căno
[cf. kanassō,
kanakhē,
konabos;
clanging bronze to utter melodious notes, to
sing, sound, play. A. Of
men: “si
absurde
canat,
“tibia
canentum
“harundine,
[flute] “cithara,”
Ephesians 5:18-19
Ovid. Metamorphoses. 11.146
When Pan had doone, the sacred Tmole to Phebus turnd his looke,
And with the turning of his head his busshye heare he shooke.
Then Phebus [Apollineos] with a crowne of Bay uppon his golden heare
Did sweepe the ground with scarlet robe. In left hand he did beare
His viol made of precious stones [ gemma and Ivorye intermixt.
http://www.piney.com/Isa30LXX.htmlOvid: And in his right hand for to strike,
Is. 30:32 And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it.
Ezek. 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. [Cast as Profane]
his bowe was redy fixt.
He was the verrye paterne of a good Musician ryght
Anon he gan with conning hand
the tuned strings to smyght.
Ovid: The sweetenesse of the which did so the judge of them delyght,plectrum The PSALLO foundation of the musicators OUTLAWS the plectrum. It only permits striking a bow or lyre string with the FINGERS.
artĭfex artificibus eos auloedos esse, qui citharoedi artifices scaenici,
A maker, originator, author, contriver: Also for a sly, cunning contriver, inventor of a thing (cf
That Pan was willed for to put his Reedepype in his cace,
And not to fiddle nor to sing where viols were in place.
pello , 4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205;
1. To drive out or away, to banish, expel: Phoebeā morbos arte,
2. To beat, conquer, overcome
morbus B. Grief, sorrow, distress: “nomen insaniae significat mentis
4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown,
I keep searching for some one to grasp that any kind of MUSIC while claiming to be a Disciple of Christ with Him as Teacher is the INSTRUMENT of all evil. Maybe that is why God always connects people distracting with rhetoric or music with "refusing to listen to God's Words" as. well as to BURNING.
SUMMARY OF RECORDED FACTS NOT AVAILABLE TO ANY "DOCTOR OF THE LAW" WHOM JESUS SAID "TAKES AWAY THE KEY TO KNOWLEDGE."
1. Israel fell from grace beyond redemption because of Instrumental-Trinitarian-
2. The NOBILITY turned the REST of God into a day of the Worship as the ABOMINATION they brought from Egypt.
3. The REST of God is Sabbath or the Greek PAUO and demands STOPPING anything beyond Rest, Reading and Rehearsing the Word delivered by Moses.
4. The Civil-Military-Clergy were abandoned behind closed gates to engage in the Lust of Blood and Flesh and the HOLOCAUST of INFANTS and GOATS.
5. The Godly Jews were never gathered to engage in group singing with or without instruments: this was outlawed for the SYNAGOGUE as A School--only of the Word-only.
6. Any kind of musical or theatrical performance would MARK the Effeminate and their refusal to HEAR the Word of God.
7. Even worse, any kind of self-exhibition especially SINGING is that which MARKS and produces ALL of the data defining:
These are all Evils facilitated by any kind of Music i clear recorded literature.
Abomination, Witchcraft, the BEASTS, Demon worship, Viper worship,Sorcery, Charming, Soothsaying, enchantment, harlots, beguilers, serpents, vipers, Serpo, Herpo, inducing wine-drinking, Cunning Craftsmen or Sophists, Rhetoricians, Dogs or Catamites, magic, Voodoo in primitive America, Melodies to deceive, Deceiver, Techne. religious craftsmen, Lucifer, Locusts, Apollyon, Levi-Leviathan
The PATTERN is to TEACH and ADMONISH or Comfort. MARK: you are paying someone to SILENCE Jesus
When you click on these resources, go to the Display Preferences, pick "Latin Translation." To the right you can display in English.
Plato, Euthydemus
[289d] On what proof do you rely? I asked.
I see, he said, certain speech-writers who do not know how to use the special arguments composed by themselves, just as lyre-makers in regard to their lyres: in the former case also there are other persons able to use what the makers produced, while being themselves unable to make the written speech. Hence it is clear that in speech likewise there are two distinct arts, one of making and one of using.
I think you give sufficient proof, I said, that this art of the speech-writers cannot be that whose acquisition would make one happy. And yet I fancied that somewhere about this point would appear the knowledge which we have been seeking all this while.
[289e] For not only do these speech-writers themselves, when I am in their company, impress me as prodigiously clever, Cleinias, but their art itself seems so exalted as to be almost inspired. However, this is not surprising; for it is a part of the SORCERER'S art, epōdōn tekhnēsLatin 289e:Plat. Euthyd. 290a and only slightly inferior to that. The sorcerer's art is the charming of snakes and tarantulas and scorpions and other beasts and diseases, while the other is just the charming and soothing of juries, assemblies [Ekklesia or church], crowds, and so forth. Or does it strike you differently? I asked.
kai mentoi ouden thaumaston: esti gar tēs tōn epōdōn tekhnēs morion mikrō te ekeinēs hupodeestera.
Thaumaston Is a Lying wonder which claims that your rituals are ordained by God.
-epōdē , Ion. and poet. epa^oidē , hē, A.song sung to or over: hence, enchantment, spell, LADEN BURDEN
ou pros iatrou sophou thrēnein epōdas pros tomōnti pēmati
of the Magi, Hdt.1.132
oute pharmaka..oud' au epōdai” Pl.R. 426b ; thusiai kai e. ib.364b ;
charm for or against.., “toutōn epōdas ouk epoiēsen patēr” A.Eu.649.
epōd-os , on, （epadō）A.singing to or over, using songs or charms to heal wounds, “epōdoi muthoi”
c. c. dat., assisting, profitable, 2. Pass., sung to music, “phōnai” Plu.2.622d ; fit for singing, “poiētikēn e. parekhein
b. Subst., enchanter, “e. kai goēs” E.Hipp. 1038 (but “goēs e.” Ba.234): c. gen., a charm for or against, “ethusen hautou paida epōdon Thrēkiōn aēmatōn” A.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.
2. epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, BURDED, refrain,
Pl.Lg.903b Athenian
Let us persuade the young man by our discourse that all things are ordered systematically by Him who cares for the World—all with a view to the preservation and excellence of the Whole, whereof also each part, so far as it can, does and suffers what is proper to it. To each of these parts, down to the smallest fraction, rulers of their action and passion are appointed to bring about fulfillment even to the uttermost
No, it appears to me, he replied, to be as you say.
kēl-ēsis , eōs, hē, *A. bewitching, charming, ekheōn, nosōn, Pl.Euthd. 290a: enchantment by eloquence, dikastōn k. te kai paramuthia ibid.; by music and sweet sounds, Id.R.601b, Stoic.3.97.Plat. Rep. 601b whether he speak in rhythm, meter [melos] and harmony [rhuthmon] about cobbling or generalship or anything whatever. So mighty is the spell1 that these adornments naturally exercise; though when they are stripped bare of their musical coloring [metron] and taken by themselves,2 I think you know what sort of a showing these sayings of the poets make. For you, I believe, have observed them.” “I have,” he said. “Do they not,” said I, “resemble the faces of adolescents, young but not really beautiful, when the bloom of youth abandons them?3” “By all means,” he said. “Come, then,” said I, “consider this point: The creator of the phantom, the imitator, we say, knows nothing of the reality but only the appearance.God put His WORDS into the MOUTH of Jesus (the meaning of spirit) and He SPOKE without [metron] because there is no LYRICAL poetry in the Bible. Jesus didn't use musical meter because that was known to mark deceivers. God is NOT stupid as is generally claimed. If He wanted to insert MUSICAL melody the Greek word is melos]
hōraios , fruits ripe for plucking or rippe for death.
Both ODE and PSALLO are silent (IN the heart) because that would mark the common male musical prostitute.
Ephesians 5:18-19, Eph 5:18-19, Singing and making melody IN the heart. Instrumental music in Christian worship is not authorized by the Greek word PSALLO. Christian worship is in the spirit or by the spirit. The spirit is the mind or innermost being of the person. Because Christ lives in the heart by faith, it is not possible to worship Him nor be aided in worship by things which appeal to the human senses.
NEW: SUMMARY OF THE LARGE BODY OF LITERATURE TREATING PSALLO [Never Musical Melody] AS AN APOLLON WORD WHICH PAUL SILENCES.
THE FATHER OF THE END TIME APOSTASYEPHESIANS 4 IS THE SAME LETTER AS EPHESIANS 5
W. Carl Ketcherside: Incendiary Instruments
Carl.Ketcherside.Unity.in.Diversity
Musical idolaters call Paul IGNORANT: their foundation is isolated verses or phrase.
Eph 4:10 He that descended is the same also that ascended up far above all heavens, that he might fill all things.)
Eph 4:11 And he gave some, apostles; and some, prophets; and some, evangelists; and some, pastors and teachers
THE TEACHER IN A CONGREGATION IS THE ELDER AS PASTOR-TEACHER.
WHY?
Eph 4:13 Till we all come in
A. the unity of THE
FAITH, and of
B. the knowledge of the Son of God,
C. unto a perfect MAN,
D. unto the measure of the stature of
the fulness of Christ:
TO PROTECT FROM THE LYING WONDERS
Eph 4:14 That we henceforth be no more children, tossed to and fro,and carried about with every wind of doctrine,
by the sleight of men, and CUNNING craftiness whereby they LIE IN WAIT TO DECEIVE
Panourg-êma , atos, to,So, how to mark deceivers.A.knavish trick, villainy, SOPHIST. panourgeuma. Panourgeo play the knave, similr to citharizo
Sophis-teia , hê,A.sophistry, D.S.12.53, Plu.2.78f, D.L.2.113, etc.; opp. sophia [skill], Ph.1.10; s. mantikê, of Balaam, Apollon name of a number. The number of a man
Ephesians 5:6 Let no man deceive you with VAIN words:
FOR because of these things cometh the wrath of God
upon the children of disobedience.
A Christian is not OF the world, kosmos, ecumenical, kingdom of Satan. They will NOT be deceived because Disciples attend Bible Class to protect them from religious observations to which the kingdom does not come.
VAIN Is kenos , ; k. khronos a pause in music, pharmakon pros to k 2. empty, fruitless, void, “kena eugmata eipōnIF YOU ARE ONE OF THE LOST LAMBS, FOUND, BAPTIZED AND SPIRIT TRANSLATED INTO THE HEAVENLY KINGDOM YOU WILL GRASP IT.
pharma^konTHARGE´LIA The Thargelia and the Delphinia were the chief festivals of Apollo at Athens
paiōn-ios , II. kelados ou p. unlike a song of victory, A.Pers.605. II. kelados ou p. unlike a song of victory, A.Pers.605.
-Paian , “Apollōni Paiani” the physician of the gods II. [select] paian , Ep. paiēōn , Att., Ion. paiōn , paean, i.e. choral song, addressed to Apollo or Artemis (the BURDEN being iē or iō Paian,
Rev. 18:20 Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her.
Rev. 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying,
Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all.
Rev. 18:22 And the voice of harpers, and musicians, 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. 18:23 And the light of a candle shall shine no more at all in thee; a
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 SORCERERS [pharma^kon] were all nations DECEIVED.
Rev. 18:24 And in her was found the blood of prophets, and of saints,
and of all that were slain upon the earth.
Rev. 21:8 But the fearful, and unbelieving, and the abominable, and murderers,
and whoremongers, and SORCERERS, and idolaters, and all LIARS, [imposing musical idolatry not Scriptural]
shall have their part in the lake which burneth with fire and brimstone: which is the second death.
a festival celebrated at Athens on the 6th and 7th of Thargelion (= about May 24, 25) in honour of Apollo [Apollon, Abaddon] and Artemis....
Then followed still on the sixth a great purificatory sacrifice (Plut. Symp. 8.1, 2 = 717 Reiske; D. L. 2.44; Harpocrat. s. v. pharmakos). The manner in which this purification was effected is very extraordinary and certainly a remnant of very ancient rites,
for two persons were put to death on that day,
and the one died on behalf of the men and the other on behalf of the women of Athens.
On the day when the sacrifice was to be performed
the victims were led to the different temples of Apollo in the city,-
-to those of Apollo Patrous, Delphinius, and Pythius (cf. Mommsen, Heort. p. 421),--
and afterwards out of the city to a place near the sea,
with the accompaniment of a peculiar melody, called
kradiēs. of one panic-stricken
nomos, [LAW] played on the flute. II.a musical mode or strain, Aesch., Plat., etc.; nomoi kitharōdikoPlat. Sym. 215e I am worse than any wild fanatic; I find my heart leaping and my tears gushing forth at the sound of his speech, and I see great numbers of other people having the same experience. When I listened to Pericles and other skilled orators I thought them eloquent, but I never felt anything like this; my spirit was not left in a tumult and had not to complain of my being in the condition of a common slave: whereas the influence of our Marsyas [flute player] here has often thrown me into such a state
thaumatos. “Of wonder” (the subjective feeling), Lying Wonders.
