David Faust Jesus and Instrumental Music
David Faust denies that Jesus addressed the music issue. That would imply that NEITHER should we. That is true: if the instrumental music issue had NOT been addressed after 1800 years it would not now be an issue in the church which is nothing more than "a school of the Bible." Paul used the "synagogue" word to define the assembly. Instruments and loud rejoicing was outlawed in the Qahal or "church in the wilderness." This was for REST, reading and rehearsing the Word of God. That is what the synagogue did, what Jesus approved, what He defined as His ekklesia, what Paul did on mission, what he defined in the NOT musical passages such as Romans 15, Ephesians 5, Colossians 3 and other places where "singing" is not mentioned because we KNOW that no one did that for another 400 years.
Is this a true statement?
David Faust: 4. In the Gospels, Jesus never directly addressed the instrumental / non-instrumental question one way or the other.
He had a lot to say about the heart of true worship. In the Sermon on the Mount, He unmasked the hypocritical practices of the Pharisees who dishonored God with their outward acts of righteousness. In Mark 7:6-8, He condemned emptyheartless, ritualistic worship, and He
I am sure that if you proof text the temple dedication animal sacrifice which SHUT OFF God's presence, Word and Grace when the loud NOISE (never called music) was made, you might have missed a few of the spoken and acted parables Jesus said was to HIDE the truth from the Jewish clergy who were Cainites or Kenites and therefore "a generation of Vipers." Let's look at a few important VISUAL aids.
1. The Sectarian hypocrites. Jesus and the language identifies musical performers as hypocrites
The Pharisees changed the Law of God so that they could teach their own doctrine so they could justify taking money form the widows. The same people in the Temple took the widows mites and because they did Jesus promised that the temple would be dismantled. We know that most if not all of the Warrior Musicians died and were "burned up" in the place typical of hell.
Jesus identified both Scribes and Pharisees as hypocrites to make the word HYPOCRITE another SECTARIAN division. The hyprocites were the ones who performed prayers (or hymns) or sermons in order to take the food out of the mouth of widows. Jesus points specificially to Isaiah to identify the HYPOCRITES but Ezekiel has a similar definition.
The Isaiah Version Jesus POINTS to:
And the vision of all is become unto you as the words of a book that is sealed, which men deliver to one that is learned, saying, Read this, I pray thee:and he saith, I cannot; for it is sealed:Isaiah 29:11
And the book is delivered to him that is not learned, saying, Read this, I pray thee:and he saith, I am not learned. Isaiah 29:12Therefore, behold, I will proceed to do a marvellous work among this people, even a marvellous work and a wonder:
Wherefore the Lord said, Forasmuch as this people draw near me with their mouth, and with their lips do honour me,
but have removed their heart far from me, and their fear toward me is taught by the precept of men :Isaiah 29:13
for the wisdom of their wise men shall perish,
and the understanding of their prudent men shall be hid. Isaiah 29:14Paul will address this and identify the WISE or Sophists as including musicians which we will notice below. Click to see First Corinthians chapter one Paul will later repudiate the Law of Giving so there is NO FUNDING to reproduce a Kingly-Priestly clas.
The Ezekiel identification of both performing and "audience" hypocrites.
Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Eze 33:30
And they come unto thee as the people cometh,
for with their mouth they shew much love,
........ and they sit before thee as my people,
........ and they hear thy words,
........ but they will not do them:
........ Lord, Lord as amorousness - inordinate love),
........ but their heart goeth after their covetousness. Eze 33:31Indeed, to them you are nothing more than
........ one who sings love songs (minstrel as a prostitute)
........ with a beautiful voice and
........ plays (make melody on) an instrument well,for they hear your words
........ but do not put them into practice. Eze 33:32NIVWhen all this comes true--and it surely will--
........ then they will know that a prophet has been among them." Eze 33:33
That means that performance speakers and musicians are NOTHING: just NOTHING at all.
