Robert Ballard The Case For Instrumental Music

Robert Ballard and the NACC: and to refuse to permit that which God Himslef has (P93) SAID TO USE. To forbid their use, where God has  SAID TO USE THEM, as in Eph. 5:19 and Col. 3:16 is flagrant sin (Rev 22:18:19)

Added quotes (misquotes) from Winder below

Robert Ballard: This book refers to the over 180 places in the Bible where instrumental music is used to praise God.

Nevertheless, there is not a single instance of the church--beginning in the wilderness as the Qahal or synagogue--ever assemblying to sing with instrumental accompaniment.   2 Chronicles 29 as the proof text which justifies sowing massive discord and doing a hostile takeover of churches involved the King, city officials, priests and Levites ONLY. No one not of the cursed and abandoned tribe of Levi was permitted to be present. Those who can read understand that the command of God was for the Levites to stand in ranks under the king and commanders of the army. Where do preachers get the notion that they have become "a king set over us?" They stood guard to execute any civillian who ventured inside the gates.

Since the Levites were under the king and commanders of the army the PRAISE word intended to threaten the enemy and turn them into cowards: that is often repeated by the NACC.  The word "Lucifer" is derived from David's praise word which means to boast or make a fool of yourself: since "praise singers" were the world's OLDEST profession believing that they could appease or seduce the gods, preachers who never bother to define words answer to the charge of Jesus that "the doctors of the law take away the key to knowledge."  Jesus called these Scribes and Pharisees, hypocrites by quoting from Isaiah and specificially Ezekiuel 33 where Christ names "rhetoricians, singers and instrument players." It is true: God never said 'thou shall not be a hypocrite.'  However, the Greek language specificially defines rhetoricians, singers and instrument players hypocrites as well as enchanters or sorcerers.

The command to make instrumental noise was by the COMMAND OF DAVID for the burnt goat to try to appease Israel as the historic Instrumental Sect.  Christ says that God did not command sacrifices or burnt offerings.

The NACC and a few dupes have used extreme means to force churches of Christ to "unite" and make music.

Therefore, they have made a major industry to command people to do what Christ says God did not command.

Christ in Jeremiah 23 defines that as blasphemy of the Holy Spirit of Christ.

The Jacob-cursed Levites volunteered to slaughter 3,000 of the "brethren" for engaging in musical idolatry at Mount Sinai.  Moses then gave them the perpetual role of standing in ranks: any civilian not authorized as the Civil-Military-Clergy congregation was to be executed and never led in worship. The performance of the noise was by the command of David.

Furthermore, the church is built on the teachings of the prophets (by Christ) and the prophecies made more perfect by Jesus of Nazareth. Peter lists these two resources as Christ-revealed.  He identified anyone who taught otherwise as false teachers.   The exclusion of "vocal or instrumental rejoicing" which includes an elevated form of teaching defines the Holy Convocation for the holy people quarantined from the unholy assemblies of the tribe of Levi cursed by Jacob and abandoned to worship the starry host because of musical profaning of the Sabbath at Mount sinai. There is no command, example or remote inference that a Rabbi imposed an instrument until as late as the year 1815 in Germany: the ethical judge refused to let the musical discorder confiscate the synagogue.  Even in the lowest level of commercial ethics, the person wanting to take control is bound to leave and pay for his own property or be confined.

The historic pattern endorsed by Jesus, commanded by Paul and practiced by the historic Church of Christ was:

Acts 15:21 For Moses of old time
        hath in every city them that preach him,
        being read in the synagogues every sabbath day.

Why would the masses of theology NOT understand that?  Maybe because Jesus hid the word from the clergy in parables from the foundation of the world: the best place to hide the word from "doctors of the law" is in plain sight.

New 8.15.11  Added Hezekiah's Plague Stopping Exorcism

New 8.15.11  The Levites would kill you if you were inside the gatesduring the sacrifices.

It is impossible to be a Christian or a follower of Christ and refuse to follow His command to teach what HE commanded to be taught.

Matthew 28:18 And Jesus came and spake unto them, saying,
        All power is given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore,
        and teach all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
        Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen.  Matthew 28:20

The commmands of God are assertive: one never tries to trump God by teaching what He DID not command as the core of the assembly. Because ALL authority is vested with the Son, there can be no imagined authority imposed on others by a human.

Because the Spirit of Christ informed the prophets to repudiate the Civil-Military-Clergy complex which had been abandoned to the worship of the starry host, including the worship of fire, The Church is built or educated by the Prophets and the prophecies made more perfect and left as a written memory of the Apostles. Furthermore, Jesus in person did not participate or command any kind of what we would call music.  Hymns are spoken; Spiritual songs exclude instruments and Psalms never imply the use of an instrument.  The Spirit does not have to IMPLY.

Jesus of Nazareth would die, be resurrected, be changed, ascend to the Father and receive the PROMISE of the Holy Spirit: that is, He would continue to teach the Apostles in His post resurrected state: The "another Comforter" different in this respect is still named "Jesud Christ the Righteous."  Peter left that "memory" for us and outlawed private interpretation or further expounded.  He identified anyone who did not respect that Christ empowered memory as a false teacher.

A Christian is a disciple of Christ commanded to assemble only to learn and confess the Word of Christ.  Disciples never try to convince the other disciples that he should make instrumental noise when the Master Teacher is teaching Chemistry.

The Instrument war is built on the foundation of not grasping that the Church of Christ is an ekklesia or synagogue and has only one purpose: to instruct people from the Word of God.   Did you know that the effeminate enemies of Christ beat him to the bones with their "flutes?" Well, that's the prophecy.

It is a waste of time to try to refute the practices of a national Israel and Judah who were worshipping the starry host: except those lusting to be entertain fall into the pit of commanding that to which God abandoned God to slavery and death.

Even the, the Levites were God's guarantee that the godly people--who attended synagogue or the Church of Christ in the wilderness--did not even get close to the horrors quarantined behind closed doors.

The fact is that Jesus and the writers of the epistles reject any hypocritic or cunning sophists including speakers, singers or instrument players just before defiing the synagogue as a School of the Word of God only.

Jesus outlawed music for the Church of Christ, practiced it and endorsed the synagogue and never COMMANDED any kind of musical performance when He comes to be our teacher. That means that those who impose music do not know that a Christian is a disciple and not a ceremonial legalists or that the church is a place for preaching the word by Reading and discussing it.

Malachi 3 short notes to prove that the MARK is people using musical instruments as weapons: not mysterious, just a simple text.

Malachi 4 continues the MARKS.

• Fact. God turned the Israelites over to worship the starry host because of musical idolatry at Mount Sinai (acts 7 etal).
• We know the names of the starry host.
• Why would the masses of religionism make a major industry out of forcing people to worship the starry host?
• Why do you suppose they despise those who refuse to join with them? Don't they know that the church is built upon the teachiings of Christ in the prophets (repudiating music) and Jesus Whom God made to be both Lord and Christ who made the prophecies more perfect through the Apostles.
  

PROOF THAT THE PATTERN OF THE NACC WAS NOT COMMANDED BY GOD.

When they use the Israelite Civil-Military-Priestly class as the patternism for making "sacrificial" music without the literal sacrifices do they not know that

"The Israelite state was not founded with divine blessing. Rather, it was allowed as a grudging concession, just as a parent lets a child have his way in order that he may learn his folly from experience." (Anderson, Bernard, Theology of the O.T. p. 163).

"In one sense the creation of the monarchy was providential...In retrospect, one can say that events which brought about the collapse of the Confederacy and the rise of the Israelite state were not...devoid of divine purpose. God's revelation is relevant to the whole of human life--to economics, politics, and every sphere of human activity.

If God would speak to the nations through Israel, then Israel must undergo the experience of being a nation in order that she might appreciate the wealth of nationhood and attack the idolatrous power of nationalism." (Bernard Anderson, p. 163) 

Why would preachers claim that "God commanded instrumental praise and we must not be disobedient?" Why would they make that claim to thousands of people intending to impose musical machines knowing that it would sow discord among the owners so they could use their church as "a theater for holy entertainment?" Wouldn't they know that rhetorical preaching, singing, clapping, playing instruments and doing some body gyration would make it impossible for the elders to "teach that which has been commanded?"

IF COFFMAN AND ALL HISTORIC SCHOLARS ARE CORRECT THE INSTRUMENTALISTS ARE FORCING YOU TO WORSHIP THE STARRY HOST.

Coffman's Commentary  The great Cambridge scholar, Henry McKeating, has the following comment on this passage from Hosea:

"Hosea is not only antagonistic to the northern kings but to the monarchy as such. The monarchy is powerless to save the nation. Israel was wrong to ask for a king. Her punishment was that she got what she asked." 7: Henry McKeating, Amos, Hosea, and Micah (Cambridge: University Press, 1971), p. 148.

Coffman: "We are aware that it is popular among many able commentators today to make apologies for Israel's monarchy and to apply what the Scriptures plainly say about it to some specific monarch, Saul, for example, as did Dummelow, or to the kings of Northern Israel as did Hailey;

but it is the conviction of this writer that
Israel was totally and completely wrong in asking a king and that this rejection of God (that is what the text calls it) contained embryonically all of the later sorrows of the Chosen People.

Throughout the whole history of Israel, there were very few monarchs who even tried to serve the Lord. Solomon was to be blamed for the division of the kingdom under his son, because the people simply rejected the excesses of Solomon; and yet, even after God took the monarchy away from them, the nation wanted nothing in heaven or on earth as much as they wanted the restoration of that scandalous Solomonic empire.

It was this, more than anything else, that motivated their rejection of God Himself,

finally and irrevocably,
in their rejection of God's Son, Jesus Christ the Holy One.

All church fathers understood that. No Bible student could miss that. 

MOST DO NOT ACCEPT THAT CHURCH IS "A SCHOOL OF THE WORD." THEY FALL INTO THE FATAL DEFINITION OF MOST PAGAN INSTITUTES.

The Church had to fight the man cults among the paganism: the Jews had a covenant with Death. The women musicians wanted to help Jesus with the "dead" girl by honoring or appeasing her soul. Funeral festivals or Martyr's festivals or just about anything festivals gave people the opportunity to feast, sing, dance, play instruments offer sacrifices to the dead. God knew that they offered the worship to Him but THEY ate the food.  After all, the task of the church was to try to remove the superstitions and burdens of sacrifices, priesthoods, musicians and exorcists all identified as "parasites."

Hippolytus   We think, then, that the "psalms" are those which are simply played to an instrument, without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument;

"We think" won't work: you need fodder to think.  There is no instance where any of the psallo type words (including SOP) is used to mean "play a harp."   It requires three words to define singing AND playing AND the name of the instrument.

The Jews who translated the Greek or Septuagint (LXX) picked the word "psallo" to speak of psalms because so many of them are warrior's chant: "My god can destroy your god."  They picked the psallo rooted words which means SOP, do violence by shooting literal arrows, do sexual violence by shooting love arrows (Abaddon), or sing because the common expression was "shooting out seductive love songs." Tom Burgess collected many of the examples of "plucking" but did not tell you that ALL of them connect to older males--such as Alexander the Great--who embarassed his father because he skillfully played the harp trying to seduce a younger male whose pubic hairs had been plucked.

We are safe from sowers of discord because none of the Bible is metrical in a tuneful sense: God made certain that you cannot be faitful and teach that which is commanded for our learning AND do musical performance at the same time.

That is because "psalm" is derived from a stringed instrument which can be plucked with the fingers only. That is because it was used primarily of plucking a bow to make it "twang" to send forth a "singing" arrow into the literal heart. The Jacob-cursed Levites produced "fear" and not reverence.

It would prove a disrespect for facts to extend smiting a string with the FINGERS only into using a guitar pick, drums, cymbals, flute, trumpet, organ or piano: in fact it would prove a DELIBERATED and high handed violation of the LAW of "Psallo" knowing that it would sow discord and force godly peiople to toss themselves out of their own synagogue

This is derived from warriors plucking the bow string and pretty vile people plucking harp strings to seduce a younger male:

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

MARK:  Nebel (h5035) neh'-bel; or nebel nay'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Nabel (h5034) naw-bale'; a prim. root; to wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked; causat. to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, * surely, make vile, wither..

Nabal (h5036) naw-bawl'; from 5034; stupid; wicked (espec. impious): - fool (-ish, -ish man, -ish woman), vile person.

Males who would sing and play at the same time were known to be "drunk, perverted or just having fun."

So, it was the translators of the Septuatint who used the "Psa" based words knowing fully well that in the Greek world the message was making war or making perverted sex.  Not all of the book of psalms are psalms:

MARK:  Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).

5059.  nagan, naw-gan´; a primitive root; properly, to thrum, i.e. beat a tune with the fingers; expec. to play on a stringed instrument; hence (generally), to make music:—player on instruments, sing to the stringed instruments, melody, ministrel, play(-er, -ing).

H5060 nâga‛ naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strike (punish, defeat, destroy,

Of the singing and harp playing prostitute in the garden of Eden.

Isaiah 23:16 Take an {1} harp, go about the city, thou harlot that hast been forgotten;
        make sweet {2} melody, {3}sing many songs, that thou mayest be remembered.

BLB h5058 First, "MUSIC" of a stringed instrument

Isaiah 38:20 The LORD was ready to save me:
        therefore we will sing MY songs to the stringed instruments all the days of our life
        in the house of the LORD.  (Not in the holy places)

Singing TO a stringed instrument included plucking the string and then matching the single syllable to that sound: Two or three notes would do it very well when Cantillating.

Isaiah told Hezekiah that his sons would be taken into captivity: not to worry, says Hezekiah, just as long as it doesn't happen in my lifetime.  While Hezekiah was fiddling around OUTSIDE of the holy places, little Manessah was getting ready to start burning infants again.

Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and their song all the day.

Second: names a stringed instrument (Psaltery) in the titles of Psalms 4, 6, 54, 55, 67, 76

Third: a song, sung to the music of stringed instruments.  Sounds were first produced by a bow and then the harp with perhaps 3 strings.  You can sing to the "notes" of a harp without using the harp.

Examples: singing and making melody is IN the heart or spirit.

Psalms 77:6 I call to remembrance my song in the night:
        I commune with mine own heart:
        and my spirit made diligent search.

Learning is recycling what you know:
Co-gnosco  II. To recognize that which is already known, acknowledge, identify , With the access. idea of individual exertio,
Narro to tell, relate, narrate, report, recount, set forth from gignōskō ,

Matthew 26:30 And when they had sung an hymn, they went out into the mount of Olives.

Hymnus , i, m., = humnos, I. a song of praise, a hymn: “hymnus cantus est cum laude Dei,” Aug. Enarr. in Psa. 148, 17; Ambros. Expos. Psa. 118, prol. § 3; Lucil. ap. Non. 330, 9; Prud. Cath. 37 praef.; 4, 75: “divinorum scriptor hymnorum,” Lact. 4, 8, 14; Vulg. Psa. 60 tit.; id. Matt. 26, 30.

Dīco,  to say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,
Ontōs , Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs a^, Dor. ala_thēs , es, (lēthō,
I. Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3. of oracles, true, unerring, “alathea mantiōn thōkon” Pi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthai” Hdt. 1.14
        Opposite Epos 1. song or lay accompanied by music, 8.91,17.519. b. generally, poetry, even lyrics
        5. celebrate, of poets, “Aiantos bian

Especially a song of derision, a satire. Again:

Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and their song all the day.

Jer 20:7 Yahweh, you have persuaded me, and I was persuaded; you are stronger than I, and have prevailed: I am become a laughing-stock all the day, every one mocks me.

Job 30:1 But now they that are younger than I have me in derision,
        whose fathers I would have disdained to have set with the dogs of my flock.
Job 30:7 Among the bushes they brayed; (rejoiced, manured)
        under the nettles they were gathered together.
Job 30:8 They were children of fools,
        yea, children of base men:
        they were viler than the earth.
Job 30:9 And now am I their song, yea, I am their byword.
Job 30:10 They abhor me, they flee far from me,
        and spare not to spit in my face. (make a tabret of me)

It still happens when people use music which means "to make the lambs dumb before the slaughter."

Sacrificial musicians--called parasites in the Greek world--made the lambs dumb before the slaughter: it was prophesied that the Jews would attempt that on Jeus.  Malachi by the Spirit of Christ made that clear (to disciples) in Malachi 3. We have posted a partial view here.

Mark 10:34 And they shall mock him,

Latin Illudo  as a female: Applied as a term of reproach, effeminate men, eloquence, rhētor but with idea of contempt, caneret,”
A. Of men: “si absurde canat, of the crooked race, a reed pipe, a guitar, crowing of a hen tibiae, tubae,  Gallus , i, m., = Gallos Strab., A. Galli , the priests of Cybele, on account of their emasculated condition) Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18.  “resupinati cessantia tympana Galli,”

See Paul in Galatians connect the emasculated "troublers" to witchcraft.

Tac. Ann. 14.52 Of Nero:  They further alleged against him that he claimed for himself alone the honours of eloquence, and composed poetry more assiduously, as soon as a passion for it had seized on Nero. "Openly inimical to the prince's amusements, he disparaged his ability in driving horses, and ridiculed his voice whenever he sang

Verg. A. 9.634
Of such loud insolence and words of shame
Ascanius brooked no more, but laid a shaft
athwart his bowstring, and with arms stretched wide
took aim, first offering suppliant vow to Jove:

The Father heard, and from a cloudless sky
thundered to leftward, while the deadly bow
resounded and the arrow's fearful song
hissed from the string; it struck unswervingly
the head of Remulus and clove its way
deep in the hollows of his brow. “Begone!
Proud mocker at the brave!

In-tŏno ,  . Pregn., to bring down with a thundering sound:
Sŏno ,  Neutr., to make a noise, to sound, resound: aes sonit, the trumpet sounds,
II. Act., to sound, utter, give utterance to, speak, call, cry out, sing, pour forth (syn.: “edo, eloquor, cano): homines inconditis vocibus inchoatum quiddam et confusum sonantes,
“furem sonuere juvenci,” i. e. they betrayed him by their lowings, Prop. 4 (5), 9, 13. “Pythius in longā carmina veste sonat,” sings, pours forth, accompanies on the lyre, id. 2, 31 (3, 29), 16; cf.: “sonante mixtum tibiis carmen lyra,” Hor. Epod. 9, 5: “te sonantem ... dura fugae mala,” id. C. 2, 13, 26: te carmina nostra sonabunt, shall sing of, i. e. shall celebrate, praise, extol,

Paizo, 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2

Prospaizō, prospaizousa tois ōmois komē playing over, II. c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c. 2. banter , “tous rhētoras” Id.Mx.235c, cf. Euthd.285a; p. ton kuna, ton arkton, , humnon pr. ton Erōt

Auleō ,, to be played on the flute, “ho Bakkheios rhuthmos ēuleito” X. Smp.9.3

Hărundo M. A rod (for beating, punishing): “ac me iterum in cellam perduxit, et harundinem ab ostio rapuit iterumque mulcavit

But a musical instrument: a flute.

G. A flute (made of the kalamos aulētikos, Theophr. 4, 12): “Satyri reminiscitur alter, quem Tritoniaca Latoüs arundine victum affecit poena,” Ov. M. 6, 384.—

Don't blame me: this is the universal message and persona in all recorded literature.

