See Matt Dabbs, Kingdom Living for "Ripening Issues in the Church of Christ -- Instrumental Music.

Matt gave  proof texts and I answered and he said I did not answer: here is one

Ken,
You object that psallo never means to make melody, yet it is so translated in Eph 5:19 & Col 3:16. In Psalm 27:6; 57:7; 108:1 & 147:7, the LXX has psallo for zamar. In each of these, the ESV translates zamar as <make melody, while the KJV translates it as sing praise or as give praise. Also in Psalm 98:5-6, the Psalmist uses zamar (psallo in the LXX) to say “sing praises to the Lord with the lyre, with the lyre and the sound of melody” (ESV) – KJV here has “the voice of a psalm” at the end of the verse. The next verse brings in trumpets and horns to “make a joyful noise before the King, the Lord!”

Melody in Ephesians 5 is Grace in Colossians 3: both are qualities of speech: Paul commanded SPEAK and you cannot SPEAK and SING externally at the same time: that is why Paul said IN YOUR HEART and TO GOD who only looks at our spirit (John 4)

Your objection does not appear to hold up in the light of the actual use of the word psallo,
so I still fail to see what your objective and point is.

I might also add that in three of these passages in the Psalms (27:6; 57:7; 108:1), the LXX has “sing and make melody” using ado and psallo, the exact words Paul uses in Eph. 5:19 & Col 3:16 where he instructs us to “sing and make melody.” Do you suspect he may have drawn his language from the Psalms, since he does appear to use the LXX frequently in quoting the Old Testament?

I said that Psallo is never translated as "melody" in the Greek literature. Melody in a MUSICAL sense is the Greek Melos.  Melody did not exist in a "metrical" or tuneful sense. Several sources note that "melody as tunefulness belongs to the 19th century."  Even then melody would mean a series of single tones.  Paul uses "melody" in Ephesians 5 and 'Grace" in Colossians 3:16: both of these are qualities of SPEAKING and the command IS to SPEAK the Word.

No, Paul was teaching the Antithesis of the SKIA or shadow which means a totally erroneous system: A Covenant with Death.  Amos defines the marzeah which was a feast with and for deadancestors. Look at the BUTs in Ephesians 5. SPEAK by definition is the OPPOSITE of poetry or music. 

Keeping it short  for the first passage: the word is neither praise or melody.

Psalms 27:6 And now shall mine head be lifted up above mine enemies round about me: therefore will I offer in his tabernacle sacrifices of joy; I will sing, yea,  I will sing praises unto the LORD. 
Psalms 27:6ASV, WEB And now shall my head be lifted up above mine enemies round about me. And I will offer in his tabernacle sacrifices of joy; I will sing, yea, I will sing praises unto Jehovah

The NIV translates it  sing  and Make Music which is a bit casual since any one who went into the Tabernacle to sing with or without instruments was to be executed. No Levite could come NEAR any holy thing or place.  Further, there was never any music associated with the Tabernacle.

Here is what we do when Jesus gives us REST from the laded burden (songs) and burden laders.

5115. navah, naw-vaw´; a primitive root; to rest (as at home); causatively (through the implied idea of beauty (compare 5116)), to celebrate (with praises):—keept at home, prepare an habitation.

5116. naveh, naw-veh´; or (feminine) navah, naw-vaw´; from 5115; (adjectively) at home; hence (by implication of satisfaction) lovely; also (noun) a home, of God (temple), men (residence), flocks (pasture), or wild animals (den):—comely, dwelling (place), fold, habitation, pleasant place, sheepcote, stable, tarried

5117 is the REST Word which never meant worship.  In the KJV two important melody passages are

David NEVER sang and played the harp in or close to any holy place.

7.04.11 Do you suppose that it's true: Paul warned about reading BLACK text on BROWN paper if you have not turned to the lord: looks perfectly obvious to me.

The Progressive Church of Christ is built on the Civil-Military-Clergy Complex when God turned Israel over to worship the starry host.  I know of no preacher of any ilk who does not believe that God commanded the Sacrificial System because he wanted or need to be fed, clothed, housed and sexually stimulated.  For instance John Mark Hicks .

Others claim you to be insane if you deny that God was mistaken, changed His Mind and decided to come up with a new PATTERN for worship.  It is not possible to read the whole story line and fail to grasp what all of the historic church fathers taught:

Coffman's Commentary Speaks for the total Bible view that Israel's rejection of God as King, Judge and Priest set the stage for their later repudiation of Jesus Christ in order to keep the evil Temple-System like all other nations. Remember that the clergy was still seeking a king "like the nations" and had not a hint of looking for a Spiritual King, Prince and Mediator:

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.

Go down the list of Israel's kings, David, the very best of all of them, was an adulterer and a murderer; and he also corrupted the worship of God by two sinful things:

(1) his initiating the events that led to the building of the temple (the den of thieves and robbers in Jesus' times); and

(2) his introduction of instruments of music into the worship of God. We do not have the space here to outline all of the misdeeds of Israel's shameful monarchy,

but it is clear enough that God's disapproval of the monarchy was no late thing, applicable only to the phantom kings of Ephraim's final years, but it rested upon the monarchy from the very beginning of it as outlined in this chapter.

If God had ever approved of it, He would never have taken it away from them!

Nevertheless, God accommodated to the sinful conduct of His people and in many specific instances blessed the kings of Israel,

7.20.11

THIS IS THE DIRECT COMMAND

2Timothy 4:2 Preach the word; be instant in season,
        out of season; reprove, rebuke,
        exhort with all longsuffering and doctrine.

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”

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]

Sound is opposite to peri-sta^sis crowds standing round the house,
3. outward pomp and circumstance, hē tou biou p. Plb.3.98.2, cf. 31.26.3 ; truphē kai p. Antig.Car. ap. Ath.12.547f; huparkhōn en megalē p  “paison, truphēson, zēson: apothanein se dei
tru^phaō A. live softly, luxuriously, fare sumptuously
Paison, truphêson, zêson

Paison paizô  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.

