Ovid. Metamorphoses. 11.146
When Pan had doone, the sacred Tmole to Phebus turnd his looke,
And with the turning of his head his busshye heare he shooke.
Then Phebus [Apollineos] with a crowne of Bay uppon his golden heare
Did sweepe the ground with scarlet robe. In left hand he did beare
His viol made of precious stones [ gemma and Ivorye intermixt.
http://www.piney.com/Isa30LXX.htmlOvid: And in his right hand for to strike,
Is. 30:32 And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it.
Ezek. 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. [Cast as Profane]
his bowe was redy fixt.
He was the verrye paterne of a good Musician ryght
Anon he gan with conning hand
the tuned strings to smyght.
Ovid: The sweetenesse of the which did so the judge of them delyght,
plectrum The PSALLO foundation of the musicators OUTLAWS the plectrum. It only permits striking a bow or lyre string with the FINGERS.
That Pan was willed for to put his Reedepype in his cace,
And not to fiddle nor to sing where viols were in place.
pello , 4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205;
1. To drive out or away, to banish, expel: Phoebeā morbos arte,
2. To beat, conquer, overcome
morbus B. Grief, sorrow, distress: “nomen insaniae significat mentis
4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown,
I keep searching for some one to grasp that any kind of MUSIC while claiming to be a Disciple of Christ with Him as Teacher is the INSTRUMENT of all evil. Maybe that is why God always connects people distracting with rhetoric or music with "refusing to listen to God's Words" as. well as to BURNING.
SUMMARY OF RECORDED FACTS NOT AVAILABLE TO ANY "DOCTOR OF THE LAW" WHOM JESUS SAID "TAKES AWAY THE KEY TO KNOWLEDGE."
1. Israel fell from grace beyond redemption because of Instrumental-Trinitarian-
PervertedIdolatry at Mount Sinai.
2. The NOBILITY turned the REST of God into a day of the Worship as the ABOMINATION they brought from Egypt.
3. The REST of God is Sabbath or the Greek PAUO and demands STOPPING anything beyond Rest, Reading and Rehearsing the Word delivered by Moses.
4. The Civil-Military-Clergy were abandoned behind closed gates to engage in the Lust of Blood and Flesh and the HOLOCAUST of INFANTS and GOATS.
5. The Godly Jews were never gathered to engage in group singing with or without instruments: this was outlawed for the SYNAGOGUE as A School--only of the Word-only.
6. Any kind of musical or theatrical performance would MARK the Effeminate and their refusal to HEAR the Word of God.
7. Even worse, any kind of self-exhibition especially SINGING is that which MARKS and produces ALL of the data defining:
These are all Evils facilitated by any kind of Music i clear recorded literature.
Abomination, Witchcraft, the BEASTS, Demon worship, Viper worship,Sorcery, Charming, Soothsaying, enchantment, harlots, beguilers, serpents, vipers, Serpo, Herpo, inducing wine-drinking, Cunning Craftsmen or Sophists, Rhetoricians, Dogs or Catamites, magic, Voodoo in primitive America, Melodies to deceive, Deceiver, Techne. religious craftsmen, Lucifer, Locusts, Apollyon, Levi-Leviathan
The PATTERN is to TEACH and ADMONISH or Comfort. MARK: you are paying someone to SILENCE Jesus
When you click on these resources, go to the Display Preferences, pick "Latin Translation." To the right you can display in English.
[289d] On what proof do you rely? I asked.
I see, he said, certain speech-writers who do not know how to use the special arguments composed by themselves, just as lyre-makers in regard to their lyres: in the former case also there are other persons able to use what the makers produced, while being themselves unable to make the written speech. Hence it is clear that in speech likewise there are two distinct arts, one of making and one of using.
I think you give sufficient proof, I said, that this art of the speech-writers cannot be that whose acquisition would make one happy. And yet I fancied that somewhere about this point would appear the knowledge which we have been seeking all this while.[289e] For not only do these speech-writers themselves, when I am in their company, impress me as prodigiously clever, Cleinias, but their art itself seems so exalted as to be almost inspired. However, this is not surprising; for it is a part of the SORCERER'S art, epōdōn tekhnēs
Latin 289e:Plat. Euthyd. 290a and only slightly inferior to that. The sorcerer's 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 [Ekklesia or church], crowds, and so forth. Or does it strike you differently? I asked.
kai mentoi ouden thaumaston: esti gar tēs tōn epōdōn tekhnēs morion mikrō te ekeinēs hupodeestera.