Satyrus a kind of ape II. A Satyr, one of the satyri, a kind of wood-deities resembling apes, with two goat's  [cappella] feet, and very lascivious; Hor. Ars 235

In Greek mythology, satyrs are a troop of male Pan and Dionysus — "satyresses" were a late invention of poets — that roamed the woods and mountains. In myths they are often associated with pipe-playing. companions of The square shape on the flute case is the Judas Bag.

Hor. Ars 235 The poet, who first tried his skill in tragic versegoat, soon after exposed to view wild satyrs naked,¹ and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with wine  and disorderly, was to be amused with captivating shows and agreeable novelty. But it will be expedient so to recommend the bantering, so the rallying satyrs, so to turn earnest into jest; that none who shall be exhibited as a god

for the paltry [prize of a]

1 There was a kind of tragic comedies among the Greeks, which they called Satyrs, because the chorus was formed of Satyrs, who sung the praises of Bacchus between the acts, and said a thousand low pleasantries.

THE MUSICAL INSTRUMENT AS WEAPON IS A COMMON THEME: Carnal weapons are lifeless instruments.

What happened to Jesus can be verified by parallel events in the pagan world at the time: Isn't it amazing that so many people still havethe urge to beat Jesus to the bones with their "flutes" or other musical instruments.

Ov. Met. 6.384 When one of Lyce (I wote not who) had spoken in this sort, Another of a Satyr streight began to make report, Whome Phebus (Abaddon, apollyon)  overcomming on a pipe          (made late ago By Pallas)         put to punishment.         Why flayest thou me so, Alas, he cride, it irketh me. Alas a sorie pipe Deserveth not so cruelly my skin from me to stripe. For all his crying ore his eares quight pulled was his skin. Nought else he was than one whole wounde. The griesly bloud did spin From every part, the sinewes lay discovered to the eye, The quivering veynes without a skin lay beating nakedly.     The panting bowels in his bulke ye might have numbred well,      And in his brest the shere small strings a man might easly tell.     The Countrie Faunes, the Gods of Woods,      the Satyrs of his kin,

Is. 53:5 But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed. Per-cŭtĭo , To strike through and through, to thrust or pierce through (syn.: percello, transfigo). a vein is opened, blood is let, To make a covenant. To strike or mark.    b. To strike, play a musical instrument (poet.): “lyram,” Ov. Am. 3, 12, 40; Val. Fl. 5, 100.— Hebrew: h2490 : to wound, an opening wedge to lay open, play the flute, steal an inheritance, player on instruments, pollute, prostitute, slay. [the warrior's praise halal] Psalms 22:6 But I am a worm, and no man; a reproach [naked] of men, and despised of the people. Psalms 22:7 All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying, Psalms 22:8 He trusted on the LORD that he would deliver him: let him deliver him, seeing he delighted in him.

CAL´AMUS
2. A light flute, formed of a single reed (harundo, Ov. Met. 6.384; kalamos, Pind. O. 10.100,

Pind. O. 10 For I owed him a sweet song, and I have forgotten.
        But come, Muse, you and the daughter of Zeus, unforgetting Truth:
        with the hand that puts things right,
        [5] keep from me the blame for lying, for wronging my friend.
        Approaching from far away, the future has arrived
        and made me ashamed of my deep debt
Even now we will follow the first beginnings, and as a namesake song of proud victory,
        we will shout of the thunder [80] and the fire-wrought shaft of Zeus who rouses the thunder-clap,
        the burning bolt that suits omnipotence.
        Swelling music will answer the reed-pipe in songs
        [85] which have come to light beside famous Dirce

3. The shaft of an arrow, and in poetry an arrow made of a reed which was not hollow, but filled with pith.  Nem. 5.70; donax, id. Pyth. 12.44; Theocr. 20.29). The reed-flute figured in the following woodcut was found in an Egyptian tomb and is in the British Museum.

My deer bone tibia could hurt you real bad.
However, the harp given by God:

Job 30:30 My skin is black upon me,
        and my bones are burned with heat.
Job 30:31 My harp also is turned to mourning,
        and my organ into the voice of them that weep.

Metamorphose 11.
Behold (sayes shee) behold yoon same is he that doth disdeine
Us women. And with that same woord shee sent her lawnce amayne
At Orphyes singing mouth. The Lawnce armd round about with leaves,
Did hit him, and without a wound a marke behynd it leaves.
[This is the thyrus: the shaken reed, phallic symbol with lance hidden in pine cone]

Another threw a stone at him, which vanquisht with his sweete
And most melodius harmonye, fell humbly at his feete
As sorye for the furious act it purposed. But rash
And heady ryot out of frame all reason now did dash,

And frantik outrage reigned. Yit had the sweetenesse of his song
Appeasd all weapons, saving that the noyse now growing strong
With blowing shalmes, and beating drummes, and bedlem howling out,
And clapping hands on every syde by Bacchus drunken rout,
Did drowne the sownd of Orphyes harp. Then first of all stones were
Made ruddy with the prophets blood, and could not give him eare.

This image absolutely defines what you can do with the "psallo" word: you must smite or pluck a string with your fingers and never with a plectrum or "pick." It would be dishonest to try to stretch the word to wind and percussion instruments. You cannot even stretch the modern meaning of melody to include harmony

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

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

When the translators of the Septuagint (LXX) needed a word they used the psaltery as the base: that is because the use of the psalms under the king and commanders of the army was mostly making war and threatening people such as in building the not-commanded Temple as slaves.  Religion is "threskia." Impure religion came from Orphus of Thrace and outlawed as one of the sects in Romans 14.

Strabo 10:3.16. Also resembling these rites are the Cotytian and the Bendideian rites practiced among the Thracians, among whom the Orphic rites had their beginning. Now the Cotys who is worshipped among the Edonians, and also the instruments used in her rites, are mentioned by Aeschylus; for he says,“O adorable Cotys among the Edonians, and ye who hold mountain-ranging instruments 

”and he mentions immediately afterwards the attendants of Dionysus:“ one, holding in his hands the bombyces,
         toilsome work of the turner's chisel,
        fills full the fingered melody,
        the call that brings on frenzy,
        while another causes to resound the bronze-bound cotylae (clanging cymbal)
 ”and again,“stringed instruments raise their shrill cry, and frightful mimickers from some place unseen bellow like bulls, and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound;

”for these rites resemble the Phrygian rites, and it is at least not unlikely that, just as the Phrygians themselves were colonists from Thrace, so also their sacred rites were borrowed from there. Also when they identify Dionysus and the Edonian Lycurgus, they hint at the homogeneity of their sacred rites.

Dionysian music especially awoke in that world fear and terror. If music was apparently already known as an Apollonian art, this music, strictly speaking, was a rhythmic pattern like the sound of waves, whose artistic power had developed for presenting Apollonian states of mind. The music of Apollo was Doric architecture expressed in sound, but only in intimate tones, characteristic of the cithara [a traditional stringed instrument}. The un-Apollonian character of Dionysian music keeps such an element of gentle caution at a distance, and with that turns music generally into emotionally disturbing tonal power, a unified stream of melody, and the totally incomparable world of harmony.  Nietzsche.Tragedy

Where did Gregory the Great get the idea of doing the same thing?

Osiris, Isis and Horus was the Egyptian trinity worshipped under Apis, the golden bull calf, at Mount Sinai.

Now the name of Linus or Osiris, as the "husband of his mother," in Egypt, was Kamut (BUNSEN). When Gregory the Great introduced into the Church of Rome what are now 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" (Classical Tour), Lydia and Phrygia being among the chief seats in later times of those mysteries, of which the Egyptian mysteries were only a branch. (i.e. Barbarians)

These 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," [See the musical idolatry at Mount Sinai]

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" {Ephesians Letters} formed into a hymn, but--the Gamut?

MELODY:

Melos , eos, to, melê, ta, lyric poetry, choral songs opposite Epic or Dramatic verse,2.music to which a song is set, tune, Arist.Po.1450a14; opp. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhêma, Id.Lg.656c; Krêtikon, Karikon, Iônikon m logou te kai harmonias kai rhuthmou ib.398d.

What Melic poetry like Sappho's [Lesbian] actually was is best comprehended in the light of Plato's definition of melos, that it is 'compounded out of three things, speech, music, and rhythm.' Sappho is said by Athenaeus, quoting Menaechmus and Aristoxenus, to have been the first of the Greek poets to use the Pêktis (pêktis), a foreign instrument of uncertain form, a kind of harp (cf. fr. 122), which was played by the fingers without a plectrum.

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

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

Psallo is alwas to SING unless melody and the name of an instrument is included.

That is why Paul excluded the HARP by using Psallo to speak of melody in the HEART.  The proof is that in Colossians 3 he used GRACE: both melody and grace are qualities of speech: Paul commanded us to SPEAK.

2. Music Before and During the Law of Moses.............................15
3. Instrumental Music During the Period of the Prophets...........21
4. Instrumental Music in the New Testament Church..................58
5. HISTORICAL, SECULAR EVIDENCE
    Proves Instrumental Musid was used in the Early Church................75

1. Instrumental-Non Instrumental Problem....................................7

Robert Ballard: In 2006, it will be a hundred years since a huge fracture came in the Restoration Movement

That is false: In 1832 those who followed Barton W. Stone sought to "unite" with what became the Churches of Christ. A few men agreed on a working paper and shook hands.  Alexancer Campbell laughed at the notion that a few handshakes could merge two groups which held nothing in common but trust in the Bible.   The ink must not have been dry before the Disciples (Anglican, Catholic rooted) began to do what it agreed not to do.  See H. Leo Boles for the "contract" between a few preachers.

The agreement composed by John Smith is listed in this paper.

The Christian Church, NACC, did not begin until 1927 and did not finally sect out of the Disciples until 1971.  Since Robert Ballard sected out of the Disciples he is under obligation to restore the unity he broke.

The Disciples split among their own group over instrumental music and confiscated the churches of those who disagreed. Everyone can meet without instruments and most agree that it is more acceptable than musical performance.  However, when Robert's group added instruments with no need for authority beyond finances, he EXCLUDED  half of the people.

It was because of musical idolatry at Mount Sinai that God removed The Book of The Covenant of Grace, gave them The Book of The  Law and gave them the unredeemable promise that they would be returned to Babylon where they began as robbers of caravans.  Abraham's covenant was the ONLY spiritual covenant and the New Testament ignores the Monarchy as a Goyim, Gentile or Babylonish Temple-State and consigned them to spiritual blindness until they turned, were converted or were baptized into Christ (2 Cor 3) or wer washed with water INTO the School of the Word (only).

The godly people were quarantined from anything you can discover about "instrumental praise." The qahal, synagogue or Church of Christ in the Wilderness was:

Inclusive of Rest, Reading and Rehearsing the Word of God--only
Exclusive of vocal or instrumental rejoicing.

The godly people were prepared for the reign of Jesus as The Holy Spirit because there is not a single instance of this pattern being violated------

Acts 15:21 For Moses of old time
        hath in every city
        them that preach him,
        being read in the synagogues every sabbath day.

The synagogue never ceased and the godly people attended BIBLE CLASS while the Civil-Military-Clergy were profaning God on the REST day.

The "praise" word is devoted to "making self vile" or "feigning madness" as a way to threaten the enemy: After all, the Jacob-cursed Levites were under the King and Commanders of the Army: they made war and never God commanded or approved spiritual devotion to Him. The praise word--halal--is the source for the word Lucifer: Lucifer was the singing and harp playing prostitute in the garden of Eden according to Christ in the prophets.

2. MUSIC BEFORE AND DURING THE LAW OF MOSES ....... 15

When Israel rose up in musical idolatry at Mount Sinai, the Levites jumped at the chance to slaughter 3,000 people among the sinning "brethren." Because the Levites had carried out this execution because of musical idolatry, Moses set the tribe of Levi aside to serve the priests.  They were to STAND IN RANKS and execute anyone who came inside the gates during sacrifices without authority.

THE LEVITES Stood in ranks to execute you if you were inside the gates when they made a great noise.

We suggest that you read the role of the NEW MUSICAL LEVITES before you give them your tithe and offering to "stand in the holy place" to threaten and dare you to perform as preacher,  singer or instrument player.

A Jubal "handled" all of the musical instruments meaning "without authority."

Genesis 4:19 And Lamech took unto him two wives: 
       the name of the one was Adah, and the name of the other Zillah.
Genesis 4:20 And Adah bare Jabal: he was the father of
        such as dwell in tents, and of such as have cattle.
Genesis 4:21 And his brother’s name was Jubal:
        he was the father of all such as handle the harp and organ.
 
8610. taphas, taw-fas´; a primitive root; to manipulate, i.e. seize; chiefly to capture, wield, specifically, to overlay; figuratively, to use unwarrantably:-catch, handle, (lay, take) hold (on, over), stop, x surely, surprise, take.

H8608 taphaph taw-faf' A primitive root; to drum, that is, play (as) on the tambourine: taber, play with timbrels.

H8611 tôpheth to'-feth From the base of H8608 ; a smiting, that is, (figuratively) contempt:--tabret.

H8612 tôpheth to'-feth The same as H8611 ; Topheth, a place near Jerusalem:--Tophet, Topheth.

Christ in Isaiah 30 and John identifies all of the musical performers  [Reve18] who are marking God driving His enemies into hell or cast alive into the Lake of Fire. That is because all musical terms identify enchantment or sorcery of someone stealing your property.

Genesis 4:22 And Zillah, she also bare Tubalcain,
        an instructer of every artificer in brass and iron:
        and the sister of Tubalcain was Naamah.
Genesis 4:23 And Lamech said unto his wives, Adah and Zillah,
        hear my voice;
        Ye wives of Lamech, hearken unto my speech:
        for I have slain a man to my wounding, and a young man to my hurt.
Genesis 4:24 If Cain shall be avenged sevenfold, truly Lamech seventy and sevenfold.

Job 17:1  My breath is corrupt, my days are extinct, the graves are ready for me.
Job 17:2 Are there not mockers with me?
        and doth not mine eye continue in their provocation?

Job 17[2] non peccavi et in amaritudinibus moratur oculus meus

mŏror , 2. To fix the attention of, to delight, amuse, entertain: morata recte Fabula Valdius oblectat, populum meliusque moratur, Quam, etc., delays, i. e. entertains, Hor. A. P. 321: “carmina, quae possint oculos auresque morari Caesaris,” arrest, id. Ep. 1, 13, 17: “tardior stilus cogitationem moratur,” Quint. 1, 1, 28:

UNIVERSAL THESIS:
2Timothy 4:2 Preach the word; be instant in season,
        out of season; reprove, rebuke,
        exhort with all longsuffering and doctrine.
2Timothy 4:3 For the time will come when they will not endure sound doctrine;
        but after their own lusts shall they heap to themselves teachers,
        having itching ears; [eager for combat, pleasure, to be wanton]

UNIVERSAL ANTITHESIS:

2Timothy 4:4 And they shall turn away their ears from the truth,
        and shall be turned unto fables.

FABLES TO FOOL: Fābŭla , ae, f. fari,

B.  Of particular kinds of poetry.

1.  Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,” id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo

FABLES TO FOOL:  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: cantibus 
2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine

HE MOST POWERFUL WEAPON TO FOOL:

Orgănum , i, n., = organon, Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,” Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.—  B. Transf.: organum oris, the tongue of a man, Prud. steph

Jubal "Handled" musical instruments "without authority."

Hor. Ars 321 When this sordid rust and hankering after wealth has once tainted their minds, can we expect that such verses should be made as are worthy of being anointed with the oil of cedar, and kept in the well-polished cypress?

Poets wish either to profit or to delight; or to deliver at once both the pleasures and the necessaries of life. Whatever precepts you give, be concise; that docile minds may soon comprehend what is said, and faithfully retain it. All superfluous instructions flow from the too full memory.

Job 17:3 Lay down now, put me in a surety with thee;
        who is he that will strike hands with me?
Job 17:4 For thou hast hid their heart from understanding:
        therefore shalt thou not exalt them.
Job 17:5 He that speaketh flattery to his friends,
        even the eyes of his children shall fail.
Job 17:6 He hath made me also a byword of the people; 

h4914 Mesol a song of derision.
h4911 Mashal a "psalm": parables song or derision Joel 2:17

        and aforetime I was as a tabret.
Job 17:7 Mine eye also is dim by reason of sorrow,
        and all my members are as a shadow.
Job 17:8 Upright men shall be astonied at this,
        and the innocent shall stir up himself against the hypocrite.

Moses writes of the common story of Genun the composite children of Cain through Lamech in Babylon. This was to warn people who had fallen into musical idolatry at Mount Sinai and were on there way back for captivity and death.

Uwgab (h5748) oo-gawb'; or uggab oog-gawb'; from 5689 in the orig. sense of breathing; a reed-instrument of music: - organ

And his brothers name was Jubal: he was the father of all such as handle the harp and organ. Gen 4:21
Handle is: Taphas (h8610) taw-fas'; a prim. root; to manipulate, i. e. seize; chiefly to capture, wield; spec. to overlay; fig. to use unwarrantably: - catch, handle, (lay, take) hold (on, over), stop, * surely, surprise, take.

Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.

THE ACCOUNT BY Maimonides

The traditional Jewish interpretation of this verse implies that it marked the beginning of idolatry, i.e. that men starting dubbing "Lord" things that were mere creatures. This is because the previous generations, notably Adam, had already "begun calling upon the name of the Lord", which forces us to interpret הוחל huchal not as "began" but as the homonym "profanated". In this light, Enosh suggests the notion of a humanity (Enoshut) thinking of itself as an absolute rather than in relation to God (Enosh vs. Adam). Wikipedia     See the Account by Adam Clark:

B. Blowing the trumpet for the Tabernacle

There was a direct command to use the 2 (only) trumpets to send signals: they were used to accompany congregational singing.  Restricting the two trumpets in the hands of the priests was important in sending "certain signals" since the life of the community depended on warning and signals to move the camp.  However, the Qahal, synagogue or Church of Christ in the wilderness was not to "worship" but to listen to the Word of God: that pattern never changed since the Lord's Supper is a teaching activity.

The Latin defines the synagogue or church in the wilderness as an ACADEMIA

Numbers 10:[7]  But when the assembly is to be gathered together,
        you shall blow,
        but you shall not sound an alarm.

THIS IS THE ONLY WAY YOU CAN HOLD SYNAGOGUE OR SCHOOL OF THE BIBLE

Numbers 10.[7]  [7] quando autem congregandus est populus simplex tubarum clangor erit et non conciseululabunt

Con-grĕgo
Academia congregation. Collect into a flock,  where plato taught, scholars are called Academici, and his doctrine Philosophia Philosophia Academica,

in distinction from Stoica, Cynica, etc., Cic. de Or. 1, 21, 98; id. Or. 3, 12; id. Fin. 5, 1, 1 al.— ..

The philosophy of the Acadamy, A. For The philosophy of the Academy: “instaret academia, quae quidquid dixisses,

Dixisses: to say, speak, utter, tell, mention, relate, affirm, declare, state, assert

However, the Academy of the Cynics or "Dogs" are excluded from Christian worship IN THE SPIRIT as opposed to IN THE FLESH (Philippiand 3)

Cyrenaica pleasure is the only good. Good in a pleasing agitation of the mind or in active enjoyment. hedone. Nothing is just or unjust by nature, but by custom and law.