The definition identifies PERFORMERS and not people who are not perfect
Hupokrinô reply, make answer
2. expound, interpret, explain [outlawed by Peter as private opposition] II. Att., speak in dialogue, hence play a part on the stage, be an actor, kômôidian, of orators and rhetoricians, represent dramatically, use histrionic arts, exaggerate,Rhêtor-ikos , ê, on, oratorical, hê rhêtorikê (sc. technê). These are the craftsmen lumped with the singers, musicians and "grinder" doing merchandise in the house of prayer. Rev. 18:22
Latin canto to produce melodious sound (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.). 2. Of an actor, to represent a part, to act, tragoedias [goat singers],Marcus in Reciting the book, Copyright © 2000 by The Regents of the University of California.
Rhetoric was forever at pains to disentangle itself from
In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting.
There is a persistent association between theatrics, bad rhetoric and effeminacy.
unwanted associations with female deception and histrionic art,
because it was viewed as the art of socially weak women and slaves,
and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups.
THE DIRECT COMMAND IS TO SPEAK which would WEED OUT HYPOCRITES.Marcus/ Cantare does not lose its more dignified association with the prophesying sacerdos (OLD 7c), as used by Horace in Carmina 3.1.4 (virginibus puerisque canto).
Outside the sacred context, however, canto has negative connotations both in regard to school declamations, as noted by Quintilian (I.O. 11.1.56, cantare, quod vitium pervasit), and in regard to public speeches. In fact, according to Quintilian, both school exercises and public speeches are equally susceptible to the flaw of cantare:
(I.O. 11.3.57) But I would rather tolerate any of these faults than the practice which now greatly afflicts all speeches, both in the courts and in the schools, namely chanting; I do not know whether this practice is more useless or more disgusting.
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; A. To speak, declare, show, indicate or express clearly:
Psilos, IV. logos ps. bare language, i. e. prose, opp. to poetry which is clothed in the garb of metre,2. As the Spirit OF Christ, Jesus commanded the Qahal, synagogue or church in the wilderness. They were not to call and certainly not use the ALARM or TRIUMPH OVER. That outlawed loud instruments "and making a joyful noise before the Lord."
When Israel rose up in musical idolatry at Mount Sinai God removed The Book of the Covenant which was based on grace. He gave The Book of the Law to regulate the lawless. He abandoned the national leadership to worship the starry host (Acts 7 etal). He also defined the role of the two silver trumpets in Numbers 10. The Assembly was to be called and conducted in REST to read and rehearse the Word of God in the minds of the tribal elders. At the same time the common people were EXILED from the presence of God in the Tabernacle.
The CHURCH IN THE WILDERNESS was the Qahal or synagogue or ekklesia in the Greek version.
Qahal (h6951) kaw-hawl'; from 6950; assemblage (usually concr.): - assembly, company, congregation, multitude.
"A community, qahal in Hebrew, is a Jewish community of any size. The qahal was a well established concept and was called an ekklesia in the Nazarean Codicil. In English we translate the Greek ekklesia as church. So, whenever we see the word church in our Nazarean Codicil's, we should have in mind the concept of a qahal, a community or congregation.
The Septuagint uses the word Ecclesia seventy times when it translates the Hebrew word: kve (qahal could also be spelled Cahal), from which we get our English word call. It means to call together, to assemble, or gather together.
The synagogue serves the same purpose for a community that the Temple served for the nation. (Greg Killian)
From this midrash we learn that the study and application of the scriptures and the oral law, are the work that a group of people put in to establish a qahal. However, without a structure to impart this wisdom, the qahal will not prosper. The structure that establishes and prospers a qahal is the synagogue.
The assembly or church was for instruction and not for "worship." The synagogue always existed for the "people's congregation." The temple was a NATIONAL temple and therefore given over to "worship like the nations." God had abandoned the Jews to worship the starry host because of their musical idolatry at Mount Sinai.
The Jewish clergy as "musical children" did play their pipes and tried to force John and Jesus into their dance of ecstasy in violation of God's will:
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7
7. Quando vero congregabitis coetum, clangetis, sed absque jubilatione.
The triumph-over alarm, suitable to tribal movements, panicking the enemy or national rejoicing where no word from God was expected is:
Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears with sound, i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout for joy, sound an alarm, triumph.
By this I know that thou favourest me, because mine enemy (Judas) doth not triumph over me. Ps.41:11
Triumph over in Greek is:
Thriambeuo (h2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - cause to triumph over.
This choral dance would prove that Jesus might be a pagan god and therefore gender-confused:
"We know the Gnostics used sexual practices to bind the flesh and the divine together (Rev. 2:20).
