Psallo
, i, 3, v. n., = psallô.
I. In general, to play upon a stringed instrument; esp.,
to play
upon the cithara,
to sing to the
cithara:
psallere saltare elegantius, Sall. C. 25, 2 (but in Cic. Cat. 2, 10,
23 the correct read. is saltare
et cantare;
II. In particular, in ecclesiastical Latin,
to sing the Psalms of David,
Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg.
1 Cor. 14, 15
In the literature there IS
NO instance where the word means 'play the cithara." The literature
says PSALLO and tne LYRE or CITHERA. If you want to say sing WITH a
harp the word is PsalmODIA.
1 Cor 14: [7]Vulgate 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?
[8] For if the trumpet gave an uncertain sound, who would prepare
himself for war?
[9] So also you, unless you
uttered by the tongue words easy to understand, how would it be known what is
spoken? For you would be speaking into the air. [10] There are, it may be, so many
kinds of sounds in the world, and none of them is without meaning.
[11] If then I don't know
the
meaning of the sound,
I would be to him who speaks
a foreigner, and he who speaks
would be a foreigner to me.
[12] So also you, since you are zealous
for spiritual gifts, seek that you may abound to the building up of
the assembly.
[13] Therefore let him who
speaks in another language pray that he may interpret. [14] For if I
pray in another language, my spirit
prays, but my understanding is unfruitful.
Paul equated
using musical instruments to speaking in tongues or another
language!
[15] What is it then? I
will
pray with the spirit,
and I will pray with the understanding also. I will sing
with the
spirit, and I will sing
with the understanding also.
Lifeless instruments are carnal
weapons:
Euripides Ion
Unkind betrayers of the beds they forced.
O thou, that wakest on thy
seven-string'd lyre
Sweet notes,
that from the rustic lifeless
horn
Enchant
the ear with heavenly melody,
O
you, who cause a voice to
sing
from your seven-stringed lyre, a voice that lets lovely-sounding hymns peal forth in the rustic lifeless horn,
Apsuchos
(g895) ap'-soo-khos; from 1 (as a neg. particle) and 5590; lifeless,
i.e. inanimate (mechanical): - without life.
blituri , to, twang of a harp-string: hence of a meaningless sound,
Spurgeon:
What a
degradation to supplant the intelligent song of the whole congregation by the theatrical prettiness of a quartet,
bellows, and pipes. We might as well pray by machinery as praise by
it. (Charles)
Organos 1 [*
ergô]
working,
organê cheir
used with doulos, soma
Organon 1
[*ergô]
2. an organ of sense, A.
instrument, implement, tool, for making or doing
a thing.
3. a musical instrument, id=Plat.
4. a surgical instrument, Xen.
II. a work, product
Paul limited women
and demanded that mature males lift holy PAULS and "without wrath."
When women went public the urge for ORGY or WRATH was inherent if we
believe Paul.
Orgi-a ,
iôn, ta, secret rites, secret worship, practised by the
initiated, used of the worship of Demeter
at Eleusis, of Cybele,
Euripides Bacchae, of Cybele (Mother of
Gods)
"On, on, ye Bacchanals, pride of Tmolus (a
gold-producing mountain in Lydia, near Sardis:)
with its rills of gold to the sound
of the booming drum, chanting in
joyous strains the praises of your joyous god
with Phrygian accents lifted high, what time
the holy lute with sweet
complaining note invites you to your hallowed sport,
Melpô [melos]
I. to sing of, celebrate with song and
dance, Il., Eur.; m.
tina kata chelun Eur.
2. intr. to sing, Aesch., Eur.;-- c. acc.
cogn., m. thanasimon
goon
II. also as Dep. melpomai to sing to
the lyre or harp, Od.;
to dance and sing, as a chorus, meta melpomenêisin en
chorôi Il.; melpesthai Arêi to dance
a
war-dance in honour of Ares, i. e. to fight, id=Il.
