Mark Henderson Instrumental Music in New Testament

Mark Henderson twists all known Scripture to force Quail Springs Church of Christ to add instrumental music.  We believe that it is a statement of fact that he has deliberately lied about God and to God and all of the Biblical and historical evidence to DISCORD a congregation of non-instrumental members whom he confesses to have deliberately not taught the views of those who hired him.

Mark Henderson Quail Springs # 4 Acts
Mark and friends deny that there are any musical messages in Acts.
We need to quote Mark whom we have refuted by quoting the rest of the story by Dr. Everett Ferguson in part one..  This began with the statment.
Mark Henderson: Some New Testament Observations: The question we ought to ask is this: Will we find something there that specifically sets aside or supersedes the practice of instrumental praise like we do with some other Old Testament forms of worship, especially the practice of animal sacrifice and the Levitical priesthood?
All of us know that NOISE never called MUSIC was called service meaning hard bondage assisting the priests in slaughtering and burning thousands of TYPES of Jesus Christ. The sacrificial system was REQUESTED and granted but never commanded. Because of musical idolatry this was the worship of the starry hosts (Acts 7 etal) and because it was a Goyim or Gentile system the loud noise was called exorcism and not worship.

Certainly, the singers and instrumentalists were males and of the tribe of Levi. Not even David could sing during SACRIFICES. Certainly, this was attached to Canaan, in or close to Jerusalem and ONLY in the COURT yard where they slaughtered innocent types of their "gods."  When the Temple was destroyed even Simple Simon knew that there was no rationale for instruments: the shofar remained for signals specificially because it was NOT a musical instrument.  Because this was a GOYIM or pagan sacrificial system ADDED because of transgression (musical idolatry), no one would offer sacrifices which is the JUSTIFICATION for exorcising NOISE, why would not the least in knowledge not grasp that fact?

Josephus in fact BLAMES the levitical musicians for the FALL of the nation and Ezekiel in the "idealized Temple" agrees.

Josephus 20:6. 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.

Again, we refer te reader to David Faust's IDENTICAL false claim.  

I told you that Jesus CAST OUT the musical minstrels LIKE DUNG.  He identified that CROOKED generation as pipers, singers and dancers and consigned them to the marketplace or Agora where all pagan music was made and people sold bodies and radishes. Check on the Agora to see that the PSALLO Rope is a VISUAL AID hid from those God is DELUDING.
Mark Henderson: Instrumental music is a non-issue. You don’t see a discussion in the Book of Acts. There is nothing in the New Testament that even remotely resembles the detailed instructions for worship that we saw in the Old Testament. The New Testament simply has nothing to say about instruments in worship.
The Old Testament commands and encourages the use of instruments, and the heavenly vision includes instruments in the picture. In between, the New Testament says nothing about instruments in worship, so how did we end up with this anti-instrument heritage?
In fact, the instrumental issue is so huge in the book of Acts that I have added a separate paper to discuss this utterly false stament.

We ended up where we began at Pentecost: you will notice that there was no praise service there as it was outlawed and would be irrational for the synagogue or school of the Bible.  We ended up PRO speaking or singing the Biblical text because that is where Jesus WALKED and we just walked in his steps. He sang one hymn reserved to be sung once a year without music.

The word HERITAGE which all false teachers use means that if you REJECT machines it is because it is "a virus which you caught to your old, ignorant frontier ancestors." 

Both Amos and Isaiah show the evil of using music in their religious festivals: it left the people hungering and thirsting for lack of the Wordof God. That is when god turned their songs in the temple into howlings.  If the church silenced the rhetoric and music perhaps they would take notice of Stephen in Acts 7 which parallels Amos.
God promised David a TENT
But, Solomon built him a HOUSE
But, God is not worshipped in houses built by human hands.
Probably missed the point that the alarm or triumph over was outlawed for the synagogue or church in the wilderness. That means to play instruments and "make a joyful noise before the Lord." This was not worship but all instrumental noises spoke of alarm or warfare.  Psalm 41 prophesies that Judas will not triumph over Messiah.  Fittingly, the Judas Bag was for carrying the mouthpieces of wind instruments always attached to a flute case of vile people.  Furthermore, the SOP Jesus hand ground for Judas has the same root meaning as PSALLO. When Jesus revealed this SIGN Satan entered into Judas and he went out and hanged himself: fitting for those who try to triumph over Jesus and His Word with music.  The Judas bagor box in in the middle of the first image. It is attached to the spotted flute cane in the second and third.  Male musicians were always said to be "perverted, drunk or just having fun." I wouldn't try the NEW WINSKIN parable on Jesus.


It would not be possible to communicate unless a word was both inclusive and exclusive.  When are told to WALK we don't need to be told DON'T RUN.  If we are told to SIT we know that does not mean dance.  The New Testament has no music word other than to include singing, dancing and drinking wine: in Revelation 18 it speaks of the MUSES or Apollyon's musical worship girls known as dirty prostitutes.  Paul calls the sorcerers.

In fact, the word SPEAK is clearly defined to EXCLUDE both poetry and music as it might be expected in a school of the Bible where the direct command is to "teach that which has been taught.

The word SPEAK in the comman assemblies which met for INSTRUCTION and by definition excludes MUSIC: that is why Paul insistedthat singing AND melody be in the PLACE of the human spirit or heart.
1.  Utterance:
Logos (g3056) log'-os; from 3004; something said (including the thought); by impl. a topic (subject of discourse),
Gnosis (g1108) gno'-sis; from 1097; knowing (the act), i.e. (by impl.) knowledge: - knowledge, science.
Ro.15:14 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.
2.  Another of the passages which does NOT speak of music is in Latin:
Eph 5: [19]WEB loquentes vobismet ipsis in psalmis et hymnis et canticis spiritalibus cantantes et psallentes in cordibus vestris Domino
Loquor  [Sanscr. lap-, to talk, whisper; to speak, talk, say (in the lang. of common life, in the tone of conversation; cf. Quint. 9, 4, 10; 11, 3, 45). indicate or express clearly:

By definition that EXCLUDES singing.
3. Part of that grace is the Word [logos] or utterance. The Word is given for us to UTTER as the only rationale for the assembly which is the synagogue. Jesus didn't die to give Billy Joe a stump to stand on.
Logos. The ACT of speaking is logik-os , ê, on, ( [logos] ) the organs of speech
 A. of or for speaking or speech, logikê, hê,
........ speech,
........ opposite to mousikê, 

Reprobate or CAST away is Adokim-os disreputable, mousa
Musica mousika, the art of music, music; acc. to the notions of the ancients, comic and dramatic poetry, temporibus tantum
Same as: Magice- , e-s, f., = magikê (sc. techna), the magic art, magic, sorcery medicinam [dico magicenque, magices factio
4. Those who are SPECIFICIALLY EXCLUDED from the assembly as performers: Responsible people never SENT OUT a sophist or poet to deliver a message: they knew that it would be altered and charged for on the receiving end.
A.  Plato, Laws [941a] Athenian shows why such VOCATIONS are outlawed and DANGEROUS in a HERALD who must not tamper with the Word. Nor, must he charge for the dispatch by the RECEIVER. The message must be postage paid by the ones doing the HERALDING.
If anyone, while acting as ambassador [presb-eutês] or herald [kerus-preacher],
conveys false messages from his State to another State,
or fails to deliver the ACTA; message he was sent to deliver,
or is proved to have brought back, as ambassador or herald,
either from a friendly or hostile nation, their reply in a false form,--
against all such there shall be laid an indictment for breaking the law
by sinning against the sacred messages [apang-ellô]
and injunctions of Hermes1 and Zeus, and an assessment shall be made of the penalty they shall suffer or pay,
Note 1 Son, and herald, of Zeus, and a master of speech (and of lies).
B.  Plato, Laws [941b] Athenian
 [941b] if convicted. Theft of property is uncivilized, open robbery is shameless:
neither of these has any of the sons of Zeus practiced, through delight in fraud or force.
Let no man, therefore, be deluded concerning this
        or persuaded either by poets
        or by any perverse myth-mongers
        into the belief that, when he thieves or forcibly robs,
        he is doing nothing shameful,
        but just what the gods themselves do.
Note: 1 1 Cp.Plat. Rep 378 ff., Plat. Rep. 388 ff. Hermes is specially in mind, as notorious for his thefts and frauds; cp. Homer Iliad 5. 390; 24. 395, etc

Rubel Shelly says that John was convinced to write by the presbyters.  Because he had only old, failed memories, he used HERMES as his model for the Logos.  That is why the New Hermeneutic is based on Hermes "as notorious for his thefts and frauds."  That is why you can use poets and perverse myth-mongers who claim that the SPIRIT told them to lie, cheat and steal.

 Poi-êtês A. maker, mêchanêmatôn, inventor, II. composer of a poem, author, p. kômôidias Pl.Lg.935e ; p. kainôn dramatôn, tragôidiôn, b. composer of music,  2. author of a speech.

