Farmer's Branch Church of Christ Part B

The BEAST from the EARTH exerciseth all the POWER of the first BEAST before him,
        and causeth the earth and them which dwell therein
        to worship the first BEAST, whose deadly wound was healed. Rev. 13:12

CONTRARY AND ANTITHETICAL to the worship of God, THE WORSHIP OF THE BEAST is--

Thera^p-euō   II.   do service to the gods, athanatous, theous th., Hes.Op.135, Hdt.2.37, X.Mem.1.4.13, etc.; “daimona” Pi.P.3.109; Dionuson, Mousas, E.Ba.82 (lyr.), IT1105(lyr.); th. Phoibou [“Apollon”] naous serve them, Id.Ion111 (anap.): abs., worship, Lys.6.51; do service or honour to one's parents, E.Ion183 (lyr.), Pl.R.467a, Men.91a; serve, wait upon a master, Id.Euthphr.13d, cf. Ar.Eq.59, 1261, etc.; th. tas thēkas reverence men's graves, Pl.R.469a.
APOLLYON- Phoebus , i, m., = Phoibos (the radiant), I. a poetical appellation of Apollon as the god of light: “quae mihi Phoebus Apollon, Val. Fl. 1, 228: “Circe,” [CHURCH AS WORSHIP CENTER] daughter of Sol, Petr. 135.—

Phoebus , i, m., = Phoibos (the radiant), I.a poetical appellation of Apollo as the god of light: “quae mihi Phoebus Apollo, Val. Fl. 1, 228: “Circe,” daughter of Sol, Petr. 135.—

B. Phoe-bēus , a, um, adj., Phœbean, Apollinean: “carmina,” Lucr. 2, 504: “lampas,” the sun, Verg. A. 4, 6: “virgo,” Daphne, Ov. P. 2, 2, 82: “laurus,” id. Tr. 4, 2, 51: “Rhodos,” where the worship of Apollo prevailed, id. M. 7, 365: “lyra,” id. H. 16, 180: “sortes,” oracle, id. M. 3, 130: “tripodes,” id. A. A. 3, 789: “Phoebeā morbos pellere arte,” id. F. 3, 827.—

Female Worship Leater C. Phoebas , ădis, f., a PRIESTESS of Apollo; hence the inspired one, the PROPHETESS Ov. Am. 2, 8, 12; id. Tr. 2, 400; Luc. 5, 128; 165.

-therap-ōn  henchman, attendant [1] “Mousaōn [2] therapontes”

[1]   Mousa music, song [3 below]  stu^ger-os , Mousa “kanakhan .       theias antiluron mousas”
        II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308   
        Muses as:   moisan pherein      LADED BURDEN
        Muses as:   adokim-os , disreputable, discredited, reprobate,
       Muses as:   “kanakhan . . theias antiluron mousas 

                         clanging and harp-players   

Farmer's Branch Preacher's rationale for INSTRUMENTAL MUSIC to lead people to Christ. We will see similar beliefs from many ancient pagan religions. However, we know of no Jewish or pagan Holy Place into which the MUSICIANS could go. 10/24/02

Farmer's Branch Church of Christ Rationale for Instrumental Music part One.

We have shown that not one appeal to the Bible to PROVE their decision to add instrumental music is faithful the the Bible facts or church history.

"Music" in and around the temple was to make a loud crashing noise during the burning of sacrificed animals. This was "outside the camp" or the temple and in the court yard. The Holy Place was a type of the church of Christ and NO singer or musician could ever enter the holy places.

Singing and Music are related to "taking your inheritance" or to musical prostitutes both male and female. Instruments all have evil roots beginning with Jubal who HANDLED instruments "without authority" because he used them to control others and TAKE THEIR INHERITANCE.

The source of instruments in the Bible is Lucifer as a fallen angel who tried to steal the worship from God by the use of music. The users of music were children or male and female prostitutes: thus instruments are related to unlawful handling of people in a sexual sense.

Instrumental music and complex harmony produces the drug-induced effects of "fight, flight or sexual feelings" which the "leadership" can peddle as spiritual worship.

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The Old Lucian of Samosata Dodge

Farmer's Branch Church of Christ: The words "psallo" and "psalmos" as used in secular Greek literature from the 5th century B.C. to the 2nd century A.D.

apparently never referred to singing but only to the playing or the sound of an instrument.

If true then this would not authorize SINGING externally while MAKING MELODY with a machine. It is a fact that PLAYING while SINGING someone's song at the same time was considered quite disgraceful.

Therefore, if you try to TEACH the inspired Words of God by singing silly, erotic "praise" songs and PLAYING an instrument you INSULT the composer of the song.

It is a fact known to any Bible readers that the word PSALLO or MELODY NEVER includes and instrument UNLESS that instrument is named. See more after our sample of PROOF TEXTS to prove that the statement is totally false.

The DIRECT COMMAND is to SPEAK or PREACH one to another. The INTERNAL result would be singing AND making melody IN THE HEART. Men like Philo and many others understood this to mean SILENCE. This is demanded also by the command to TEACH rather than a command to SING and play instruments.

If you don't read Paul then no further conclusions have value.

The false Proof-Text: "You cannot psallein (or psallo) without an instrument"

The Fact: "You cannot play the flute without a flute."

And, my copy of Lucian is translated properly and DOES NOT mean that you cannot make melody without an instrument:

> "Other arts, again, are useless to their professor unless he has his plant;

you cannot play the flute if you have not one to play;
lyrical music requires a lyre,
horsemanship a horse.
But of ours (sponging) one of the excellences and conveniences is that

no instrument is required for its exercise. The Parasite, 17. Translated by H. W. and F. G. Fowler, Vol III, 1905

Lyric: 1. of a lyre 2. suitable for singing as to the accompaniment of a lyre. Webster

> THE FARMER'S BRANCH PROOF TEXT JUST ENDORSES WHAT HAPPENED WHEN THE CLERGY TRIED TO TRIUMPH OVER JESUS THINKING THAT HE WAS DIONYSUS:

> "Lyra" as a term does not appear in Homer, and in Plato's Laws it refers to lyric poetry and music. The Homeric Hymn to Hermes narrates the mythic invention of a "lyra" by Hermes, who scooped out the insides of a tortoise chelus and covered it with hide Since the "first" lyre, then, was made from a tortoise shell, the term chelys came to mean the lyre. There is some confusion about the term "lyra" in literature, since it appears in early Greek poetry (Sappho, Alcman) and fifth century tragedy as a generic word for "lyre." "Lyra" then, is not only the tortoise-shell "lyre," but is best understood as a generic word for any of four instruments with strings of equal length: kithara, chelys-lyra, phorminx, and barbitos. Perseus

The story of HERMES (Mercury) is much like the story of Jubal and the other children of Lamech.

> Singing the lyrics while playing the Lyra ALWAYS implicated pagan, perverted rituals.

A barbarian playing the barbiton "like David" while lying on beds--

The barbitos is first mentioned in archaic lyric poetry (Alceus, Bacchylides, Simonides, Sappho), and is especially associated on vase paintings and in literature with the Ionian poet Anakreon (Anacreontea 2,15,23,42,43,60). On an Attic red-figure kalthoid (Munich 2416), Alcaeus and Sappho are depicted holding the instrument, further evidence that it was a popular instrument as acccompaniment for singers.

It was also popular as entertainment at drinking parties and during festivals such as the Dionysia and the Anthesteria. In vase paintings from the Classical Period the barbitos is played either in a seated or standing position, by both women and men. Unlike the chelys-Lyra, the barbitos was not used in music lessons because, according to Aristotle (Politics 1341a-b), it was designed purely for pleasure, not for education.

Thrasippus after having provided the chorus for Ecphantides... later on it came to be disapproved of as a result of actual experience,

when men were more capable of judging what music conduced to virtue and what did not;

and similarly also many of the old instruments were disapproved of, like the pectis and the barbitos and the instruments designed to give pleasure to those who hear people playing them, the septangle, the triangle and the sambyc,

Aristotle noted that when people run out of productive work, pride often causes them to turn to music.

Moreover the flute is not a moralizing but rather an exciting influence, so that it ought to be used for occasions of the kind at which attendance has the effect of purification rather than INSTRUCTIONS

And let us add that the flute happens to possess the additional property telling against its use in education that playing it prevents the employment of speech. Hence former ages rightly rejected its use by the young and the free, although at first they had employed it.

For as they came to have more leisure because of their wealth and grew more high-spirited and valorous, both at a still earlier date and because after the Persian Wars they were filled with pride as a result of their achievements

The barbitos made a loud booming noise which might be useful for pleasure but it had no value in education. He notes that:

A wealthy citizen (choregus) who undertook the duty of equipping and training a chorus for a religious celebration (especially the production of a drama at Athens)

usually had an assistant of lower station to supply the instrumental music. [Note: When the Jews in 1815 added the first instruments to compete with the Christians, they quite naturally hired Gentile musicians]

[1341b] and all the instruments that require manual skill.And indeed there is a reasonable foundation for the story that was told by the ancients about the flute. The tale goes that Athena found a flute and threw it away. Now it is not a bad point in the story that the goddess did this out of annoyance because of the ugly distortion of her features; but as a matter of fact it is more likely that it was

because education in flute-playing has no effect on the intelligence, whereas we attribute science and art to Athena.

And since we reject professional education in the instruments and in performance (and we count performance in competitions as professional, for the performer does not take part in it for his own improvement, but for his hearers' pleasure, and that a vulgar pleasure, owing to which we do not consider performing to be proper for free men, but somewhat menial.

> Heredotus explains how Cyrus was told how to neuter MALE captives:

Grant, then, forgiveness to the Lydians, and to make sure of their never rebelling against thee, or alarming thee more,

send and forbid them to keep any weapons of war, command them to wear tunics under their cloaks, and to put buskins upon their legs,

and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein), and shop-keeping (Hucksterism). (Or translated lyre playing and harping which is redundant)

So wilt thou soon see them become women instead of men,

and there will be no more fear of their revolting from thee."

> Plato Ion notes: In like manner the Muse (Rev 18) first of all inspires men herself;

and from these inspired persons a chain of other persons is suspended, who take the inspiration.

For all the good epic poets utter all those fine poems not from art, but as inspired and possessed,

and the good lyric poets likewise;
just as the Corybantian worshippers

do not dance when in their senses,

so the lyric poets do not indite those fine songs

in their senses,

but when they have started on the melody and rhythm they begin to be frantic,
and it is under possession as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers

that the soul of the lyric poets does the same thing, by their own report.
For the poet is a light and winged and holy thing,

and there is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him:
when he has not attained to this state, he is powerless and is unable to utter his oracles.

Had he learned by rules of art, he would have known how to speak not of one theme only, but of all; and therefore

god takes away the minds of poets,
and uses them as his ministers,
as he also uses diviners and holy prophetess,
in order that we who hear them may know them to be speaking not of themselves who utter these priceless words in a state of unconsciousness,
but that god himself is the speaker, and that through them he is conversing with us.

But what WAS their motive:

Ion. Only too well; for I look down upon them from the stage,

and behold the various emotions of pity, wonder, sternness, stamped upon their countenances when I am speaking:
and I am obliged to give my very best attention to them; for

if I make them cry I myself shall laugh,
and if I make them laugh I myself shall cry when the time of payment arrives.

Or:
For I have to pay the closest attention to them;

since, if I set them crying, I shall laugh myself because of the money I take,
but if they laugh, I myself shall cry because of the money I lose.

> "Melody" as it came to speak of the ARTS might be some harmonic sounding phrase: "The Lion invaded the church on little cat's paws." Gregory of Nyssa (born c. 335, died c. 394) described the HUMAN voice as the grandest MUSICAL INSTRUMENT:

8 . Now since man is a rational animal,

the instrument of his body must be made suitable for the use of reason;
as you may see musicians producing their music according to the form of their instruments,

and not piping with harps nor harping upon flutes,

so it must needs be that the organization of these instruments of ours should be adapted for reason,

that when struck by the vocal organs it might be able to sound properly for the use of words.

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

> might make melody with voices of others,
> and publish his art by the aid of flutes or of the lyre,
> so also the human mind being a discoverer of all sorts of conceptions, seeing that it is unable, by the mere soul, to reveal to those who hear by bodily senses the motions of its understanding, touches, like some skilful composer,

these animated instruments, and makes known its hidden thoughts by means of the sound produced upon them.

> The musical SOWING OF DISCORD is based on the false teaching that Lucian spoke of melody and instrument long after Paul used the word psallo. However, it is a fact that Lucian learned and used ancient Attic Greek:

Liddell and Scott, Preface (pg vi)
It will be understood, however, that the age of a word does not wholly depend on that of its author. For, first, many Greek books have been lost;

secondly, a word of Attic stamp, first occurring in Lucian, Alciphron, or later imitators of Attic Greek,

may be considered as virtually older than those found in the vernacular writers of the Alexandrian age.

Further, the language changed differently in different places at the same time; as in the cases of Demosthenes and Aristotle, whom we have been compelled to place in different Epochs.

And even at the same place, as at Athens,
there were naturally two parties, one clinging to old usages, the other fond of what was new. The Greek of Thucydides and Lysias may be compared in illustration of this remark.

See old Lucian here.

Lucian understands musicians as SPONGERS and PERVERTS: doing nothing useful for mankind.

> Lucian wrote about BOY worship ministers.

Alexander the Oracle Monger knew that you could pervert the "fat heads and simpletons" by just playing the flute. However, his "musical worship team" consisted of men like the Pope's A Cappella choir in early days:

The scoffer Lucian pours out his sarcasm in a passage in which he speaks of the fraudulent prophet Alexander of Abonouteichos (the Oracle Monger), who kept choir boys in the service of the gods with him:

To all others he forbade pederasty (Platonic love of a man for a boy) as shameful. In order not to admit his own guilt in this matter, however, the admirable fellow devised the following scheme:

he proposed to the cities in Paphlagonia and Pontus that every three years they should send him choir boys who would sing hymns of praise with him to the god.

Moreover, only the noblest, fairest and most charming boys were to be sent -- after a previous careful examination.