ZOE is Lucifer or Eve the daughter of the Sun. She also is called the "beast, the mother of gods and men and the FEMALE instructing principle.

zaō I. to live, Hom., etc.; elegkhiste [cowardly] zōontōn vilest of living men, Od.; zōein kai horan phaos ēelioio Il.; rheia zōontes living at ease, of the gods,

hēlios  II. as pr. n., Helios, the sun-god, Od.8.271, etc.; nē ton Hē. Men.Sam. 108; hupo Dia Gēn Hēlion, in manumission-formula, POxy.48.6, 49.8 (i A.D.), IG9(1).412（Aetolia), IPE2.54.10(iii A.D.); [“Hēlios doulous eleutherous poiei” Artem.2.36; identified with Apollo,
2. Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c, cf. D.S.2.30,

2. part. truphōn as Adj., effeminate, luxurious,
“hoi truphōntes” spoiled pets, Id.Men.76b; en tais ekklēsiais [church] t. kai kolakeuesthai,

See 2 Peter 2 proof of instrumental music as the corruption.

2 Peter 2:13 And shall receive the reward of unrighteousness, as they that count it pleasure to riot in the day time. Spots they are and blemishes, sporting themselves with their own deceivings while they feast with you;

Musicians and actors are always called parasites.

Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves.

Epithum-êtês , oi, ho,
A. one who longs for or desires, ergôn Hdt.7.6 ; [dogmatôn] sophias, Pl.R.475b, etc.; phusei polemou e.  1 Ep.Cor.10.6
2. . abs., lover, follower, X.Mem.1.2.60.
b. . one who lusts, LXX Nu.11.34.

1Corinthians 10:6 Now these things were our examples, [pattern]
        to the intent we should not lust after evil things, as they also lusted.
1Corinthians 10:7 Neither be ye idolaters, as were some of them;
        as it is written, The people sat down to eat and drink, and rose up to play.

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,

SOPHIA A.cleverness or skill in handicraft and art, Hephaestus , in music and singing, in poetry

Sophistês , 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 (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with mo

2. sophist (in bad sense), quibbler, cheat, goeta one who howls out enchantments, a sorcerer, enchanter. Goes

Goês , êtos, ho,

A. sorcerer, wizard, Phoronis 2, Hdt.2.33 ,4.105 , Pl.R. 380d , Phld.Ir.p.29 W.; g. epôidos Ludias apo chthonos E.Ba.234 , cf. Hipp.1038 ; prob. f.l. for boêisi Hdt.7.191 .

ENCHANTMENTS

Epôid-os , on, epaidô b. Subst., enchanter, e. kai goês E.Hipp. 1038 (but goês e. Ba.234 ): c. gen., a charm for or against, 2. Pass., sung to music, phônai Plu.2.622d ; fit for singing, poiêtikên e. parechein M.6.16 . 1. epôidos , hê , Sch.metr. Pi.O.4 ( ho , Gal.UP17.3, dub. in D.H.Comp.19), epode, part of a lyric ode sung after the strophe and antistrophe, ib.26, Gal. l.c., Sch.metr. Pi.l.c., etc. 2. epôidos , ho , verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, burden, refrain, Ph. 1.312 : metaph., ho koinos hapasês adoleschias e. the 'old story',

HERE IS PROOF THAT YOU WILL NOT ENDURE SOUND DOCTRINE:

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: “fit etiam saepe vocum gravitate et cantibus ut pellantur animi, etc.,
2. With instruments, a playing, music: “citharae,” “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,  “lyrae,” Plin. 34, 8, 19, § 72: “tibicine

FABLES TO FOOL:   Scaenĭcus (scen- ), a, um, adj., = skēnikos, I. of or belonging to the stage, scenic, dramatic, theatrical (class.).
stage-plays, theatrical representations, “fabula,” a drama, Amm. 28, 1, 4: “organa,” Suet. Ner. 44: “coronae,” id. ib. 53: “habitus,” id. ib. 38: “gestus,” Cic. de Or. 3, 59, 220: “modulatio,” Quint. 11, 3, 57:
1. scaē-nĭcus , i, m., a player, actor, Cic. Off. 1, 31, 114: “orator plurimum aberit a scaenico 2. scaenĭca , ae, f., a female player, an actress,

THE 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

2Timothy 4:5 But watch thou in all things, endure afflictions,
        do the work of an evangelist, make full proof of thy ministry.

Humn-eō , Ep. humneiō Hes.Op.2; Ep.3pl. II. Tell over and over again, harp upon, repeat, recite,; humnousi ; ton nomon humnein recite the form of the law, Id.Lg.871a:

The pagan Hymn derives from the Hymen: it was sung at "marrying and giving in marriage." That is why Paul commanded the word SPEAK and defined the hymns of the Book of Psalms.

Besides, Jesus didn't "sang" a hymn in the modern church sense.

Updated 5.01.11

John T. Willis 22. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.  People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.

Church is Ekklesia or Synagogue: both for instruction only: both exclusive of any performing arts: you don't do music when God's Word is taught.  I submit that you cannot be a Christian if you do not understand the meaning of "teach them what I have commanded to be taught."

SEE THE MOCKED NADAB AND ABIHU STORY.

The terminal sin was for a Levite to go into the Holy Place to burn incense. The Holy Place was a type of the body or Church of Christ: anyone who enters into this fulfilment would be worthy of death. The day of Atonement was imposed along with the scapegoat: this was to appease Azazel or Satan who taught the youth how to take away the Word of God using choirs and instruments. 

Danny Corbitt says:

July 21, 2009 at 7:38 am
REVISED 10.16.10

NEW WINE SKINS: JAY GUIN'S SUMMARY OF RICK ATCHLEY AND CHRIS SEIDMAN: "How to boil a frog."

New. Jay Guin guest Editor New Wineskins
New Wineskins Instrumental Music by Jay Guin: the series.
Part Two: using Galatians to authorize imposing instruments
Part Three: using the Kingdom to Authorize instrumental music.


Review: Danny Corbitt: Missing More than Music
Review: On the word Psalmos
Review: Danny Corbitt Denying Justin Martyr
Matt Dabbs--Danny Corbitt Ripening Issues

The Holy Spirit is not a fool! There are a dozen or more Greek and Latin words for Play-An-Instrument and none of them appear in the Bible.  When they (1) Played an (2) instrument it is ALWAYS named.  Psallo never in recorded history meant to Play a Harp.  Even if it did it means pluck a string with your FINGERS and never with a PLECTRUM.  It can never be ussed of a wind instrument or percussion instrument.

