then repudiates it:
The
argument drawn from the Psalms in favor of instrumental
music,is
exceedingly apposite to the Roman Catholic, English Protestant, and Scotch Presbyterian churches, and even to the Methodist communities. Their churches having all the world in
them--that is, all the fleshly progeny of all the
communicants, and
being founded
on the Jewish
pattern of
things--baptism being given to all born into
the world of these politico-ecclesiastic communities--
I wonder not, then, that
an organ, a fiddle, or a Jews-harp, should be requisite to stir up their carnal
hearts,
and work into ecstasy their animal souls,
else "hosannahs languish on
their tongues, and their devotions die."
And that all persons who have no spiritual discernment,
taste, or relish for their spiritual meditations,
consolations and sympathies of renewed hears, should
call for such aid, is but natural.
Pure water from the
flinty rock has no attractions for the mere toper or
wine-bibber. A little alcohol, or genuine Cognac brandy, or good old
Madeira, is essential to the beverage to make it truly
refreshing.
So to those who have no real devotion or
spirituality in them, and whose animal nature flags under the
oppression of church service, I think with Mr. G., that
instrumental music would be not only a desideratum, but an
essential
prerequisite to fire up their souls to even animal
devotion.
But I presume, to
all spiritually-minded Christians, such aids would be
as a cow bell in a concert.
| Lynn
Anderson etal: The Stone movement
amounted far more to a rejection of historic traditions
than to a positive reconstruction of primitive
Christian practices. Their emphasis was
Christian character and Christian freedom. |
The only positive in agreement with the Church of Christ was
Stone's defense of using the Bible for all of our faith and
practices. However, he honored "union" over any Biblical
doctrine.
The Stone Movement had nothing in
common with the Restoration movement. He held nothing
in common with Alexander Campbell except the authority of
Scripture. No Christian church would now return to the
movement they sected out in 1927. Here is one of the
practices imported into the Christian churches which flowed
out of the Methodists, Church of England and back to the
Catholic church. Click for the Shouting Methodists added
as an ACT of worship.
| Lynn
Anderson etal: Benjamin Franklin
(1872)—“The Lord is not attracted by imposing
temples, worldly show, nor fine
entertainments.” Franklin was offended by
the exorbitant cost of the newly built
Central Christian Church in Cincinnati, with its
stained glass window and $8000 pipe organ.
This put a bad taste in his mouth
toward expensive instruments. |
No, he said it because
INSTRUMENTS especially ORGANS are in bad taste in a
peaceable church assembling for quiet study and
meditation. The cost just nailed dow the fact that
attracting the masses was the ONLY object.
Ben Franklin January, 1860: "IF any one had told us, forty years
ago, that we would live to see the day when those professing
to be Christians; who claim the Holy Scriptures as their only
rule of faith and practice; those
under the command, and who profess to appreciate the
meaning of the command, to "observe all things whatever
I have commanded you," would bring any instrument
of music into a worshiping assembly, and
use it there in worship, we should have repelled
the idea as an idle dream. But this only
shows how little we know of what men would do; or
how little we saw of the power or the adversary to
subvert the purest principles, to deceive
the hearts of the simple, to undermine the very
foundation of all piety, and turn the very worship
of God itself into an attraction for the people of
the world, an entertainment, or amusement.
It appears
never to occur to the multitudes who throng the assemblies
to hear instruments, sweet voices and artistic melodies, that there is no worship in it, or,
at least, divine
worship. All
that can be heard in a theater, in a museum, or less godly places, where
there is certainly no worship.
There is no worship
in music,
in itself. There is power in it, enchantment
[sorcery says John Rev 18:23],
but as easily associated with vice as virtue, with cruelty as
with beneficence, with corruption as purity. We
find music where there are no moral qualities, either good or bad--a mere secular entertainment. We listen to it, and admire
it for its
own sake,
its beauty, its delightful strains, its enrapturing
sounds, its melodies, and the pleasing sensations it produces within us.
But there is no
worship in this. It is simply secular, having neither moral nor
immoral qualities in it.
We listen to a fine performer to see how he can
perform,
and admire the performance, as artistic, dramatic,
and elegant,
and give him the
praise due a good performer.
