Based on Arndt-Gingrich: History shows that
Psallo in the Greek of the New Testament
does not
include instrumental
music as worship. I have had the following question and I apologize
for the technical explanation. This is my updated online edition. I
submit it for your consideration and I am not into "cans" and
"can'ts" but into the love for the truth. You should be aware that
none of the words used by God's people ever spoke of the arousal
singing with instruments which MARKED the perverted religionism of
the pagans.
Psalmus , i, m., =
psalmos, i. q. psalma,
I. a psalm (eccl.
Lat.; cf.: carmen,
hymnus), Tert. adv.
Prax. 11 ; Lact. 4, 8, 14; 4, 12, 7; Vulg. Isa. 38, 20.--Esp., the Psalms of David, Vulg. Luc. 20, 42; id. Act. 13, 33 et saep.
Canto I. Neutr., to produce melodious sounds (by the voice
or an instrument), to sound, sing, play (class. in prose and poetry;
rare in Cic.)
2. Of the singing pronunciation of
an orator, to declaim
in a singing tone, to sing, drawl:
si cantas,
male cantas, si legis, cantas
C. Hence, because the oracles
were of old uttered in
verse, of any
mysterious, prophetic, or warning
utterance, to predict, warn, point out, indicate, make known,
say
III. In the lang. of
religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm,
The question is: "Doesn't
Arndt-Gingrich include instruments based on Psallo?" The easy answer
is that no translation I know of includes the name of a mechanical
instrument. That should
satisfy anyone who has not graduated beyond the Word "as it has been
taught." Throughout the Bible, when an instrument is included with
psallo or melody it is clearly identified:
Take thou away from
me the noise
of thy songs;
for I will not hear the melody
of thy viols.
Am.5:23
Take an harp, go about the city,
..........thou harlot
that hast been forgotten;
..........make sweet melody, sing
many songs,
.......... that thou mayest be remembered. Isaiah
23:16
We will let the "doctors of the
law" argue the case and then look at some of the evidence arguing
against the use of "melody" as a way to "worship." We will look at
the Bible and other ancient writings including the Dead Sea Scrolls
to skip over modern lexicons which are too often one man's opinion.
As for the use of psallo to justify the previous decision to add
instrumental music:
Lipscomb wrote as late as 1878 that:
We do not think
anyone has ever claimed authority from Scriptures to use
the organ in worship.
They only claim it is not condemned. It is used as an assister in
worship...Prayer, praise, thanksgiving and making melody in the heart
(mind) unto the Lord are acts of worship ordained of God, but no
authority do we find for the organ."
Even in Arndt-Gingrich a
word is usually interpreted by how it is used in context.
One may Psallo (verb) a Psalmos
(noun) with a musical instrument or chant it with the voice as
poetry. Individuals chanted psalms with occasional strokes of a lyre
or harp for emphasis. There was never any 'overlaying' of the
instrument on top of the music at this date.
There is no "congregational
singing with instrumental accompaniment in the Old Testament." All of
the ancient instruments produced single tones like the human voice
which means that "melody" has no relationship to modern "harmony." On
the other hand, temple instruments were to make "one great crashing
sound" and had nothing to do with music. Psalm 150 loses its punch
when we understand that not all of these were allowed in the civil
worship in the temple and there is no command, example or inference
that the Hebrew "congregation" ever worshiped with music. To the
contrary we have testimony that they were excluded "outside" the camp
or gates.
Even if we ignore the statement
that Psallo exculded instruments in 'polite society,' a song in the
most liberal definition is the Greek
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.(5603 = a
Hebrew cantillation or metrical composition.)
To say that a Biblical text is
a "song" does not demand that it be set to music. In fact, then and
now, children often learn best when the resource to be learned is put
in a metrical form.
"Music, like the
word, also may have symbolic meaning.
The basic elements out of which musical symbolism is built are
sounds,
tones, melodies, harmonies,
and the various musical instruments,
- among which is the
human voice.
Sound effects can have a
numinous (spiritual) character and may be used to bring about contact with the realm of
the holy. A specific
tone may call one to an awareness of the holy, make the holy present,
and produce an experience of the holy. This may be done by means of drums,
gongs, bells, or other instruments. The ritual instruments can,
through their shape
or the materials from which they are made, have symbolic meaning. The
Uitoto in Colombia, for example,
believe that all
the souls
of their ancestors (gods) are contained in the ritual drums. (See
liturgical music BM members.)
And so did the ancient pagans
from whom Israel borrowed liturgical music for the temple-state after
they "fired" God and demanded a king like the nations so that they
could worship like the nations. Click for
More
A speech cannot be set to
music: a poem can. It is written in "measured out phrases or meter"
so that it can be sung with the voice or instrument. The most literal
interpretation does not demand instruments but says that psalms
are of a
type which can be
musical. Paul defined the "accompaniment" as the voice and human
heart.
As his authority he had most of
the Psalms, the religious writings of the Jews and the Dead See
literature. In marking the difference between secular singing and
religious "speaking" he had the Classical literature. verifying
Paul's demand for vocal speaking of the inspired Word. We have all of
the "church Fathers" and theologians up to and including today all
agreeing that music was rejected by the church because it had never
been used for the Jewish "congregation" but only by the temple-state
then in the hands of the Saducees and the paganism out of which a few
of the churches had just recently extricated themselves.
Lexicons Claiming that
Psallo Includes Instruments
Arndt and
Gingrich? I am not an
expert on Lexicon revisions. However, in a: Letter to James D. Bales
of Harding University, September 22, 1959, from Constantine Cavarnos,
of the Institute for Byzantine and Modern Greek Studies, 113 Gilbert
Road, Belmont 78, Massachusetts we read: (Bales = Instrumental Music
and New Testament Worship, James D. Bales)
"In Paul's time
psallo did
not have an implication
of the use of muisical instruments. 'And in the writings of the
Greek Fathers
it most certainly never has such an implicaton. It is interesting to
compare the word psallo with the word pneuma.