Aristotle
Politics 1341b and all
the
instruments that require manual skill. And
indeed there is a
reasonable foundation for the story that
was told by the ancients about the flute. The tale
goes that Athena found a flute and threw
it away. Now it is not a bad point in the
story that the goddess did this out of
annoyance because of the ugly distortion of her
features; but as a matter of fact it is more
likely that it was because education in
flute-playing has
no
effect on the
intelligence, whereas
we attribute science and art to Athena
And since we reject
professional education in the instruments and in performance
(and we count
performance in competitions as professional, for the
performer does not take
part in it for his
own improvement, but
for his hearers' pleasure,
and that a vulgar
pleasure, owing to which
we do not consider performing to be proper for
free men, but
somewhat menial; and indeed
performers do become
vulgar, since the object at
which they aim is a low one, as vulgarity
in the audience
usually influences the music, so that it
imparts to the artists
who
practise it with a view
to suit the audience a special kind of
personality
Kurfess and others note that BOTH the twanging of
literal arrows and singing SONGS accompanied by TWANGING
ceased to be used before the time of Paul.
However, that was in the Koine language of the common people like
Peter the Great Fisherman.
If Thayer and all of the
literary resources are wrong then Burgess is permitted to interpret
psallo using ANY of the two prior definitions. If he interprets it to
mean "sing and sing with a harp" they why cannot others interpret it
to mean twanging and other words related to destruction and sexual
pollution?
The pagans under Apollo,
Abaddon or Apollyon choose
to hold literal contests
between blowing and twanging. The loser
got skinned alive. Another favorite of pagan religions was to SHOOT
love arrows. Burgess has that option. BOTH definitions defined
WORSHIP WARS and homosexual symposia for the male "worshipers" while
the females held their separate "birth control" homosexual religious
practices.
That leaves SPEAKING songs with the ODEING and MELODY both in the heart. Philo makes this very clear for
the worship of a Spirit God. Psallo never ceased to be a good ATTIC
word used by the rich and powerful. Thayer notes that psallo still
included a harp and quoted Lucian of Samosata. However, Lucian knew
only Attic Greek and wrote for the ruling classes. He specificially
connects harping, fluting and other instruments to the pagan ORACLES
where the prophet would prophesy (musically) for a price usually
knowing that his "speaking in tongues" was lying.
Thayer did add and correct and
it is a good thing because we assuredly have better resources year by
year.
Tom Burgess p.
29: In trying to avoid
the force of Lightfoot's definition some have said that even Thayer
and Lightfoot had in mind an accompaniment by the heart, thus ruling out a mechanical
instrument. This assumption is based upon Ephesians 5:19 (Example 2)
where we have ". . . singing (adontes)
and making melody (psallontes) with your heart.... " There are several
points to
notice which make this idea of the heart being the musical instrument
a mistaken conclusion.
1. "With your heart" is a
modifier. It obviously modifies both singing and making melody.
Therefore if making melody is inward - - 'in the heart: -- then our
singing should be, too. 9
Krewson, Percy E., Facts About Instrumental
Music, 1945, p. 15.
Good observation: all of the
NOT musical passages have both an internal and external component:
SPEAKING in the literature is defined
as oppositie to poetry or music. In Romans 15 it is with ONE MIND
and ONE MOUTH and the resource is "that which is written." The purpose
is to edify or educate, glorify (praise God), comfort with scripture
and keep the unity of the "ekklesia" or synagogue.
SingING and makING are coordinated and both in the PLACE of the heart
or spirit. Jesus said that the human spirit is the ONLY place God seeks
our worship.
Furthermore, we know for a fact that no one sowed discord until the
year 373 which was then to sing self-compositions in violation of
direct commands.
You CANNOT sing WITH your heart but you CAN sing IN your heart. Paul said that the converted Jews worshipped God IN
the spirit or in the heart.
ALL of the literature
supports Pauls use of MELODY in the PLACE of the human
heart.
1S.1:13 Now Hannah,
she spake in her
heart; only her lips
moved,
but her voice was not heard: therefore Eli thought she had been
drunken.