These he confined with himself, slept with and abused with every possible lechery. (Lucian, Alexander, 41.247}

Choirs were used because "Thus they led the simple into error and sought to bewitch the ears of lay people, who are easily led astray by hymns and melodies."

> Johannes Quasten in Music and Worship in Pagan and Christian Antiquity, p. 83 notes:

In Antiquity women musicians and singers had a very bad reputation. The flutists, harpists and singers at banquets were courtesans. In Lucian of Samosata's Dialogues of a Courtesan we hear almost exclusively of women musicians and singers. Sullust writes of Sempronia:

She played the cithara and danced more elegantly than was becoming an upright woman, and she could do many other things which minister to voluptuousness.

Arnobius (fl. 4th century, Africa) identifies the harpists and the courtesans with one another. He asks:

Has God created souls for this, that women should become harlots, sambucists and harpists in order to surrender their bodies to lust?

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

"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (Johannes Quasten)

> Strabo: [10.3.17] From its melody and rhythm and instruments, all Thracian music has been considered to be Asiatic. And this is clear, first, from the places

where the Muses have been worshipped,

for Pieria and Olympus and Pimpla and Leibethrum were in ancient times Thracian places and mountains, though they are now held by the Macedonians; and again, Helicon (home of Thespiaae and Eros) was consecrated to the Muses by the Thracians who settled in Boeotia, the same who consecrated the cave of the nymphs called Leibethrides.

And again, those who devoted their attention to the music of early times are called Thracians, I mean Orpheus, Thracians, and Thracians; and Thracians, (sweet singer) too, got his name from there.

And those writers who have consecrated the whole of Asia,as far as India, to Dionysus, derive the greater part of music from there.

And one writer says, "striking the Asiatic cithara"; another calls flutes "Berecyntian" and "Phrygian"; and some of the instruments have been called by barbarian names, "nablas," "sambyce," "barbitos," "magadis," and several others.

[10.3.19] Further, one might also find, in addition to these facts concerning these genii (spirits or demons) and their various names, that they were called,

not only ministers of gods,
but also gods themselves.
Worship Drama - Mediators between God and Man

For instance, Hesiod says that five daughters were born to Hecaterus and the daughter of Phoroneus, from whom sprang the mountain-ranging nymphs, goddesses,

and the breed of Satyrs (Effeminate musical clergy),
creatures worthless and unfit for work,
and also the Curetes, sportive gods, dancers .

This is the false view of Scripture and history which is peddled to churches being taken over by Baptists or other musical churches claiming to be members of the church of Christ.

Throughout the Bible where a MELODY word is used there simply IS NO INSTRUMENT unless that instrument is named.

Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Am.5:23

The "song of the prostitute" is what Lucifer as the king of Tyre sings:

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. Isa 23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody (h5059), sing many songs, that thou mayest be remembered. Is.23:16

When we say SONG we say nothing about an instrument; we simply mean that our poem is METRICAL and can be sung with an instrument which might have as few as THREE notes or strings. A PSALM does not INCLUDE an instrument:

Psalmos (h5568) psal-mos'; from 5567; a set piece of music, i.e. a sacred ode
accompanied with the

voice,
harp or
other instrument ; a "psalm");
collect. the book of the Psalms: - psalm. Comp. 5603.

> A SONG is a SONG as soon as it is put down on paper.

> When we SING the song we ADO the ODE.

> We might ACCOMPANY the Ode with OUR VOICE as the first instrument of Choice.

Paul through the Spirit took THREE precautions to keep even the fools from being fooled:

> Speaking to yourselves in

Words have NO meaning if you can SPEAK or preach and SING at the same time. By analogy, you CANNOT run and walk at the same time.

The word speaking means to DIALOG the Words of Christ

Therefore, there can be no SANITY and INSTRUMENTAL MUSIC at the same time based on the word SPEAK or TEACH or ADMONISH.

> psalms and hymns and spiritual songs,

We have shown what the Britannica knows: that a SONG insists on the human voice as the FIRST INSTRUMENT OF CHOICE.

The Greek or Hebrew simply means that an ODE is metrical so that it MIGHT BE accompanied with a harp.

Therefore, the word Psalmos EXCLUDES a mechanical instrument as the work of human hands.

Psalms, hymns are all inspired Biblical material or "that which is written, the Spirit or the Word of Christ." Instrumental songs, hymns or spiritual songs ALWAYS speak of something evil or of attacks upon personal enemies.

> singing and making melody

The word "ado" never includes instruments.

Ado (g103) ad'-o; a prim. verb; to sing: - sing.

Therefore, if this is a command to SING as opposed to TEACH then the word is ADO and you cannot use instruments to ADO.

Melody or PSALLO is not a "musical" word and Paul never makes the mistake of using a musical term. Melody is related to touching or grinding one into powder similar to the SOP Jesus had ground for Judas.

In the Hebrew the idea is that you TOUCH the strings of a harp just like you TOUCH a woman sexually without authority.

When Jubal HANDLED musical instruments to control others the word is to "use unwarrantably" or "without authority" and is related to beating on the tambourine or to TOPHETH which was king Solomon's music grove which became a symbol of hell itself.

> in your heart to the Lord; Ep.5:19

If we told our child to "go outside and make a mess in the sand box" where would SANE people expect the child to MAKE A MESS?

Oh, well, it just doesn't matter whether it is IN the sand box or OUT of the sand box: in the assembly in the living room or in the kitchen.

Utterly ridiculous: in your heart means IN YOUR SPIRIT or mind which is the ONLY place Jesus said that you could worship God IN SPIRIT and in Truth. When you speak the truth INTERNALLY in your own spirit then you direct the message TO GOD and not to the AUDIENCE.

Just what part of ABC cannot you spell?

Melody in Hebrew means to TOUCH or take one's GRAPE HARVEST. Or to play the flute, to pollute or to prostitute.

When applied to a musical instrument, the idea is TOUCH without authority and is not a MUSICAL term related to worship in spirit.

Paul followed the meaning of the word PSALMOS which makes the HUMAN VOICE or HEART the FIRST INSTRUMENT OF CHOICE. Paul said make melody IN THE HEART and not upon a harp.

No musician can get into my heart, spirit or mind and therefore no musician can make melody for ME.

The christian church does a good song and dance to try to get the word "psallo" to include instruments AFTER Paul wrote. However, the evidence is deliberately distorted. Again, we note how Cyrus was to PASSIFY the warriors:

Command them to wear tunics under their cloaks, and to put buskins upon their legs,

and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein), and shop-keeping (Hucksterism). (Or translated lyre playing and harping which is redundant)

So wilt thou soon see them become women instead of men,

and there will be no more fear of their revolting from thee."

So there is a UNIVERSAL fact: NO Instrument inheres in any of the Greek word UNLESS the instrument is NAMED.

When singing WITH instruments is mentioned in the classics it is universally associated with prostitute women or men who were favorite to USE and ABUSE at men's feasts which were always religious.

For instance, SINGING Homer and playing an instrument at the same time would be to INSULT Homer even as it is to insult Jesus.

It is ok to do that when you are "drunk on wine."

I know of no Greek history on singing WITH instruments which does not place them in the hands of children or perverted males or women.

Second, Old Lucian of Samosata is called on for help but they forget that Lucian was trained in ATTIC Greek-not Koine-and PERFORMED in Attic because that was still the language of the aristocrats in their perverted festivals. Lucian specifically ridicules Alexander's Seeker Center because he could blow the flute and seduce the 'fat heads and simpletons.' Singing with instruments was the UNIVERSAL way to strip people of their money.

See Lucian and the Church Fathers.

Third: The word PSALMOS like the word SONG says nothing about an instrument. Rather, a song means that it is metrical and it MAY be accompanied with an instrument whereas prose may not.

In all history the HUMAN VOICE is always the first INSTRUMENT OF CHOICE. Again, it would be BASIC HONESTY to not distort the meaning of PSALLO before the instrument was not part of the KOINE definition.

Psalmos (g5568) psal-mos'; from 5567; a set piece of music, i.e. a sacred ode

accompanied with the voice,
harp or
other instrument; a "psalm"); collect. the book of the Psalms: - psalm. Comp. 5603.

Paul defined the melody is INTERNAL but the speaking is with the voice. Therefore, Paul used the FIRST INSTRUMENT OF CHOICE which is the "harp of God" which Jesus used when the Jewish clergy attacked him with music.

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The NIV is the ONLY source known to history (as far as we can discover) which ever translated PSALLO as to MAKE MUSIC. And the NIV does it ONLY ONCE.

Farmer's Branch Church of Christ: In the New Testament "psallo" means to make music in praise or to sing praise to God and is translated make music. The word "psalmos" means song and is translated psalm referring almost certainly to the Old Testament Psalms. These words may imply singing with instrumental accompaniment but do not demand it.

I don't know how to say that's a lie without saying that's a lie. I might praise my wife's cooking but if I organized a PRAISE TEAM she might have me committed: and so she should because I would be a dangerous person. Paul issued a DIRECT COMMAND to "glorify God with one voice" by "speaking that which is written." (Rom 15).

The word MAKE MUSIC or PRAISE is never mentioned in a religious sense of a congregation in the entire Bible.

No, Melody never means MAKE MUSIC. Melody means "MAKE POWDER" or PANIC THE ENEMY by plucking the bow string or plucking out hair. Melody is not MUSIC and is not related to the word HARMONY which not included by Paul.

No, Melody never means PRAISE. The silver trumpets were used to sound the ALARM which meant to "play instruments and make a joyful noise before the Lord." This was the WARRIOR'S CHANT in which you praised Your God as able to slaughter their god: it has no spiritual connection and is OUTLAWED in numbers 10:7.

No, there is no RITUALISTIC praise singing except among the superstitious pagans who believed that the gods REQUIRED their help in running the world. Praise singing sought to AID the gods, APPEASE the gods or even THREATEN the gods.

Melody always meant the twanging noise made by a bow as you "psalloed" someone to death with an arror. It is melody because a harp makes the same sound. Which is also the sound your hair makes when the enemy PLUCKS it out like a harp string.

MAKING MUSIC is used ONLY in the NIV which usually soft-peddles the music idea because it is not a version but COMMENTARY. The NIV is a feminist commentary and is responsible for the rise of effeminate "rituals" which IS NOT worship. The book of Revelation proves that when you bow or fall in worship, you HOLD the harps but you CANNOT play them.

When music was intended Paul had the Greek word SUMPHONIA but that was the perverted pagan concept. To correct the problem Paul said TEACH and leave the melody in your heart.

First: As we have noted even the NIV puts what they mistranslate--only here--as music because THEY understood what Paul preached and Philo understood that the MELODY was in the heart or mind or spirit and NOT external.

Jesus said that worship was IN SPIRIT as the new PLACE as opposed to Gerezim and Jerusalem as PHYSICAL PLACES. While Jerusalem had been the State Capital of the Jews, it had also fallen into paganism. In Second Maccabees we understand that the ABOMINATION OF DESOLATION included the DIONSYSUS singers (prostitutes if women) and musicians (Sodomites if men).

HERE IS THE TOTAL CONTEXT OF PLAYING AND SINGING IN THE GREEK PHALLIC WORSHIP:

2 Maccabees 6
1 - Not long after this, the king sent an Athenian senator to compel the Jews to forsake the laws of their fathers and cease to live by the laws of God,
2 - and also to pollute the temple

> in Jerusalem and call it the temple of Olympian Zeus,
> and to call the one in Gerizim the temple of Zeus the Friend of Strangers, as did the people who dwelt in that place.

We include just a note on what this meant:
When Zeus had an affair with Mnemosyne, he coupled with her for nine consecutive nights, which produced nine daughters, who became known as the Muses.
They entertained their father and the other gods as a celestial choir on Mount Olympus.

They became deities of intellectual pursuits. Also the three Charites or Graces were born from Zeus and Eurynome. From all his children Zeus gave man all he needed to live life in an ordered and moral way.

Sing, clear-voiced Muse, of Castor and Polydeuces, the Tyndaridae, who sprang from Olympian Zeus. Beneath the heights fo Taygetus stately Leda bare them, when the dark-clouded Son of Cronos had privily bent her to his will.

Very easily he softened the son of all-glorious Leto as he would, stern though the Far-shooter was.

He took the lyre upon his left arm and tried each string in turn with the key, so that it sounded awesomely at his touch.
And Phoebus Apollo laughed for joy; for the sweet throb of the marvellous music went to his heart,

and a soft longing took hold on his soul as he listened.

Then the son of Maia, harping sweetly upon his lyre, took courage and stood at the left hand of Phoebus Apollo; and soon,

while he played shrilly on his lyre,

he lifted up his voice and sang, and lovely was the sound of his voice that followed.

And yet there are also times when I'm a Satyr or Silenos! We men who belong to Dionysian Brotherhoods of Satyrs (Dionusiakoi Thiasoi Saturôn) will take on the identities of His animals, especially the He-Goat or Stallion, and spread His Phallic Energy throughout the town. And on this night of exuberant life, if I wear the headband of Dionysos Mitrêphoros, I may find myself approached by thursos-bearing Bacchants to be led off by torch-light to manifest for them the God or some lesser Daimôn in their mysteries. (This Dionysian Mitra or headband proclaims my willingness to invoke my Lord; it encircles the head and loops are pulled up under it so the ends hang like flaps at the ears.) Dionysos is the God of the Mask and, all night long, masked souls will roam the streets manifesting the awesome presence of Divinity.

The Epheboi lead the Axios Tauros (Worthy Bull), which will be sacrificed at the temple, though we take no joy in this killing, for Dionysos Himself is called Axios Tauros. In addition to the Bull, many men and women carry bloodless offerings for the God.

Many of us wear beautiful robes, especially the Khorêgoi {XORHGOI/} (Chorus Leaders), who will direct the dramatic performances. We see robes of scarlet and royal purple, gold embroidered. Some of us wear golden crowns.

