Praising
Jesus or Mocking Jesus Like Judas
It is a little-known mystery that the Judas bag (he was a thief) was for "carrying the mouthpieces of wind
instruments." Judas
would be classed along with the clergy who "piped" while praising
Jesus but was just mocking Jesus to frighten or panic Him into rising
up like a warrior to go into battle against the Romans. This was the
sicarri (assassin) test of a good leader. The clergy being ignorant
of God's Word, also looked for a literal David to lead them into
battle. Of course, the priests and Levitical Warrior musicians were
prepared, as under the Kingdom period, to lead him to victory by
inducing panic into the enemy and force the unwilling army to walk
into "the valley of death."
The Temple clergy, strange in
all "like the nations temple-states", would try to force Jesus to
dance the Dionysus, choral dance which would mark Him as effeminate.
Science now knows that music creates the "fight or flight" syndrome
and both have a sexual relationship. That's why it feels good -- for
a short time. It didn't work on Jesus. Praising Jesus can only be
done by telling others what He has done in His own words. Otherwise
we are just mocking Jesus by selling "chicken soup for the
flesh."
Jesus was telling us that Judas
was the personification of Satan, and the Jewish clergy had become
much like the prophets of Baal and Asherah trying to blacken the
character of John the Baptist -- Elijah to them. God told Elijah that
His voice was not in the earthquakers or whirlwinders or
firebreathers; He spoke in "the voice of a whispered silence"
according to Karen Armstrong. Even God was willing to dialog and
didn't fall into hysterics when challenged.
The gravest insult they could
hurl at God was to identify Him as the god Dionysus or Bacchus. Only
very strange men ever fell into the "triumphal" dance of Dionysus' musical worship girls. To say,
pagan musician was to say either male or female prostitute.
According to the word WRATH
used by Paul before he restricted the "music" for the assembly or
synagogue, the supernatural sign is that people are self-elevated and
they become buffoons or clowns. When you reject the word
(See
the Core Gospel) God
sends you strong delusions through strong deluders and "you love to
have it so."
Because I have
called, and ye refused; I have stretched out my hand, and no man
regarded; Proverbs 1:24
But ye have
set at nought all my
counsel, and would none
of my reproof: Proverbs 1:25
I also will laugh at your calamity; I will mock when your fear cometh; Proverbs 1:26
Laugh is:
Sachaq (h7832) saw-khak'; a prim. root; to
laugh (in pleasure or detraction); by impl. to play: - deride, have
in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to)
scorn, be in (make) sport.
"The
triumphal hymn of
Moses had
unquestionably a religious character about it; but the employment of
music in religious
services,
though idolatrous, is more distinctly marked
in the festivities which attended the erection of the golden calf."
(Smith's Bible Dictionary, Music, p. 589).
Mock is: Leag (h3932) law-ag'; a prim. root; to deride; by impl.
(as if imitating a
foreigner) to speak
unintelligibly: - have in derision, laugh (to scorn), mock (on),
stammering.
Bruner in The Holy Spirit
says that "church music is low level glossolalia--just speaking in
tongues.
In the Classical literature and
pottery or painting art, the Greek "glosokomon" is described or pictured as the little box or bag
which carried the mouthpieces (perhaps reeds) of the musical
prostitute's flute bag. It is pictured below on the leopord-skin
flute bag to the right. We have retouched this from a photo of a
broken vase.
The Greek-influenced religion
at the time of Jesus would try to triumph over Him in fulfillment of
Psalm 41 that Judas would not triumph over Him. From Numbers 10:7 we
understand that the "alarm" with loud musical rejoicing was also the
word for "triumph." Now, from the Greek World we know from:
Strabo
Geography: [9.3.10] As
for the contests at Delphi, there was one in early times between
citharoedes, who sang a paean in honor of the god; it was instituted by the Delphians.
But after the Crisaean war, in the time of Eurylochus, the
Amphictyons instituted equestrian and gymnastic contests in which the
prize was a crown, and called them Pythian Games.
And to the
citharoedes they added both fluteplayers and citharists who played without singing, who were to render a certain melody which is called the Pythian Nome.