 Used with: hupo-kritês, I. interpreter or expounder, I. interpreter or expounder, 2. of an orator, one who delivers, recites, declaimer, rhapsôidoi; rhapsodist, Cantor.
C.  [941c] and this the lawgiver, as it behoves him, knows better than the whole tribe [symphony] of poets.
1) He, therefore, that hearkens [peithô] [pist-euô] to our speech
[Logos] is blessed, and deserves blessing for all time
........ Jesus' parallel: He that believes and is baptized shall be saved.
 2) but he that hearkens not shall, in the next place, be holden by this law:--
........ Jesus' parallelHe that believes not shall be damned.
Apisteô to be apistos, and so, II. = apeitheô, to disobey, tini Hdt., attic:  -absol. to be disobedient, refuse to comply
To subvert you to fellowship with the Baptists means he calls Jesus a liar.
D.  The Bible and minimal common sense EXCLUDES fabricators, mechanics or craftsmen (Rev 18:22) from the church. Peter says that it proves one a false teacher. Furthermore, as the APISTOS who rejects baptism is called a traitor because he rejects the Word of God Whom they claim "IS quite competent to speak for Himself,"  the authors and composers repudiate God as incompetent.

According as his divine power
........ hath given unto us all things that pertain unto life and godliness,
........ through the knowledge of him that hath called us to glory and virtue: 2 Pet 1:3

Whereby are given unto us exceeding great and precious promises:
........ that by these ye might be partakers of the divine nature,
........ having escaped the corruption that is in the world through lust. 2 Pet 1:4

D.  MUSES (dirty adulterers) using the PSALLO word are excluded

9.[1] The resounding strain of Archilochus, the swelling thrice-repeated song of triumph [Nike], sufficed to lead Epharmostus to the hill of Cronus, in victory-procession with his dear companions.

[5] But now, from the bow of the Muses who, shooting from afar, send a shower of such arrows of song as these on Zeus of the red lightning-bolt and on the sacred height of Elis, which once the Lydian hero Pelops [10] won as the very fine dowry of Hippodameia.

[11] And shoot a winged sweet arrow to Pytho; for your words will not fall to the ground, short of the mark,
when you trill the lyre in honor of the wrestling of the man from renowned Opus.

Athenaeus used as proof text for PSALLO always points tho the PLAYERS

"It is a fact that even in ancient times they loved boys, as Ariston has said, whence it came about that those who were loved were called "paidika." "O thou of fair countenance, Galateia, with golden curls and voice that charms, a beauty among the Loves!" Blind this praise is, and nothing like that which Ibycus utters: "Euryalus, scion of the blue-eyed Graces...darling of the fair-haired Muses, thee did Cypris and Persuasion of the tender eyes rear amid the flowers of the rose." And so Phrynichus said of Troilus: "There shines upon his crimson cheeks the light of love."

So, then, most learned grammarian, I urge you to keep away from the high-priced prostitutes, because "you may see all the other flute-girls playing Apollo's tune... Zeus's tune; but these ladies play nothing but the Hawk's tune;"

As for myself, fellow-banqueters, I have not discussed courtesans after the manner of Metagenes' Breezes, or The Blockhead of Aristagoras: "I told you first of beautiful dancing prostitutes, and now I do not speak to you of flute-girls just beginning to be ripe, who have very quickly, and for a price, undermined the strength of sailors aboard the freighters."

Hesoid Theog. [25] the Muses of Olympus, daughters of Zeus who holds the aegis: "Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things."

Mark Henderson: When you get to the Book of Revelation, however, 2. The NT includes instruments in its vision of heaven.

You see it in two different passages. The first one is in chapter 5: And when he had taken it, the four living creatures and the twenty-four elders fell down before the Lamb. Each one had a harp and they were holding golden bowls full of incense, which are the prayers of the saints. Revelation 5:8

And then in chapter 15 we read, And I saw what looked like a sea of glass mixed with fire and, standing beside the sea, those who had been victorious over the beast and his image and over the number of his name.

They held harps given them by God and sang the song of Moses the servant of God

8 and the song of the Lamb. Revelation 15:2-3

Now, if you are trying to advance an anti-instrument argument, you just dismiss these. One writer said that the fact that there are instruments in heaven has nothing at all to do with worship in the New Testament church. Another pointed out that the text says they were holding the harps; it doesn’t say they were playing them. Still another commentator said that it was clear that this passage has nothing to do with mechanical instruments of music. The harp, like lots of other things in Revelation, is a symbol or metaphor, and he concluded that the harp in Revelation 15 is a symbol for singing. It says harps, but it doesn’t mean harps; it means vocal music.

I don’t deny that Revelation is highly symbolic, but whether these are literal or figurative harps is irrelevant. When God decided to try to encourage a struggling, persecuted church with a vision of the glory of heaven, he considered it appropriate to use an instrument of celebration and praise as part of his imagery. It seems to me that if you want the church to understand that they aren’t supposed to use instruments, the last thing you would want is an image where God is handing out harps, but that is what we have.

We will treat the book of Revelation and harps (from God: not from David) where we will see that the SOUND was
        LIKE harpers harping with their harps
        LIKE thunder
        LIKE rushing waters.

In fact ALL of these 'sounds' induce TERROR and the falling on your face worship where you CANNOT play the harps.
The message of the angel to the LIVING was to "preach the gospel."
Mark Henderson pretends to be a dead virgin with NO duty to preach the gospel as it HAS BEEN preached.
Readers of the whole story line will see that AFTER the sorcerers as MARKS of the Mother of Harlots (Zoe, zoon, living beast) and her musicians are SILENCED, chapter 19 has blessed silence and just vocal praise. A MARK.

Mark Henderson: There are several anti-instrument arguments in the paper I will provide for any of you who want it, but this morning, I want to touch briefly on the two The Most Common Anti-Instrument Arguments:

Without needing to prop up an agenda MOST of the history of churches is that it understood a PRO-speaking or simple singing direct command.

While only the Disciples of Christ discovered that PSALLO permitted the use of instruments which they had already legalistically added to become musical sectarians as late as the year 1878, the church of Christ does not need to use the PSALLO argument other than against those like the NACC who have the driven purpose of diverting peaceable "singing" churches of Christ.  Because they had all of the Bible and known history on their side, they MIGHT have heard Paul put the MELODY (parallel to GRACE) in the place of the HEART.  In fact, no Greek literature has ever used psallo to translate MELODY. The word means PLUCK: a harp to seduce a "youth minister" whose hairs have been plucked as a "minister of the Mother Goddess" making fools of males by getting them aroused with music so they emasculate themselves to be dutiful priests of the MATRIARCH.

Mark Henderson: The first one is

1. The “Psallo”/Law of Exclusion argument This is a very complicated argument that I address in some detail in the paper, but even there, I only scratch the surface. A lot of trees have died to advance this argument over the years, but here is the gist of it. A form of the Greek verb psallo is used in Ephesians 5:19 where the NIV translates it “make music”, and the argument is that, in the New Testament era, the word literally meant “to sing without instruments.” It just means “sing;” it doesn’t mean “sing and play.”

Fact is, the NIV is the preferred version of those promoting music and denying baptism. There is NO music word used at any time of the worship of faithful people. It is also the preferred feminist theology version.

Fact is, Psallo never at any time at any place means MAKE MUSIC or PLAY A HARP.  The word means to PLUCK or TWANG. Throughout the Bible and all literature you use PSALLO to define PLUCK or play. THEN you have to define whether you are plucking a bow string, a lyre string or a young boy.  Because SPEAK excludes music, and ODE does not include an instrument, you have a tough time singing Hymns and Odes without instruments and the adding instruments to PLUCK during psalms.

Strong's: Psallo (g5567) psal'-lo; prob. strengthened I. from psao, (to rub or touch the surface; comp. 5597); to twitch or twang,

Psocho (g5597) pso'-kho; prol. from the same base as 5567; to triturate (grind into a fine powder), i.e. (by anal.) to rub out (kernels from husks with the fingers or hand): - rub.

Psomion (g5596) pso-mee'-on; dim. from a der. of the base of 5597; a crumb or morsel (as if rubbed off), i.e. a mouthful: - sop.
And after the sop Satan entered into him. Then said Jesus unto him, That thou doest, do quickly. Jn.13:27

If ever used meaning to PLAY an instrument, it was a violent act intending to do "sorcery."

The root for SOP is the root for PSALLO: means to "grind into a fine powder." You can GRIND your enemy into dust several ways. The FOUNDATION on which instrumental people rest is a WARFARE word and as a methaphor for shooting love arrows as in ORGASM which is what the Vineyard new style praise singing RECOMMENDS.

1. Psallô [psaô]
I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps.
Tox-euma , atos, to, A. arrow, metaphor, of songs and words
        metaphor of songs and words, kardias [heart] toxeumata [arrows]

Pindar, Pythian 4 385

to human kind and thus taught Aeson's son
skill in invocations and incantations,
that he might strip Medea of all reverence
for her parents and that Hellas, fiercely desired,
might set her whirling, as she blazed in spirit,

tox-euma and ommatos thelktêrion toxeuma A.Supp.1005 .
Aeschylus, Suppliant Women
Therefore I would have you bring no shame upon me, now when your youthful loveliness attracts men's gaze. The tender ripeness of summer fruit is in no way easy to protect; beasts despoil it--and men, why not?-- [1000] and brutes that fly and those that walk the earth. Love's goddess spreads news abroad of fruit bursting ripe. . . . So all men, as they pass, [1005] mastered by desire, shoot an alluring arrow of the eye at the delicate beauty of virgins. See to it, therefore, that we do not suffer that in fear for which we have endured great toil and ploughed the great waters with our ship; and that we bring no shame to ourselves and exultation to our enemies

FRUIT has always meant FRUIT and GAY has always meant GAY.

