Music In The Holy Place No Music in the Holy Place: The Jerusalem Temple as a TYPE proves that NO JEWISH LEVITICAL MUSICIAN ever entered the Holy Place as the type of the BODY or church of Christ or into the Most Holy Place which is the ONLY place where worship as meeting God can take place.Chrysostom Homily VII: Stephen Against the Temple "Still No Temple"
See Ben Sirach in Ecclesiasticus on purififying the temple
E-Mail: As a worship leader I am constantly wondering if the most precious times of worship here on earth, are even close to what we will experience in the Kingdom of God. I personally believe we are merely scraping the heavens here. I grew up in church and was taught to worship a certain way, but even still I wonder how I might react when the day comes and I physically lay eyes on Jesus. I bet there will be a lot of Southern Baptists that can't sit still, and a lot of Charismatics that are speechless.
Sorry, but I cannot project beyond the next hour. And I understand how people (1) with musical talent and (2) who have been taught that God loves music must feel. However, human talent or Ming Vassseees cannot replace the Earthen Vessels. I just don't know of any natural talent or supernatural gift of SINGER or MUSICIAN being given for the church. Unfortunatelly for the Wholly Seduced churches, music in the Bible is always associated with telling God "we will not listen to your Words."Let me first just touch on the MUSIC IN HEAVEN. We know from clear Biblical teaching and lots of other literature such as the book of Enoch that Satan or Lucifer (Latin) was a fallen angel. He tried to seduce the angels to worship him rather than God. When he was cast out, the personification as the king of Tyre and of Babylon has him equipped with musical instruments. He is said to have been in the garden of Eden and as a NAGA or serpent was a musical enchanter. Again, he wholly seduced Eve. In Ezekiel 31 the Assyrians were the Tallest Tree in Eden and in Isaiah 30 we see God pouring out his wrath with the ROD of instrumental music using the same imagery as the Molech worship by the Jews.
From the LUCIFER (ZOE) figure and ancient documents we can assume that music, perhaps the music of the spheres?, was one of the pleasures of the SPIRIT realm which Enoch defines as having ten levels: the music again was never at the tenth level. However, the carnal type in the story of the king of Trye made him/her a harp- playing prostitute because they used it for commercial purposes. With the king of Babylon both the harpist (buried alive) and the harps went with him to rot on a bed of maggots.
For those who are now dead "virgins," John made sure that those still living would understand that the dead were in a state of bliss. To his readers the musical instruments could be seen on their tombstones in the hands of the DEAD whom they believed to be without human responsibility.
However, to the STILL LIVING the angel's message was to PREACH THE GOSPEL. Faithful to what John taught, the LIVING are never seen playing the instruments on tombstone illustrations.
For now, we can boldly come before the Throne of Grace or the Most Holy Place because Jesus told us that the only PLACE to find God is in the SPIRIT or HUMAN MIND devoted to or GIVING HEED to Christ by giving heed to His Word. In the literal temple that was a place of dark silence.
Because the kingdom of God is WITHIN US this is as close as we can get to God. Perhaps this was Paul's meaning of TEACHING the inspired Word of Christ to one another and both "singing AND making melody" in the heart or human spirit where we WORSHIP God.
For those of us with present RESPONSIBILITIES to teach and admonish, we should not--like Satan--try to RUSH people into holy communion imagining that the impulses of "fight, flight or sexuality" created by "music" is SPIRITUAL.
A Levitical noise maker who intruded into the Holy Place as type of Church would be run through with a sword. To their credit, we know of no Jewish musician or rankest pagan musician who tried to enter the holy precincts.
AND when he had opened the seventh seal, there was silence in heaven about the space of half an hour. Re.8:1
Jamison-Fausett-Brown notes that:
The half-hour silence is the brief pause GIVEN TO JOHN between the preceding vision and the following one, implying, on the one hand,
the solemn introduction to the eternal sabbatism which is to follow the seventh seal; and, on the other,
the silence which continued during the incense-accompanied prayers which usher in the first of the seven trumpets (Re 8:3-5).
In the Jewish temple, musical instruments and singing resounded during the whole time of the offering of the sacrifices, which formed the first part of the service.
But at the offering of incense, solemn silence was kept ("My soul waiteth upon God," Ps 62:1; "is silent," Margin; Ps 65:1, Margin),
Duwmiyyah (h1747) doo-me-yaw'; from 1819; stillness; adv. silently; abstr. quiet, trust: - silence, silent, waiteth.
the people praying secretly all the time. The half-hour stillness implies, too, the earnest adoring expectation with which the blessed spirits and the angels await the succeeding unfolding of God's judgments. A short space is implied; for even an hour is so used (Re 17:12 18:10,19).
The incense altar was at the border between the Holy Place and the Most Holy Place. It is really like a door: is it in room A or is it in room B. We will note that the Holy Place is like the church of body of Christ. it is symbolized in the Holy Place by learning the 7 "spirits" of Divine knowledge and the table of Bread. Worship is not CORPORATE but individual: as priests we approach the Holy Place--one at a time without a leader--through prayer into the presence of God. Jesus said that God will only be found for our worship in our SPIRIT or mind. Instead of blood, our sacrifice is our prayer.