Plat. Laws 722d yet it is only recently that we have begun, as it seems, to utter laws, and what went before was all simply preludes to laws. What is my object in saying this? It is to explain that all utterances and vocal expressions have preludes and tunings-up (as one might call them), which provide a kind of artistic preparation which assists towards the further development of the subject. Indeed, we have examples before us of preludes, admirably elaborated,
Plat. Laws 722d
kai dē pou kitharōdikēs ōdēs legomenōn nomōn kai pasēs mousēs prooimia thaumastōs
Ephesians 5:7 Be not ye therefore partakers with them.
Ephesians 5: 8 FOR ye were sometimes darkness,
BUT now are ye light in the Lord:
walk as children of light:
Ephesians 5:9 (For the fruit of the Spirit
is in all goodness and righteousness and TRUTH [the WORD]
1John 1:5 This then is the message which we have heard of him, and declare unto you, THAT GOD IS LIGHT, and in him is no darkness at all.Before the command to SPEAK that which is written for our LEARNING (Romans 15), we WILL prove what is acceptable to the Lord
1John 1:6 If we say that we have fellowship with him, and walk in darkness, we lie, and do not THE TRUTH
1John 1:7 But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin.
Ephesians 5:10 Proving what is acceptable UNTO THE LORD.
Ephesians 5:11 And have no fellowship with the unfruitful works of darkness,
BUT rather reprove them.
Ephesians 5:12 For it is a shame even to speak of those things
which are done of them in secret.
Ephesians 5:13 BUT all things that are REPROVED are made manifest by the LIGHT:
for whatsoever DOTH MAKE MANIFEST is LIGHT.
Ephesians 5:14 Wherefore he saith, Awake thou that sleepest,
and arise from the dead, and Christ shall give thee light.
Ephesians 5:15 See then that ye walk circumspectly, not as fools,
BUT as wise,
Ephesians 5:16 Redeeming the time, because the days are evil.
Ephesians 5:17 Wherefore be YE not UNWISE,
BUT YE understanding what the will [WORD] of the Lord is.
Ephesians 5:18 And be not drunk with wine, wherein is excess;
BUT YE be filled with the Spirit;
John 6:63 It is the spirit that quickeneth; the flesh profiteth nothing:
the WORDS that I speak unto you, they are spirit, and they are life.
Col. 3:16 Let the word of Christ dwell in you richly in all wisdom;
TEACHING and ADMONISHING one another
In psalms and hymns and spiritual songs [Scripture only]
Ephesians 5:19 SPEAKING to yourselves in psalms and hymns and spiritual songs,
Col 3:16 Teaching and admonishing one another in psalms and hymns and spiritual songs
[BUT you] singing and making melody IN your heart to the Lord;
You don't SING when you assemble to TEACH AND OBSERVE what Jesus CommandedEphesians 5:20 Giving thanks always for all things unto God and the Father
1Cor. 14:6 Now, brethren, if I come unto you SPEAKING [includes instruments] with tongues,
what shall I profit you,
except I shall SPEAK to you either by revelation, or by knowledge, or by prophesying, or by doctrine?
TO SILENCE THOSE WHO WANTED TO PERFORM.
1Cor. 14:26 How is it then, brethren? when ye come together,
every one of you hath a PSALM, hath a doctrine, hath a tongue, hath a revelation, hath an interpretation.
Let all things be done unto edifying. [Teaching that which has been taught]
1Cor. 14:27 If any man SPEAK in an unknown tongue, let it be by two, or at the most by three,
and that by course; and let one INTERPRET.
1Cor. 14:28 But if there be no interpreter,
let him KEEP SILENCE in the church; and let him SPEAK to himself, and to God.
in the name of our Lord Jesus Christ
1.Corinthians 13 Sounding Brass and Tinkling Cymbals
Ephesians 4 Unity in Diversity
Clangs and Gongs in the Classics
Ephesians 6 We Wrestle not with Musical Instruments.
Church as synagogue or Church in the wilderness was exclusively a School of the Word. This never changed and Jesus exampled the synagogue as the pattern for teaching His Word (only). Before getting led astray about "making music on a HARP" instead of "making melod IN our heart" we should hear Paul define why they should SPEAK the Word of Christ.
Psallō
IN THE HEART or SILENT simply means to SMITE a string
(bow) with the FINGERS but not with the PLECTRUM to make a
TWANGING sound. The Psallō
in the Bible has no musical component but speaks of the
senior leaders plucking a lyre to seduce a younger male
whose pubic hairs had been PLUCKED.
|
Vocal or Instrumental Psallo
is NOT Psallō IN THE HEART
or SILENT. The Key factor in the Christian Assembly
is that both male and female remain silent "so that
we might all come to a knowledge of THE TRUTH or the
Word of God.
Religious Music was performed by WOMEN or EFFEMINATE Males. They both thought that their condition and public persona proved that they spoke for the "gods." Paul then rebuffs all mediators in song and sermon but the READER because: 1Tim. 2:5 For there is ONE GOD and one mediator between God and men, the MAN Christ Jesus; Paul prevents and outbreak of WRATH or an ORGY The Evil Psallo I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, 2 canituri,” SING and cantare marked as SORCERY. saltare et cantare; Cic. Catil. 2.10.23 Suet. Tit. 3
The Evil Psallo “psallere saltare ēlĕgans I. In the ante-class. period in a bad sense, luxurious, effeminate, fastidious, nice: elegans homo non dicebatur cum laude “mulier (Phryne—with formosa),” mŭlĭer , II. Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,” Plaut. Bacch. 4, 8, 4. Cic. Catil. 2.10.23 In these bands are all the gamblers, all the adulterers, all the unclean and shameless citizens. These boys, so witty and delicate, have learnt not only to love and to be loved, not only to sing and to dance, but also to brandish daggers and to administer poisons; and unless they are driven out, unless they die, even should Catiline die, I warn you that the school of Catiline would exist in the republic. But what do those wretches want? Are they going to take their wives with them to the camp? how can they do without them, especially in these nights? and how will they endure the Apennines, and these frosts, and this snow? unless they think that they will bear the winter more easily because they have been in the habit of dancing naked at their feasts. O war much to be dreaded, when Catiline is going to have his bodyguard of prostitutes! Suet. Tit. 3 While yet a boy, he was remarkable for his noble endowments both of body and mind; and as he advanced in years, they became still more conspicuous. He had a fine person, combining an equal mixture of majesty and grace; was very strong, though not tall, and somewhat corpulent. Gifted with an excellent memory, and a capacity for all the arts of peace and war; he was a perfect master of the use of arms and riding; very ready in the Latin and Greek tongues, both in verse and prose; and such was the facility he possessed in both, that he would harangue and VERSIFY extempore. Nor was he unacquainted with MUSIC, but could both SING and PLAY upon the HARP sweetly and scientifically. I have likewise been informed by many persons, that he was remarkably quick in writing short-hand, would in merriment and jest engage with his secretaries in the imitation of any hand-writing he saw, and often say, " that he was admirably qualified for forgery." The Evil Psallo includes: Phrȳnē , ēs, f., = Phrunē. I. A
celebrated hetœra in Athens, so
wealthy that she offered to rebuild the city
of Thebes after it had been destroyed by
Alexander: “nec quae deletas potuit componere Thebas Phryne,” Prop. 2, 6, 6;
cf. Quint. 2, 15,
9; Val. Max. 4, 3, ext. 3.—
II. A
Roman courtesan, Hor. Epod.