There are five parts of it:
angkrousis, ampeira, katakeleusmos, iambi
and dactyli, and syringes. Now the melody was composed by Timosthenes, the
admiral of the second Ptolemy, who also compiled The Harbours, a work in ten books;
and through this
melody he means to celebrate the contest between Apollo and the dragon,
setting forth the prelude as anakrousis, the first onset of the
contest as ampeira, the contest itself as katakeleusmos,
the triumph following the victory as iambus and
dactylus, the
rhythms being in two measures, one of which,
the dactyl, is
appropriate to hymns of praise, whereas the other,
the iamb, is suited to
reproaches (compare the word "iambize"), and the
expiration of the
dragon as syringes,
since with syringes (pipes)
players imitated the dragon as breathing its last in
hissings.(pipings)
And later, Strabo shows how song and instruments had corrupted simple
speaking because of the influence of the theatrical musicians who
never had much of a reputation:
[14.1.41]
Well-known natives of Magnesia are: Hegesias the orator, who, more than any other, initiated the Asiatic
style, as it is called, whereby he corrupted the established Attic
custom; and Simus the
melic
poet, he too a man who
corrupted the style handed down by the earlier melic poets and
introduced the Simoedia, (loose song) just as that style was corrupted still more by the
Lysioedi and the Magoedi, and by Cleomachus the pugilist, who, having fallen in love with a certain
cinaedus (obscene talker, sodomite) and with a
young female
slave who was kept as a prostitute by the cinaedus,
imitated the style of
dialects and mannerisms
that was in vogue among the cinaedi. Sotades was the first man to
write the talk of the cinaedi; and then Alexander the Aetolian. But
though these two men imitated that talk in mere speech,
Lysis
accompanied it with song; and so did Simus,
who was still earlier than he. As for Anaxenor, the citharoede (sang and played the cithara),
the theatres exalted him, but Antony exalted him all he possibly could, since he even appointed
him exactor of tribute from four cities, giving him a body.guard of soldiers.
Further, his native land
greatly increased his honors, having clad him in purple as consecrated to Zeus Sosipolis,(City-Saviour) as is plainly indicated in his
painted image in the market-place.
And there is also a bronze
statue of him in the
theatre, with the inscription, Surely this is a beautiful thing, to
listen to a
singer such as this man is, like unto the gods in
voice.
The Jews hoped that Jesus would
sing and dance and that John the Baptist wore "soft" clothes -- the
clothes of a catamite, a male prostitute. Even the worshipers of
Dionysus were sincere. They sincerely believed that if they could
force others into a "spiritual feeling" Dionysus would have
triumphed. This would give glory to the invisible Dionysus but the
glory would be accepted (gracefully) for the god by the theatrical
performers for leading you into the presence of God. There is no
greater superstition than that music can lead you into the presence
of God or that God "uses the team to land upon."
Below, the dancer leans on his
oxgoad-like stick because he has been exhilarated by a literal new
wineskin worship. The flute case rests to the right; the little box
or bag, always attached, is the glosokomon or the Judas Bag (the message is that he was a thief
-- getting paid for non-biblical performance). In Corinth, the female
or effeminate performers were uncovered because the final "act of
worship" could not be performed fully clothed. When women performed
they uncovered their hair or head. This is why Paul didn't want any
signs of the pagan form of prophesying (uncovered singing with
instruments and speaking in tongues from the new wineskin). For women
to be "non-sedantary" in the public assembly was, and is, dangerous
because of the minds of men.
There were other available words to describe a purse,
but the Spirit said that Judas had his "glosokomon" with him in which
he could put the money. A glosokomon would not be there without being attached to a flute
case. And it was prophesied that Judas would not "triumph over" Jesus
(Psalm 41:13). This first "triumph" or alarm is described of the two
silver trumpets which could panic the enemy but not used during the
assembly of the congregation (Num 10:7). This psalm describes how the
clergy and secular world would try to influence Jesus by the magical,
enchanting methods learned in Babylon.
This "triumph" (Hebrew 7321)
was to make a great sound with instruments and "make a joyful noise
or shout for joy." God reserved this for alarm signals and to panic
the enemy. He outlawed if for the congregational assembly (Numbers
10:7) because He wanted to speak to them while they "came before Him
in silence and awe."
Did Jesus send Satan and
Judas an early warning message by accusing the clergy with piping to
try to get Him to dance?
This Judas bag is from the
Greek and is used only of Judas:
Glosokomon (g1101) gloce-sok'-om-on; from 1100 (speaking in
tongues) and the base of 2889; prop. a case to keep mouthpieces of
wind-instruments in, i.e. (by extens.) a casket
or (spec.) purse: - bag.
It is made up of
two words:
1. Glossa
(from Strong's g1100) means "speaking in tongues" especially an unacquired one.