1.13.11

Those imposing musical instruments build their faith on the Levites defined by the Scribes: Jesus defined them as hypocrites and Christ in the Ezekiel 33 example named speakers, singers and instrument players. The first two reasons assert that under the Old Testament, God did not just allow instrumental music, He commanded and blessed it. Rick offered the following passages for these contentions: 2 Chronicles 5:13-14; 7:6; 29:25-26; Psalm 33:1- 3; 92:1-3; 150:1-6. Never mind that the godly tribes were quarantined. No singer or player went INTO or NEAR a holy thing or place on the penalty of death. Some of these patterns are separated from the last by up to 300 years. CHRIST IN THE PROPHETS WARNED ABOUT THE LYING PEN OF THE SCRIBES. Stand in the gate of the Lords house [courts], and proclaim there this word,         and say, Hear the word of the Lord, all ye of Judah,         that enter in at these gates to worship the Lord. Jeremiah 7:2 Thus saith the Lord of hosts, the God of Israel,         Amend your ways and your doings,         and I will cause you to dwell in this place. Jeremiah 7:3  Trust ye not in lying words, saying,         The temple of the Lord, The temple of the Lord,         The temple of the Lord, are these. Jeremiah 7:4 Jer. 8:8 How do ye say, We are wise, and the law of the LORD is WITH US?         LO, CERTAINLY IN VAIN MADE HE IT;         THE PEN OF THE SCRIBES IS in vain. 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 Cyril of Alexandria, Commentary on John,   That the Pharisees puffed up unto strange boasting,         were wont to pretend that the Divine Word was with them and in them,         and therefore foolishly affirmed that they had advanced to marvellous wisdom,          the Spirit Itself will testify,          since Christ says by the Prophet Jeremiah unto them,                  How do ye say, WE are wise, and the word of the Lord is with us?                 For nought to the scribes became their lying pen;                 the wise men were ashamed, were dismayed and taken;                 what wisdom is in them? because they rejected the word of the Lord. For how are they not taken rejecting the Living and Hypostatic Word of God,          receiving not the faith to Him-ward,           but dishonouring the Impress of God the Father,          and refusing to behold His most true Form (so to say)          through His God-befitting Authority and Power? THE PROPHECIES BY CHRIST WERE FULFILLED BY JESUS CHRIST: JESUS AND PETER MAKES THE APOSTLES AND PROPHETS THE ONLY TRUTH. John 6:44 No man can come to me,         except the Father which hath sent me draw him:         and I will raise him up at the last day. John 6:45 It is WRITTEN IN THE PROPHETS         And they shall be all taught of God.         Every man therefore that hath heard,         and hath learned of the Father, cometh unto me. 2Pet. 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: IT WAS THE SPIRIT OF CHRIST WHO SPOKE THROUGH THE PROPHETS AND NOT LYING SCRIBES whom He called hypocrites by naming speakers, singers and instrument players in Ezekiel 33.     1Pet. 1:10 Of which salvation the PROPHETS have inquired and searched diligently,             who prophesied of the grace that should come unto you:     1Pet. 1:11 Searching what, or what manner of time             the Spirit of Christ which was in them did signify,             when it testified beforehand the sufferings of Christ,             and the glory that should follow.     God did NOT speak through the lying pen of the Scribes who recorded the Monarchy which God had NOT commanded. Heb. 1:1 God, who at sundry times and in divers manners         spake in time past unto the fathers by the prophets, Heb. 1:2 Hath in these last days spoken unto us BY HIS SON         whom he hath appointed heir of all things,         by whom also he made the worlds; Heb. 1:3 Who being the brightness of his glory,         and the express image of his person,         and upholding all things by the WORD of his power,         when he had by himself purged our sins,         sat down on the right hand of the Majesty on high THOSE WHO DELIBERATELY SOW DISCORD BY QUOTING THE LYING PEN OF THE SCRIBES (hypocrites: speakers, singers, instrument players) are defined by the Spirit: Jer. 23:16 Thus saith the LORD of hosts,         Hearken not unto the words of the prophets that prophesy unto you:         they make you vain: they speak a vision of their own heart,         and not out of the mouth of the LORD. Jer 23:17 They say still unto them that despise me,         The Lord hath said, Ye shall have peace;         and they say unto every one that walketh         after the imagination of his own heart,         No evil shall come upon you.    Despise tthe Word of God of God and using your own words is: Blasphēm-eō , pf. A. “beblasphēmēka” D.18.10:—speak profanely of sacred things, “eis theous” Pl.R.381e; offer rash prayers, 1. Because Christ as Spirit spoke ONLY through the prophets. 2. Those who use use the pattern of the Lying Pen of the Scribes, in fact despise and ignore the SPIRIT message. 3. Christ in Jeremiah defines that as blasphemy Hebrew: H5006 nâ’ats naw-ats' A primitive root; to scorn; abhor, (give occasion to) blaspheme, contemn, despise, flourish, X great, provoke.

NEW WORDS ADDED BELOW.

Danny Corbitt: A number of things have been said on this thread recently about psallo that surprised me, so I wanted to check them out. Rather than responding from numerous lexicons, I am focusing my comments on an article by Gerhard Delling in the Theological Dictionary of the New Testament (1972). I’ve chosen him in part because he favors a vocal understanding of psallo in Ephesians 5:19, so he is by no means hostile to those who promote a cappella singing. [Note that he uses the Jewish numbering of the psalms, so that the chapters are off by 1 between Psalms 10 and 147, and the verses are often off by 1 if the psalm has a title. I have transferred to our numbering.]

It has been argued here recently that psallo only meant to play if the instrument was specified by name. Delling disagrees. Of psallo in the Greek Septuagint, Delling writes, “often the obvious sense is ‘to play,’ especially when an instrument is mentioned” (“umnos” article, p 493).

Psallo never means to Play an Instrument.  If you PLUCK a harp sting, Pluck does not MEAN  pluck a harp string.  Pluck most often meant to pluck a bow string: a word with violent roots.

Psallo just means to pull a string with your fingers and let it go. If you pull a bowstring it twangs to send forth a singing arrow: if you pull the hairs of a young boy he plays otherwise.  Psallo is USED primarily as a warfare or perverted religious sense.

There is a dozen or more words meaning to PLAY and an INSTRUMENT.  They are all COMPOUND words and none of them are used in the Bible.  Each instrument has its own word:

The Babylon Mother of Harlots (Revelation 17) wants you as "lusted after fruits" (same as in amos and all religious musicians) to be used as rhetoricians, singers and instrument players: John and all history calls the sorcerers and Jesus branding the Scribes and Pharisees called them hypocrites in Ezekiel 33.