Therefore, this writer warns that when we approach the Holy Place in individual prayer there must be silence. Pagans who conquered Jerusalem are condemned for going into the house of the Lord with their musical processions. As a result, God will defeat them to the BEAT of musical instruments just as even the Jews did taking their children to be burned in the arms of Molech (or perhaps Chiun) reresenting Saturn (666) with musical instruments to silence the screams of the children.
I wouldn't try it: the trumpets of judgment were in the hand of angels and the harps were held by deceased virgins:
The New Testament never speaks of the church as a place of WORSHIP except for the hypothetical SEEKER who would FALL DOWN and worship God if he saw a religious group all "prophesying" by speaking the words they had been taught. Seeing music and speaking in tongues would just prove that the church was nothing new.
At the same time, he probably was bright enough to know that not even the vilest pagans permitted singing or music in the holy place of their temple.
There were usually priests or interpreters who took the women's gibberish and made it into a hymn. Then the precentor just spoke the words. For instance, at Delphi only virgins could enter into the holy spot which was a crack in the rocks emitting a vapor which made her hallucinate.
Lucian of Samosata could be describing the attempt of Jezebel's prophetesses when he described the priests of Cybele or Galloi or those whom Paul hoped would let the knife slip and go all the way and "emasculate" themselves.
> "All early civilizations saw their ideal music as an image (idol) of cosmic order and its practice in temple ritual and court ceremonial as a means of helping to maintain or reflect universal harmony. From such a philosophy stem the age-old concepts of the efficacy of numerical proportions in musical sound; the ethos (magical effect) of particular modes;
the music of the spheres; and the musical foundation of the state.
Such ideas steadfastly maintained throughout the ages, made for very conservative traditions of music whose fundamental patterns changed little over long periods of ti me." (Britannica, Music, p. 1091) Britannica Members Online
> Quasten notes that: "Women's singing was a vital part of all pagan worship. In very early times women became priestly singers of the gods in the temple.
"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'."
The Egyptian Opis (Apis) and others which Israel worshipped at Mount Sinal were worshipped throughout the area. "In preference to all other hymns these choirs generally sang the so-called epiphany hymns, which were intended to invite the gods to appear. Plutarch wrote:
Why do the women of Elis call upon God in song to approach them with the bull's foot? Their song is the following:
Come, Dionysus, Hero,
into the holy temple of Elis,
together with the Graces
come violently into the temple with the bull's foot!Then they sang twice at the end: "Sacred Bull!" (Johannes Quasten, Music & Worship in Pagan and Christian Antiquity, p. 76)
Choirs of young girls often officiated and they wore garments of the dancers consecrated to the gods. (The ephod was once a feminine apron)
"Wearing a linen ephod, David once performed an ecstatic dance before the ark of the Lord. From the fact that his wife Michal chided him for having uncovered himself before his servant's handmaidens (2 Sam. 6:20), it seems likely that the king's exhibition was vulgar and revealing. Apparently as a retaliation for her scolding, David fathered no children by Michal (2 Sam. 6:23)" (Garrison, p. 31-32)
The tribes of female flute-players,1 quacks, vagrants, mimics, blackguards; 2 all this set is sorrowful and dejected on account of the death of the singer Tigellius; for he was liberal [toward them]. On the other hand, this man, dreading to be called a spendthrift, will not give a poor friend [5] wherewithal to keep off cold and pinching hunger.
Note: 1 Ambubaiarum , "Women who played on the flute." It is derived from a Syrian word; for the people of that country usually excelled in this instrument. Pharmacopolae is a general name for all who deal in spices, essence, and perfumes.
Ambubaia , ae, usu. in the plur.,am-bubaĭae , ārum, f. [from Syr. , plur. = tibia, Vulg. 1 Cor. 14, 7] ,I.a class of Syrian girls in Rome, who supported themselves by their music and immorality: ambubajarum collegia, * Hor. S. 1, 2, 1: ambubajarum ministeria 1 Cor. 14:7 And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped?
Adonis Myth: Adonis himself being identified with Tammuz (but see F. Diimmler in PaulyWissowa's Real-encyklopadie, who does not admit a Semitic origin for either name or cult). The name Abobas, by which he was known at Perga in Pamphylia, certainly seems connected with abub (a Semitic word for "flute"; cf. "ambubaiarum collegia" in Horace, Satires, i. 2. r)
"It (the pipe meaning 'to love passionately') was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, ase we see from Genesis Rabbah 50: 'The angels said to Lot: 'There are players of the pipe (organ) in the country, hence it ought to be destroyed'." Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests." (Interpreter's Dictionary of the Bible, p. 460, Abingdon).
Horace Note: 2 Mendici, mimae, balatrones . The priests of Isis and Cybele were beggars by profession, and under the vail of religion were often guilty of the most criminal excesses. Mimae were players of the most debauched and dissolute kind; and balatrones, in general, signifies all scoundrels, buffoons, and parasites, who had their name, according to the old commentator, from Servilius Balatro. Balatrones hoc genus omne, for omne hoc balatronum genus, is a remarkable sort of construction.