Cynĭcus , i, m., = κυνικός (doglike). I. Subst., a Cynic philosopher, a Cynic, Cic. de Or. 3, 17, 62; id. Fin. 3, 20, 68; Hor. Ep. 1, 17, 18; Juv. 13, 121: “nudi dolia,” i. e. of Diogenes, id. 14, 309.—Hence, adj.: Cynĭcus , a, um, Cynic: “institutio,” Tac. A. 16, 34: “cena,” Petr. 14; and in * adv.: Cynĭcē , after the manner of the Cynics, Plaut. Stich. 5, 4, 22.—

Pl. St. 5.4 SAGARINUS PARASITE REBUFFED
STICHUS
As many as there are fingers on your hand. The Greek song is, "Drink either your five cups or your three, but not your four."

You say right; I care for no dainties. Drink away, Piper; drink, if you do drink. I' faith, this must be drunk--don't shirk it. Holds the goblet to the PIPER. Why flinch at what you see must be done by you? Why don't you drink? Do it, if you are to do it. Take it, I tell you, for the public pays for this. That's not your way to shirk your drink. Take your pipes¹⁴ out of your mouth. The PIPER drinks.

14 Take your pipes: The "Tibicines," "Pipers" or "flute-players," among the Greeks and Romans, were in the habit of playing upon two pipes at the same time. These were perfectly distinct, and were not even, as has been supposed by some, connected by a common mouth-piece. The Romans were particularly fond of this music, and it was introduced both at sacrifices, funerals, and entertainments. See a comical story about the Roman "Tibicines" in the Fasti of Ovid, B. 6, l. 670 et seq. From the present specimen they appear to have been merry souls, occupying much the same place as the country fiddlers of modern times

SAGARINUS

to the PIPER . How now? Although you did make a fuss about it, still it didn't hurt you. Come, Piper, when you've done drinking, put back your pipes to your lips; quickly puff out your cheeks, just like a reptile serpent. Come now, Stichus, whichever of the two breaks order, shall be fined a cup.

Augustine stating that they had, "in violation of the modest instincts of men, boastfully proclaimed their unclean and shameless opinion, worthy indeed of dogs." De Civitate Dei 14.20.

De Civitate Dei 14.20.Even at this day there are still Cynic philosophers to be seen; for these are Cynics who are not content with being clad in the pallium, but also carry a club; yet no one of them dares to do this that we speak of. If they did, they would be spat upon, not to say stoned, by the mob. Human nature, then, is without doubt ashamed of this lust; and justly so, for the insubordination of these members,

and their defiance of the will, are the clear testimony of the punishment of man’s first sin. And it was fitting that this should appear specially in those parts by which is generated that nature which has been altered for the worse by that first and great sin,

That's why worship must be IN THE SPIRIT as opposed to IN THE FLESH as Jesus commanded in John 4. If you do FLESH WORSHIP do not be surprised that the dogs (catamites) don't consume you.

Philippians 3:1 Finally, my brethren, rejoice in the Lord. To write the same things to you, to me indeed is not grievous, but for you it is safe.
Philippians 3:2 Beware of dogs, beware of evil workers, beware of the concision.
Philippians 3:3 For we are the circumcision,
        which worship God in the spirit, and rejoice in Christ Jesus,
        and have no confidence in the flesh.

Robert Ballard: The Bible speaks of the burnt offering bringing a sweet smell to God.

Music is defined as a terminal sin (Mount Sinai) and the mark of the beast (a new style of music and drama). That is because it has such an arrogant and ungodly view of a Spirit Deity.  Israel was abandoned to worship the starry host named by Amos and Stephen.  After Nadab and Abihu God further abandoned Israel to the Day of Atonement and to appeasing Azazel or the devil.  Burning animals replaced burning infants for a short time.   History notes this as DEMON worship

Psalms 50:7 Hear, O my people, and I will speak; O Israel, and I will testify against thee: I am God, even thy God.
Psalms 50:8 I will not reprove (don't care) thee for thy sacrifices or thy burnt offerings, to have been continually before me.
Psalms 50:9 I will take no bullock out of thy house, nor he goats out of thy folds.
Psalms 50:10 For every beast of the forest is mine, and the cattle upon a thousand hills.
Psalms 50:11 I know all the fowls of the mountains: and the wild beasts of the field are mine.
Psalms 50:12 If I were hungry, I would not tell thee: for the world is mine, and the fulness thereof.
Psalms 50:13 Will I eat the flesh of bulls, or drink the blood of goats?
Psalms 50:14 Offer unto God thanksgiving; and pay thy vows unto the most High:

That was the opinion of the Scribes whom Jesus denounced and in the prophets warns about the "lying pen of the Scribes." In Ezekiel 33 he calls them rhetoricians, singers and instrument players.

Jeremiah 7:21 Thus saith the LORD of hosts, the God of Israel;
        Put your burnt offerings unto your sacrifices, and eat flesh.
Jeremiah 7:22 For I spake not unto your fathers,
        nor commanded them in the day that I brought them out of the land of Egypt, c
        concerning burnt offerings or sacrifices:
Jeremiah 7:23 But this thing commanded I them, saying, Obey my voice, and I will be your God, and ye shall be my people: and walk ye in all the ways that I have commanded you, that it may be well unto you.
Jeremiah 7:24 But they hearkened not, nor inclined their ear, but walked in the counsels and in the imagination of their evil heart, and went backward, and not forward.
Jeremiah 7:25 Since the day that your fathers came forth out of the land of Egypt unto this day I have even sent unto you all my servants the prophets, daily rising up early and sending them:
Jeremiah 7:26 Yet they hearkened not unto me, nor inclined their ear, but hardened their neck: they did worse than their fathers.
Jeremiah 7:27 Therefore thou shalt speak all these words unto them; but they will not hearken to thee: thou shalt also call unto them; but they will not answer thee.
Jeremiah 7:28 But thou shalt say unto them, This is a nation that obeyeth not the voice of the LORD their God, nor receiveth correction: truth is perished, and is cut off from their mouth

THE EXAMPLE OF MIRIAM:  When the Red Sea swallowed Pharaoh and his chariots, Miriam led the Hebrfew women with tambourines and dancing and a chorus of praise to God (Ezodus 15:20, 21)

See Al Maxey using Miriam as an example of a femal musical worship minister in the church: that's a long way from being a soothsayer just out of "baptism" leading the women to escape the SPEAKING of Moses.

All scholars note that while Moses SPAKE the Song, Miriam took probably the Sistrum and LED THE WOMEN out which meant to ESCAPE.  The sistrum and the "answering" or responsisve singing was a form of browbeating and not worship.

"In the first place, it will be noticed from the account of the triumphant rejoicing on the shore of the Red Sea that the men sang only: 'Then sang Moses and the children of Israel this song unto the Lord, and SPAKE saying.'" (Girardeau, George, p. 33)

Masculine is SPEAK or SAY (as in Speak one to another). Feminine or effeminate is to "SANG and CLANG": no recorded exception to the rule,

"In the second place, it was Miriam and the women who used instruments of music on the occasion: 'And Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went after her with timbrels and with dances." (Girardeau, p. 33).

Of course a tabret or sistrum is NOT a musical instrument and it gave its name for TOPHETH or HELL.

The sistrum was a RATTLE and not a musical instrument. It did not even make a SINGLE note.  It was to establish a BEAT--Jewish music was not metrical. Therefore, 

 Ex 15:20 And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand;
        and all the women went out after her with timbrels and with dances.

Here is what Miriam really did "as saith the law"

ē-grĕdĭor ,  to mount up, B. Trop., to overstep, surpass, exceed: “per omnia fortunam hominis egressus,
yet had attained no higher honor

Mŭlĭer , woman, a female, whether married or not. II.  Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,” Plaut. Bacch. 4, 8, 4.

If males do this the word is:
mŭlĭĕro , āvi, 1, v. a. id., I. to make womanish, render effeminate

1 Macc 1:10 - From them came forth a sinful root, Antiochus Epiphanes, son of Antiochus the king; he had been a hostage in Rome. He began to reign in the one hundred and thirty-seventh year of the kingdom of the Greeks.

11 - In those days lawless men came forth from Israel, and misled many, saying,

"Let us go and make a covenant with the Gentiles round about us, for since we separated from them many evils have come upon us."

15 - and removed the marks of circumcision, and abandoned the holy covenant. They joined with the Gentiles and sold themselves to do evil.  

See how Tom Burgess uses the PLUCKING or the word PSALLO to prove that churches should do likewise.

The Deipnosophists of Athenaeus of Naucratis

And among the barbarians the Celts also, though they have very beautiful women, enjoy boys more; so that some of them often have two lovers to sleep with on their beds of animal skins.

As for the Persians, Herodotus says they learned the use of boys from the Greeks.

King Alexander also was madly devoted to boys. Dicaearchus, at any rate, in his book On the Sacrifice at Ilium, says that he was so overcome with love for the eunuch Bagoas that, in full view of the entire theatre, he, bending over, caressed Bagoas fondly, and when the audience clapped and shouted in applause, he, nothing loath, again bent over and kissed him. But Carystius in Historical Notes says:

"Charon of Chalcis had a beautiful boy who was dear to him. But when Alexander, at a drinking-party in the house of Craterus, praised the boy, Charon bade him kiss Alexander

Yaca (h3318) yaw-tsaw'; a prim. root; to go (causat. bring) out, in a great variety of applications, lit. and fig... break out, ..be condemned, departure), draw forth, escape, exact, fail, fall (out), fetch forth (out), get away.. lead out, pluck out, proceed, pull out,

Some examples of breaking out:

And Cain went out from the presence of the Lord,
        and dwelt in the land of Nod, on the east of Eden.Ge.4:16
And I said unto them, Whosoever hath any gold, let them break it off. So they gave it me: t
        hen I cast it into the fire, and there came out this calf. Ex.32:24

There is one come out of thee, that imagineth evil against the Lord, a wicked counsellor. Na.1:11
Then shall the Lord go forth, and fight against those nations, as when he fought in the day of battle. Zec.14:3

Here is what God thought of her "revelations."

Take heed in the plague of leprosy, that thou observe diligently, and do according to all that the priests the Levites shall teach you: as I commanded them, so ye shall observe to do. Deut 24:8

Remember what the Lord thy God did unto Miriam by the way, after that ye were come forth out of Egypt. Deut 24:9

Here is what Miriam did which was common to what the Israelites did in Egypt and never ceased to do.

tympănum , i (collat. form typă-num , Cat. 63, 8 sq.), n., = tumpanon,

A. Esp., as beaten by the priests of Cybele, Lucr. 2, 618; Cat. 63, 8 sq.; Verg. A. 9, 619; Ov. M. 3, 537; 4, 29; 4, 391; id. F. 4, 213; Plaut. Poen. 5, 5, 38; Caes. B. C. 3, 105; Curt. 8, 11, 20; 8, 14, 10; Tac. H. 5, 5, —Also by the Bacchantine females, Ov. M. 11, 17.—Beaten by the Parthians as a signal in battle in place of the tuba, Just. 41, 2, 8.—

B. Trop., a timbrel, etc., as a figure of something effeminate, enervating: “tympana eloquentiae,” Quint. 5, 12, 21: “in manu tympanum est,” Sen. Vit. Beat. 13, 3.—

This was also the instrument of the prophetess of Isis: the golden calf was the symbol of Osiris, Isis and Horus the always-pagan trinity.

Sistrum, a metallic rattle which was used by the Egyptians in celebrating the rites of Isis, and in other lascivious festivals,.Ov. Am. 2, 13, 11 By the Jews, Vulg. 1 Reg. [Samuel] 18, 6 .--Hence sarcastically, as if used for a war - trumpet by the wanton Cleopatra Verg. A.8.696   Luc. 10.63

Both Miriam and the Levites who prophesied with instruments performed SORCERY.

Prophe-ta  I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call out] Aegyptius, propheta primarius

PHRASE: Aegyptius, propheta primarius 1.  Aegyptius,
2.  Prophetai
3.  Primarius I. one of the first, of the first rank, chief, principal, excellent, remarkable,
primarius parasitus,

Image of Bast:

Ovid, art of love
And hast thy walks around Canope's walls,
Who Memphis visit'st, and the Pharian tower,
Assist Corinna with thy friendly powers.
Thee by thy silver Sistra I conjure,
A life so precious by thy aid secure;
So mayst thou with Osiris still find grace:
By Anubis's venerable face,
I pray thee, so may still thy rights divine
Flourish, and serpents round thy offerings twine
May Apis with his horns the pomp attend, [re: golden calf]
And be to thee, as thou'rt to her, a friend.
Look down, oh Isis! on the teeming fair,

1 Samuel 18:[6]  It happened as they came, when David returned from the slaughter of the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet king Saul, with tambourines, with joy, and with instruments of music. [7]  The women sang one to another [h6030 Anah] as they played, and said, Saul has slain his thousands, David his ten thousands. [8]  Saul was very angry

"was a typical woman's instrument... Although it occurs in the Psalter and in religious hymns (Exod. 15; Jer. 31:4), it was not permitted in the temple. Its functions in the bible was restricted to secular or religious frolicking, cultic dances, or processions (e.g., II Sam. 6:5; I Chr. 13:8; Ps. 68:25-26). Its absence in the temple ritual was possibly due to its strong female symbolism, which always accompanied the tambourine, and which made its use so popular at all fertility rites." (The Int. Std. Bible Dict., p. 474).

Ovid: book 9, Metamorphoses

the sacred rattles were there, and Osiris, known
the constant object of his worshipers' desire,
and there the Egyptian serpent whose quick sting
gives long-enduring sleep. She seemed to see
them all, and even to hear the goddess say
to her, "O Telethusa, one of my
remembered worshipers, forget your grief;
your husband's orders need not be obeyed;
and when Lucina has delivered you,
save and bring up your child, if either boy
or girl. I am the goddess who brings help
to all who call upon me; and you shall
never complain of me--that you adored
a thankless deity." So she advised
by vision the sad mother, and left her.

"Thus they made a golden bull, the image of an animal that was held to be the most sacred in that land; they offered unholy sacrifices, performed impious dances and sang hymns which differed in no way from the pagan mourning songs. Philo, De specialibus legibus

"This reference probably indicates the use of songs from the cult of Osiris... it can hardly be denied that Egyptian influence on Jewish musical practices was quite significant. This would stand to reason because of the high quality of Egyptian cultic music. The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).

"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was m^ena'an^e'im. It was the Egyptian kemken used in the cult of Isis.

"The music during the transferring the Ark to Sion (David rose up to play)
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.

"As Herodotus reports, women sang the praises of Osiris while liknesses of the gods were born about and, during the festival of Diana at Bubastis.

See Ezekiel explaining.

"Unfortunatcly, Scripture gives us no details about Miriam's prophetic skills, but they seem to be at the root of the darkest period in her life, for in her next appearance she is vying in prophecy with Moses. She and Aaron have been whispering to each other, first against the "Cushite" wife Moses married and then against his leadership. "Has the Lord spoken only through Moses?" they say. "Has He not spoken through us as well?" (Numbers 12: ).

MUSICAL IDOLATRY AT MOUNT SINAI

We should note that the worship of Israel in Egypt would have been according to their practices: these practices are well documented in the religious texts of the whole area.

Remembering that God had already virtually abandoned the People when they refused to listen to The Book of the Covenant.  ACU missed Exodus that Moses is being given instructions NOT given before the rejection. One of the commands was. Read Exodus 32 and find out WHY music causes a fall from grace because it despises resting and learning the Words of GOD: Sure, they had rather listen to their own words.

Exod 31:12 And the Lord spake unto Moses, saying,
Exod 31:13 Speak thou also unto the CHILDREN OF ISRAEL,
        saying, Verily my sabbaths ye shall keep:
        for it is a sign between me and you
        throughout your generations; [your revolution of time]
        that ye may know that I am the Lord that doth sanctify you.

That doesn't sound like A DAY OF WORSHIP to me! The word KEEP is:

Exod 31:14 Ye shall keep the sabbath therefore; for it is holy unto you:
        every one that defileth it shall surely be put to death:
        for whosoever doeth any work therein, that soul shall be cut off from among his people.

8104. shamar, shaw-mar´; a primitive root; properly, to hedge about (as with thorns), i.e. guard; .

Keep in Latin: Custodio II. With the access. idea of hindering free motion, A. In gen., to hold something back, to preserve, keep: To prevent PLAY or Ludo A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing, B. To sport, dally, wanton Esp., to play on an instrument of music, to make or compose music or song:  Soft, weak oration

The Israelites did what all of the pagans did. Therefore, if you want deliberately sow discord defining words would seem important.

Verg. G. 2.386 For no offence but this to Bacchus bleeds The goat [caper, auriga, capella ] at every altar, and old plays [ludi] Upon the stage find entrance; therefore too The sons of Theseus through the country-side— Hamlet and crossway—set the prize of wit, And on the smooth sward over oiled skins Dance in their tipsy frolic. Furthermore The Ausonian swains, a race from Troy derived, Make merry with rough rhymes and boisterous mirth, Grim masks of hollowed bark assume, invoke Thee with glad hymns, O Bacchus, and to thee Hang puppet-faces on tall pines to swing. Hence every vineyard teems with mellowing fruit, Till hollow vale o'erflows, and gorge profound, Where'er the god hath turned his comely head. Therefore to Bacchus duly will we sing Meet honour with ancestral hymns, and cates And dishes bear him; and the doomed goat Led by the horn shall at the altar stand, Whose entrails rich on hazel-spits we'll roast.

llūdo 2.  To sport or fool away a thing, i. e. to destroy or waste in sport; in mal. part., to violate, abuse Rhetoric Cano  to produce melodious sounds, whether of men or animals; later, with a designation of the subject-matter of the melody, as v. a., to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc. I. Neutr., to utter melodious notes, to sing, sound, play. C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,

HERE IS THE WAY YOU CAN DEFILE THE SABBATH h2490 like David's "praise word" and as "Lucifer was cast as profane out of heaven."

THIS DEFINES THE MYSTERIES WHICH WERE USUALLY CONNECTED TO THE SEVENTH DAY

When they rose up to PLAY in musical idolatry, they profaned the Sabbath.  The word is used by older Jews to identify the days of Enoch when people began to CALL THEMSELVE JEHOVAH.

Ex. 31:18 And he gave unto Moses, when he had made an end of communing with him upon mount Sinai, two tables of testimony, tables of stone, written with the finger of God.

THE SINGING WITH DAVID'S INSTRUMENTS

Robert Ballard: Tehillim is the Hebrew word for Psalms:

3. Instrumental Music During the Period of the Prophets..............21

Robert Ballard:

Eph 2:20 And are built upon the foundation of the apostles and prophets,
        Jesus Christ himself being the chief corner stone;

Eph 2:21 In whom all the building fitly framed together
        groweth unto an holy temple in the Lord:
Eph 2:22 In whom ye also are builded together
        for an habitation of God through the Spirit.

Because the prophets lived at the same time as the kings, his view is that whatever the kings taught was affirmed by the prophets.  However, Christ guided the prophets to repudiate everything involved in the cursed Monarchy which worshipped the starry host.

2 Peter 3:1 This is now, beloved, the second letter that I have written to you; and in both of  I stir up your sincere mind by reminding you;
 
All of the end time musical discorders have the MARK of using the curse of the sacrificial system as the pattern. The Monarchy was recorded by what the prophets call the Lying Pen of the Scribes. Christ, on the other hand speaks to those with the MARK of the spirit only through the Prophecies by Christ and the prophecies made more perfect by Jesus Christ Whom God made to be both Lord and Christ to fulfill these prophecies in a human form.