DON'T LET ELDERS TURNED WOLVES and doctors of thelaw DRAG YOU OFF INTO THE BUSHES WITH LIES. Psallo never meand "play-a-harp."  The Holy Spirit knew a dozen words to tell us to play a harp but did not. That is because all instrument playing was marked as witchcraft or sorcery of evil men and women trying to pick your pockets. Psallo is never used of "musical melody" in the literature: melody is a series of single tones: melody is not harmony and is not related to it. To use Psallo as musical melody AND as used by individuals in all of the proof text, one would be FORCED to pluck single note and sing TO that sound.

Harmony in the Greek would permit two people to "sound together." Therfore, while Psallo never means musical melody, if the discorders were honest they would permit ONLY unison singing. Paul makes this clear in the direct command for what he calls synagogue: "use one mind and one mouth to speak that which is written for our learning." No church in history engaged in congregational singing with instrumental accompaniment until after the reformation: still, NONE of the Bible can be sung tunefully because God delivers His message through His Spirit (breath) so that Jesus reproduced the breath "WITHOUT METER."

PLAYING AN INSTRUMENT ALWAYS DEMANDS A COMPLEX WORD.

D O N 'T F O L L O W A M U L T I T U D E T O D O E V I L

Kat-auleō ,A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tina Alciphr.2.1: metaph., se . . -ēsō phobō I will flute to you on a ghastly flute, E.HF871 (troch.):—Pass., of persons, methuōn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros khelōnidos psophon to be played to on the flute with lyre accompaniment,  Xen. Sym. 3 After this the boy, attuning his lyre to the flute, played and sang, and won the applause of all; and brought from Charmides the remark,         “It seems to me, gentlemen, that, as Socrates said of the wine,         so this blending of the young people's beauty and of the notes of the music         lulls one's griefs to sleep and awakens the goddess of Love.” [2] Plutarch QUESTION V. And at first indeed he played a very fine tune; but afterwards, having tickled and sounded the humor of the whole company, and found that most were inclined to pleasure and would suffer him to play what effeminate and lascivious tunes he pleased, throwing aside all modesty, he showed that music was more intoxicating than wine to those that wantonly and unskilfully use it. For they were not content to sit still and applaud and clap, but many at last leaped from their seats, danced lasciviously, and made such gentle steps as became such effeminate and mollifying tunes. Ephesians 5:17 Wherefore be ye not unwise, but understanding what the will of the Lord is. Eph. 5:18 And be not drunk  [methuōn] with wine, wherein is excess;         but be filled with the Spirit; (The Word of Christ Col 3:16; John 6:63) Eph. 5:19 Speaking to yourselves                     \ in psalms and hymns and spiritual songs,                              \ singing and making melody in your heart to the Lord; Eph. 5:20 Giving thanks [praying] always for all things unto God and the Father          in the name of our Lord Jesus Christ; We do not worship the Spirit or Mind OF Christ. 2. make a place sound with flute-playing, Thphr.Fr.87:— Pass., resound with flute-playing, “nēsos katēuleito” Plu.Ant.56. II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute accompaniment,   to be piped down, ridiculed, “gelōmenoi kai -oumenoi”   III. c. acc. rei, play on the flute, “ta mētrōa”  , to have played to one as an accompaniment on the flute, -“oumenoi pros tōn hepomenōn ta mētrōa melē” Hymns are prayers: you cannot be worshiping God if you are getting enraptured over the boy and girl singers always a mark of gender confusion by the leaders. Epi-psallō , A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois”                  SING, “tous humnous” LXX 2 Ma.1.30:—30 - Then the priests sang the hymns. Psallo means to pluck and make a sound: it does not include either melody or rhythm. Melos is one of several words for Musical Melody: Psallo is never in any Greek or Latin literature used for musical melody. Paul put the twanging IN the heart and not UPON a harp. melos , eos, to, A. limb, in early writers always in pl., Il.7.131, Pi.N. 1.47, etc. (kata melos is corrupt for kata meros in h.Merc.419); meleōn entosthe 3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” Thgn.761; “aulōn pamphōnon m.” Pi.P.12.19; en melei poieein to write in lyric strain, It is really blasphemy to CLAIM that the Spirit OF Christ in Paul was so ignorant that He did not write: Sing to one another with "that which is written for our learning" Singing and Epipsallo IN the heart To the audience. There is no lyric poetry in the Bible: no meter: you could not singing if your life depended on it.  The word SPEAK is the opposite of meter: poetry or music. Katapsallō , A. play stringed instruments to, [“sumposion kataulein kai k.” Pass., have music played to one, enjoy music, ib.785e; of places, resound with music, Id.Ant.56. 2. Pass., to be buried to the sound of music, Procop.Pers.2.23. 3. metaph., katapsalletai . . ho dēmiourgos is drummed out, Porph. Hab. 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. Hab. 2:20 But the LORD is in his holy temple: let all the earth keep silence before him. Cheat with music of souls, Kataduo eis buthon k. Plu.2.943d: c. dat., sink into, “tais homoiopatheiais” Metrod.Fr.38: freq. with a notion of secrecy, insinuate oneself, steal into, “kataduetai eis to entos tēs psukhēs ho te rhuthmos kai harmonia” Pl.R.401d; hē anarkhia eis tas idias oikias k. ib. 562e; k. hē psuxis heōs pleistou harmonia , hē, (harmozō) IV. in Music, stringing, “ha. toxou (bow) kai luras” Heraclit.51, cf. Pl.Smp.187a: hence, method of stringing, musical scale, 5. intonation or pitch of the voice, Arist.Rh. 1403b31. 6. metaph. of persons and things, harmony, concord, Pl.R.431e, etc. sumphōn-eō , A. sound together, be in harmony or unison (cf. sumphōnia） 3. slink away and lie hid, “kataduesthai hupo tēs aiskhunēs” X.Cyr.6.1.35, cf. D.21.199 (so abs., to be overcome with shame, “epi tē agnoia” Zos.5.40); “katadedukōs en tē oikia” Pl.R.579b; “eis aporon ho sophistēs topon katadeduken” Id.Sph.239c, etc. 4. get into, put on, “katedu kluta teukhea” Il.6.504, cf. Od.12.228; “kateduseto teukhea kala” Il.7.103; “heimata” Mosch.4.102. IF YOU VIOLATE THE LAW OF PSALLO: The Mark. Plēssō , plague 3. strike or stamp as one does a coin, Kuprios kharaktēr . . en gunaikeiois tupois . . “peplēktai” A.Supp.283. 4. of musical sounds, “houtōsi plēgenta houtōs ephthegxato ta phōnēenta” Plot.3.3.5. 2. to be smitten emotionally, “himerō peplēgmenoi” A.Ag.544; also plēgentes dōroisi touched by bribes, Hdt.8.5; “ex erōtos” Hermesian. 7.42; “tēn kardian plēgeis hupo logōn” Pl.Smp.218a, etc. 3. Act. of wines, when smelt or drunk, overpower, “tēn kephalēn” ALL MUSICAL WORDS DERIVE FROM VIOLENCE