Originally, the word pneuma meant wind, air. But later it came to mean spirit; and this is the meaning it has in the
New Testament and in the
writings of the Greek Fathers." (Bales, p. 132)
"Your letter to the St. Anthony
Guild concerning the Greek word psallo has been referred to me, an
editor of the new English Catholic version of the Old Testament. You
ask the question: 'Does the use of mechanical instruments of
music
inhere in the Greek
word Psallo as used in the New Testament?' The answer is
no. The meaning of this word in the New
Testament usage is simply 'I sing a sacred hymn in honor of God."'
(Letter to Dr. James D. Bales from Father Stephen Hartdegen, C.P.M.,
Holy Name College, Franciscan House of Studies, 14th & Shepherd
Streets, NE, Washington 17, DC) (Quoted in part by Bales, p.
132)
Arndt and Gingrich on Psallo:
"Adds sing/praise James.5:13, M-M."
"Continually I
stand amazed at the scholarship in the Arndt-Gingrich lexicon. It is
my understanding that under the direction of Dr. Gingrich you are now
revising that lexicon. On the word psallo, since Thayer, Green, Abbott-Smith, etc., limit the New Testament meaning to sing
praises, I would
appreciate the reasoning that brought Doctors Arndt and Gingrich to
insert "to the accompaniment of the harp" in relationship to Romans
15:19; Ephesians 5:19; and 1 Corinthians 14:15. Further, why is the
phrase excluded in relationship to James 5:13. (Hugo McCord to Dr.
Frederick W. Danker)
Response: The Source for Arndt and Gingrich did not make the
mistake
"It was so kind of
you to take the time to make your inquiry regarding the word psallo.
I see by comparison with Bauer's
first edition that the editors of Arndt and Gingrich have incorporated the obvious Old
Testament meaning into
the metaphorical usage
of the New Testament.
"Bauer did not make this mistake, and we will be sure to
correct it in the revision. I doubt whether the archaeologists can
establish the use of the harp in early Christian services." (Bales,
114)
Psallo speaks of twanging a
literal arrow to kill an individual by hitting their heart. That is
the primary, foundation meaning of the word. If one does not accept
the metaphorical meaning then one is bound to go back to the
beginning and imitate Apollo and others by having a literal war
between a harpist and flutest. The looser got skinned alive by the
winner.
The Modern Arndt Gingrich
Arndt and
Gingrich define psallo
as 'in our lit., in accordance with OT
usage, sing (to the accompaniment of a harp), sing
praise...sing praise in
spiritual ecstasy and in full possession of one's mental
faculties." (Bales, p.
114)
When the new edition did not
make the changes, Gingrich "thought that the comment makes valuable
contributory information and he prefers
to leave this expression." (Hugo McCord quoted by Bales, p.
115).
"In other words,
Gingrich admitted that the harp no more inheres in psallo than it
does in the English word sing. Furthermore, the phrase, which was in parenthesis, was not included in their translation of
psallo in James 5:13)
"Gingrich told J. W. Roberts in
a conversation in St. Louis that the insertion was his private opinion. McCord announced that the change would be made but
it was not." (Bales, p. 115)
George P. Estes who knew the
late Dr. Arndt said,
"told me personally that
the work in many ways fell short of Bauer's lexicon. In Bauer's work
are the following words about psallo:
'to extol by singing
praises, to sing praises."
Burgess on page
45:
C. Another interesting feature
concerning the thoughts of Arndt & Gringich the meaning of these
words is represented for us in Ex ample 17. This is a letter I
received from F. W. Gingrich. It is in answer to my question: "It has
been claimed by some that the Greek word psallo and the corresponding
noun psalmos, in their evolution had entirely lost the meaning of instrumental
accompaniment in the
New Testament times. Is this true?"
Bales
notes:
"The letter which
Burgess received from Gingrich did not prove that the instrument inheres in psallo. He said: "It is true that by N.T.
times the emphasis had
shifted to 'sing,' with or without instrumental
accompaniment."
"In our translation
of Bauer's lexicon, Dr. Arndt and I gave the meaning as
'sing' "to the accompaniment of a harp";
meaning that the singing could
be with
our without
accompaniment. It seems to me that you cannot exclude the possibility of accompaniment in the New Testament passages..."
(Bales, p. 116)
Burgess after listing a
hand-written letter ending: 'I must say that I regard the controversy
over this matter as unimportant.
Dr Gingrich notes a definite
shifting of the emphasis. BUT THIS SHIFT DID NOT GO SO FAR AS TO EXCLUDE
INSTRUMENTAL ACCOMPANIMENT. Instrumental accompaniment is still sustained in
the definition of the words! This, Dr. Gingrich points out, should be
clear from the fact that it was still used that way in the
Second Century A,
D., by Lucian. We will make reference to this man in the same
chapter that we deal with Josephus. p. 46
For Christians the question is
do instruments INHERE in Psallo? The answer is no. None of the
"melody" words include instruments unless those instruments are
NAMES.
But we note that Lucian wrote
in Attic Greek as did all professional observers and scribes who
wrote for the upper, ruling classes. Lucian said profoundly: "You
cannot play the flute without a flute." And equally as profound as
"you cannot ride a horse without a horse." You could not perform
LYRIC poetry without a lyre but we are warned that moving from SAYING
or in Paul's terms SPEAKING to "singing" with music MARKED or
developed into distinctly homosexual excitement.
The inclusion or exclusion is
based upon how it is used in a sentence. See
Psallo.
Gingrich could still write that
a Psalm can be sung with an instrument as indeed people do. This is
not, however, what Jesus practiced and Paul commanded and most
churches practiced for 1850 years.
Lexicons Opposing Psallo as
Including Instruments
"Moulton and Milligan defined psallo as 'properly play on a harp,' but in
the NT, as in Jas. 5:13 'sing a hymn'. .
This process
continued until psallo in Modern Greek means 'sing' exclusively .
.with no reference to instrumental accompaniment . . . Moulton and
Milligan: "Psallo, 'play on a harp,' but in the NT, as in Jas-5:13 =
"sing a hymn."
Thayer: a. To pluck off, pull out: the hair.
b. To cause to vibrate by touching, to twang; spec. to touch or
strike the chord, to touch the strings of a musical instrument, to
play the harp, etc.; Sept. for zamar and much oftener for nagan; to
sing to the music of the harp.
