The Ekklesia a Church of Christ

Click Below for the Absolute Music-Sorcery connection.

Both the Ekklesia and Synagogue were Greek Civil assemblies.  There was NO Assembly of Christ in Cenchrea so Phoebe was an official of the Greek Government.  PAUL uses both synagogue and ekklesia words to define the COMING TOGETHER.  We are not aware of any professional religionists who grasps that when Jesus said "I will built MY Ekklesia" He defined the PATTERN or WAY both inclusively and exclusively.  That is because the Prophecies of the REST the Christ would bring is defined Inclusively and Exclusively in the PROPHETS.  Because the Lord's Supper remembers that Jesus died to become the ONLY Teacher for the Church of Christ.  That reduces the assembly to a ONE PIECE PATTERN.  The Church as House excludes Priests or Levites, Scribes or Pharisees Jesus and Ezekiel called Hypocrites as Performance Preachers, singers or instrument players.  The only two operative words for the ONCE EACH WEEK assembly is READ or SPEAK.  There is no example of any godly assembly preaching, singing or playing instruments.

First:  Jacob cursed the Levites and outlawed attending their assemblies or synagogues or entering into their Covenant.
After the Instrumental-Trinitarian-perverted PLAY at Mount Sinai, God turned the nation over to worship the starry host.  The Jews brought Abaddon or Apollon with them from Egypt and neither sacrifice, priest or Temple was commanded when God saved them by Grace at Mount Sinai.

The Holy Convocation was held on the First Day of yearly festivals and later each Sabbath or REST day.  No one in Scripture assembled to hold a Worship Service

The rulers were ignorant at the First Advent and will or are ignorant at this second advent when Apollon rises as the leader of the Locusts.  Locusts were the prophesying Muses as Apollon's musical worship team.

Acts 13:27 For they that dwell at Jerusalem, and their RULERS,
        because they knew him not,
        nor yet the voices of the prophets
        which are READ every sabbath day,
        they have fulfilled them in condemning him

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

That was just ONCE each week which is enough if every disciple reads together and memorizes a portion of Scripture. Then instead of vain imagination you can SPEAK TO YOURSELF recommended by Psychologists.

Luke 4:16 And he came to Nazareth, where he had been brought up:
        and, as his CUSTOM was,
        he went into the SYNAGOGUE
        on the SABBATH day,
        and stood up for to READ.

Then decently and in order He SAT DOWN for any discussion.

Acts 13:15 And after the READING of the law and the PROPHETS
        the rulers of the synagogue sent unto them, saying, Ye men and brethren,
        if ye have any word of exhortation for the people, say on.


David Young represents the once-Christian universities who have been "transistioned" to the Musical Sect.

And in truth against these Heraclitus the EPHESIAN PROPHESIES as
"the night-walkers, the
magi, the bacchanals, the Lenaean revellers, the initiated."

SORCERY is claiming that singing your own words can cause a SPIRIT to enter into you


Is. 1:3 The ox knoweth his owner, and the ass his master’s crib:
         but Israel doth not know, my people doth not consider.
Isaiah 1:4
sinful nation, a people laden with iniquity, a SEED of evildoers,
        children that are
        they have
forsaken the Lord, they have provoked [blasphemaverunt] the Holy One of Israel unto anger,
        they are
gone away backward.

Isaiah 1:8  And the daughter of Zion is left as a cottage in a vineyard, as a lodge in a garden of cucumbers, as a besieged city

Isaiah 1: 9 Except the Lord of hosts had left unto us a very small remnant, we should have been as Sodom, and we should have been like unto Gomorrah.

Is. 1:10 Hear the word of the LORD, ye RULERS of Sodom;
        give ear unto the law of our God, ye people of Gomorrah.

Rev. 11:8 And their dead bodies shall lie in the street of the great city,
which spiritually is called Sodom and Egypt, where also our Lord was crucified

The Spirit OF Christ contradicts. God said nothing about their mental attutude:

Is. 1:11 To what purpose is the multitude of your sacrifices unto me? saith the LORD:
        I am full of the burnt offerings of rams, and the fat of fed beasts;
        and I delight not in the blood of bullocks, or of lambs, or of he goats.

Why Paul commanded SPEAKING the Biblical Text
Ode and Psallo are IN the heart or SILENT because the Audible words define Sorcery and Perversion.

Ephesos , , Ephesus, Hdt.1.142, etc.:—Adj. Ephesios , a, on, grammata [Scribes MAN'S writing,  notes in music] A. magic formula, Plu.2.706e, Eust.1864.16 (also Ephesēia , “gr.Anaxil.18.7 (anap.)): Ephesia , , = aristolokheia stroggulē, Ps.-Dsc. 3.4; = artemisia, [
wormwoodp. hodos tōn theōn BROAD WAY”]: Ephesia , ta, festival of Artemis at Ephesus, Th.3.104 (also Epheseia, ta, OGI10.10): Ephesēo
  [Nike the GODDESS OF VICTORY] victor in these games, Ephes.2.72 (iii A.D.): Ephesis , idos, , in pl., title of poem by Aeschrio, Sch.Lyc.688.
lokhios , epith. of Artemis
Eur. IT 1097    [1100] and the well-grown laurel and the holy shoot of gray-green olive, Leto's dear child, and the lake that rolls about its ripples, where the melodious swan [1105] serves the Muses.
metaph. of words and expressions, wellrounded, compact, terse, “s. rhēmata
Krēt-ikos   Cretan
Ar.Ra.849 2. Krētikos (sc. pous), ho, a metrical foot [_ ^ _], = amphimakros, Heph.3.2, cf. A.D. Pron.50.16; so egeire . . , Mousa, K. “melosCratin.222; to K. (sc. metron) Heph.13.1; K. rhuthmos, rhuthmoi, D.H.Comp.25, Str.10.4.16.
Aristoph. Cl. 595 Chorus
Hear me again, King Phoebus, Delian Apollon, who inhabitest the high-peaked Cynthian rock! And thou, blessed goddess, who inhabitest the all-golden house of Ephesus, in which Lydian damsels greatly reverence thee; and thou, our national goddess, swayer of the aegis, Minerva, guardian of the city! And thou, reveler Bacchus, who, inhabiting the Parnassian rock, sparklest with torches, conspicuous among the Delphic Bacchanals

1.18.20 Added Notes
to show the Evil and Ugly bedfellows of the PSALLO word as the FOUNDATION for infiltrating and confiscating your congregation.  That is the meaning of Heresy or Sectarianism.  The Persona of Rhetoric, Singing or Playing instruments is ANTI-Logos or Regulative Principle and that which alerts the masses of owners to FLEE.