14, 16.—
Quint. Inst. 2 15.9 So also according to general opinion Phryne was saved not by the eloquence of Hyperides, admirable as it was, but by the sight of her exquisite body, which she further revealed by drawing aside her tunic. And if all these have power to persuade, the end of oratory, which we are discussing, cannot adequately be defined as persuasion. III. A
procuress, Tib. 2, 6,
45.
The Evil Psallo includes: căno , cĕcĭni, cantum (ancient I.imp. cante = canite, “once canituri,” Vulg. Apoc. 8, 13), 3, v. n. and a. [cf. kanassō, kanakhē, konabos; Germ. Hahn; Engl. chanticleer; kuknos, ciconice; Sanscr. kōkas = DUCK; A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite Rev. 8:12 And the fourth angel sounded, ka^na^kh-ē , Dor. -Kha, hē, (kanassō) Od.6.82; odontōn men k. pele gnashing of teeth, Il.19.365, Hes.Sc.164:Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature; she could sing, play, and dance, * with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. Whether she was more prodigal of her money or her reputation, it would have been difficult to decide. Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation. She had frequently, before this period, forfeited her word, forsworn debts, been privy to murder, and hurried into the utmost excesses by her extravagance and poverty. But her abilities were by no means despicable; she could compose verses, jest, and join in conversation either modest, tender, or licentious. In a word, she was distinguished by much refinement of wit, and much grace of expression. Even the Vocal or Instrumental Psallo II. In partic., in ecclestiacal Latin, to sing the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1 Cor. 14, 15 Everyone in Corinth wanted to speak their own sermons and sing their own songs. They wanted to speak in their own tongue or MINOR DIALECT while most in Corinth could understand Koine Greek. Unless there was someone to translate they should keep silent. 1Cor. 14:15 What is it then? I will pray WITH the spirit, and I will pray WITH the understanding also: I will sing WITH the spirit, and I will sing WITH the understanding also. SPEAKING connected to TONGUES includes Playing Musical Instrument. |
| We (Disciples) SPEAK "that which is written" or "that
which has been taught" or Scripture because we are
washed with water INTO DISCIPLESHIP to the Word of God. Eph. 5:26 That he might sanctify and cleanse it with the washing of water by the word, Eph. 5:26WEB That he might sanctify and cleanse it with the washing of water [INTO] the word, (In Verbo, En, Eis) Into Converto , epistles of a writer, to be occupied in, Into INTO: Philo-sophos Love of educatioon, an academy Philo-mathes or Philo-Logos OPPOSIITE of Sophistes A. master of one's craft, adept, expert, of diviners, musicians Parapaion Khelon (play the harp, Hieron Melon (Melody in a religious shrine). A quibbler, cheate, one who gave lessons FOR MONEY. Fides (not faithful to the community) but Fides (faithful to Apollon) IN VERBUM or INTO DISCIPLESHIP. Discourse, conversation, Oral by word of mouth urnio plura verbo quam s cripturā mandata dedimus, In eccl. Lat. as a translation of logos, LOGOS Opposite PATHOS (personal experiences), Opposite folly, Opposite reasoning, deliberation, Logos OPPOSITE to Epagoge bringing in AIDS, alurement, enticement, incantations, opposite of human reasoning, leading into captivity Example [Plat. Rep. 364c] any misdeed of a man or his ancestors, and that if a man wishes to harm an enemy, at slight cost he will be enabled to injure just and unjust alike, since they are masters of spells and enchantments1 that constrain the gods to serve their end. And for all these sayings they cite the poets as witnesses, with regard to the ease and plentifulness of vice, quoting:“ Evil-doing in plenty a man shall find for the seeking; Note 1 In Laws 933 D both are used of the victim with epōdais, which primarily applies to the god. Cf. Lucan, Phars. vi. 492 and 527. Epode song sung rto or over, hence, enchantment, spell, charm, pharmaka (sorcery Rev 18:23) Isa 44:17 And the residue thereof he maketh a god, even his graven image: he falleth down unto it, and worshippeth it, and prayeth unto it, and saith, Deliver me; for thou art my god. Logos is opposite poetry, meter, metron Jesus spoke without METRON. WEB In ENDUO denotes either rest or motion within or into a place or thing; being clothed with, enter into a context. Assume the person of Inducted into the writings of Scriptures. EXAMPLE: Xen. Cyrop. 8.1.12 If, therefore, those by whom the most numerous and most important affairs of state were to be transacted were not what they ought to be, he thought that his government would be a failure. But if they were all that they ought to be, he believed that everything would succeed. In this conviction, therefore, he took upon himself this charge; and he determined that the same practice of virtue should be his as well. For he thought that it was not possible for him to incite others to good and noble deeds, if he were not himself such as he ought to be. for all of you who were baptized into Christ have clothed yourselves (enduo) with Christ. Ga.3:27NIV Washing of water into: Vulgate IN the Word. Il.; en paidotribou the school of the training master. We are BAPTIZED into DISCIPLESHIP: Jesus defines the SOLE PURPOSE: Matt. 28:20 Teaching them to observe all things whatsoever I have commanded you: and, lo, I am with you alway, even unto the end of the world. Amen. 1Cor. 4:15 For though ye have ten thousand instructors in Christ, yet have ye not many fathers: for in Christ Jesus I have begotten you through the gospel. FOR WHAT PURPOSE: 1Cor. 4:16 Wherefore I beseech you, be ye followers of me. 1Cor. 4:17 For this cause have I sent unto you Timotheus, who is my beloved son, and faithful in the Lord, who shall bring you into remembrance of my ways which be in Christ, as I teach every where in every church. WHAT IS THE SOLE PURPOSE? Eph. 5:27 That he might present it to himself a glorious church, not having spot, or wrinkle, or any such thing; but that it should be holy and without blemish We are washed WITH water INTO discipleship to THE WORD: A disciple must BY DEFINITION understand the purpose FOR WHICH he was INDUCTED into the Ekklesia / Synagogue which is A SCHOOL OF THE WORD. That is defined INCLUSIVELY and EXCLUSIVELY by Christ in the wilderness. You cannot DO ACTS which have the sole purpose of INFLUENCING THE GODS (or filling up the plate) without being a LEGALIST. A DISCIPLE listens to the MASTER TEACHER. |
THERE WAS NO SINGING IN THE SYNAGOGUE
OR EARLY CHURCHES: Singing as an ACT of worship was added
in the year 373 . The
songs were not the commanded inspired text or "that which is
written." The style was intended to TEACH and ADMONISH and "pleasuring" was
outlawed.