"In most ancient pagan religions the act of procreation was a mystery; they thought fornication and in some instances homosexuality linked them to the world of the gods. Apparently, this sexual aspect of Gnosticism was incorporated with Jezebel's teaching which Jesus condemned (Rev. 3:20). The apostle Peter was aware of this problem." (Trombley, Who Says Women Cannot Teach, p. 176).
Of course, this would have disqualifed Jesus as the Incarnate God of the universe and made Him at least be dionysus whom they had worshipped in the temple. When they triumphed over it would involve singing the lament and dancing in the chorus as the children played their pipes or wind instruments. This would mark Jesus as just one of the "girls."
The Witness of the Dead Sea Scrolls: The War Rules
Everyone understood that the "musical" instruments were instruments of warfare and triumph over the enemy. In connection with the "annihilation of the Sons of Darkness" the Levites served as guards:
DSS: "After them the chiefs of the Levites serve continually, twelve in all, one to a tribe. The chiefs of their courses shall serve each man in his office. The chiefs of the tribes and fathers of the congregation shall support them, taking their stand continually at the gates of the sanctuary
In Battle: WHAT WAS OUTLAWED FOR THE CHURCH IN THE WILDERNESS
"The priests shall blow the trumpets of massacre,
and the Levites and all the blowers of the ram's horn shall sound a battle alarm,and the foot soldiers shall stretch out their hands against the host...
and at the sound of the alarm they shall begin to bring down the slain.
All the people shall cease their clamor,
but the priests shall continue to blow the trumpets of massacre." - War Scroll"And on the banner of the ten they shall write, "Songs of joy for God on the ten-stringed harp," and the name of the chief of the ten and the names of the nine men in his command."
When you blow instruments you MAKE WAR as the word PSALLO demands.
LOOK AGAIN AT WHAT YOU DON'T DO IN SYNAGOGUE OR CHURCH.
Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears with sound, i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout for joy, sound an alarm, triumph.
By this I know that thou favourest me, because mine enemy (Judas) doth not triumph over me. Ps.41:11
The Judas Bag was for "carrying the mouthpieces of wind instruments." He would try to triumph over or pollute or drive Jesus into panic but Psalm 41 promises:
By this I know that thou favourest me, because mine enemy doth not triumph over me. Psalm 41: 11
Mine enemies speak evil of me, When shall he die, and his name perish? Psalm 41: 5
But I am a worm, and no man; a reproach [made naked] of men, and despised of the people. Psa 22:6
All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying, Psa 22:7Leag (g3932) 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.
Laeg (g3934) law-ayg'; from 3932; a buffoon; also a foreigner: - mocker, stammering.
He trusted on the Lord that he would deliver him: let him deliver him, seeing he delighted in him. Psa 22:8
In Psalm 41:5, the enemy (Judas) was Oyeb (h341) or the hating adversary or "Ophis" in greek (g3789) for the serpent. This Ophis is the same serpent which beguiled Eve. Jesus called Judas "Satan." In reality, he is incarnated in the sOPHISts who were enchanters for pay.
In Genesis, the "serpent" is not a snake. Rather, he is a musical enchanter who "hisses" and whispers:
Nachash (h5175) naw-khawsh'; from 5172; a snake (from its hiss): - serpent
Nachash (h5172) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe.I will point you to a Dead Sea Scroll version which shows that they would have to define Jesus as Beliar or Beel-zebul (dung god) before they could musically mock and murder Him. In victory, Messiah will use his lips and voice as the HARPS OF GOD.
All of the Bible proves that when music is used on God's people it is a MARK of warfare: it needs no proving. If you speak your OWN words Jesus says you are the sons of the devil. If you do the skolion singing all twisted around you are called a CROOKED generation. If you hiss and whisper and mutter instead of SPEAK WHICH IS THE OPPOSITE OF MUSIC John calls you a generation of Vipers. If you pipe trying to get others to sing and dance you are a MARKETPLACE generation.
- DSS: 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.
- DSS: Then will I play on the zither of deliverance
- and harp of joy,
- on the tabors of prayer and the pipe of praise
- without end.