There is nothing connected with MUSIC in the Assembly or School of Christ. The only permision is:

James 5:13 Is any among you afflicted? let him pray. Is any merry? let him sing psalms. or SING PSALLO.

This is AT HOME and he would not call the ELDERS if he was sick meaning Spiritually Down.

Audible:    The command is ALWAYS to SPEAK the Word and never to Sing the Word for our LEARNING.
InaudibleOde (opposite of Speak) as an enchantment or Sorcery and
                   Psallo means PLUCK something with your FINGERS but never with a PLEKTRON or PICK.
                   Psallo in the Latin Literature and used as AUTHORITY by the Instrumental Sect Almost
                                always speaks of Girls or pseudo-girls who, with Alexander The Great, had his
                                pubic hairs PLUCKED and seduced by Alexander's Harp Plucking which embarrased
                                his father, Philip.

Part One  Evil Psallo psallere saltare   ēlĕgans   I. In the ante-class. period in a bad sense, luxurious, effeminate, fastidious, nice: elegans homo non dicebatur cum laude “mulier (Phrynewith formo

Elegans .  Luxurious, effeminate, fastidious, B. Of things: “nec magis compositum quicquam, nec magis elegansoratorium
The Orator rejects Scripture:
ornamenta, gestus, compositio,
ingĕnĭum  have acted outinhumanum,one's natural bent, to one's old courses, vanum dictatoris
ingenii celeritas, with cleverness b. Of things, an invention, a clever thought: “exquisita ingenia

Tac. Hist. 2.71 The nearer the Emperor approached to Rome, the greater was the license of his march, accompanied as it was by players and herds of eunuchs, in fact by all that had characterised the court of Nero. Indeed, Vitellius used to make a display of his admiration for Nero,
        and had constantly followed him when he sang,
        not from the compulsion to which the noblest had to yield,
        but because he was the slave and chattel of profligacy and gluttony. [Religious Musicians are Parasites]

Vitellius admiratione celebrabat. sectari cantantem solitus,
Mercurio Sais fertur Virgineum conposuisse latus,

Mercury is Hermes or KAIROS as the messenger of the gods who knows when and where to ATTACK.
Mercury, the son of Jupiter and Maia, the messenger of the gods; as a herald, the god of dexterity; in speaking, of eloquence; the bestower of prosperity; the god of traders and thieves; the presider over roads, and conductor of departed souls to the Lower World:

virgĭnĕus   Helicon, as the seat of the Muses   Ov. M. 2, 219:   The Locusts unleashed were the MUSES or Apollon's musical worship.  They were known as filthy adulteresses and became the SHEPHERDESSES

conposuisse 1. To bring together in hostility, to oppose
a. To compose, write, construct. Oationibus compositus,   carmina,
saltātor , ōris, m. salto,
I.a dancer (generally among the Romans with an accessory contemptuous signif.), Cic. Off. 1, 42, 150; id. Mur. 6, 13; id. Deiot. 10, 28; id. Fin. 3, 7, 24; Quint. 1, 12, 14; 11, 3, 89; Suet. Calig. 54; id. Ner. 6; Macr. S. 2, 10 al.
--saltātĭo , ōnis, f. id.,
I. a dancing; concr., a dance, Quint. 1, 11, 18 sq.; 2, 18, 1; Scipio Afric. ap. Macr. S. 2, 10: “multarum deliciarum comes est extrema saltatio,Cic. Mur. 6, 13; id. Brut. 62, 225; id. Fin. 3, 7, 24; Quint. 11, 3, 128; Suet. Tit. 7 al.Plur., Plaut. Stich. 5, 2, 11.

All people accuse God with being ignorant.  Even a simple person would would understood that Music would include

rhythm of voice AND body.  Paul guided by Jesus Christ in the STATE of Holy Spirit would have said.

"Ode AND Mŏdus  Out Loud and to the Paying but rarely admiring Audience.:

Mŏdus 2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: “vocum,Cic. Div. 2, 3, 9: “musici,Quint. 1, 10, 14: “lyrici,Ov. H. 15, 6: “fidibus Latinis Thebanos aptare modos,Hor. Ep. 1, 3, 12: Bacchico exsultas (i. e. exsultans) modo, Enn. ap. Charis [grace]. : “flebilibus modis concinere,Cic. Tusc. 1, 44, 106: saltare [dance] ad tibicinis modos, to the music or sound of the flute, Liv. 7, 2: “nectere canoris Eloquium vocale modis,Juv. 7, 19.—Fig.: “verae

--dēlĭcĭae. dēlĭcĭa , ae, f.; [delicio; that which allures, flatters the senses], delight, pleasure, charm, allurement; deliciousness, luxuriousness, voluptuousness, curiosities of art; sport, frolics, etc. (freq. and class.; for syn. cf.: voluptas, libido, delectatio, oblectatio, delectamentum, oblectamentum).