The man who was dying blessed
me; I made the widow's
heart sing. Jb.29:13
that my heart may sing to you and not be silent. O LORD my
God, I will give you thanks forever Ps.30:12
I will praise you, O LORD,
with all my
heart; before the
"gods" I will sing your
praise. Ps.138:1
Philo noted:
"The true, highest melody,
however, is that which is sung
without any voice. It
resounds in the interior of man, is
vibrating in his heart
and in all his limbs.
Isaac Loeb Peretz (1912).
"The true, highest melody,
however, is that which is sung
without any voice. It
resounds in the interior of man, is
vibrating in his heart
and in all his limbs
Plautus, Curculio CAPPADOX
My spleen is killing me, my reins are in
torment, my lungs are being torn asunder, my liver is being tortured,
my heart-strings are giving way, all my intestines are in pain.
Hecuba Alas! a dreadful trial is near, it
seems, [230] full of mourning, rich in tears. Yes, I too escaped
death where death had been my due, and Zeus did not destroy me but is
still preserving my life, that I may witness in my misery fresh
sorrows surpassing all before. But if the bond may ask the free of
things that do not GRIEVE them or WRENCH their heart-strings, you ought to speak in answer to my
questions and I ought to hear what you have to say.
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.
1 1 . Chrysostom. A.D. 386. He was the
most
famous of all the Greek Fathers. In literature he is styled "The
Glorious Preacher." He was noted for his scholarship and piety and
eloquence.
Exposition in Ps. 41. "It is possible,
even
without the voice to psallein-the mind echoing
(accompanying) within. For we play the lyre not to men, but to God,
who is able to hear (our) hearts, and enter into the secrets of our
minds."
That was what Jesus commanded
as the ONLY place God would even SEEK true worship IN the human
spirit devoted to THE truth whic IS spirit and life (John
6:63).
Beware of
dogs, beware of evil workers, beware of the
concision. Phil 3:2
Dogs were catamites or male
homosexuals. They were emasculated or had a sex change in order to be
a MINISTER of Cyble or other goddess. This was a name for the CYNICS
who sang and howled to attract customers.
Therefore, if you OPEN the
process for rhetorical or musical PERFORMERS you have violated the
example of Paul and the necessary inference for those with eyes and
ears.
For we are the circumcision,
which worship God
........ in the spirit, and rejoice
........ in Christ Jesus,
.....and have
no confidence in the
flesh. Phil 3:3
"See how they sang! 'That
chant
to the sound of the viol, and invent to themselves instruments of
music, like David.' Musical sounds gratified their AURICULAR
SENSIBILITIES, and they chanted to the 'viol.' Here is the LUST OF
THE EAR What a description this of a people that lived and wrought
entirely for the SENSES! They were practical MATERIALISTS (and idolaters). They had NO SPIRITUAL
VISION, sensibilities, or experience. Their imperishable souls were
submerged in the deep flowing sea of mere ANIMAL PLEASURE There is,
indeed, a reference to intellectual effort, for it is said, 'they
invented to themselves instruments of music.'
Carnal INDULGENCIES has ever been and is now as much, if not more
than ever, the great employer of man's inventive faculties." (Pulpit
Commentary, The Book of Amos, p. 131).
Krewson said that you CANNOT PSALLO without instruments.
Therefore, Burgess violates the law if he sings WITHOUT an instrument. And, of course, since the command was
to SPEAK one to another, if ONE has an instrument then ALL must
have an
instrument. We do have THE
HARPS OF GOD: He gave us a mouth as an organ and ears to hear and
eyes to read His WORDS.
Paul solved all of
our problem by saying LEAVE IT IN THE HEART: Rest, means stop the preaching, stop the singing, stop
the playing. Hang the "harp" up on the Orpheus or Dionysus willow and
REST.
The resources Burgess quotes
will always get around to the fact that when the homosexual symposia
wanted to think and discuss something important they sent the
flute-girl (i.e. prostitute) away. This would prevent drinking wine
as Paul commands in Ephesians. The Greek resouces often phrased it
"don't get fluted or piped down with wine."