But there is nothing
[412] religious in it. There is
not a moral idea in it; it has no moral character--there
is nothing
spiritual
in it; it has no spiritual character--there is nothing religious about it; it has no
religious character.
| Lynn
Anderson etal: T. B. Larimore (1843-1929)--never
addressed dividing issues such as instrumental
music and missionary societies. He viewed
them as ‘untaught questions among us.’
Scripture did not address them, he said; and,
though he held his own ‘opinions or preferences,’
he did not feel it his duty to preach or write
about them. “I am as apt to be wrong as my
brother. . . neither of us is infallible.” |
Larimore preaching for a church already divided over
instruments would hardly take sides when he
saw the more urgent need to preach the gospel to convert
the people: especially those so unchristlike to deliberately
sow discord just so they could hear Nellie PERFORM.
Burnette Writes: Allen says that one time
Larimore went to a church to help them with the organ
Many things lead me to believe that divisions and bickering
are a good sign that we're getting in the way of the gospel
being preached and shown to the world. I could be doing much
better in this.
The city churches know very well how to settle the pastor
question, and stop the division over that issue. Just send
the hired preacher out to preach the gospel, which is his
scriptural duty, and restore the elders to their Bible
functions. But will they do it? Prof. T. B. Larimore once
held a meeting that continued five months. At the
last sermon there were five confessions, and he said the
meeting closed "too soon." He wants to hold a meeting
(before he dies) that shall continue one year. He is only
seventy-two. issue (the musical instrument)
and instead of talking about being pro or against organs, he
preached the gospel for 22 weeks. After he left,
they ended up splitting anyway and many blamed
him for it, despite the many conversions
because of the gospel.
| Lynn
Anderson etal: John Smith in 1832, “Let
us, then, my brethren, be no longer Campbellites,
or Stonites, New Lights or Old Lights, or any
other kind of lights, but let us come to the
Bible, and to the Bible alone, as the only book in
the world that can give us all the light we need.” |
His grandson, H. Leo Boles wrote of the CONDITIONS
of the Church of Christ and the Disciples of Christ
working together but NOT ever united:
They met on New
Year's Day, 1832, and continued in session four days.
"Raccoon" John Smith was selected from the Campbell
group to set forth the New Testament grounds of unity, and
B.W. Stone represented the "Christian Church."
The meeting resulted in the uniting of these two groups.
"Raccoon" John Smith was my grandfather. May the present
meeting on this occasion have the same happy results. It
will have the same results if all have the same spirit
that actuated there, for we all have the same New
Testament.
That agreement
to disagree ceased with the missionary society in 1849.
"But
an amalgamation of sects is not such a union as
Christ prayed for and God enjoins. To agree to be one upon
any system of human inventions would be contrary to
his will, and could never be a blessing to the church or the
world; therefore, the only union practicable or desirable
must be based on the word of God as the only
rule of faith and practice...
"I
have
the more cheerfully resolved on this course, because the
gospel is a system of facts, commands, and promises, and no
deduction or inference from them, however logical or true,
forms any part of the gospel of Jesus Christ. No heaven is
promised to those who hold them, and no hell is threatened
to those who deny them. They do not constitute, singly or
together, an item of the ancient and apostolic
gospel. While there is but one faith, there may be ten
thousand opinions; and, hence, if Christians are ever
to be one, they must be one in faith, and not in opinion.
When certain subjects arise, even in conversation or social
discussion, about which there is a contrariety of opinion
and sensitiveness of feeling, speak of them in the words
of the Scripture, and no offense will be given and no
pride of doctrine will be encouraged. We may even come, in
the end, by thus speaking the same things, to think the same
things.
"For
several years past I have stood pledged to meet the
religious world, or any part of it, on the ancient
gospel and order of things as presented in the words of
the Book. This is the foundation on which Christians
once stood, and on it they can, and ought to, stand
again.
From
this I cannot depart to meet any man, or set of men, in the
wide world. While, for the sake of peace and Christian
union, I have long since waived the public maintenance of
any speculation I may hold, yet no one gospel fact,
commandment, or promise will I surrender for the world"
(Life of Elder
John
Smith, pages 452-454.)
John Smith was one of those who proposed to
UNIFY the Disciples of Christ and what we call The Church of
Christ. This proves that they were not of the same
roots even then as Alexander Campbell knew. They agreed on
"unity" but ONLY among those who attended the meeting. This
was rejected by most of the Church of Christ congregations.