2 Peter 3:2 That ye may
        be mindful of the words which were spoken before by the holy prophets,
        and of the commandment of us the apostles of the Lord and Saviour:

That is the CURRICULUM for DISCIPLES who attend the School of the Word and not pagan ceremonial legalism

2 Peter 3:3  Knowing this first,
        that there shall come in the last days scoffers,
        walking after their own lusts,

G1702 empaizō emp-aheed'-zo
From G1722 and G3815  (paizo); to jeer at, that is, deride:—mock.

Paizo, 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2

Prospaizō, prospaizousa tois ōmois komē playing over, II. c. acc., theous p. sing to the gods, sing in their praise or honour, Pl.Epin.980b: c. dupl. acc., humnon prosepaisamen . . ton . . Erōta sang a hymn in praise of Eros, Id.Phdr.265c.

2. banter, “tous rhētoras” Id.Mx.235c, cf. Euthd.285a; p. ton kuna, ton arkton, , humnon pr. ton Erōt

See Enoch
Jude 14 And Enoch also, the seventh from Adam, prophesied of these, saying,
        Behold, the Lord cometh with ten thousands of his saints,
Jude 15 To execute judgment upon all, and to convince all that are ungodly among them
        of all their ungodly deeds which they have ungodly committed,
        and of all their hard speeches which ungodly sinners have spoken against him.
Jude 16 These are murmurers, complainers, walking after their own lusts;
        and their mouth speaketh great swelling words,
        having men’s persons in admiration [lying wonders] because of advantage.
Jude 17 But, beloved, remember ye the words
         which were spoken before of the apostles of our Lord Jesus Christ;
Jude 18 How that they told you there should be mockers in the last time,
        who should walk after their own ungodly lusts.

G1703 empaiktēs emp-aheek-tace' From G1702 ; a derider, that is, (by implication) a false teacher:—mocker, scoffer.

Jude 19 These be they who separate themselves, sensual, having not the Spirit.

Robert Ballard: See 2 Peter 1 which outlaws adding to the prophecies madeperfectg.

2 Pet 1:18 And this voice which came from heaven
        WE heard, when
        WE were with him in the holy mount.  

2 Pet 1:19 WE have also a more sure word of prophecy;
        whereunto YE do well that ye take heed,
   as unto a light that shineth in a dark place,
       until the day dawn,
       and the day star arise in your hearts: Robert Ballard:

Robert Ballard In verse twenty-Five, it says the Holy Spirit rightley spoke through Isaiah the prophet.  If it was right for theHoly Spirit to speak through a prophet, would it also be right for us to speak through a prophet?

No, you are not the Holy Spirit. The Spirit OF Christ spoke through the prophets and apostles.

Jesus made the prophecies more perfect and since you are not the the Holy Spirit (Christ) you cannot "private interpret."

2 Pet 1:20 Knowing this first, that no prophecy of the scripture is of any private interpretation.

Epilusis (g1955)ep-il'-oo-sis; from 1956; explanation, i.e. application: - interpretation.
Epiluo (g1956) ep-ee-loo'-o; from 1909 and 3089; to solve further, i.e. (fig.) to explain, decide: - determine, expound.

Epi-lusis  A. release from, e. phobôn [fear] didou A.Th.134 (lyr.): abs., exemption from banishment, [purgatory?]. The word dissertio also carries the idea of trying to REMOVE fear by explaining away any worry about keeping laws. 2. . solution, “sophismatōn” S.E.P.2.246; explanation, 2 Ep.Pet.1.20

Sophisticus    I. sophistic, sophistical; res admodum insidiosa et sophistica, neque ad veritates magis quam ad captiones reperta, Gell. 18, 2, 6: “ostentatio,” sophistically: “interpretari legem et cavillari,

Sophos A. skilled in any handicraft or art, clever, mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238

Robert Ballard Page 39 Hezekiah's plague stopping ritual.

The plague stopping animal slaughter happened only once in the whole Bible involving the Levites under the King and Commanders of the Army.  Isn't it strage that people work so hard to use that as a "pattern" for the assembly which is defined inclusively and exclusively as A School of the Word: The Prophets and Apostles.

Scripture often uses forms of parallelism to make it "impossible" to get deluded.

The SUBJECT is "He SET the Levites."
          2Chr. 29:25 And he SET the Levites in the house of the LORD [court]
          A. with cymbals, with psalteries, and with harps,
                according to the commandment of David, and of Gad the king’s seer, [star gazer]  

B. and Nathan the prophet:
               for so was the commandment of the LORD by his prophets.   

Moses SET the Levites to make certain that no one not of the tribe of Levi came near or they would be killed. God spoke through Moses in The Book of the Law which contains no example of instruments used in connection with the singular Tabernacle of Testimony.

Constituo 1. To station or post troops somewhere, to draw up, set in order: “legionem
Con-custōdītus closely watched, carefully guarded:

Under the King and Commanders of the Army they were SET up in ranks to guard the not-commanded animal slaughter from any intrusion by any of the civillians.

The PERFORMANCE was under both the Priests and the Civil-Military.

2Chr. 29:26 And the Levites stood with the instruments of David,
2Chr. 29:27 And Hezekiah commanded
        to offer the burnt offering upon the altar.
                And when the burnt offering began,

                       B.  the song of the LORD began also with the TRUMPETS
      A.  and with the INSTRUMENTS ORDAINED by David king of Israel.

THE LEVITES WERE SET TO GUARD AND KILL ANY ONE NOT OF LEVI. The "praise" word is the root for "lucifer" and means "to make yourself vile."  

BEFORE YOU BLASPHEME THE HOLY SPIRIT OF CHRIST BY SAYING THAT GOD COMMANDED YOU TO IMPOSE THE ROLE OF THE LEVITES, TAKE A LOOK AT WHO COMMANDED WHAT.

They stood in ranks under King and Commanders A. with cymbals, with psalteries, and with harps,           according to the commandment of David,           and of Gad the king’s seer, [star gazer
	B. and Nathan the prophet:        for so was the commandment of the LORD by his prophets.
	B.  the song of the LORD began also with the TRUMPETS
They played A.  and with the INSTRUMENTS ORDAINED by David king of Israel.

Because the Levites slaughtere 3,000 of the brethren because of musical idolatry: Moses commanded the Levites to stand guard to guarantee that no godlly person came near the slaughter pen: they attended synagogue on the Rest Days.  The loud noise in all sacrificial systems was to ward off the demons as well as any civillian or any Levite who came too close.  Their role was SOOTHSAYING with Instrumental accompaniment: they would execute you if you came into that mes.

There are parallel examples to warn those who would blaspheme.

God: Then Solomon offered burnt offerings unto the Lord on the altar of the Lord, which he had built before the porch, 2Chr 8:12

This violated the law to build an altar of dressed stones and a stairway:

Even after a certain rate every day, offering according to the commandment of Moses, on the sabbaths, and on the new moons, and on the solemn feasts, three times in the year, even in the feast of unleavened bread, and in the feast of weeks, and in the feast of tabernacles. 2 Chr 8:13

David: And he appointed, according to the order of David his father, the courses of the priests to their service, and the Levites to their charges, to praise and minister before the priests, as the duty of every day required: the porters also by their courses at every gate: for so had David the man of God commanded. 2Chr 8:14

"It was by the hand or commandment of the Lord and his prophets that the Levites should praise the Lord; for so the Hebrew text may be understood:

"and it was by the order of David that so many instruments of music should be introduced into the Divine service." (Adam Clark, Commentary on 2 Chron. 29:25).

Also Jehoiada appointed the offices of the house of the Lord by the hand of the priests the Levites, whom David had distributed in the house of the Lord,

to offer the burnt offerings of the Lord, as it is written in the law of Moses,
with rejoicing and with singing, as it was ordained by David. 2Chr 23:1

HOW DID THE LEVITES COME TO BE THE EXECUTIONERS OF THOSE WHO "CAME BOLDLY BEFORE THE THRONE OF GRACE?"

We should note that Jacob had warned that we should not attend the assemblies of the Levi Tribe.  After the fall from Grace at Mount Sinai, God turned them over to worship the starry host under Levites.  God quarantined the worship behind closed doors and gates and Levites stood guard and could not come near any holy thing or enter any holy place. Their instruments were solemn warnings or threats that you had better be outside of the gates or on your face or bowing in submission.

Gen. 49:5 Simeon and Levi are brethren;
        instruments of cruelty are [h3627 psaltery, weapon]
        in their habitations. [stabbing, burning Bello ]

Iniquitas B. Unfairness, injustice, unreasonableness: luxuria, praetoris, unreasonable demands in the shape of taxes,

1 See some history of the Jacob-Cursed tribe of Levi

Evil Thesis:

Gen. 29:34 And she conceived again, and bare a son; and said,
        Now this time will my husband be joined unto me,
        because I have born him three sons:
        therefore was his name called [3]  Levi.

H3878  lêvıy lay-vee' From H3867; attached; Levi, a son of Jacob:--Levi. See also H3879 , H3881 .

3867. lavah, law-vaw´; a primitive root; properly, to twine, i.e. (by implication) to unite, to remain; also to borrow (as a form of obligation) or (caus.) to lend: abide with, borrow(-er), cleave, join (self), lend(-er).

3880.  livyah, liv-yaw´; from 3867; something attached, i.e. a wreath: ornament.

3881.  Leviyiy, [Chaldee] lay-vee-ee´;  Leviy, lay-vee´; patronymically from from H3878 ; a Leviite or descendant of Levi:--Levite.

3882. livyathan, liv-yaw-thawn´; from 3867; a wreathed animal, i.e. a serpent (especially the crocodile or some other large sea-monster); figuratively, the constellation of the dragon; also as a symbol of Babylon:--leviathan, mourning.

Job 3:8
Isa 27:1 In that day the LORD with his sore and great and strong sword
shall punish leviathan the piercing serpent,
even leviathan that crooked serpent;

H3868 lûz looz A primitive root; to turn aside (compare H3867 , H3874 and H3885 ), that is, (literally) to depart, (figuratively) be perverse:--depart, froward, perverse (-ness).

Godly Antithesis: Gen. 29:35 And she conceived again, and bare a son: and she said,
        Now will I praise the LORD: therefore she called his name [4] Judah; and left bearing.

Evil Thesis:
Gen. 49:5 Simeon and Levi are brethren;
        instruments of cruelty are [h3627 psaltery, weapon]
        in their habitations. [stabbing, burning Bello  to wage or carry on war, to war, to fight in war.

Caes. Gal. 1.2 incited by lust of sovereignty, formed a conspiracy among the nobility, and persuaded the people to go forth from their territories with all their possessions, [saying] that it would be very easy, since they excelled all in valor, to acquire the supremacy of the whole of Gaul.

From these circumstances it resulted, that they could range less widely, and could less easily make war upon their neighbors; for which reason men fond of war [as they were] were affected with great regret. They thought, that considering the extent of their population, and their renown for warfare and bravery, they had but narrow limits, although they extended in length 240, and in breadth 180 [Roman] miles.

This was the condition when David had destroyed all of the enemies and he had a host of Levites on his hand.

Iniquitas B. Unfairness, injustice, unreasonableness: luxuria, praetoris, unreasonable demands in the shape of taxes,

Cruelty h2555 unjust gain Habitations h4380 Stabbing, a sword a furnace, boiling

Instruments:  7015. qiynah, kee-naw´; from 6969; a dirge (as accompanied by beating the breasts  or on instruments):—lamentation.       
  6969. quwn, koon; a primitive root; to strike a musical note, i.e. chant or wail (at a funeral):— lament, mourning woman [from CAIN]

Remember That Cain was of the wicked one and Paul said that Eve was totally deceived as a wife is taken before her husband.

Gen. 49:6 O my soul, come not thou into their secret;  [counsel: don't look to Levi for a pattern]
        unto their assembly, mine honour, be not thou united:
        for in their anger they slew a man, and in their selfwill they digged down a wall.
Gen. 49:7 Cursed be their anger, for it was fierce; and their wrath, for it was cruel:
        I will divide them in Jacob, and scatter them in Israel.

Divido I. To force asunder, part, separate, divide (very freq. and class.; cf.: distribuo, dispertio; findo, scindo, dirimo, divello, separo, sejungo, segrego, secerno).

Godly Antithesis:
Genesis 49:8 Judah, thou art he whom thy brethren shall praise:
        thy hand shall be in the neck of thine enemies;
        thy father’s children shall bow down before thee.
Genesis 49:9 Judah is a lion’s whelp:
        from the prey, my son, thou art gone up:
        he stooped down, he couched as a lion,
        and as an old lion; who shall rouse him up?
Genesis 49:10 The sceptre shall not depart from Judah,
        nor a lawgiver from between his feet, until Shiloh come;
        and unto him shall the gathering of the people be.

You CANNOT be an assembly of Christ is you build on the foundation of the Tribe of Levi: Maybe that is why those associated with the NACC (ex Disciples) are so aggressive in pretending to hold unity meetings but calling people who will not uses instruments legalistic.

WHY WOULD THE NACC PICK THE EVIL THESIS AND THEN TURN ON PEOPLE WHO WILL NOT CONFORM?

And don't forget that they volunteered to slaughter 3000 including their own "brethren" for engaging in musical idolatry.

"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).  See Musical Idolatry at Mount Sinai

Robert Ballard Page 68 Psalms, hymns and spiritual songs P. 92 "To His saints in this Christian dispensation He says: "Speak to yourselves in psalms and hymns and spiritual songs" (Eph. 5:19).

Why would the NACC translate that as "SING to yourselves with Fanny Crosby and make melody with a HARP?"

Robert Ballard To forbid instruments as being unfit for CHRISTIANS to use in the accompaniment of "psalms and hymns and spiritual songs" is to speak where God had not spoken,

When Jesus and the Disciples HYMNED and went out they didn't play a harp.

Matthew 26.30  et hymno dicto exierunt in montem Oliveti

Hymnus , i, m., = humnos, “divinorum scriptor hymnorum,” Vulg. Psa. 60 tit.; id. Matt. 26, 30.

Psalm 60 A teaching poem by David, when he fought with Aram Naharaim and with Aram Zobah, and Joab returned, and killed twelve thousand of Edom in the Valley of Salt.

There is no SINGING TUNEFULLY involved in hymning:

Dīco,  to say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,

Ontōs , Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs a^, Dor. ala_thēs , es, (lēthō,
I. Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3. of oracles, true, unerring, “alathea mantiōn thōkon” Pi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthai” Hdt. 1.14
        Opposite Epos 1. song or lay accompanied by music, 8.91,17.519.
                 b. generally, poetry, even lyrics
        5. celebrate, of poets, “Aiantos bian

IN GREEK

Matthew 26.30  Kai humnēsantes exēlthon eis to Oros tōn Elaiōn.

John 1:30 This is he of whom I said, After me cometh a man which is preferred before me: for he was before me.

This never means SING a song in a tuneful sense: the word means chant or speak as in SPEAK to yourselves.

Humn-eō , Ep. humneiō Hes.Op.2; Ep.3pl.
II. tell over and over again, harp upon, repeat, recite,
        ton nomon humnein recite [erō say] the form of the law, Id.Lg.871a:
2.  in pass. sense, phēmai . . humnēsousi peri ta ōta will ring in their ears Pl.R.463d

Phēmē  I. utterance prompted by the gods, significant or prophetic saying, II. any voice or words, speech, saying, logōn ph. poet. periphr. for logoi, S.Ph.846 (lyr.

Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”

Matthew 26:31 Then saith Jesus unto them,
        All ye shall be offended because of me this night:
        for it is written, I will smite the shepherd,
        and the sheep of the flock shall be scattered abroad.

Pa^tassō , Ep. impf.
krouō , fut. -sō E.El.180: aor. 2. strike one against another, strike together, k. kheiras clap the hands
5. strike a stringed instrument with a plectron, Simon.183, Pl.Ly.209b: generally, play any instrument (v. krouma, kroumatikos）“, aulei  [flute]. . krouōn iasti” Com.Adesp.415: c. dat., k. krembalois, = krembalizein, Ath.14.636d.
10. krouein akratō, v. patassō 11.2. (Cf. Lith. krùšti 'bruise', 'pound', Lett. krausēt 'thresh'.)

Robert Ballard: and to refuse to permit that which God Himslef has (P93) SAID TO USE. To forbid their use, where God has  SAID TO USE THEM, as in Eph. 5:19 and Col. 3:16 is flagrant sin (Rev 22:18:19)

God commanded two silver trumpets to be used ONLY to signal movements of the tribe: any instrumental noise was outlawed for the Church of Christ in the wilderness.  Those known as The Church of Christ have always existed under that name and NEVER violated the many direct commands to SPEAK  or READ the Biblical text.

The NACC has made a major industry out of calling people who will not endorse them sinners, sectarians, legalists, hypocrites and all of the violent words violent men can dig out of their RACA bag. The modern claim is that you MUST use instruments (every member) or you are a SINNER.  A Sinner will not be saved.  By defining the Church of Christ which has never been "joined" to the Disciples/Christian churches as heretics they are free to use any means possible to do hostile takeover of simple minded preachers.

The Word "psallo" is a making war or making perverted sexual worship derived from Apollo.  The word means to SMITE something with your FINGERS and not with a PLECTRUM.

Psallō , fut. II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron, “psēlai kai krouein tō plēktrō”

If the NACC permits guitar picks then they violate the direct command of Paul in Ephesiahs 5. They sin.
If they use a piano, trumpet, flute, drums or anything other than a harp string they it is flagrant sin

If you say that God commanded instrumental music in the ekklesia / synagogue
And, God has not said use instruments
Then Christ says in Jeremiah 23 that you have blasphemed the Holy Spirit of Christ.

Somewhere we learned that the command to SPEAK can never be a command to make music.  Nor, can the command to use "that which is written for our learning" ever mean that which WE have written. Because both the "sing" word and the "psallo" word are all speaking of enchantment or making war:

AntiThesis Wherefore be ye not unwise,
Thesis but understanding what the will of the Lord is. Ephesians 5:17

AntiThesis And be not drunk with wine, wherein is excess;

kat-auleô  methuôn kai katauloumenos drinking wine to the strains of the flute, 

Thesis but be filled with the Spirit; Ephesians 5:18

John 6:63 It is the spirit that quickeneth; the flesh profiteth nothing:
        the words that I speak unto you,
        they are spirit, and they are life.

Thesis Speaking to yourselves in psalms and hymns and spiritual songs,

Paul commands with one mind and one mouth or unison: they chanted the word and knew nothing of modern melody which would exclude HARMONY.

AntiThesis singing and making melody in your heart to the Lord; Ephesians 5:19

If God commanded anyone to do "church" by congregational singing and instrumental accompaniment, then God commanded the same people to be abandoned to Worship the Starry Host.  If God commanded instrumental music even for the curse of the sacrificial system then Christ in the Prophets lied.  If God commanded us to use instruments in the School of the Prophets and Apostles then all of the historic scholars did not know about it.

You cannot SPEAK and SING at the same time: if you SING and PLAY many instruments you have no command and the mark is that you do not want people to hear or understand Christ SPEAKING when we speak what He has left us.