In the N.T. to
sing a hymn, to celebrate the praise of God in song, Jas.5:13;
Eph.5:13; Rom.15:9; 1 Cor.14:15 .
CONEYBEARE AND
HOWSON: "Throughout the
whole passage there is a contrast implied between the Heathen and the
Christian practice, q.d. When you meet, let your enjoyment consist,
not in fulness of wine, but fulness of the Spirit; let your songs be,
not the drinking-songs of heathen feasts, but psalms and hymns; and
their accompaniment, not the music of the lyre, but the melody of the
heart; while you sing them to the praise not of Bacchus (Dionysus) or
Venus, but of the Lord Jesus Christ." (P.775, n. 5.)
"Ephesians 5:19
enjoins: (1) Speaking TO ONE ANOTHER in psalms and hymns and
spiritual songs; (2) singing (adontes) and making melody (psallontes,
psalming) with your heart TO THE LORD. (One is done with voice and
lips, the other with the heart.)
PSALLO: From psao, to rub, to
wipe; to handle, to touch (Thayer): Liddell and Scott.- I. To touch
sharply, to pluck, pull. twitch; to twang the bow-string; to send a
shaft twanging from the bow; so, schoinos miltophures psallomene a
carpenter's red line, which is twitched and then let suddenly go, so
as to leave a mark. II.
To play a stringed instrument
with the fingers, not with the plectron.
- Later, to sing to the harp,
- sing,
N.T.
My Vine's says "Melody": "PSALLO (psallo),
primarily to twitch, twang, then, to play a stringed instrument with
the fingers, and hence, in the Sept., to sing to a harp, sing
praises, denotes, in the
N.T. to sing a hymn, sing praise."
Additional Resource Material
Not used by Arndt and Gingrich on Psallo
First, we should not that Paul
uses the word psallo for melody and defines it as being in the heart.
Second, he disparages
mechanical devices by comparing speaking in tongues to the lack of
speaking ability of a war trumpet or the brass gong which was used in
the pagan temples.
Third, he uses the terms
"lifeless instruments" and "carnal weapons" where the equivalent
Hebrew is often used to describe musical instruments.
Fourth, scholars are in large
agreement that a psalm does not include instruments any more than a
song demands instruments. If you said that you "went to hear Willie
Nelson sing" but then heard him "play" and use this as Biblical
authority for instruments then you surely lack precision.
Finally, we can look at much
more ancient testimony which was then or probably now available to
the book publishers.
Melody in the Old Testament
In the Old Testament, the rule
was that when
instruments were included, you defined the instrument upon which the
melody was made: "sing
and make melody with
the harp." Some examples of melody are:
Isaiah 51:3 prophesies of "the
voice of melody" but the NIV, RSV and the LIV translate this "melody"
as "the sound of singing." Melody is also used of the religious
festivals of Israel where music and temple prostitution went hand in
hand:
- Take thou away from me the
noise of thy songs; for I will not hear
- the melody of thy viols. Amos 5:23
Melody with instruments was
connected to idolatry, ritual prostitution and was dominated by the
women in Israel.
As a living personification of
Lucifer (female), the king of Tyre (male) the harps were to remind
everyone that the king was really a male:
And it shall come
to pass in that day, that Tyre shall be forgotten seventy years,
according to the days of one king: after the end of seventy years
shall Tyre sing as an
harlot. Isaiah 23:15
Take an
harp, go about the
city, thou harlot
that hast been forgotten;
.......... make sweet melody,
.......... sing many songs,
.......... that thou mayest be remembered (as a
male). Isaiah 23:16
Now, you might say that this is
a 'direct command' but you wouldn't want to use it 'in
church.'
Again, melody with
instruments was connected to commercial - religious
prostitution.
Tyre used the musical women to
steal even Hebrews as slaves and pick the pocket of buyers from
around the world. Click
for Wen Amun
What we understand is that
singing a
song and
making a
melody were not the
same thing.
Take a
psalm, and bring hither the timbrel, the pleasant harp
with the psaltery. Psalm 81:2
In hope that God would destroy
all of the enemies, the Psalmist was ready to celebrate:
- Sing (Melody) unto the Lord
with the harp;
- with the harp,
- and the voice of a psalm. Psalm
98:5
-
- Let the floods clap their
hands:
- let the hills be joyful
together. Psalm 98:8
This is clearly symbolic and
does not describe a worship service however the instrument is
included by specific name.
Sing here
is: hohenwald youth,
lewis county, instrumental music,
Zamar
(h2167) zaw-mar'; a prim. root [perh. ident. with 2168 (meaning to
prune a vine) through the idea of striking with the fingers]; prop.
to touch the
strings or
parts of a musical instrument, i. e. play upon it; to make music,
accompanied by the
voice; hence to
celebrate in song and music: - give praise, sing forth praises,
psalms.
The idea of Zamar is to (1)
play a musical instrument which is (2) accompanied by the voice. Paul
will reverse the process in spiritual worship. Speaking is the action
and the melody is in the heart. In both cases the "instrument" is
named and we are not left with "silence" to be filled in with a
modern revelation.
A psalm is: hohenwald youth, lewis county,
instrumental music,
Zimrah
(h2172) zim-raw'; from 2167; a musical piece or song to be
accompanied by an instrument: - melody, psalm.
The psalmist's "lexicon" shows
that singing or zamar
may be accompanied by an instrument it is in metrical or poetic form
rather than prose. Singing may or may not be accompanied by an
instrument.
- Playing a harp is one
thing.
- Making melody with a psalm
is another
God said that as they treated
Him, they would treat Ezekiel - like an instrument-playing
prostitute:
And, lo, thou art
unto them as a very
.......... lovely [rotic] song of one that hath a
pleasant voice,
.......... and can play well on an instrument:
for they hear thy
words, but they do them not. Ezekiel 33:32
Nagan (h5059) to play on a stringed
instrument; hence (gen.) to make music: - player on instruments, sing
to the stringed instruments, melody,
ministrel, play (-er, -ing..
These are "amorous love
songs" and playing on the instrument. This was a sign that people
treated God and Ezekiel as a prostitute.