THUS hath the Lord God shewed unto me: and behold a basket of summer fruit. Am 8:1

Keluwb (h3619) kel-oob'; from the same as 3611; a bird-trap (as furnished with a clap-stick or treadle to spring it); hence a basket (as resembling a wicker cage): - basket, cage.

As a cage is full of birds, so are their houses full of deceit: therefore they are become great, and waxen rich. Je.5:27

Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog.

Pindar Odes Introduction

He is an eagle, his rivals are ravens and daws (O. 2.96; [p. xxxvi] N. 3.82). Bellerophon shooting his arrows from the lone bosom of the chill ether (O. 13.87) is a prefigurement of his poetic exaltation, his power, his directness, and so he never wearies of calling his songs arrows or darts (O. 1.112; 2, 91. 99; 9, 5. 12; 13, 93; P. 1.12. 44; 6, 37), which sometimes fall in a hurtling shower; but sometimes a single arrow hits the mark, sometimes a strong bolt is kept in reserve by the Muse, for Pindar, as an aristocrat, is a man of reserves.
His lyre has a various range of notes, his quiver is full of arrows, and at times such is the shower of notes, such the rain of arrows, such the sparkle and flash and flame of the lights, such the sweet din and rumble and roar of the music of earth and the music of heave

to twang the bow-string, Eur.;
Aeidô
I. to sing, Il., etc.:--then of any sound, to twang, of the bowstring, Od.; to whistle, of the wind, Mosch.; to ring, of a stone struck
belos ek keraos ps. to send a shaft twanging from the bow,

P.1.12 1.13

[1] Golden lyre, rightful joint possession of Apollo and the violet-haired Muses, to which the dance-step listens, the beginning of splendid festivity; and singers obey your notes, whenever, with your quivering strings, you prepare to strike up chorus-leading preludes. [5] You quench even the warlike thunderbolt of everlasting fire. And the eagle sleeps on the scepter of Zeus, relaxing his swift wings on either side, [7] the king of birds; and you pour down a dark mist over his curved head, a sweet seal on his eyelids. Slumbering, he ripples his liquid back,

[10] under the spell of your pulsing notes. Even powerful Ares, setting aside the rough spear-point, warms his heart in repose; your shafts charm the minds even of the gods, by virtue of the skill of Leto's son and the deep-bosomed Muses.

[13] But those whom Zeus does not love are stunned with terror when they hear the cry of the Pierian Muses, on earth or on the irresistible sea;

2. schoinos miltophurês psallomenê [The chalked line is NOT for carpenters]
A. Schoinos: a papyrus ROPE Jesus used to drive the taking up collections people from the temple court.
B. miltoô 1 2 [miltos] to paint red:--Pass. to paint oneself red or be painted red, Hdt.; schoinion memiltômenon the rope covered with red chalk with which they swept loiterers out of the Agora to the Pnyx, [ekklesia]
C. Miltophurês 1 [phurô] daubed with red, Anth. Phurô
I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, sullied their garments with tears, haimatos (blood)
2. to be doomed to have one's hair defiled with earth
3. metaphor to mingle together, confuse, they mixed all things up together, thêriôdous from a confused and savage state
Thêriôdês [eidos]I. full of wild beasts, infested by them, Lat. belluosus, of countries,
II. of men, beast-like, wild, savage, brutal, the animal nature
2. in Pass. also to mix with others, have dealings with him
D. to touch sharply, to pluck, pull, twitch
3. II. to play a stringed instrument with the fingers, NOT with the plectron,
You cannot use a guitar pick, cymbals, piano, organ or anything because the word is used ONLY of
"pulling and suddenly letting go to leave a mark" of a harp string.  It is never used of flutes.

4. And only LATER to sing to a harp:

2. later, to sing to a harp,
Of course psallo could be used meaning PLUCK when one sings: psallo never meant sing to a harp in any known resource.

5. And in the New Testament SING:

sing, New Testament
Of course psallo is never translated as sing, any time, any place.

Latin: revello, velli, vulsum or volsum, 3, v. a., to pluck or pull away, to pull or tear out, to tear off or away (freq. and class.).
I. Lit. be torn away, remove, tear away by the root, violate, tear up, disturb
II. Trop., to tear away, send away injurias honorificis verbis,Signum: A sign, signal; a watchword, password, given by a wind-instrument.

> blituri , to, twang of a harp-string: hence of a meaningless sound, 

HERE IS A WORD WHICH GIVES YOU AUTHORITY FOR SINGING AND MUSICAL INSTRUMENTS.

> klang-ê ( [klazô] ):--any sharp sound, e.g. twang of the bow, Il.1.49; scream of birds, esp. cranes,
        to which are compared confused cries of a throng,  
        grunting of swine, Od. 14.412; later,
        howling of wolves and lions, h.Hom.14.4, cf. 27.8;

Hom.14.4 Homeric Hymns

To the Mother of the Gods

[1] I Prithee, clear-voiced Muse, daughter of mighty Zeus, sing of the mother of all gods and men. She is well-pleased with the sound of rattles and of timbrels, with the voice of flutes and the outcry of wolves and bright-eyed lions, [5] with echoing hills and wooded coombes.

Echoing is: Ech-êeis , Dor. ach- , essa, en,

A. sounding, ringing, roaring, thalassa Il.1.157 ; dômata êchêenta high, echoing rooms or halls, Od.4.72; domoi êchêentes Hes. Th.767 ; chalkos A.R.1.1236 ; ia prob. l. in A.Th.915 (lyr.); throos aulôn Epic. ap. Plu.2.654f; tettix AP7.196 (Mel.); of the ears, ê. akouê Parm.1.35 ; cf. êcheeis.

Throos, Att. throus , ho, ( [threomai] )

A. noise as of many voices, ou gar pantôn êen homos th. Il.4.437; poet. of musical sounds, poluphatos th. humnôn Pi.N.7.81 ; th. aulôn Epic. ap. Plu.2.654f.
2. murmur of a crowd or assembly, T 
II. report, rumour,

Pi.N.7.81 Pindar Nemean 7.[75] Let me go on. If I rose too high and shouted loudly, I am not too rude to pay my debt of gratitude to the victor. It is easy to weave garlands. Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly. On this spot it is fitting to sing with a gentle voice of the king of gods. For they say that he planted the seed of Aeacus, received by the mother,

HERE IS THE PASSAGE MARK BELIEVES IS NEUTRAL.

Matt. 11:15 He that hath ears to hear, let him hear.
Matt. 11:16 But whereunto shall I liken this generation?
        It is like unto [1] children sitting in the [2]  markets, and calling unto their fellows,

Matt. 11:17 And saying, We have [3] piped unto you, and ye have not [4] danced;
we have [5] mourned unto you, and ye have not [6] lamented.

Threneo (g2354) thray-neh'-o; from 2355; to bewail: - lament, mourn.

Thronôsis , eôs, hê,= thronismos,

A. enthronement of the newly initiated, at the mysteries of the Corybantes, Pl.Euthd.277d.

Euthydemus: Socrates 277c

And you have admitted that those who do not know belong also to this class of those who have it not?

He nodded assent.

And the learners belong to the class of the receiving and not to that of the having?

He agreed.

Hence it is those who do not know that learn, Cleinias, and not those who know.

Euthydemus was proceeding to press the youth for the third fall, when I,

[277d] perceiving the lad was going under, and wishing to give him some breathing-space lest he should shame us by losing heart, encouraged him with these words: Cleinias, do not be surprised that these arguments seem strange to you; for perhaps you do not discern what our two visitors are doing to you. They are acting just like the celebrants of the Corybantic rites, when they perform the enthronement of the person whom they are about to initiate. There, as you know, if you have been through it, they have dancing and merrymaking: so here these two

[277e] are merely dancing about you and performing their sportive gambols with a view to your subsequent initiation. You must now, accordingly, suppose you are listening to the first part of the professorial mysteries. First of all, as Prodicus says, you have to learn about the correct use of words--the very point that our two visitors are making plain to you, namely, that you were unaware that learning is the name which people apply on the one hand to the case of a man who, having originally no knowledge about some matter, in course of time receives such knowledge;

See these processionals condemned by Isaiah.

Strabo, Geography: Fourthly, music, which includes [1] dancing as well as [2] rhythm and [3]melody, at the same time, by the delight it affords and by its artistic beauty,

for although it has been well said that human beings then act most like the gods when they are doing good to others,
yet one might better say, when they are happy; and such happiness consists of rejoicing, celebrating festivals, pursuing philosophy, and engaging in music;

The word psallois FOUNDED on the use in warfare where Apollo "the father of musical harmony, plucking bows to send out singing arrows, thieves and liars" also tuned his lyre to his bow and sent out LOVE ARROWS.  The second way the word is used is the papyrus rope which was polluted with red paint, blood, and all kinds of filth.  It was used to DRIVE the loiters from the Agora where the pagan, singers, dancers, musicians, rhetoricians, sodomites and sellers of radishes hung out.  They had a MARK on them declaring them POLLUTED and they had to attend the ekklesai--for education only--to be UNMARKED as a vile person.  That is why PSALLO marks the Worship Wars caused by polluters trying to turn SCHOOL into a den of thieves or house of merchandise.  Jesus used the same "psallo" rope to drive the money collectors OUT of the Temple court.