"professional musicians emerged in Israel about the time of David and Solomon. From then on, we have abundant historical evidence of the role which the professional musicians played in the organization of the temple ritual." (International Dictionary of the Bible, p. 461, Abingdon).
"the testimonies of neighboring civilizations are of little value, as they concern chiefly the music of courts or temples, which in Sumer, Babylon, and Canaan was then in the hands of professional priests-musicians. We have only a few remarks of Herodotus about Egyptian practices, which were similar to those of ancient Hebrew popular singing. He refers to the 'lament for Linos,'
also to women's chants in procession of the cult of Osiris and the Diana of Bubastis. "In Phoenicia and Syria almost all popular music reflected the worship of Ishtar, the goddess of fertility.
"Thus, popular song was usually a prelude to sexual orgies in honor of the goddess, led and organized by her thousands of hierodules." (Interpreter's Dict of the Bible, Music, p. 461)."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--be it of earthly or of eschatological character--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."(Interpreter's Dictionary of the Bible, p. 473, Abingdon).
>Lucian 50 - And on set days the multitude assembles in the sanctuary, and many Galloi (emasculated) and the religious men that I spoke of perform their ceremonies; and they cut their own arms and beat one another on the back.
And many stand there playing flutes and beating timbrels, and others sing inspired and holy songs.
........... This is done outside the temple,
........... and they who perform it do not come into the temple.However, in the Jewish "like the nation's" temple:
The timbrel "was a typical women's instrument. It is mentioned seven times 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." (Interpreter's Dictionary of the Bible, p. 474, Abingdon).
There are many parallel accounts to the prophets of BAAL and ASHERAH under the leadership of Jezebel. In all NATIONS the charismatic feelings were induced by the use of instrumental music. Bowing to Baal was dancing to MUSIC.
> Lucian In some places in Egypt, for the song of Linus or Osiris, a peculiar melody seems to have been used. Savary says that, in the temple of Abydos,
........... "the priest repeated the seven vowels in the form of hymns,
........... and that musicians were forbid to enter it."
51 - And on these days Galloi are made. For while the rest are playing flutes and performing their rites, frenzy soon enters into many,
(Letters) Strabo, whom Savary refers to, calls the god of that temple Memnon, but we learn from Wilkinson that Osiris was the great god of Abydos, whence it is evident that Memnon and Osiris were only different names of the same divinity. Hislop
> > A hidden, invisible mystery came forth:
iiiiiiiiiiiiiiiiiiiiii EEEEEEEEEEEEEEEEEEEEEE oooooooooooooooooooooo uuuuuuuuuuuuuuuuuuuuuu eeeeeeeeeeeeeeeeeeeeee aaaaaaaaaaaaaaaaaaaaaa OOOOOOOOOOOOOOOOOOOOOO
IE ieus EO ou EO Oua! Really, truly, O Yesseus Mazareus Yessedekeus, O living water, O child of the child, O glorious name! Really truly, aiOn o On (or: O existing aeon), iiii EEEE eeee oooo uuuu OOOO aaaa{a}. Really, truly, Ei aaaa OOOO, O existing one who sees the aeons! Really, truly, aee EEE iiii uuuuuu OOOOOOOO, who is eternally eternal! Really, truly, iEa aiO, in the heart, who exists, u aei eis aei, ei o ei, ei os ei (or: (Son) forever, You are what you are, You are who you are)!
The fourth is Yobel.
The fifth is Adonaios, who is called 'Sabaoth'.
The sixth is Cain, whom the great generations of men call the sun.
The seventh is Abel; the eighth Akiressina; the ninth Yubel.
The tenth is Harmupiael. The eleventh is Archir-Adonin. The twelfth is Belias. These are the ones who preside over Hades and the chaos.The word CAIN relates to striking a musical tone. His descendants fulfilled the Babylonian story of Genun used by Satan to seduce the youth into mixed sex choirs, instrumental music and sexual perversion. His descendants survived the flood and restored musical idolatry right off the ark.
Qayin (h7014) kah'-yin; the same as 7013 (with a play upon the affinity to 7069); Kajin, the name of the first child, also of a place in Pal., and of an Oriental tribe: - Cain, Kenite (-s).
Qiynah (h7015) kee-naw'; from 6969; a dirge (as accompanied by beating the breasts or on instruments): - lamentation.
Hear this word, O house of Israel, this lament I take up concerning you: Am.5:1
I will turn your religious feasts into mourning and all your singing into weeping. I will make all of you wear sackcloth and shave your heads. I will make that time like mourning for an only son and the end of it like a bitter day. Am.8:10
Shiyr (h7892) sheer; or fem. shyrah shee-raw'; from 7891; a song; abstr. singing: - musical (-ick), * sing (-er, -ing), song
Shiyr (h7891) sheer; or (the orig. form) 7788 (1 Sam. 18:6), shoor; a prim. root [rather ident. with 7788 through the idea of strolling minstrelsy]; to sing: - behold [by mistake for 7788], sing (-er, - ing man, -ing woman).