The Testimony of the
Psalms
- Sing (zamar) unto the Lord
- with the harp;
- with the harp, and
- the voice of a psalm (Zimrah). Psalm 98:5
If the harp was inherent in the
word PSALM then this passage would be very redundant. It would read
about like Ephesians 5:19 if you make both psalm and psallo include
an instrument:
Sing (with a
harp) unto the Lord
with the harp; with the harp, and the voice of a psalm (sung to a harp). Psalm 98:5
If the harp was inherent in the
word "psalm" then the Psalmist could have saved space by just
writing:
sing a psalm
If Paul meant sing to the
accompaniment of an instrument then the same Spirit of Christ who
inspired the Old Testament would have had him write:
sing a psalm and
make melody on a harp.
To say otherwise is to accuse
Christ the Spirit of being less precise than Arndt-Gingrich!
In the following table Sing is
Zamar or Shir,
Praise is Yadah.
, psallo,
There is no "melody" because
melody is usually reserved for Lucifer's agents or
prostitutes.
When an
instrument is involved it is named. The singers would be seen only in
a procession so that the enemy can "see God coming and going." The
heading "To the Chief Musician" was not part of the original poem.
"The enigmatic
musical superscriptions... to the psalms constitutes a real musical
terminology, which, however, is almost unintelligible... either the
original meaning of these musical terms was then generally forgotten,
or, on account of the continuous tradition of the temple, it was
still understood, but as a secret
closely guarded by the priestly class." (International Dictionary of
the Bible, p. 459, Abingdon).
"Even the loftiest psalm, a
truly spiritual creation of music or literature, served a more or
less definable
purpose. The functions
of music were: merrymaking, dance,
minstrelsy, lament,
accompaniment of exalted prophetic utterances, mnemonics, magic,
theurgy, working songs, military signals and calls, and, of course the liturgical
chant of the temple and synagogue."
(Interpreters Dictionary of the Bible, p. 461, Abingdon).
A typical vengeance song
is: , psallo,
Let them praise his
name in the dance: let them sing praises unto him with the timbrel
and harp. Psalm 149:3
Let the high praises of God be in their mouth, and a twoedged sword
in their hand; Psalm 149:6
To execute vengeance upon the heathen, and punishments upon the
people; Psalm 149:7
We are left with promoting
songs of vengeance where literal instruments were to panic the enemy
before you killed him or this is figurative language. God is evil or
God speaks in "parables from the foundation of the worldj" (Matthew
13).
Augustine understood the difference between the Old and New
Testament and understood that in "spiritual" worship the Psalms must
be allegorized or Christianity is a failed system.
None of these psalms were
composed for "congregational worship" but for personal praise. Many
of the instruments were not permitted in the temple but were used in
processionals on the long roads up to Jerusalem.
There are only a few Psalms
which mention an instrument at all. These are called PARADE HYMNS or
the Warrior's Panic Songs intended to panic the enemy by boasting
about God and making a loud noise called the alarm.
If we remove psalms composed as
poems and later
sung with instruments and used for secular and even superstitious
reasons; or remove songs of personal despair, we are left almost
totally with psalms which were sung with no indication of the use of instruments. The church Fathers wrote
extensively upon the allegorical use of the harp to represent the
human heart and voice as Paul prescribes. For instance, Job makes a
distinction between those who sing and dance and refuse to listen to
the Word of God and himself:
They
sing to the music of tambourine and harp; they make merry to the sound of the flute. Job 21:12
My harp is tuned to mourning, and my
flute to the sound of wailing. Job
30:31
The blue text below indicates psalms which are from a person
seemingly lost and often
calling down God's judgment upon the enemy -- often personal enemies. The
bold
black text shows that
these are redundant. For instance, Psalm 33 includes both the
psaltery and timbrel. The timbrel was not
allowed in the temple.
Other colors indicate a processionals, new moons, symbolic, vengeance, arousal or awakening the harp, fear of
being cast off,
historical
warning,
prophetic.
- Sing Only
|
- Harp(s)
|
- Psaltery
- Instruments
|
- Timbrel(s)Cornet
|
- Trumpet(s)
- Reed
|
- Cymbal
|
Flutes- pipe
|
- Drums-Tabret
None---
|
- Ps.7:17
- Ps.9:2
- Ps.9:11
- Ps.13:6
- Ps.18:49
- Ps.21:13
- Ps.27:6
- Ps.30:4
- Ps.30:12
- Ps.51:14
- Ps.59:16
- Ps.59:17
- Ps.61:8
- Ps.65:13
- Ps.66:2
- Ps.66:4
- Ps.67:4
- Ps.68:4
- Ps.68:32
- Ps.75:9
- Ps.92:1
- Ps.95:1
- Ps.96:1
- Ps.101:1
- Ps.104:12
- Ps.104:33
- Ps.105:2
- Ps.106:12
- Ps.135:3
- Ps.138:1
- Ps.138:5
- Ps.145:7
- Ps.146:2
|
- Ps.33:2
- Ps.43:4
- Ps.49:4
- Ps.57:8
- Ps.71:22
- Ps.81:2
- Ps.92:3
- Ps.98:5
- Ps.108:2
- Ps.
137:2
- Ps.147:7
- Ps.149:3
- Ps.150:3
|
- Ps.33:2
- Ps.57:8
- Ps.68:25
- Ps.71:22
- Ps.78:70
- Ps.81:2
- Ps.87:7
- Ps.89:19
- Ps.92:3
- Ps.108:2
- Ps.144:9
- Ps.150:3
|
- Ps.68:25
- Ps.
81.2
- Ps.
98:6
- Ps.
149.3
- Ps.
150.4
|
- Ps. 47.5
- Ps
81.3
- Ps.
98:6
- Ps
150.3
|
Ps. 150.
5
|
Playing the flute was always symbolic
of obscenity.
Play the flute, pollute and prostitute
come from the same Hebrew word.
It is bound up in the hissing or
whistling sound of the serpent in the garden as a symbol of
Babylonian soothsaying and enchanting.
|
Total
- Ps.33:2
- Ps.43:4
- Ps. 47.5
- Ps.49:4
- Ps.57:8
- Ps.68:25
- Ps.71:22
- Ps.78:70
- Ps.81:2
- Ps.87:7
- Ps.89:19
- Ps.92:3
- Ps.98:5
- Ps.108:2
- Ps.