Mark Henderson: The problem is that the evidence doesn’t support the idea that word ever meant to “sing without instruments.” In fact, the same word is used in the Septuagint, the first Christians’ Bible, to refer to the playing of stringed instruments, so it’s hard to imagine that the Holy Spirit would take a word from their Scriptures that means to play an instrument and use that same word to let them know not to play instruments.

The fact is that psallo never meant SING at any place or time in history: its first use is the literal and sexual attacks of Apollo (Apollyon) or other WARRIORS. Secondly, we noted that it identifies snapping the red, polluted rope to MARK those who dallied around the musical boys and girls.  Therefore, plucking might be USED of one playing a harp WHILE sinnging, it never translates SING.  Paul said ADO which has no insrument in the HEART while you PLUCK in the PLACE of the same heart. 

  1. Ado rejects music
  2. Ado and Psallo are done at the same time and the same place: the heart.
  3. Therefore, you CANNOT sing and PLAY an instrument IN YOUR HEART.

No Hebrew or Greek word means PLAY A HARP much less sing with a harp in the Bible: No one makes melody in the Bible UNLESS the instrument is defined:

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 [1] sing as an harlot. Isaiah 23:15
Here is how a HARLOT sings:
"Take an [2] harp, go about the city, thou prostitute that hast been forgotten;
make sweet [3] melody,
sing many songs, that thou mayest be remembered. Isaiah 23:16

Take thou away from me the noise of thy [1] songs; for I will not hear the [2] melody of thy [3] viols. Amos 5:23

JFB notes: 23. Take . . . away from me--literally, "Take away, from upon Me"; the idea being that of a burden pressing upon the bearer. So Isa 1:14, "They are a trouble unto Me (literally, 'a burden upon Me'): I am weary to bear them.

"the noise of thy songs--The hymns and instrumental music on sacred occasions are to Me nothing but a disagreeable noise.

I will not hear--Isaiah substitutes "prayers" (Isa 1:15) for the "songs" and "melody" here; but, like Amos, closes with "I will not hear.Bring no more vain oblations; incense is an abomination unto me; the new moons and sabbaths, the calling of assemblies, I cannot away with; it is iniquity, even the solemn meeting. Isaiah 1: 13

Isa 1:19 If ye be willing and obedient, ye shall eat the good of the land:

Isa 1:20 But if ye refuse and rebel,
.......... ye shall be devoured with the sword:
.......... for the mouth of the Lord hath spoken it.

Isa 1:21 How is the faithful city become an harlot
.......... it was full of judgment; righteousness lodged in it; but now murderers.

I told you also that Tom Burgess collected all of the proof text about PSALLO.  In none of these examples does the word mean more than play or pluck.  However, they ALL identify older males plucking the harp in order to seduce a young 'minister of the gods' whose hair had been plucked.  For instance, there is non DEFINITION of words but we can see how the words are used. The first meaning is to SHOOT to kill someone.

The Psalms were named after the Psaltery and is a Greek word:  bad choice since the psaltery does not dominate the 'praises.'

"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp. 

NEBUCHADNEZZAR the king made an image of gold, whose height was threescore cubits (60), and the breadth thereof six (6) cubits: he set it up in the plain of Dura (circle), in the province of Babylon. Dan 3:1

That at what time ye hear the sound of the (1) cornet, (2) flute, (3) harp, (4) sackbut, (5) psaltery, (6) dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Dan 3:5

Psal-têrion , to, A.stringed instrument, psaltery, harp, LXX Ge.4.21 [Jubal HANDLED the psaltery meaning WITHOUT AUTHORITY]

The Psalms were historical record or WARRIOR'S PANIC CHANTS. That is why paul EXCLUDED external MELODY.

Psalmus , i, m., = psalmos, i. q. psalma,
I. a psalm (eccl. Lat.; cf.: carmen, hymnus), Vulg. Isa. 38, 20.--Esp., the Psalms of David

Carnen: a song, poem, verse, oracular response, prophecy, form of incantation, tune, air, lay, strain, note, sound

Commentary on Horace, Odes, Epodes, and Carmen Saeculare

Ode XXXII. A song is called for. Oh, my Lesbian lyre, we too have played with junketing and love. Now help me to a Latin strain that shall sound through the ages like the spirit-stirring note thou [p. 227] didst yield 'when the live chords Alcaeus smote.' He sang of war and wine and love. Oh 'sovereign of the willing soul, enchanting shell,' be propitious to me also, if I invoke thee aright. phorminx 1 the phorminx, a kind of lyre or harp, the oldest stringed instrument of the Greeks, esp. as the instrument of Apollo, Hom.; with seven strings (after Terpander's time), Pind. [Commonly referred to pherô, as if it were the portable lyre: better perh. from Root .phrem, Lat. fremo, to sound.]
Hezekiah lolled around the temple singing and plunking while littel Manassah was being trained to burn babies. After his cure he blabbed about all of HIS wealth to the Assyrians:

For the grave cannot praise thee, death can not celebrate thee: they that go down into the pit cannot hope for thy truth. Isa 38:18
        The living, the living,
        he shall praise thee, as I do this day:
        the father to the children shall make known thy truth. Isa 38:19
The Lord was ready to save me: therefore we will sing my songs to the stringed instruments all the days of our life in the house of the Lord. Isa 38:20 [The harp set the pitch for the note: this was not music]

We know that Hezekiah could not go into the holy place typical of the church.

That is why we have to wonder about HARPS in heaven when the angel to the LIVING commanded: "Preach the gospel."
IS THIS SOMETHING YOU WANT TO DO IN CHURCH:
A. psalmoi toxôn E.Ion173 (lyr.);
I forbid you to approach the walls and the golden house. I will reach you with my bow, herald of Zeus, though you conquer [160] with your beak the strength of all other birds. Here comes another, a swan, to the rim of the temple. Move your crimson foot elsewhere! Phoebus' lyre, that sings with you, [165] would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170] Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing bow will keep you off.

 Toxon  Bow implicates  galliambus , i, m. [3. Gallus, II. A.] , I.a song of the priests of Cybele, [Castrated Catamites Paul warned about as DOGS outside so we had better worship IN THE SPIRIT. This is the MARK of elders who were always WOLVES.]

B. toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).

Toxeuo A.shoot with the bow ,tinosat a mark
2. metaph., Erôs e toxeus'  E.Tr.255 ; hê turannis from all sices toxeuetai is aimed at, Id.Fr.850 .

Turannis: despotic riule, obtained by force or fraud, tyrany,
Erôs mostly sexual passion, goddess of love, Aphrodites, [Zoe]
E.Tr.255 ; hê Hecuba What! Phoebus' [Apollyon] virgin-priestess, to whom the god with golden locks granted the gift of maidenhood?
Talthybius[255]  The dart of love has pierced his heart, love for the frenzied maid.
2.  Metaphor Shoot out or send forth a hymn.  Notice that the song does NOT include the LYRE unless noted.
Pindar, Isthmian 2.[1] The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite on her lovely throne. [6] For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore. But as things are now, she bids us heed [10] the saying of the Argive man, which comes closest to actual truth: [11] “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time

Humnos A. hymn, ode, in praise of gods or heroes. Daueid psalms of David. If you wanted to use an INSTRUMENT you had to DEFINE one.  The word Aoide never includes an instrument. Therefore, you cannot ODE and PLAY.

You cannot SING or HYMN and use instruments. That is why Paul places the MELODY which he defines as GRACE in the place of the heart or spirit.

 The HYMNS commanded for the believer consists os the HALLEL PSALMS and does NOT include singing them for entertainment and excludes that which is NOT "that which is written" (Rom 15)
3.  The PLAY or musical idolatry at Mount Sinai included shooting out semen
lu-do B. To play, sport, frisk, frolic, Esp., to play on an instrument of music, to make or compose music or song
 B. To sport, dally, wanton (cf. "amorous play, C. Ludere aliquem or aliquid, to play, mock, imitate, mimic a person or thing,
 F. To make sport or game of a person, to ridicule, rally, banter: 

Rashi on 21:16 AT A DISTANCE. Hebrew:  

SOME BOWSHOTS [AWAY]. Hebrew: kimtachavei keshet. As far as two bowshots, and it is an expression of shooting an arrow. [It is used so] in the language of the Mishnah (Yevamot 90b, Sanhedrin 46a): "who cohabited (hetich) with his wife," because the semen shoots like an arrow.... Yeshayahu 19:17): "And the land of Yehudah will be to Egypt for a breach (lechaga)," and from the [same] root as (Tehillim 107:27): "They reeled (yachogu) and staggered like a drunkard." Similarly (ibid. 65:6): "the ends of (katzvei) the earth," being derived from katzeh (end). 

Psalm 107 showing how Musical Play or idolatry REQUESTED God to remove His grace
Paul commands SPEAK and even the ODE was not lyrical and not metrical. That is because all of the SINGING terms point to enchantment used as MIND CONTROL to cheat others.

Canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.)

2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing, drawl: si cantas, male cantas, si legis, cantas
C. Hence, because the oracles were of old uttered in verse, of any mysterious, prophetic, or warning utterance, to predict, warn, point out, indicate, make known, sayIII. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm,

Mark Henderson: I want to take just a moment to address the “sing means sing” argument. According to the Law of Exclusion, sing is a specific word, so it excludes everything else. If you doctor writes you a prescription for Tylenol 3 with codeine, you don’t have to stand there are at the pharmacy window all day telling them what you don’t want. The prescription is specific, and it excludes everything except Tylenol 3 with codeine. In the same way, God has told us to sing, and that includes things that are necessary to sing, like songbooks, pitch pipes, and so on, but it excludes additions like instruments. Now, the problems with this approach to interpret the Bible are too many to mention, but the most obvious one is that the word “sing” doesn’t function like that in Koine Greek any more than it does in modern English.