2. Kosmos
(g2889) means the "orderly arrangement" or the "adorning" world. this
is derived from (g2864 or Komizo which means "to carry off." The
orderly world involved the "music of the heavenly spheres" taught by
Pythagoras and leared during his educational tour to Babylon
"Yet, through all there was an
overarching harmony. The Greek word cosmos
which we translate by universe originally meant beauty and harmony.
The Pythagoreans discovered mathematical formulae for the
musical
harmonies. They
believed in the harmony
of the sounds produced by the movement of the stars. Therefore, they
spoke of cosmic
harmony of the spheres,
each of which has a different sound, but all together creating a
harmonious sound. If you delete the half-poetic, mythological
elements from such ideas, then you can say that they had a universal,
ecstatic interpretation of reality." (Tillich, Paul, A History of
Christian Thought, Touchstone, p. 333).
In the description of a vase:
In the center the
bearded, wreathed instructor is seated on a high-backed chair playing a chelys (lyre) and singing
with his head thrown back. Four notes, represented by circles, issue
obliquely from his mouth. He wears a himation (draped cloth) or
mantle draped about his lower body and his staff rests against his
chair. His age is further indicated by a sagging breast. Facing him
on the right is an ephebe seated on a diphros (stool),
playing the double
flute. He wears a
bordered mantle which obscures all but his hands and a fillet around
his neck. Above him runs an inscription KALOS, "(he is) beautiful".
At his side a boy or monkey squats on his haunches, wearing a fillet,
bracelets and anklets. Behind him stands another ephebe, closely
draped in himation and awaiting his turn with flute in hand, perhaps having just vacated the chair behind him.
At the extreme right of the composition an ephebe, loosely draped in
a himation, stands holding a staff, listening. On the left behind the
master another youth holding a chelys (lyre)
bends over to feed (?) a panther or cat reclining on a diphros or
stool. A standing ephebe, loosely draped in a himation, waits further
to the left, holding out his flute
in his right hand as if to say that he is ready to perform next. Above him is the vertical inscription
KALOS (retr.), kalos,"(he is) beautiful". Beyond are a seated youth
playing the double
flute and a seated dog.
A spotted
sybene (flute
case) and a
glottokomeion (reed case) hang from the back of the chair while a
purse is suspended from the wall(?) above the seated youth. The two
figures on the left and that on the right wear wreaths; the remainder
wear fillets.
Two komasts, wreathed, walk to
the left, side by side. At center one takes short steps with
knees slightly
bent. Facing left, he
plays the double flute. He is nude
and carries a sybene
(flute-case) on his left shoulder. In it are two spare flutes.
Attached to it by a
thinner cord in a glottokomeion (reed case). Behind him is a bearded man who stoops
forward to lift with both hands a large kotyle which has been sitting on the ground. He wears a
mantle thrown over his shoulders and high boots. Arranged in an arc around the figures is the
inscription EPIKTETOS EGRASPHEN (sic), "Epikitetos made (me)."
Strabo in his
Geography wrote
[10.3.19] Further,
one might also find, in addition to these facts concerning these
genii and their various names, that they were
called,
- not only ministers of
gods,
- but also gods themselves.
For instance, Hesiod says that
five daughters were born to Hecaterus and the daughter of Phoroneus,
from whom sprang the mountain-ranging nymphs (like har-meggido little
hills striving to be mountains), goddesses, and the breed of Satyrs,
- creatures worthless and unfit for work,
- and also the Curetes,
sportive gods, dancers.
And the author of Phoronis
speaks of the
- Curetes as "flute-players" and "Phrygians"; and
- others as
"earth-born" and "wearing brazen shields."
Some call the Corybantes, and
not the Curetes, "Phrygians," but the Curetes "Cretes," and say that
the Cretes were the first people to don brazen armour in Euboea, and that on this account they were also
called "Chalcidians"; (chalc, brazen) still others say that the
Corybantes, who came from Bactriana (some say from among the
Colchians. Also a note: "they occupied Bactriana, and acquired
possession of the best land in Armenia"), were given as
armed ministers to
Rhea by the Titans.
Paul understood that the
musical worship in Corinth involved trying to "triumph over" others to prove that they had the
performance talent which Paul connects with the "trained speakers" of
the Greek theater. The very symbolic but powerful way to denounce
speaking in
tongues was to compare
it to the instruments of warfare or the instruments involved in "body
burning" practiced by the Jews from time to time or by the magical
practices which were learned from the Chaldeans. In chapter 14:2 and
9, he implicates "speaking into the air"
which was a common practice in Corinth and the Greek
world. Click for
more.