Căno , cĕcĭni, 2. Of the faulty delivery of an orator, to speak in a sing-song tone: “inclinată ululantique voce more Asiatico canere,”III. In milit. lang., t. t., both act. and neutr., of signals, to blow, to sound, to give; or to be sounded, resound.
A. Act.: “bellicum (lit. and trop.) canere, v. bellicus: classicum, v. classicus: signa canere jubet,” to give the signal for battle, Sall. C. 59, 1; id. J. 99, 1:a. Carmen intus canere, to sing for one's self, i. e. to consult only one's own advantage, Cic. Verr. 2, 1, 20, § 53; id. Agr. 2, 26, 68; v. Aspendius.--
The word ODE means the simple speaking style and further defines PSALMOS as in the form of "cantillating" the text. Nevertheless, here are some facts you can wrestle to your own destruction but SINGING was an early apostasy.
Psalmus , i, m., = psalmos, i. q. psalma,I. a psalm (eccl. Lat.; cf.: “carmen, hymnus),” Tert. adv. Prax. 11; Lact. 4, 8, 14; 4, 12, 7; Vulg. Isa. 38, 20.—Esp., the Psalms of David, Vulg. Luc. 20, 42; id. Act. 13, 33 et saep.Psallo , in eccl. Lat., to sing the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1 Cor. 14, 15 .
In the Secular World:
I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, 2
Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature; she could sing, play, and dance, * with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. Whether she was more prodigal of her money or her reputation, it would have been difficult to decide. Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation. She had frequently, before this period, forfeited her word, forsworn debts, been privy to murder, and hurried into the utmost excesses by her extravagance and poverty. But her abilities were by no means despicable; she could compose verses, jest, and join in conversation either modest, tender, or licentious. In a word, she was distinguished4 by much refinement of wit, and much grace of expression.
* Sing, play, and dance] “Psallere, saltare.” As psallo signifies both to play on a musical instrument, and to sing to it while playing, I have thought it necessary to give both senses in the translation.
Elego I. to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215.
The meaning of the Cross:Lego A. In gen.: “oleam, The sweet smell of an offering.
G4717 stauroō stow-ro'-o From G4716 ; to impale on the cross;
figuratively to extinguish (subdue) passion or selfishness:—crucify.
How to recrucify Jesus Christ:
Here is what an agitator does nothing its connection to "crucify."
Anastatoo (g387) an-as-tat-o'-o; from a der. of 450 (in the sense of removal); prop. to drive out of home, i.e. (by impl.) to disturb (lit. or fig.): - trouble, turn upside down, make an uproar, to stir up, excite, unsettle to excite tumults and seditions in the state to upset, unsettle, minds by disseminating religious error.Chrysostom's Commentary on Galatians:
Galatians 5:1.-"With freedom did Christ set us free; stand fast therefore.115 ."
Ver. 12.
"I would that they which unsettle you would even cut themselves off." And he says well "that unsettle you."
"A man that is heretical after the first and second admonition refuse." (Tit. iii: 10) If they will, let them not only be circumcised, but mutilated.
Where then are those who dare to mutilate themselves; seeing that they draw down the Apostolic curse, and accuse the workmanship of God, and take part with the Manichees? ...
But if you will not allow this, why do you not mutilate the tongue for blasphemy, the hands for rapine, the feet for their evil courses, in short, the whole body?
For the ear enchanted by the sound of a flute hath often enervated the soul;
and the perception of a sweet perfume by the nostrils hath bewitched the mind, and made it frantic for pleasure.
1. To take out, pick out, extract, remove: 2. To pluck, strip, gather fruit from (a tree, etc.): “oleam qui legerit,” Cato, R. R. 144, 1: “ficus non erat apta legi,
5. To take to one's self unjustly, to carry off, steal, purloin, plunder, “soceros legere et gremiis abducere pactas,” Verg. A. 10, 79
Abducto 3. To carry away forcibly, to raxish, rob: “ad quem iste deduxerat Tertiam, Isidori mimi flliam, vi abductam ab Rhodio tibicine,”
Vergil Aeneid commentary [6.645] Orpheus was one of the mythical fathers of song, and his name was associated with revelations about the lower world, supposed to be preserved by secret societies (Dict. M. Orpheus), so that he is naturally made the harper who plays while the blessed spirits dance and sing. He is called ‘sacerdos,’ as in Hor. A. P. 391 he is called “sacer interpresque deorum.” The long robe was characteristic of musicians, as Cerda shows, comp. Prop. 3. 23. 16, “Pythius in longa carmina veste sonat” (of the statue of Apollo in the Palatine temple), and also Hor. A. P. 215, Ov. F. 6. 654, 688, where the long robes of the ‘tibicines’ are mentioned and accounted for. ‘Cum veste’ above v. 359. Elsewhere we have ‘in veste,’ as 12. 169, “puraque in veste sacerdos.”To take people's money
Tibicino To play upon the pipe or flute: “ordo tibicinantium,”
See more on Cantus : “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,” Hor. C. 3, 7, 30:Verg. A. 10.79
Be it so!
Cassandra's frenzy he obeyed. What voice —
say, was it mine?—urged him to quit his camp,
risk life in storms, or trust his war, his walls,
to a boy-captain, or stir up to strife
Etruria's faithful, unoffending sons?
What god, what pitiless behest of mine,
impelled him to such harm? Who traces here
the hand of Juno, or of Iris sped
from heaven? Is it an ignoble stroke
that Italy around the new-born Troy
makes circling fire, and Turnus plants his heel
on his hereditary earth, the son
of old Pilumnus and the nymph divine,
Venilia? For what offence would Troy
bring sword and fire on Latium, or enslave
lands of an alien name, and bear away
plunder and spoil? Why seek they marriages,
and snatch from arms of love the plighted maids?