137:2
- Ps.144:9
- Ps.147:7
- Ps.149:3
- Ps.150:3
|
"Some of the psalms express a tribalistic hatred of foreign
powers; even the
beautiful laments of the exiles 'by the waters of Babylon,' for
example, concludes with the assurance that the daughter of Babylon
will be destroyed. 'Happy shall he be, that taketh and dasheth the
little ones against the stones.'
"But in nearly a
third of the collection the 'enemies' whose
death the psalmist so confidently prays for and anticipates are
not
Gentile nations,
but
individual Jews who do not share the religious conviction of the
Hasidim
(Pharisees). In the words of Psalm 58, 'the righteous shall
rejoice when he seeth
the vengeance: he shall
wash his feet in the
blood of the wicked. So
that a man shall say, Verily there is reward for the righteous:
verily he is a God that judgeth in the earth." (Parkes, Henry
Bamford, Gods and Men The Origins of Western Culture, p. 134,
Knopf)
Remember that the Hasidim were the early
Pharisees. Therefore, while denouncing those who reject the
instrumental part and the warrior psalms as being pharisees, the
Psalms actually reflect that which Jesus repudiated although He
chanted or recited the hallel Psalms at Passover which was a HOME
environment and not church.
The Testimony of Psalm
150
It is easy to forget that David
as the King or the other Psalm writers were not the prophets who were
the critics of the priestly and civil governing class of David and other kings. David was not a priest.
Therefore, while some of the psalms speak of private devotion they
are not "direct commands" for either Jewish or Christian worship. Of
the pipe or organ mention in Psalm 150:
"Its (pipe = 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, emphasizes the erotic element which already the Hebrew name suggests."
(Interpreters Dictionary of the Bible, p. 460, Abingdon).
The pipe was invented and
promoted by Jubal and not God.
And his brothers
name was Jubal: he was the father of all such as handle the harp and organ. Genesis 4:21
Handle means to manipulate, capture
to use
without authority (h8610). Job used the pipe to describe the children
who sang, played and danced showing that they didn't want to hear
from God (Job 21). Job also used the organ in a figurative sense of
his mouring and weeping.
Of this harp or kinowr
mentioned also in Psalm 150 and used by the king, Laban understood
that it was really useful for getting the enemy so drunk that he
didn't know which bride he had married. And again, old Laban knew
that he coult "take away knowledge" with a musical going-away
party:
Wherefore didst
thou flee away secretly, and steal away from me; and didst not tell
me, that I might have sent thee away with mirth, and with songs,
with tabret,
and with harp?
Ge.31:27
The prophets as God's spokesmen
against the kings and priests had another view:
And the
harp, and the viol,
the tabret,
and pipe, and wine,
are in their feasts: but they regard not the work of the Lord, neither
consider the operation of his hands. Isa 5:12
Wherefore my bowels shall sound like an
harp for Moab, and mine inward parts for Kir-haresh Isaiah
16:11
Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody,
sing many
songs, that thou mayest
be remembered. Isa 23:16
The mirth of tabrets ceaseth, the noise of them that
rejoice endeth, the joy of the harp ceaseth. Isa 24:8
And in every place where the
grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps:
and in battles of
shaking will he fight with it. Isa 30:32
And I will cause the
noise of thy songs
to cease; and the sound
of thy harps
shall be no more heard. Eze.26:13
And of the
shofar:
"Only in Ps 150:3
is it (shophar) mentioned with most of the other really musical
instruments. Hence, we must conclude that the function of the shophar
was to make noise&emdash;be it of earthly or of eschatological
character&emdash;but not to make music.
After the
destruction of the temple and the general banishment of all
instrumental music,
the shophar alone survived, just because it was not a musical
instrument." (Interpreters Dictionary of the Bible, p. 473,
Abingdon).
And of the timbrel
(related to Topheth,
the 'king's music grove' and hell itself).
The timbrel "was aa typical women's instrument. It is mentioned
seventimes in the OT; thus it must have been very popular. Although
it occurs in the Psalter and in religious hymns (Exod 15; Jer. 31:4),
it was
not permitted in the temple. Its function in the Bible was
restricted to secular
or religious frolicking, cultic dances, or processions (e. g., II Sam. 6:5; 1I Chr. 13:4; Ps. 68:25). Its
absence in the temple ritual was possible due to the strong female symbolism, which always accompanied the
tambourine, and which made its use so popular at all fertility rites."
(Interpreters Dictionary of the Bible, p. 474, Abingdon).
The Testimony of
Herodotus
, psallo,
Herodotus shows the effeminate connecton and
separates harp-playing and singing. It was requested of Cyrus that
rather than destroy the enemy, just make them into women:
Grant, then,
forgiveness to the Lydians, and to make sure of their never rebelling against
thee, or alarming thee
more, send and forbid them to keep any weapons of war, command them
to wear tunics under their cloaks, and to put buskins upon their
legs,
and make them bring
up their sons to
..........cithern-playing (Kitharizein),
..........singing (psallein), and
.......... huckstering
So wilt
thou soon see
them
become women
instead of men,
and there will be no more fear of their revolting from
thee."
Click for context
Herodotus, and most ancient
writers, associated musical preoccupation with making males helpless
and unable to offer resistance. That is, as the Hebrew chalal means,
it polluted or prostituted people.
Musical melody was important in
the period of Monarchy because it was a period of rejecting God in
favor of a human king.
Like the
nations legalistic
festivals under the Kingdom of Israel where the people demanded to
worship like the nations:
Take thou away from
me the noise of thy
songs; for I will not
hear the melody
of thy viols. Amos 5:23
Spiritual worship in the
Kingdom of Christ:
Speaking to yourselves in psalms and hymns and spiritual
songs,
- singing
- and
- making melody
- in your heart to the Lord; Ephesians 5:19
-
The contrast is
powerful:
|
Take thou away from me
the noise of thy songs
|
Speaking to yourselves in psalms and hymns and
spiritual(God's) songs,
|
|
for I will not
hear the
|
singing (to the
Lord)
|
|
melody of thy viols. Amos 5:23
|
and making
melody in your heart to the Lord; Ephesians 5:19
|
Israel failed because they listened to their own
self-composed "lexicons." If you still need to dig up a human
supporter you can find one defending about anything you wish to
do.