Psallo by itself just means to PULL with your fingers and NEVER with a plectrum.

To Gaius (92) Do not, therefore, inscribe your name by the side of that of the twin sons of Jupiter, those most affectionate of deities, you who have been the murderer and destruction of your brethren, nor claim a share in the honours of Hercules or Bacchus, who have benefited human life. You have been the undoer and destroyer of those good effects which they produced.

XIII. (93) But the madness and frenzy to which he gave way were so preposterous, and so utterly insane, that he went even beyond the demigods, and mounted up to and invaded the veneration and worship paid to those who are looked upon as greater than they, as the supreme deities of the world, Mercury, and Apollo, and Mars.

(94) And first of all he dressed himself up with the caduceus, and sandals, and mantle of Mercury, exhibiting a regularity in his disorder, a consistency in his confusion, and a ratiocination in his insanity.

(95) Afterwards, when he thought fit to do so, he laid aside these ornaments, and metamorphosed and transformed himself into Apollo, crowning his head with garlands, in the form of rays, and holding a bow and arrows in his left hand, and holding forth graces in his right, as if it became him to proffer blessings to all men from his ready store, and to display the best arrangement possible on his right hand,

but to contract the punishments which he had it in his power to inflict, and to allot to them a more confined space on his left.
(96) And immediately there were established choruses, who had been carefully trained, singing paeans to him, the same who had, a little while before, called him Bacchus, and Evius, and Lyaeus, and sang Bacchic hymns in his honour when he assumed the disguise of Bacchus.
 
PSALLO is often PAIRED with another word: Psallo means ONLY "to pluck with the fingers and NEVER with a plectrum." Therefore PSALLO can never be used to impose musical instruments which are not a form of the Warrior's Bow. You cannot beat on a drum or blow on a flute or plunk on a piano.

Danny Corbitt  (You will see that psallo is paired with another word for sing in those verses.) Then he adds also 18:49; 57:9, and 108:3, where it appears that praising and playing go together. (BTW, 18:49 is quoted by Paul as a prophecy fulfilled by Christ in Romans 15:9, but I digress.) Then he adds, “Elsewhere the idea of praise by song as well as stringed instrument is suggested,” citing 9:11; 30:4; 66:4; 7:17; 9:2; 61:8; 66:4; 68:4; 65:1; 92:1; 135:3; 47:6; 57:9l 108:3; and 138:1.

Psa. 7:0 Shiggaion of David, which he sang unto the LORD, concerning the words of Cush the Benjamite.
Psa. 7:1 O Lord my God, in thee do I put my trust: save me from all them that persecute me, and deliver me:

This is a classical example of a parallelism: 

Psa. 7:17 I will praise the LORD according to his righteousness:
                 and will sing praise to the name of the LORD most high.

[18] confitebor Domino secundum iustitiam eius et psallam nomini Domini altissimi

confĭtĕor , fessus, 2 (arch. fateor, to acknowledge, confess, fateor, to acknowledge, confess, o reveal, manifest, make known, show.

Psalmus , i, m., = psalmos, i. q. psalma, I. a psalm (eccl. Lat.; cf.: “carmen, hymnus),” Tert. adv. Prax. 11; Lact. 4, 8, 14; 4, 12, 7; Vulg. Isa. 38, 20.—Especially the Psalms of David, Vulg. Luc. 20, 42; id. Act. 13, 33 et saep

He confessed the righteousness of god and Psalloed or praised the NAME of the Lord. H

IF the writer INTENDS an instrument to be used HE MAKES IT CLEAR. But we have shown the folly of missing the Parallel statements. Again, the psaltery here is the TRUTH of God.

Psa. 71:22 I will also praise thee
        with the psaltery, even thy truth,
        O my God: unto thee will I sing with the harp,
        O thou Holy One of Israel.
Psa. 81:2 Take a psalm,
        and bring hither the timbrel, the pleasant harp with the psaltery.
Psa. 81:3 Blow up the trumpet in the new moon,
        in the time appointed, on our solemn feast day.

Hos. 2:11 I will also cause all her mirth to cease, her feast days, her new moons, and her sabbaths, and all her solemn feasts.

This is a command to the Levites as the only ones authorized to make instrumental noises for the festivals. This is not a command to your local "music minister" unless he/she/it is a very old Levitge.

Delitzsch The summons in v. 2 is addressed to the whole congregation, inasmuch as haariy`uw is not intended of the clanging of the trumpets, but as in Ezra 3:11, and frequently. The summons in v. 3 is addressed to the Levites, the appointed singers and musicians in connection with the divine services (hard bondage), 2 Chron 5:12, and frequently. The summons in v. 4 is addressed to the priests, to whom was committed not only the blowing of the two (later on a hundred and twenty, vid., 2 Chron 5:12) silver trumpets, but who appear also in Josh 6:4 and elsewhere (cf. Ps 47:6 with 2 Chron 20:28) as the blowers of the shophar. The Talmud observes that since the destruction of the Temple the names of instruments showpaaraa' and chatsowtsar|taa' are wont to be confounded one for the other (B.

Sabbath 36a, Succa 34a), and, itself confounding them, infers from Num 10:10 the duty and significance of the blowing of the shophar (B. Erachin 3b)

The LXX also renders both by sa'lpigx ; but the Biblical language mentions showpaar and chatsots|raah , a horn (more especially a ram's horn) and a (metal) trumpet, side by side in Ps 98:6; Chron 15:28, and is therefore conscious of a difference between them. The Tôra says nothing of the employment of the shophar in connection with divine service, except that the commencement of every fiftieth year, which on this very account is called hayobeel sh|nat , annus buccinae, is to be made known by the horn signal throughout all the land

Most People were excluded from these festivals.