Again, John ends the Bible as it begins: the Mother of harlots USES musicians and music as SORCERERS to again deceive the whole world.
3. Jesus noted that that generation were like the children piping in the Agora or marketplace trying to force others to sing and dance. This was the perverted Dionysus choral dance.
Modern churches claim to be "theaters for holy entertainment" in order to attract the seekers. However, they may be making a spectacle of Jesus Christ.
Luke 7:31 And the Lord said, Whereunto then shall I liken the men of this generation? and to what are they like?The Abomination of Desolation in the temple was Zeus-Dionysus worship. The children points to the word PLAY as in the wilderness. They were the young chorus leaders used and abused in the marketplaces.
Luke 7:32 They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept.
Arnobius defining heresies:
41. Was it for this He sent souls, that they which shortly before had been gentle
and ignorant of what it is to be moved by fierce passions,
should build for themselves markets and amphi-theatres, places of blood and open wickedness, in the one of which they should see men devoured and torn in pieces by wild beasts, and themselves slay others for no demerit but to please and gratify the spectators, [voluptatemque] and should spend those very days on which such wicked deeds were done in general enjoyment,and keep holiday with festive gaiety; while in the other, again, they should tear asunder the flesh of wretched animals, some snatch one part, others another, as dogs and vultures do, should grind them with their teeth, and give to their utterly insatiable maw, and that, surrounded by faces so fierce and savage, those should bewail their lot whom the straits of poverty withheld from such repasts; that their life should be happy and prosperous while such barbarous doings defiled their mouths and face?
Was it for this He sent souls, that, forgetting their importance and dignity as divine, they should acquire gems, precious stones, pearls, at the expense of their purity; should entwine their necks with these, pierce the tips of their ears, bind their foreheads with fillets, seek for cosmetics to deck their bodies, darken their eyes with henna ; nor, though in the forms of men, blush to curl their hair with crisping-pins, to make the skin of the body smooth, to walk with bare knees, and with every other kind of wantonness,
both to lay aside the strength of their manhood,
and to grow in effeminacy to a woman's habits and luxury?42. Was it for this He sent souls, that some should infest the highways and roads, others ensnare the unwary, forge false wills, prepare poisoned draughts; that they should break open houses by night, tamper with slaves, steal and drive away, not act uprightly, and betray their trust perfidiously; that they should strike out delicate dainties for the palate; that in cooking fowls they should know how to catch the fat as it drips; that they should make cracknels and sausages, force-meats, tit-bits, Lucanian sausages, with these a sow's udder and iced puddings?
Was it for this He sent souls, that beings of a sacred and august race should here practise singing and piping ;
that they should swell out their cheeks in blowing the flute ;
that they should take the lead in singing impure songs, and raising the loud din of the castanets, 309 by which another crowd of souls should be led in their wantonness to abandon themselves to clumsy motions,to dance and sing, form rings of dancers, and finally, raising their haunches and hips, float along with a tremulous motion of the loins?
Was it for this He sent souls, that in men they should become impure,
in women harlots,
players on the triangle 310 and psaltery ; that they should prostitute their bodies for hire, should abandon themselves to the lust of all, 311 ready in the brothels, to be met with in the stews, [fornicibus] ready to submit to anything, prepared to do violence to their mouth even?Of course, Paul went to the Agora to teach and preach "because that is where the people were."309 Scabilla were a kind of rattles or castanets moved by the feet.
310 Sambuca, not corresponding to the modern triangle, but a stringed instrument of that shape. Its notes were shrill and disagreeable, and those who played on it of indifferent character.
311 So the ms. and first four edd., reading virilitatem sui populo publicarent . Meursius emended utilitatem -"made common the use," etc.; and Orelli, from the margin of Ursinus, vilitatem -"their vileness."
Peter said to "save yourselves from that CROOKED generation." The skolion singers like the Dionysus priesthood were involved with the symposia where men gathered to sing and enjoy the flute girls and boys: why would God associate the church as the BODY of Christ with those who Joined their bodies to male and female prostitutes.
You can see how the PSALLO word firstly means WARFARE and secondly the polluted rope the slaves used to DRIVE the slackers from the Agora or marketplace into the Ecclesia where only instructional speakers were allowed. This was the PATTERN Jesus used for the church which is ANTITHETICAL to the marketplace.