At it best the "unity" existed only in a few agreeing
to meet in the same building and NOT discuss any doctrinal
issue. When these few were invated by the Organ that
had nothing ot do with The Church of Christ. When the 1849
Missionary Society from a converted Baptist was proposed
that mad even evangelical cooperation impossible. When the
organ was imposed as SECTARIANISM the effort to work
together ceased. The Disciples always sought to seduce
The Church of Christ even counting them in 1906 which the
Census man knew to be a lie. The Christian Church is the
only group which SECTED OUT of the Disciples beginning in
1927.
Yet Brother Clubb
would have us believe that Alexander Campbell was not only president,
but leader of the society. Certainly the society brethren
kept Mr. Campbell president of the society--not so much for
his counsel and advice, but for the influence and magic of
his name.--John T. Lewis.] Boys and women there cast votes,
and rushed the party papers through, while men, like John
Smith, hung their heads in shame. For this act no
justification can be pleaded. It is a stain upon the records
of the society which it will take long years to efface.
The
Church of Christ at this time was no closer to the Disciples
than to the Baptists.
| Lynn
Anderson etal: Throughout
church
history, instrumental music has been a topic of
fierce debate. Those who oppose it have made
it a test of fellowship. Those
who support it do not generally deem it worthy
of causing divisions, and often have bowed
to the opposition for the sake of unity. |
No, that's a lie: those who IMPOSED instruments into a
peaceable church made it a test of fellowship!
No one gave any Biblical defences until the Disciples
discovered "psallo" in about 1878.
The only reason it is debated is because
latter day people are willing to kiss off many of their owners
so that the "musical crowd" can find "acceptance in the
mainstream."
In fact, those who INTRODUCED instruments destroyed
fellowship knowing that they were sowing discord.
However, this is something that went on primarily among the
Disciples as the instrumentalists took over churches often
known as the Christian church. If the above statement
were true they would never have become a musical sect and they
want unity based only on one's affirmation that they are
right. I would like to see any bowing since the debates have
been instigated by instrumentalists attempting to lead away
non-instrumental churches.
Men like McGarvey was not allowed to reject instruments in his
own church because HE would be "sowing discord." Then as now
they pretty much said "get over it or get out."
1898 --Braden vs. Warlick debate
Lynn
Anderson etal: 1900
--Calhoun
vs. Kurfees in series of articles. Calhoun
defended instrumental music. M.C. Kurfees responded.
Kurfees
suggested that he had no objections to the instrument
in the place of worship if it were only seen
like a bouquet of flowers.
|
I think that he meant that if it was neither SEEN nor
HEARD.
M.C.Kurfees
Origin
of Instrumental music Who is not so easily
kissed off.
See
Tom
Morris on M.C.Kurfees
Again, I need to tell you that all of Tom Burgess' proof texts
are of older men seducing young men.
Kurfees repudiated all of the false arguments which began only
in 1837 when the disciples discovered the word PSALLO.
However, not even their scholarly source would agree
with them. Tom Burgess has tried to refute Kurfess
with poor results. The troubling part of
O.E.Payne and Tom Burgess collection of proof texts is that
all of the older males PLUCKING were seducing young men for
the "act" of sodomy.
1903 --Stark vs. Warlick debate centered
around the word psallo.
1908 --Briney vs. Otey
1914 --Payne answers Kurfees book
with his own. Payne argues that instrumental music is
included in the Greek word psallo as baptism
by immersion is included in the Greek word baptizo.
Whatever you prove about Psallo, Paul insist that it be of the
KIND which is in the heart.
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
There is NO connection between psallo
(melody) and music. Because psallo is PRIMARILY a shooting
with an arrow to hit the literal heart, and because
"hymns" impact the heart or feelings, "shooting out hymns"
was a metaphor and you "twang" the heart strings.
- The bowstring touch'd
her breast, so strong she drew;
- Whizzing in air the fatal arrow
flew.
- At once the twanging bow and sounding dart
- The traitor heard, and felt the
point within
his heart.
- Thy scarlet-tinctured
foot? or from my bow
- The lyre of Phoebus [Apollo,
Apollyon] to thy notes attuned
- Will not protect thee; farther
stretch thy wings;
-
- Go, wanton, skim
along the Delian lake,
- Or wilt thou steep thy melody in blood.