That is very profound. Paul
told them to SPEAK
the Biblical text one to another. Both the singing and melody are IN
THE HEART which is where God looks for our worship. You cannot SPEAK
and SING at the same time. This explains why Paul told Timothy ot
give attendance to the public READING of the Word and not to either
singing it or PREACHING it.
In the sense of assemblying or
gathering Paul used various forms of the word SYNAGOGUE. We know that
the synagogue had no instruments because it was a SCHOOL OF THE BIBLE
and because Numbers 10:7 was the authority which was NEVER violated
by the people's congregation which had little connection to the
temple as the "like the nation's" king's shrine along with the
"king's music grove" where they burned babies and which, from
"tamborine' came to stand for hell itself.
No
synagogue had a praise service. So, if
both the singing AND melody were IN THE HEART
so that it did not violate the command of God then it MATTERS NOT A
WHIT what external melody meant.
Paul always tells the assembly
to SPEAK that which is written. Otherwise, the dogs and circumcision
would slick-in to become professional "god handlers."
Quotes from: G. C. Brewer, A
Medley on the Music Question, Gospel Advocate, Nashville
1948
"But Krewson wants
to appear smart again, and he translates the Greek. He then not only
throws off seriously on Kurfees, he makes a complete donkey of
Ellicott. He makes the
parenthetical
sentence which he
translates give the
lie to the independent
sentence in which the parenthesis is found. Here is the sentence with
the Greek words spelled out with English letters:
"The term
psallein (properly, to dia dactulon epi psallein
ton chordon tes lgras, Etym. M) is here probably used without reference to any instrument
(comp. James 5: 13), but as denoting the singing of
praise."
Now leave both
parenthetical
expressions out and you have his complete, independent sentence. Here
it is:
"The term
psallein is here probably used without any reference to any
instrument, but as denoting the singing of praise."
So here he tells us that
psallo
in these New Testament passages (1 Cor. 14: 15 and James 5: 13)
has no reference to
any
instrument, but that it
denotes the singing of praise! That is plain enough and strong
enough.
Tom Burgess follows
Krewson
and digs into the parenthesis or brackets:
G. C. Brewer: "But Krewson, the translator and the great'
'etymologer',' makes him
contradict this
by telling us
in Greek that the proper, strict, fit, right,
and correct meaning is "to strike
the strings of a lyre with the
fingers."
But he says in [96]
English that in these New Testament passages it
has no reference
to any
instrument!
Thus he makes the great
scholar
make an untrue
statement
in English and then
wink at the knowing ones (like Krewson, of course) and behind his
hand mutter a contradiction
in Greek! That is the
kind of man that Percy, the
"etymologer," makes out of Bishop Ellicott!
The truth, of course, is
that
Ellicott gave the etymological meaning of psallein in the parenthesis, which we did of some other words
in another division of this chapter.
Any person who cannot see
the
miserable misrepresentation of both Kurfees and Ellicott here will
hardly be able to follow this discussion.
E. Krewson conjures with
Lightfoot. Under
division C of these striciures on Krewson we saw that he shouts
himself hoarse over what Bishop Lightfoot says about psalmos. This
quotation from Lightfoot forms the front line of his whole battle
array. It is his refuge and his strength, his ever-present help in
time of trouble!
Having seen Krewson's
blunderings and his unconscionable misuse of other men's statements,
the reader will already be wary in reference to this Lightfoot
passage. However, we must look into this matter.
Here is how Satan, Lucifer
or the unlawful PASTOR uses music to DISABLE you so that you are NOT
a threat to the ALPHA MALE:
After
one victory at Agbatana in Syria, Cyrus was told how to subdue the
enemy captives:
Hdt.1.155 Heredotus: Cyrus told how to
take the FIGHT out of the enemy: [4]
But pardon the Lydians, and give them this command so that
they not revolt or pose a danger to
you:
. send and forbid them to possess weapons
of war,
.and order them to wear tunics under their
cloaks
and knee-boots on their feet,
and to teach their sons lyre-playing
[kitharizein]
and song [psallein]
and dance
.and shop-keeping [huckstering].