Danny Corbitt In these passages, Delling believes psallo has evolved to allow both singing and playing together. He therefore adds, “Hence one must take into account a shift in the meaning in the LXX in other passages in which the idea of playing is not evident.”

Paul commands us to SPEAK "that which is written with one mind and one mouth." Speak is specificially the opposite of poetry or music. The purpose was to TEACH and ADMONISH one another: you cannot teach with a musical instrument.

Picking can be used in connection with a guitar: picking does not MEAN a guitar.

PSALLO AS USED IN CONNECTION WITH INSTRUMENTS: NEVER MEANS SING, PLAY AND NAME OF AN INSTRUMENT.

Psallo , i, 3, v. n., = psallō. I. In gen., 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; “v. Halm ad h. l.): qui canerent voce et qui psallerent,” Gell. 19, 9, 3; cf.: “cantare et psallere jucunde,” Suet. Tit. 3; Aur. Vict. Epit. 14: “docta psallere Chia,” Hor. C. 4, 13, 7;  “in caelo cantatur et psallitur,”

ē-lēgo , āvi, 1, v. a.,

I.  to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215.

Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature;
         she could sing, play, and dance, with greater elegance than became a woman of virtue,
        and possessed many other accomplishments that tend to excite the passions.
But nothing was ever less valued by her than honor or chastity. Whether she was more prodigal of her money or her reputation, it would have been difficult to decide. Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation. She had frequently, before this period, forfeited her word, forsworn debts, been privy to murder, and hurried into the utmost excesses by her extravagance and poverty.
        But her abilities were by no means despicable; she could compose verses,
        jest, and join in conversation either modest, tender, or licentious.
        In a word, she was distinguished by much refinement of wit, and much grace of expression.

Suet. Tit. 3 Nor was he unacquainted with music, but could both sing and play upon the harp sweetly and scientifically.

THE WORSHIP UNDER DAVID AND ALL OF THE KINGS WAS THE STARRY HOST.

Chanting and playing to caelum (coelum ; cf. Aelius the sky, heaven, the heavens, the vault of heaven

2. Personified: Caelus (Caelum, Hyg. Fab. praef.), son of Aether and Dies, Cic. N. D. 3, 17, 44; father of Saturn, Enn. ap. Non. p. 197, 9; Cic. N. D. 2, 23, 63; of Vulcan, id. ib. 3, 21, 55; of Mercury and the first Venus, id. ib. 3, 23, 59, Serv ad Verg. A. 1, 297 al.—

3. In the lang. of augury: “de caelo servare,” to observe the signs of heaven, Cic. Att. 4, 3, 3; so, “de caelo fieri, of celestial signs,” to appear, occur, id. Div. 1, 42, 93.—

Under "Star Worship" the Jewish Encyclopedia states:

"Star Worship" is perhaps the oldest form of idolatry practiced by the ancients. The observation of the stars in the East very early led the people to regard the planets and the fixed stars as gods. The religion of the ancient Egyptians is known to have consisted preeminently of Sun-worship. Moses sternly warned the Israelites against worshipping the Sun, Moon, stars, and all the hosts of heaven (Deuteronomy 4:19; 17:3). The Israelites fell into this kind of idolatry and as early as the time of Amos they had the images of Siccuth and Chium, 'the stars of their god' (Amos 5:26); the latter name is generally supposed to denote the planet Saturn. That the Kingdom of Israel fell earlier than that of Judah is stated (II Kings 17:16) to have been due, among other causes, to its worshipping the host of heaven.

But the Kingdom of Judah in its later period seems to have outdone the Northern Kingdom [Israel] in star-worship." Of Manasseh it is related that he built altars to all the hosts of heaven in the two courts of the house of YHWY, and it seems it was the practice of even Kings before him to appoint priests who offered sacrifices to the Sun, the Moon, the planets, and all the hosts of heaven. Altars for star-worship were built on the roofs of the houses, and horses and chariots were dedicated to the worship of the Sun. (II Kings 21:5; 23:4-5, 11-12) Star-worship continued in Judah until the 18th year of Josiah's reign (621 B.C.) when the King took measures to abolish all kinds of idolatry. But although star-worship was then abolished as a public cult, it was practiced privately by individuals who worshipped the heavenly bodies, and poured out libations to them on the roofs of their houses (Zephaniah 1:5; Jeremiah 8:2; 19:13)  Jeremiah, who prophesied in the sixth year of the captivity of Jehoiachin (591 B.C.) describes the worship of the Sun as practiced in the court of the Temple (Ezekiel 8:16) and that even after the destruction of the Temple the women insisted on continuing to worship the Queen of Heaven.

"The ancient Hebrews, being nomads like the Arabs, favored the Moon, while the Babylonians, who were an agricultural nation, preferred the Sun. But, as appears from Ezekiel 20:7-8 the Moon-worship of the Israelites, even while they were still in Egypt was combined with Sun-worship."
How could those promoting paganism have missed Acts 7:

Acts 7:42 Then God turned, and gave them up to worship the host of heaven; as it is written in the book of the prophets, O ye house of Israel, have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness?

HOWEVER, IN ECCLESIASTICAL LATIN

II. In partic., in eccl. Lat., to sing the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1 Cor. 14, 15 et saep.

Danny Corbitt  He is saying that in yet other (unnamed) passages, psallo appears to mean sing with no implication of playing. Granted, he also recognizes that psallo continued to be used for playing an instrument for generations after the Apostles (p 491).

Psallo was used IN CONNECTION with a harp or other stringed instrument like the Bow. However, Psallo never means to play to ACCOMPANY singing. We have pointed out that there are specific words the Holy Spirit could have used.

Furthermore, as a sample, I see the same conjugation of psallo (for “I will sing praise”) where Delling says that an instrument is named (71:22); where an instrument is implied because of the use together with “sing” (27:6); where no instrument is named but the sense is to play (18:49); and where the sense is both singing and playing together (7:17). In summary, Delling argues that psallo often meant to play an instrument even if no instrument was mentioned by name.