The proposal of Pausanias to restrict the potations,  (don't get drunk on wine)
        in view of yesterday's banquet,

        and that of Eryximachus to dismiss the flute-girl
                (Matt 9: Jesus cast out the minstels like dung)

        and amuse themselves by logoi, are unanimously agreed to. 
                    (speak that which is written)
Then Eryximachus propounds an idea of Phaedrus, that Eros is the best possible theme for encomia, and suggests that each of the party in turn, commencing with Phaedrus, should now deliver an encomium on Eros. This suggestion is applauded by Socrates. 

SPEAKING IN RELATIONSHIP TO THE EKKLESIA, SYNAGOGUE OR CHURCH must be stripped of everything human talent can bring: that woud deny that Christ as the personified WORD who spoke only what He heard from God the Father was good enough.

Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupē” Arist.EN1105b21), “sophiē psukhēn pathōn aphaireitai”

Sophia, A. cleverness or skill in handicraft and art in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8,
in divination, S.OT 502 (lyr.

Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment, to sphodron kai enthousiastikon p. Longin.8.1; “pathos poiein” Arist. Rh.1418a12; “

See Logos (Word and masculine) versus Mythos (arts and feminine)

See Psalm 1 which speaks to the godly and not to the Levitical Infant Burners

DAVID WHO NEVER ATTENDED AS A WORSHIP LEADER OR PERFORMED PUBLICALLY WARNED.

WHAT IS ALWAYS CONDEMNED

Antithesis:
Ps 1:1  Blessed is the man that
        walketh not in the counsel of the ungodly,
        nor standeth in the way of sinners,
        nor sitteth in the seat of the scornful.

Impĭus (inp- ), a, um, adj. 2. in-pius, I. without reverence or respect for God, one's parents, or one's country; irreverent, ungodly, undutiful, unpatriotic; abandoned, wicked, impious (rare but class.; cf.: nefarius, sacrilegus. Tumultus  “quis sonitu ac tumultu tanto nomine nominat me atque pulsat aedes?” Plaut. Bacch. 5, 2, 1: B. Of speech, confusion, disorder: “sermonis,” Plin. 7, 12, 10, § 55: “criminum,” 

Sono . Neutr., to make a noise, to sound, resound: aes sonit, the trumpet sounds,
II. Act., to sound, utter, give utterance to, speak, call, cry out, sing, pour forth (syn.: “edo, eloquor, cano): “Pythius in longā carmina veste sonat,” sings, pours forth, accompanies on the lyre, id. 2, 31 (3, 29), 16; cf.: “sonante mixtum tibiis carmen lyra,” Hor. Epod. 9, 5: “te sonantem ... dura fugae mala,” id. C. 2, 13, 26: te carmina nostra sonabunt, shall sing of, i. e. shall celebrate, praise, extol, Ov. M. 10, 205;

Habakkuk 2:19 Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach! Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it.
Habakkuk 2:20 But the LORD is in his holy temple: let all the earth keep silence before him.

Pulso Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,”

B. Transf., to strike against, to strike, touch any thing (poet.): “ipse arduus altaque pulsat Sidera,” Verg. A. 3, 619; 10, 216; Sil. 9, 450: “vasto qui vertice nubila pulsat,” Val. Fl. 4, 149.—Of abstract subjects: “ululatus pulsat aures,”

ŭlŭlātŭs , ūs, m. id.,

I. a howling, wailing, shrieking, as a sound of mourning or lamentation, Verg. A. 4, 667; Ov. M. 3, 179; 5, 153; 8, 447; Plin. 8, 40, 61, § 145: “lugubris,” Curt. 4, 15, 29; 5, 12, 12; Stat. Th. 9, 178 al.—The wild yells or warwhoops of the Gauls, Caes. B. G. 5, 37; 7, 80.—The wild cries and shouts of the Bacchanals, Cat. 63, 24; Ov. M. 3, 528; 3, 706.

ŭlŭlo , “ululanti voce canere,
B. Transf., of places, to ring, resound, re-echo with howling: “penitusque cavae plangoribus aedes Femineis ululant,” Verg. A. 2, 488: “resonae ripae,” Sil. 6, 285: “Dindyma sanguineis Gallis,”

căno , cĕcĭni, cantum (ancient I. imp. cante = canite, Carm to produce melodious sounds, whether of men or animals; later, with a designation of the subject-matter of the melody, as v. a., to make something the subject of one's singing or playing, to sing of, to celebrate, or make known in song, etc.

I. Neutr., to utter melodious notes, to sing, sound, play.
C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,” Cic. N. D. 2, 8, 22: “maestae cecinere tubae,” Prop. 4 (5), 11, 9: “frondiferasque novis avibus canere undique silvas,” and the leafy forest everywhere resounds with young birds, Lucr. 1, 256;

Isa 3:12 As for my people, children are their oppressors, and women rule over them. O my people, they which lead thee cause thee to err, and destroy the way of thy paths.

5953.  ALAL, aw-lal´to effect thoroughly; specifically, to glean (also figuratively); by implication (in a bad sense) to overdo, i.e. maltreat, be saucy to, pain, impose (also literal): abuse, affect, x child, defile, do, glean, mock, practise, thoroughly, work (wonderfully).

5954 THRUSTING youself, 5955 Grape Gleaning.

chALAL wound, profane, play flute, take inheritance, gather the grapes, playe on an instruments, pollute PROSTITUTE.

Scornful: Pestĭlentĭa II. Trop., a plague, pest, pestilence (poet. and in postclass. prose): “oratio plena veneni et pestilentiae,” Cat. 44, 11: “cathedra pestilentiae,” the seat of the scornful, Vulg. Psa. 1, 1.— In plur.: “animorum labes et pestilentiae,” Gell. 1, 2, 4.

WHAT IS ALWAYS COMMANDED:

Thesis

Ps 1:2  But his delight is in the law of the LORD;
        and in his law doth he meditate day and night.

vŏluntas , ātis, f. 1. volo, I. will, freewill, wish, choice, desire, inclination.
a. Suā (alicujus) voluntate, or simply voluntate, of one's own will, of one's own accord, willingly, voluntaril

Mĕdĭtor , ātus, 1, I.  v. dep. a. and n. Sanscr. madh-a, wisdom; Gr. mathos, manthanō, mēdomai; cf.: medeor, re-med-ium, etc.; act., to think or reflect upon, to muse over, consider, meditate upon; neutr., to think, reflect, muse, consider, meditate; to design, purpose, intend
A. Exercised, practised, instructed

Melos or melody is almost idental to melet which means to meditate.  People in the School of Christ SPEAK the words externally and them meditate on them IN THE HEART.

1Sam. 15:21 But the people took of the spoil, sheep and oxen,
        the chief of the things which should have been utterly destroyed,
        to sacrifice unto the LORD thy God in Gilgal.
1Sam. 15:22 And Samuel said,
        Hath the LORD as great delight in burnt offerings and sacrifices,
        as in obeying the voice of the LORD?
        Behold, to obey is better than sacrifice,
        and to hearken than the fat of rams.
1Sam. 15:23 For rebellion is as the sin of witchcraft,
        and stubbornness is as iniquity and idolatry.
        Because thou hast rejected the word of the LORD,
        he hath also rejected thee from being king.

Pharmakos (on the accent v. Hdn.Gr.1.150), o(, h(,

A. poisoner, sorcerer, magician, LXXEx.7.11 (masc.), Ma.3.5 (fem.), Apoc.21.8, 22.15.
pharma^kon Paionios “paiōnia” A.Ag.848

Paian , anos  2. title of Apollo (later as epith., “Apollōni Paiani” BCH11.94 (Hierocaesarea); “ō basileu P. . . Apollon” BMus.Inscr.1151); “iē Paiēon' aeidon” h.Ap.517, cf. also of other gods, “Asklēpios Paiōn” Ar. Pl.636, cf. Pae.Erythr.1; of Zeus at Rhodes, Hsch.; of Dionysus,
II. paian , Ep. paiēōn , Att., Ion. paiōn , paean, i.e. choral song, addressed to Apollo or Artemis (the burden being iē or iō Paian, v. supr. 1.2), in thanksgiving for deliverance from evil
2. song of triumph after victory, prop. to Apollo, Il.22.391 sq.; “halōsimos p.” A.Th.635, etc.; also, battle-song,

Paiōn-ios , a, on,

A. belonging to Paeon or medicine, healing, kheir, kheires, A.Supp.1066 (lyr.), S.Ph.1345, Ar.Ach.1223; “pharmaka” A.Ag.848; “eukhai” Id.Fr.144: in later Prose, Jul.Or.8.240b: c. gen., “khrusos erōtos aei paiōnios” AP 9.420 (Antip.):—fem. paiōnias sophiē, healing art, medicine, ib.11.382.6 (Agath.); also paiōnis tekhnē, S.E.M.1.51; cf. paionios.

WHAT ALL HISTORIC SCHOLARS UNDERSTOOD:

Tertullian Chapter III. Direct Commands of God and Necessary Inferences

Fortified by this knowledge against heathen views, let us rather turn to the unworthy reasonings of our own people;
..........for the faith of some, either too simple or too scrupulous,
..........demands direct authority from Scripture for giving up the shows,
......... and holds out that the matter is a doubtful one,
........because such abstinence is not clearly and in words imposed upon God's servants.

Well, we never find it expressed with the same precision,

"Thou shalt not enter circus or theatre, thou shalt not look on combat or show;" as it is plainly laid down, "Thou shalt not kill; thou shalt not worship an idol; thou shalt not commit adultery or fraud." Ex. xx. 14.

But we find that that first word of David bears on this very sort of thing: "Blessed," he says,
        "is the man who has not gone into the assembly of the impious,
        nor stood in the way of sinners, nor sat in the seat of scorners." Ps. i. 1.

Though he seems to have predicted beforehand of that just man, that he took no part in the meetings and deliberations of the Jews, taking counsel about the slaying of our Lord, yet divine Scripture has ever far-reaching applications: 

after the immediate sense has been exhausted,
in all directions it fortifies the practice of the religious life,
so that here also you have an utterance
which is not far from a plain interdicting of the shows.

If he called those few Jews an assembly of the wicked,
        how much more will he so designate so vast a gathering of heathens!
        Are the heathens less impious, less sinners, less enemies of Christ, than the Jews were then?
        And see, too, how other things agree.

For at the shows they also stand in the way
        For they call the spaces between the seats going round the amphitheatre,
        and the passages which separate the people running down, ways.
        The place in the curve where the matrons sit is called a chair.

Therefore, on the contrary, it holds, unblessed is he who has entered any council of wicked men, and has stood in any way of sinners, and has sat in any chair of scorners.

WHAT ALL DECENT SOCIETIES REJECTED (musical parasites)

Quintus Horatius Flaccus, Hor. S. 1.2

Bad men, when they avoid certain vices, fall into their opposite extremes.

1.2.5 The tribes of female flute-players,1 quacks, vagrants, mimics, blackguards;  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.

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.

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.

Pharmacopōla

（pharmakopōlēs). A vender of medicines (pharmaka), described by Cato and Cicero as frequenting the market-places and haranguing the people on the merits of their nostrums like our modern travelling quacks. See Cato ap. Gell. i.5.3, and Pro Cluent. 14, with Hor. Sat. i. 2, 1

There is the UNIVERSAL pattern of Tom Burgess' proof texts.

Aeschin. 3 162  For, as the people of the Paralus say,¹ and those who have been ambassadors to Alexander—and the story is sufficiently credible—there is one Aristion, a man of Plataean status,² son of Aristobulus the apothecary, known perhaps to some of you. This young man, distinguished for extraordinary beauty of person, once lived a long time in Demosthenes' house （what he used to do there or what was done to him, is a scandal that is in dispute, and the story is one that would be quite improper for me to repeat）. Now I am told that this Aristion, his origin and personal history being unknown to the king, is worming himself into favour with Alexander and getting access to him. Through him Demosthenes has sent a letter to Alexander, and has secured a certain degree of immunity for himself, and reconciliation; and he has carried his flattery to great lengths.

1 The citizen crew of the dispatch-ship Paralus.

2 The “Plataean status” was that of foreigners （slaves in some cases） who had received citizenship in return for services to the state. The status was named “Plataean” after those Plataean exiles who were made Athenian citizens after the destruction of Plataea in the fifth year of the Peloponnesian war.

Tom Burgess quotes the part in blue: 1. Philip also was in these matters somewhat more petty and childish than became him, since he had acquired his knowledge late in life.

Thus they tell the tale that Philip once argued with a certain harp-player about the technique of his instrument, and even thought he was confuting the man; but the harp-player smiled gently and said,

"God forbid, your Majesty, that you should ever fall so low as to know more of these matters than I."

2. But Alexander, knowing well in what matters he should be merely a spectator and listener, and in what he should play the chief rôle, trained himself..... [My extended quotes] Thus they tell the tale that Philip once argued with a certain harp-player about the technique of his instrument, and even thought he was confuting the man; [Traditional subsection D] but the harp-player smiled gently and said, "God forbid, your Majesty, that you should ever fall so low as to know more of these matters than I."

This art he inherited from his ancestors, the Aeacidae, and from Heracles; but upon the other arts he freely bestowed honour without jealousy according to their worth and artistic excellence; but he was not so easily carried away by the pleasure they gave him as to try to imitate them.

Heracles had many homosexual lovers and his rituals were first celebrated at Tyre: thus Christ calls the king of Tyre the singing and harp-playing prostitute in the garden of Ede.

Ambūbāĭa , ae, usu. in the plur., am-būbāĭae , 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,” Suet. Ner. 27.—In sing., Petr. 74, 13.

1 Corinthians 14.7 homōs ta apsukha phōnēn didonta, eite aulos eite kithara, ean diastolēn tois phthoggois mē dō, pōs gnōsthēsetai to auloumenon ē to kitharizomenon;

[7] Even things without life, giving a voice, whether pipe or harp, if they didn't give a distinction in the sounds, how would it be known what is piped or harped

Apsu_kh-os , on, A. lifeless, inanimate, “pothō” Archil.84; “mnēmei' apsukh' empsukhōn” Simon.106.4, cf. E.Fr.655, Tr. 623; “lōtos a. empnoun aniei Mousan” Sopat.10; ha -otata tōn ostōn with least life or sensation, Pl.Ti.74e, cf. Arist.de An.413a21, etc.; a. theoi, of statues, Timae.127.

2.  a. bora non-animal food, E.Hipp. 952.

II. spiritless, faint-hearted, “kakē” A.Th.192; “anēr” Trag.Adesp.337: apsukhoterai hai thēleiai elephantes] Arist.HA610a21; of style, lifeless, D.H.Dem.20. Adv. “-khōs” Poll.2.227.

III. materialistic, “logos”

4. INSTRUMENTAL MUSIC IN THE CHRISTIAN CHURCH

Paul said to SPEAK one to another: now how do disciples teach one another? they SPEAK that which is written. Almost never outside of institutions do we find people playing instruments and singing human songs when the MASTER has come to Instruct us. You would wonder how people can literally SEE that as "sing to one another and make melody on a harp."

Gregorian Chant. it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in synagogues for centuries after the Destruction of the Second Temple in AD 70.

Gregorian Chants were always in unison when choirs were used and were not metrical.

THE PROPHETS PROVE IT: STEPHEN PROVED IT AND GOT MURDERED BY THE CLERGY

> For I spake NOT unto your fathers, nor commanded them
        in the day that I brought them out of the land of Egypt,
       concerning burnt offerings or sacrifices: Jeremiah 7:22

> But this thing commanded I them, saying,
       Obey my voice, and I will be your God, and ye shall be my people:
       and walk ye in all the ways that I have commanded you,
       that it may be well unto you. Jeremiah 7:23

> But they HEARKENED NOT, nor inclined their ear,
       but walked in the counsels and in the imagination of their evil heart,
       and went backward, and not forward. Jeremiah 7:24

If Christians did not perform naked dances in the assembly BECAUSE the pagans danced naked, were they so looney that they would give up their best attraction JUST BECAUSE of the pagans. Of course not: they did not use music, dancing, sacrifices, feasting or anything but PREACH the word by READING the Word.

Acts 7:41 And they made a calf in those days,
        and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands.

Euphrainō , Ep. euphr-, fut. Att.155.12, Pi.I.7(6).3

Pind. I. 6 Just as we mix the second bowl of wine when the men's symposium is flourishing, here is the second song of the Muses for Lampon's children and their athletic victories: first in Nemea, Zeus, in your honor they received the choicest of garlands,

Pind. I. 7   In which of the local glories of the past, divinely blessed Thebe, did you most delight your spirit? Was it when you raised to eminence the one seated beside Demeter of the clashing bronze cymbals, flowing-haired [5] Dionysus? Or when you received, as a snow-shower of gold in the middle of the night, the greatest of the gods, when he stood in the doorway of Amphitryon, and then went in to the wife to beget Heracles?

Plat. Laws 796b when we reach this point in our legislation—that the latter should impart these lessons gently, and the former receive them gratefully. Nor should we omit such mimic dances as are fitting for use by our choirs,—for instance, the sword-dance of the Curetes¹ here in Crete, and that of the Dioscori² in Lacedaemon; and at Athens, too, our Virgin-Lady³ gladdened by the pastime of the dance deemed it not seemly to sport with empty hands,

1 Priests of the Idaean Zeus.
2 Castor and Pollux.
3 Athene.
Paign-ion , to,

2. of persons, darling, pet, Anaxandr.9.3: also in pl. (of one person), Ar.Ec.922, Plu.Ant.59.

II. in Theoc.15.50, the Egyptians are called kaka paignia, roguish cheats,—unless here it be acc. cogn. (dirty tricks) after paizō.

Paizō , Dor. paisdō Theoc.15.42: Lacon. pres. part. gen. pl. fem. paiddōhan Ar. Lys.1313 (lyr.): fut. paixoumai Syrac. in X.Smp. 9.2,

4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16.
5. play amorously, “pros allēlous” X.Smp.9.2; “meta tinos” LXX Ge.26.8; of mares, Arist.HA572a30.
6. hunt, pursue game, “p. kat' alsos” S. El.567.

III. game, “Kourētōn enoplia p.” Pl. Lg.796b: metaph., child's play, of an easy task, Euphro 1.35.

2. comic performance, Pl.Lg.816e, Ephipp.7, Suet.Aug.99.

3. light poem, AP6.322 (Leon.), Plb.16.21.12; Homērou, Kratētos p., Jul.Or. 2.60d, 6.199d; title of poems by Philetas, Stob.2.4.5, al.; applied to those of Theocritus, Ael.NA15.19: metaph., of the merry chirp of the cicada, AP7.196.6 (Mel.).

4. of a prose trifle, Gorg.Hel. 21.

5. “Dēmokritou paignia” jocular recipes,

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)

"For nonliterate peoples, music often serves purposes other than entertainment or aesthetic enjoyment. Certain wind instrumentare closely associated with the supernatural, and their sounds connote powerful magic. Australian Aborigines, for instance, identify the sound of a bull-roarer with thevoices of supernatural beings; for the Plains Indians, the same sound signifies an awesome natural phenomenon, such as thunder. Wind instruments are often among a group's most important ritual objects, and in some cultures they are specially venerated. The Kamairua Indians of the Amazon rain forest keep their giant flutes (three to four feet long), wherein spirits are believed to dwell, in a special shrine where they are worshiped. The flutes and drums of New Guinea are similarly housed and worshiped.