But, the command is NOT to sing: The Qahal or church in the wilderness excluded both blowing instruments (the Triumph) and "making a joyful noise before the Lord." The purpose was to REST, read and rehears the Word.  No one missed that at any time in history: "There was no praise service in the synagogue" by LAW and by minimal common sense: you don't sing when you are SPEAKING that which is written with one mind and one mouth (Rom 15).
The word sing is ADO never includes instruments and further defines PSALMOS as "in the form of Hebrew cantillation." Because melody as tunefulness belongs to the 19th century (Britannica) we know that sing was SAY and not make music.  Those who HELD harps in Revelation sang or ADO which never allows instruments.

If Paul wanted to say sing to the harp he would use the word PsalmODIA.  This meant PLAY TO the same note the harp made. No one can hallucinate HARMONY out of either singing or melody.
The direct operative verb is SPEAK one to another.  Both singING and makING are present participles and BOTH are in the HEART or spirit.  The word SPEAK
Ep.5:19 SPEAKING to yourselves in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord;
 Speak..........psalms and hymns and spiritual songs.....  ....to yourselves
SinING and makING melody .........in your HEART..........to God 

The church was to follow Paul who never preached in the sense of extra-Biblical teaching:

Acts 24:12 And they neither found me in the temple disputing with any man, neither raising up the people, neither in the synagogues, nor in the city:

Dialegomai (g1256) dee-al-eg'-om-ahee; mid. from 1223 and 3004; to say thoroughly, i.e. discuss (in argument or exhortation): - dispute, preach (unto), reason (with), speak.

Dialegô , 4.use a dialect or language, Opposite to poetry. 4. after Hom., of Poets, compose, write,

The exhortation Paul did and commanded is Parakaleo (g2870) to call near, that is, invite, invoke (by imploration, hortation or consolation):—beseech, call for, (be of good) comfort, desire, (give) exhort (-ation), intreat, pray.

Paul outlawed disputing or or dialog in Romans 14 before he defined SPEAKING in Romans 15.
Paul exampled and outlawed both PREACHING except for the evangelist and POETRY or music.

Now, a few false preachers want the Spirit to command:

Mark Henderson: Sing to the audience psalms and hymns and spiritual songs.  [free water of the Word: Isa 55]
So they can Sing and PLAY to the audience silly praise songs composed by music minister--and pay him too.

But, he didn't. These are ALL the inspired text so Mark has no intention of even obeying the simple direct command to SPEAK or TEACH or ADMONISH with "that which is written."  You simply CANNOT turn the Text as it has been taught into MUSIC.

Laleo (g2980) lal-eh'-o; a prol. form of an otherwise obsol. verb; to talk, i.e. utter words: - preach, say, speak (after), talk, tell, utter. Comp. 3004.

Logik-os, ( [logos] )
A. of or for speaking or speech, merê l. the organs of speech, Plu.Cor.38: logikê, hê, speech, OPPOSITE to mousikê,  

Lego (g3004) leg'-o; a prim. verb; prop. to "lay" forth, i.e. (fig.) relate (in words [usually of systematic or set discourse

Eph 5: [19] WEB loquentes vobismet ipsis in psalmis et hymnis et canticis spiritalibus cantantes et psallentes in cordibus vestris Domino
Loquor: 1. [Sanscr. lap-, to talk, WHISPER to speak, talk, say (in the lang. of common life, in the tone of conversation;
A. To speak, declare, show, indicate or express clearly

 Sermo
I.a speaking or talking with any one; talk, conversation, discourse. B. In part: 1. Literary conversation, discourse, disputation, discussion
 b. Concr., a talk, speech, discourse more informal and unpretending than oratio):  [Oratio is defined as feminine and as THE primary definition of HYPOCRITE]
 2.Ordinary speech, speaking, talking, the language of conversation (opp. contentio) Of prose as opposed to poetry:
3. With reference to some particular object, common talk respecting any thing, report,  
While doubting that  LaGard has given endorsement to Mark, most people don't know the Old Testament story line.

Mark Henderson: In his book The Cultural Church, F. LaGard Smith includes a chapter entitled “The

10 Deafening Roar of Biblical Silence.” He writes,

“In contrast to the many Old Testament passages referring to musical instruments in temple worship, in the New Testament text not one sound of a musical instrument is heard--not a trumpet, not a harp, not the quietest jingle of a tambourine! Singing, yes. Musical instruments, no. Relative to musical instruments, there is only an ominous, haunting silence.” (p. 199)

That means that when they PSALLOED no instrument was HEARD.  No scholar can deny.

I think that Mark takes the testimony that there is no reference to INSTRUMENTAL WORSHIP in the New Testament as saying JESUS CHRIST was neutral and just had no opinion.

According to this point of view, God is no longer pleased with instrumental worship, or he would have specifically told us so. The fact that he said nothing about it in the New Testament means he doesn’t want us to use it. There are a number of problems with this argument. I’ll mention only two here. The first problem is that this is an argument that never could have been made in the New Testament church because they didn’t have New Testaments.
God knew that it was MUSICAL IDOLATRY which God hated so much that he turned them over to worship the starry host and gave the The Law of Moses to regulate them on their way to Assyrian and Babylonian captivity. 

It IS a fact that Jesus and much of the New Testament radically tossses music and musicians out of the place of prayer which was NEVER a worship center.

When they fired God and demanded a king God knew that meant "so we can worship like the nations" meaning the Egyptians, Babylonians and Canaanites. Remember that God gave abandoned David a Jebusite High Place for this new ABANDONED nationhood.  One of the CURSES was that kings would take a TITHE and their young boys to make instruments and run before his chariots. This was like all oriental potentates.  Some of the examples might be almost 300 years apart. The LOUD was never called music and because it was a NATIONAL, not commanded sacrificial system, they performed exorcism. They served (meaning hard bondage) the priests during the slaughtering and burning of innocent types of Jesus Christ.

The "worship" is defined in terms of SABAZIANISM which was the DIONYSUS worship of wine, women and song always pointing to the PLAY word meaning perversion.

The common people even in the wilderness were commanded to hold Holy Convocation meaning to REST, read and rehearse the Word of God. The loud instruments and rejoicing was OUTLAWED because all instruments spoke of warfare and never worship. As a matter of fact, because the Spirit of Christ spoke through the PROPHETS we know that this musical triumph was prophesied of Judas in Psalm 41. The version in the Dead Sea Scrolls make the musical warfare against messiah absolute.

When the musical minstrels tried to HELP Jesus cast them out LIKE DUNG. That is because to say flute-girl you said prostitute.  He considnged the pipers, singers and dancers to the marketplace where all pagan religionism took place.  He used the PSALLO rope to drive the money changers out of the temple court: there was no place for them except in the marketplace or Agora.

When Peter said save yourselves from this CROOKED generation he was speaking of the musical drinking bouts.  The Spirit of Christ commanded SPEAK by example which is "the opposite of poetry or music." The Spirit inspired John in Revelation 17 to identify the Mother of Harlots and the rhetoricians, singers and musicians and calls the SORCERERS who HAD deceived the whole world. ALL musical terms in the Greek language point to enchantment or sorcery. There are many other places where Jesus REPUDIATED the musicians but most preachers will not catch on when they prove that they do not love the tgruth.

When Jesus preached and as Spirit he guided them into all truth: Peter left a memory and MARKED anyone who would add to it as false teachers.  The word SCRIBE in all of that world meant that professionals would be recording all events of note. They made copies and sold them before going on to the next event.  The Apostles had the NEW TESTAMENT in their minds and Paul used words OUTLAWING music in Romans 15 and the other "singing" passages. 
If this was silence or a DIVINE OVERSIGHT why did it never occur to anyone to see SINGING as part of their psalming for almost 400 yers.

The Old Testament and the culture of decent people was NEVER silent.  No ANTI-instrumentalists need to use the LAW OF SILENCE and it has been the Musicators who use the LAW.  If the text says SPEAK one to another then we have a DIRECT COMMAND and no silence.  If we make the MUSIC in the place of the HEART then no silence. The people never had any doubt until 1878 when the Disciples or NACC invented the word PSALLO to invent something which has not a clue to command it

AGAIN, no SILENCE. Nevertheless, the Bible makes it clear that if you do not speak that which is written it is because there is no truth in you. If the church had honorable preachers they could know that Lucifer as "the singing and harp playing prostitute" brought wind, string and percussions instruments with him/her/it into the garden of Eden.

Mark Henderson: I believe this argument is evidence not only of poor Scripture interpretation but also bad theology. Those who advance this argument are asking us to believe that the Christians in Ephesus and Colosse could have read exhortations to sing psalms and that they would have known to reject the favorable treatment of instrumental worship in the psalms, without any direct teaching in that regard.

They had probably read a parallel statement in chapter 4 as there are many NOT including singing externally. Paul USUALLY defines the EVIL of the World before he always defines TEACHING which cannot be done with music. Fact.