And quickly, O king,
you shall see them become women
instead of men,
so that you need not fear them, that they might revolt."
proeipe d' autoisi
kitharizein te kai psallein kai kapêleuein paideuein tous paidas. kai tacheôs spheas ô basileu gunaikas
ant' andrôn opseai gegonotas, hôste ouden deinoi toi esontai mê aposteôsi."
Again, Tom
Burgess:
A. This phrase, often
ascribed
to Thayer is not Thayer's at all but Grimm's.
(We will demonstrate this later.)
B. Thayer himself, makes such
an interpretation of that phrase wholly untenable and obviously
contradictory to his clearly defined definition which we find in his
discussion of the synonyms, psalmos, hymnos,
and ode.
The LEADING idea speaks to the word's
ROOTS. The leading idea
of GAY is to be happy but we no longer say that the "musical worship
team" is being GAY. "Shooting love arrows" would not be confused with
"Shooting out hymns." Therefore, the ROOTS do not define Thayer's
FINAL CONCLUSION that in the N.T. the word is SINGING. By not
including instruments right after speaking of instruments, Thayer and
everyone not worried about the sexual and homosexual implications
EXCLUDES instruments.
For Brewer's comments we
repeat the synonymns.
But the leading idea of PSALLO is to PLUCK. No more,
no less. If you were standing before the enemy with ten thousand
bows, your PLUCKING or TWANGING would be making them into a ZITHER.
By bending the bow you could "play" different notes.
If the homosexual Symposium
requested the lyre player to PLUCK a tune you would not expect to be
shot with a REAL arrow.
If you decided to SHOOT OUT
HYMNS you would not request to be hurt real bad with instrumental
twanging which produced a lingering startle reflex seen in
infants.
Burgess makes
PSAllO demand playing an instrument.
Thayer or Grim makes psalms,
hymns and spiritual odes mean the same thing. Indeed, these were all
different types of the Biblical poetic material.
Therefore, we are supposed to
believe that ANY of the singing resources MUST be accompanied with
instruments because the LEADING idea is "musical."
As clearly as it can be said
and is well known by the dictionaries on the word SONG, a psalm, hymn
or spiritual song neither includes nor excludes playing an
instrument. However, it is a fact in the Bible and the Greek
literature that none of these words are used to INCLUDE an instrument
unless that instrument is
named by another word.
Lucian would say that you
cannot sing or RECITE lyric poetry without a lyre. Simple. You canno
play fiddle music on a piano unless you turn it into piano
music.
However, PSALMOS is simply
metrical poetry: you can read it, chant it, sing it, singing it by
PLUCKING something. But you CANNOT psallo with a pick (plectrum) or
by blowing a pipe or by clanking a piano.
Furthermore, in both song and
psalmos, the FIRST instrument of choice is given as the "harp of God"
or the human voice. That is a literary FACT unless the literature
NAMES the instrument to be used.
Thayer and others define the
words in ordinary text: if they add PSALLO in brackets YOU do not
have the authority to find ANOTHER definition and INSERT it into
Thayer's final conclusion about the meaning of Psallo. And that is
just what Burgess and Jonas do:
G. C. Brewer:
"As shown above,
Thayer gives us this language from Lightfoot
in a small-print
note on synonyms. This note is found under the definition of
hymnos on page 637. Hymnos, psalmos, and ode are
synonyms; they all mean the same thing--a song. That much is agreed
upon by all scholars. But
is there no shade of difference? If not, why did Paul use all three of
the words in the same passage? That is the question that perplexes
the scholars. Many of them say there is no difference. Thayer points
out that ode is a generic term, and the other two are specific. He
then quotes Lightfoot as follows:
"While the leading
idea of psalmos
is a musical accompaniment, and that of hymnos
praise to God, ode is
the general word for a
song, whether
accompanied or
unaccompanied, whether of praise or on any other subject. Thus it was
quite possible for the same song to be at once psalmos, hymnos, and
ode."