Some men carry erect Phalloi, especially those who have come to represent other cities at our festival. In this way we honor the God as we were instructed to do those many centuries ago when He first came to us. For, as Varro ( Augustine, De Civ. D. 7.21) explained, Dionysos the Lord of Moist Nature (Kurios Hugras Phuseos) has sovereignty not only over the vital sap of plants (of which wine is the highest essence), but also over the fertile sperm of animals.

Along the way we pause at many altars, including the Altar of the Twelve Gods, for choral performances, especially of Dithyrambs. In our procession we also have the usual Ribald Songs (Skômmata) and Vulgar Shouts to drive off the enemies of Life. Indeed, the Procession is a joyous efflorescence of irrepressible Life, and many pleasant contacts are made or renewed within the happy crowd.

After the Procession, we make sacrifice to Him at His temple. Besides the bull, there are many bloodless offerings. Then more Dithyrambs are performed for Dionysos, which celebrate Him as Lord of Indestructible Life (Zôê):

However, in the temple area, the Feast of Tabernacles had turned into a huge fertility ritual where even the elders competed to "become a man of note."

In Dionysus worship three clergy "poets competed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, The effectiveness of the musical performance was enhanced with Asherah poles or errected columns. The goal was to "know their gods personally."

"dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross.

The "music" word is never used of spiritual worship of The True God. The Greek word for music is:

Sumphonia (h4858) soom-fo-nee'-ah; from 4859; unison of sound ("symphony"), i.e. a concert of instruments (harmonious note): - music.

Paul did not prescribe SUMPHONIA and therefore did not include but EXCLUDED instruments. Sumphonia was for singing, dancing, feasting and usually sexuality and perverted sexuality.

(Fathered by Apollo or Abaddon or Apollyon)

Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing. Luke 15:25

"The earliest meaning of the Greek word sumphonia (Aramaic: sumponeyâ) was "sounding together," that is,

the simultaneous playing of instruments or voices producing a concord."

Our preacher is willing to sow discord all over the world and "offend these little ones" by insisting the PSALLO means to make music: "you cannot psallo without an instrument." We showed where that major PROOF TEXT came from and was deliberately perverted.

Next, if Paul wanted to tell us to SING and PLAY instruments he would have just used the word "Sumphonia." He DID NOT SAY "Make a Symphony out of the worship ritual."

Paul connected music with the end-time Babylonian Harlot worship.

Since MELODY is a highly damaging concept when done externally and Paul knew the word SUMPHONIA which meant to sing AND play, Paul's use of INTERNAL melody specificially OUTLAWS simultaneous playing and singing.

Jerome, commenting on Luke 15:25 where the word occurs, noted: "The sumphonia is not a kind of instrument, as some Latin writers think, but it means concordant harmony. It is expressed in Latin by consonantia." Coxon concludes as follows [p. 36]: Resource

> Paul does not command HARMONY which is more destructive than the Greek melody.
> Paul commanded INTERNAL melody because external melody is equally DISCORDING.
> Paul DID NOT command "sumphonia."
> Therefore, the preacher boys are agents of a foreign spirit.

Even external melody is not HARMONY and is not related to it. Moderrn harmony used as "churchy" arose as TUNEFULNESS in the 19th century and is much more TWANGING or damaging than ancient melody.

NO SURPRISE: that when an instrument is intended IT IS MENTIONED:

"sing and make melody with a harp."

The concept of symphony before c. 1750 Britannica Members

"The word symphonia was used by the Greeks in reference to notes sounding together in harmony and by extension meant an "ensemble" or "band" rather than a musical form.

The word implies a pleasant concord of different notes and has been used in fields other than music to denote a pleasing combination of various elements. In the New Testament Gospel According to Luke (King James Version), symphonia is translated as "musick," as distinct from choroi, "dancing."

The end time Lucifer (Zoe) prostitute worship will again send the musicians into sheol:

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

Musicians (g3451) moo-sik-os'; from Mousa , (a Muse); "musical", i.e. (as noun) a minstrel: - musician

The GRINDERS in Hebrew meant "concubines." When you went to the millstone you might buy flour or sex. Since music or the muses are the 9 female team of Apollo (Abaddon or Apollyon) it is no surprise that the almost universal end-time religion with be Babylonian Prostitute worship where the prostitutes were part of the ministry team.

Minstrels were also prostitutes who used MUSIC to seduce their customers.

The muses were the seven female musicians of APOLLO. He had a grand Seeker-Center at Delphi. In Revelation he is Abaddon or Apollyon.

"The Muses are often spoken of as unmarried, but they are repeatedly referred to as the mothers of famous sons, such as Orpheus, Rhesus, Eumolpus, and others connected somehow with poetry and song.

As SHE, she is ZOE known as the "beast or female instructing principle."

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Farmer's Branch Church of Christ: The conclusion resulting from this study of word meanings is that musical instruments are not denied or demanded in singing praise to the Lord.

If the meaning of Hebrew, Greek and modern translations informed by at least having read some Old Testament has any value then instrumental music is UTTERLY CONDEMNED probably more times than any other mortal sin.

Jesus said that He didn't come to SPEAK to the doctors of the Law and therefore left them blind and deaf. Every musical term or name of an instrument is related to Satan, destruction, ignoring God or to male and female prostitution. Jesus tossed out "more or less violently" the musical worship team who could mourn you a funeral or jazz you up a wedding. The clear prophecy was that the Jewish clergy would try to defeat the word of Jesus.

This is the LAW OF SILENCE: God hath NOT said, 'Thou SHALT NOT play music' therefore WE GONNA play music. However, this squirming for authority is denounced by the Bible and most of church history.

God hath NOT SAID, 'thou shalt not baptize adults in pig oil.'
God hath NOT SAID, 'thou SHALT NOT baptize babies.'

When you despise God's Word "as it has been taught" then God pokes out your eyes and plugs your ears.

If you deliberately TAKE LIBERTIES with the entire Bible to make it say what it REFUTES then one MIGHT reach the conclusion that instruments are NOT DENIED. However, this would deny that one is a LEADER in the Christian sense and probably implicates an AGENT "infiltrating and diverting" people with falsehood.

The Bible is filled, from the garden of Eden to the end-time Babylonian Whore religion, with connecting MUSIC to spiritual ADULTERY.

If the preacher DOES NOT KNOW THAT then he is not competent to fill the "office" which Jesus removed anyway.

If the preacher KNOWS that then he is deliberately PERVERTING the Word of God to get the flock ready to be judged when the Whore Wordhip and worshipers are returned to Hell just like the MOTHER LUCIFER or (Sophia Zoe).

That might be true of "singing praises" to the Lord but we noted that PRAISE SINGING was not in the Synagogue or early church which was a Christian synagoge. We noted that praise singing was the universal pagan superstition that one could magically keep the gods from failing or that by "making self vile" as did David you could keep God from punishing the "MAD" or insane.

The 2,000 year history of looking for AUTHORITY absolute prohibits instruments.
The universaly connection between instruments and perversion prohibits instruments.
The connection between instruments and SILENCING God prohibits instruments.
The universal SOWING OF DISCORD should prohibit instruments.

Paul's command for the FIRST INSTRUMENT OF CHOICE excludes "lifeless instruments" or carnal weapons.

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Farmer's Branch Church of Christ: The facts of this study inevitably beg the question: if the Holy Spirit, speaking through Paul, intended to prohibit musical instruments in praise to the Lord, why did He use words which were so commonly associated with them?

First, be aware that Paul addressed instrumental music in the context of MUSICAL idolatry in First Corinthians 10 and in Romans 10 in connection with DEMON worship or RISING UP TO PLAY. This was singing with instruments and more. By OUTLAWING Play or Demon Worship Paul prohibits musical instruments in Worship.

Scholarship recognizes the PLAY at Mount Sinai as IDOLATROUS INSTRUMENTAL WORSHIP.

If YOU told little Johnny to play in the sandbox how could little Johnny qualify to remain out of an institution and tell everyone that father had NOT SAID "thou shalt not play on the dinner table."

No spiritual person can miss the message of instrumental music.

Paul used PSALMOS and dispelled the ignorance in two ways:

He used a word which had the human voice as THE FIRST INSTRUMENT OF CHOICE.

To make sure that not even Doctors of the Law could miss it, he placed the MELODY in the heart. This is the only PLACE where Jesus said that acceptable worship can take place. Therefore, to try to DO WORSHIP with musical rituals SEWS UP THE CURTAIN to keep the Christian priest from entering THEIR OWN spirit in order to SEEK God which is the ONLY true worship word often used by Paul

THERE IS NO MUSICAL WORSHIP CONNECTION NOT CONNECTED WITH THE DEMONS INCLUDING BAAL WORSHIP. OF THE MUSIC CONDEMNED BY AMOS. THE BATTLE OF BAAL IS THE SOURCE. The "doctors of the law are false teacher: the gods worshiped in Amos included MOLECH who is a Wandering Star called SATURN whose number is 666.

"The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)

"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37).

"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans (satans). In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51).

THE DANCE CONNECTED WITH THIS AND PERFORMED BY DAVID WAS CALLED "BOWING THE KNEE TO BAAL."

Click to understand that Paul is OUTLAWING musical "worship."

Click to see how later prophets explained how Israel FELL FROM GRACE through music.

Second, this warning is also issued to the Romans in chapter 10. Running the references or knowing a bit of Bible history will bring you to Mount Sinai. Sending Across the Sea to get a SUBSTITUTE for Jehovah was a restoration of their old Egyptian worship of the Triad of Osiris, Isis and Horus under the image of the golden calf.

Click to understand that MUSICAL PLAY was outlawed by Paul.

Third, in First Corinthians 13 the booming gong and clanging cymbal is directly related to the FAMILIAR SPIRIT of the witch of Endor. The Greeks used a large brass vase as an echo chamber to PANIC the enemy during war. The Familiar Spirit, the Nebel (meaning base of vile) and the booming gong are ALL related to the CHALDEANS who were astrologers first seen in the meaning of the SERPENT in the garden of Eden and the gods as Starry Hosts Israel was abandoned to AS A RESULT of their musical idolatry replacing God's Book of the Covenant.

When Israel turned to musical idolatry God ABANDONED the nation to musical idolatry and so the PERFORMED it in trying to pay for THEIR OWN sins until God delivered the nation to captivity and death.

Peter warned that careless people pervert the words of Paul TO THEIR OWN DESTRUCTION. A minimal knowledge of the classics would show exactly what Paul OUTLAWED exactly what the perverted priests in Jerusalem tried on Jesus by piping hoping that he would sing and dance:

Strabo [10.3.13] The poets bear witness to such views as I have suggested. For instance,

when Pindar, in the dithyramb which begins with these words, In earlier times there marched (drawled) the lay of the dithyrambs long drawn out,

mentions the hymns sung in honor of Dionysus, both the ancient and the later ones, and then, passing on from these, says,
To perform the prelude in thy honor, great Mother,

the whirling of cymbals is at hand, and among them,
also, the clanging of castanets,
and the torch that blazeth beneath the tawny pine-trees,

(The booms and clangs of 1 Cor. 13-14 related to speaking in tongues)

he bears witness to the common relationship between the rites exhibited in the worship of Dionysus among the Greeks and those in the worship of the Mother of the gods among the Phrygians, for he makes these rites closely akin to one another.

And Euripides does likewise, in his Bacchae, citing the Lydian usages at the same time with those of Phrygia, because of their similarity:

But ye who left Mt. Tmolus (Sardis was on this mt.), fortress of Lydia,
revel-band of mine , women whom I brought from the land of barbarians as my assistants and travelling companions,

There are, it may be, so many kinds of voices in the world, and none of them is without signification. 1 Corinthians 14:10

Therefore if I know not the meaning of the voice, I shall be unto him that speaketh a barbarian, and he that speaketh shall be a barbarian unto me. 1 Corinthians 14:11

uplift the tambourines native to Phrygian cities, inventions of mine and mother Rhea. (Zoe) See Hypostasis of the Archons and Zoe's Musical Team
And again, happy he who, blest man, initiated in the mystic rites, is pure in his life, . . . who, preserving the righteous orgies of the great mother Cybele, and brandishing the thyrsus on high, and wreathed with ivy, doth worship Dionysus.

Come, ye Bacchae, come, ye Bacchae, bringing down (double entendre) Bromius, (boisterous one) god the child of god, out of the Phrygian mountains into the broad highways of Greece.

And again, in the following verses he connects the Cretan usages also with the Phrygian:

O thou hiding-bower (Where Zeus was hid) of the Curetes, and sacred haunts of Crete that gave birth to Zeus,

where for me (the leader of the chorus) the triple-crested (pope's crown) Corybantes (Phrygian priests of Cybele) in their caverns

invented this hide-stretched circlet, (tambourine) and blent its Bacchic (Dionysiac) revelry
with the high-pitched, sweet-sounding breath of Phrygian flutes,
and in Rhea's hands placed its resounding noise,
to accompany the shouts of the Bacchae, ("ev-ah" ovatio or ZOE) and from Mother Rhea frenzied Satyrs obtained it

and joined it to the choral dances of the Trieterides, (Triennial Festivals) in whom Dionysus takes delight.

And in the Palamedes the Chorus says,

Thysa, daughter of Dionysus, who on Ida (mountain) rejoices with his dear mother in the Iacchic revels of tambourines.

Fourth, in First Corinthians chapter 14, Paul connects speaking in tongues to the MUSICAL INSTRUMENTS of WARFARE. God authorized the silver trumpets to call signals and panic the enemy but OUTLAWED THEM during assembly (Num 10:7).

The word MELODY is a WAREFARE word and not a MUSICAL or WORSHIP word unless you are part of the prostitute paganism of Paul's time.

Fifth, Paul spoke of LIFELESS INSTRUMENTS and also of CARNAL WEAPONS. Since the word hoplon is the same, Paul declares that MUSICAL INSTRUMENTS cannot do the intellectual fight against principalities and powers in high places (pulpits are High Places).

Sixth, the entire background to Paul's "not musical" statements directs any interesting reader to the Greek background. Following that background we can understand that gongs and cymbals and instruments of warfare speak DIRECTLY to the pagan, prostitute religion of most Greeks. Click for data.