The shepherd's stick or
oxgoad was to prop up the drunk dancer-musician: Glosokomon attached to flute case is the Judas Bag
The loud noise (it was not music) during animal
sacrifices was to remind people that they were sinners and had no
right to come before God's presence. Neither clergy nor sacrifices
were included in God's Book of the Covenant of grace. Animal sacrifices were imposed because of
the rejection of Grace at Mount Sinai. There, Israel lapsed back into
the musical worship of Osiris
under the golden calf symbol of Apis. As a result, God gave them the Book of the Law which was not good because it had no
spiritual value. However, the sacrifices completed by the clergy
would keep them out of God's presence and keep them from being
destroyed. Music was a sign of this alienation from God to force them
to fall on their face. In Christ, we can come boldly before the
throne of Grace with only ONE Mediator: Lord Jesus Christ in Whom
dwells full Deity (Col. 2:9)
One could play the harp to
soothe the lambs but to blow the flute or play the harp and direct it
toward God was to pollute Him and treat Him (as they treaded Him in
Jesus) like a musical prostitute (Ezekiel 33:30-35). However, in
pagan worship, praising the god was often done by mocking the
god.
Polluting God with
Music
We assuredly understand that
Christian musicians often have high ideals. However, when the
authority to rule over others with music is assumed from the Bible it
is fair to point out that every Old Testament musical term is derived
from polluting, warfare, prostitution or some other very destructive
idea. It was used by Israel in the Kingdom Period simply because they
had "fired" God as their king and demanded a human king
like the
nations so that they
could worship like the
nations:
You say, "We want
to be like the
nations, like the
peoples of the world, who serve wood and stone." But what you have in
mind will never happen. Ezekiel 20:32
God rescued Israel to protect
His own name because Irael was a stiff-necked people. However, He
predicted that:
If you ever forget
the LORD your God and follow other gods and worship and bow down to
them, I testify against you today that you will surely be destroyed.
Deuteronomy 8:19
Like the
nations the LORD
destroyed before you, so you will be destroyed for not obeying the
LORD your God. Deuteronomy 8:20
They worshiped like the nations
and He did destroy them, their temple and their musical
clergy.
This is true because God is
pure or Holy Spirit and it is not possible to worship a Spirit with
our bodies. This is why Paul said that we must sacrifice our living
bodies upon the altar to be burned up so that we can offer
spiritual or rational worship with out minds.
This is why God put His spirit
into us: so that we can dialog spirit to Spirit. Music, as with
David, was always the message: "I have lost God and don't know how
reach His Spirit."
Literal music is more often a
symbol of God's judgment as in the trumpets in the book of
Revelation. The "song" God sung to Israel in Isaiah 5 is another good
example of turning religious festivals into music and wine
festivals.
A musical team can mock Jesus
by hiding His Word from His people, or a musician can do it with a
"lifeless" or "carnal" instrument. Rather than praising Jesus they
may just praise themselves:
Chalal
(h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e.
(by impl.) to wound, to dissolve; figurative to profane (a person,
place or thing), to break (one's word), to begin (as if by an
"opening wedge"); denom. (from 2485) to play (the flute) defile, break, eat as common things, gather the
grape thereof, take
inheritance, pipe,
player on
instruments,
pollute, (cast as) profane (self),
prostitute, slay (slain), sorrow, stain, wound.
The most common word for praise
in a religious sense was, as in the case of David, the sign that he
thought that he was lost beyond redemption. Attracting the attention
of the gods in like the
nations worship was
common as clearly seen by Jezebel's Asherah and Baal musical
prophets.
Halal
(h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show,
to boast; and thus to be clamorously foolish; to rave;
causat. to celebrate; also to stultify: - (make) boast (self),
celebrate, commend, (deal, make), fool (- ish, -ly), glory, give
[light], feign
self mad , give in marriage, [sing, be worthy of] praise,
rage, renowned, shine.
This does not mean that David
was evil but it does mean that he was alienated from God when He was
permitted to move the ark to Jerusalem and could never return to
Gibeon again to consult with God.
That is what they were doing
"in the days of Noah" when they refused to listen to God's Word. And
that is what the overwhelming majority will be doing when Jesus
comes: pray that we are not listening to a trumpet quartet when the
final triumph is blown.
And from that we have the name
of Lucifer:
Heylel
(h1984) hay-lale'; from
1984 (in the sense of brightness); the morning-star: -
lucifer.