Shuwr (h7788) shoor; a prim. root; prop. to turn, i. e. travel about (as a harlot or a merchant): - go, sing. See also 7891.
Quwn (h6969) koon; a prim. root; to strike a musical note, i. e. chant or wail (at a funeral): - lament, mourning woman.
21.2 One of the powers came, touched Eve's face and her breast, and told Eve, "Blessed are you, Eve, because of Adam, elect one and servant of God, for his prayers are great before God and, because of him, God will deliver you.
If you had not been brought help because of him, you would have conceived such a thorn that you could not have rescued yourself from your sufferings. Rise up now and prepare yourself to give birth to a child."
21.3a Eve arose as the angel had instructed her:
she gave birth to an child and his color was like that of the stars.
He fell into the hands of the midwife and (at once) he began to pluck up the grass, for in his mother's hut grass was planted.21.3b The midwife replied to him and told him, "God is just that he did not at all leave you in my hands.
For, you are Cain, the perverse one, killer of the good,
for you are the one who plucks up the fruit- bearing tree,
and not him who plants it. You are the bearer of bitterness and not of sweetness."> "Each of the important deities had, in one or more of the Babylonian cities, a large temple in which he or she was worshiped.
Temple services were generally conducted in open courts containing fountains for ablution and altars for sacrifices.
Only the high priest and other privileged members of the clergy and court were permitted to enter the cella, or inner part of the temple,
which held the special statue of the deity. The needs of the deity were provided for in accordance with impressive ceremonies carried out by a vast institutionalized clergy that included
priests, musicians, magicians, soothsayers, dream interpreters, astrologers, and hierodules (temple slaves or prostitutes). Sacrifices of food, drink, or incense were offered daily. Numerous festivals were held, the most important of which was the celebration of the new year at the spring equinox. Encarta Encyclopedia
See the Akitu Festival adopted by Jerusalem
See the worship of Tammuz and Ishtar in the Jerusalem temple
This would have been like that that of most priesthoods:
"The population desired the normal pattern of times and seasons, so that "seedtime and harvest, cold and heat, summer and winter, day and night, shall not cease" (Genesis 8:22). But since the seasonal pattern is not dependable, the need for order evoked a system of cycles, notably the sabbatical, or seven-year, cycle. The sabbatical year was the seventh year, and the jubilee year followed seven sabbatical cycles. This was a pervasive system in the ancient Middle East.
A Ugaritic liturgical text specially designed for this phenomenon aims at terminating a
sabbatical cycle of privation and ushering in one of fertility by celebrating the birth and triumphal entrance of the deities Shahar ("Dawn") and Shalim ("Dusk"), whose advent brings an abundance of food and wine.
Shahar is the "father" of Lucifer.
"The ancient Middle East made a place for homosexuality and bestiality in its myths and rites. In the Asherah (Easter) cult
the qedeshim priests had a reputation for homosexual practices, even as the qedeshot priestesses for prostitution. Israel eventually banned both the qedeshim and qedeshot, while in Ugarit the qedeshim and kohanim were priestly guilds in equally good standing. Britannica Members Online
Up to the time of King Josiah's reform (621 BC) there was a women's cult of Asherah (under qedeshim auspices [consecrated for fertility practices], according to 2 Kings 23:7) in the Jerusalem Temple, alongside the male cult of Yahweh.
And he brought out the grove from the house of the Lord, without Jerusalem, unto the brook Kidron, and burned it at the brook Kidron, and stamped it small to powder, and cast the powder thereof upon the graves of the children of the people. 2 Kings 23:6
And he brake down the houses of the sodomites, that were by the house of the Lord, where the women wove hangings for the grove. 2 Kings 23:7
The musical practice was adopted by Catholics:"Now the name of Linus or Osiris, as the 'husband of his mother,' in Egypt, was Kamut. "When Gregory the great introduced into the church of Rome what are not called the Gregorian Chants, he got them from the Chaldean mysteries, which had long been established in Rome; for the Roman Catholic priest, Eustace, admits that these chants were largely composed of 'Lydian and Phrygian tunes.' Lydia and Phrygia being among the chief seats in later times of those mysteries of which the Egyptian mysteries were only a branch.
Thes tunes were sacred--the music of the great god,
and in introducing them Gregory introduced the music of Kamut. And thus, to all appearance, has it come to pass, that the name of Osiris or Kamut, 'the husband of the mother,' is in every day use among ourselves as the name of the musical scale; for
what is the melody of Osiris, consisting of the 'seven vowels' formed into a hymn, but--the Gamut?" (Hislop, Alexander, The Two Babylons, p. 22, Loizeaux Brothers.)
We showed in Temple Like the Nations that Scholars generally agree that the Jerusalem Temple--built by Phonecians--was shaped like a pyramid or tower of Babylon. Stephen got himself killed in part for showing that the temple was allowed as a CONCESSION to David and not as a house for His presence. Therefore, any attempt to prove the temple's "spiritual" nature rests on the same fact that the kings and monarchy were by God's concession to a nation fully committed to idolatry.