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

"carried away by pride and arrogance, would they believe themselves to be deities of the first rank, and fellows of the highest in his exaltation, because they had devised the arts of grammar, music, oratory, and geometry. For we do not see what is so wonderful in these arts, that because of their discovery the soul should be believed to be above the sun as well as all the stars, to surpass both in grandeur and essence the whole universe, of which these are parts. "

"For what else do these assert that they can either declare or teach, than that we may learn to know the rules and differences of nouns, the intervals in the sounds of different tones, that we may speak persualsively in lawsuits, that we may measure the confines of the earth? Now if the soul had brought these arts with it from the celestial regions, and it were impossible not to know them, all men would long before this be busied with them all over the earth... But see now how few musicians, logicians, and geometricians are there in the world! How few orators, poets, critics!..." (Arnibious, Ante-Nicene, VI, p. 441)                   

I am SO sorry but I don't think that history knows any exception:
CTESIAS.OF.CNIDUS Why did you do this, you lowlife?" Parsondes now spoke without flattery,
        "I thought I was more worthy to have this prize
        since I am manlier and more useful to the king than you,
                a man who keeps his face clean-shaven, wears eye-liner,
                and anoints his skin with white make- up."
Then he answered, "Aren't you ashamed that such a great man as yourself, defeated by your belly and genetalia, has been conquered by the lesser one? I, however," he continued, "will soon make your skin softer and whiter than a woman's." He then swore an oath to Belos and Molis (this is how the Babylonians call Aphrodite).

Nanaros then summoned the eunuch in charge of the songstresses and said to him,

        "take this man and shave his entire body except for his head,
        rub it with pumice stone, wash him twice a day and rinse him with egg-yolk,
        and then put eye-liner on him and braid his hair like a woman's.
               Teach him to sing, play the cithara, and pluck the lyre
                so he can perform like a woman for me with the music-girls,
                with whom he will share a lifestyle by having a soft body,
                wearing the same clothes, and practicing the same skills."

After he spoke, the eunuch took Parsondes, shaved his entire body except for the head, taught him what he was asked, keeping him out of the sunlight, washing him twice per day, softening him up,

        and keeping him in the same quarters with the women as his master had ordered.
        Soon after, Parsondes was a white, smooth, and woman-like man,
        who sang and played the cithara more beautifully than the music-girls with
        whom he had performed and surpassed them in beauty as well
        and no one who saw him perform at one of Nanaros' dinner-parties
would realize that he was not a woman.

After this, he invited the angaros to join him for a drink and dinner and when the meal was served, the music-girls entered, 150 women in with Parsondes among them. Some women played the cithara or aule while others plucked the lyre; Parsondes was the most prominent of them in beauty and talent as he appeared to be a woman too. When they had their fill of dinner, Nanaros asked the angaros which of the girls he thought was the most attractive and talented and without much thought he replied, "that one" while pointing to Parsondes. Nanaros clapped his hands and laughed for a long time before saying, "How would you like spending the night with her?" to which the angaros readily assented. Nanaros then said, "However, I won't let you have her.", and the angaros relied, "Then why did you ask me?" Nanaros paused for a while and said, "That is Parsondes, the man for whom you have come."

Athenaeus Deipnosophist 4.5.5

So piped he the drunken bagatelles of the Muses sung by Glauce,
        or the tune of the Stutterer
        who delights in the drinking of unmixed wine,
         or of Cotalus or Pacalus.77 Nay, then, of Theon the reed-piper say, Farewell, Theon!'


Plat. Prot. 347c But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion.
        For it seems to me that arguing about poetry is comparable to the wine-parties of common market-folk.
        These people, owing to their inability to carry on a familiar conversation o
        ver their wine by means of their own voices and discussions—

[347d] such is their lack of education—put a premium on flute-girls by hiring the extraneous voice of the flute at a high price, and carry on their intercourse by means of its utterance. But where the party consists of thorough gentlemen who have had a proper education,

        you will see neither flute-girls nor dancing-girls nor harp-girls,
        but only the company contenting themselves with their own conversation,
        and none of these
fooleries and frolics—each speaking and listening decently in his turn,

-lēros (A), ho, A. trash, trumpery, of what is showy but useless, useless, futile, “poiētōn l.

lēroi kai paidiai, of flute-playing at banquets, Pl.Prt.347d

paidiē 1 paizō   p. paizein pros tina to play a game with him, paizō 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōnAr.Ra.230; dance and sing, Pi. O.1.16.

5. play amorously, “pros allēlous

Ephesians 5 gives clergy the power to "infiltrate and divert" your peaceable congregation based almost solely on the "fore ordained" lust to impose performance music with or without instruments.

Jesus of Nazareth "appeared" to Paul and let him "hear his voice" before he was qualified to be taught and later guided into all truth.  No pretend "apostle" [The Adcox Pattern] who was did not witness the resurrected Lord.   Jesus Christ the Righteous is the only Comforter or Paraclete.


Eph. 5:17 Wherefore be ye not unwise,
        but understanding what the WILL of the Lord is.

Eph. 5:18KJV And be not drunk with wine, wherein is excess;
        BUT be filled with the SPIRIT;
Eph. 5:19 SpeakING  to YOURSELVES [PLACE] in psalms and hymns and spiritual songs,  [SCRIPTURE ONLY]
BUT singING and makING melody in [PLACE]your heart TO THE LORD
John 6:63 It is the SPIRIT that quickeneth; the flesh profiteth nothing:  [Jesus: sons of Devil speak on their own]
        the WORDS that I SPEAK unto you, they are
SPIRIT, and they are life.

 Col. 3:16 Let the WORD of Christ dwell in you richly in all wisdom;
        teachING and
[PLACE] admonishing one another
                   in psalms and hymns and spiritual songs,
         singiING with grace in your hearts
[PLACE] to the Lord.

SPIRIT is figurative or a PARABLE to hide from the wise or sophists: rhetoricians, singers or instrument players.