THE EVIL PAUL WARNED THE EPHESIANS ABOUT SO THEY COULD UNDERSTAND "SINGING"
Eph 4:11 And he gave some, apostles; and some, prophets; and some, evangelists; and some, pastors and teachers;
Eph 4:12 For the perfecting of the saints, for the work of the ministry, for the edifying of the body of Christ:
Eph 4:13Till we all come in the unity of the faith, and of the knowledge of the Son of God, unto a perfect man, unto the measure of the stature of the fulness of Christ:

Eph 4:14 That we henceforth be no more children, tossed to and fro, and carried about with every wind of doctrine, by the sleight of men, and cunning craftiness whereby they lie in wait to deceive;

Panourgia (g3834) pan-oorg-ee'-ah; from 3835; adroitness, i.e. (in a bad sense) trickery or sophistry: - (cunning) craftiness, subtilty.

Sophocles, Electra Chorus  Orestes [homosexual]

Pylades, in no way does our task call any longer for many words, but rather demands that we enter the house immediately, after first adoring the shrines of my father's 1375] gods, the keepers of these gates. Orestes and Pylades enter the house, followed by the Paedagogus. Electra remains outside.

Electra

King Apollo! Hear them with favor, and hear me besides, who so often have come before your altar with hands rich in such gifts as I could obtain! And now, O Lycean Apollo, with what means I have 1380] I pray to you, I supplicate you, I implore you, be our ready champion in these designs, and show what rewards the gods bestow on humans in return for their impiety!

Exit Electra, into the house.
1384] Behold how Ares stalks onward, 1385] breathing bloody vengeance that is hard to oppose. Just now have the hunters of wicked crimes passed beneath that roof there, the hounds [Dogs in Paul's warning] which none may flee. And so not long shall 1390] the vision of my soul hang in suspense.

kuôn Harpies, A.R.2.289; of Hecate, in Mithraic worship, Porph.Abst.4.16; of the Bakchai, Lussas k. E.Ba.977 (lyr.);

THE REMEDY TO KEEP THE "DOGS" OUTSIDE OF WORSHIP:

But speaking the truth in love, may grow up into him in all things, which is the head, even Christ: Eph 4:15
From whom the whole body fitly joined together and compacted by that which every joint supplieth,
        according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love. Eph 4:16 This I say therefore, and testify in the Lord, that ye henceforth walk not as other Gentiles walk, in the vanity of their mind, Eph 4:17
Having the understanding darkened, being alienated from the life of God through the ignorance that is in them, because of the blindness of their heart: Eph 4:18

Who being past feeling have given themselves over unto lasciviousness, to work all uncleanness with greediness. Eph 4:19

The use of music always translated to Greed.
Paul repeats the EKKLESIA to teach that which has been taught throughout chapter 4 which the Ephesians PROBABLY read.

There is NO MUSIC word used in connection with the Worship of God in the entire Bible: The Warrior Musicians made NOISE and not music.  All but the elect (believers) will be taken captive: Psallo is a WARFARE and POLLUTING word.  Singing in the ekklesia is regulated only in those churches where it was a pagan disturbance. The PSALLO rope is the MARK to separate ekklesia from Agora or marketplace where pagans worshiped,  singers sang and musicians played. Jesus MARKED the pipers, singers and dancers as belonging to the marketplace.
Col 2:  is parallel to----------->
Col 3:
Col 2:2 That their hearts might be comforted,
being knit together in love,

and unto all riches of the full assurance of understanding, to the acknowledgement of the mystery of God, and of the Father, and of Christ;		 And let the peace of God rule in your hearts,

to the which also ye are called in one body; and be ye thankful. Col 3:15
Col 2:3 In whom are hid all the treasures of wisdom and knowledge.
Col 2:4 And this I say, lest any man should beguile [para logic] you with enticing words.

Col 2:5 For though I be absent in the flesh, yet am I with you in the spirit, joying and beholding your order, [organized dignity] and the stedfastness of your faith in Christ.
 Let the WORD (g3056) of Christ dwell in you richly in all wisdom; [same as Spirit in Eph. 4)
Sophia (g4678) sof-ee'-ah; from 4680; wisdom (higher or lower, worldly or spiritual): - wisdom.
Col 2:6 As ye have therefore received Christ Jesus the Lord,
so walk ye in him:
Col 2:7 Rooted and built up in him, [edified, educated Rom 15]
teaching and admonishing one another in psalms and hymns and spiritual songs, [All "that which is written" or "scripture."]
and stablished in THE FAITH,
as ye have been taught,

G1321 didaskō to teach (in the same broad application):—teach.		 singing with GRACE IN your hearts to the Lord.
Logos : the word SAID by which the inward thought is expressed,
Lego: lay forth, relate in words
[Sing only as boasting, "cared not to make a stand."]
 
Ode (g5603) a chant or "ode" Psalmos  a Heb. cantillation) 
Charis especially the divine influence upon the heart, and its reflection in the life.
abounding therein with thanksgiving. [grateful language to God,]

 Col 2:8 Beware lest any man spoil you through philosophy and vain deceit, after the tradition of men, after the rudiments of the world, and not after Christ		 And whatsoever ye do in word or deed,

do all in the name (authority) of the Lord Jesus, giving thanks to God and the Father by him. Col 3:17

By nature and education they would know that when rhetoricians, singers or musicians came to town they watched their wives and boys and bank account:
<>melpô [melos]
I. to sing of, celebrate with song and dance,  goon

II. also as Dep. melpomai to sing to the lyre or harp, Od.; to dance and sing, as a chorus, meta melpomenêisin en chorôi Il.; melpesthai Arêi to dance a war-dance in honour of Ares, i. e. to fight, id=Il.


Melôid-ia , A.singing, chanting, E.Rh.923, etc. II.chant, choral song, melôidiaspoiêtêsPl.Lg.935e , cf. 812d; lullaby, ib.790e: generally, music, Phld.Mus.p.12 K.
Euripides, Rhesus
Muse

[915]  Many indeed are the wounds, Thamyris, son of Philammon, that you have inflicted on my heart, in your life and in your death. Yes, for it was your pride, your own undoing, and your rivalry with the Muses that made me mother of this poor son of mine. For as I crossed the river's streams [920]  I came too near to Strymon's fruitful couch, that day we Muses came to the brow of Mount Pangaeus with its soil of gold, furnished forth with all our music for one great trial of minstrel skill with that clever Thracian bard; and we blinded him, [925]  Thamyris, the man who often reviled our craft.

The pagan "gods" were like men: they had passions, got mad and cursed you or were made happy and blessed you. The Egyptian gods loved the tears of lamentation, the Greek gods love to dance with the "worship team" the others loved the tambourines, drums and flutes. Apuleius considered any form of music unworthy of the highest God but was the worship "of the nations."

Celsus said that it was well known that "music pertained only to the lowest gods, the demons,

and that the highest divine being had no need of melodies and sounds. And again, Philo claimed that:

One cannot truly offer thanks to God as the vast majority of men do, with external effects, consecrated gifts and sacrifices..., but rather with songs of praise and hymns - not such as the audible voice sings, but such as are raised and re-echoed by the invisible mind. (Philo, De Plantations 126 (II 148 Cohn-Wendland)

Aristotle, Rhetoric" Melody Deceives "for instance "having gone and having conversed with him," or, "having gone, I conversed with him."

Also the practice of Antimachus is useful,
that of describing a thing by the qualities it does not possess;
thus, in speaking of the hill Teumessus, he says,

There is a little windswept hill;

"for in this way amplification may be carried on ad infinitum. This method may be applied to things good and bad, in whichever way it may be useful.

"Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.

  • If it is metrical, it lacks persuasiveness, for it appears artificial,
  • and at the same time it distracts the hearer's attention,
  • since it sets him on the watch for the recurrence of such and such a cadence..
Of the different rhythms the heroic is dignified, but lacking the harmony of ordinary conversation;
        the iambic is the language of the many, wherefore of all meters it is most used in common speech;
        but speech should be dignified and calculated to rouse the hearer.
No decent people attempted to TEACH and ADMONISH with music:These people lived where the AGORA or MARKETPLACE was separated from the EKKLESIA for instruction only. They knew that the singing, dancing, playing music, playing with one another and the pagan "worship centers existed."  In Athens, they knew that the PSALLO rope was used to MARK those who loitered around the worship centers and flesh pots. They also used the PSALLO rope to herd them into the ekklesia as a SCHOOL of the city and state. No rhetoric, singing, music or making out permitted in Jesus model for the CHURCH.  They knew that FLUTE-GIRL meant PROSTITUTE regulated by the man who regulated the DUNG HEAP. The synagogue had long existed in these places as well as forums to "hear new things."  Therefore, THEY were more literate in many ways than preachers

But, missing reading 101, the fact is that Paul commanded SPEAKING to yourselves. In the external sence the ODE defines PSALMOS as in Hebrew cantillation because TEACHING was the driven purpose.  Both the singing and melody were in the PLACE of the heart because both words meant ENCHANTMENT or SORCERY and violated the driven purpose of Jesus to give us REST from these things. 

"Melody as tunefulness belongs to the 19th century." Harmony only slowly developed after about 1250 so "music" consisted mostly of rhythm with a TUNED PERCUSSION instrument.

ALL of the instrumental Psalms speak of HARSH JUDGMENT against the writer's personal enemies. They were NEVER sung in the synagogue and were primarily parade chants or warrior panic songs because David was the KING and the musicians were directed by the COMMANDERS OF THE ARMY.