Here is a small part of one view. It clearly shows that the altar where the Levites made a great sound was not in the holy places but always out in the open air. Their SERVICE was hard bondage and the were the TYPE of the musical mocking over Jesus prophesied of in Psalm 41 including Judas indwelled by Satan.
Josephus blamed the Levitical singers acting as priests for the first destruction of the nation and the future destruction.
Because the Bible was written for a fallen nation going into to commingle with Baal and Asherah worshipers, God outlawed pillars beside their altars. So, guess what, the Israelites just up and installs two pillars and eve gives them name.And ye shall overthrow their altars, and break their pillars, and burn their groves (non functional columns) with fire; and ye shall hew down the graven images of their gods, and destroy the names of them out of that place. Deut 12:3
Thou shalt not plant thee a grove (Asherah) of any trees near unto the altar of the Lord thy God, which thou shalt make thee. Deut 16:21
And they also built the SEA standing on bulls. None of this is a problem if you just remember that Israel's ELDERS wanted a human king so that they could worship like the nations. When God described what the kings He would select would do to them He defined a "service" of HARD BONDAGE which was paying for their own sins but not worship.
When Israel demanded a king so that they could worship like the nations, God turned them over to their own lusts. David, not God, added musical instruments to the trumpets of God.
At every high place they burned incense, as the nations whom the LORD had driven out before them had done. They did wicked things that provoked the LORD to anger. 2 Kings 17:11
Then take of them again, and cast them into the midst of the fire, and burn them in the fire; for thereof shall a fire come forth into all the house of Israel. Ezekiel 5:4
Thus saith the Lord God; This is Jerusalem: I have set it in the midst of the nations and countries that are round about her. Ezekiel 5:5
And she hath changed my judgments into wickedness more than the nations, and my statutes more than the countries that are round about her: for they have refused my judgments and my statutes, they have not walked in them. Ezekiel 5:6
Therefore this is what the Sovereign LORD says: You have been more unruly than the nations around you and have not followed my decrees or kept my laws.
You have not even conformed to the standards of the nations around you. Ezekiel 5:7
Like the nations the LORD destroyed before you, so you will be destroyed for not obeying the LORD your God. De.8:20
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 (It would happen but they would not get away with it)
As surely as I live, declares the Sovereign LORD, I will rule over you with a mighty hand and an outstretched arm and with outpoured wrath. Ezek 20:33
Here is how you can know that you have been captured BY THE NATIONS:
Behold, therefore I am going to give you to the people of the East (see the nature of those who have captured you) as a possession. They will set up their camps and pitch their tents among you; they will eat your fruit and drink your milk. Ezek 25:4
I will turn Rabbah into a pasture for camels and Ammon into a resting place for sheep. Then you will know that I am the LORD. Ezek 25:5
For this is what the Sovereign LORD says: Because you have clapped your hands and stamped your feet, rejoicing with all the malice of your heart against the land of Israel, Ezek 25:6
Therefore I will stretch out mine hand upon thee, and will deliver thee for a spoil to the heathen; and I will cut thee off from the people, and I will cause thee to perish out of the countries: I will destroy thee; and thou shalt know that I am the Lord. Eze. 25:7
This is what the Sovereign LORD says: 'Because Moab and Seir said, "Look, the house of Judah has become like all the other nations," Ezekiel 25:8
Here is part of the Schick Model preserving the TOWER style.
It is true that when God was repudiated and the temple was built with slave labor, the "noise" of 120 shofars all tuned to the same note and the other loud noise closed down the temple so that the "priests could not serve." However, the people prayed from "outside the camp" and God heard from heaven. This would be the pattern for the common people declared to be "strangers" at Mount Sinai and quarantined out of the temple. This personal approach to God would be the pattern of the tabernacle which always existed under various Hebrew words.
When my soul fainted within me I remembered the Lord: and my prayer came in unto thee, into thine holy temple. Jonah 2:7
But I will sacrifice unto thee with the voice of thanksgiving; I will pay that that I have vowed. Salvation is of the Lord. Jonah 2:9
Jonah was in the belly of a great fish!
However, only one person--the high priest--could enter into God's symbolic presence on his "nation-like" throne only once a year. Therefore under a common view of idols, the monarchy at this Jebusite High Place was the only symbol of the presence of God who had wandered with the tribal system whereever they went. The ARK below of course does not faithfully represent the Ark in the Holy Place.
Restoring the sacrificial music or noise-making absolutely repudiates the finished work of Christ into the Spiritual Most Holy Place. Perhaps this is why the "holy place" in church architecture (all of them) is the podium and performance area into which only "authorized" clergy are permitted to go.Those who have been baptized in the form of the mocking empaling and burial of Jesus are PAST the point of the slayers of dumb beasts to the beat of music which in the NATIONS was for exorcising.
They can enter into the Holy Place for learning, honoring Christ or prayer without a LEADER to guide us into God's presence or pray for us.