The-ama , Ion. theêma , atos, to, ( [theaomai] )
A. sight, spectacle, Semon. {Sign or mark} which gives pleasure, theamata kai akroamata hêdista parecheis X.Smp.2.2 , orchêseis kai theamata
X.Smp.2.2 Xenophon, Symposium II. When the tables had been removed and the guests had poured a libation and sung a hymn, there entered a man from Syracuse, to give them an evening's merriment. He had with him a fine flute-girl, a dancing-girl--one of those skilled in acrobatic tricks,--and a very handsome boy, who was expert at playing the citherdancing; the Syracusan made money by exhibiting their performances as a spectacle. [2] They now played for the assemblage, the flute-girl on the flute, the boy on the cither; and it was agreed that both furnished capital amusement. Thereupon Socrates remarked: “On my word, Callias, you are giving us a perfect dinner; for not only have you set before us a feast that is above criticism, but you are also offering us very delightful sights and sounds.” [3] “Suppose we go further,” said Callias, “and have some one bring us some perfume, so that we may dine in the midst of pleasant odours, also.” “No, indeed!” replied Socrates
and at“What use will you make of them?” the other asked.
“I will dance, by Zeus.”
4. When doing HIS work, Jesus cast out the musical minstrels using a word LIKE DUNG.
David Faust: At the Last Supper, Jesus sang a hymn with His disciples, which no doubt was a cappella. But the Gospels have very little to say about Jesus' participation in music or anything He taught about music. Jesus taught daily in the temple (Matthew 26:55), but He never condemned or prohibited the use of instruments there, nor did He cast out the musicians along with the merchants and money- changers.
Jesus could never enter where the Levitical Warrior Musicians made SOUND during animal sacrifices. When they played on the steps of the women's court they were NOT doing 'worship.'
When Jesus drove the moneychangers out it was because they were making tghe COURT into a marketplace where he consigned the pipers, singers and dancers. He used the same Papyrus rope for a scourge which is defined in the word PSALLO which was used to drive idlers OUT of the marketplace and MARK them with a polluted rope so the people in the ekklesia could know who hesitated to come and be instructed.
Like modern religionists claiming that their musicians can lead you into the presence of God--just like Jesus but better-- all musical religionists claimed supernatural power over the dead. You will remember that the Marzeah in Amos was a "feast for and with dead ancestors." Jesus used this example to prove that He was not a Quack doctor nor needed any mind-altering wailing and playing to do His healing.
JESUS DID DRIVE OUT THE TRUE MUSICAL MINSTRELS.
But when the people were put forth, he went in, and took her by the hand, and the maid arose. Matthew 9:25
Scholars have no trouble finding Jesus radically condemning musical enchanters.PUT FORTH: Ekballo (g1544) ek-bal'-lo; from 1537 and 906; to eject (lit. or fig.): - bring forth, cast (forth, out), drive (out), expel, leave, pluck (pull, take, thrust) out, put forth (out), send away (forth, out).
Ballo (g906) bal'-lo; a prim. verb; to throw (in various applications, more or less violent or intense): - arise, cast (out), * dung, lay, lie, pour, put (up), send, strike, throw (down), thrust. Comp. 4496.
Rhipto (g4496) hrip'-to; a prim. verb (perh. rather akin to the base of 4474, through the idea of sudden motion); to fling (prop. with a quick toss, thus differing from 906, which denotes a deliberate hurl; and from teino, [see in 1614], which indicates an extended projection); by qualification, to deposit (as if a load); by extens. to disperse: - cast (down, out), scatter abroad, throw
Ekballô I. to throw or cast out of a place, 2. to cast out of a place, banish
IV. Dem.; to drive an actor from the stage, Lat. explodere,
In reviewing Al Maxey's input into the latest effort to divert, we have shown the DUNG connection by which the prophets speaking by the spirit OF Christ, radically condemned the TRIUMPH OVER Song and Music LEADING OUT the women.
Paul defined out self pleasing or mental excitement which was outlawed for the ekklesia or synagogue. Throughout Paul's writings--for those with eyes--Paul radically condemned this sorcery:John Chrysostom Homily Homily XXXI.