Thaumaston Is a Lying wonder which claims that your rituals are ordained by God.
-epōdē , Ion. and poet. epa^oidē , hē, A.song sung to or over: hence, enchantment, spell, LADEN 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 patēr” A.Eu.649.
epōd-os , on, （epadō）A.singing to or over, using songs or charms to heal wounds, “epōdoi muthoi”
c. c. dat., assisting, profitable, 2. Pass., sung to music, “phōnai” Plu.2.622d ; fit for singing, “poiētikēn e. parekhein
b. Subst., enchanter, “e. kai goēs” E.Hipp. 1038 (but “goēs e.” Ba.234): c. gen., a charm for or against, “ethusen hautou paida epōdon Thrēkiōn aēmatōn” A.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.
2. epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, BURDED, refrain,
Let us persuade the young man by our discourse that all things are ordered systematically by Him who cares for the World—all with a view to the preservation and excellence of the Whole, whereof also each part, so far as it can, does and suffers what is proper to it. To each of these parts, down to the smallest fraction, rulers of their action and passion are appointed to bring about fulfillment even to the uttermost
No, it appears to me, he replied, to be as you say.kēl-ēsis , eōs, hē, *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.
Plat. Rep. 601b whether he speak in rhythm, meter [melos] and harmony [rhuthmon] about cobbling or generalship or anything whatever. So mighty is the spell1 that these adornments naturally exercise; though when they are stripped bare of their musical coloring [metron] and taken by themselves,2 I think you know what sort of a showing these sayings of the poets make. For you, I believe, have observed them.” “I have,” he said. “Do they not,” said I, “resemble the faces of adolescents, young but not really beautiful, when the bloom of youth abandons them?3” “By all means,” he said. “Come, then,” said I, “consider this point: The creator of the phantom, the imitator, we say, knows nothing of the reality but only the appearance.God put His WORDS into the MOUTH of Jesus (the meaning of spirit) and He SPOKE without [metron] because there is no LYRICAL poetry in the Bible. Jesus didn't use musical meter because that was known to mark deceivers. God is NOT stupid as is generally claimed. If He wanted to insert MUSICAL melody the Greek word is melos]
hōraios , fruits ripe for plucking or rippe for death.
Both ODE and PSALLO are silent (IN the heart) because that would mark the common male musical prostitute.
Ephesians 5:18-19, Eph 5:18-19, Singing and making melody IN the heart. Instrumental music in Christian worship is not authorized by the Greek word PSALLO. Christian worship is in the spirit or by the spirit. The spirit is the mind or innermost being of the person. Because Christ lives in the heart by faith, it is not possible to worship Him nor be aided in worship by things which appeal to the human senses.
NEW: SUMMARY OF THE LARGE BODY OF LITERATURE TREATING PSALLO [Never Musical Melody] AS AN APOLLON WORD WHICH PAUL SILENCES.
THE FATHER OF THE END TIME APOSTASYEPHESIANS 4 IS THE SAME LETTER AS EPHESIANS 5
W. Carl Ketcherside: Incendiary Instruments
Musical idolaters call Paul IGNORANT: their foundation is isolated verses or phrase.
Eph 4:10 He that descended is the same also that ascended up far above all heavens, that he might fill all things.)
Eph 4:11 And he gave some, apostles; and some, prophets; and some, evangelists; and some, pastors and teachers
THE TEACHER IN A CONGREGATION IS THE ELDER AS PASTOR-TEACHER.
Eph 4:13 Till we all come in
A. the unity of THE FAITH, and of
B. the knowledge of the Son of God,
C. unto a perfect MAN,
D. unto the measure of the stature of the fulness of Christ:
TO PROTECT FROM THE LYING WONDERSEph 4:14 That we henceforth be no more children, tossed to and fro,
and carried about with every wind of doctrine,
by the sleight of men, and CUNNING craftiness whereby they LIE IN WAIT TO DECEIVE
Panourg-êma , atos, to,So, how to mark deceivers.