-
- Look, what strange
bird comes onwards; wouldst thou fix
- Beneath the
battlements thy straw-built nest?
-
- My singing bow
shall drive thee hence; begone,
- Or to the banks of
Alpheus, gulfy stream, grace
- Or to the Isthmian grove; there
hatch thy young;
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.
When
there was only one instrumental church in Nashville (as I
remember it) they ORGANIZED A Unity Organization. The began
by sending out copies of Payne's book to all of the
preachers of the Church of Christ with a note to return it
to the new society which consisted apparently of one
congregation: I have one of those copies with the request
for return. Payn does not prove that PSALLO ever meang
more than "a noise made by plucking." It includes ONLY
THE FINGERS and excludes a plectron or PICK. So, at best you
could not even associate psallo with a flute, trumpet,
organ, piano or guitar picked. The word is firstly a
WARFARE word denoting Apollo as the "father of twanging bows
to send a singing arrow into your literal heart, the father
of musical harmony, the father of homosexual worship, the
father of thieves and liars. He is the Apollyon in
Revelation.
The second major use is the polluted red rope used to drive
and MARK those who loitered in the marketplace around the
singing boys and girls INTO the ekklesia for verbal
instruction only. Therefore, the PSALLO word MARKS anyone
who went into the ekklesia as a bad person who could not
participate.
Psallo at not time or place ever meant to "play a harp."
You have to define WHAT is to be plucked: it miight be
the hairs of the young boy used as "minister" for the older
male. You have to say play or pluck THEN say what is
to be played or plucked--WITH YOUR BARE FINGERS ONLY.
| Lynn
Anderson etal: 1923 --Boswell vs. Hardeman |
The effort to seduce a few preachers with
the Payne book TRAPPED the instrumentalists into a
debate they did not want. They picked the BEST of the
crop but one immediately feels pity for Boswell when
Hardeman begins to quote REAL scholarship.
See some notes on Psallo from the
debate
Psallo NEVER had any musical connection: it simply
means to pluck something with your fingers but never with a
plectrum: no piano, organ, flute or drum because you cannot
PLUCK them with your fingers to make a SOUND. One PLUCKS
bow strings in the first instance. One stretches the polluted
rope to MARK those who dallied around the singing boys and
girls and were late going to the ekklesia for vocal
instruction only. One can pluck a lyre or you can pluck one's
hair and you can shoot out hymns.
| Lynn
Anderson etal: J.S. Lamar—1880’s--was amazed that
some of the leaders could have been so petty and
trivial in their concerns, as if Christ had died
to prevent the formation of societies and to keep
organs out of churches. |
We MIGHT say that leaders were petty and admittedly mercinary
when they IMPOSED instruments which were rejected by ALL of the
groups which swarmed into the Church of Christ.
"To Lamar goes the credit for phrasing
the 'guilt
clause'
which became a cardinal refrain of the organ apologists. The organ was in the churches
to stay. The next move was to fasten 'guilt' upon any person or church who
would commit one of the 'seven deadly sins' by
dividing the church over the organ."
Rejecting the Law of Expedience by the Instrumentalists, John T. Lewis has the following to say:
But the moment we abandon this we will
be at sea, without compass or rudder and our ship will be
driven by the merciless blasts of the headwinds of
sectarianism in the d rect on of the port of Rome; and in
this state of case we may well haul down our colors and
seek recognition in "courts ecclesiastic." We will need
the sympathy of such courts, then. It is no matter of
astonishment that, when the foregoing principle was
enunciated, such a thoughtful man as Andrew Munro should
make the following statement: "If we adopt that as a
basis, then there is an end of infant baptism."
I beg leave to make the following respectful suggestion to
Brother J. S. Lamar:
"If we adhere to that as a basis,
then there is an end of instrumental we
must adhere to that, or else the "reformation is a
failure." This brings us to the main point had in view in
the preceding essays. That singing as worship is a
divine appointment, is abundantly clear, from the
following Scriptures: "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." (1 Cot. 14: 15.) "And be not drunk
with wine, wherein is excess; but be filled with the
spirit; speaking to yourselves in psalms and hymns and
spiritual songs, singing and making melody in your heart
to the Lord." (Eph. 5: 18, 19.) "By him therefore let us
offer the sacrifice of praise music in the worship.