Is. 59:21 As for me, this is my covenant with them, saith the Lord;
SPIRIT that is upon thee,
        and my WORD which I HAVE put in thy MOUTH,
        shall not depart out of thy mouth, nor out of the mouth of thy seed,
        nor out of the mouth of thy seed’s seed, saith the Lord, from henceforth and for ever.

SORCERY is claiming that singing your own words can cause a SPIRIT to enter into you


Holy Spirit means that God put His WORDS into the MOUTH of A Moses, the Prophets and LASTLY the MAN Jesus of Nazareth a Prophet like Moses.  The TESTIMONY of Jesus WAS the Spirit of Prophecy.  Spirit produces WORDS but not to any pseudo-Apostle

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

-strīdō    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,

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)

Pȳthon ,, I. the serpent slain, according to the myth, near Delphi by Apollon, who was fabled to have been called Pythius in commemoration of this victory, Ov. M. 1, 4381. Pȳthĭa , ae, f., = Puthia, the priestess who uttered the responses of the Delphic Apollo, the Pythoness, Pythia, Cic. Div. 1, 19, 38; Nep. Milt. 1, 3. —
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

David Young and others CO-inspire by Rewriting Holy Scripture and use what is defined as SORCERY or WITCHCRAFT to overcome whole congregations and force them to obey THE LAW OF GIVING.

instead, be filled with the Spirit BY speaking to one another
with psalms, hymns, and spiritual songs,

He then demands that Singing dogma or self-authored songs CAUSES A Holy Spirit person to indwell.

However, He and they deny the role of Baptism which REQUESTS A holy spirit or A good conscience or consciousness which is given by Jesus in His STATE of Holy Spirit to be able to read the passage and KNOCK AND ASK to know the Divine Truth hidden in Parables from the clergy.



Matt. 13:34 All these things spake Jesus unto the MULTITUDE in parables;
        and without a parable spake he not unto them:
Matt. 13:35 That it might be fulfilled which was spoken by the prophet, saying,
        I will open my mouth in PARABLES;
        I will utter things which have been kept secret from the FOUNDATION of the WORLD.


Give not that which is holy unto the dogs, neither cast ye your pearls before swine, lest they trample them under their feet, and turn again and rend you. Matthew 7:6

Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you: Matthew 7:7

For every one that asketh receiveth; and he that seeketh findeth; and to him that knocketh it shall be opened. Matthew 7:8

Rev. 3:20 Behold, I stand at the door, and knock:
        if any man hear my voice, and OPEN the door,
        I will come in to him, and will sup with him, and he with me.
Rev. 3:21 To him that overcometh will I grant to sit with me in my throne,
        even as I also overcame,
        and am set down with my Father in his throne.
Rev. 3:22 He that HATH an ear,
        let him hear what the Spirit saith unto the churches.

DON'T GET DRUNK WITH WINE will cause a Christian-Disciple-Student to ASK to know the CULTURE in Ephesus and other places who:
kat-auleō , A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tina  : 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, 
2. c. gen. loci, make a place sound with flute-playing, Thphr.Fr.87:— Pass., resound with flute-playing, “nēsos katēuleitoPlu.Ant.56.
II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute accompaniment metaph., to be piped down, ridiculed, “gelōmenoi kai -oumenoi”  
III. c. acc. rei, play on the flute,ta mētrōaDuris 16 J.:—Pass., to have played to one as an accompaniment on the flute, -“oumenoi pros tōn hepomenōn ta mētrōa melēD.H.2.19.

Revelation 17 warns about the end when the Babylon Mother of Harlots will have a priesthood of "Lusted after fruits." All of the religious priesthood are called SORCERERS.  Jude warned that they are old "spirits" who were Fore Ordained.
mētrōaII. Mētrōon (sc. hieron), to, temple of Demeter, Clitodem.1: more freq. temple of Cybele, esp. at Athens,
2. Mētrōa (sc. hiera), ta, the worship of Cybele, D.H.Dem.22
b. Mētrōa, ta, music played in her honour, Duris 16 J.; in full, ta M. “melēD.H.2.19; to M. “aulēmaPaus.10.30.9.

Self-speaking ALWAYS blasphemes by claiming that God was too ignorant to use
melos   If He permitted Musical Melody
 2. metaph., “esmen . . allēlōn melēEp.Rom.12.5, cf. 1 Ep.Cor.6.15. musical member, phrase: hence, song, strain, first in h.Hom.19.16  of lyric poetry lyric poetry, choral songs, opp. Epic or Dramatic verse

Musical MELODY which EXCLUDES Harmony is the Greek MELOS Plat. Rep. 398d
My recent "investment" was with David Young. Therefore, this collection of words such as Wizard, Charm, Enchant, Divination, Sorcery, familiar spirit, Epoide and many more used in Scripture is INDUCED by any musical or regularly-repeating sound.  Before the Ekklesia-Synagogue as School of the Word can take place SILENT REVERENCE must be demanded:
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.
People really believe that the Lord-God has to be aroused so that our singing "brings you into the presence of God."

Psa. 44:23 Awake, why sleepest thou, O Lord? arise, cast us not off for ever.

Psa. 57:7 My heart is fixed, O God, my heart is fixed:
        I will sing and give praise.
Psa. 57:8 Awake up, my glory;
        awake, psaltery and harp: I myself will awake early.
Psa. 108:2 Awake, psaltery and harp: I myself will awake early.

John Hyrcannus SILENCED all of thes awakening Psalms as pagan.

We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'AROUSERS,' sang (every morning?) this verse from-"Ps 44:23: "Awake, O Lord! Why do you sleep? Rouse yourself! Do not reject us forever." The Talmud tells us that John Hyrcanus suppressed the practice because it recalled too readily a pagan custom." (Roland de Vaux, p. 247).