3. "And when He came into the ruler's house, and saw the minstrels and the people making a noise, He saith unto them, Give place, for the maid is not dead, but sleepeth. And they laughed Him to scorn." [Matt. ix. 23, 24. [R. V., "the flute-players, and the crowds making a tumult."]
Noble tokens, surely, these, of the rulers of synagogues; in the moment of her death pipes and cymbals raising a dirge! What then doth Christ?
All the rest He cast out, but the parents He brought in;
to leave no room for saying that He healed her in any other way.
[aeidô]=Locusts in Revelation ) singer, MINSTREL, bard, I goôn, chrêsmôn aoidos, of the cock,A minstrel is: Aaoidos ( [aeidô]) singer, minstrel, bard, 3. enchanter
2. fem., songstress, aoidos Mousa [Rev 18:22 John calls them sorcerers]
3. enchanter, S.Tr.1000.
This word is also often used with the TETTIX or the LOCUSTS in Revelation which point to Apollo's Musicians.
Sophocles, Trachiniae Heracles
O Cenaean rock, foundation of my altars, what cruel reward [995] you have earned me for those fair offerings, O Zeus! Ah, in what ruin you have deposited me, in what ruin! Would that I had never looked on you to my sorrow with my eyes, never come face to face with this blooming madness, which no spell can soothe!
Where is the enchanter,
where the practiced healer, save Zeus alone,
who will charm this catastrophe away?
I would be amazed if I saw him from even a great distance!
O foolish Galatians, who hath bewitched you,
........ that ye should not obey the truth,
........ before whose eyes Jesus Christ hath been evidently set forth,
........ crucified among you? Gal 3:1
Kêleô, A. charm, bewitch, beguile, especially. by music epaidôn k. charm by incantation, kêleitai aoidais
Epaeidô means to sing AND play 2. sing as an incantation, sing to one so as to charm or soothe him, use charms or incantations, by means of charms
Paul in First Corinthians chapter one when defining the crooked generation of parasites which plagued Judaism.
1 Cor. 1:20 Where is the wise? where is the scribe?
............ where is the disputer of this world?
............ hath not God made foolish the wisdom of this world?
Tektonos 3. master in any art, as in gymnastics, Pi.N.5.49; of poets, tektones sophoi (sc. epeôn) Id.P.3.113; tektones eupalamôn humnôn Cratin.70 (ap.Ar.Eq.530); tektones kômôn, i.e. the choreutai [Choral dancer], Pi.N. 3.4; t. nôdunias, i.e. a physician, Id.P.3.6; dexias cheros ergon, dikaias tektonos a true workman, A.Ag.1406.
Sophos A. skilled in any handicraft or art, clever, mantis; but in this sense mostly of poets and musicians,
Paul quotes Isaiah:
Thine eyes shall see the king in his beauty: they shall behold the land that is very far off. Isa 33:17
Thine heart shall meditate terror [a bugbear, idol] . Where is the scribe? [roll keeper] where is the receiver? [Shekel collector] where is he that counted [celebrate, commune, mark] the towers? [pulpits] Isa 33:18David Faust: He warned very sternly not to elevate the teachings of men to the level of the word of God. in John chapter 4, He talked with the woman at the well and explained to her that God wants true worshipers who "worship Him in Spirit and truth" But He didn't say that this has anything to do with using musical instruments, one way or another.
Jesus define the mountains of Zion and Gerezim as PLACES where people worshipped. When He said to worsip IN Spirit He was identifying the only place where worship can take place. IN TRUTH meant to "give heed to the Words of Christ" which is his only "worship" word. And the gathering or assembly he calls a SYNAGOGUE. There was "no praise service in the synagogue" by direct command and common sense.