[Again, the Bible and literary
resources know of NO INCLUSION of an instrument unless the instrument
is named: the first
instrument of choice in
both psalm and song is the human voice]
That is the
Lightfoot quotation in full. Anyone can see that he is endeavoring to
show a "possible" way for these words to be the same thing at the
same time. He says the 'leading idea" of psalmos is a musical accom
[97] paniment. Cannot even an uncritical reader see that this is
another case of reverting to the root meaning,
the etymological meaning? The leading idea, the strict etymological sense, is this or that. How often we have
seen that in reference to other words!
The words psallo and psalmos
did at one time imply a stringed
instrument. The word
"psalm" originated in that connection--a
song sung to the accompaniment of a plucking
performance. This we have seen, and this we all
admit. Lightfoot's repetition of a fact so well known is in no way
out of the ordinary.
[Again, we note that PLUCK
means PLUCK: it can be used for PLUCKING harp string but ONLY WITH
THE FINGERS AND NOT WITH THE FINGERS. It can also be used to PLUCK
out feathers and the "leading" idea of GRINDING can be used of
SOP.]
The leading
scholars, as shown herein, tell us that psalmos lost the instrument in its New Testament use.
But Krewson [and
Burgess etal] takes
Lightfoot's "possible"
suggestion and his
reference to the leading or etymological meaning and turns this into
a statutory law,
and dares the world to turn either to the
right hand or the left.
He says on page 16: "According
to Lightfoot, the psalms must be accompanied., (Italics supplied.)
Now let a congregation try
to follow Lightfoot's plan as emphasized by Krewson:
First, they must have some sort of musical
instruments (properly, stringed instruments) and some members who can
play them; otherwise they could
not sing the psalms and
that part of the divine command
must be disobeyed.
Now, with the instruments to accompany,
they obey the first word of the trio. That completed, they now
silence the instruments, eliminate all prayer songs, and begin
praising God with
the voices
only.
Now that is over,
and they are ready to
obey the third word, ode.
Well, how is that done? Oh, that one is not particular! Any song will
do; and if we do not have any musiciens, we can o-day (to Krewsonize and to turn a noun into a verb) without
them. If
they are available, and if their price is not prohibitive, we can
o-day with them. Thus Krewsonizing, we
psalmos, hymnos, and o-day at in the same service. But if we do not
have any musicians and are not able to hire some half dozen or more,
we cannot obey the command to sing
psalms. They must be accompanied, according to Krewson's perversion of Lightfoot.
Thus we have that argument
reduced to an absurdity!
And with this we will
take our leave of quibbling Krewson.
"The Lord reward
him
according to his works."
Humnos (g5215) hoom'-nos; appar. from a
simpler (obsol.) form of hudeo , (to celebrate; prob. akin to 103;
comp. ); a "hymn" or religious ode
(one of the Psalms): - hymn
See Thayer's Synonyms
above
Hymn is G5214 according to Thayer
1) to sing the
praise of, sing hymns to
2) to sing a hymn, to sing
a) singing of paschal hymns these were Psalms 113 - 118 and 136,
which the Jews called the "great Hallel"
Edersheim Music AT the Temple.
The
hallel hymns were not SUNG but "hymned." That is, they were
chanted.
The form is defined as "as a schoolboy reads the hallel. Paul said
SPEAK and
READ. When
you leave the Word as SAY and begin to
pontificate and musicate you have slipped off into the ancient
"threskia" form of sexual and homosexual rituals where sodomy "bound
the body and spirit together."
"Hallel, in Jewish ritual, selection from the Psalms,
chanted as part of the liturgy during certain
festivals. The more frequently used selection includes Psalms 113-118
and is known as the Egyptian Hallel, presumably because Psalm 114
begins, "When Israel went out of Egypt"
It is sung in synagogues on the first two
days of Passover, on Shabuoth,
on Sukkot,
on each morning of the eight days of Hanukkah, and at the close of
the Seder.