Because David as king was part of a cursed monarchy abandoned to worship the starry host then no one should ever fall into the trap that David was God's approved PATTERNISM for the MUSIC which was a MARK of that Sabazianism or worship of the Sun, Moon and planets as "wandering stars."  Apollo was the SUN god and is Abaddon or Apollyon and the musicians (muses) in Revelation 18 are called sorcerers: so too is the prophesying under the Levites. 

Pindar, Neaman Ode. Pi.N.9.50 9.[1 Pindar 9:[1]
, we will go in victory procession from Apollo's shrine in Sicyon to newly-founded Aetna,
        where the
doors flung open wide are overwhelmed by guests,
        at the prosperous home of Chromius.
Make a
sweet song of verses! For, mounting his chariot of victorious horses,
        he gives the word to
sing for the mother and her twin children
[5] who jointly watch over steep Pytho.
[6] There is a saying among men: a noble deed
        when it is accomplished should not be buried silently in the ground;
divine song [
aoida] is suited to BOASTING [we refuse to even sing God's songs].
        But we will
wake the shouting lyre and the flute. 
        in honor of the very pinnacle of horse-contests,
        which Adrastus established for Phoebus
[Apollo, Apollyon]
        by the streams of the Asopus.

divinely sounding, divinely sweet, “aoidē”  th. hodos the way of divination


Peace loves the symposium,
        and new-flourishing victory [NIKE] is fostered by SOFT song,

more than human: hence, awful, of natural phenomena,

malthakos  faint-hearted, cowardly, kinaidos, ALL religious marked the CATAMITE.

and the voice becomes bold beside the mixing-bowl.
[50] Let someone mix the wine now,
        the sweet forerunner of victory-song,
        and DISPENSE the powerful son of the vine
        in those silver goblets which once Chromius' horses won for him
        and sent from holy Sicyon together with the duly twined garlands of Leto's son.
Father Zeus, I pray that I may celebrate this excellence by the favor of the Graces,
         and excel many poets in honoring victory with my verses,
        [55] throwing my shaft nearest of all to the mark of the Muses.
Mousa  .Olumpiades M., Dios aigiokhoio thugateres” Wine and Music was always from DAUGHTERS whatever the sex. kanakhan . . theias antiluron mousasnumphikas m


Fine sights truly, and becoming a goddess;
        mysteries worthy of the night, and flame,
        and the magnanimous or rather silly people of the
        and the other Greeks besides, "whom a fate they hope not for awaits after death."

And in truth against these Heraclitus the EPHESIAN PROPHESIES as
"the night-walkers, the
magi, the bacchanals, the Lenaean revellers, the initiated."

These he threatens with what will follow death, and predicts for them fire.
        For what are regarded among men as mysteries, they celebrate sacrilegiously.

Law, then, and opinion, are nugatory. And the mysteries of the dragon are an imposture,
        which celebrates religiously mysteries that are no mysteries at all,
        and observes with a spurious piety profane rites.
        What are these mystic chests?-for I must expose their sacred things, and divulge things not fit for speech.

Journal: Bibliotheca Sacra
Volume: BSAC 136:543 (Jul 1979)
Article: The Dionysian Background of Ephesians 5:18 Author: Cleon L. Rogers, Jr.
The festivals celebrated in honor of Dionysus varied from place to place, but it seems that one common feature was the emphasis on fertility and sex.
The emphasis on the phallus (the male sex organ) in the so- called “Phallus Procession” along with such things as “the Phallus Song,” certainly indicate the lewd debauchery connected with this worship.30 The significance was evidently to please Bacchus so that he would grant fertility.

Note 30: Aristophanes.Archarnians.html DICAEOPOLIS
Xanthias, walk behind the basket-bearer and hold the phallus well erect; I will follow, singing the Phallic hymn; thou, wife, look on from the top of the terrace. Forward!

[263] Oh, Phales, companion of the orgies of Bacchus, night reveller, god of adultery, friend of young men, these past six years I have not been able to invoke thee.

Another feature of the festivals was the wild, frenzied dancing and uncontrolled ravings,
         in connection with wine drinking and the music of flutes, cymbals, drums, or tambourines.
31 Along with this was the mountain dancing of the women which sometimes took place in the dead of winter, and the devouring of the raw flesh of animals.32
        The purpose of the intoxication BY WINE and also the chewing of ivy,
         as well as the eating of raw animal flesh,
                  was to have DionysUS
ENTER the body of the worshiper
                  and FILL him with “enthusiasm” or the SPIRIT of the god.

Dionysus was to possess and control such ones so that they were
        united with him and partook of his strength, wisdom, and abilities.
        This resulted in the person doing the will of the deity (either willingly or unwillingly)
having the ability to speak inspired prophecy,35 and was often thought to be
        the source of artistic or poetical ability

Many will say to me in that day, Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works? Matthew 7:22

Prophēt-euō  one who speaks for a god and interprets his wil
A. to be a prophētēs or interpreter of the gods, “manteueo, Moisa, prophateusō d' egōPi. l.c.; tis prophēteuei theou; who is his interpreter?E.Ion 413
IV. to be a quack doctor, mania . . prophēteusasawith oracular power, Pl.Phdr.244d:

-Prophêtês interpreter, expounder of the will of Zeus, of Tiresias, Pi.N.1.60; Bakkhou p., perh. of Orpheus, E.Rh.972; [Dionusou p., of the Bacchae, Id.Ba.551
Delphic Apollo, “Dios p. esti Loxias patrosA.Eu.19; of the minister [female] and interpreter at Delphi, Hdt.8.36,37  Mousôn prophêtai interpreters of the Muses, Plat.