With Hayden's reply to Grubbs, W. K.
Pendleton, editor of the Harbinger, closes the discussion,
or rather called off Brother Hayden and turns Brother J.
S. Lamar loose on Brother Grubbs.
Lynn
Anderson etal: As
Leroy Garrett says, “Our sin has been in violating
the principles of our own heritage: making
an opinion or a preferred method a
test of fellowship.”
Allen, Richard C. and Hughes, Richard T.
Discovering Our Roots. ACU Press, 1988.
p. 3
“This call back to the source of our
religion--the Scriptures--was a powerful
and much-needed call. It was, and still
is, the genius of the movement in which we
stand.”
“While claiming to reject all human traditions,
we have created and perpetuated traditions all
the more entrenched for being
unrecognized. Rather than escaping
tradition, we who are the heirs of Barton Stone,
Alexander Campbell, and David Lipscomb simply
have failed to recognize the traditions at work
in our midst. ”
|
Hughes
says with a slanted view:
We were wrong in objecting to the
introduction of Missionary Societies and instrumental
music in the worship of the church. "(T)he origins
of the instrumental music debate appear to lie in a struggle
over social class..." (P. 57).
That's a lie: none of the
denominations had approved of instruments and the
repudiation had been almost universal down through
history. The presbyterians had a rich body of literatature
using Biblb and miniman common decency to reject
entertainmant.
We splintered away from
the real Camp-Stone Restoration Movement.
That's
a lie: there was never any "unity" between the
Church of Christ and the Disciples of Christ. Any effort
to work together on projects or meet together ended when
they began to introduce instruments into the debate in
1851 and into the church in 1859. Scholars of the Church
of Christ rejected both the society and the organ.
In 1906 the Church of Christ refused to be counted
in the missionary and organ party which was a
fully-developed denomination. The Christian churches
began to SPLINTER out from 1927 to 1971.
"The authentic
followers of Campbell, therefore eventually shifted their
commitments from the restoration of the ancient
church to the unity of all Christians, separate
and apart from any concern with primitive Christianity"
(p. 7).
That's
a lie: And separate and apart
from the Bible as the basis of faith and practices:
Campbell refuted the use of instruments and refused to
preach until the organist was silenced in denominational
buildings.
We emerged as a separate
denominational body in 1906.
"In 1906 the first federal
religious census lists 'Churches of Christ' as a new
denomination whose most visible characteristic was their adamant
refusal to use instrumental music in their worship"
(p. 57).
Again that's a lie: the Church
of Christ had from the time of the introduction of the
organ refused to fellowship the ORGANS even when they were
friendly with the instrumentalists. The Church of Christ
never JOINED the Disciples of Christ denomination and they
therefore could not have separated from them.
ADAMANT is pejorative but it fits the universal
practice of the Bible and most of church history.
The Church of Christ never SPLINTERED and never divided over
instruments: a few buildings were stolen from under a tiny
few.
Because The Church of Christ as Methodists,
Presbyterians and Baptists had NEVER used instruments and ALL
"adamantly refuse to BOW" it continued with what it believed
and knew from HISTORY for 1850 years. Hughes seems pouty-mouth
that the Church of Christ REFUSED to bow. That means that it
was NOT part of the deliberate sowing of Discord. These are
not scolars in any sense of the word.
Both of these gentlemen get their history from historians and
not from the original resources now available for the 6th
grade without a Phd.
Lynn
Anderson etal:
VI. “Safety” [i.e. cowardice]
In the 1860’s, Benjamin
Franklin wrote “There is not a saint who cannot
without any violation of conscience
worship without it [instruments]. . . We
can remain on safe ground. . .” |
Ben Franklin
We can NOT
worship,
and maintain a good conscience, with the organ.
We are certain that we can worship acceptably without the organ.
This
was not cowardice but the statement of a fact and
principle: We cannot worship with YOU if you add the
organ. On the other hand, you can worship without
the organ. A logical conclusion is that you are willing to
add something NOT REQUIRED and sow discord and this is the
definition of heresy or a sect.