The Testimony of the Dead
Sea Scrolls
The Thanksgiving Hymns (1QH),
Hymn 1 reads in part:
- It is Thou who hast created
breath for the tongue
- and Thou knowest its
words;
- Thou didst establish the
fruit of the lips
- before ever they
were.
- Thou dost set words to
measure
- and the flow of breath
from the lips to metre.
- Thou bringest forth
aounds
- according to their
mysteries,
- and the flow of breath from
the lips
- according to its
reckoning,
- that they may tell of Thy
glory
- and recount Thy
wonders
- in all Thy works of
truth.
Hymn 9, interprets Psalm 41
which was the prophecy that Judas would not triumph over Jesus where
triumph meant "musical rejoicing" (Numbers 10:7). The Classical
testimony and the witness of artifacts shows that the triumphal song
was like that at Mount Sinai: "drunk on wine, playing instruments and
mocking the defeated enemy."
- All who have eaten by
bread
- have lifted their heel against
me,
- and all those joined to my
Council
- have mocked me with
wicked lips...
They have overtaken me in a
narrow
pass 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 hymn 11, Jesus
triumphs in the Spirit
- They enter my heart and
reach into my bones to...
- and to
meditate in sorrowful meditation.
- I will groan with the
zither
of lamentation
- in all grief-stricken
mourning and bitter complaint
- until iniquity and
wickedness are consumed
- and the disease-bringing
scourge is no more.
- Then will I play on the
zither
of deliverance
- and the harp of joy,
- on the tabors of prayer and the pipe of
praise
- without end
-
- Augustine comments on Psalm 41
- The Community Rule (1QS)
reads in part:
-
- And at the beginning of
their weeks
- for the
season of
Jubilee.
- All my life the engraved
Precept shall be on my tongue
- as the
fruit of
praise
- and the
portion of my
lips.
I will sing with
knowledge and all my music
- shall be for the
glory of God.
- (My) lyre (and) my harp
shall sound
- for His holy
order
- and I will tune the
pipe of my
lips
- to His right
measure.
"Such allegorizing passages contain the nucleuses of
the later substance, and perhaps the presage of the future trends
of Christian music. The first three centuries of the church
witnessed many controversies; some of them concerned themselves directly with
music. The most important of these issues were: (a) organized
versus spontaneous praying and singing; (b) scriptural versus
extrascriptural poems; (c) fusion with Hellenistic music; (d)
vocal versus
instrumental music;
(e) the rise of monasticism and its influence upon ecclesiastical
chant." (Interpreter's Dict of the Bible, Music, p.
467).
The Testimony of the
Classics
Philodemus of Gadara (c. 100-28
B.C) wrote against Diogenes of Babylon who taught that the gods were
worshiped with music.
"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 this folly.
..........
Accordingly,
nothing of value could
be attributed to music;
..........
it was no more than a
slave of the sensation of pleasure,
..........
which it satisfied much
the samey way that food and drink did."
..........
(Johannes Quasten,
Music and Worship in Pagan and Christian Antiquity, p. 52)
Jesus would
have read Amos in the Septuagint to say about the same
thing.
In Justin's Dialog
with Trypho the Jew he translates Amos
5&emdash;
Who applaud at the
sound of the musical instruments;
they reckon them as stable, and not as fleeting.
Who drink wine in bowls, and anoint themselves with the chief
ointments,
but they are not grieved for the affliction of Joseph.
Aristotle
Rhetoric1408a]
Employ a connecting
particle or for conciseness omit it, but avoid destroying the
connection; 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"
At this point, it is important
to note that the Psalms were written as poems and only later assigned
a heading to tell how it might be sung to a tune or played to a tune.
All poems, by their nature, are making melody without musical
instruments.
Plato
Georgias: hohenwald
youth, lewis county, instrumental music,
Socrates: Pray then, if we
strip any kind of poetry of its melody,
its rhythm and its meter,
..........
we get mere
speeches as the residue, do we not?
Plato in Laws II makes
it clear that "melody" is something inherent in the poem which, to be legal, has to come from the Muses or the
gods. He condemns those
who mix up instruments with the harmony of the song.
Melody was inherent in poetry
just as it is inherent in the psalmos
Paul demanded that we sing. However, the melody is there all by
itself without an instrument in the Greek world. Keep remembering
that "melody" is not "harmony."
Strabo Geography
10.3.9
But I must now investigate how
it comes about that so
many names have been used of one and the same thing, and the theological element contained
in their history.
Now this is common both to the Greeks and to the barbarians,
to perform their sacred rites in connection with the relaxation of a
festival, these
rites being performed sometimes with religious frenzy, sometimes without it; sometimes with music,
sometimes not; and sometimes in secret, sometimes openly.
And it is in accordance with
the dictates of nature that this should be so, for, in the first
place, the relaxation
draws the mind away
from human occupations and turns the real mind towards that which is
divine; and, secondly, the religious frenzy seems to afford a kind of divine inspiration and to be very like that of the
soothsayer; and, thirdly, the secrecy with which the sacred
rites are concealed induces reverence for the divine,
since it
imitates the nature of
the divine,
which is to
avoid being perceived by our human
senses;
and, fourthly, music, which includes dancing
as well as rhythm
and melody,
at the same time,
by the delight it affords and by its artistic beauty, brings
us in touch with the divine,
and this for the following
reason; 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..
Just like Job, Amos Isaiah and
Ezekiel, Strabo shows the conflict between music which is rejoicing
or celebrating, and doing good to others. Music works because it
takes the mind away.
Jesus commanded doing good to
others; He did not command music or any kind of worship in a
"rejoicing" or charismatic frenzy sense.