The Psalmist is not speaking of singing and playing in a religious sense: David was not authorized to Play as a warrior Levite. Furthermore, this is a figurative poem and poems tend to be poetic. A single individual cannot obey this as a command for the church: even if they could, each person would have to have their LITERAL harp: in a spiritual sense we all have "a harp from God" as an instrument of rational speech. Always pay attention to the parallelism:

Psalms 71:20 Thou, which hast shewed me great and sore troubles,
        shalt quicken me again, and shalt bring me up again from the depths of the earth.
Psalms 71:21 Thou shalt increase my greatness, and comfort me on every side.

Psalms 71:22 I will also praise thee with the psaltery,
        (which is) even thy truth,

You cannot sing with a physical harp:

O my God: unto thee will I sing with the harp, O thou Holy One of Israel.
        My lips shall greatly rejoice when I sing unto THEE;
        and my soul, which thou hast redeemed. Psalms 71:23

Why is it so difficult to distinguish between singint unto God and singing unto an admiring and paying audiende.

Psalms 71:24 My tongue also shall talk
        of THY righteousness all the day long:
        for they are confounded, for they are brought unto shame, that seek my hurt.

Mĕdĭtor ,  to think or reflect upon, to muse over, consider, meditate upon; neutr., to think, reflect, muse, consider, meditate; to design, purpose, intend,
B. Thought upon, meditated, weighed, considered, studied:

Isaiah 33.18  Your heart shall muse on the terror: Where is he who counted, where is he who weighed [the tribute]? where is he who counted the towers?
Genesis 24.63 Isaac went out to meditate in the field at the evening. He lifted up his eyes, and saw, and, behold, there were camels coming.

Danny Corbitt It has been argued here that David did not sing and play at the same time. In contrast, Delling argues, for example, that 57:7-9 (see above) involves both singing and playing, and this is a “psalm of David.”

Singing TO a harp meant to pluck a string and then match the voice to that sound: singing is not a natural endownment but the bow string and then the harp always set the tune.  No assembly ever met with a Harp Band to lead you into worship which meant to fall on your face if you grasp that He is God and we are Not.

In the Movie interpretation, a David would recite or speak a stanza and then strum the harp: Selah is thought to be a reminder to REMEMBER what had just been spoken or cantillated.

So, if you don't want to be a hypocrite you would take your harp off and play to yourself.

It has been argued here that the instrument to be played in Eph 5:19 is only the human heart. Delling rather says that the sense is “‘the engagement of the heart”, not a ‘silent song’.” (p 498, footnote 96). He cites several samples from the Septuagint with the same sense (9:1; 86:12; 111:1, and 138:1). Psalm 9:1 reads, “I will praise you O Lord with all my heart.”

Psalms 9:1  I will praise thee, O LORD, with my whole heart; I
         will shew (narate) forth all thy marvellous works.

David praised the works of God and not the works of the "worship team." To praise or glorify God you must use the record of HIS WORKS or "that which is written for our learning" Rom. 15. David praised WITH his heart.

Narro , āvi, ātum, 1, v. a. for gnarigo (gnarigavit, Fest. p. 95) from gnarus; Sanscr. gnā, know; Gr. gignōskō; cf.: nosco (gnosco), ignoro, to be the subject of talk, it is said of me, thee, etc

I. to tell, relate, narrate, report, recount, set forth (syn.: memoro, nuntio, trado).
narrare, to inform one's self, learn:
II. Transf., in gen., to say, speak, tell: Hence, narro tibi, I tell you, I assure you, in fact, seriously, a form of asseveration: “

WHAT DOES HE NARRATE?

Mīrābĭlis (I. sup. mirabilissimus, Col. 6, 36, 3 MSS.), e, adj. miror, to be wondered at, wonderful, marvellous, extraordinary, admirable, strange

II. Esp. (eccl. Lat.).

A. Glorious: “mirabilis Deus in sanctis suis,” Vulg. Psa. 67, 36: “mirabilis in altis Dominus,” id. ib. 92, 6.—

B. Miraculous: “mirabilia opera Altissimi solius,” Vulg. Eccli. 11, 4: “facta,” id. Jer. 5, 30 et saep.—Hence,
A. Subst.: mīrābĭle , is, n., a miracle, wondrous deed (eccl. Lat.): “et faciet Dominus mirabile,” Vulg. Exod. 9, 4.—Mostly plur.: “cras faciet Dominus inter vos mirabilia,” Vulg. Jos. 3, 5: “videntes mirabilia quae fecit,” id. Matt. 21, 15 

WHY DOES THE PSALMIST PRAISE GOD WITH ALL OF HIS HEART BY NARRATING THE WORK OF GOD (only)?

gignōskō , Dor. (Epich.9, Pi.O.6.97), Aeol., Ion., and after Arist. ginōskō , but gignōskō in early Att. Inscrr., as IG12.127.19 (kata-), etc.: fut. dupl. acc., perceive or know another to be . also ho g. one who knows, a prudent perso

Isoc. 15 192 These, then, are my views as to the relative importance of native ability and practice. I cannot, however, make a like claim for education; its powers are not equal nor comparable to theirs. For if one should take lessons in all the principles of oratory and master them with the greatest thoroughness,
        he might, perhaps, become a more pleasing speaker than most,
        but let him stand up before the crowd and lack one thing only,
        namely, assurance, and he would not be able to utter a word.

Delling says that the sense is not silent and internal, but something audible with the engagement of the heart.

Just a poem: there is no pattern for congregational in the synagogue which excluded any rejoicing because we don't make noises when God speaks to us.

Psalms 57:7 My heart is fixed, O God, my heart is fixed: I will sing and give praise.
Psalms 57:8 Awake up, my glory; awake, psaltery and harp: I myself will awake early.
Psalms 57:9 I will praise thee, O Lord, among the people:
        I will sing unto thee among the nations.

Christ rejects this when the congregation assembles;

Hab. 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.
Hab. 2:20 But the LORD is in his holy temple: let all the earth keep silence before him.