Mark Henderson:They are asking us to believe that while God commanded and blessed instrumental music for worship in the Old Testament [false: He abandoned them.] and that he used it to communicate an image of worship in heaven, [false: no one plays in Revelation]

that he had a radical change in musical taste for the New Testament era. What he once commanded and received and blessed, he now rejects and may even find disgusting, and the way he communicated that important change to us was by saying nothing about it--the “deafening roar of silence.” [false: only for those without ears]

If you tried to punish your kids for something using that same approach, we would tell you that you are a bad parent, and we would be right. Worse than being an example of bad hermeneutics, I believe this argument is offensive to the character of God.

If you told Jimmy to teach Sally NOT to play in the middle of the road, and Jimmy taught her to dance in the intersection we might have Jimmy committed.

Mark has just made this up because he was mislead by the NACC operatives and NEVER attended a school which taught him the context and story line of Israels FALLS from grace CAUSED by music.

It would be offensive if there was a shred of truth in the statements above.  God will judge parents and preachers who are DEAF as Jesus warned or who just deliberately to TURN OVER a peaceable church to the enemy.  The Bible is VOCAL and Mark has been "manufactured" as a preacher and hired as an attractant: there is no reason to know the facts which I believe Mark lies about 100% of the time to PASS JUDGMENT on others to claim being not judgmental.

Mark Henderson: Very quickly now, let’s draw three Conclusions: based on our survey of instrumental music in the Bible.
First, 1. The Bible does not support the anti-instrument position. I do not believe that any person just honestly reading what the Bible has to say about worship could ever come to the anti-instrument position without one of our people sitting there to teach it to him.

David Faust: God was making known His presence in a very intense and powerfful way. The people not only honored the Lord as they played instruments and sang together, but they did so withh God's full and hearty approval. The Lord didn't just put up with the use of musical instruments; He smiled upon it, and expressed great delight and pleasure in the way His people praised Him through a combination of singing an instrumental accompaniment. Using my "desert island" principle, since I read this in my Old Testament, where I would find any evidence in the New Testament that God now frowns upon using musacal 'instruments as an aid to worship? it seems to me that there's a burden of proof on my non-instrumental friends to show where the New Testament plainly disallows something God so plainly and warmly blessed in the past.

Click for what those on a desert island would understand if they HAD EARS.

Paul came to that conclusion. The historic church came to that position and did not even SING for almost 400 years. All Bible scholars reach that conclusion. All church fathers reached that conclusion. All founders of denominations reached that conclusion. We have listed the huge number of scholars and churches which STILL reach that conclusion. Click Here.

The 1911 Catholic Encyclopedia reached that conclusion. The historic Catholic church NEVER "sang congregationally with instrumental accompaniment." Why is it that EVERYONE but Mark--being coached by church stealers--cannot read that the serpent in the garden was a Musical Enchanter and wholly seduced Eve in a sexual sense if you ask Paul.

I have heard that from David Faust: none of the PRO instrumental nonesense would have come to an honest preacher without careful HANDLING as a dupe. ALL of the historic churches and church fathers and founders of denominations came EXACTLY to that point. Was everyone pre-Mark just ignorant ANTI-instrumentalists.  I say that no one could read beyond sermon outlines and MISSED the universal connection between MUSIC and telling God to SHUT YOUR FACE.

Did we miss the ORGAN that Jubal HANDLED meaning WITHOUT AUTHORITY?

Mark me, and be astonished, and lay your hand upon your mouth Job 21:5 .
Even when I remember I am afraid, and trembling taketh hold on my flesh. Job 21:6 Wherefore do the wicked live, become old, yea, are mighty in power? Job 21:7
Their seed is established in their sight with them, and their offspring before their eyes. Job 21:8
Their houses are safe from fear, neither is the rod of God upon them. Job 21:9
Their bull gendereth, and faileth not; their cow calveth, and casteth not her calf. Job 21:10
They send forth their little ones like a flock, and their children dance. Job 21:11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21:12They spend their days in wealth, and in a moment go down to the grave. Job 21:13

Note the THEREFORE:

Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Job 21:14
What is the Almighty, that we should serve him ? and what profit should we have, if we pray unto him? Job 21:15

 Lo, their good is not in their hand: the counsel of the wicked is far from me. Job 21:16
How oft is the candle of the wicked put out and how oft cometh their destruction upon them! God distributeth sorrows in his anger. Job 21:17

They are as stubble before the wind, and as chaff that the storm carrieth away. Job 21:18

"It (the pipe meaning to love passionately) was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, as we see from Genesis Rabbah 50:

"The angels said to Lot: There are players of the pipe (organ) in the country, hence it ought to be destroyed. Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests. (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

In our fellowship, the anti-instrument position wasn’t developed through the careful reading of Scripture. Like everyone else on the American frontier, our practice was a cappella, and when people started using instruments, we went in search of arguments to defend the practice we already had and to prove that it was the only acceptable way to worship. What we ended up with was a man-made legalism.
A part of many frontier lives would be small instruments and they didn't use them for the same reason many of these SAME people didn't use them in Rich churches in Europe. ALL of the Reformation churches removed Catholic organs and all obeyed the direct command to use the Biblical text.  The Bible was not metrical or singable and long before the Campbells the Psalms were "rewritten" to enable singer or the use of instruments. That argument would have been settled long before the "ignorant frontier people could not afford instruments."

The PRO singing of Psalms was always the practice: the Catholics never "sang congregationally with instrumental accompaniment." All known history defines THAT WHICH IS COMMANDED and for those tempted by pagans RADICALLY outlawed instruments for the church.  The ANTI-instrumental people had nothing to develop because no Methodist, Baptist or Presbyterian even hallucinated the use of machines.  ALL literate scholars repudiated instruments and Mark cannot find a single endorsement even from Calvin or Luther or Spurgeon etal. Click to see the list and why it is dishonest to claim tht the Church of Christ INVENTED the non-instrumental position

The Church of Christ could not envision anyone bringing instruments into the church any more than dirty dancers.  However, the Presbyterians provided most of the BIBLICAL KNOWLEDGE.  You can find them all listed at the above link.

False, the arguments had been made in the Reformation which CAST OUT the instruments and instrumentalists. They returned to SPEAKING the Psalms as commanded. The Psalms were not METRICAL so no one could have hallucianted either SINGING or PLAYING: you could never play a PSALM or chant with an instrument. The Catholics NEVER sang congregationally with instrumental accompaniment. When people wanted a smoother way to SPEAK the Psalms they had to CONVERT them to a metrical form and thus RETRANSLATE them. All of the denominations knew the LIBERTY they had won by getting out of the Anglican or Church of God. Even the church of England TRIED to remove the organs but Queen Elizabeth vetoed it.

When people ADDED instruments because they were rich carpet baggers and got into a competiton to pay for the GRAND church buildings they NEEDED no authority and offered none. Only when caught SECTARIANIZING and deliberately sowing discord did they invent the PSALLO argument which did not stand up with the scholars.

Mark Henderson: The reason we haven’t tried to advance those arguments for a generation at this church is that there was
something inside us that told us those arguments just couldn’t be right.
Our instincts were correct.

Max Lucado got a VISION which I also found on Farmer's Branch White paper filled with all lies. Rick Atchley and the elders heard the SPIRIT tell them. What WAS that something inside? Scholars note that when you use MUSIC the "pretend SPIRIT steal in and they are LYING SPIRITS."

"Mocking the belief that Mellonia introduces herself into the entrails, or Limentinus, and that they set themselves to make known what you seek to learn, Arnobius asks--

May it not happen, may it not come to pass, although you craftily conceal it, that the one should take the other's place, deluding, mocking, deceiving, and presenting the appearance of the deity invoked? If the magi, who are so much akin to soothsayers, relate that, in their incantations, pretend gods steal in frequently instead of those invoked; that some of these, moreover, are spirits of grosser substance, who pretend that they are gods, and delude the ignorant by their lies and deceit." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 479).

Based on all of Marks false statements I have to solemnly warn him that NO ONE hears God but the SON.

No, I think that "evil companions corrupt good manners" and the lust for approval by "saving everyone" opens you up to seduction by a group whose stable of writers also lie 100% of the time about the Bible. Even the president of colleges are Old Testament Illiterate.

There is nothing wrong with a cappella worship, and anyone who tells you that we have some big master plan to become an “instruments only” church is getting his information from a bad source. We don’t have any reason to be interested in doing away with a cappella worship, but we are very explicitly saying that we do not believe and will not be bound by anti-instrument arguments that violate the clear teachings of Scripture and good, biblical theology.

The reason is that Mark has been an active agent of the ecumenical movement but no Baptist or Christian Church would accept him in their fellowship unless he renounced the historical views about baptism.  Too bad that Mark did not learn the Bible basics, church history or the Restoration history which never envisioned a PREACHER but a school of the Bible.

The reason is that the gopher wood argument did not stand up and the theologians did not know the proofs beginning in the Garden of Eden and ending in the prophecy of the Mother of Harlots (Rev 17) using slick speakers, singers and instrument players as SORCERERS (Rev 18). They were ignorant of the church fathers which Rick Atchley etal now lie about.  There is a massive library of ANTI music even outside of church because of the ANXIETY-PRODUCING effect which all literates knew about.  You quit preaching in order to bond with a few other misleaders and get on the LECTURE CIRCUIT with the instrumentalist churches.