The Testimony of the
Hasadim
While Jesus condemned the
Pharisees for not living up to their preaching, it is a fact that the
Pharisees abandoned the
Temple which was under political control of the Roman
ruler and the high
priest who bought his office as highest bidder. The Pharisees moved
the synagogue worship away from the temple and therefore away from
instrumental music:
Historians tend to
explain the disappearance of the Hasideans as a gradual merging with the Pharisees. The
Hasideans may also have had a doctrinal influence on the
Essenes, an early Jewish sect that flourished
in Palestine.
The Pharisees emerged as a
party of
laymen and scribes in
contradistinction to the Sadducees, i.e.,
..........
the party of the
high
priesthood that had
traditionally provided the sole leadership of the Jewish
people
The Pharisees were not
primarily a political party but a society of scholars and pietists. They enjoyed a large popular
following, and in the New Testament they appear as spokesmen for the
majority of the population.
Around 100 BC a long struggle
ensued as the Pharisees tried to democratize the Jewish religion and
remove it from the
control of the Temple priests.
The Pharisees asserted that
God could and should be worshiped even away from the Temple and
outside Jerusalem.
To the Pharisees, worship
consisted not in
bloody sacrifices--the practice of the Temple priests--but in
prayer and in the study of God's law.
Hence the Pharisees fostered the synagogue as an institution of
religious worship, outside
and separate from the Temple. (Britannica Members)
By absolute definition, away from the Temple
and outside of Jerusalem meant that there would be no instrumental
music which was intimately connected to animal sacrifices.
Jesus attended the outer courts of the Temple
in order to preach against it and to turn over the "collection
plates." He prophesied that the Temple would again be taken down
stone by stone. This shows that the Temple and its worship had no
validity.
This passage (1
Cor. 13) cannot be fully understood without some knowledge of the
attitude toward music taken by Pharisaic Jewry. Explicitly stated
here is the primacy of vocal performance over any instrumental music.
Implicit is the contempt of all instrumental music, and the emphatic
disparagement of 'gong' and cymbals, two of the temple's percussion
instruments... Paul, however, denounced their usage on account of
their role in the mystery cults, and thus reflected the views of the
orthodox Pharisees as well as some ideas of Philo's philosophy."
(Interpreter's Dict of the Bible, Music, p. 466).
Jesus did attend the syngogue where there was
no real singing and certainly no instrumental music.
The Testimony and
Verification of Paul
The firstfruits was the
legalistic sacrifice under the law; firstfruits of the lips is the
sacrifice of spiritual worship. This reflects the view of Paul who
"sings" --
Let us
go forth therefore unto him without the camp, bearing his reproach. Hebrews 13:13
For here have we no
continuing city, but we seek one to come. Hebrews 13:14
By him therefore let us offer the sacrifice of praise to God
continually, that is,
the fruit of our
lips, giving thanks to
his name. Hebrews 13:15
But to
do good and to communicate forget not: for with such sacrifices God is well pleased. Hebrews 13:16
The
Pseudepigraphical
Psalms of
Solomon spiritualizes
the instruments as does Paul Click for the document. The Odes of Solomon can be seen by Clicking.
XV.
A Psalm. Of Solomon. With a Song.
- 1 When I was in distress I called upon the name of the
Lord,
- I hoped for the help of
the God of Jacob and was saved;
- 2 For the hope and refuge
of the poor art Thou, O God.
- 3 For who, O God, is strong
except to give thanks unto Thee in truth?
- 4 And wherein is a man
powerful except in giving thanks to Thy name?
- 5 A new psalm with song in
gladness of heart,
- The fruit of the lips with the
- well-tuned
instrument of the tongue,
- The firstfruits of the lips from a pious and righteous heart
The Testimony of
Philo
Philo wrote extensively of a Jewish sect
which was more like the synagogue than the temple. On Husbandry
79-82. He understood the male and female choruses as mind and sense
perception:
For it is right
with both mind
and sense to render hymns and sing blessings to the Godhead without delay, and tunefully
- to strike each of our
instruments,
- that of mind and that of sense perception,
- in thanksgiving and
honor paid to the only Savior.
Philo disparages instrumental in comparison
to vocal music:
All the melodious
sounds produced by wind
and stringed instruments fall as short of the music that comes from nightingales and swans,
as a copy and imitation falls short of an original, or a perishable
species of an imperishable genus. For we cannot compare the music
produced by the human voice with that produced in any other way,
since it has no pre-eminent gift of articulation, for which it is
prized.
And
"And indeed though the
worshippers bring nothing else, in bringing themselves they offer the
best of sacrifices, the full and truly perfect oblation of noble
living, as they honor with hymns and thanksgivings their Benefactor
and Savior, God, sometimes with the organs of speech, sometimes without tongue or
lips,
when within the
soul alone their minds recite the tale or utter the cry of praise.
These one ear only can apprehend, the ear of God." (Everett Ferguson,
A Capella Music, p. 40f)
Philo never mentioned
instruments in worship and supports Paul's statement about the melody
being in the heart and directed to God:
O Lord and Master,
how can one hymn thee? What mouth, what tongue, what else of the
instruments of speech, what mind, soul's dominant part, is equal to
the task?.
Johannes Quasten, Music and
Worship in Pagan andd Christian Antiquity, notes of Philo:
"One cannot truly
offer thanks to God as the vast majority of men do, with external
effects, consecrated gifts and sacrifices..., but rather with songs
of praise and hymns--
not so much as the
audible voice sings, but such as are raised and re-echoed by the
invisible mind."
Philo saw that the high priest had to lay
aside his long flowing robe, set with little bells and colorfully
adorned, when he went
into the holy of holies. This was an indication that one must not worship God with
music and colorful
array; owe should rather pour out to him one's soul's blood and
offere him one's whole spirit as incense. For
if the soul has
opened itself totally in word and deed and is filled with God then
the voices of the senses and all other burdensom and hateful noises
cease..
"According to what has been
said, it can be seen that the doctrine of the 'spiritual sacrifice'
not only repudiated bloody sacrifices but alop rejected music,
particularly instrumental music, as a means of worshipping God.