In a painting called Mocking
Jesus you will see how "praising Jesus" was done:
Perhaps the earliest illustration of a recorder as
such is The mocking of
Jesus (after 1315), a
fresco from the Church of Staro Nagoricvino, near Kumanova in
(Yugoslav) Macedonia, painted by the court painters Michael and
Eutychios, in which a musician plays a cylindrical duct-flute (or
shawm), the window / labium
[female sexual
symbol] which is
clearly visible, and at the foot of which there is an open finger
hole for the little finger of the lowermost hand. [the side blown
flute is also symbolic]
Doesn't this painting tell you
what the Macedonians thought about making music to approach Jesus
even in 1315? Were they "Pharisees" or "legalists" or "sectarians"?
No. They were simply devoted to the Word of God and could not imagine
such a thing being called "worship."
The prophecy of all mockers is
like that of the king of Tyre representing Lucifer where music is
often connected with commercial-religious institutions and used to
take away the
inheritance of the
people and attract more seekers or customers:
And it shall come
to pass in that day, that Tyre shall be forgotten seventy years,
according to the days of one king: after the end of seventy years
shall Tyre sing as an
harlot. Isaiah
23:15
Take an harp, go
about the city, thou harlot
that hast been forgotten; make sweet melody, sing many songs, that
thou mayest be remembered. Isaiah 23:16 (Remember means "remember me
as a male")
We know that "theatrical
performance" does not automatically implicate people who sincerely
believe that God wants their talent. However, I believe that the
message in Corinth is that the music-Lucifer-pagan connection was so
strong that he would say, "Don't take the chance?"
The king of Babylon was also,
like Judas, the personification of Lucifer. However, in the end,
Isaiah warned:
Thy pomp (musical triumph) is brought down to the grave, and
the noise
of thy viols:
the worm (maggot) is spread under thee, and the worms cover thee.
Isaiah 14:11
If God really loved to listen
to instruments why would He not say: "In spite of thy instruments
thou hast fallen?" No. It is self-evident that musical performance
must be purely theatrical if it is not considered "magical" or if it
teaches no more truth than the oldest, fatest, ugliest man in the
congregation. God always called it pomp and noise.
The king of Babylon turns out
to be the whore of Babylon in Revelation 18:
And the fruits [the
last dog days] that thy soul lusted
after are departed from thee, and all things which were
dainty and goodly are departed from thee, and
thou shalt find them no more at all. Revelation 18:14
[Dainty
carries the "Lucifer" idea. It means limpid,
sumptuous, bright, clear, gay, radiant, brilliant from
lampo and related to Lamech the father of the children of
music, warfare, cattle collecting away from the hunters and Naamah
the enchantress. The Jewish literature about the time of Christ claim
that Satan taught these children how to seduce men.]
Therefore, for the last time
God will put down the marriage of music, commerce and
religion:
And the voice of
harpers, and musicians, and of pipers,
and trumpeters, shall be heard no more at all in thee; and no
craftsman, of whatsoever craft he be, shall be found any more in
thee; and the sound of a millstone ["grinders" was equivalent to prostitute] shall be heard no more at all in thee;
Revelation 18:22
This has always been recognized
as the end-time religion of the masses. The church will still be a
tiny group "outside of the gates" where God answered the prayers of
the Jews while the clergy was darkness-bound in the temple with
music, where Jesus suffered and died as they musicially tried to
triumph over Him and where we must go if we want to meet him. If we
can paraphrase God, He will save "a tiny drop of juice out of a
rotten grape out of a whole cluster out of a hwole vine out of a
whole vineyard." He built the "vineyard" and the clergy destroyed it
with wine and musical festivals (Isaiah 5).
Jesus outlawed any human
teacher as having authority and said:
Woe unto you,
lawyers for ye have taken away the key of knowledge: ye entered not
in yourselves, and them that were entering in ye hindered. Luke 11:52
Eiserchomai (g1525) ice-er'-khom-ahee; from 1519 and
2064; to enter (lit. or fig.): - * arise, come (in, into), enter in
(-to), go in (through).
Music is the culprit in all
ancient traditions as having the primary purpose of "taking away the
key of knowledge." Indeed, music is popular because it stops rational
thinking and leads us emotionally to accept what we hear without the
ability to critically evaluate it. It is not possible to undergo the
injection of that "spiritual feeling" created by music and be
rationally aware of what the preacher says. That is why you believe
that you have heard a good sermon but cannot tell anyone what you
learned an hour later. Is this deliberate? Me? I want to remain
sober, take notes, flip to the passages and try to listen to the
quiet voice of Jesus. And if error is taught I have Paul's command to
challenge it. (this was always openly in their practice of dialog as
opposed to preaching}.