Next, the Spirit Lord had a name: Jesus of Nazareth. Since Jesus had been attacked musically according to prophecy why would Jesus tell Paul to USE instruments. If Paul did not INCLUDE then theological history knows that he EXCLUDES.

Since Paul didn't speak of PRAISE but teaching there was no logical reason why he should exclude music: but he excluded by what he incluced.

Psallo was primarily a MILITARY term as the Levitical musicians were WARRIOR musicians intending to panic the enemy into cowardice.

Paul specificially EXCLUDED external melody by defining INTERNAL melody.

Since Paul spoke Koine and not the Attic of the king's courts, he and all of his listeners would UNDERSTAND that the MUSIC and MELODY words were related to the male or female prostitute connected to his warning in 1 Cor 11 against "uncovered prophesying."

THE WORD PSALLO DID NOT INCLUDE INSTRUMENTS AT THIS TIME.

And the Word Zamar or Psallo NEVER includes an instrument UNLESS the instrument is NAMED.

And when instruments are named the message relates to sacrificing the TYPE of Jesus out in the COURT and Not in the Holy Place.

Other than that both singing and playing NAMED instruments is almost always related to the musical prostitutes right there around the temple.

The root meaning with all Biblical musical terms and names of instruments speak of the taking your inheritance, polluting, prostituting or are connected with Satan.

Therefore, there are no MUSICAL terms or INSTRUMENT names which COULD be commanded without commanding something destructive or SATANIC.

Any school boy would grasp that MELODY was not MUSIC but spoke of the TWANGING arrow sending a SINGING arrow to literally "psallo" or grind your heart into bits. They would understand that you could PSALLO a man's head off with a SWORD where MUSICAL INSTRUMENTS AND WEAPONS came from the same Greek word just as instruments and weapons come from the same word in Hebrew.

They might even remember that the word SOP which Jesus ground up for Judas had the same meaning of "grinding the enemy into a fine powder" with the NOISE of instruments.

All literate readers would understand, as they did down through history, that Paul didn't even get close to using a MUSICAL CONCEPT for the "school of the Bible.

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Singing AND playing would conjure up children's games or the perverted male and female musicians USED in the festivals which were all religious in nature.

Farmer's Branch: The mention of these words would undoubtedly conjure up thoughts of musical instruments in the recipients of Paul's first century letter to the Ephesians.

Therefore, the first century Christians (writers and readers alike) would almost certainly

have had no problem with singing to instrumental accompaniment based on Biblical words and their usage.

Anyone who could pass the test to get out of an institution understood the 100% connection between MUSIC and homosexual worship of the HOMOSEXUAL Gods such as DIONYSUS the god of the new wineskin.

Isn't that interesting that the serpent or NACHASH in the garden of Eden was a CONJURER or ENCHANTER?

We have collected all of the historical writers we can find and NO ONE ever even dared think about using instruments in THE SCHOOL OF THE BIBLE. Click for a chronological list. As late as the 1913 Catholic Encyclopedia insists that music was borrowed from PAGAN CULTS and insisted that the Biblical pattern is CONGREGATIONAL SINGING.

No, the word MELODY even externally would not conjure up worshiping by singing with simultaneous instrumental accompaniment. Based on the Babylonian tablets, the Bible, the classical writers and the church fathers it would always CONJURE up the male and female prostitutes who were of the lower classes.

Jerome in about 400

Letter LIV. To Furia. Jerome advises a widow on preserving her widowhood. Living in Rome was dangerous and Jerome warns her. Her sister may have taken vows in Bethlehem. He writes

"You have wealth and can easily therefore supply food to those who want it. Let virtue consume what was provided for self-indulgence; one who means to despise matrimony need fear no degree of want. Have about you troops of virgins whom you may lead into the king's chamber. Support widows that you may mingle them as a kind of violets with the virgins' lilies and the martyrs' roses."

13. Avoid the company of young men.

Let long baited youths dandified and wanton never be seen under your roof.
Repel a singer as you would some bane.
Hurry from your house women who live by playing and singing,
the devil's choir whose songs are the fatal ones of sirens.

Of men on their MASCULINE JOURNEY:

When any person was introduced he was delivered as a victim to the priests, who led him away to a place

resounding with shouts, the sound of music, and the beating of cymbals and drums,
lest his cries, while suffering violation, should be heard abroad."

First, then, a great part of them are women, and this was the source of the evil; the rest are males, but nearly resembling women;

actors and pathics in the vilest lewdness; night revelers, driven frantic by wine, noises of instruments, and clamors.
The conspiracy, as yet, has no strength; but it has abundant means of acquiring strength, for they are becoming more numerous every day.

But the mischief were less, if they were only effeminated by their practices; of that the disgrace would chiefly affect themselves;

if they refrained their hands from outrage, and their thoughts from fraud.

Jesus had a problem and associated the Jews, especially the clergy, with being like children who played the OLD FERTILITY rituals of wedding and funeral:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Matthew 11:16

And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Matthew 11:17

This speaks directly of Zeus - Dionysus worship which had invaded the temple in Jerusalem as The Abomination of Desolation where sacrifices with music were taken into the Holy Places. They hoped that Jesus would sing and dance the perverted worship so common around the temple. This would mark him as DIONYSUS in his SECOND INCARNATION. They were horrified that their MESSIAH would focus on the Word of God and the practice of social justice.

The Difference between the Temple and the Synagogue (Ekklesia)

"Philo of Alexandria had already emphasized the ethical qualities of music, spurning the 'effeminate' art of his Gentile surroundings.

Similarly, early synagogue song intentionally foregoes artistic perfection,
renounces the playing of instruments,
and attaches itself entirely to 'the word'--the TEXT of the Bible" (Encyclopedia Judaica, 1971 ed., "Music")

However, in the temple area, the Feast of Tabernacles had turned into a huge fertility ritual where even the elders competed to "become a man of note."

In Dionysus worship three clergy "poets competed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, The effectiveness of the musical performance was enhanced with Asherah poles or errected columns. The goal was to "know their gods personally."

"dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross.

Here is what the MUSICAL JEWS believed:

Most scholars of religious studies believe that Dionysus (known also as Bacchus, Dithyrambos i.e. "double birth") stands apart from the other great Greek gods. In his innumerable epiphanies and the variety of his transformations Dionysus brings that excess of vitality as spectrum of the totality of life, not less to say a paradoxical unity of life and death leading to questions about a higher mode of existance for humans. No other god from the Olympian pantheon has so many epiphanies and occultations like Dionysus. Euripides' Bacchae is the most important document concerning the Dionysiac cult in Thebes. In the Bacchae Dionysus himself is the protagonist. The god presents himself thus:

"I am Dionysus, the son of Zeus,

come back to Thebes, this land where I was born.

My mother was Cadmus' daughter, Semele by name,

midwived by fire, delivered by the lightning's blast." (1-5)

The coming into existence of Dionysus is full of paradoxes which generate a rich hermeneutics. First of all he is the son of a mortal woman Semele and Zeus, the chief god of the Olympians.

There is a strong opposition from the beginning to the birth of the god.

Hera, the wife of Zeus conspires and Dionysus is born premature, while his mother was consumed by lightning. But his father Zeus protects him into his thigh until Dionysus is born again.

So, the god is "twice-born". The "twice-born" issue has unique consequences. For the fact that his mother is a mortal, Dionysus doesn't belong to the Olympian gods. Yet Dionysus was finally accepted (not only himself but his mother also) among the Olympians.

The paradoxical duality of Dionysus comes from the fact that Semele, his mortal mother, gave birth to a god.

Later on the god grew up amongst the nymphs (not especially well known for their chastity) and satyrs, a kind of creatures half-men half-goats, on Mount Nysa and traveled extensively throughout Asia (including India) and the Mediterranean world. He has discovered the wine spreading this knowledge everywhere he traveled. After many adventures he returned to Greece introducing his hedonistic practices subject of strong opposition.

In his epiphanies Dionysus has both exoteric and esoteric attributes. In Euripides' Bacchae after Demeter is presented as the earth goddess, comes Dionysus in his exoteric aspect thus:

"But after her there came the son of Semele,

who matched her present by inventing liquid wine

as his gift to man. For filled with that good gift,

suffering mankind forgets its grief; from it

comes sleep; with it oblivion of the troubles

of the day. There is no other medicine

for misery.

And when we pour libations

to the gods, we pour the god of wine himself

that through his intercession man may win

the favor of heaven." (275-285)

"... this is a god of prophecy. His worshippers,
like madmen, are endowed with mantic powers.
For when the god enters the body of a man
he fills him with the breath of prophecy." (295-300)

Not every one that saith unto me, Lord, Lord, shall enter into the kingdom of heaven; but he that doeth the will of my Father which is in heaven. Matt 7:21

Many will say to me in that day, Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works? Matt 7:22

And then will I profess unto them, I never knew you: depart from me, ye that work iniquity. Matt 7:23

They dance to the music of tabors and flutes. However, it is not wine that brings on the ecstasy of the Bacchantes (Maenads) as described in the Bacchae:

"... but all modestly and soberly, not, as you think,

drunk with wine, not wandering, led astray

by the music of the flute, to hunt their Aphrodite

through the woods." (685-690)

Octavian Sarbatoare

A great scholar might still remember the old Attic definition of PSALLO as including PLUCKING a harp string because harp strings were often pulled tight and then twanged against a sounding board. Strings actually abraded the sounding board.

We know of NO Biblical or other scholar who interpreted PSALLO as to play instruments as worship. No such argument surfaced until the Christian churches tried to justify what they had already done.

All of the early church Fathers we have been able to research universally see singing and playing instruments is the arena of the perverted professionals. They specificially repudiate even people who leave CHURCH and then go out to listen to singing with instruments.

Our SCHOLAR has been asleep. But, in postmodernism, the OLD TRUTH no longer matters.

> The word MELODY speaks of being abbrasive such as the SOP Jesus ground up for Judas.

> The phrase IN THE HEART would tell any literate schoolboy not to Pluck bowstrings or yank out hair or play harps LITERALLY.

> It is nonesense to to say sing AND sing with instruments.

> It is nonesense to try to SPEAK or PREACH or DISCOURSE and ADO or SING at the same time: Sing and PREACH come from DIFFERENT Greek words.

> This is just as silly as to command people to WALK to the classroom and RUN AND SHOUT at the same time.

> No LITERATE person would make such a horrible mistake. Doesn't this DISPARAGE Christ the Spirit and make Him sound like a fool/

No. The only the Greek word SUMPHONIA would conjure up a musical term. The word MUSIC in the Greek almost always includes singing, playing instruments, dancing and getting HIGH.

AND, Paul didn't address any of the anti-musical letters to the Jews.

Next, the Jews didn't DO TEMPLE as worship: this was reserved for the Sadducee SECTARIANS. The common Jews even in the Old Testament did not sing with instrumental accompaniment. They were SHUT OUT and quarantined from it. Only the tribal LEVITES sang and made a great crashing sound and their SERVICE was called "hard bondage." They were OUTSIDE of the "church building" and were at the place of CRUCIFYING Jesus Christ.

There was NO music in the type of the Church and anyone who tried would be run through with a sword.

UNLESS it was the self-speaking, uncovered prophesying women in Corinth speaking out of their OWN spirit we have no hint that any church for hundreds of years ever GOT A CLUE that Paul commanded instruments.

The fact is that ALL scholars continually warned Christians about even festivals which were PERVERTING. ALL of the church Fathers make it clear as they INTERPRET the Old and New Testament that music was the invention of Satan and was evil in connection with the church assembly.

Therefore, the ONE LEADER is void of Biblical truth and is playing dice with souls or he is evil and doing Satan's work for him.

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Most Psalms are SINGING ONLY.

Farmer's Branch Church of Christ: Old And New Testament Continuity

The third area of interest is Old and New Testament continuity. As was mentioned earlier,

singing with instrumental accompaniment is frequently observed in the Old Testament, particularly in the Psalms.

Hear Josephus warn the "musical" Levites that they had destroyed the nation as clergy once and were going to do it again. Josephus also defines Agrippa's Seeker Center at Cesarea Philippi.

6. Now as many of the Levites, (26) which is a tribe of ours, as were singers of hymns, persuaded the king to assemble a sanhedrim, and to give them leave to wear linen garments, as well as the priests

for they said that this would be a work worthy the times of his government, that he might have a memorial of such a novelty, as being his doing.
Nor did they fail of obtaining their desire; for the king, with the suffrages of those that came into the sanhedrim, granted the singers of hymns this privilege, that they might lay aside their former garments,
and wear such a linen one as they desired; and as a part of this tribe ministered in the temple,
he also permitted them to learn those hymns as they had besought him for.

Now all this was contrary to the laws of our country, which, whenever they have been transgressed, we have never been able to avoid the punishment of such transgressions.

See the Catholic Restoration of the Levites.

The Psalms WITH INSTRUMENTS are judgmental including processionals, new moons, symbolic, vengeance, arousal or awakening the harp, fear of being cast off, historical warnings, prophetic. Many of them are more like exorcisms and NONE of them are congregational "worship." None!

None of the Psalms are seen in the people's worship with singing and playing instruments. The people were EXCLUDED "outside the camp" when the Levites made a great crashing sound during animal sacrifices.

The Levitical music was the same musical mocking prophesied and tried against Jesus to turn him into a "melted" effeminate singer and dancer MARKING him as the New Wineskin god, Dionysus or Bacchus.

Even from the Wilderness the common people gathered or synagogued and God said (If He counts) in Numbers 10:7 that they should not play instruments and "make a joyful noise before the lord" during assembly.

The total meaning of LORD JESUS CHRIST is to BREAK CONTINUITY between the MONARCHY and LAW imposed because of the MUSICAL IDOLATRY at Mount Sinai and the demand for a king, and the ENDING of religious rituals and worship EXCEPT in the human spirit GIVING HEED to the Words of Christ.

Furthermore, the Jews never worshiped with singing and instruments! Never. What the doctors of the law CANNOT Know is that the temple animal sacrifices was Israel PAYING FOR THEIR OWN SINS. Their CIVIL-TEMPLE state was granted by God but He warned them that the KINGS would lead them into captivity and death.