Prophêtis  [fem. of prophêtês] of the Pythia 2. prophet's wife, LXXIs. 8.3.
(Puthia). The priestess of Apollo at Delphi who pronounced the oracles. See Delphi; Oraculum
   Puthios [u_; i_ metri gr. in h.Ap.373], a, on, ( [Pu_thô] ) Pythian, i.e. Delphian, epith. of Apollo, l.c., Pi.O.14.11, etc. (P. alone is f.l. in E. Ion 285); enPuthiou in

"Singing served as a means of inducing ecstatic prophecy (speaking in tongues). Thus the essential relationship between music and prophecy can be clearly seen. This relationship also explains why the expression for "making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67.
      The Hebrew word
Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

The Significance of the Dionysian Background

If the cultural background was Dionysian worship, then the two commands of Paul in Ephesians 5:18 and their context take on a new light. The several features to be considered are almost in themselves further support for a Dionysian background.

The Concept of ἀ σωτιά
“Be not drunk with wine, wherein is excess, but be ye filled with the Spirit” (Eph 5:18, AV). The word
translated “excess” basically means “without health,” or “incurable.”40 The word then refers to “one who by his manner of life, especially by dissipation destroys himself.”41

       It is generally acknowledged that Dionysus was not originally a Greek god, but probably had his origins in Thracia, Lydia, or Phrygia.
5 The name “Dionysus” appears to be the genitive of the word Zeus joined with the word nysos, (“son”) with the resultant meaning “son of Zeus.6 He is also referred to by the Lydian name of “Bacchus.”7
It would have been hardly possible to have visited an ancient city and to have remained any length of time without seeing Dionysus and his ever- present companions, the Satyrs, Silens, and Maenads.

        For a description of these male and female figures, half-clad, carrying musical instruments, wearing ivy wreaths, and having animal features, see Oxford Classical Dictionary , s.v. “Satyrs and Sileni” and “Maenads,” pp. 636, 956.

Heraclitus, 124, bacchanals, revelers in wine, the initiated.
SOURCES--Clement of Alex. Protrept. 2, p. 18. Context:--Rites worthy of the night and of fire, and of the great-hearted, or rather of the idle-minded people of the Erechthidae, or even of the other Greeks, for whom there awaits after death what they do not hope (see frag. 122). Against whom, indeed, does Heraclitus of Ephesus prophesy? Against night-roamers, Magians, bacchanals, revelers in wine, the initiated. These he threatens with things after death and prophesies fire for them, for they celebrate sacrilegiously the things which are considered mysteries among men (= frag. 125).


There were also numerous priestly functionaries connected with the proceedings: The Hierophant, or High Priest, would preside over the most mysterious and solemn portions of the ritual. He alone had the right to enter the secret chamber of the Anaktoron, where the sacred Hiera, or cult objects, were housed.

The High Priestess of Demeter would share with the Hierophant the primary responsibility for presiding over the Mysteries. It is thought that she would assume the role of Demeter in a sacred drama reenacting the goddess's anguish and desperate search for Persephone. Most scholars also believe that the High Priestess would join the High Priest in performing an Hieros gamos, or sacred wedding of symbolic significance. The Hierophantides were two chief female assistants of the Hierophant who played a major role in the drama and initiation ceremonies. The Panageis Priestesses, also known as "bees," were celibate auxiliaries whose precise function remains unknown. Possibly they played a role in carrying the Hiera in the stately procession from Eleusis to Athens and back again. The Dadouchos, second male in rank after the Hierophant, was the torchbearer, who played an important role in the initiations. He alone at Eleusis had the authority to remove the stain of impurity from aspirants who had shed human blood. He and his female assistant, the Dadouchousa, were probably also responsible for the lighting effects in the Telesterion during the ceremonies. The Hieorokeryx was the official herald, whose stentorian voice would call the initiates to silence in order for the Mysteries to begin. Finally, the Priest at the Altar would preside over the animal sacrifices and other offerings to the two goddesses.  The Eleusinian Mysteries

Ignoring the warning of Paul the, as they say, "Use of Female Ministers" the PROMOTION of the Hieros gamos, or sacred wedding is promoted under the ploy of using the Pattern of the Song of solomon as the PATTERN:




David Young: instead, be filled with the Spirit BY speaking to one another
with psalms, hymns, and spiritual songs,

Clement and everyone: For such are the
begging priests of Cybele. Hence Antisthenes replies appropriately to their request for alms:
I do not maintain the mother of the gods, 
For the gods maintain her."
"Again, the same writer of comedy, expressing his dissatisfaction with the common usages, tries to expose the impious arrogance of the prevailing error in the drama of the Priestess, sagely declaring: --

If a man drags the Deity
Whither he will by the sound of cymbals,

He that does this is greater than the Deity;

"But these are the instruments of audacity and means of living Invented by men. --(Clement, Exhortation to the Heathen, Ante-Nicene, II, p. 193).


There is not a single Command, Example or remote Inference of God's People being called out to REST which includes SCHOOL to READ or SPEAK the Word without tampering.

The message of Scripture and historic testimony beginning with Clay Tablets is that musical sound, as a high pitch and a fixed cadence, INTENDS to Afflict and shut down the spiritual or rational mind.

There probably is no example of anyone subjecting a multitude to musical sounds who do not intend to fleece the widows and working class.  God's Spirit in Isaiah 55 MARKS selling your own songs or sermons.

Ephesians 5:18-20 David M. Young Translation.

And don't get drunk on alcohol, which leads to decadence;
instead, be filled with the Spirit BY speaking to one another
with psalms, hymns, and spiritual songs,

singing. and MAKING MUSIC WITH your heart to the Lord,
always giving thanks to God the Father for everything,
in the name of our Lord Jesus Christ.

David Young represents the prophesied end-time musical outbreak defined by Jude.  A witch or sorcerer does not 'boil frog's eyes" they "BOIL FROGS" by boasting of gradualism to infiltrate and divert all Bible-based churches and "turn them into a theater for holy entertainment."  Scripture and history says that "Koma is induced by musical instruments." Praise teams are "organic" musical instruments.