We can then enter into the Throne Room at any time--even in the belly of a whale--and NO ONE can escort us. Jesus defined this as the only PLACE where God seeks those seeking Him with their human spirit having proving their devotion to TRUTH and remembrance of the SACRIFICE.
God approved the patriarchs without any music and associates the music of Laban with STEALING your property or fooling you into being so drunk you didn't know which woman you took to wife.
WORSHIP has always been IN SPIRIT and not in rituals:
For thus saith the high and lofty One that inhabiteth eternity, whose name is Holy; I dwell in the high and holy place,
with him also that is of a contrite and humble spirit, to revive the spirit of the humble, and to revive the heart of the contrite ones. Is.57:15
The CHURCH as a form of the Holy Place has always been a synagogue or school of the Bible:
But if I tarry long, that thou mayest know how thou oughtest to behave thyself in the house of God, which is the church of the living God, the pillar and ground of the truth. 1 tim 3:15
And without controversy great is the mystery of godliness: God was manifest in the flesh, justified in the Spirit, seen of angels, preached unto the Gentiles, believed on in the world, received up into glory. 1 tim 3:16
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And he
said unto them in his doctrine, Beware of the scribes, which love to go
in long clothing, and love salutations in the market places, Mark 12:38
And the chief seats in the synagogues, and the uppermost rooms at feasts: Mark 12:39 Which devour widows houses, and for a pretense make long prayers: these shall receive greater damnation. Mark 12:40 And Jesus sat over against the treasury, and beheld how the people cast money into the treasury: and many that were rich cast in much. Mark 12:41 In the Temple, collections were more official: The treasury was also OUTSIDE of the Holy Place as a type of the church of Christ. This is why Paul told the Corinthians to LAY BY YOURSELF a sum each first WORK DAY.
Giving has authority OUTSIDE the holy places where the poor or destitute have to eat. Outside of common agreement there is no role for MONEY in the body of Christ. |
Israel had worshiped the starry host under various names. This included Saturn whose number was 666. He was seen as both a planet or Wandering Star and also personified the sun.When Israel ROSE UP TO PLAY at Mount Sinai they returned to their old Egyptian, Babylonian or Canaanite form of worship.
This was the MARK of the Egyptian triad of Osiris, Isis and Horus where Apis the living bull was worshiped by music INDUCED by praising it. In the form of an idol the golden Calf represented Apis and Hathor and was called elohim or gods.
When Israel's elders FIRED God it was so that they could worship like the NATIONS all of whom were influenced by the Babylonian pantheon.
God promised the nation that the kings would confiscate their TITHES and people. One such stealing of people was young men to make musical instruments for the chariots and to run before them.
Before David died this was fulfilled when he as KING and the COMMANDERS OF THE ARMY reassigned the MILITARY LEVITICL SOUNDERS who created PANIC to "prune the vine" or take the inheritance of the enemy. They would give glory and make a great crashing sound specifically during the sacrifice of animals and the burning of animals.
These events were NOT WORSHIP but the HARD BONDAGE imposed upon them by God when they rejected His free grace in The Book of the Covenant and His theocratic rule over them.
Israel's ELDERS prayed to be able to worship like the GOWRY or Babylonians and as God TURNED THEM OVER to worship the Starry Host because of their musical idolatry at Mount Sinai. Therefore, when they demanded human MEDIATORS God began to carry out the sentence because their CONDITIONAL SENTENCE at Mount Sinai was to be executed.
Not even in Babylon was there musicians or music in the holy place.
> Of course, the Greeks borrowed this from the Babylonians. For instance, In the Hymn in Praise of Enki's Temple Esira at Eridu:
........... When one bends the knee in his holy temple
........... may the harp, algar, drum, algarsurra,
........... har-har, sabitum, miritum,
........... instruments of sweet entreaty and humble imploring
........... which fill the temple,
........... accompany the entreaty in its splendor.
........... Enki's holy algar has [always] sung to him in splendor.The musical instruments indeed
[always] accompanied [the temple's] entreaty!
Again, these words occur:
........... "In reverence commanded in the forecourt the seven musical instruments
........... are played and the ceremonies of exorcism are undertaken.
........... (Quasten, Johannes, Music and Worship in Pagan and Christianity Antiquity)In Ecclesiasticus 48:
1. Then the prophet Elijah arose like a fire, and his word burned like a torch.
2. He brought a famine upon them, and by his zeal he made them few in number.
3. By the word of the Lord he shut up the heavens, and also three times brought down fire.
4. How glorious you were, O Elijah, in your wondrous deeds! And who has the right to boast which you have?
5. You who raised a corpse from death and from Hades, by the word of the Most High;
6. who brought kings down to destruction, and famous men from their beds;
7. who heard rebuke at Sinai and judgments of vengeance at Horeb;
8. who anointed kings to inflict retribution,
........... and prophets to succeed you.> O Israel, thou hast destroyed thyself; but in me is thine help. Hosea 13:9
I will be thy king: where is any other that may save thee in all thy cities? and thy judges of whom thou saidst, Give me a king and princes? Hosea 13:10
I gave thee a king in mine anger, and took him away in my wrath. Hosea 13:11
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No "civilian" Israelite citizen ever
worshipped with CONGREGATIONAL SINGING and INSTRUMENTAL
ACCOMPANIMENT.