The book of Ecclesiasticus and Hosea prove that GOD GAVE THE KINGS TO CARRY OUT HIS PUNISHMENT for the conditional sentence imposed at Mount Sinai because their rising up to play was MUSICAL IDOLATRY.

Even the SIMPLE MINDED understood that if you sang someone's POEM and played an instrument at the same time you INSULTED THEM. Therefore, each recited stanza was followed by some strumming pattern of a harp which could have as few as three strings.

The Levites at SACRIFICES made NOISE but not MUSIC. The Levitical instrument players and singers COULD NOT enter the type of the church EVEN to clean out the garbage.

Click to see the diagram which puts MUSIC outside of the Holy and Most Holy Place. The Military Sounders were right there to MOCK Jesus while He was being sacrificed OUTSIDE THE CAMP.

There is no Old Testament musical worship. None!S

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The Book of Psalms speaks of the well-known Greek view that the DEAD are not lost but are happy WITH NO RESPONSIBILITIES. However, the angel to the LIVING demanded that we PREACH THE GOSPEL. Therefore, as in Amos 5, Isaiah 5 and at Mount Sinai, instruments were Satan's use of IRRESPONSIBILITY and JUBILATION to steal the glory from God.

Farmer's Branch Church of Christ: In the New Testament, the Book of Revelation, 5:8-9; 14:2-3; 15:2-3, unabashedly describes singing with musical instruments (harps).

John wrote in the Greek world and knew that the Greeks would understand HARPS for the DEAD. The message to the LIVING was to "preach the gospel." The sin of Satan was to bring heavenly powers and use them to SEDUCE people away from God and His Word.

Clement warns:
They reel to and fro, and stagger like a drunken man, and are at their wits end.Ps.107:27
And the turtle-dove murmuring shows the thankless slander of fault-finding, and is rightly expelled the house.

"Don't mutter against me, sitting by one in one place,

another in another." [liad, ix. 311.]

"The swallow too, which suggests the fable of Pandion, seeing it is right to detest the incidents reported of it, some of which we hear Tereus suffered, and some of which he inflicted.
It pursues also the musical grasshoppers, whence he who is a persecutor of the word ought to be driven away.

"By sceptre-bearing Here, whose eye surveys Olympus,

I have a rusty closet for tongues,"

says Poetry. Aeschylus also says:-

"But, I, too, have a key as a guard on my tongue
The several species are easily recognized by differences in songs, behaviour, and morphology. Males of each species have three distinct sound responses:

a congregational song that is regulated by daily weather fluctuations
and by songs produced by other males; a courtship song,
usually produced prior to copulation; and a disturbance squawk produced by individuals captured, held, or disturbed into flight.

The musical idolatry at Mount Sinai got Israel sentenced to worship the STARRY HOST. For instance, the worship of Molech involved musical sacrifices as they dedicated babies to be burned up in his red-hot arms.

The Israelites in the North worshiped Molech, Chiun or Rephaim as a LAMENT or mourning WITH and FOR the Dead:

"The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)

See the rest of the quote above:

Appealing to the Book of Revelation is an attempt to SEEK their gods among the dead: spiritually or literally.

All musical rituals under the law and in paganism were dedicated to the literal or spiritual dead--including the DEAD animals being burned to pay for Israel's own sins.

The "worshipers" playing musical instruments were therefore part of a perpetually MOURNING religion which could neve find their gods.

John warns of Jezebel who in the Old Testament had hundreds of priests and prophets who played music, danced and even cut themselves "bowing to Baal" trying to bring LIFE or "light the fire."

Therefore, the PROOF-POSITIVE from contemporary evidence was that the LIVING did not play the harps. Rather, they gave harps to the DEAD as expressions of their faith that the dead were HAPPY.

Using the book of Revelation to reimpose the literal playing of instruments is to denounce the REST given by Jesus and put people back under the lostness of PAGANISM using every TRICK in the trade trying to PROP UP the "gods."

The sound was LIKE harps but made with the "harps of God" and NOT harps of David. Playing the harps of David would have repudiated the death of Jesus Christ and burning literal incense would deny that EACH worshiper can come boldly before the throne of God.

The music was like that of harps and the individual prayers were LIKE the typical incense.

All of this is in the land of the dead.

There are many tombstones and other representations of the LIVING bringing a harp to the DEAD. The harp was symbolic of the idleness and lack of responsibility for the dead. John assured people that being dead was not a bad thing. In these pictures THE LIVING ARE NEVER PLAYING THE HARPS.

Quasten, a Catholic priest notes: In the book of Revelation we see two groups:

those who have died and those who are still living.

The dead hold harps and sing but those still living and able are to teach the word of God. This was a message which would be understood by John's listeners. The figure reclining on a couch was dead: "The deceased were thought to recline, this clearly represents a meal of the dead." The musical performers are usually dead literally or dead while they still live:

The musical instrument in the dead person's hand -- usually a lyre or tambourine --

is meant to signify that the deceased no longer leads an earthly life but is already taken up with the affairs of the other world.

Judging from her demeanor, the seated woman can be none other than the dead person. In her hand she holds a lyre, and she has just stopped playing so as to receive an offering from a relative or friend."

The fact remains that the persons depicted as approaching the deceased on Greek ointment jars are never playing their instruments.. In another jar the person bearing the cithara is stretching out his hands toward the gravestone on which the dead man is sitting as if he wished to offer the later the instrument. The cithara is thuse a votive offering for the deceased." (Quasten p. 155)

Perhaps the lust to play the music of Apollo/ Saturn (666) is a secret urge to be among the dead as a prayer that the rocks fall on us.

Click for total proof that MUSIC for the living church is PROOF that the church is DEAD and lacks human responsibility.

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False: "The church had no Bible: therefore, they lived and worshiped by the Old Testament." Even if remotely true, only those of the tribe of LEVI could be singers and musicians and every school boy knew that NOT EVEN Levites could go into the TYPE of the church of Christ to either sing or play instruments. If a Jewish person not on duty as a member of the tribe of LEVI heard INSTRUMENTAL NOISE he would not sing, dance and clap in worship. Rather, he knew that a sword bearer would do him in if he did not fall on his face and SHUT UP.

Farmer's Branch Church of Christ: Since the Old Testament was the "Bible" of the first century Christians,

they saw no conflict between the Old Testament and the New Testament writings as they became available,

and certainly would have had no inclination to understand music differently.

In a twistes sense that is correct: the MUSIC word in the Old Testament was associated witth:

People engaged in pagan fertility rituals defined by Amos.

Children imitating the adults.

Prostitutes singing and Sodomites playing.

Levitical musicians trying to panic the enemy such as Gideon.

Lost Israel after they were TURNED OVER to worship like the nations. The Levitical sounders made a great crasing NOISE during animal sacrifices. This was typical of MUSICALLY MOCKING Lord Jesus.

The PEOPLE'S CONGREGATION did not participate in this musical mocking: the temple was QUARANTINED during these TYPICAL RITUALS.

The people ASSEMBLED in the synagogue to read and study the word and to pray.

The MUSIC word is never used of CONGREGATIONAL SINGING WITH INSTRUMENTAL ACCOMPANIMENT.

Jesus came not to destroy but FULFILL. It is basic Bible that the temple represented to the near-pagan Jews the FALSE worship of Saturn or Molech or 666. There is nothing good to be said of the TYPE such as trying to find some good ACT OF WORSHIP using the literal sacrificing of animals where MUSICAL NOISE MAKERS played a part.

As it would have been outrageous for a Christian to kill and burn an animal because he know the Old Testament, it would have been more outrageous to PLAY INSTRUMENTS to accompany sacrifices. All Jews knew that outside of Canaan, Jerusalem and the Temple there was NO ROLE for music to play. Therefore, when they went into captivity they hung up their harps and when the temple was destroyed they CEASED PLAYING INSTRUMENTS.

Therefore, there was no MUSIC CULTURE for the new Christians to adopt and Paul outlawed it for other churches in danger.

The ORAL LAW was the Bible of the ancient Jews. Therefore, in the synagogues they originally RECITED only the prose parts of the Bible. Thereafter, each Jew became a LIVING BIBLE.

The same was true for Christians: Paul demanded that they TEACH one another the BIBLICAL TEXT for teaching and admonition. Thereafter each Christian became a living Bible to do most of his psalm singing out on the job.

First, Every school boy grasped that the temple was the capital of the Jewish state and was not the people's WORSHIP CENTER. Not a single one of them was allowed inside the camp or gates when sacrifices began. In fact, the blowing of trumpets and making a great noise was to WARN those incidentially present to fall on their face as 'WORSHIP" but they were put OUTSIDE THE CAMP or Gates. Christians can only FIND Jesus outside the camp.

There were probably no more than about 5,000 Saducees of the TEMPLE MUSICAL SECTARIANS. Therefore, the connection the common Jews had with the Bible was in the synagogues WHICH HAD NO PRAISE SERVICE. The cantillation of Psalms, hymns and spiritual songs was not music.

The Idealized Temple in Ezekiel 40 had FIRED the Levites acting as priests and Josephus attributes the FALL OF THE NATION to the Levites and their music. And He warned them that they would destroy themselves again by becoming CLERGY SINGERS.

There were no singers or musicians in the synagogue Jesus attended.

In Ezekiel's IDEALIZED TEMPLE the Levites are blamed for the destruction of Israel and they are RETIRED from ever performing "clergy roles" again.

Josephus warned the LEVITICAL SINGERS that their practice had DESTROYED THE NATION once and was going to do it again.

Click for Josephus's warning and a description of Agrippa's Seeker Center as well as the Judas types as Sicarri.

The Judas Bag was for 'carrying the mountpieces of wind instruments' because Psalm 41 prophesied that Judas would try to TRIUMPH OVER Jesus with musical instruments.

Second, Paul wrote none of the singing letters to the Jews. In Rome, Colossee and Ephesus he was WARNING AGAINST MUSIC which was pagan singing with instruments. All of the Greeks would understand that singing with clapping with instruments was for the BIG BOYS who went to their "church" and the final worship act (like that advertized by the Vineyard) was having sex with "GOD" or the prophesying priestess.

No one in the history of the world understood that music had any connection with spiritual people. Therefore, it is fiction that everyone would NATURALLY use instruments. Well, they didn't. Even singing their own self-compositions out of their head or spirit was condemned by Paul and later leaders.

Third, Paul wrote the NEW TESTAMENT to them and there is a warning against pagan musical worship inherent but NOT ONE of the churches ever brought an instrument and tried to play it IN CHURCH. Why do you suppose that none of the writers had to WARN against music?

Fourth, as history, the silver trumpets were specificially given to PANIC the enemy or celebrate their DEATH. The clergy to who Jesus would not speak except in parables used instruments as the DEDICATED THEM TO THE DEATH OF JESUS as we noted prophesied and fulfilled in the DSS.

The Jewish clergy and the musicians who were ALWAYS under the king and commanders of the army would STAND IN THE GAP to murder Jesus after trying to SOFTEN Him up to make Him into a coward.

In the Dead Sea Scroll translation of the prophecy that JUDAS would attack Jesus MUSICALLY, Messiah states that:

They have overtaken me in a narrow pass (gap) without escape

And there is no rest for me in my trial.

They sound my censure upon a harp

and their murmuring and storming upon a zither." Ps.41:11

However, in victory after the resurrection He would play on the SPIRITUAL INSTRUMENTS such as the HEART.

Then will I play on the zither of deliverance

and harp of joy,

on the tabors of prayer and the pipe of praise

without end.

Therefore, the SOWING OF DISCORD PREACHER is playing the role of JUDAS whos Judas Bag was "for carrying the mouthpieces of wind instruments."

Judas was FILLED WITH THE SPIRIT but the Spirit of Satan or Lucifer the Harp Playing Prostitute in the garden of Eden and the end time Babylonian Prostitute.

So, the Jews understood music as NOISE for animal sacrifices and every school boy understood that outside of Canaan, outside of Jerusalem THERE WAS NO LEGAL MUSIC. When the temple ended the Jews quit making noise until about A.D. 1815 because they ALL knew that music had no role to play in a SCHOOL OF THE BIBLE. Even in 1815 they had to hire a Gentile organist because it was UNLAWFUL for a Jew to play music on the Seventh Sabbath.

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The old Psalm 150 Dodge: This Psalm includes instruments which were NOT LAWFUL even for making noise during animal sacrifices. And significantly the 'INSTRUMENTS' all had BREATH. This lead the church Fathers to treat instruments allegorically as they were among the Essenes.

Farmer's Branch Church of Christ: They could vocally praise the Lord in Psalm 148 (Hallelujah, Praise Jehovah) and Psalm 150 (Praise Jehovah with trumpet, harp, lyre, ---) with all their heart, soul and spirit and feel no conflict in the two.

Jesus utterly condemned those who repeated Lord, Lord or Jah, Jah. The book of Ecclesiasticus which WAS in the Bible Jesus quotes from declares that God hand picked the kings to carry out the cativity and death sentence pronounced at Mount Sinai. God turned them over to Babylonian star worship because that was the prayer of their musical idolatry.

Hosea agrees by saying that God gave them kings in His anger and took them away in His anger. Therefore, the Psalmists recorded a poetic version of the prose history. The stories were to be recited to TEACH AND ADMONISH one another and not as acts of musical worship.

Psam 150 does not speak of worshiping God but PRAISING which we have noted meant "to make a fool of yourself" which among the Canaanites to whom God had turned them over included even cutting their flesh. Among the Greeks who gave the name PSALM or praise, it included emasculating yourself trying to legalistice please your gods or goddesses.

David was chosen to lead a doomed nation and NOT to become its musical minister or praise leader with congregational singing. Therefore, their worship was LIKE THE NATIONS but God said that what they WANTED would never last:

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

The evidence shows that the NATIONS were mostly under Babylonian authority.

Look at the meaning of the instruments in Psalm 150: Psalm 150 is a POEM and POEMS TEND TO BE POETIC.