Jude 3 Beloved, when I gave all diligence to write unto you of the common salvation,
         it was needful for me to write unto you,
        and exhort you that ye should earnestly contend
        for the faith which was once delivered unto the saints.
Jude 4 For there are certain men crept in unawares, who were before of old ordained to this condemnation, ungodly men, turning the grace of our God into lasciviousness, and denying the only Lord God, and our Lord Jesus Christ

SPIRIT has never and can never define a GOD: God IS Spirit in contrast to having FLESH AND BONES.  Spirit is a STATE or Mind or Mental disposition.  SPIRIT means that "God puts His WORD into the MOUTH of A Moses, the Prophets and LASTLY into the mouth of Jesus of Nazareth.  Spirits are demons or devil:

1 Cor. 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.
1 Corinthians 10.7 mēde eidōlolatrai ginesthe, kathōs tines autōn: hōsper gegraptaiEkathisen ho laos phagein kai pein, kai anestēsan paizein.”
Barnes etc And rose up to play - (paizein). The Hebrew word used in Exodus 32:6 (tsaachaq) means "to laugh, to sport, to jest, to mock, to insult" Genesis 21:9; and then to engage in dances accompanied with music, in honor of an idol. This was often practiced, as the worship of idols was celebrated with songs and dances. This is particularly affirmed of this instance of idol worship Exodus 32:19; and this was common among ancient idolaters; and this mode of worship was even adopted by David before the ark of the Lord; 2 Samuel 6:5; 1 Chronicles 13:8; 1 Chronicles 15:29. All that the word "to play" here necessarily implies is, that of choral songs and dances, accompanied with revelry in honor of the idol.

, II. rouse to action, stir up, III. make people rise, break up an assembly by force, Il.1.191; but ekklēsian anastēsai adjourn it, X.HG2.4.42. raise up against another, toutō de promon allon anastēsousin ib.7.116 (v. infr. B. 1.5): rouse to arms, raise troops, Th.2.68,96; “a. polemon epi tinaPlu.Cor.21; anastēsas ēge straton he called up his troops and marched them, Th.4.93, cf. 112, etc.

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,
Aristoph. Lys. 1313
Leaving again lovely lofty Taygetus
Hither O Spartan Muse, hither to greet us,
And wi' our choric voice to raise
To Amyclean Apollo praise, [Abaddon, Apollyon]
And Tyndareus' gallant sons whose days
Alang Eurotas' banks merrily pass,
An' Athene o' the House o' Brass.
Now the dance begin;
Dance, making swirl your fringe o' woolly skin,
While we join voices
To hymn dear Sparta that rejoices
I' a beautifu' sang,
An' loves to see
Dancers tangled beautifully;
For the girls i' tumbled ranks
Alang Eurotas' banks
Like wanton fillies thrang,
Frolicking there
An' like Bacchantes shaking the wild air
To comb a giddy laughter through the hair,
Bacchantes that clench thyrsi as they sweep
To the ecstatic leap.
An' Helen, Child o' Leda, come
Thou holy, nimble, gracefu' Queen,
Lead thou the dance, gather thy joyous tresses up i' bands
An' play like a fawn. To madden them, clap thy hands,
And sing praise to the warrior goddess templed i' our lands,
Her o' the House o' Brass.
Paizo: A2. esp. dance, “paisate Od.8.251; “dōma peristenakhizeto possin andrōn paizontōn 23.147, cf. Hes.Sc.277; “p. te kai khoreuein Ar.Ra.409, cf. 390; “enoplia khalkōtheis epaizenPi.O.13.86:—Pass., alla pepaistai metriōs hēmin, of the chorus, Ar. Th.1227.
1Corinthians 10:20 But I say, that the things which the Gentiles [Gens] [ sacrifice,
         they sacrifice to devils, and not to God:
         and I would not that ye should have fellowship with devils.

Daemŏnĭum  II.  An evil spirit, demon, App. Mag. p. 315, 10; Vulg. Deut. p. 32, 17;
daimonaō ,  A. to be under the power of a daimōn, to suffer by a divine visitation,daimona domos kakoisA.Ch.566; “daimonōntes en ataId.Th. 1008 (lyr.): abs., to be possessed, to be mad, E.Ph.888, X.Mem.1.1.9, Plu.Marc.20, etc.; “daimonasMen.140.

Greek: Daimonios , II. from Hdt. and Pi. downwds. (Trag. in lyr.), heaven-sent, miraculous, marvellous,bōlaxPi.P.4.37; “terasB.15.35, S.Ant.376
2. of persons, “ d. hōs alēthōs kai thaumastōId.Smp.219b; ho peri toiauta sophos d. anēr ib.203a; “daimonios tēn sophianLuc.Philops.32: Comp. “-ōterosD.C.53.8.
Sophos , ē, on, mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.),

Sophia A. cleverness or skill in handicraft and art, in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, in divination,
Plato, Euthydemus
[289e] For not only do these speech-writers themselves, when I am in their company,
epistēmē  With enough money you can get a degree in epistemology to Take in hand metakheir-izō 4. practise, pursue an art, study, etc., metakheirizesthai mousikēn, philosophian, paideian,
impress me as prodigiously clever, Cleinias,
but their ART itself seems so exalted as to be almost inspired.

thaumaston  Claiming that your song or sermon or anything is divine is a LYING WONDER.
However, this is not surprising; for it is a part of the sorcerer's art, epōdōn tekhnēs

Plat. Euthyd. 290a  and only slightly inferior to that. The sorcerer's [epōdōn] art
is the charming of snakes and tarantulas and scorpions and other BEASTS and diseases,
        while the other is just the charming and
        soothing of juries, assemblies, crowds, and so forth. Or does it strike you differently? I asked.

ekklēsi-astēs , ou, ho,
A  member of the ekklēsia, Pl.Grg. 452e, Ap.25a, Arist.Pol.1275a26, Rh.1354b7.