Because Jesus only accepts
"worship in spirit (mind) and in truth (his word)" we may be
sincerely thinking that we are praising Jesus but may be mocking
Jesus by refusing to listen to His Words and by preventing others
from listening to Him and speaking to Him in prayer. For instance, it
is possible to get that drug high (endorphins) from music and go away
feeling good (until the drug backlash hits) but cannot possibly do
your own communing with God during communion.
Well, it is a fact that
instrumental music has always been attributed to Satan. If we can
hear God we understand that He revealed this fact. Others came to
that conclusion because music had the power to take away the mind and cause people to do that which they
would not otherwise do. The professional prophets (always sexually or
emotionally abnormal) could sell the music as the actual god speaking
to you -- for a price, always for a price.
This is recognized by all
competent scholars:
"In pagan
traditions, musical instruments are invented by gods or demi-gods, such as titans.
In the Bible, credit is assigned to antediluvian patriarchs, for
example, the descendants of Cain in Genesis 4:21. There is no other biblical
tradition about the
invention of musical instruments." (Freedman, David Noel, Bible
Review, Summer 1985, p. 51). Click for
Instruments as Idols
One "pastor" agrees that all
musical instruments were at first "the devil's instruments." However,
God saw how powerful they were and allowed his people to use them to
worship Him. Like, wow!
When the Bible, all ancient
history and all of church history acknowledges the facts about music,
and we do not have a single instance of God saying, "I like that
music" we are walking on spiritual quicksand to create turmoil and
divisive sectarianism in the church by heaping the theatrical
performers on the backs of the paying audience. Many musical churches
finally have to get tough when the theatrical group becomes the tail
that wags the dog.
Jesus is the Master and we are
the disciple. A disciple does not come to "class" and sing, clap,
dance and play instruments to attract the attention of the Professor.
A disciple obeys Jesus removed the burden of Old Testament worship
where "worship" means to bow down and labor. He invites us all
to:
Come unto me all ye
that labor and are heavy laden,
and I will give you rest. Matthew 11:28
The labor which was always the
product of the clergy who demanded to be the mediator between God and
man was:
Phortizo (g5412) for-tid'-zo; from 5414; to load up (prop. as
aa vessel or animal), i.e. (fig.) to overburden with ceremony (or spiritual anxiety): - lade, be heavy laden.
In order to feel good music
must first create anziety in order to create the drug high
(endorphins or morephine-like) which makes you feel good. This
creates spiritual anxiety so that you return over and over to get the
drug high. This is the very definition of legalism. See how music is part of the BURDEN laded to take
people captive (heresy) for their own uses.
However, Jesus -- who fired the
Jewish clergy -- invited us to:
Take my yoke upon
you, and learn
of me; for I am meek and lowly in heart: and ye shall find
rest unto your souls.
Matthew 11:29
Jesus is humiliated, cast down,
of low degree. This was opposite to the self-elevated clergy whom you
could not question. See how Jesus
died to give us REST.
Rest is from the burdens of the
clerg:
Anapausis (g372) an-ap'-ow-sis; from 373; intermission; by
impl. recreation: - rest. (repose, relax, refresh)
To honor the Master Teacher you
go find a humble scholar who has no higher motive than that you learn
something each time which you never knew before. If he spends the
time singing and playing music then you know that he cannot be either
humble or a good teacher of your subject.
Jesus define this as "worship
in spirit and in truth" rather than as "your church house" or "my
church house." And Paul taught it to the churches: "Speak the
revealed words of Christ to one another, the result will be teaching
and admonishing one another and the internal results will be singing
gracefully (melodious) to God who resides in the human Spirit."
Paul informed the superstitious
Athenians that you don't have to fight against God: He is not far
from all of us. Therefore, He does not as did pagan gods, need to be
called to the temple with music.
I am just a reporter but the
world has always had a dim view of theatrical performers telling
those without talent that they
are the musical worship team. I will be happy to answer any
questions, bear any burden, suffer any abuse to get you to sit down
and quietly listen to God because He is already in His Holy Temple --
you.
See how MUSIC is the device of HERESY.
Kenneth Sublett
Grand Inquisitor: Dostoyevsky, Fyodor
More on the Judas Connection
Musical Worship Index
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