The word Psallo has no remote connection to music: it simply means "pluck with your fingers and NEVER with a plectrum."  You cannot psallo with a guitar pick, blow a flute, beat on drums or play a keyboard. Paul  ALWAYS excludes the common pagan understanding of words before he defines Spiritual worship. In these passages the operative word is SPEAK which is defined as the opposite of poetry or music. If you hold classes for disciples commanded to be taught what Jesus commanded to be taught you could not even hallucinate the use of the pagan meaning of the Word. Psallo related to Apollo (Abaddon, Apollyon) speaks of plucking a bow string or plucking a lyre string to seduce a young boy. All of Tom Burgess' proof text so identify the vile pagan practices in the Greek world.

	EPHESIANS 5:17-20KJV	COLOSSIANS 3:16-17
	Wherefore be ye not unwise, but understanding what the will of the Lord is. Eph 5:17 And be not drunk with wine, Allen: For Plato as for the Christians, there was another reason for disallowing instruments -- they stir up the emotions in excitement Niceta is keen to claim that the songs of the Church put out, rather than excite, the passions'28 Basil contrasts psalms, fasting and prayer' with auloi, dancing and drunkenness Homily Psa 114 ĭn-ēbrĭo Saturate, full of talk kat-auleō , A. charm by flute-playing, methuōn kai katauloumenos drinking wine to the strains of the flute katauloumenon subdued by a flute accompaniment, metaph., to be piped down, ridiculed, “gelōmenoi kai -oumenoi” mētrōa melē” Metroos the worship of Cybele, b. Mētrōa, Mother goddess: music played in her honour, Mele Melos 3. melody of an instrument, “phormigx d' [mark of Apollo]  au phtheggoith' hieron m. ēde kai aulos” wherein is excess;  (Greek: vanity) The results of being drunk on wine luxŭrĭa Of style: “in qua (oratione), ut luxŭrĭo , wanton, revel, sport, skip, bound, frisk: Deliciis that which allures, flatters the senses], delight, pleasure, charm, allurement; deliciousness, luxuriousness, voluptuousness, curiosities of art; , to make sport paizō dance  4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16.  saltātĭo, David's naked dance. Paul always defines away all of the hypocritic arts. BUT, be filled with the Spirit; Eph 5:18       John 6:63b the words that I speak unto you,        they are spirit, and they are life.	Colossians 3:1 If ye then be risen with Christ, seek those things which are above, where Christ sitteth on the right hand of God. Colossians 3:5  Mortify therefore your members which are upon the earth; fornication, uncleanness, inordinate affection, evil concupiscence, and covetousness, which is idolatry:  Phĭlŏsŏphĭa,  doctores săpĭentĭa sermons, interpret, sects Cic.Off.2.2.5 Wisdom, = sophia Sophia , A. cleverness or skill in handicraft and art, in music and singing, poetry, divination interprĕtor , ātus (in tmesi interpres, to explain, expound, interpret, give expression to, translate; to understand, conclude, infer. A. To decide, determine 12, 29: “haec ex Graeco carmine interpretata recitavit,” Liv. 23, 11, 4; 45, 29, 3. Carmen, I. In gen., a tune, song, air, lay, strain, note, sound, both vocal and instrumental“barbaricum,” id. M. 11, 163.—With allusion to playing on the cithara Rom 8[13] For if you live after the flesh, you must die; but if by the Spirit you put to death the deeds of the body, you will live. Pathos emotion, to create passion, drama MY experiences Sophia cleverness or skill in handicraft and art, in music and singing, tekhnē kai s, poetry, in divination pleonexia assumption, one's own advantage. Financial gain Colossians 3:10 And have put on the new man,     which is renewed in knowledge     after the image of him that created him: Colossians 3:16 Let the word of Christ dwell in you richly in all wisdom;
	Speaking to yourselves in psalms and hymns       and spiritual songs, [Scripture]	teaching and admonishing one another       in psalms and hymns       and spiritual songs, [Scripture]
	singing and making melody       in your heart to the Lord;	singing with grace       in your hearts to the Lord.
	always giving thanks      to God the Father for everything,      in the name of our Lord Jesus Christ.	And whatsoever ye do in word or deed, do all     In the name of the Lord Jesus,     giving thanks to God and the Father by him.

IS THERE NOTHING AGAINST INSTRUMENTS IN SCRIPTURE OR DO WE HAVE A DELUSION PROBLEM?

See 2 Peter 2 for Peter's warning

2 Peter 2:13 And shall receive the reward of unrighteousness,
        as they that count it pleasure [Hedonism: sensual pleasure, LUST. Outlawed Rom 15]
        to riot in the day time.
       Spots they are and blemishes,
       sporting themselves  Rising up to PLAY
        with their own deceivings
        while they feast with you

It's true enough for those not OF TRUTH that God did not say THOUS SHALT NOT BE A "SPORT."

Truph-ē softness, delicacy, daintiness, 2 Ep.Pet.2.13; II. luxuriousness, wantonness, “tōn gunaikōn hē t.” Ar.Lys.387; t. kai akolasia, t. kai malthakia,

Paison paizô [pais] 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, “pros allēlous” X.Smp.9.2; “meta tinos” LXX Ge.26.8; of mares

[See Plato-Symposium]
Symposium;
Then, said Eryximachus, as you are all agreed that drinking is to be voluntary, and that there is to be no compulsion,
I move, in the next place, that the flute-girl,
        who has just made her appearance,
        be told to go away and play to herself,
        or, if she likes, to the women who are within.
        To-day let us have conversation instead; 

5. HISORICAL SECULAR EVIDENCE

Robert Ballard p 76

Francis J. Winder attempts to show that the organ was in use before the traditional accounts used to refute the use of instruments in the church.  Winder quotes from books defending instruments and does not include all of the evidence. However, picking out specific statements is likely to show that the writer has an agenda and not a hunger for the truth.

William Green

The writers of the Western church reproduced in Latin much that was traditional in the commentaries of Greek writers. Ambrose and Jerome in particular were indebted to Origen and those who followed him in the East. And the work of all these writers is gathered up in the great work of Augustine. His Enarrationes, or Sermons on the Psalms became one of the most popular works for readers of the Middle Ages. On Psalm 33, verse 2, he comments:

""Confess to the Lord with the harp,"that is, confess to the Lord presenting your bodies to him as a living sacrifice. "Sing praises to him with the psaltery of ten strings,"that is, let your members be subject to the love of God and love of your neighbor, In which the three and seven commandments are kept."10

1. Rejoice in the Lord, O you righteous: rejoice, O you righteous, not in yourselves, for that is not safe; but in the Lord. For praise is comely to the upright Psalm 32:1: these praise the Lord, who submit themselves unto the Lord; for else they are distorted and perverse.

2. Praise the Lord with harp: praise the Lord, presenting unto Him your bodies a living sacrifice. Romans 12:1 Sing unto Him with the psaltery for ten strings Psalm 32:2: let your members be servants to the love of God, and of your neighbour, in which are kept both the three and the seven commandments.

3. Sing unto Him a new song: sing unto Him a song of the grace of faith. Sing skilfully unto Him with jubilation Psalm 32:3: sing skillfully unto Him with rejoicing.

4. For the Word of the Lord is right: for the Word of the Lord is right, to make you that which of yourselves ye cannot be. And all His works are done in faith Psalm 32:4: lest any think that by the merit of works he has arrived at faith, when in faith are done all the works which God Himself loves.

10. The Lord brings the counsel of the heathen to nought; of them that seek not His Kingdom, but kingdoms of their own. He makes the devices of the people of none effect: of them that covet earthly happiness. And reproves the counsels of princes Psalm 32:10: of them that seek to rule over such peoples.

11. But the counsel of the Lord stands for ever; but the counsel of the Lord, whereby He makes none blessed but him that submits unto Himself, stands for ever. The thoughts of His Heart to all generations Psalm 32:11: the thoughts of His Wisdom are not mutable, but endure to all generations.

Music at the Crossroads of Empire: Ambrose and Milanese Chant

The liturgical music in use in Milan at the time of Ambrose seems, according to surviving sources, to have been characterized by a strong eastern influence (Byzantine and Graeco-Syrian) that was added to a base of local music. Paulinus of Nola, Ambrose's secretary and biographer, suggests that the liturgy in Milan at this time--if not the liturgical and musical sensibilities of Ambrose himself--was changing because of such influences:

Apart from the development of hymnody, in which Ambrose was certainly involved, and the use of antiphonal singing, which he may have introduced,

During his exile in Asia Minor (356-360), Bishop Hilary of Poitiers was influenced by the compositions and practices attributed to Ephrem of Syria and Gregory of Nazianzus; he brought these traditions back with him when he returned to Poitiers.

In Fact, Ephraem was the FIRST to introduce SINGING as an ACT ABOUT 373.

Other than using the commanded Biblical text, singing was invented to combat the Arians. : "antiphonal singing may have been introduced to Milan--alternating verses or partial verses of a psalm between two choirs. "

You CAN'T accompany a chant with an organ: the Catholics used the organ in the NON-mass part of the assembly and not to accompany congregational singing.

p.77 (Ballard) "for we are tgold that St Ambrose joined instruments with the public service in the Cathedral Church of Milan."

He quotes the Britannica

Everywhere the early missionaries they had to contend with pagan temples who had always offered singing, clapping, dancing and other favors which made them think that the priest could heal them. 

Christianizing the Romann Empire ad 100-400 p 64f Ramsay MacMullen,.

The pagan priests attracted disciples by singing, clapping, drumming, drinking wine and claiming that they could bestow supernatural power. Early missionaries spread the propoganda that when they left a pagan temle the demons would not return. Others claimed that just their shadow could heal and they could raise the dead. These claims of supernatural power lost their "power."  The church as a purely intellectual movement

p. 63 In the late fourth century the point made here is illustrated by a little poem of Christian propaganda.  It clearly  means to incline gentle readers to believe through the versified coversation  overheard among three shepherds. Baculus complains that all his sheep are dying; but Tityrus tellls him salvation lies through the sign of the cross, and "no altar wet with blood" is needed; to which Aegon adds, "If, tityrus you should make good on thes easservations about paganism, without delay I'll serve true cult.  

Toward the end of or period  Christians could publicize their faith quite openlhy sso a sto reach non-Christians. Hymns written for the same purpose, written in the hope of their being sung  by non-believers as well  as  inside the Christian community too. There were tracts of aggressive debate addressed to non-Christians, to argue them down."  These songs "could make the pagans flee" and so were added, as by the Arians, as propoganda which resulted in literal warfare.

When they could not convince, they tore down all pagan signs and temples and replaced them with the sign of the cross.

p.74f Bishop Basil Reproved the dancers in the very chapels of Caesarea.  Other church leaders in Syria and the Levant tried to suppress dancing, or hand -clapping, or piping along with hymns or at weddings.  And returning to the west, in North Africa Bishop Augustine encountered the same custom and spoke out against it. So everwhere we look we find the problem.

But had not David danced? "Those actions [likeDavid's which areperformed disgracefulloy, if looked at only as physical, are, when viewed through holy religion, rather to be held in respect." those wrote Ambrose.

"Exactly, and non-Christians did hold them in respect and everywhere joined music and motion to their occassions of worship, often accompanied by pipe or castanet or little drum.

Because the pagans merged pleasuer and worship, the church decided to Christianize the hymns and that process produced Christian hymns.  The Church, considering how the boundaries around itself were defined, and to set it off from rival cults without too musch reducing the rewards of life for those who were converted, had to take account of such practical considerations.

Because Jesus spoke ONLY the words delivered from the Father by His "breath" it was WITHOUT METER as the word often means. That is why no one ever tried to sing any of the commanded Biblical text using melody in a tuneful sense.  So, before you can use violence to impose instruments you have to get past the absolute fact that the command is to  SPEAK that which is written and not SING that which is written:

Robert Ballard p 78-79 The "Encyclopedia of Religion and Ethics," James Hastings, 1917 "in the Hebrew Temple, at the beginning of the Christian era, the harp, lute, flute, trumpet and drum were used as accompament to the Psalms and canonical hymns; yet owing to the necesity of avoiding comparison with pagan rites, instrumental music was forbidden in the early Christian Church.

No: history notes that the early church only gradually accepted the practices of the pagans but only on the pagan festival days. No one who has ever read the Bible would think that music was commanded for holding a school of Christ where they read the Biblical text and discussed it. The early church had no RITES which would be both pagan and legalistic.

The church was ordained in the wilderness to quarantine the godly people FROM the temple.  The Civil-Military-Clergy had been "turned over to worship the starry host" because of musical idolatry at Mount Sinai.  No speaker, singer or instrument player came near or in the Holy Place as a type of the synagogue or future church without getting executed.

Furthermore, no Levite, used as Warrior Noise makers and later under the king and commanders of the army--could come near the holy places of the sanctury or they would be executed. The patternism is that if a musician enters into the body of Christ as fulfilment of the Holy Place he / she / it is worthy of death.

Num 18:2 And thy brethren also of the tribe of Levi, the tribe of thy father, bring thou with thee, that they may be joined unto thee, and minister unto thee: but thou and thy sons with thee shall minister BEFORE the tabernacle of witness. [never IN]

H8334 sharath shaw-rath' A primitive root; to attend as a menial or worshipper; figuratively to contribute to:--minister (unto), (do) serve (-ant, -ice, -itor), wait on. 

Num 18:3 And they shall keep thy charge, and the charge of all the tabernacle:
        only they shall not come nigh the vessels of the sanctuary and the altar,
        that neither they, nor ye also, die.

Contrary to being a spiritual worship service, the sacrificial system had been imposed and if it were not performed it would bring down God's wrath as punishment due for NOT performing what they had been abandoned to.

Num 18:6 And I, behold, I have taken your brethren the Levites from among the children of Israel:
         to you they are given as a gift for the LORD,
         to do the service of the tabernacle of the congregation. 

Num 18:7 Therefore thou and thy sons with thee shall keep your priest’s office for every thing of the altar,
        and within the veil; and ye shall serve: I have given your priest’s office unto you as a service of gift:
        and the stranger that cometh nigh shall be put to death.
"Neither must the children of Israel henceforth come nigh the tabernacle of the congregation,
        lest they bear sin, and die. Numbers 18:22

NONE of the Bible including the psalms were metrical: they were cantillation or metrical prose. You can stroke an instrument between stanzas but you cannot ACCOMPANY any of the Bible. And if you do not use that which is written for our learning then you are not a disciple of Christ.

"prophesing with harps" or other instruments is called soothsaying: that's what you do when God ABANDONS you to worship the starry hosd.  The sacrificial system was NOT commanded says Christ in the prophets. Therefore, in Jerusalem as in all national temples the singers were called parasites.

Parasit-os 

A.one who eats at the table of another, and repays him with flattery and buffoonery, parasite, Epich.36, Arar.16, etc.; name of plays by Antiph., Alex., and Diph.; peri Parasitou, title of work by Luc.: c. gen., kenês p. trapezês [MONEY CHANGING TABLE] AP11.346 (Autom.) : metaph., ichthusên p. (v. opson) Luc.Lex.6.  Parasitus Phoebi, a player

knikos , ê, on, ( [kuôn] ) dog-like, X.Cyr.5.2.17 (v.l. for huïkon); to k. kai thêriôdes tôn orexeôn Plu.2.133b ; k. spasmos unilateral facial paralysis, Cels.4.3.1, Gal.18(2).930; k. kaumata heat of the dogdays, Polyaen.2.30.3: metaph., ho anthrôpos k. currish, churlish, Vulgate 1 Sa 25.3 (?). Adv. -kôs, spômenoi Heliod. ap. Orib.48.38 tit.; in doglanguage, opp. boïkôs, etc., Porph.Abst.3.3

II. of priests who had their meals at the public expense, Clitodem.11, Polem.Hist.78  
2. one who dines with a superior officer, Arist.Fr.551.

The common people and the prophets knew the facts:

Ezek 22:27 Her princes in the midst thereof are like wolves [YELLOW] ravening the prey,  o shed blood, and to destroy souls, to get dishonest gain.

Zeph. 3:3 Her princes within her are roaring lions; her judges are evening wolves; they gnaw not the bones till the morrow.  

Epictetus, Works XLIII.

XLII. Instead of herds of oxen, endeavor to assemble flocks of friends about your house.
XLII As a wolf resembles a dog, so much does a flatterer, an adulterer, a parasite, resemble a friend. Take heed, therefore, that instead of guardian dogs, you do not inadvertently admit ravening wolves.

[All musicians were also called PARASITES and not allowed to feed on polite society]

The Deipnosophists of Athenaeus of Naucratis Book XIII: Concerning Women

"Hear, ye Styacs, vendors of twaddle, hypocritical mouthers of words who alone by yourselves gobble up everything on the platters before a wise man can get a share, and then are caught doing the very opposite of what you solemnly chant;" oglers of boys you are, and in that alone emulating the founder of your philosophy, Zeno the Phoenician, who never resorted to a woman, but always to boy-favourites.

Bdellolarunx, leech-throat, name for a greedy parasite

Mark 13:14 But when ye shall see the abomination of desolation, spoken of by Daniel the prophet, standing where it ought not, (let him that readeth understand,) then let them that be in Judaea flee to the mountains:
GOD HAD NOT COMMANDED SACRIFICES WHEN HE SAVED THEM BY GRACE

Robert Ballard p 82. CLEMENT "Clement writessa; "He is a guest with us. For the apostle add again, "Teaching and admonishine one another in all wisdom, in psalms and hymns and spiritual songs, singing with grace in your heart to God." And again "whatsoeverye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and His Father.' this is our thankful revelry. And even if you wish to sing and play to the harp or lyre, there is no blame. Thous shalt IMITATE the righteous Hebrew king in his thanksgiving to God."

However, Clement is speaking of HOW TO CONDUCT OURSELVES AT FEASTS.  Most city people took their meals at the kitchens in the Agora or Marketplace.

You will readily see that, as with many psalms and David's instruments, they were known to arouse hostility and signal war: there was simply no sensical reason that anyone should have thought that instruments which arouse spiritual anxiety would be tolerated when Christ comes to be our only Teacher.

Godly people do not BEAT ON DRUMS when Christ speaks through the elders BECAUSE the pagans beat on drums: that would charge the historic scholarship with being stupid. We do not beat on drums when the preacher is sermonizing BECAUSE it would be ungodly and disgraceful.

In their wars, therefore, the Etruscans use the trumpet, the Arcadians the pipe, the Sicilians the pectides, the Cretans the lyre, the Lacedaemonians the flute, the Thracians the horn, the Egyptians the drum, and the Arabians the cymbal.

The one instrument of peace, the Word alone by which we honour God, is what we employ.

We no longer employ the ancient psaltery, and trumpet, and timbrel, and flute,
which those expert in war and contemners of the fear of God
were wont to make use of also in the choruses at their festive assemblies;

that by such strains they might raise their dejected minds.

But let our genial feeling in drinking be twofold, in accordance with the law.

For "if thou shalt love the Lord try God," and then "thy neighbour," let its first manifestation be towards God in thanksgiving and psalmody, and the second toward our neighbour in decorous fellowship.

For says the apostle, "Let the Word of the Lord dwell in you richly." 103 And this Word suits and conforms Himself to seasons, to persons, to places.