Because of the MUSICAL IDOLATRY at Mount Sinai Stephen and many of the Old Testament writers prove that God TURNED THEM OVER TO WORSHIP THE STARRY HOST. David's Seer was the KING'S Stargazer and the TEMPLE was added to facilitate CIVIL animal sacrifices identical to that of ALL national temples. Even so, a singer or musician who entered the holy places would be EXECUTED. Not in the most vile pagan temple were they permitted access. The synagogue or Qahal was the assembly or "church in the wilderness." The civilian people were NEVER assembled other than for instructions. Numbers 10:7 OUTLAWS the alarm which was "playing instruments and making a joyful noise before the Lord." First, this alarm was the Levitical Panic sound or noise and not called MUSIC. Second, no one with common respect for God would play instruments when He is sending His ministers to SPEAK THE WORD as the First day and all of the Sabbath "holy convocations" demanded. Not even the Catholics dared COMBINE congregational singing with instrumental accompaniment. That heresy is a produce of a "distinctly American Religion" called Gnosticism and fueled by voodoo which existed even in Babylon. HEAR SOME PEOPLE WHO COULD READ THE WORD. The Syrian, Ephraim, first introduced SINGING as an ACT OF WORSHIP in about 373 ad. That was TOO late to be Biblical. Nevertheless, Ephraem paraphrased the Old Testament to make learning the TEXT EASIER. Ephraim Syrus On Our Lord notes that Sinai was a test. 18. But when their heathenism from being inward became open, then Moses also from being hidden openly appeared; that he might openly punish those whose heathenism had reveled beneath the holy cloud which had overshadowed them.
What They Did: the Universal meaning of the superstitious 40 Day Plan. 19. But when Moses came down, he saw their heathenism reveling in the wide plain with drums and cymbals. Speedily, he put their madness to shame by means of the Levites and drawn swords.
Chrysostom noted that: Stephen was accused of speaking against "the customs,"-sacrifices, temple, feasts, etc. Therefore he significantly points to that critical conjuncture. from which these "customs" date their introduction:
Prior to that, he tells of "living oracles," life-giving precepts:
Rejecting the Covenant for Legalistic Musical Worship is the MARK. We can hear it as the mark in the mind and the raised hand as a "power salute."
St. Chrysostom gives this account of the legal sacrifices: "To what purpose unto Me is the multitude of your sacrifices? etc. (Isaiah i., 11, ff.)
As a physician in his treatment of a delirious patient, etc.: thus did God likewise. For seeing them so frantic in their lust for sacrifices,
After the feast which they made to the demons, then it was that He permitted sacrifices: all but saying:
"But even this, He did not permit to continue to the end, but by a most wise method, withdrew them from it ...
Anon, when for a short time they had sacrificed, he destroyed the city. Had He openly said, Desist, they, such was their insane passion for sacrificing, would not readily have complied.
The Musical Warrior Levites performed HARD BONDAGE and did not lead WORSHIP which meant to fall on your face. "Civilians" were literally BLOWN OUT of Temple area when the slaughter of types of Jesus Christ. The served THE SLAUGHTERING priests and NOT God. The JEWS NEVER SANG CONGREGATIONALLY WITH INSTRUMENTAL ACCOMPANIMENT: IT IS THE BIG LIE. MUSICAL CHURCHES ARE IN THE BABYLONIAN CAPTIVITY WHICH WILL END WITH THE PERFORMERS RETURNING TO HELL ACCORDING TO REVELATION 18 |
> "Consequently, music was found to be especially appropriate at the time of sacrifice as a means of driving away the evil spirits who would destroy its efficacy. From this it can also be seen why music had to be uninterrupted during the actio. It was not necessary, then, that music drown out cries of pain but rather that it simply drive away the demons who had been attracted by those cries." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, pgs 16-17)No, but the sacrifices of pagans are offered to demons (who distribute fortunes or gifts of spirits), not to God, and I do not want you to be participants with demons. 1 Corinthians10:20
So it is with you. Unless you speak intelligible words with your tongue, how will anyone know what you are saying? You will just be speaking into the air. 1 Corinthians 14:9
Don't let this bother you: we remind you that Israel's Elders wanted a ruler like the nations and God meant "so they could worship like the nations." Since He has already sentenced them to worship the Starry Host and into captivity and death, God permitted kings to carry out the sentence.
> "In Greek ritual the sacrifice was accompanied by the invocatory cries of women.
Their purpose was to call the good gods so that they could enjoy the sacrifice.
Music had the same character of epiclesis. It was understood to "call down" the good gods.