Remember the crooked generation of singers and harpers in the symposia? Well, Paul warns that if you let WORSHIP break out into a ritualistic celebration you will INVITE the dogs to take over.For we are the circumcision, which worship God in the spirit, and rejoice in Christ Jesus, and have no confidence IN the flesh. Phil 3:3
Beware of dogs, beware of evil workers, beware of the concision. Phil 3:2
For without are dogs, and sorcerers, and whoremongers, and murderers, and idolaters, and whosoever loveth and maketh a lie. Re.22:15
When John warned about musical sorcerers he also used the word BEAST which often pointed to PAN.But it is happened unto them according to the true proverb, The dog is turned to his own vomit again; and the sow that was washed to her wallowing in the mire. 2Pe.2:22
"There are hints that Pan was also linked closely to the Mother Goddess (Zoe, Eve, Sophia), and perhaps was even one of her male consorts at one time, and linked with her as overlord of nature and Lord of the Beasts. Pindar mentions Pan as:
"O blessed one, whom the Olympians call dog (catamite) of the Great Mother, taking every form""There are references to Pan as 'the dog of Cybele' the great nature-goddess of the Greeks, as being always in attendance on her, being himself a nature-god. The fact that Pindar calls Pan 'dog' is taken as a glorification of that animal.
"The story remains in old legends that Pan, the keeper of wild beasts, breathing sweet-voiced music on his well-joined pipes, once brought from its tender mother on Argive hills a lamb with beautiful golden fleece. A herald stood on the stone platform and cried aloud,
"To assembly, Mycenaeans, go to assembly to see the omens given to our blessed rulers." . . . and they honored the house of Atreus. "
Jesus defined Jewish and Samaritan PLACES of worship: Mount Zion for the Jews. However, now worship would be in the PLACE of the human spirit and NOT at the temple. That removes us from the CURSE of sacrificial and makes it IMPOSSIBLE to get a harp INTO the literal heart. Paul said that the converts worship IN THE SPIRIT as opposed to IN THE FLESH. That was because OUTSIDE of the "closet" theere lurked DOGS and CONCISION. These were the Cynics who were perverted and ATTRACTED mates by the style of their singing.
David Faust: At the Last Supper, Jesus sang a hymn with His disciples, which no doubt was a cappella. But the Gospels have very little to say about Jesus' participation in music or anything He taught about music. Jesus taught daily in the temple (Matthew 26:55), but He never condemned or prohibited the use of instruments there, nor did He cast out the musicians along with the merchants and money- changers.Well, it wasn't a capella. Capella is the GOAT constellation and the singers in the Sistine Chapel sang ORGANUM which was a simple form of harmony. The Pope brought them from france to be used in the Sistine because it was unlawul to use instruments in the only official Mass conducted by the Pope. The a capella were all castrates so that they sounded like some modern male "worship musicians."
In fact, he HYMNED a HYMN which was one of the hallel Psalms to be sung ONLY during Passover. This was not "music" but cantillation as one might pray a prayer without a Rock and Roll band. In Hebrews 2 in the "congregation" He is said to GRIEVE OUT A HYMN.
By itself, this doesn't prove that musical 'instruments are acceptable or unacceptable. But if this is something to divide over-if this truly is a matter of such consequence that it can break our fellowship-surely the Lord would have directly addressed it when He talked about worship. The Great Commission tells us to teach all things Jesus commanded us. But in the Gospels Jesus gave no commands about singing or playing instruments. Jesus died for us. He taught us to love one another. Since Jesus said nothing about musical styles, if s hard for me to accept that the Lord intends for our differences about music to separate us f rom one another.
The Great Commission commanded us to make disciples by baptizing and "teaching them what HE had taught." Because He did not teach either singing or instrumental music nor tell others to teach it, then it is NOT something which should be intruded into the church to STOP SHORT the evangelization of the world while we do RITUALS with theatrical performers ALL identified as HYPOCRITES.
It needs no proving that man-made rules of "musical worship" always sowed discord and made meeting together impossible. Because David Faust defacto SOWED DISCORD by continuing to do so, he is under obligation to quite sowing discord by removing the ORGANON which is defined as a "machine for doing hard work or for producing shock and excietment." Furthermore, I believe that there are too many UNDERemployed people chasing around the world seeking 'union' when they are getting paid to preach the gospel. The church is never larger than a local assembly and forcing everyone to CONFORM or CONFIRM would not seem to add anything but a few more peaceable churches of Christ to the NACC which I think is taking on authority the individual Christian Churches have not given them.
"Praise singing" is the world's OLDEST profession. It was done by people who were "emotionally or sexually abnormal" and were used to HELP the gods so that they did not fail. Instruments added as an AID also declares that the Word of God is LIABLE to fail. That means that any kind of musical performance is hypocritical and superstitiously legalistic.
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