An olive-branch is in their hands; their ships
make menace of grim steel.
Canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.)
2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing, drawl: si cantas, male cantas, si legis, cantas
C. Hence, because the oracles were of old uttered in verse, of any mysterious, prophetic, or warning utterance, to predict, warn, point out, indicate, make known, say
III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm, Cato, R. R. 160, 1; Varr. R. R. 1, 2, 27: “frigidus in pratis cantando rumpitur anguis,” Verg. E. 8, 71: “cantata Luna,” exorcised by magic, Prop. 4 (5), 5, 13: “falx,” Ov. H. 6, 84: “herbae,” id. M. 7, 98: “ignis,” Sil. 1, 430: “tum quoque cantato densetur carmine caelum,” an incantation, Ov. M. 14, 369.—B. To call forth, produce by charms: “et chelydris cantare soporem,” Sil. 8, 498: “cantata umbra,” Luc. 6, 767.
Sopor 2. Pregn., the sleep of death, death: “in soporem conlocastis nudos,” Plaut. Am. 1, 1, 148; 1, 1, 150: “aeternus,” Lucr. 3, 466: “perpetuus,” Hor. C. 1, 24, 5.—
C. Poppy-juice, opium: “e nigro papavere sopor gignitur scapo inciso,” Plin. 20, 18, 76, § 198.—
Therefore, there can be no argument about the style of singing or about instruments. MUSIC had no place in the ekklesia, synagogue or school of the Bible.
Click to see that Paul was commanding the ASSEMBLY as forms of the word "synagogue" or school of the Bible. This is why he commanded TEACH or SPEAK and not "make music."
Harry Thurston Peck, Harpers Dictionary of Classical Antiquities (1898)
The word elegos is probably not Greek, but borrowed from the Lydians, and means a plaintive melody accompanied by the flute.
If Paul intended both sing AND Play the word is:How it happened that the word was applied to elegiac poetry, the earliest representatives of which by no means confined it to mournful subjects, is doubtful. It may be
that the term was chosen only in reference to the musical setting,
the elegy having originally been accompanied by the flute
Anti-psallô, A.play a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Elegos , ho,A.song, melody, orig. accompanied by the flute
Play is also katapsallô ,A.play stringed instruments
He used neither.
The Old Testament leaves a universally bad taste when instrumental music or any kind of body work is used to try to worship God whom people believed responded to human, carnal appetites. Under the kings, Israel worshipped like the nations and was destroyed like the nations. This was in fulfilment of the sentence imposed upon Israel when they rose up to play in musical idolatry at Mount Sinai. God then "turned them over to hard bondage" to "serve the hosts of Heaven." This star worship was of Osiris for over 400 years in Egypt, was the worship of Israel at Mount Gerezim condemned by Amos 5, 6 and 8 and later imposed upon the temple-state under Solomon along with the rest of the "gods."
The "musicians" were Labor Leaders or Overseers or Excellers:
The "chief musicians" or "musical Levites" were "overseers":
And Solomon told out three score and ten thousand men to bear burdens, and fourscore thousand to hew in the mountain, and three thousand and six hundred to oversee (excel) them. 2Chr 2:2
And the men did the work faithfully: and the overseers of them were Jahath and Obadiah, the Levites, of the sons of Merari; and Zechariah and Meshullam, of the sons of the Kohathites, to set it forward; and other of the Levites, all that could skill of instruments of musick. 2Chr.34:12
"Other expressions of popular singing are the working songs, of which the early rabbinic literature speaks with contempt." (Interpreters Dictionary of the Bible, p. 460, Abingdon).
Perhaps the musicans should go out to the construction sites and cheer up the workers. Didn't the musicians magically raise the rocks to build Thebes to give the workmen rest? But, the construction forman would probably call the law because you it be dangerous.
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
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.
Now it came to pass, that at what time the chest was brought unto the kings office by the hand of the Levites, and when they saw that there was much money, the kings scribe and the high priests officer came and emptied the chest, and took it, and carried it to his place again. Thus they did day by day, and gathered money in abundance. 2 Chr.24:11
Of the sons of Asaph, the singers were over the business of the house of God. Ne.11:22b
Business is:
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).
What we call "Worship" was hard labor of bondage imposed at Mount Sinai
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: 1 Chronicles 25:1
Abodah (h5656) ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought
Abad (h5647) aw-bad'; a prim. root; to work (in any sense); by impl. to serve, till, (caus.) enslave, etc.: - * be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labour (-ing man), bring to pass, (cause to, make to) serve (-ing, self), (be, become) servant (-s), do (use) service, till (-er), transgress [from margin], (set a) work, be wrought, worshipper.
The tribe of Levi was to carry the burden for the people in a new secular kingdom. When they are playing instruments of David during the burning phase the common people are excluded under penalty of death. The Levites and another class of workmen had tens of thousands of animal carcasses to burn. Those who are said to "worship" did so by falling on their face: singing with instruments is never called an act of worship.
The backgroud of Psallo is a millitary or warrior background. Instruments were "sounded" to panic the enemy into running like a coward but they were not used to "worship" which always occurs "in spirit" or in the mind. Anything which disturbs this "in mind" worship is a hindrance and not a help.
Scholars have aptly called musical performance "the idolatry of talent." And as a result, God is remade in the image of secular man.
Augustine on the Psalms noted that making melody external is a work which David always performed trying to find God whom he believed had become lost:
"Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5). Praise Him not with the voice only; take up works, that ye may not only sing, but work also.
- He who singeth and worketh,
- maketh melody with psaltery and upon the harp.
In Hebrew, the "bow twangs" or "harp sounds" or "spear clanks" were defined by a word which is used or both "instrument" and "Weapon":
Keliy (h3627) kel-ee'; from 3615; something prepared, i. e. any apparatus (as an implement, utensil, dress, vessel or weapon): - armour ([-bearee]), artillery, bag, carriage, / furnish, furniture, instrument, jewel, that is made of, * one from another, that which pertaineth, pot, / psaltery, sack, stuff, thing, tool, vessel, ware, weapon
The New Testament also has some negative comments about music and defines "singing" and "melody" in a radically new way: that already common among the Koine-speaking common people. The word for "melody" is derived from "grinding to bits" and the "sop" which Jesus fed Judas whose "bag" was for holding the mouthpieces (reeds) of wind instruments; it is derived from "speaking in tongues" plus "of the world."
Paul defined these "lifeless instruments" or "carnal weapons" by words showing that they were destructive, could both guard and pacify the lambs with the bow or could attract the SEEKERS with musical and dramatic performance. The classical writers show how low the word had sunk.