Of the pipe or organ:

"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, ase 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 (prostitute), emphasizes the erotic element which already the Hebrew name suggests." (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

If Psalm 150 is FARMER'S BRANCH authority to sing and play these instruments of pollution of the prostitute then they are DUTY BOUND:

> To bring some children and BASH OUT THEIR HEADS on the pulpit.

> To bring in the enemy and praise with the DOUBLE EDGED SWORD between your teeth to DESTROY THEM.

The Greek minstrels were often male prostitutes. In this illustration, the little box (Judas Bag) attached to the spotted flutecase is a common theme of the MUSICAL performance. The box is the Flute Case. The stick or OXGOAD was always a PHALLIC SYMBOL and propped up the homosexual musicians. This is EXACTLY what Paul meant when he said DON'T GET DRUNK WITH WINE but "SPEAK" the revealed Words of Christ.

This illustration from a vase represents ALL Greek musical performance where music insists on including this kind of DANCE.

We know of no musical performance in POLITE society.

Remember, too, that PSALM is a GREEK word and simply means PRAISE in Hebrew.

The "organ" was taught by Jubal to others. He is still the father of those who attempt to seduce the "seekers" with music and attractive, talented "teams."

In the universal history of music, Satan taught men like Jubal (Genun) how to seduce people with music. This is the story of Enoch who said that God will come with ten thousand angels to get the deceivers:

And his brothers name was Jubal: he was the father of all such as handle (without divine warrant) the harp and organ. Gen 4:21

Uwgab (h5748) oo-gawb' from 5689 in the orig. sense of breathing; a reed-instrument of music: - organ

Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.

And Aholah played the harlot when she was mine; and she doted on her lovers, on the Assyrians her neighbours, Eze.23:5

And as soon as she saw them with her eyes, she doted upon them, and sent messengers unto them into Chaldea. Eze.23:16

Psalm 150 uses this instrument which was not permitted in the temple:

Praise him with the timbrel and dance: praise him with stringed instruments and organs. Psalm 150:4

You do remember that David stripped off NAKED when he led the removal of the ARK from God's presence to the Jebusite High Place at Jerusalem?

You do remember that PRAISE can be good but in Psalm 150 is defined by the word:

Halal (g1984) haw-lal'; to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), make fool, glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

And this is where LUCIFER got his name:

Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

Scholars insist that Psalm 150 has to be allegorized--as are instruments in the Dead Sea Scroll translations--or this defines the David in his LAST WAYS and remembering that he was considered good ONLY IN THE FIRST WAYS OF DAVID.

Click to read the facts.

And Click here to see that this was not WORSHIP.

And read how Augustine proves that the instruments (as the instruments of God) were the type of spiritual instruments. Else, you had better not LITERALLY sing about bashing in the heads of little babies or singing the high praise (panic singing) with a sword in your teeth.

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Farmer's Branch: The presence of musical instruments in the worship of God throughout the Old Testament

Not among the Jews nor the vilest pagan temples did the musicians ever enter the Holy Place which was typical of the spiritual church of Christ. To bring musicians into the church would be as vile as sacrificing Jesus on the Lord's Table with the mocking music of the levitical sounders.

No. The instruments were at the place of animal sacrifices. By analogy and in fulfillment, the musicl mocking was at the time and place of the tempting and death of OUR sacrifice.

Preachers tend to TELESCOPE THE BIBLE. David's use of HIS instruments was designed to DEDICATE OR PURIFY the future temple.

When Hezekiah needed to PURIFY the temple, city, clergy and officials, he look backward 328 years to get his authority for a plague-stopping ceremony.

Theefore, to see them ALWAYS singing and playing instruments proves that there is NO FAMILIARITY with the Old Testament.

That is why Jesus FIRED the doctors of the law: they took away the key to knowledge.

To restore ANIMAL SACRIFICE music is to repudiate the Once sacrifice of Jesus.

The Holy Place was a type of the Church: no musician ever set foot in the Holy Place except perhaps when the Assyrians did their pagan idolatry in the temple and the Greeks polluted the temple and built their gymnasium.

The "worship" of the civil leaders meant to fall on their face: the musicians didn't make music but noise to hide the horrors of animal sacrifices. The sacrifices were connected with the TEMPLE STATE which God permitted when the elders fired Him. Therefore, Hosea says that God gave them kings who would, as God prophesied, lead them insto destruction.

The worship like the nations or Goyim meant that they wanted to worship like the Babylons to whom they would shortly go for captivity and death.

The massive people's "congregation" were protected because the Levitical Sounders who then shut the gate was to QUARANTINE them from the horrors of animal sacrifices to PAY FOR THEIR OWN SINS.

No, they never worshiped God by singing and playing instruments in a musical sense. Never!

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Farmer's Branch: as well as throughout Revelation in the New Testament begs the question.

When you are literally or spirituall dead and have no EARTHLY responsibility then music is for YOU. However, the other Angel was sent to PREACH THE GOSPEL to and among the LIVING. We noted above that:

In the book of Revelation we see two groups:

those who have died and those who are still living.
The dead hold harps and sing but those still living and able are to teach the word of God.

The book of Revelation has a chapter 18. In that chapter John defines the end-time Babylon Prostute religion which is identical to the beginning time prostitute, Lucifer or Sophia-Zoe, in the garden of Eden.

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

This religion focused on what they LUSTED AFTER. This included music and musicians along with a commercial form of FUN WORSHIP.

As the first, literal king/queen of Babylon went into Sheol with her musical instruments, the END TIME BABYLON worship will again see the silencing of musical instruments and their return to hell.

The angel to the LIVING was to PREACH THE GOSPEL.

The overwhelming majority of people will be engaged in the lust of MUSICAL WORSHIP when Jesus speaks with His trumpet voice.

Apollo (Abaddon or Apollyon) will loose the LOCUSTS who in the Greek world were know as MUSICAL PERFORMERS. They will continue to TORMENT those with the MUSICAL MARK and force those with the MARK OF THE WORD to "come out of her."

Objurgation is objurgatory censure. Of this help the Divine Instructor made use by Jeremiah, saying,

"Thou hadst a whore's forehead; thou wast shameless towards all; and didst not call me to the house, who am thy father, and lord of thy virginity." [Jer. iii. 3,4]

"And a fair and graceful harlot skilled in enchanted potions." [Nahum iii. 4.] With consummate art, after applying to the virgin the opprobrious name of whoredom, He thereupon calls her back to an honourable life by filling her with shame.

Nahum 3:[3]WEB the horseman mounting, and the flashing sword, the glittering spear, and a multitude of slain, and a great heap of corpses, and there is no end of the bodies. They stumble on their bodies,

Nahum 3:3 The horseman lifteth up both the bright sword and the glittering spear: and there is a multitude of slain, and a great number of carcases; and there is none end of their corpses; they stumble upon their corpses:

Nahum 3:4 Because of the multitude of the whoredoms of the wellfavoured harlot, the mistress of witchcrafts, that selleth nations through her whoredoms, and families through her witchcrafts.

The Latin maleficia is maleficium 1. Fraud, deception, adulteration 4 A hired mourner: The "præficæ" were the women who chanted the "nænia" .

Kesheph (h3785) keh'-shef; from 3784; magic: - sorcery, witchcraft.

Kashaph (h3784) kaw-shaf'; a prim. root; prop. to whisper a spell, i. e. to inchant or practise magic: - sorcerer, (use) witch (-craft)

Da.2:2 Then the king commanded to call the magicians, and the astrologers, and the sorcerers, and the Chaldeans, for to shew the king his dreams. So they came and stood before the king.

Mal.3:5 And I will come near to you to judgment; and I will be a swift witness against the sorcerers, and against the adulterers, and against false swearers, and against those that oppress the hireling in his wages, the widow, and the fatherless, and that turn aside the stranger from his right, and fear not me, saith the Lord of hosts.

 

Music was the universal MARK that you had tried, like mother Lucifer, to bring heavenly powers to bear on earthly people.

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Farmer's Branch: Can one, in light of the totality of the Scriptures, say that God is displeased with the incorporation of musical instruments in the worship of Him if they are mentioned throughout the Old Testament and are present in John's description of heaven throughout Revelation?

We don't have to prove that He is displeased: we need to know if a Spirit God can be seduced or appeased with music as all pagans believed.

But, with Bible 101aaa we CAN PROVE THAT GOD IS DISPLEASED WITH INSTRUMENTAL MUSIC because it ALWAYS is recorded to say: 'WE WILL NOT LISTEN TO YOUR WORD."

We need to be aware that the Bible universally associates instrumental music with IGNORANCE OF HIS WORD.

THEODORET " 107 . Question: If songs were invented by unbelievers to seduce men, but were allowed to those under the law on account of their childish state, why do those who have received the perfect teaching of grace in their churches still use songs, just like the children under the law?

Answer: It is not simple singing that belongs to the childish state, but singing with lifeless instruments, with dancing, and with clappers. Hence the use of such instruments and the others that belong to the childish state is excluded from the singing in the churches, and simple singing is left." (Theodoret, a bishop of Cyrhus in Syria, Questions and Answers for the Orthodox)

"The strict order of the Church Fathers that only one instrument should be employed, i.e., the human voice, has been observed in the Syriac, the Jacobite, the Nestorian, and the Greek churches to the present day.

So also the synagogue did not use any instrument in the services up to 1810,

in which year the organ was introduced in Seesen, Germany" (Idelsohn, quoted by James Bales, Instrumental Music, p. 259).

Yes, if we handle the word, beginning in Genesis, with basic honesty we can say that music was the universal MARK which told God: "We will not listen to you." The Israelites worshiped "like the nations" because that was the ELDER'S PRAYERS and God permitted it to lead the nation into captivity and death.

Again, as a result of musical idolatry at Mount Sinai God abandoned the Israelites to worship Molech, Chiun or Remphan. This was the "god" or the devil Stephen warned against in Acts 7 to get himself murdered even as he INVALIDATED the Temple as God's place of worship. Stephen said that God "turned them over to worship the starry hosts" which included SATURN (Saturday) as one of the Wandering Stars and the name of SATAN.

THIS IS WHY GOD OUTLAWED THE TYPICAL BABYLON SABBATH WORSHIP WITH INSTRUMENTAL MUSIC AND QUARANTINED THE JEWS TO CLOSE QUARTERS AS A DAY OF REST.

YES, GOD OUTLAWED SABBATH WORSHIP AND COMMANDED SABBATH REST.

YES SABBATH WORSHIP BEGAN IN BABYLON ALONG WITH SABBATH MUSIC.

IF YOU ARE GOING TO JUDAIZE AS AUTHORITY FOR MUSIC YOU CANNOT DO IT ON THE SABBATH WITHOUT VIOLATING THE REST DEMAND. NO, REST IS NOT WORSHIP BECAUSE WORSHIP WAS THE BURDEN THE CLERGY LADED ON THE BACKS OF PEOPLE. JESUS DIED TO GIVE US REST FROM RELIGIOUS RITUALS OF WHICH MUSIC PRODUCES "SPIRITUAL ANXIETY BY RELIGIOUS RITUAL."

This is why CHURCH is most often defined by a form of SYNAGOGUE. Synagogue was A SCHOOL OF THE BIBLE and not a pagan worship center. There was no praise service in the synagogue approved by Jesus.

Israel in the north restored the WILDERNESS IDOLATRY and Amos whom Stephen quoted has them worship the baby-buring Molech with singing and musical instruments. As a result, God said:

Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Am.5:23

But let judgment run down as waters, and righteousness as a mighty stream. Amos 5:24

Lucifer as the king/queen of Babylon was known to be the fallen angel in the garden eden who wholly seduced Eve and she came equiped with musical instruments. Of her and her end-time whore worship in Revelation 18:

Thy pomp is brought down to the grave, and the noise of thy viols: the worm (maggots) is spread under thee, and the worms cover thee.Is.14:11

Music is always POMP and was a heavenly privilege used to cause humans to worship LUCIFER or ZOE rather than God.

The reason music is not used is that IT IS condemned from Genesis 1 to Revelation 18 because it "takes away the key to knowledge."

Instruments are NEVER associated with spiritual singing or worship and is ALWAYS mentioned in connection with Lucifer and the worship of the "musical prostitute."

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Farmer's Branch: The leadership is aware that the incorporation of musical instruments is not mentioned in the worship of the early church anywhere in the New Testament until the book of Revelation.

Paul defined the First Instrument of Choice: the human voice and heart. By telling the musician to sing and play the HARP the musician is not stupid enough to sing and play the banjo. Paul said "sing AND make melody IN THE HEART" and this EXCLUDES making melody with a zither.

The book of Revelation DOES NOT define worship in the early church unless you are dead virgins--or perhaps spiritually dead

John is writing to people who might be discouraged by the persecution of Christians. All was not lost according to John who reminded especially the Greeks of the belief that the DEAD are not unhappy. To explain their happiness he shows the DEAD VIRGINS as in a state of happiness WITHOUT ANY EARTHLY RESPONSIBILITIES. The tombstones were the confession of faith because they often showed the dead playing an instrument.

The living shown bringing harps to the DEAD are NEVER shown playing the instruments.

The angel's message to the living was not to "worship with instruments" but Preach the Gospel.

NO ONE in church history saw this as authority to play instruments as a way to worship a Spirit God with the "works of human hands."

Leaders don't ask members to VOTE on such well taught and universally condemned things as INSTRUMENTAL INSTRUMENTS condemned from Genesis to Revelation to all who CARE to know.

> Music is mentioned in the prophecy of Judas' attempt to defeat Jesus in Psalm 41 and translated in the Dead Sea Scrolls to translate "triumph over" as a MUSICAL ATTACK AGAINST JESUS.

> Music is mentioned as Jesus defined the blind and deaf clergy as clildren PIPING hoping to get Him to do the perverted Dionysus song and dance.

The clergy (like most) hoped that John wore the SOFT clothing of the catamite or male homosexual so common among their preachers.

They piped trying to force Jesus into the perverted SINGING and DANCING to Dionysus with Instrumental Music. Paul in Romans 15 outlawed the music of the Dionysiacs by insisting that they glorify God WITH ONE VOICE as they spoke THAT WHICH WAS WRITTEN.