A.knavish trick, villainy, SOPHIST. panourgeuma. Panourgeo play the knave, similr to citharizo
Sophis-teia , hê,
A.sophistry, D.S.12.53, Plu.2.78f, D.L.2.113, etc.; opp. sophia [skill], Ph.1.10; s. mantikê, of Balaam, Apollon name of a number. The number of a man
Ephesians 5:6 Let no man deceive you with VAIN words:
FOR because of these things cometh the wrath of God
upon the children of disobedience.
A Christian is not OF the world, kosmos, ecumenical, kingdom of Satan. They will NOT be deceived because Disciples attend Bible Class to protect them from religious observations to which the kingdom does not come.
VAIN Is kenos , ; k. khronos a pause in music, pharmakon pros to k 2. empty, fruitless, void, “kena eugmata eipōnIF YOU ARE ONE OF THE LOST LAMBS, FOUND, BAPTIZED AND SPIRIT TRANSLATED INTO THE HEAVENLY KINGDOM YOU WILL GRASP IT.
pharma^konTHARGE´LIA The Thargelia and the Delphinia were the chief festivals of Apollo at Athens
paiōn-ios , II. kelados ou p. unlike a song of victory, A.Pers.605. II. kelados ou p. unlike a song of victory, A.Pers.605.
-Paian , “Apollōni Paiani” the physician of the gods II. [select] paian , Ep. paiēōn , Att., Ion. paiōn , paean, i.e. choral song, addressed to Apollo or Artemis (the BURDEN being iē or iō Paian,
Rev. 18:20 Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her.
Rev. 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying,
Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all.
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; a
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 SORCERERS [pharma^kon] 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.
Rev. 21:8 But the fearful, and unbelieving, and the abominable, and murderers,
and whoremongers, and SORCERERS, and idolaters, and all LIARS, [imposing musical idolatry not Scriptural]
shall have their part in the lake which burneth with fire and brimstone: which is the second death.
a festival celebrated at Athens on the 6th and 7th of Thargelion (= about May 24, 25) in honour of Apollo [Apollon, Abaddon] and Artemis....
Then followed still on the sixth a great purificatory sacrifice (Plut. Symp. 8.1, 2 = 717 Reiske; D. L. 2.44; Harpocrat. s. v. pharmakos). The manner in which this purification was effected is very extraordinary and certainly a remnant of very ancient rites,
for two persons were put to death on that day,
and the one died on behalf of the men and the other on behalf of the women of Athens.
On the day when the sacrifice was to be performed
the victims were led to the different temples of Apollo in the city,-
-to those of Apollo Patrous, Delphinius, and Pythius (cf. Mommsen, Heort. p. 421),--
and afterwards out of the city to a place near the sea,
with the accompaniment of a peculiar melody, called
kradiēs. of one panic-stricken
nomos, [LAW] played on the flute. II.a musical mode or strain, Aesch., Plat., etc.; nomoi kitharōdikoPlat. Sym. 215e I am worse than any wild fanatic; I find my heart leaping and my tears gushing forth at the sound of his speech, and I see great numbers of other people having the same experience. When I listened to Pericles and other skilled orators I thought them eloquent, but I never felt anything like this; my spirit was not left in a tumult and had not to complain of my being in the condition of a common slave: whereas the influence of our Marsyas [flute player] here has often thrown me into such a state
thaumatos. “Of wonder” (the subjective feeling), Lying Wonders.
Plat. Laws 722d yet it is only recently that we have begun, as it seems, to utter laws, and what went before was all simply preludes to laws. What is my object in saying this? It is to explain that all utterances and vocal expressions have preludes and tunings-up (as one might call them), which provide a kind of artistic preparation which assists towards the further development of the subject. Indeed, we have examples before us of preludes, admirably elaborated,
Plat. Laws 722d
kai dē pou kitharōdikēs ōdēs legomenōn nomōn kai pasēs mousēs prooimia thaumastōs
Ephesians 5:7 Be not ye therefore partakers with them.
Ephesians 5: 8 FOR ye were sometimes darkness,
BUT now are ye light in the Lord:
walk as children of light:
Ephesians 5:9 (For the fruit of the Spirit
is in all goodness and righteousness and TRUTH [the WORD]
1John 1:5 This then is the message which we have heard of him, and declare unto you, THAT GOD IS LIGHT, and in him is no darkness at all.Before the command to SPEAK that which is written for our LEARNING (Romans 15), we WILL prove what is acceptable to the Lord
1John 1:6 If we say that we have fellowship with him, and walk in darkness, we lie, and do not THE TRUTH
1John 1:7 But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin.