The friends of the organ
do not doubt this. They entertain not one doubt
that they can worship acceptably without it. Here
is something that is safe. There is no doubt or
uncertainty about it. There is no one that has the least
doubt that we can worship acceptably without the
organ.
No
one
ever REJECTED instruments on the basis of fright but on
sound Biblical, historical, moral and
mental-health grounds. The musical sectarians can be
save to NOT use instruments.
This
is
not just being CAUTIOUS without much conviction but SAFE
GROUND is what the Campbells tried to establish: a
community meeting where ALL can gather to carry out the
ONLY role of the church whatever one's private musical
practices.
We are perfectly aware
that it is calling down on us the disfavor of many or the
rich, the
influential and popular; and that, on account of it,
we are cut
off from
many amiable people, and can not meet and worship
with them.
We are perfectly aware
that it is against our temporal interests. We have
not been, and are not, blind to all this, but have it
before us, and have considered it carefully, and made up
our mind to take all the consequences, and bear with
meekness and patience whatever shall come.
We do not court these consequences,
nor desire them, but we see no way to avoid them, and
maintain what we solemnly believe to be [422] right. We,
then, cheerfully accept the situation, and take the
consequences, rather than give up the fullest,
strongest and most settled conviction of our inmost
soul.
Here, then, is safe
ground, and here we can all
meet and worship acceptably,
in harmony and without any doubt.
1. Those who use the
organ, instead of showing indifference about it, push it into the worship, against the
[429] will and conscience of many good brethren, and
compel them to
worship with it, submit to it, or not worship with them.
This is an utter
repudiation, in that which "speaks louder than
words," of all professions
of indifference. No man can think they look on it as a matter
of indifference while they, with such persistence
and determination, press it into the worship.
Many of them show more
zeal in this than they ever did to spread the gospel, or
build up the kingdom of God. The profession of
indifference is without foundation, only as they wish
those opposed to it to be indifferent enough to submit meekly, and let them bring
it in. Their indifference never leads them to think of
leaving it off for the sake of peace.
2. They violate the
law of God in bringing a dumb instrument into the worship, that can not
teach,
admonish, sing, praise God, or give thanks, but confuses the
worshipers, so that they can not teach, admonish, or sing to edification, as commanded
in Scripture; or, in other words, it prevents doing
precisely what the Lord commanded. To this no Christian,
with due consideration, can submit.
3. Instead of devout
worship, in song,
teaching and admonishing one another, the whole
affair is turned into a musical entertainment, an attraction, for the people of the world,
and professors of religion, who have lost their taste, or
never had one, for pure, devout and spiritual worship, in
spirit and in truth, with the spirit and understanding. This
is turning the worship of God into an entertainment, an
amusement, an attraction for the people of the world, and
others who have no spiritual relish. It is a perversion
of the divine worship, and defeating the very thing
commanded to be done. Can he be guiltless who does
this? [430]
| Lynn
Anderson etal: In 1902, David Lipscomb
wrote “All may worship without the organ. This
is safe ground.” |
But, he was NOT just being "cautious" as implied. The
Church of Christ made no such cowardly decision: they said
that the INSTRUMENTAL SECTARIANS could be safe and NOT
deliberately sow discord. Excluding the organ from the
Church of Christ was never based on "cowardice" but on Bible
and historical and cultural literacy. Shame! Shame! Shame!
Instruments
of Music in the Service of God
By David Lipscomb
Gospel Advocate, Vol. XLIII, No. 44 (October 31, 1901),
696.
It seems there cannot be a doubt but that the use of
instrumental music in connection with the worship of God,
whether used as a part of the worship or as an attractive
accompaniment
is unauthorized by God and violates
the oft-repeated prohibition to add nothing to, take
nothing from, the commandments of the Lord.
It destroys the difference between the clean and the
unclean, the holy and the unholy, counts the blood of
the Son of God unclean, and tramples under foot the
authority of the Son of God. A Christian loyal and
true to the Lord Jesus Christ cannot do this, nor in any way
countenance the setting aside the order of God by adding to
or taking from his appointments, even in the smallest
matters, as washing of hands, while forbearance and love
should be exercised in showing them the error of the
way.
When the church determines to introduce a service not
required
by God, he who believes it wrong is compelled to
refuse in any way to countenance or affiliate with the
wrong.