Menander attests to the attribution of this significance to music. According to Plutarch,
........... the inhabiants of Argos blew trumpets on the feast of Dionysos
........... so as to call the god up from the depths of the river Lerne for the sacrifice.For Moses describeth the righteousness which is of the law, That the man which doeth those things shall live by them. Romans 10:5
But the righteousness which is of faith speaketh on this wise, Say not in thine heart, Who shall ascend into heaven? (that is, to bring Christ down from above:) Romans 10:6
Or, Who shall descend into the deep? (that is, to bring up Christ again from the dead.) Romans Romans 10:7
But what saith it? The word is nigh thee, even in thy mouth, and in thy heart: that is, the word of faith, which we preach; Romans 10:8
Never called MUSIC, the Levitical instrumentalist's SERVICE under the King and Commanders of the Army was called HARD BONDAGE.
It came even to pass, as the trumpeters and singers were as one, to make one sound (bleating, crackling, noise) to be heard in praising and thanking the Lord; and when they lifted up their voice with the trumpets and cymbals and instruments of musick (instruments of singing), and praised the Lord, saying, For he is good; for his mercy endureth for ever: that then the house was filled with a cloud, even the house of the Lord; 2 Chron 5:13
Neither the Jews nor the VILEST PAGANS every brought their musicians or music in the Holy Place as a type of the church of Christ, nor into the Most Holy Place which is the human SPIRIT or MIND which is the only place God seeks us. This worship here we "come boldly before the throne" is in the human spirit as a place of DARK SILENCE.
Music absolutely disables the rational or spiritual MIND and works only on the emotions. Therefore, music disables the symbolism of the Holy Place as synagogue or church or School of the Bible.
Therefore, music TRIUMPHS OVER Jesus Christ as our One and Only Teacher as we Seek Him by Giving Heed to His word.
Music disables the human spirit and therefore TRIUMPHS OVER any attempt we make to come before God in dark silence to "make melody" or meditate upon the Word we have TAUGHT one to another.
Music had a rationale among the Jews in a religious sense only in Canaan, only in Jerusalem, only in connection with the State-Civil temple patterned after the Phoenician temples because that is what the prayed for and what God instructed them to build so that He could have it looted within five years of Solomon's death.
The musical, warrior Levites fulfilled their mission to try to defeat Jesus as the STOOD IN THE GAP using instrumental music to MELT Him like wax.
However, in victory Jesus would praise God with the flute and pipe and zither of His God given lips.
The role of the musicians ended when Jesus was crucified on the cross.
However, as at the beginning so shall be the end. Beyond the scope of this short article is the fact that Cain as an agriculturist gave rise to the FERTILITY RITUALSD which the herding people never adopted. Therefore, his name is prophetic. Again, notice:
Qayin (h7014) kah'-yin; the same as 7013 (with a play upon the affinity to 7069); Kajin, the name of the first child, also of a place in Pal., and of an Oriental tribe: - Cain, Kenite (-s).
Qiynah (h7015) kee-naw'; from 6969; a dirge (as accompanied by beating the breasts or on instruments): - lamentation.
Quwn (h6969) koon; a prim. root; to strike a musical note, i. e. chant or wail (at a funeral): - lament, mourning woman.
Tubal-Cain has the prefix Tubal and gave rise to the JUBILEE concept:
Yabal (h2986) yaw-bal'; a prim. root; prop. to flow; causat. to bring (espec. with pomp): - bring (forth), carry, lead (forth).
Yowbel (h3106) yo-bale'; or yobel yo-bale'; appar. from 2986; the blast of a horn (from its continuous sound); spec. the signal of the silver trumpets; hence the instrument itself and the festival thus introduced: - jubile, ram's horn, trumpet
Jubal is derived from this meaning A STREAM. In the book of Enoch and other versions of the story, Jubal or genun as a composite of the Lamech (EA in Babylonian stories) family of musical enchanters who used music and warfare to steal other's property.
The STREAM was the musical path Satan taught young Jubal or Genun to use after seducing the faithful off God's holy mountain where the Living Word walked among them.
The Satan-taught devices were mixed-sex choirs, instrumental music, wine, makeup and sexual perversion.
Therefore, the JUBILEE CONCEPT denies the atonement of Christ and seeks to restore the ancient but end-time effort to regenerate SEEKERS through external means.
What was the MARK of the "father" wandering star, Saturn? It was 666 and his methods of diverting from the Word of God was music.
What was the MARK of Cain? I don't know but his name hides the musical triumphing effort used on Jesus and by Saturn, Apollo etc., in the end times.
Let me say it again: the Modern Lust to change "singing" from TEACHING or PREACHING the inspired text of the Bible or "that which is written" and the introduction of TEAMS or musical instruments into the church of Christ EXCEEDS all of the history of religious temple music we are aware of in POLLUTING or insulting the very meaning of GOD.
Not even the vilest pagan temples permitted the MUSICIANS or boomers and clangers to ever enter into the presence of the "gods." Therefore, to permit musicians into the church as the fulfillment of the Holy Place would be as vile as to bring the slaughter of bulls and goats right in to the Lord's Table. This has always been the view of spiritual believers.
Counter added 12.31.1:46p 4766