Although the 'spiritual sacrifice' was originally explained in terms
of hymns of praise to God's goodness and majesty, its logical
development eventually considered singing unsuitalbe for divine
worship." p. 54-55
The 'congregation' never
worshiped "inside the camp" but only the king, clergy and
representatives of the whole nation went into the temple. Then, only
the high priest offered the "act of effective worship." The
congregation, outside, fell on their face while the rituals were
performed inside.
The Testimony of Josephus In
Antiquities 7
Josephus translated 2 Samuel 19:35 by writing:
"But Barzillai was so desirous to live at home, that he entreated him
to excuse him from attendance on him; and said that his age was too
great to enjoy the pleasures of a court, since he was fourscore years
old, and was therefore making provision for his death and burial: so
he desired him to gratify him in this request, and dismiss him;
- for he had no relish of his
meat, or his drink, by reason of his age;
- and that his ears were too
much shut up to hear the sound of pipes,
- or the melody of other musical
instruments,
- such as all those that
live with kings
delight in.
The Testimony of the Church
Fathers
The church Fathers who lived in
connection with or close to the early Church and its language,
uniformly condemn instrumental music in worship and most of it for
social feastivals. None of these writers were tainted by the American
frontier. None of them hated music. None of them could have had a
natural predisposition against music because even infants will dance
to music -- it may be seem that they are back in the womb comforted
by the heartbeat. The Fathers understood the pagan connection with
music and they understood the Bible. It was their conclusion that
Paul did not command "instrumental music" as worship:
"If the casual
reader of patristic
denunciations of musical instruments is struck by their vehemence, the systematic
investigator is surprised by another characteristic: their
uniformity. The attitude of opposition to instruments was virtually
monolithic even though it was shared by men of diverse temperaments
and different regional backgrounds, and even though it extended over
a span of at least two centuries of changing fortunes for the church.
That there were not widespread exceptions to the general position
defies credibility. Accordingly, many musicologists, while
acknowledging the early church music was predominantly vocal have
tried to find evidence that instrumeent s were employed at various
times and places. The result of such attempts has been a history of
misinterpretations and mistranslations (James McKinnon, The meaning
of the Patristic polemic Against Musical Instruments, p. 70 quoted in
Bales p. 138)
I have posted some of the
"Fathers" here. External "melody" is not a pleasant thing in
their minds.
The Testimony of the
Catholic Encyclopedia
is one of the best resources on songs, singing and instruments. It
uniformely sees singing or chanting Biblical Psalms without
instruments as the Biblical ideal and goal.
- Catholic Encyclopedia
Instrumental Music
- Catholic Encyclopedia
Singing
- Catholic Encyclopedia
Congregational Singing
- Catholic Encyclopedia
Ecclesiastical Music No Instruments for the
Pope
- Catholic Encyclopedia
The
Mass - Restoration of Levitical Music
- Musical Minister - Catholic Precentor - First
Heresy
The Testimony of Medical
Science
Some of the Classical writers
and church "Fathers" were aware of and commented on the nature of
instrumental music which is related to "grinding into powder."
External melody includes only stringed instruments. The psallo melody
in the heart is a much
stronger form
of:
Psocho
(g5567) pso'-kho; prol. from the same base as 5567; to triturate,
i.e. (by anal.) to rub out (kernels from husks with the fingers or
hand): - rub. (triturate means to grind to powder. This was the
purpose of external melody. It is what Jesus did when He fed Judas
sop)
Chemists and Musicologists
understand the chemical basis of the "thrill" we experience when we
are "abraded" with modern harmony (which is not related to
melody). It produces
endorphins or a
morphine-like drug which produces a "high." That is why music is so
addictive and destructive to our children. However, the "high" wears
off and we often feel dissapointed on Monday morning. That is why
Jesus put worship in the spirit (mind) devoted to truth (His Word)
and not into that which appeals to the body.
Conclusions: hohenwald youth, lewis county,
instrumental music,
We can take the word of those
seeing "psallo" as including instruments by appealing to
Arndt/Gingrich, really strange translations or the rare Greek scholar
who will allow that a song can be sung with an instrument.
Or we can see that credible
translators rendered psallo without
mechanical instruments but with the human instrument the majority of
scholarship which rejects the psallo argument, the testimony of the
Old Testament where "melody" includes the instrument, the literature
of the time of Christ which made the instruments figurative of "the
human voice and heart," the Dead Seee Scrolls which makes instruments
figurative, the testimony of the church Fathers and the history of
the church forcenturies.
All the while we should
remember that no scholar has a first-century Greek-English or
English-Greek lexicon or dictionary. We all define words by how they
are used in the Bible and in secular literature. We saw from Old
Testament examples that melody with instruments always specifies the
kind of instrument. We also saw that such singing (noise) with
instruments are symbolic of pollution, prostitution or saying "we ill
not listen to the word of God." In the case of David we see the poems
of a shepherd who would not try to soothe the sheep with an orchestra
and four-part harmony.
"One Davidic psalm
that proves this point in Psalm 144. The musician writes, "Blessed be
the LORD my strength, which teacheth my hands to war, and my fingers
to fight..." (Ps. 144:1). The most intense instrumentalist would be
hard-pressed to harmonize this scripture with Matt. 5:44. Jesus
flatly declares,
"But I say unto
you, Love your enemies, bless them that curse you, do good to them
that hate you, and pray for them which despitefully use you, and
persecute you."
"Even more incompatible with
the doctrine of Christ (Mat. 18:1-6) is a psalm of vengeance against
Israel's bitter, political enemy. The psalmist proclaims, "Happy
shall he be, that taketh and dasheth thy little ones against stones"
(Ps. 137:9).
This may have
worked for David the warrior King, but what religious group would
want that in their hymnal? The confusion over the psalms should be
remedied by Paul's repeated writings on the covenants. A sampling
could include Rom. 7:1-7; Gal. 3:10-25; Col. 2:14-17; Heb.
8:6-
13. These and other passages
warn Christians not to rely on the Old Testament to justify their
practices.
"Paul's most concise
clarification if in Gal. 5:4. He writes, "You have become estranged
from Christ, you who attempt to be justified by law; you have fallen
from grace (NKJV)," This pointed scripture also unarms those who
expect God's grace to overlook willful disobedience. by Brett Hickey
Ken
Sublett
Musical Index
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