In the present instance He is a guest with us. For the apostle adds again, "Teaching and admonishing one another in all wisdom, in psalms, and hymns, and spiritual songs, singing with grace in your heart to God." And again, "Whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and His Father." This is our thankful revelry.

And even if you wish to sing and play to the harp or lyre, there is no blame. 104 [At feasts]

Clement says "Imitate" David but David never led worship in the synagogue where music was outlawed or in the sacrificial systems which God did not command.  If David played the harp on his bed what authority would that be to play the harp in the synagogue?

Thou shalt imitate the righteous Hebrew king in his thanksgiving to God. "Rejoice in the Lord, ye righteous; praise is comely to the upright," 105 says the prophecy.

"Confess to the Lord on the harp ; play to Him on the psaltery of ten strings. Sing to Him a new song." And does not the ten-stringed psaltery indicate the Word Jesus, who is manifested by the element of the decad?

And as it is befitting, before partaking of food, that we should bless the Creator of all; so also in drinking it is suitable to praise Him on partaking of His creatures. 106 For the psalm is a melodious and sober blessing. The apostle calls the psalm "a spiritual song." 107

Gregory of Nyssa agrees that the "harp" FROM GOD is not FROM DAVID.

3. Now the music of the human instrument is a sort of compound of flute and lyre,

sounding together in combination as in a concerted piece of music.

For the breath, as it is forced up from the air-receiving vessels through the windpipe, when the speaker's impulse to utterance attunes the harmony to sound, and as it strikes against the internal protuberances which divide this flute-like passage in a circular arrangement, imitates in a way the sound uttered through a flute, being driven round and round by the membranous projections

X. That the Mind Works by Means of the Senses.

1. As the mind then produces the music of reason by means of our instrumental construction, we are born rational,

while, as I think, we should not have had the gift of reason if we had had to employ our lips to supply the need of the body-the heavy and toilsome part of the task of providing food.

As things are, however, our hands appropriate this ministration to themselves, and leave the mouth available for the service of reason.

2 35 . The operation of the instrument , however, is twofold; one for the production of sound, the other for the reception of concepts from without;

and the one faculty does not blend with the other, but abides in the operation for which it was appointed by nature, not interfering with its neighbour either by the sense of hearing undertaking to speak, or by the speech undertaking to hear;

for the latter is always uttering something, while the ear, as Solomon somewhere says, is not filled with continual hearing

P 82 AUGUSTINE "St. Augustine likewise encourages the singing of Psalms to the lyre or psaltery." pg. 82

Book ten. XXXIII.49 But the pleasures of my flesh -- to which the mind ought never to be surrendered nor by them enervated -- often beguile me while physical sense does not attend on reason, to follow her patiently, but having once gained entry to help the reason, it strives to run on before her and be her leader. Thus in these things I sin unknowingly, but I come to know it afterward.

50.  At other times, shunning over-anxiously this very deception, I err in too great strictness; and sometimes to that degree, as to wish the whole melody of sweet music which is used to David’s Psalter, banished from my ears, and the Church’s too; and that mode seems to me safer, which I remember to have been often told me of Athanasius Bishop of Alexandria, who made the reader of the psalm utter it with so slight inflection of voice that it was nearer speaking than singing.  Yet again, when I remember the tears i shed at the Psalmody of  Thy Church, in the beginning of my recovered faith; and how at this time, I am moved, not with the singing, but with the things sung, when they are sung with a clear voice and modulation most suitable, I acknowledge the great use of this institution.  Thus I fluctuate between peril of pleasure and approved wholesomeness; inclined the rather (though not as pronouncing an irrevocable opinion) to approve of the usage of singing in the church; that so by the delight of the ears, the weaker minds may rise to the feeling of devotion.  Yet when it befalls me to be more moved with the voice than the words sung, I confess to have sinned penally, and then had rather not hear music.  See now my state; weep with me, and weep for me, ye, who so regulate your feelings within, as that good action ensues.  For you who do not act, these things touch not you.  But, Thou, O Lord my God, hearken; behold, and see, and have mercy, and heal me, Thou, in whose presence I have become a problem to myself; and that is my infirmity.

In Psalm 149 Augustine utterly condemns out ward praise by performers and puts spiritual praise "in the hearts" and even upon thy bed:

6. "The saints shall exult in glory" (ver. 5). I would say somewhat important about the glory of the saints. For there is no one who loveth not glory.

But the glory of fools, popular glory as it is called, hath snares to deceive, so that a man, influenced by the praises of vain men, shall be willing to live in such fashion as to be spoken of by men, whosoever they be, in whatsoever way.

Hence it is that men, rendered mad, and puffed up with pride, empty within, without swollen, are willing ever to ruin their fortunes

by bestowing them on stage-players, actors, men who fight with wild beasts, charioteers. What sums they give, what sums they spend! They lavish the powers not only of their patrimony, but of their minds too.

They scorn the poor, because the people shouteth not that the poor should be given to, but the people to shout that the fighter with wild beasts be given to. When then no shout is raised to them, they refuse to spend; when madmen shout to them, they are mad too:

nay, all are mad, both performer, and spectator, and the giver.

This mad glory is blamed by the Lord, is offensive in the eyes of the Almighty. ...Thou choosest to clothe the fighter with wild beasts, who may be beaten, and make thee blush: Christ is never conquered; He hath conquered the devil, He hath conquered for thee, and to thee, and in thee; such a conqueror as this thou choosest not to clothe. Wherefore? Because there is less shouting, less madness about it.

They then who delight in such glory, have an empty conscience. Just as they drain their chests, to send garments as presents, so do they empty their conscience, so as to have nothing precious therein.

7. But the saints who "exult in glory," no need is there for us to say how they exult: just hear the verse of the Psalm which followeth: "The saints shall exult in glory,

they shall rejoice in their beds:" not in theatres, or amphitheatres, or circuses, or follies, or market places, but "in their chambers."

What is, "in their chambers"? In their hearts. Hear the Apostle Paul exulting in his closet: "For this is our glory, the testimony of our conscience."

For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation in the world, and more abundantly to youward. 2 Cor. 1:12

Suneidesis (g4893) soon-i'-day-sis; from a prol. form of 4894; co- perception, i.e. moral consciousness; - conscience.

Suneido (g4894) soon-i'-do; from 4862 and 1492; to see completely; used (like its prim.) only in two past tenses, respectively mean. to understand or become aware, and to be conscious or (clandestinely) informed of: - consider, know, be privy, be ware of.

For we write none other things unto you, than what ye read or acknowledge; and I trust ye shall acknowledge even to the end; 2 Cor. 1:13

"On the other hand, there is reason to fear lest any be pleasing to himself, and so seem to be proud, and boast of his conscience. For every one ought to exult with fear, for that wherein he exulteth is God's gift, not his own desert.

For there be many that please themselves, and think themselves righteous; and there is another passage which goeth against them, which saith, "Who shall boast that he hath a clean heart, and that he is pure from sin?" There is then, so to speak, a limit to glorying in our conscience, namely, to know that thy faith is sincere, thy hope sure, thy love without dissimulation.

"The exultations of God are in their mouths" (ver. 6). In such wise shall they "rejoice in their closets," as not to attribute to themselves that they are good, but praise Him from whom they have what they are, by whom they are called to attain to what they are not, and from whom they hope for perfection, to whom they give thanks, because He hath begun.

Robert Ballard pg 83 Marvin R. Vincent , in his "Word studies in the New Testament" states "some thank that the verb has here its original signification of singing with an instrument. This IS its dominant sense in the Septuagint and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment."

NEVER:  A  psalm is a song and a song may be read, recited, sung or sung with instrumental accompaniment. The Bible always uses three words to meand Sing + Play + Instrument.  In fact the word does not MEAN with an instrument because most often an instrument is not named.

GREGORY OF NYSSA (died c394)

8 . Now since man is a rational animal,
the instrument of his body must be made suitable for the use of reason;
as you may see musicians producing their music according to the form of their instruments,

and not piping with harps nor harping upon flutes,

so it must needs be that the organization of these instruments of ours
should be adapted for reason, that when struck by the vocal organs
it might be able to sound properly for the use of words.

As late as the fourth century, Gregory, bishop of Nyssa, gave this definition of psalm:

"There is a distinction between psalm, ode, praise, hymn, and prayer. A psalm is the melody of a musical instrument; and ode is a melodious expression made by the mouth with words.

This does not mean PLAY the melody. Tunes were derived from plucking the bow string or a lyre.

Hippolytus

"The psalterion is a musical instrument making its sound from the upper parts of iits construction and the music from this instrument is called a psalm." (p. 29)

7. As there are "psalms," and "songs," and "psalms of song," and "songs of psalmody," it remains that we discuss the difference between these.

We think, then, that the "psalms" are those which are simply played to an instrument,

without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument;

And thus much as to the letter of what is signified by these terms. But as to the mystical interpretation,

it would be a "psalm" when, by smiting the instrument, viz. the body, with good deeds we succeed in good action though not wholly proficient in speculation;

and a "song," when, by revolving the mysteries of the truth, apart from the practical, and assenting fully to them,

we have the noblest thoughts of God and His oracles, while knowledge enlightens us, and wisdom shines brightly in our souls; and a "song of psalmody," when, while good action takes the lead, according to the word,

The translators of the Septuagint used the Greek word "psallo" in its various forms.  In the Greek world it is USED meaning to "Smite the strings of a harp with the FINGERS but never with a PLECTRUM.  Because they spoke of "shooting forth hymns" is is ALWAYS translated as to SING.  If a harp is being plucked then psallo just means PLUCK: you must name what is to be plucked.  It is used meaning MELODY. But, we have just heard that when it means MELODY it includes ONLY the instrument WITHOUT the human voice.  You would be lying if you applied "psallo" to anything other than a simple harp.

There are are three terms: Singing, playing, name of instrument.  The fact that one PLAYS and instrument does not mean that PLAY means to play an instrument.

Vincent's: Word Studies Of The New Testament, Vol. III, pg. 269-270 "...The noun psalm (Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to this verb (psallo in I Cor. 14:15 DEM), is used in the New Testament of a religious song in general, having the character of an Old Testament psalm...

"Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment...

"But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise.

No, psalm is EVER used in the Septuagint of SINGING with an instrument.  In most cases the word is translated as "sing" and when a harp is intended it is named. Again, none of this was related to modern "performance music."  See Psalms in the LXX

Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).

        Lam 3:12 He hath bent his bow, and set me as a mark for the arrow.
        Lam 3:13 He hath caused the arrows of his quiver to enter into my reins.
        Lam 3:14 I was a derision to all my people; and their song all the day.
        Lam 3:15 He hath filled me with bitterness, he hath made me drunken with wormwood.
        Lam 3:16 He hath also broken my teeth with gravel stones, he hath covered me with ashes.
        Lam 3:17 And thou hast removed my soul far off from peace: I forgat prosperity.

NO PSALLO-LIKE WORD SPEAKS OF PLAYING AN INSTRUMENT

Psalmos , ho, twitching or twanging with the fingers, psalmoi toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.).

Psalmoi toxôn does not mean "sing and play a harp" WITH a bow.  Psalmoi just means pluck or twang a bow.

toxêrei psalmôi [toxeusas]
[Furnished with the Bow]  +  [Twitching with the fingers] + [Shoot with the bow or metaphor Send forth a hymn]
3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, t. humnous Pi.I.2.3 hath shot these arrows in vain, E.Hec.603

Pi.I.2.3 The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite on her lovely throne. For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore. But as things are now, she bids us heed [10] the saying of the Argive man, which comes closest to actual truth: “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time.

IF YOU WANT TO SING AND PLAY WITH AN INSTRUMENT THE WORD IS:

Anti-psallô , A. [1] play a [2] stringed instrument [3] in accompaniment of song, a. elegois phorminga Ar.Av.218 .

Ar.Av.218 .Aristophanes, Birds
Epops rushes into the thicket.
Epops
From within; singing.

Chase off drowsy sleep, dear companion. [210]  Let the sacred hymn gush from thy divine throat in melodious strains; roll forth in soft cadence your refreshing melodies to bewail the fate of Itys, which has been the cause of so many tears to us both. [215] Your pure notes rise through the thick leaves of the yew-tree right up to the throne of Zeus, where Phoebus listens to you, Phoebus with his golden hair. And his ivory lyre responds to your plaintive accents; [220] he gathers the choir of the gods and from their immortal lips pours forth a sacred chant of blessed voices.

IF YOU WANT TO PLAY A STRINGED INSTRUMENT WITH A PLECTRUM

Pektis a stringed instrumnent, played with the fingers (not plēktron), shepard's pipe, pan's pipes, cage or net for catching birds.

With psallo you CANNOT use a guitar pick or play ANY other musical instrument.

Plektron

A. anything to strike with:

1. instrument for striking the lyre, plectrum,
spear point.

You cannot play an instrument and sing psalms defined by psallo.

Krekon Krekô ,
2. strike a stringed instrument with the plectron, magadin Diog.Ath.1.10 ; barbita D.H.7.72 : generally, play on any instrument, aulonAr.Av. 682 (lyr.): less freq.c.dat., krekeindonakiAPl.4.231 (Anyte): c. acc. cogn., pêktidôn psalmois k. humnon

Robert Ballard pg 90 "But god, speaking through His prophet, Isaiah says (8:20: "To the law and to the testimony: if they speak not according to this word, it is because there is no light in them."

SEE THE MISSED MESSAGE OF CHRIST IN ISAIAH 8

Isa 8:19And when they shall say unto you,
        Seek unto them that have familiar spirits,
        and unto wizards that peep, and that mutter:
                should not a people seek unto their God?
                for the living to the dead?  

The familiar spirit is a dry, empty wineskin. It serves as the echo chamber of the nebel which means 'VILE.' It has the same meaning as the harp and the sounding gongs in 1 Cor. 13.

The Wizzard is one who thinks that they can hear the Word of God "beyond the sacred page."  John called them sorcerers because they used rhetoric, singers and instrumentalists to STEAL the Word and money from others

Yiddeoniy (h3049) yid-deh-o-nee'; from 3045; prop. a knowing one; spec. a conjurer; (by impl.) a ghost: - wizard.

"In Isa 8:19 the 'obhoth and yidh'onim are spoken of those who 'chirp and mutter." These terms refer to the necromancers themselves who practiced ventriloquism in connection with their magical rites. In Isa 29:4 it is said 'Thy voice shall be as an 'obh, out of the ground.'... They are stamped in these passages, as in the Witch of Endor narrative, as deceivers practising a fraudulent art. By implication their power to evoke spirits with whom they were in familiar intercourse is denied." (Int Std Bible Ency., ency, p. 690)

H178  ’ôb obe From the same as H1 (Ab, Ab, Lord, Lord sayers: apparently through the idea of prattling a father’s name); properly a mumble, that is, a water skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar):—bottle, familiar spirit.

Pȳthon ,, I. the serpent slain, according to the myth, near Delphi by Apollo, who was fabled to have been called Pythius in commemoration of this victory, Ov. M. 1, 438;

Stewart sculpture 2.4 the epithet derives from his boyhood battle against the Pythoness at Delphi, when "the lord Apollo, the far-shooter / shot a strong arrow at her / and she lay there, torn with terrible pain" (Homeric Hymn to Pythian Apollo 356-59).

Pȳtho , ūs, f., = Πυθώ,

I. the former name of Delphi and its environs, Tib. 2, 3, 27 (Python, Müll.); Luc. 5, 134.—Hence,

I. Pȳthĭcus , a, um, adj., = Πυθικός, another form for Pythius, Pythian: “Apollo,” Liv. 5, 21: “oraculum,” id. 5, 15: “sortes,” id. 5, 23: “divinatio,” Val. Max. 1, 8, 10: “agon,” Tert. adv. Gnost. 6.—

II. Pȳthĭus , a, um, adj., = Πύθιος, Pythian, Delphic, Apollonian: Delphis prognatus Pythius Apollo, Naev B. P. 2, 20; so, “Apollo,” Cic. Off. 2, 22, 77; “also incola,” Hor. C. 1, 16, 6; “and deus,” Prop. 2, 31 (3, 29), 16: “oraculum,” Cic. Div. 1, 1, 3: “regna,” i. e. Delphi, Prop. 3, 13 (4, 12), 52: “antra,” Luc. 6, 425: vates, i. e. the Pythoness, Pythia, Juv. 13, 199; cf. in the foll. —

B. Substt.

1. Pȳthĭa , ae, f., = ἡ Πυθία, the priestess who uttered the responses of the Delphic Apollo, the Pythoness, Pythia, Cic. Div. 1, 19, 38; Nep. Milt. 1, 3. —

incantātĭo , ōnis, f. id.,

I. an enchanting, enchantment (post-class.): “magicae, Firm. Math. 5, 5: incantationum vires,” 

Verg. A. 6.98
But you, if pious minds by pray'rs are won,
Oblige the father, and protect the son.
Yours is the pow'r; nor Proserpine in vain
Has made you priestess of her nightly reign.
If Orpheus, arm'd with his enchanting lyre,
The ruthless king with pity could inspire,
And from the shades below redeem his wife;
If Pollux, off'ring his alternate life,

Amos and Jeremiah speak of the Marzeah connected with the wine, women and musical instruments. The Marzeah was a festival WITH and FOR the DEAD: Israel had a COVENANT WITH DEATH.

"The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria...

The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)

"These five elements are:
........(1) reclining or relaxing,
........(2) eating a meat meal,
........(3) singing with harp or other musical accompaniment,
........(4) drinking wine and
........(5) anointing oneself with oil." (King, p. 37).

To the law and to the testimony:
        if they speak not according to this word,
        it is because there is no light in them. Isa 8:20

[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis

-strīdō —, —, ere,

to make a shrill noise, sound harshly, creak, hiss, grate, whiz, whistle, rattle, buzz: stridentia tinguunt Aera lacu, V.: cruor stridit, hisses, O.: belua Lernae Horrendum stridens, V.: horrendā nocte (striges), O.: mare refluentibus undis, V.: aquilone rudentes, O.: videres Stridere secretā aure susurros, buzz, H.

H7442 rânan raw-nan' A primitive root; properly to creak (or emit a stridulous sound), 2. tremulous sound of a mast or pole "Shaken by the wind" also the sound of a torrent. Vibrate the voice TRILL which is the WOMEN'S sound of Halal above.

-cantus , ūs, m. id., 2. With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,” Hor. C. 3, 7, 30:
B. An incantation, charm, magic song, etc.: cantusque artesque magorum. Ov. M. 7, 195; 7, 201: “at cantu commotae Erebi de sedibus imis Umbrae ibant,” Verg. G. 4, 471: “magici,”

-pŏētĭcus , a, um, adj., = poiētikos,
I.poetic, poetical: “verbum,” Cic. de Or. 3, 38, 153: “non poëtico sed quodam oratorio numero et modo,” id. ib. 1, 33, 151: “di,” represented by the poets,

Isa. 8:19 And when they shall say unto you, 
        Seek unto them that have familiar spirits,
        and unto wizards that peep, and that mutter:
        should not a people seek unto their God? for the living to the dead?