Habakkuk 2[19] vae qui dicit ligno expergiscere surge lapidi tacenti numquid ipse docere poterit ecce iste coopertus est auro et argento et omnis spiritus non est in visceribus eius

tăcĕo , cŭi, cĭtum, 2, v. n. and

I. [select] a. [etym. dub.; perh. root tak-, tvak-, to be or make quiet, content; Sanscr. tucyati, to satisfy; v. Fick, Vergl. Wört. s. v. § 73; 362].
plectra dolore tacent; “muta dolore lyra est,” id. H. 15, 198:

căno , cĕcĭni, cantum (ancient

I. imp. cante = canite, Carm. Sal. ap. Varr. L. L. 7, § 37 Müll.; fut. perf. canerit = cecinerit, Lib. Augur. ap. Fest. s. v. rumentum, p. 270 ib.; perf. canui = cecini, acc. to Serv. ad Verg. G. 2, 384, predominant in concino, occino, etc.—Examples of sup. cantum and part. cantus, canturus, a, um, appear not to be in use; the trace of an earlier use is found in Paul. ex Fest. p. 46 Müll.: canta pro cantata ponebant; “once canituri,” Vulg. Apoc. 8, 13), 3, v. n. and a. [cf. kanassō, kanakhē, konabos; Germ. Hahn; Engl. chanticleer; kuknos, ciconice; Sanscr. kōkas = duck; Engl. cock], orig. v. n., 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.

Habakkuk 2.[20] Dominus autem in templo sancto suo sileat a facie eius omnis terra

sĭlĕo , ŭi (II. [select] Transf., to be still or quiet (opp. to being in action), to remain inactive, to rest, cease (in class. prose, for the most part only of things; cf. “quiesco): et cycnea mele Phoebeaque Carmina consimili ratione oppressa silerent,” Lucr. 2, 506: “silent diutius Musae Varronis quam solebant,” Cic. Ac. 1, 1, 2

The Pythagoreans were also called Silentes for the five years during which they were to listen to the instructions of Pythagoras: “coetus silentum,” Ov. M. 15, 66; “hence, silentes anni, these five years of the Pythagoreans,”

Worshippers, such as known from statues as previously mentioned, may have been in attendance, and the ceremony could have included singing or accompaniment by music. Statues of the gods, or of new gods being inaugurated into the city, were made and installed, as text 6:2 tells us, noting a "year in which Isme-Dagan installed the copper statue of Ninurta for the Esumesa in its high dais" (Postgate:118). Here we see a possible use of the stone block, already noted in the figure worship of the Assyrian Tukulti Ninurta. Again, such dedications would have been accompanied by sacrifices, ritual and possibly prayer. The statue "underwent mouth and eye-opening rituals in order to make it animate" (Pollock:187). It is known that the statues were made of wood, covered in precious metals, and inlaid with precious stones and lapiz-lazuli. Awake up, my glory; awake, psaltery and harp: I myself will awake early. Ps.57:

AUDIBLE: Paul uses two terms: SPEAK connects to LOGOS or the Word of Christ which IS Spirit (John 6:63). The word speak is the OPPOSITE of poetry or music.

IN THE SPIRIT: The worship IN THE SPIRIT (a place) is opposed to IN THE FLESH (Philippians 3).  Melody is often used "to make the heart strings sing." The effort is to GOD and Jesus said that God is only worshipped in the SPIRIT as a place in contrast to Gerezim and Zion.

Danny Corbitt We may also compare 108:1 where David “engages his soul” in a passage where Delling says psallo implies a musical instrument. Delling says that David is audibly playing an instrument in Psalm 108:1 (not plucking the strings of his soul). (Note that Psalm 108:1 and Ephesians 5:19 both say “sing and make music,” one with the soul, the other with the heart.)

David was never a worship leader: he might get executed if he tried to perform the tasks of the cursed tribe of Levi. 

Psa. 108:0 A Song or Psalm of David.
Psa. 108:1 O God, my heart is fixed;
        I will sing and give praise, even with my glory.
Psa. 108:2 Awake, psaltery and harp:
        I myself will awake early.
Psa. 108:3 I will praise thee, O LORD, among the people:
        and I will sing praises unto thee among the nations.

This is a parallelism: if David did this literally he would be doing what the pagans did who thought that the gods (demons) lived inside of their musical instruments. 

It has been argued here that psallo could only be used of plucking the strings of a stringed instrument with one’s fingers. The point of the argument is not clear to me, because I don’t see anyone welcoming praise only by finger-plucking a stringed instrument, and the argument doesn’t seem to dissuade anyone from seeing the stringless heart as a valid instrument for psallo.

Commanding and exampling SPEAKING in the assembly which is the opposite of poetry or music did not persuade the Scribes and Pharisees speaking, singing and playing for profit: Jesus calls the Scribes and Pharisees, hypocrites.  It is true: Jesus never said "thou shalt not be a hypocrite."

Anyway, it is true that the word psallo derived from plucking a stringed instrument, but the evolving usage does not appear to necessarily demand strings. Delling cites where psallo was used for playing a flute or oboe (p. 490), and the Septuagint has psallo for playing a tambourine and a harp (Psalm 149:3, where psallo is translated “make music”).

In the first instance, Psallo meant PLUCKING: it was first used in connection with making a bow string twang as it sends forth singing arrows into the literal heart. Psallo is used in the Greek text meaning "to shot forth a hymn."

Psa. 149:1 Praise ye the LORD. Sing unto the LORD a new song,
        and his praise in the congregation of saints.
Psa. 149:2 Let Israel rejoice in him that made him:
        let the children of Zion be joyful in their King.
Psa. 149:3 Let them praise his name in the dance:
        let them sing praises unto him with the timbrel and harp.

There are three words sing, praises and timbrel and harp: the timbrel and harp would not praise but accompany. Besides, I would not want to use this chapter because it seems to want to get God into his bed which is consistent with all people performing Sabazianism or worship of the starry host.

Perhaps the comments before mine are correct and Delling is mistaken on all of these points. It just seems to me that arguments like these are disputable, even by scholars who favor vocal praise. We must be careful not to break fellowship over arguments that are not clearly supported.

Then why does Danny work really hard trying to justify those who BREAK fellowship by imposing instruments into a peaceable church: that is the meaning of a heretic or sectarian.  Danny thinks it is ok to break fellowship by imposing something that the Bible repudiates over and over.

Too bad Danny was not there to tell the Disciples not to break fellowship by imposing instruments. Churches of Christ were never in fellowship with the Disciples and the Christian Church was not fully sectarianed out of the Disciples until 1971.  So, if Danny, ACU, etal will stop trying to cram instruments down the throats of churches of Christ then we will not be hated by God for playing instruments in the temple and deliberately sowing discord.

Musical Worship Index
E-mail Kenneth Sublett

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