> Music is mentioned by Jeus as He "tossed out more or less violently" the musical worship team who did both funerals and weddings to control the gods.

> Music is mentioned by Paul in Romans 15, Ephesians 5 and Colossians 3 as "glorifying God with one voice" using the "harp of God" or the instrument HE gave us to make the sacrifice of praise: the fruit of the lips and heart (spirit) and not the noise of the harp.

> Music is alluded to with the warning of RISING UP TO PLAY in Romans 10 and 1 Corinthians 10. This ritual was called "sending across the sea." The notion was that to replace God's Word they could "send across the sea" for a preacher to bring the Word. However, Moses said that the Word had been preached to them.

> Musical instruments are spokee of as LIFELESS INSTRUMENTS which are CARNAL WEAPONS. They are identified as the WEAPONS of warfare creation of panic used AGAINST JESUS. Speaking in tongues are compared to musical instruments WHICH CANNOT SPEAK and the musician has to TRANSLATE. Therefore, church music has been called "low level glossolalia."

> The book of revelation is a CODED message for those undergoing persecution. The hope for the dead Christian is the hope expressed by their presenting harps TO THE DEAD in the belief that there is peace in the afterlife which they never had while ALIVE.

> The message to the living was to PREACH THE GODPEL which you CANNOT do with instruments.

> The return of Abaddon, Apollyon or Apollo speaks directly of the Oracle of Delphi. The locust will rise to separate those with different marks. Music is many times identified as the MARK of Satan.

> The Babylon Prostitute is the same Lucifer who had string, percussin and wind instruments in the garden of Eden. She will build a system of false religion (lying about God's Word), commerce and instrumental music. She and her musicians will again, like the first Babylon king/queen go into hell.

ALL of the early writers MENTION music to condemn it even in social settings for BELIEVERS in a Spiritual religion rather than a body worship (perverted).

No one prior to ad 1878 ever dared attempt to use the PSALLO argument because no literate scholar would have ever done so or would do so.

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Farmer's Branch: It is hesitant, however, to concretely proclaim on the basis of their absence

that God is displeased with and
disapproves of instrumental accompaniment altogether,

especially in light of musical instruments being a part of worship throughout the Old Testament and in Revelation.

Again, MUSIC was never used of congregational worship in the entire Bible. The musical occiasions were dedicatory or purificaiton animal sacrifices. The "music" was just a loud crashing noise. Because the temple was permitted by God as a LIKE THE NATION'S temple, the accompanying noise was a type of EXORCISM as the Jewish musicians would later attack Jesus as beliar or Beel-zebul.

Why would LEADERSHIP decide to violate 2,000 years of rejection of instruments, deliberately sow discord among brethren and offend many of these little ones on the basis that it is HESITANT to condemn?

The unkind would brand this as a deliberate lie: I will not be so unkind. Only those whose eyes have been poked out and ears plugged by Jesus could make such a statement. But then you don't have to know much Bible if you are a charismatic preacher or control freak.

God is not a singy-clappy buddy: only God can define the meaning of worship. Contrary to the changers:

The Bible declares that we have authority ONLY for what God has defined in our worship.

All of the church fathers or scholars agreed that the ONLY authority is what God has commanded as worship.

All of the denomination founders taught it.

But the DECIDED indecision is based on totally deliberately using certain PROOF TEXTS to condition everyone to BELIEVE a lie that MUSIC WAS ALWAYS APPROVED.

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Farmer's Branch: A Summary Of The Leadership's Conclusion
The conclusion of the FBCC leadership after much prayer and study

is that vocal and/or instrumental music is an acceptable expression of praise to the Lord.

I truly feel sorry but this decision has been reached on statements about the Bible which are FACTUALLY ignorant of the context or even the statements.

Jesus modeled, Paul practiced and Paul preached that "leadership" must be full of the spirit or Biblically literate and that they must "teach the Word as it has been taught."

The leadership has shut its eyes and is loyal to the Christian Church or "infiltrated and diverted" by Baptists and uses its false proof-texts which deliberately distorts.

The end-time Abaddon or Apollyon or Apollo Seeker Center will be to suck in people with music using the Lust of the eyes and the lust of the ears and the vain glory of MUSICIANS.

The "god" worshiped at Mount Sinai and to whom God abandoned the nation of Israel was one form or another of SATURN. Saturn's number in Chaldee was 666. Saturn's symbol is the sickle or pruning hook which in the Hebrew is a word for a musical instrument. God will send Apollo who was identical to Saturn in Rome to THRUST IN THE SICKLE and the end time Babylon Prostitute religion will again return to HELL with her musicians and instruments.

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Farmer's Branch: The leadership does not see this position standing in conflict with the Scriptures.

What is in conflict with them is that, for the sake of maintaining a tradition,
FBCC quite possibly has put itself further out of touch with those whom it desires to touch the most, the unchurched of our culture.
There can be no question that this was and is the top priority of Jesus, nor is there any question that He was constantly in conflict with the traditions of His day.

It is truly dishonest to associate the non-instrumental position with MAINTAINING A TRADITION as many false teachers now do.

The traditions of the Temple leaders was to use instrumental music to try to KEEP IN TOUCH with those who COULD NOT HEAR the words of Jesus.

The traditions of the Jews at the Feast of Tabernacles was a MUSICAL JUBILEE quite identical to the pagan FERTILITY RITUALS. Jesus refused to go up to the opening cermony because it was obscene and because the MUSICAL WORSHIPERS were seeking Jesus to murder Him because He OPPOSED their musical rituals. Click to read about the Feast of Tabernacles.

> The phrase "eat, drink, and be merry" was part of a religious ritual common throughout the region--

"The traditional founder of Tarsus was Sardanapalus, who was worshipped, along with Semiramis, with licentious rites which resembled those of the Feast of Tabernacles. Paul had probably witnessed this feastival, and had seen, at the neighboring town of Anchiale, the statue of Sardanapalus, represented as snapping his fingers, and with the inscription upon the pedestal, 'Eat, drink, enjoy thyself. The rest is nothing." (Vincent, p. 278)

The phrase, like many examples of music, shows disrespect for the will of God--

And I'll say to myself, "You have plenty of good things laid up for many years. Take life easy; eat, drink and be merry." ' Luke 12:19

Clement in Pedagogue sheds more light on the nature of the priests in Jerusalem which is identified by John in Revelation as Egypt and Sodom:
For they must not do as some, who, imitating the acting of comedy, and practising the mincing motions of dancers, conduct themselves in society as if on the stage, with voluptuous movements, and gliding steps, and affected voices, casting languishing glances round, tricked out with the bait of pleasure.

"For honey drops from the lips of a woman who is an harlot; who, speaking to please, lubricates thy throat.
But at last thou wilt find it bitterer than bile, and sharper than a two-edged sword.
For the feet of folly lead those who practise it to hell after death."

The noble Samson was overcome by the harlot, and by another woman was shorn of his man hood. But Joseph was not thus beguiled by another woman. The Egyptian harlot was conquered. And chastity, assuming to itself bonds, appears superior to dissolute licence. Most excellent is what has been said:-

"In fine, I know not how

To whisper, nor effeminately,

To walk about with my neck awry,

As I see others-lechers there

In numbers in the city, with hair plucked out."

> "During the fourth century the Jews came under the influence of Greek Rationalism. In 332 BC Alexandeer of Macedonia defeated Darius III of Persia and the Greeks began to colonize Asia and Africa. The founded city-states in Tyre, Sidon, Gaza, Philadelphis (Amman) and Tripolis and even in Shechem.

The Jews of Palestine and the diaspora were surrounded by a Hellenic culture which some found disturbing,

but others were excited by Greek theater, philosophy, sport and poetry. They learned Greek, exercised at the gymnasium and took Greek names. Some fought as mercinaries in the Greek armies.

"Thus some Greeks came to know the God of Israel and decided to worship Yahweh (Iao) alongside Zeus and Dionysus.

Some were attracted to the synagogue... There they read scriptures, prayed and listened to sermons (explanations).
The synagogue was unlike anything else in the rest of the ancient religous world.
Since there was no ritual or sacrifice, it must have seemed more like a school of philosophy, and many flocked in the synagogue if a well-known Jewish preacher came to town...

"By the second century BC this hostility was entrenched: in Palestine there had even been a revolt when Antiochus Epiphanes, the Selucid governor,

had attempted to Hellenize Jerusalem and introduce the cult of Zeus into the temple....

"In the second century BC Jesus Ben Sira...

made Wisdom (Sophia)

stand up in the Divine Council

and sing her praises:

she had come forth from the mouth of the Most High as the Divine Word by which God had created the world...
Wisdom leaving God to wander through the world in search of humanity, it is hard not to be reminded of the pagan goddesses such as Ishtar, Anat and Isis, who had also descended from the divine world in a redemptive.
"When monotheists fell in love with Greek philosophy, they inevitably wanted to try to adapt its God to their own." (Armstrong, Karen, A History of God, p. 67f)

The pilgrim church has always been known as "the church of Christ" and NO ONE believed that instrumental music was acceptable. EVen the 1913 Catholic encyclopedia's articles on music TOTALLY REPUDIATES the falsehood of labeling churches of Christ as rejecting instruments BASED ON TRADITION.

Jesus defined EVIL TRADITIONS which the Pharisees just made up to keep from having to obey God.

The congregational position is based 100% on the Bible and church history and not on tradition.

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Farmer's Branch: Because the purpose of the Farmers Branch Church is to accept people where they are and challenge them to grow in Christ, FBCC must take into consideration where the unchurched are in its attempt to meet them on common ground and lead them to holy ground.

Paul accepted people WHERE THEY WERE but his commission was assuredly to MOVE them to belief and later baptism. Paul never ever tried to MEET the pagan musicians in their temple or adopt it to the church as a SEEKER SUCKER method.

Paul directly repudiated those singing out of THEIR OWN SPIRIT or speaking their own MINOR DIALECT called a tongue. Rather, the demand was that they teach the revealed word to teach and not to PRAISE.

The LEADERSHIP brings the WORLD into the church and the unchurched are always much brighter than preachers willing to take a viper into his bosom.

How can you possibly lead them to HOLY ground when the Bible and ALL RECORDED HISTORY sees 'MUSIC' as an UNHOLY activity?

All of he evidence points to the LEADERSHIP driving away or leading believers into THE WORLD.

But the purpose of Jesus was that the EVANGELIST not have an office or be DOMINANT LEADERSHIP. The direct command was to GO PREACH. The Elders as Pastor-Teachers and the Deacons as servant-teachers are the ONLY "offices" in the church and the Holy Spirit DID NOT designate SENIOR PREACHER or MUSICAL WORSHIP MINISTER as part of a TRUE church of Christ.

In Romans 14 Paul spoke clearly about the Vegetarian, musical Dionysiacs and the Meat-Eating, wine-drinking musical Orphics. His solution was to speak "with one voice" that which is written as the only way to GLORIFY GOD.

Playing music is telling the WORLD that you are no different and you will suck in the crowd but you will not obey Christ who told the Evangelists to GO.

Cycle One	Cycle Two
WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves. Romans 15:1	And again he saith, Rejoice, ye Gentiles, with his people. Romans 15:10
Romans 15:2 Let every one of us please his neighbour for his good to edification. For even Christ pleased not himself; but, as it is written, The reproaches of them that reproached thee fell on me. Romans 15:3	And again, Praise the Lord, all ye Gentiles; and laud him, all ye people. Romans 15:11
For whatsoever things were written aforetime were written for our learning (teaching), that we through patience and comfort of the scriptures might have hope. Romans 15:4	And again, Esaias saith, There shall be a root of Jesse, and he that shall rise to reign over the Gentiles; in him shall the Gentiles trust. Romans 15:12
Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Romans 15:5	Now the God of hope fill you with all joy and peace in believing, that ye may abound in hope, through the power of the Holy Ghost. Romans 15:13
That ye may with one mind and one mouth glorify (tell of His works) God, even the Father of our Lord Jesus Christ. Romans 15:6	And I myself also am persuaded of you, my brethren, that ye also are full of goodness, filled with all knowledge, able also to admonish one another. Romans 15:14
Now I say that Jesus Christ was a minister (deacon) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8	Nevertheless, brethren, I have written the more boldly unto you in some sort, as putting you in mind, because of the grace that is given to me of God. Romans 15:15
And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will	(2) that the offering (bloodless sacrifice) up of the Gentiles might be acceptable, being sanctified by the Holy Ghost. Romans 15:16
(1) confess to thee among the Gentiles, and	(1) That I should be the minister of Jesus Christ to the Gentiles, ministering the gospel of God,
(2) sing unto thy name. Romans 15:9	ministering the gospel of God,

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Farmer's Branch: Music, specifically of the nature of instrumental accompaniment, is a common feature of life in our everyday culture.

So is sexuality which is the universal meaning of "music." Sexuality was the way they sucked in the seekers in Corinth but Paul said that CHRISTIANS must come out of her: divorce the world.

Even contemporary "christian" music is the COMMERCIAL part of the end time Babylon Whore worship. All music works because it stimulates explicitly or implicitely sexually.

Jesus says that when we are baptized INTO Him our spirit is translated into a heavenly kingdom. Only their, in our spirit, can we worship God's Holy Spirit.

That means that IF we are NOT still carnal then there is NOTHING in the world which must be assimilated in the form of worship. Christianity is "not of this world" so why would COSMOS powers seek to drag us back into COSMOS worship informed by the Judas Bag and the BABYLONIAN PANTHEON which subverted Israel and Judah? OUR CULTURE is the culture of SATAN who is the PRINCE of the principalites who are his demons subverting the world to BODY WORSHIP. His number is still 666. I know that Rubel Shelly has well taught that we SHOULD BECOME AS MUCH LIKE THE WORLD AS POSSIBLE TO ATTRACT THE WORLD.

Jesus DIDN'T SEND anyone to ATTRACT the World: those who want to know the truth WILL FIND OUT and you cannot lie about the Bible and find anything which will SUCK THEM IN unless it is that part of the world which ALWAYS seems to steal the church houses of widows..