[19] et cum dixerint ad vos quaerite a pythonibus et a divinis qui stridunt in incantationibus suis numquid non populus a Deo suo requirit pro vivis a mortuis

To the law and to the testimony:
        if they speak not according to this word,
        it is because there is no light in them. Isa 8:20

-Puthōn  cf. Puthō

I. the serpent Python, slain by Apollo.

II. pneuma Puthōnos a spirit of divination, NTest.: ventriloquists （eggastrimuthoi） were called Puthōnes, Plut.

-Pu_thō , gen. ous, dat. oi, h(, Pytho, the region in which lay the city of Delphi, A. “Puthoi eni petrēessē” Il.9.405; “P. en ēgatheē” Od.8.80, Hes. Th.499, etc.; of Delphi itself, Pi.P.4.66, 10.4, Hdt.1.54, etc. (Acc. to the legend, derived from the rotting of the serpent, h.Ap.372.

incantātĭo , ōnis, f. id.,

I. an enchanting, enchantment (post-class.): “magicae, Firm. Math. 5, 5: incantationum vires,” Tert. Hab. Mul. 2.

in-canto , āvi, ātum, 1, v. a. and n. *

I. To sing in, with dat.: “passer incantans saepiculae (i. e. in saepicula),” App. M. 8, p. 210, 26. —

II. In partic.

A. To say over, mutter, or chant a magic formula against some one: QVI MALVM CARMEN INCANTASSET, Fragm. XII. Tab. ap. Plin. 28, 2, 4, § 17.—

B. Transf.

1. To consecrate with charms or spells: “incantata vincula,” lovelcnots, Hor. S. 1, 8, 49.—

2. To bewitch, enchant: “quaesisti, quod mihi emolumentum fuerit incantandi (sc. illam)?” App. Mag. p. 305: “incantata mulier,” id. ib.: “pileum vetitis artibus,” Amm. 14, 7, 7.

vincŭlo , āvi, ātum, 1, v. a. id.,

I. to fetter, bind, chain: “multa animalia redimiculis gaudent, et phalerari sibi magis quam vinculari videntur,” Ambros. in Psa. 118, Serm. 3, 6; Cael. Aur. Tard. 4, 8, 108.
vincŭlum , or (also in class. prose), contr., vinclum , i, n. id.,

I. that with which any thing is bound, a band, bond, rope, cord, fetter, tie (cf.: catena, manica, compes).

măgĭcus , a, um, adj., = magikos,

I. of or belonging to magic, magic, magical (poet. and in post-Aug. prose): “artes,” Verg. A. 4, 493: “magicis auxiliis uti,” Tib. 1, 8, 24: “arma movere,” Ov. M. 5, 197: “superstitiones,” Tac. A. 12, 59: “vanitates,” Plin. 30, 1, 1, § 1: “herbae,” id. 24, 17, 99, § 156: “aquae,” Prop. 4, 1, 102 (5, 1, 106): di magici, that were invoked by incantations (as Pluto, Hecate, Proserpine), Tib. 1, 2, 62; Luc. 6, 577: “linguae,” i. e. hieroglyphics, id. 3, 222; “but lingua,” skilled in incantations, Ov. M. 7, 330; Luc. 3, 224: “cantus,” Juv. 6, 610: “magicae resonant ubi Memnone chordae,” mysterious, id. 15, 5.

măgĭcē , ēs, f., = magikē (sc. tekhnē),

I. the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam dico magicenque, Plin. 30, 1, 2, § 10; 30, 1, 2, § 7: “magices factio,” id. 30, 1, 2, § 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. Isa 29:12

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: Isa 29:13

   Therefore, behold, I will proceed to do a marvellous work among this people, 
        even a marvellous work and a wonder:
        for the WISDOM of their wise men shall perish,
        and the understanding of their prudent men shall be hid. Isa 29:14

WHAT IS A WISE MAN? 

I. Sapientia ” Mart. 9, 6, 7: “sapisset,” Plaut. Rud. 4, 1, 8), 3, v. n. and a. [kindr. with opos, saphēs, Sophia
and sophos] A. skilled in any handicraft or art, clever

Sophia  A. cleverness or skill in handicraft and art, as in carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412; of the Telchines, Pi.O.7.53; hē entekhnos s., of Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and Palamedes, X.Mem.4.2.33, cf. 1.4.2; in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8,

Sophos   A. skilled in any handicraft or art, clever, mostly of poets and musicians,
Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.), cf. Ar.Ra.896 (lyr.),

Sophis-tês , ou, ho, master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets,
meletan sophistais prosbalon Pi.I.5(4).28 , cf. Cratin.2; of musicians, sophistês . .
parapaiôn chelun A.Fr.314 , cf. Eup.447, Pl.Com. 140; sophistêi Thrêiki
Cergy Musicians.  panu thaumaston legeis s. Pl.R.596d;
3. later of the rhētores, Professors of Rhetoric, and prose writers

Robert Ballard:  Men truly havea zeal for God, but it may not be according to knowledge (Rom 10:2).

Those who have imposed instruments--machines for doing hard work--do so because they think that they can make themselves more appealing to God.  However, that implies that God has not been wise enough to define Himself inclusively and exclusively.

Romans 10:1 BRETHREN, my hearts desire and prayer to God for Israel is, that they might be saved.

Romans 10:2 For I bear them record that they have a zeal of God,
........... but not according to knowledge.

Romans 10:3 For they, being ignorant of Gods righteousness,
........... and going about to establish their own righteousness,
............have not submitted themselves unto the righteousness of God.

3. agnoountes gar tēn tou theou dikaiosunēn, kai tēn idian zētountes stēsai, tē dikaiosunē tou theou oukh hupetagēsa

The claim is that people who have NEVER used instruments in the School of Christ are ignornat. No one works harder to defend themselves than instrumentalists which have no hint from Jesus that He needs help.

zēt-eō 4 search or inquire into, investigate, examine, of philosophical investigation,
5. equire, demand, 2. c. inf., seek to do . III. have to seek, feel the want of,

Submitting is the Greek Hupotasso (g5293) hoop-ot-as'-so; fRomans 5259 and 5021; to subordinate; reflex. to OBEY: - be UNDER obedience (obedient), put under, subdue unto, (be, make) subject (to, unto), be (put) in subjection (to, under), submit self unto.

Romans 10:4 For Christ is
........... the end of the law for righteousness
........... to every one that believeth.

What about people who spend so much time seeking to justify themselves from all of the instrumental sounds under a sacrificial system God did not command?

Romans 10:5 For Moses describeth the righteousness which is of the law,
        That the man which doeth those things shall live by them.

Next, Paul points to the musical idolatry at Mount Sinai:  there was no redemption for this idolatry.

Romans 10:6 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 Romans above:)

Romans 10:7 Or, Who shall descend into the deep?
........... (that is, to bring up Christ again fRomans the dead.)

Romans 10:8 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;

But the word is very nigh unto thee, in thy mouth, and in thy heart,
........... that thou mayest do it. Deut 30:14

P. 90 Robert Ballard: God Himself pointed out, in Isaiah 55:8 that "My thoughts are not your thoughts, neither are your ways My ways." Christians are NOT to withdraw themselves out of the world, nor disassociate themselves from its rightful activities, ad did those who followed the monastic-asthetic principle, which led them eventially and inevitably to exclude instruments as being "worldy."

All of the musical forms came out of the monastic orders working with the professional composers. They were not INCLUDED in connection with congregational singing in the Bible or church history in the public assemblies.

The clear command is that YOU don't use your thoughts or YOUR words.

Isaiah 58:12 And they that shall be of thee shall build the old waste places:
         thou shalt raise up the foundations of many generations;
        and thou shalt be called, The repairer of the breach, The restorer of paths to dwell in. 
Isaiah 58:13 If thou turn away thy foot from the sabbath,
        from doing thy pleasure on my holy day;
        and call the sabbath a delight, the holy of the LORD, honourable;
        and shalt honour him, not doing thine own ways,
        nor finding thine own pleasure, nor speaking thine own words:
Isaiah 58:14 Then shalt thou delight thyself in the LORD;
        and I will cause thee to ride upon the high places of the earth,
        and feed thee with the heritage of Jacob thy father:
        for the mouth of the LORD hath spoken it.

SEE ISAIAH 55 WHICH DEFINES THE FUTURE REST DAY

HO, every one that thirsteth,
        come ye to the waters,
        and he that hath no money;
        come ye, buy, and eat; yea,
        come, buy wine and milk WITHOUT MONEY
        and WITHOUT PRICE. Isa 55:1

2 Cor. 2:17 For we are not as many,
............ which corrupt the word of God:
............ but as of sincerity, but as of God,
............ in the sight of God speak we in Christ.

kapēl-euō,  A. to be a retail-dealer, drive a petty trade Hdt. 3.89  ta mathēmata sell learning by retail, hawk it about, Pl. Prt.313d , 2 Cor. 2:17, of prostitutes,

Plat. Prot. 313d  For among the provisions, you know, in which these men deal, not only are they themselves ignorant what is good or bad for the body, since in selling they commend them all, but the people who buy from them are so too, unless one happens to be a trainer or a doctor. And in the same way, those who take their doctrines the round of our cities, hawking them about to any odd purchaser who desires them, commend everything that they sell, and there may well be some of these too, my good sir, who are ignorant which of their wares is

[313e] good or bad for the soul; and in just the same case are the people who buy from them, unless one happens to have a doctor's knowledge here also, but of the soul. So then, if you are well informed as to what is good or bad among these wares, it will be safe for you to buy doctrines from Protagoras or from anyone else you please: but if not, take care, my dear fellow, that you do not risk your greatest treasure on a toss of the dice.

Eilikrineia (g1505( i-lik-ree'-ni-ah; from 1506; clearness, i.e. (by impl.) purity (fig.): - sincerity.

2 Co.1:12 For our rejoicing is this, the testimony of our conscience, that in simplicity and godly sincerity, not with fleshly wisdom, but by the grace of God, we have had our conversation in the world, and more abundantly to youward.

Sophia A. cleverness or skill in handicraft and art,  in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry,

Incline your ear, and come unto me:
        hear, and your soul shall live;
        and I will make an everlasting covenant with you,
        even the sure mercies of David. Isa 55:3

Matt. 11:28 Come unto me,
        all ye that labour
        and are heavy laden,
        and I will give you rest.

Click for the Laded Burden

Phortos i A. load, freight, cargo, Od.8.163, 14.296, Hes.Op. 631, Hdt.1.1, S.Tr.537, and later Prose, as PEnteux.2.11 (iii B. C.), Plu.Marc.14, Luc.VH1.34; epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai, Call.Fr.4.10P.; ph. erōtos, of Europa on the bull, Batr.78, cf. Nonn.D.4.118.
 Epoiēsanto A. make, produce, first of something material, as manufactures, works of art, expld. as pepragmateumai, prodedomai, phortos gegenēmai,

A. Pragmateuomai work at at thing, labour to bring it about, take in hand, treat laboriously, be engaged in. Work at writing religious poetry for use around the shrine or Hieros the temple of Athena for the hierodoulo
     Hierodoulos  Nethinim 1 Esdras 1:2 especially of the temple courtesans at Corinth and elsewhere
      also male prostitutes. Str.8.6.20, 6.2.6; Neokoros

B.  Prodidomi pay in advance, play false, be guilty of treachery, surrender

4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p.
Represent in verse,or poetry, invent, represent, myths, comedy, tragedy 

Click for the meaning of REST.

Is. 55:8 For my thoughts are not your thoughts,
        neither are your ways my ways, saith the LORD.
Is. 55:9 For as the heavens are higher than the earth,
        so are my ways higher than your ways,
        and my thoughts than your thoughts.

If the musical discorders THINK then it cannot be from God: that is why the clear command is for the elders to teach that which has been taught.

WHY IS THAT, asks Peter as explained by Christ?

2Pet. 2:1 But there were false prophets also among the people,
        even as there shall be false teachers among you,
        who privily shall bring in damnable heresies,
        even denying the Lord that bought them,
        and bring upon themselves swift destruction.
2Pet. 2:2 And many shall follow their pernicious ways;
        by reason of whom the WAY OF TRUTH shall be evil spoken of.

Aselgeia  demagogon  tōn dēmagōgōn” Arist.Pol.1304b22
II. licentiousness, “peri tas sōmatikas epithumias” Plb.36.15.4  Lust toward boys Xen. Const. Lac. 2.13

Xen. Const. Lac. 2.13 The customs instituted by Lycurgus were opposed to all of these. If someone, being himself an honest man, admired a boy's soul and tried to make of him an ideal friend without reproach and to associate with him, he approved, and believed in the excellence of this kind of training. But if it was clear that the attraction lay in the boy's outward beauty, he banned the connexion as an abomination; and thus he caused lovers to abstain from boys no less than parents abstain from sexual intercourse with their children and brothers and sisters with each other [14] I am not surprised, however, that people refuse to believe this. For in many states the laws are not opposed to the indulgence of these appetites.

Lusting after Theaomai —gaze at, behold, mostly with a sense of wonder, at a work
3. view as spectators, esp. in the theatre, Isoc.4.44; hoi theōmenoi the spectators, Ar.Ra.2, cf.Nu.518, al. (but also, onlookers, bystanders, Antipho 3.3.7)

5. HISTORICAL, SECULAR EVIDENCE

Danny Corbitt: The 4-year ascetic experience of John Chrysostom (died 407) permanently damaged his health,²⁰ and he was “twice deposed and sent into exile because of his asceticism which he wanted to impose on others.”²¹ Jerome (died 420) taught that a virgin shouldn’t even know what a musical instrument is²² and that no man should ever hear a woman sing.²³ Augustine (died 430) thought that singing itself was a concession to weak brothers.²⁴

Chysostom Letter to Theodore After His Fall

Where are they now who used to strut through the market place with much pomp, and a crowd of attendants? who were clothed in silk and redolent with perfumes, and kept a table for their parasites, and were in constant attendance at the theatre?

What has now become of all that parade of theirs? It is all gone;-the costly splendour of their banquets, the throng of musicians, the attentions of flatterers, the loud laughter, the relaxation of spirit, the enervation of mind, the voluptuous, abandoned, extravagant manner of life-it has all come to an end.

The musical discorders shoud be happy that these "libertarians" now do that in what they call "the worship service."

IT IS A FACT THAT IT WAS THE ASCETICS WHO IMPOSED INSTRUMENTS.

Nicetas in his works ' On Vigils' and ' On the good of Psalmody' illustrates further the similarity of ideals of private and corporate devotional hours in East and West c. A.d. 400 ; 
        and he was one of the pioneers of the newer feeling which allowed hymns
        other than those in Scripture, the Psalter above all,
        to form part of corporate Christian worship, though the prejudice against this died hard.'

"The authority of St. Ambrose, who himself wrote hymns for public worship, had no doubt great influence. The musical difficulty to their more general use was a real one. It was in monastic circles, then, that hymns proper took real root, and from their daily offices passed in the later Middle Ages into the Breviary of the ordinary clergy. The early Celtic monks in particular were active in the use and production of hymns; and from the 12th cent, onwards we can trace the periods of fresh revival in monastic religion by this spontaneous form of devotional expression—James Hastings, Encyclopedia of religion and Ethics, V12, 770-774

"Rome was always conservative in usages, as appears most clearly in its manner of reciting the Psalms, which were the staple of worship other than prayer. The Eastern form was antiphonal singing between two choirs, a method which took definite shape at Antioch about 350, and spread westwards rapidly — through Cappadocia, Constantinople, Milan. In Rome, as also in Africa, the old 'plain song'—with its simpler style of music—continued longer to prevail, probably seeming to the Roman mind, as to Augustine, to be 'better adapted to the sober gravity of Divine worship.' Net the practical advantages of the new system, especially as 'winning weaker brethren to devotion by the delight which it ministered to the ear,' were manifest; and ere Augustine's death in 430 the change in Rome had begun to act, though it took etfect only gradually

Following their ascetic map, it is no wonder that the Swiss reformer Zwingli banished even vocal singing from the churches.²⁵ We speak of how these ascetics chanted, but we don’t chant.

That's false: there was no congregational singing during the time of Zwingli: being Bible literate he knew that none of the TEACHING the Word of Christ had any external musical content. After Zwingli was dead Calvin allowed some of the Psalms to be rewritten to make singing remotely possible. That violated the direct command not to "private interpret" of further expound. He responded to the masses used to attending secular performances in the great cathedrals. In fact both singing and harmony were developed by the monastic orders who had time to fiddle around.

300. Even in Egypt, where asceticism appeared earliest, as late as the end of the 4th cent, there were only two corporate daily seasons of worship, evening and morning. At Antioch we hear that c. 350 Bishop Leontins 'brought the congregations collected by the ascetics Flavian and Diodorus in the cemetery chapels, into the city churches,' and so introduced antiphonal singing, by two opposite choirs, into wider use. James Hastings, Encyclopedia of Religion and Ethics p 770

2 The hymn-singing of the 'Lollards' was personal rather than in public worship, but illustrates the tendency of fresh personal religion to break into song.

Further, largely in consequence of this Biblicism, the reformation he directed was more radical. What Zwingli specially detested in the later growths which had buried this early Christianity was anything that could be called ' the worship of the creature.' Worship belonged to God alone, ' the God and Father ot our Lord and Saviour Jeans Christ.' He did not undervalue art or music in themselves—far from it—but, when they were so employed as to hinder an intelligent Creator, then to him they were anathema.  876.

In fact, no one did congregational singing with or without an instrument: if none of the Bible is metrical, and Calvin permitted some psalms (only) to be radically rewritten and set to meter to be sung in unison (only).  Zwingli knew that yu cannot obey the DIRECT COMMAND  to use one mind and one mouth to speak that which is written for our learning. All eastern "songs" were spoken or cantillated: chanted something like this:

^^^- ^^^- ^^^- ^^^

"Reformed' or Calvinitt worship,—The germ of this type is seen already in Zwingli  who made the Protestant emphasis on the Word of the gospel rather than its Sacraments determine the order and forms of public worship: such worship, too, was to him only a special mode of the worship of the whole Christian life, and here 'obedience is better than sacrifice' or any formal act of worship. Simplicity, then, in cnltns was hia practical role, in the interests of worship ' in spirit and in truth.'

Don't you wonder why all of the latter day musical idolaters pour down so much wrath on Zwingli who said it just like the Church in the Wilderness, all of the New Testament and the Campbells who knew that:

Church is A School of Christ
Worship is reading and musing the Word of God.

However, the Catholic cathedrals which had been used for secular musical performances had a lot of church members wanting to sing instead of speak:

"In keeping with these principles, Calvin insisted on the value of congregational singing, as helping the soul to rise into the atmosphere of worship; but. he limited the contents of sacred song to the inspired Scriptural models, the Psalter in particular, adapted only verbally to musical melody

Catholicism built on the Jewish model restricted the singing or chanting to a clergy person: none of the Catholic orders permitted the congregaton to sing: indeed, you couldn't sing the commanded Biblical text nor accompany chanting with an instruments.

Notice, that you cannot begin something if people always sang to attract the weaker people by the lust of the ear:

"Another feature characteristic of the Protestant form of worship, one expressive of its concern for the active participation of the whole congregation, with a faith fully conscious of its proper objects of adoration, is vernacular singing, whether of psalms or of other forms of devotion.
        Here a mode of worship which in mediaeval Catholicism had been confined to the few,
        particularly those separated by vows to a specialized ' religious' life,
        was made part of common worship for all James Hastings, Encyclopedia of Religion and ethics.