"The Hallel through
the generations, on specific occasions: Pesachim 117a "Hallel
requires a full stomach and a satisfied spirit: Taanis 25b-26a
The reading is beloved to the people, and so they
listen
closely: Megillah 21b [Paul told Timothy to GIVE ATTENDANCE to
the public
READING of the Word: you DEGRADE the Word when you cut and paste it
into songs and sermons and it loses its power]
"The Hallel as an
Institution
of the Prophets, to use
to pray for salvation
from danger: Pesachim 117a [2x] Saying the Hallel daily is blasphemous: Shabbos
118b
"An artificial, effeminate music which should relax the soul,
frittering the
melody, and
displacing the power and majesty of divine harmony
by
tricks of
art, and giddy,
thoughtless, heartless, souless
versifying would be meet
company." (Barnes, Albert, Amos, p.
303).
"Jingling, banging, and
rattling accompanied heathen
cults, and the frenzying
shawms of a dozen ecstatic cries
intoxicated the masses. Amid this euphoric farewell feast of a dying civilization, the voices of
nonconformists were emerging from places of Jewish and early
Christian worship; Philo of Alexandria had already emphasized the
ethical qualities of music, spurning the 'effeminate' art of his Gentile surroundings.
Similarly, early
synagogue song intentionally foregoes artistic perfection, renounces the playing of instruments,
and attaches itself entirely to 'the
word'--the TEXT of the Bible" (Encyclopaedia Judaica, 1971 ed., s.v.
"Music")
"The Pharisees asserted
that
God could and should be worshiped even away from the Temple and outside Jerusalem. To
the Pharisees, worship consisted not in bloody sacrifices-- [the
only rationale for loud instruments]
the practice of the
Temple priests--
but in prayer
and in the study of
God's law.
Hence the Pharisees
fostered
the synagogue as an institution of religious worship, outside and separate from the Temple. The synagogue may thus
be considered a Pharisaic institution since the Pharisees developed
it, raised it to high eminence, and gave it a central place in Jewish religious
life. (Britannica Members)
See
Chanting the Psalms
See the
Synagogue: Believers
don't try to force fit "music" into the
School of the Bible and of Christ.
Thayer defines the ODE so
you can O-day: g103
No one
suggests that the ODE was sung with instrumental music. Because Grimm
says that psalms, hymns and spiritual songs were the same, and because Burgess
concludes that the psalm MUST be accompanied with an instrument, he
concludes that ODING must be accompanied.
However, the point is that all are forms of the BIBLICAL PSALMS and the direct command was to speak "that which is
written" to TEACH and ADMONISH. Logic 101aaa knows that you cannot
TEACH the Biblical text with a lifeless instrument.
In connection with Spiritual songs, the word
Spiritual is rational or connected to the mind. Paul in 1 Corinthians
chapter 2 proves that the Holy Spirit is the Mind of Christ.
Therefore, Spiritual songs are "the Word of Christ" or "that which is
written" by Christ the Spirit (1 Pet. 1:11).
Spiritual is 4152 according to Thayer.
Please remember that Jesus said that
the only worship God accepts is in the new PLACE of the human spirit.
And Paul said that we should SPEAK externally and PSALLO in the heart
or human spirit where we meet God without any musical mediators,
thank you very much!
That
means that if the TEAM just makes up the songs they CANNOT be psalms
or spiritual songs! That is Paul's DIRECT COMMAND: "Glorify God with
ONE MOUTH and ONE MIND using 'that which is written." SPEAK the
Biblical poetic material and leave the melody in the heart. Or speak
the WORD of Christ which IS Spirit and Life (John 6:63)
Songs g5603
are also odes: inspired and RECITED by Moses
and Aaron so the leaders could memorize the
song and return to their tribes and pass it on to the children and
the children's children.
WRITERS QUOTED FROM
THAYER ON PSALLO
Music
cannot be "cleansed" from its mark of homosexuality and the effeminate break down
or Plato's gender-bleed when speaking
or singing or playing actors (Sectarian Hypocrites) cease the SAY or
SPEAK demanded by Paul and generic knowledge and begin to pontificate
or musicate. In the Bacchae story we will see that the women engaged
in "uncovered prophesying" as Paul warned about in 1 Cor. 11:5 the
MOTHER murdered her own SON.