To do so is to commit a double sin. It is to
sin against God and their own consciences and to encourage
by example others to violate their consciences and the law
of God; it is to lower the standard of regard for
right.
It is generally insisted that the peace of the congregation
should not be disturbed by as small a matter as the use
of instruments. The test of a congregation of
Christ is: It recognizes God as the only Lawgiver. It
serves God alone. When it consciously changes the
smallest appointment of God, it dethrones God as the
only Lawmaker and ceases to be a church of God.
So it is
a false foundation to claim that people are lacking grace
and are cowards when people speak of SAFE GROUNDS.
Probably a lot of people were at wits
end by seeing their church family destroyed and their
property turned over to others. You don't HAVE to
have instruments. You can be SAFE without them, but one
thing God hates with a terminal passion: those who would
sow discord among brothers. Can there BE any redemption?
Lynn
Anderson etal: This concern over “safety” is
disturbing for several reasons:
1. It nullifies the cross’ saving
grace. It implies that we are saved by what
we do - by being right. This may be
the root problem, of which the issue of
instrumental music is only a symptom.
|
Again, it is not OUR safety we are
concerned about: we are absolutely sure that instruments
are the mark of telling Jesus Christ to "shut your face."
It is certain that Psalm 41 prophesied that Judas
woudl attack Jesus in a musical sense and that the mocking
of Jesus meant that the Levitical musicians drove Jesus to
the cross as the fulfilled sign of fulfilled prophesy.
Yes, we are saved by what we do: when we have "obeyed from
the heart that form of doctrine" only then does Paul in
Romans 6 says BEING THEN free from sin.
It is a fact that Psalm 41
prophesied
that Judas would try and fail to triumph over
Jesus: this is what is outlawed for the synagogue and
means "vocal and instrumental rejoicing." The Levites
however musically mocked Jesus right up to the cross
because they had identified Him as Beliar or Beel-zebul:
the dung god.
Titus 2:11 For the grace
of God that bringeth salvation hath appeared to all men,
Titus 2:12 Teaching
us that,
denying meaning to contradict, reject,
refute
ungodliness means irreverent,
impious: that will get you burned
Heb 12.
and worldly lusts, "A
longing for that which is FORBIDDEN." Don't ring a bell?
we should
live soberly, Sound
mind: music deranges the mind.
righteously,
innocent giving NO offense.
and godly, devout
or reverent without which you get burned.
in this present world;
| Lynn
Anderson etal: 2. It implies a
God who is watching, trying to catch
us doing something wrong, putting ‘trick questions’
on the test. Our God is a loving Father who
earnestly desires relationship with us. |
No, it is a fact that music and
especially PRAISE SINGING was the oldest
professionand was intended to make SURE that the gods
did not fail AGAIN. Music INSISTS that
everyone had better be watching the singers, clappers and
instrument players if they want to be led into the
presence of God.
Because all musical terms speak of vile people trying to
dominate, and because God removed Grace because of
musical idolatry at Mount Sinai we are DOGMATICALLY
CERTAIN that God is watching but Paul said that we MUST
worship God in reverence and Godly fear, because God IS STILL a consuming fire. We do NOT call down "holy fire" because
we are cowards but because we are rational, spiritual
or left-brained people who CANNOT be seduced by the
Siren's Song.
Any interest in the Bible and its background should
make people AFRAID that they are THE fallen angels
sent to LIGHT THE FIRES, but they have an
agenda.
Incentor, o-ris,one who sets the tune or begins to
sing, a precentor, singer
I. Lit.: carminis, [1] incentore
[2] canam [3]
Phoebo [4] Musisque [5]
magistris,
II.
Trop., an [A] inciter, exciter: [B] igneus
[C] turbarum, : rebellionis [renewal
of war] totius, id. 6, 11 . Flamen
Hislop
Incensor
I. one who kindles or sets fire to, II. Trop., an inciter,
instigator: turbarum,
[2] Căno
I. Neutr., to
utter melodious notes, to sing, sound, play.
2. Of the faulty delivery of an orator, to speak in a sing-song
tone: inclinată ululantique voce more Asiatico
canere, once canituri,Vulg.
Apoc.