Mark Henderson: A second conclusion is that 2. We should never have built our identity on such an issue. As I have read and studied and worked on this issue over the past year or so, it has been very disturbing to take a close look at the anti-instrument arguments that dominated and often defined our fellowship. At the Oklahoma Christian Men’s Retreat last August, one of the speakers was trying to rally those present to do a better job preaching and teaching against instrumental worship. Explaining his passion for the subject, he said, “I believe our fellowship stands or falls based on our position on this issue.”

This writer has heard little in his 76 plus years about instruments and then primarily because turn coats were teaching heresy. However, a child at the time of Jesus or Paul would associate singing with instruments with utter pollution:
Worship Teams: Effeminate or worse.  Why would real males need a law? Part Two for the universal judgement: then and now

Johannes Quasten. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41 He uses many of the church Fathers and Classical resources we also rely upon:

"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit.

He found it significant that, on the whole, only women and effeminate men fell into this folly.

Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did.

Similar opinions may be found in the writings of Philo. On one occasion he spoke of the Jewish "Feast of Fasting," used by the Greeks for the Day of Atonement:

"Now, many a man from the false religions, which are not ashamed of criticising what is noble, will ask: how can there be a feast without carousing and overeating, without the pleasant company of hosts and guests, without quantities of unmixed wine, without richly set tables and highly stacked provisions of everything that pertains to a banquet, without pageantry and jokes,

bantering and merry-making to the accompaniment of flutes and citharas, the sound of drums and cymbals
and other effeminate and frivolous music of every king,

enkindling unbridled lusts with the help of the sense of hearing. For in and through the same [pleasures] those persons openly seek their joy, for what true joy is their they do not know.

Is Mark Henderson gloating about OUR fellowship falling?  Let Mark and the small band of deliberate discorders COUNT UP the number of churches which have gone instrumental. Based on the meetings like Jubilee and the Tulsa effort to steal churches, lots of money has been spent and I would suggest that the only CHANGES have been among those who THOUGHT that they would totally restructure churches of Christ under the guidance of literature and "evangelists" sent out from the NACC.

Adding instruments would be an EASY SELL if 99.999% of the preachers and members did not know the Biblical facts.  If Mark and band who have strained with all of their money and hard labor to CONVERT churches then why is there half a dozen or so out of 13,500?  I can count up several preachers who have ABANDONED the instrumental position.

I have collected a massive library and in one table I have listed known scholars and churches which DO NOT use instruments. MOST of the world's religionists DO NOT use instruments. Americans are afflicted with what musicologists know to be VOODOO derived "sanging and clanging."  Click here for the list of churches and individuals so you are not TAKEN IN.  The first table are versions of The Book of Enoch which proves that Satan used the YOUTH and MUSIC to create the FALL.

And click here for the proven VOODOO connection which is affirmed by John as SORCERY.

Origen Book VI,

XIX I do not indeed, deny that Plato learned from certain Hebrews the words quoted from the Phaedrus, or even, as some have recorded, that he quoted them from a perusal of our prophetic writings, when he said: "No poet here below has ever sung of the super-celestial place, or ever will sing in a becoming manner," and so on. And in the same passage is the following: "For the essence, which is both colourless and formless, and which cannot be touched, which really exists, is the pilot of the soul, and is beheld by the understanding alone; and around it the genus of true knowledge holds this place."

XLI In the next place, as if he had forgotten that it was his object to write against the Christians, he says that,
"having become acquainted with one Dionysius, an Egyptian musician,

        the latter told him, with respect to magic arts,
        that it was only over the uneducated and men of corrupt morals that they had any power,
while on philosophers they were unable to produce any effect,
because they were careful to observe a healthy manner of life."

We noted that the CROOKED GENERATION in Acts 2 were the perverted male symposium.  However, when they wanted to DISCUSS they chased out the flute girl which speaks to Paul's "don't get drunk on wine."

PLATO the Symposium where the crooked males sang crooked songs.
[176e] It was agreed that drinking was not to be the order of the day, but that they were all to drink only so much as they pleased.

Then, said Eryximachus, as you are all agreed that drinking is to be voluntary, and that there is to be no compulsion,

I move, in the next place, that the flute-girl, who has just made her appearance,
be told to go away and play to herself, or, if she likes, to the women who are within.

tên...aulêtrida. It was the fashion at convivia to provide pipers, dancers, jesters, jugglers et hoc genus omne to amuse the guests.
aul-êtris A.flute-girl, 

To-day let us have conversation instead; and, if you will allow me, I will tell you what sort of conversation. This proposal having been accepted

This is EXACTLY what Paul said:
Don't dd SELF PLEASURE but
Speak with ONE MIND and ONE MOUTH that which is written to GLORIFY GOD, educate and KEEP THE PEACE.

Plutarch Symposiacs BOOK VII used by Tom Burgess as proof text for PSALLO among the perverted males.
DIOGENIANUS, A SOPHIST, PHILIP.
At Chaeronea, Diogenianus the Pertamenian being present, we had a long discourse once at an entertainment about music;
and we had a great deal of trouble to hold out against a great bearded sophister of the Stoic sect,
who quoted Plato as blaming a company that admitted flute-girls and were not able to entertain one another with discourse.
And Philip the Prusian, of the same sect, said: Those guests of Agatho, whose discourse was more sweet than the sound of any pipe in the world, were no good authority in this case; for it was no wonder that in their company the flute-girl was not regarded;

These men, having such a pleasant way of discoursing, used these arts and insinuating methods, and graced their entertainment's by such facetious raillery.

But shall we, being mixed with tradesmen and merchants, and some (as it now and then happens) ignorants and rustics,
banish out of our entertainments this ravishing delight, or fly the musicians, as if they were Sirens, as soon as we see them coming?

Clitomachus the wrestler, rising and getting away when any one talked of love, was much wondered at; and should not a philosopher that banisheth music from a feast,

Mark Henderson: Not at this congregation. We should never have built our identity on this issue, and we should never have allowed it to produce division between believers. At this congregation, we will stand or fall based on our commitment to the person, the gospel, and the mission of Jesus Christ, and we will let that be our identity.
Good: because Jesus CAST OUT the musical minstrels LIKE DUNG: he consigned the pipers, singers and dancers to the marketplace where the rest of the pagan religion, selling of prostitutes, young boys and radishes took place.

The only way division could possibly occur is for Mark to deliberately plan to introduce musical instruments.  Now, Mark has produced discord. Mark is self condemned. Why did Mark deliberately do what he rejects when the church could exist for a hundred years without instruments. Not only so, but this is stealing the church house of widows--much worse than the pharisees.

And finally, a fair reading of Scripture teaches us that

3. We are free to worship with or without instruments. We are not limited by the tortured treatment of a Greek verb. We don’t have to live in fear that we will be condemned by God because we misinterpreted his temporary silence.

Mark's instrumental friends first introduced the word PSALLO in 1878: then the scholars they consulted repudiated their distortion. Psallo never had a music sense other than "shoot ing forth hyms" or shooting love arrows which is the UNIVERSAL connection between musical religionism and sexual diversion.
It is for freedom that Christ has set us free, so we should no longer let ourselves be bound by a yoke of slavery. Now that we understand these things, the question becomes, “
All history, Greek definitions concluding with John in Revelation 18 who called the rhetoricians, singers and musicians SORCERERS because those who USE instruments intend to BIND you to themselves anddo mind-altering to make you believe a lie. A musical instrument is "a machine for doing hard work."

What will we do in response?” It seems to me that the first thing we ought to do is to repent and seek forgiveness from God and from others who have been hurt because our legalism drove us to wound them with a condemning, judgmental spirit.

I believe that this false accusation is a sin beyond redemption when Mark is trying to restore LEGALISM which was imposed on Israel BECAUSE of musical idolatry.  I believe that Mark and his team is setting the universal persona of feminine or effeminate theatrical performers which Jesus identified as hypocrites. No doubt, that will attract that type of crowd called a crooked generration.

The second thing the elders have decided is that we will join Richland Hills and others in becoming a both/and church.

No one ever had any doubt because of the long, hidden agenda. There are plenty of instrumental churches around so we think this is an effort, as we noted in the beginning, to prop up a failing system probably caused by the anti-church of Christ patter and the "musical worship team" which is blasphemy.
Those who love a cappella worship will be free to do so here, with joy and with excellence, and those who love instrumental worship will be free to do so here, with joy and with excellence.
As others have conceived to deceive, it will only take a little more "gradualism" until the church is fully instrumental and LEGALISTIC and patternistic of the world's oldest, most vile approach to God.

And the only thing that determines whether God will be pleased or displeased with those forms of worship will be the kind of heart we bring to him when we approach him with our voices and our music. May our worship always spring from fully devoted hearts and lives so that we may know and experience the pleasure of the God who made us.

God will HATE you for deliberately sowing discord and offending tens of thousands of groups which you have pronoucned unspeakable judgment against without knowing whereof you speak.

Jesus said that worship was NOT in places and it had never been in Samaria where Amos repudiates music nor Zion where the TABERNACLE once existed, but in the PLACE of the SPIRIT as it is devoted to the spirit OF Truth.

Paul said that they now worshipped IN the spirit as opposted to IN THE FLESH. The reason was that OUTSIDE were the concision and DOGS or Cynics identified by their "old style praise singing" used to attract mates for the night.

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Counter added 6.30.07  Rough notes 


3.28.09 2200