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Farmer's Branch: One doesn't turn on the radio and frequently hear a capella songs, nor go to concerts, or listen to CD's and tapes featuring a capella music. The scores and soundtracks to movies are rarely a capella.

When our culture thinks of music it automatically assumes songs with instrumental accompaniment. The musical form of a capella is not something many in our culture are accustomed to listening to or appreciating.

Christians are MUCH TOO BUSY to listen to much radio, or attend concerts OF THE WORLD, or spend the Lord's money on CDs or tapes. Most believer probably has no SOUND TRACKS in their house.

Did you know that you can spend 25 MILLIONS OF DOLLARS on the film takes and it HAS NO MESSAGE and NO impact. However, they know that MUSIC can be used to turn NOTHING into an EXPERIENCE which people believe is SPIRITUAL. What they have done, in Paul's words, is to cater to fools who love to be fooled.

And if the LEADERSHIP silenced the music THEN the fools would undestand that the PREACHERY FILM CLIPS is as empty as a FAMILIAR SPIRIT which was a hollow wineskin.

The word A Cappella does NOT MEAN without instruments. Rather, a cappella like all performance in a religious was the CASTRATED CHOIR of the Pope who brought them back for his OWN USE from France. Because instruments could not be played in the presence of the Pope, he made an organic pipe organ out of castrated boys.

Instrumental Music is used BECAUSE the PEDDLERS understand that music is the most powerful drug inducer and MIND BENDER known to mankind. Artists USE it in order to USE people and preachers USE it to USE the people to build empires so that he doesn't feel TOO dishonest for disobeying the direct command of Jesus.

Secular music is the music of the religion of the SECULAR STATE because it easily inculcates false information.

What the Bible insists upon and the church practiced for hundreds of years was SPEAKING the Words of Christ to one another as the only PREACHING in the assembly. The singing and melody were internal.

Therefore, the LEADERS are FOLLOWERS of Lucifer in the garden of Eden and the end-time musical prostitute in Revelation 18.

If people are sucked into church to listen to the music THEY ARE ACCUSTOMED TO the culture is doing the leading and the leadership is dead. Consistent with the book of revelation, music is for the DEAD but Paul commanded preaching the gospel in song.

Church is not a musical, pagan worship center but a school of the Bible

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Farmer's Branch: The leadership of FBCC believes in the beauty, simplicity, and power of a capella music and is committed to continuing it as a tradition at FBCC. However, it also is hesitant to offer it as the only form of musical expression as it attempts to bring the gospel of Jesus Christ to our culture in ways, mediums, and forums which our culture relates to and values.

All of the priests and prostitutes at the towers of Babylon knew that music was a way to SHUT THE MIND. And Lucifer knew that it was a way to keep people's minds off God and His words.

The BIBLE no where speaks of a cappella music as a thing of beauty. Again, because IT ISN'T SINKING IN, the MUSIC word is used in the Bible only in connection with the 666 gods or secular frolicks. The BIBLE (the old, obsolete one) commands TEACHING THE WORDS OF CHRIST as Spirit and Life. A cappella is the tradition of the Pope's castrated French band he imported back for his own entertainment where instruments were unlawful in the Sistine Chapel.

CONGREGATIONAL SINGING is not based on TRADITIONALISM and it is a LIE to say that it is. Instrumental music is the TRADITIONALISM of the world and of Satan to silence the Words of Christ.

It is IMPOSSIBLE to preach the gospel with music which is a form of "speaking in tongues." Therefore, the LEADERSHIP which is increasingly the DOMINANT PASTOR has not studied the issue except through false teaching.

There is no LEADERSHIP when you follow the leaders or let an "infiltrating and diverting" member of the Christian Church into your pulpit to lead you away from the simplicity in Christ.

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Farmer's Branch: While the leadership does not deny that a capella music can powerfully impact the human spirit, it also believes that it is unrealistic to

expect capella music to affect, impact, and reach anybody/everybody, especially since we live in a culture so conditioned with an appreciation for instrumental accompaniment.

Oh, they loved INSTRUMENTAL ACCOMPANIMENT way back there. The simple harmony created by a three stringed harp was as POWERFUL to them as a full orchestra is today because the ADDICTION TO MUSIC demands more and more perfection: the WORKS of human hands, the most WORKS INTENSIVE thing one could imagine as an effort to worship a SPIRIT GOD.

When our modern style of singing emerged during the great awakenings of the frontier it was well known that they were the product of frontier lostness with a huge dose of VOODOO. Therefore, human compositions violating the direct command of Paul were deemed both IDOLS and EFFEMINATE. They were idols because as the LEADERSHIP says, they IMPACT THE HUMAN SPIRIT.

Paul defined a TEACHING THE INSPIRED WORD process and the MAGIC was the power of the Word of Christ. To violate that is to deny the power of His Word.

Jesus gave WORDS to impace our MIND and repudiated MUSIC.

The Voodoo, Slave Labor Music Connection Still Works

See the whole research paper.

Christianity is COUNTER CULTURAL. Therefore, the leadership is counter Christian or anti-christian. Speaking of the MUSIC OF THE ROMAN RITE which the Disciples followed:

"The great 'Kentucky revival', or 'Revival of the West' (1797-1805), which began amongst the Presbyterians and then spread to the Baptists, Methodists, and others, was the origin of the camp meeting.  The musical influence of the camp meeting movement has yet to be investigated; probably it will be found that in addition to popularizing a debased type of 'Gospel Hymn' it had a further bad effect upon musical life by discouraging the practice of secular music.

Alcohol and prostitution plagued the AWAKENINGS which earlier would have been classified as witchcraft. This was modeled after the black influence with VOODOO and the Devil worship of Iraqu and the older BABYLONIAN WHORE worship we are seeing rising from the ground:

He gave me truth.

He gave me decent into the underworld.

He gave me ascent from the underworls.

He gave me the kurgurra.

The kurgarru, the assinu, and the kulu'u performed plays,

music, dances, and games during rituals

He gave me the loosening of hair.

He gave me the binding of hair.

 

He gave me the standard.

He gave me the quiver.

He gave me the art of lovemaking.

He gave me the art of kissing the phallus.

He gave me the art of prostitution.

 

As a SECOND INCARNATION, Carol Wimber and the whole swarm of LOCUST following the church growth cult out of Fuller notes:

In the article "Worship: Intimacy With God the philosophy behind the 'praise and worship' found in the Vineyard churches it is explained that there is a 'well-thought out philosophy' guiding how God is worshipped through music and movement in order to achieve the goal through "Worship: Intimacy With God" .

The fourth phase is described as "God Visits His People when "Expression then moves to a zenith, a climactic point, not unlike physical lovemaking

And totally consistent with the end-time blend of Babylonian 666 musical worship, the next logical stage after giving the "audience" a SEXUAL CLIMAX

The fifth phase is called "Generosity "The fifth phase of worship is the giving of substance.

ALL ancient paganism music SOUGHT a CLIMAX with their gods. The VOODOO component in today's PRAISE CRAZE notes that:

"Where there is no music, the spirit will not come." This West African proverb daily greets the divinity students in the Introduction to Preaching course taught by Brad R. Braxton, Assistant Professor of Homiletics and Biblical Studies at Wake Forest University. Explained Braxton,

"fundamentally, in African American worship, music serves the role of conjuring God's spiritÉ.
When Black folks get together, they don't necessarily assume that God is there or that the conditions are ripe for God's presence to be manifest.
But rather, the conditions have to be made ready through fervent prayer and soul-stirring music. So, music creates the conditions for a meaningful encounter with God.

And just like Solomon's musical slave drivers:

"The transfer of these West African tribal traditions to the slave fields, railways, and rivers of the southern U.S.
was of advantage to oppressed and oppressor alike,

the slave obviously taking solace in the cultural memory of his own collective past,
the slaveowner encouraging work songs in the
same spirit as an infantry general might approve of military bands-
for the stimulus they gave to work rate.
Many of the early examples of primitive vocal jazz relate closely to the labours being performed, and the content of the lyrics is a reminder that not only the cotton plantations but also the levees and railroads of the Deep South were created and maintained by slave labour. Click for More.

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Farmer's Branch: Music, a capella and instrumental, is powerful and has a point of leverage upon the human spirit. The leadership seeks to continue to allow for both forms of musical expression to exist in FBCC's assemblies for the purpose of, as Paul would put it in I Corinthians 9:22, becoming all things to all men so that by all possible means, I might save some.

The human spirit is the HOLY PLACE and the only place God promised to meet us for "worship" as we SEEK Him through His Word which is Spirit and Truth. If YOU try to leverage that with instrumental OR vocal music YOU are spitting in the face of a Holy God.

The place of worship for the high priest was in the Most Holy Place which is in heavenly places which we approach IN OUR OWN MIND. That place must be in darkness and quiet or God will CAST US OUT as He would have ANY musician who dared to intrude into His Holy Presence with the SEDUCTION instruments of pagan, prostitute religion.

No, the way this is used it is a LIE. Just as "knowing" only Christ and him Crucified meant to LIVE LIKE Christ but teach the whole gospel, Paul would suffer like everyone else--including making his own living and not rob churches--to serve them. Paul never became a musician to suck in the musicians.

Take a look at what Paul really said. This is vintage Rubel Shellyism.

All pagans--none of whom would have dared bring their music into the Holy Place typical of the CHURCH--believed in this LEVERAGE or pagan superstition that the sexual feelings produced by music had a MAGICAL effect.

The prevailing doctrine of ethos, as explained by ancient Greek philosophers such as Plato and Aristotle,

was based on the belief that music has a direct effect upon the soul and actions of mankind.
As a result, the Greek political and social systems were intertwined with music, which had a primary role in the dramas of Aeschylus, Sophocles, Euripides, and Aristophanes.
And the Grecian educational system was focused upon musica and gymnastica,
the former referring to all cultural and intellectual studies, as distinguished from those related to physical training. Britannica

See how the unfaithful Jews adopted the Gymnasium and music during the inter testament period as an ABOMINATION.

The JUDAS BAG was for carrying mouthpieces of wind instruments. It is made up of two parts meaning;

Speaking in tongues and OF THE WORLD or COSMOS.

Satan's "spirit" indwelled Judas who was prophesied to try to use music on Jesus (Ps 41) and Satan's number is 666.

"All early civilizations saw their ideal music as an image (idol) of cosmic order and its practice in temple ritual and court ceremonial as a means of helping to maintain or reflect universal harmony. From such a philosophy stem the age-old concepts of the efficacy of numerical proportions in musical sound; the ethos (magical effect) of particular modes; the music of the spheres; and the musical foundation of the state. Such ideas steadfastly maintained throughout the ages, made for very conservative traditions of music whose fundamental patterns changed little over long periods of time." (Britannica, 1965, Music, p. 1091)

An in all temple-states, the common people were not involved in the temple worship rituals:

"Each of the important deities had, in one or more of the Babylonian cities, a large temple in which he or she was worshiped.

Temple services were generally conducted in open courts containing fountains for ablution and altars for sacrifices.

Only the high priest and other privileged members of the clergy and court were permitted to enter the cella, or inner part of the temple,

[These were involved with the musical animal sacrifices for purifying temple or personnel in the Jerusalem Temple.]

which held the special statue of the deity. The needs of the deity were provided for in accordance with impressive ceremonies carried out by a vast institutionalized clergy that included

priests, musicians, magicians, soothsayers, dream interpreters, astrologers, and hierodules (temple slaves or prostitutes). Sacrifices of food, drink, or incense were offered daily. Numerous festivals were held, the most important of which was the celebration of the new year at the spring equinox. Encarta Encyclopedia

The end-time perverted religion will be WORSE than the worst PAGANISM in that the MUSICIANS are permitted to enter into the 'god's' presence with music. This is why there is not the slightest hesitation in lying about God and His Word and even STANDING IN THE HOLY PLACE pretending to BE God by replacing His songs and His sermons with DIVERSION.

Music is part of the TERMINAL END-TIME BABYLON HARLOT WORSHIP specificially because no pagan religion was so evil that they allowed the musicians to enter into the HOLY PLACE which, in the Old Testament, was a type of Church.

"According to the system which Nimrod (Satan 666) was the grand instrument in introducing, men were led to believe

that a real spiritual change of heart was unnecessary, and that so far as change was needful,
they could be regenerated by mere external means.

Looking at the subject in the light of the Bacchanalian orgies (Read Ephesus and Corinth), which, as the reader has seen, commemorated the history of Nimrod, it is evident that he led mankind to seek their chief good in sensual enjoyment,
and showed them how they might enjoy the pleasures of sin, without any fear of the wrath of a holy God.

In his various expeditions he was always accompanied by troops of women; and by music and song, and games (ritual drama) and revelries, and everything that could please the natural hearts, he commended himself to the good graces of mankind." (Hislop, Alexander, The Two Babylons, p. 55, Loizeaux Brothers)

Musical instruments in the Old Testament are related to TREADING OUT THE GRAPES, to taking one's inheritance, to pollute, to prostitute and to sexual perversion.

Psallo in the New Testament is not a "music" word: it relates to twanging a bowstring to send a "singing" arrow to make literal melody of your heart. That means to "grind it into a fine powder." A related word was used of the SOP Jesus ground up for Judas whose JUDAS BAG was for carring the mouthpieces of wind instruments. All such PLAYERS were naked and perverted.

Music in the Old Testament related to the temple was part of the curse of the Law "added because of the musical idolatry at Mount Sinai." The common singers are defined by a word which makes them prostitutes. PLAYERS are related to a word meaning to "handle someone in a sexual way."

All of church theologians grasped that and churches of Christ recognized it. Therefore, those promoting the NEW WINESKIN religion and the accompanying music are not faithful to the people who pay them.

Farmer's Branch uses the NAMES of instruments to justify instrumental music in worship. We have collected these words to prove that they are Satanic, speak of warfare, the instruments of the prostitutes or the LEVITICAL WARRIOR musicians in the Temple COURTS.

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Musical Worship Index

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