8, 13 )
Rev 8:10 And the third angel sounded,
and there fell a great star from heaven, burning
as it were a lamp, and it fell upon the third part
of the rivers, and upon the fountains of waters;
G2985 lampas lam-pas' From
G2989
G2989 lampō lam'-po A primary verb; to beam, that
is, radiate brilliancy (literally or figuratively): give
light, shine.
Lampas lights used in Bacchic
ceremonies Id.Ra.340
, or in festal
processions, phainete, faggot, luchnis, helios identified with Apollo, Abaddon or Apollyon of
the book of Revelation. 4. meteor,
Eos
is used of the Musae who were the musical arbitrator.
They are life or phôs, Êôs the goddess of dawn, Latin
aurora.
2. day, katêïen es dusin ê. Musae; mesatê ê (arbitrator).
lucĭfer,
fe(ra, fe(rum, adj. [lux-fero] , light-bringing: itaque ut
apud Graecos Dianam,
eamque Luciferam, sic
apud nostros Junonem (Juno)
A. The morning-star, the planet
Venus: stella Lucifer
B. The fabled son of Aurora
[Eos] and Cephalus,
Eôs
2. day, Il.1.493, al., Od.19.192,
Theoc.12.1, Call.Aet.1.1.1; ê. de moi estin hêde
duôdekatê, hote. . Il.21.80 ; katêïen es dusin ê. Musae.110; mesatê
ê (arbitrator). Orph.A.649.
3. Life
II. pr. n., Êôs the goddess of
dawn, Il. 11.1, Hes.Th.372,378, e
Thespian
E. Thespias , a(dis, adj. f., Thespian: Musae (a muse, one of the nine Muses, as dwelling on Mount Helicon), Ov. M. 5,
310 ; also called, absol., Thespiades, Varr. L. L. 7, §
20 Müll.; Cic. Verr. 2, 4, 2, § 4; Plin. 36, 5, 4, § 39.
Hêlios II.
as pr. n., Helios, the sun-god, Od.8.271, identified
with Apollo,
2. Hêliou astêr, of the planet Saturn,
[Lucifer, Zoe, daughters of
Eve]
If God is watching us we want to be CERTAIN
that we are not presuming to HELP keep Him from
failure. God was watching when Israel rose up to play in
musical idolatry: it was such a terminal sin that He
turned them over to worship the stars: that which people
are so anxious to impose again and again fall from grace.
"The development both of
religion and of the arts can be traced back in a continuous line to
the hunting era. The group ritual of the primeval tribesmen were the origin not only of
all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the
visual arts."
"Awed by the mysteries
of his own
spirit no
less than by those of nature, primitive man was
likely to attribute to divine influence any abnormal emotional state, whether above or below the
usual level. Medicine men customarily went
into states
of trance in which they were believed to be in
communication with the gods,
and many tribes supposed
lunatics and sexual deviants to
be divinely possessed. (Parkes, Henry Bamford, On Gods and Men, p.
30).
"In ancient Mesopotamia
its main purpose appears to have been the enhancement of what was seen as
beneficial. With the sole exception of wisdom literature,
the core genres are panegyric in nature (i.e.,
they praise something or someone),
and the magical
power
and use of praise
is to instill, call up, or activate the virtues presented in the praise.
"That praise is of the
essence of hymns, for instance, is shown by the fact that
over and over again the encomiast, the official praiser,
(See Kantor, Precenter, Worship Leader) whose task it was
to sing these hymns,
closed with the
standing phrase: "O [the name of a deity or human hero],
thy praise is sweet." The same phrase is common also at
the end of myths and epics, two further praise
genres that also belonged in the repertoire of the
encomiast.
"They praise not only in
description but also in narrative,
by recounting acts of valour done by the hero,
thus sustaining
and enhancing his power to do such
deeds,
according to the magical view.
- dialekt-os , hê, discourse,
conversation, discussion, debate, argument
- IV. style, panêgurikê, poiêtikê d.,
D.H.Comp.23,21: esp. poetical diction
- panêgurikos
1. fit for a
public
festival, ho logos ho p., or ho p. alone, a
panegyric, eulogy, Isocr., Arist. 2. ostentatious, pompous,
![[linked
image]](Mock.Jesus.Half.size.jpg)
and when any one touched
these instruments with their fingers they
uttered a shrill sound. And he says that
this is plainly shown in the hymn to Artemis, which
begins thus-