Furthermore, there is no command, example or inference that Jesus wanted us to worship with instruments -- or singing sentimental poetry for that matter --which the classical writers considered human works added to simple one-another singing where "singing" was reciting the already-composed songs and already-preached sermons. However, the make-work principle has governed most religion, beginning in the Garden of Eden.
As proof of the Scripture's inspiration, each and every effort to force it to approve of music as the works of human talent and hands fails. Human authority, however, is usually derived from books which are notorious for misquoting the historical writers such as Clement of Alexandria.
Therefore, another dodge which must flow from a shallow understanding and application of Scripture, is to show that those who consider musical worship as sinful but do not consider musical instruments in the home as sinful and are therefore inconsistent. The obvious bait and switch is to say that if instruments are not sinful in the home then you must be consistent (smart) and allow instruments in the worship -- while you enjoy the "performance."
Instrumental music in worship is often defended by the fact that we use instruments in the home. However, we have to ask:
"Is eating steak for the Lord's Supper sinful?" Overwhelmingly, "Yes." "Is eating steak to recover from the musical worship Sunday "worship" sinful?" Overwhelmingly, "No." Well, this just proves that you are inconsistent " No. It just means that we have discernment. Music is not wrong within itself. In worship it, by definition, takes the place of the Words of Christ.
The principle is not legal: Jesus doesn't care what you eat. However, if you eat steak because it tastes good or sing performance music for the audience during the Lord's Super you are showing little concern for the participants and for the Lord whom it is supposed to honor as we "silently search for leaven" in our own life.
Paul illustrates short periods out of the week to come together, sit down, shut our mouths and learn from Him. We eat the Lord's Supper with unleavened bread and unleavened fruit of the vine to honor Jesus and not the old, legalistic mediating clergy Whom Jesus replaced. Please get it: you cannot do both! Jesus said that the clergy loaded the "pack animals" down with "anxiety created by religious ritual" but He came to give us "rest and to take our ease" from such Spirit-wounding warfare.
But in some dictionaries, the word "psallo" demands the use of instruments.
"Psalm" is a Greek and not a Hebrew word. The Hebrew simply means "praise" and does not include an instrument unless one is specified:
Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Am.5:23
Lucifer is the "Babylon whore" of the end-time religion. In Tyre, he/she was a harp-playing prostitute who wanted to be remembered "as a male."
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. Isaiah 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. Isaiah 23:16
Singing "as a harlot" or warrior meant "taking up a harp."
- She said, and from her quiver chose with speed
- The winged shaft, predestin'd for the deed;
- Then to the stubborn yew her strength applied,
- Till the far distant horns approach'd on either side.
- 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.
- Him, beating with his heels in pangs of death,
- His flying friends to foreign fields bequeath.
- The conqu'ring damsel, with expanded wings,
- The welcome message to her mistress brings.
In this SOUNDING or OVERSEEING the bow,
string and arrow shaft twang "musically" just before your
heart spouted blood and you accompanied it with the
"drumming" of your dying feet.
As a father's I repeat.
Son of Latona, Paean, Paean, hail!
Never, O never may thy honours fail!
Now from this labour with the laurel bough
I cease; and sprinkling from the golden vase
The chaste drops which Castalia's fountain rolls,
Bedew the pavement. Never may I quit
This office to the god; or, if I quit it,
Be it, good Fortune, at thy favouring call!But see, the early birds have left their nests,
And this way from Parnassus wing their flight.
Come not, I charge you, near the battlements,
Nor near the golden dome. Herald of Jove,
Strong though thy beak beyond the feather'd kind,
My bow shall reach thee. Towards the altar, see,
A swan comes sailing: elsewhere wilt thou move
Thy scarlet-tinctured foot? or from my bow
[160] The lyre of Phoebus to thy notes attuned [sunoidos]
Will not protect thee; farther stretch thy wings;
Go, wanton, skim along the Delian lake,
Or wilt thou steep thy melody in blood.
If "instruments" are inherent in the word psallo then each singer must have their own instrument or they cannot psallo. If all human experience is not adequate, it may help to summarize some of the evidence which denies that psallo gives authority for legalistic, performance mechanical worship. First, look at one of the examples:
Ephesians 5:18-19
And be not drunk with wine, wherein is excess; but be filled with the Spirit; Ephesians 5:18
........... Speaking to yourselves in psalms and hymns and spiritual songs,
........... singing and making melody in your heart to the Lord; Ephesians 5:19
You cannot help notice that the "operative" command is not to sing or make melody but to teach or preach by speaking. Teach is the same word as preach. If the preacher won't let you play the flute while he preaches then God won't be happy with you if you have a team of "sister singers" trying to seduce Him while He is speaking.
We can settle the issue quickly and move on. If Psallo means to sing a song with musical accompaniment then Paul said:
Speaking (teaching, dialoging) to yourselves in psalms and hymns and spiritual songs,
(singing) and (singing with instruments) in your heart to the Lord; Ephesians 5:19
Or shouldn't we understand this as typical parallelism which says:
Speaking to yourselves in psalms and hymns and spiritual songs,
Which says in parallel way to emphasize and guard against misunderstanding:
singing and making melody in your heart to the Lord; Ephesians 5:19
What this already meant
to the Psalm writers was that one sings to god when one
praises God which is to tell what He has done:
(external) I will confess you among the nations, O Lord; and
(internal) I will sing (psalo) to your name." Psalms 18:49 (quoted in Rom. 15:19),Sing (psalate) to the Lord, O you his saints, in recollection of his holiness.' Psalm 30:4,
I will confess you, Lord, with my whole heart,
because you have heard the words of my mouth;
and I will sing (psalo) to you before the angels.' Psalms 138:1,Sing (psalate) to the Lord, O you his saints, in recollection of his holiness.' Psalm 30:4,
I will confess you, Lord, with my whole heart,
because you have heard the words of my mouth;
and I will sing (psalo) to you before the angels.' Psalms 138:1,
O give thanks unto the Lord; call upon his name:
........... make known his deeds among the people. Psalm 105:1Sing to the LORD, for he has done glorious things;
........... let this be known to all the world. Isaiah 12:5
What this meant to Jesus:
We know that Jesus disparaged the Jewish clergy as "children playing musical games." They tried to pipe to artificially induce the choral dancing madness into Him. The associated words connecting the PAIS as the leaders of the musical procession also are associated with sodomy as an end product of the charismatic effor.
We know that Jesus did not "psalm" but hymned:
Humneo (g5214) hoom-neh'-o; from 5215; to hymn, i.e. sing a religious ode; by impl. to celebrate (God) in song: - sing an hymn (praise unto).