There was no Church at Cenchrea: Phoebe was a member of the Greek Assembly which never MADE laws but met to agree and enforce them:

ekklēsi-a .assembly duly summoned, less general than sullogos, ; e. sunageirein, sunagein, sullegein, athroizein, call an assembly
sullog-os , ho, A.assembly, concourse, meeting of persons, which included:
        skholastikos 1 skholazō
        I.enjoying leisure, Lat. otiosus, Arist.; to skholastikon leisure, id=Arist.
        II.devoting one's leisure to learning, a scholar,

Sabbath means REST.  The Greek for the assembly is PAUO which is defined by ōtĭōsus
SPEAKING Psalms, Hymns and Spiritual songs from the BOOK of Psalms.  The Assembly was a Reading Assembly. A portion of Scripture was read ONCE each week until the whole book was read especially the Prophets. The goal was to REHEARSE the Word as the way to CONFESS and then SPEAK TO YOURSELF all week with God's Words to replace your own troubles.  
Latin 289e:

kai mentoi ouden thaumaston: esti gar tēs tōn epōdōn tekhnēs morion mikrō te ekeinēs hupodeestera.

-epōdē , Ion. and poet. epa^oidē , , A.song sung to or over: hence, enchantment, spell, BURDEN
ou pros iatrou sophou thrēnein epōdas pros tomōnti pēmati
of the Magi, Hdt.1.132
   oute pharmaka..oud' au epōdai Pl.R. 426b ; thusiai kai e. ib.364b ;
charm for or against..,toutōn epōdas ouk epoiēsen patērA.Eu.649.

epōd-os , on, (epadō
A.singing to or over, using songs or charms to heal wounds, “epōdoi muthoiPl.Lg.903b.
b. Subst., enchanter,e. kai goēsE.Hipp. 1038 (but “goēs e.Ba.234): c. gen., a charm for or against,ethusen hautou paida epōdon Thrēkiōn aēmatōnA.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.
c. c. dat., assisting, profitable, 2. Pass., sung to music,phōnaiPlu.2.622d ; fit for singing,poiētikēn e. parekhein
2. epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, burden, refrain,
David Young and organization claim without shame that "Singing that which is NOT Scripture CAUSES A Holy Spirit God person to ENTER into their body.  The thesis is that human opinion afterwords acts as CO-authors of Scripture."
Rev. 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters,
        shall be heard no more at all in thee;
and no craftsman, of whatsoever craft he be,
        shall be found any more in thee;
and the sound of a millstone
        shall be heard no more at all in thee;
Rev. 18:23 And the light of a candle
        shall shine no more at all in thee;
and the voice of the bridegroom and of the bride
        shall be heard no more at all in thee:
for thy merchants were the great men of the earth;
        for by thy SORCERIES were all nations DECEIVED.
Rev. 18:24 And in her was found the blood of prophets, and of saints,
        and of all that were slain upon the earth.

3. enchanted potion, philtre: hence, charm, spell,
such charms have I, Hdt.3.85, cf. Apoc.9.21.

Rev. 9:20 And the rest of the men which were not killed by these plagues
        yet repented not of the works of THEIR HANDS that they should not worship DEVILS,
        and idols of gold, and silver, and brass, and stone, and of wood:
        which neither can see, nor hear, nor walk:
Rev. 9:21 Neither repented they of their murders, nor of their SORCERIES [
-pharmaka]. , nor of their fornication, nor of their thefts.
paiōn-ios , a, on, II. kelados ou p. unlike a song of victory, A.Pers.605.
Paian , 2. title of Apollo (later as epith., “Apollōni Paiani” “ Paiēon' aeidonh.Ap.517, “ te kai tas Mousas epikaloumenosPl.Criti.108c,
b. saviour, deliverer, “ō thanate PaianA.Fr.255.1, cf. E.Hipp.1373
paean, i.e. choral song, addressed to Apollo or Artemis (the burden being or Paian, v. supr. 1.2 ), in thanksgiving for deliverance from evil, 
2. song of triumph after victory, prop. to Apollon, Il.22.391 sq.; “halōsimos p.A.Th.635, etc.; also, battle-song, “paian' ephumnoun semnon Hellēnes”  in Prosody, paeon, a foot consisting of 3 short and 1 long syll., _^^^, ^_^^, ^^_^, or ^^^_,

kēl-ēsis , eōs, ,
A.bewitching, charming, ekheōn, nosōn, Pl.Euthd. 290a: enchantment by ELOQUENCE, dikastōn k. te kai paramuthia ibid.; by music and sweet sounds, Id.R.601b, Stoic.3.97.
khristos , ē, on, (khriō)
A.to be rubbed on, used as ointment or salve, opp. pistos, A.Pr.480, cf. E.Hipp.516, Triclin.ad Theoc.11.1; to elaion to kh. anointing oil, LXX Le.21.10.
3. in NT, ho kh. the Messiah, Ev.Matt.2.4, etc.; “ho kh. KuriouEv.Luc.2.26; then used as pr. n. of Jesus, “Iēsous kh.Ev.Matt.1.1, etc.; Iēsous ho legomenos kh. ib.16.
goēs , ētos, ho, A.sorcerer, wizard g. epōdos Ludias apo khthonosE.Ba.234, cf. Hipp.1038; prob. f.l. for boēsi Hdt.7.191. 2. juggler, cheat, “deinos g. kai pharmakeus kai sophistēsPl.Smp.203d; “deinon kai g. kai sophistēn . . onomazōnD.18.276; “apistos g. ponēros

John Mark Hicks.

Be back shortly

There is no command, example or remote hint that anyone gathered as an Ecclesia of Christ and sang in a tuneful sense without or without musical instruments for many centuries.

The use of mechanical devices to sell the sounds as the SPIRIT entering into them was always bonded with refusing to SPEAK the Word of God through Christ OR of BURNING.
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