We know that "psalming" is not mentioned in any gospel account but it is used of both Jesus and others to speak of what was recorded in the Psalms. These were poetic records of the history of the Jews. Only later did the Jews set them to music:
And David himself saith in the book of Psalms, The Lord said unto my Lord, Sit thou on my right hand, Luke 20:42
Even "unspiritual" Psalms would be suitable for the Christian assembly if we understood the activity in Paul's words to "teach and admonish." To teach the Jewish history would not be to endorse all of it.
We know that Jesus denied the value of David's "singing" by using the word "saith"--
Lego (g3004) leg'-o; a prim. verb; prop. to "lay" forth, i.e. (fig.) relate (in words [usually of systematic or set discourse.
We know that when these hymns were sung in a collective sense they were not solos or performances for others (see more below):
Odai are the cultic songs of the community. They are not sung by the individual, but by the community gathered for worship
What this meant to Paul:
Now I say that Jesus Christ was a minister (public servant) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8
.......And that the Gentiles might glorify God for his mercy; as it is written,
........... ...(external) For this cause I will confess to thee among the Gentiles,
........... ...(internal) and sing unto thy name. Romans 15:9Paul understood singing in this two-part method of teaching one another with the Biblical text while the singing is directed to God. He said the same thing to the Ephesians and Colossians.
What this meant to some early disciples who understood Paul literally
This demands both a horizontal (one to another) teaching process, and a vertical (to God) process. The horizontal process is audible; the vertical process is silent:
First, some early groups understood this literally: speaking to one another to memorize, or speak already-memorized Biblical text, was to teach the Words of Christ which already filled the mind and heart of the people.
Second, the singing and melody was "in the heart" and it was directed "to God."
What this must mean for our worship
If we have any concern for the Psalmist, for Jesus' experience and teaching and for Paul, we must show regard for Christ Who inspired the Word. The Biblically-defined task remains the same: the collective assembly must be to teach one another the Words of Christ and God does not need to be instructed nor entertained. The result will be the education of the collected group and this, in turn, sings to and gives glory to God.
We will see further that the "oding" was an act of the community and it cannot be done by one person to the congregation any more than speaking or dialouging can be a one-person preaching performance.
From "filling up with the Spirit" or "the Word of Christ" in Colossians 3:16 the actions are: be informed of the words of Christ (Spirit John 6:63), speak those words one to another, the result will be teaching and warning one another, we will honor Christ by recycling His Words back to Him or else they are void and there will be unity which can come only through unison-type dialog and singing.
Looking at What Messiah Would bring to the World.
In Isaiah 11 Messiah would not be filled with a "little person" other than Himself as full Deity. Rather, Isaiah predicted that the Spirit which rested upon Him would be:
And the spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the Lord; Isaiah 11:2 and spirituality or "quick understanding" in the next verse.
Paul defined the Holy Spirit (to us) as the Mind of Christ (1 Corinthians 2). Christ left that Spirit in His Words. Later, Isaiah defines a process much like that defined by Paul in his "singing" passages.
Christ supplies all of our food stuffs for both body and soul. This form of presenting Christ's revelation is not new to Paul; it appears throughout the Word.
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The Spirit which flowed out from
the 'belly" was the Word of God which if ignored
by substituting "another" spirit you are
substituting another Christ and another gospel.
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Christ is the witness, leader and
commander to lead the nations or unbelievers to
Himself as the only Holy God of the universe.
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Paul demands that we fill up with
Spirit or the Word of Christ because it is
terminal presumptiousness to believe that you can
interpret better than the Holy Spirit.
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The water comes down, does its
creative work and returns to the clouds or else
life would cease. The same is true of God's words:
if we don't use and return His Words to Him our
"singing" is vain. Jesus called this "vain
religion."
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Feeding on the Word allows us to
enjoy the peace and unity Paul spoke of. The
"heart" of God's creation can then sing and clap
their hands.
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God's people will prosper and God
alone will get the glory. However, music is often
called "the shawms of a dying civilization."
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Instead of the thorn shall come up
the fir tree, and instead of the briar shall come
up the myrtle tree: and it shall be to the Lord for a name, for an everlasting sign
that shall not be cut off. Isaiah 55:13
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In the New Testament:
First, the word "psallo" originally
carried the idea of the twanging sound made by a bowstring, stretched
hide or gut or anything which would vibrate or make a
grinding sound when put through the mill. Musical devices
were often produced from polluted animals which died of themselves and could not be used for
religious purposes. For instance, the hide of a goat left
when the decayed body could be slipped out without damage to
the skin could be made into a lyre or drum.
I have a flute made from a deer bone the dog drug up, gnawed, buried, dug up, and allowed to weather. I had to pollute it by boring holes and when I blew the sound was not a "god" inside but the noise of my own foul, polluted breath.
Until in the last century scholars did not know that the New Testament was written in Koine Greek: the language of the marketplace and not the classical Greek writers.
When the New Testament was written, psallo did not include musical instruments primarily because of the universal association between musical instruments and pagan religion which always attracted worshippers (secular seekers) by the display of female or effeminate male musical or dramatic talent.
Second, we can understand PSALLO by how the New Testament writers used the word. That is, the use of "singing" does not include a form of entertainment to solicit customers as it had in paganism; it is used as a parable for teaching the gospel message or anything taught by the Spirit of Christ.
Third, we can understand psallo by the fact that none of the credible translations include the musical instrument. To claimthat the Greek it included instruments" discounts two thousand years of Biblical scholarship.
Fourth, the very definition of every single musical term in both the Old and New Testament carries a very destructive, negative meaning, and are derived from even worse Hebrew and Greek roots. This includes the Hebrew word translated melody.
Fifth, if psallo includes musical instruments then the apostles rejected the command of Christ and their own letters because we have no clear statement that they "psalloed upon a harp." To the contrary, Paul implicates musical instruments in speaking in tongues which was part of the "get drunk with wine" and music of Greek religion.
Six, The early church clearly understood that psallo did not include instruments and was horrified and always deliberately divided by those who tried to introduce them. Many of those who introduced instruments were deliberately chasing away those who interfered with their role in the churches.
PSALLO as used and translated in the New Testament:
The word psallo occurs five times in the New Testament: Romans 15:9; 1Cor 14:15 (twice); Eph 5:19; and James 5:13. Without an exception, all the standard translations, King James, English Revised, American Standard, and Douay (Roman Catholic), render psallo as "sing, sing psalms, sing praise, make melody." Again to quote Paul:
The Solution to Warfare Against Jesus with Music