Ephesians 5:10 Proving what is acceptable UNTO THE LORD.
Ephesians 5:11 And have no fellowship with the unfruitful works of darkness,
BUT rather reprove them.
Ephesians 5:12 For it is a shame even to speak of those things
which are done of them in secret.
Ephesians 5:13 BUT all things that are REPROVED are made manifest by the LIGHT:
for whatsoever DOTH MAKE MANIFEST is LIGHT.
Ephesians 5:14 Wherefore he saith, Awake thou that sleepest,
and arise from the dead, and Christ shall give thee light.
Ephesians 5:15 See then that ye walk circumspectly, not as fools,
BUT as wise,
Ephesians 5:16 Redeeming the time, because the days are evil.
Ephesians 5:17 Wherefore be YE not UNWISE,
BUT YE understanding what the will [WORD] of the Lord is.
Ephesians 5:18 And be not drunk with wine, wherein is excess;
BUT YE be filled with the Spirit;
John 6:63 It is the spirit that quickeneth; the flesh profiteth nothing:
the WORDS that I speak unto you, they are spirit, and they are life.
Col. 3:16 Let the word of Christ dwell in you richly in all wisdom;
TEACHING and ADMONISHING one another
In psalms and hymns and spiritual songs [Scripture only]
Ephesians 5:19 SPEAKING to yourselves in psalms and hymns and spiritual songs,
Col 3:16 Teaching and admonishing one another in psalms and hymns and spiritual songs
[BUT you] singing and making melody IN your heart to the Lord;
You don't SING when you assemble to TEACH AND OBSERVE what Jesus CommandedEphesians 5:20 Giving thanks always for all things unto God and the Father
1Cor. 14:6 Now, brethren, if I come unto you SPEAKING [includes instruments] with tongues,
what shall I profit you,
except I shall SPEAK to you either by revelation, or by knowledge, or by prophesying, or by doctrine?
TO SILENCE THOSE WHO WANTED TO PERFORM.
1Cor. 14:26 How is it then, brethren? when ye come together,
every one of you hath a PSALM, hath a doctrine, hath a tongue, hath a revelation, hath an interpretation.
Let all things be done unto edifying. [Teaching that which has been taught]
1Cor. 14:27 If any man SPEAK in an unknown tongue, let it be by two, or at the most by three,
and that by course; and let one INTERPRET.
1Cor. 14:28 But if there be no interpreter,
let him KEEP SILENCE in the church; and let him SPEAK to himself, and to God.
in the name of our Lord Jesus Christ
1.Corinthians 13 Sounding Brass and Tinkling Cymbals
Ephesians 4 Unity in Diversity
Clangs and Gongs in the Classics
Ephesians 6 We Wrestle not with Musical Instruments.
Church as synagogue or Church in the wilderness was exclusively a School of the Word. This never changed and Jesus exampled the synagogue as the pattern for teaching His Word (only). Before getting led astray about "making music on a HARP" instead of "making melod IN our heart" we should hear Paul define why they should SPEAK the Word of Christ.
Psallō IN THE HEART or SILENT simply means to SMITE a string (bow) with the FINGERS but not with the PLECTRUM to make a TWANGING sound. The Psallō in the Bible has no musical component but speaks of the senior leaders plucking a lyre to seduce a younger male whose pubic hairs had been PLUCKED.
Vocal or Instrumental Psallo is NOT Psallō IN THE HEART or SILENT. The Key factor in the Christian Assembly is that both male and female remain silent "so that we might all come to a knowledge of THE TRUTH or the Word of God.
Religious Music was performed by WOMEN or EFFEMINATE Males. They both thought that their condition and public persona proved that they spoke for the "gods." Paul then rebuffs all mediators in song and sermon but the READER because:
1Tim. 2:5 For there is ONE GOD
and one mediator between God and men,
the MAN Christ Jesus;
Paul prevents and outbreak of WRATH or an ORGY
The Evil Psallo 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 canituri,” SING and cantare marked as SORCERY. saltare et cantare; Cic. Catil. 2.10.23 Suet. Tit. 3
In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting. There is a persistent association between theatrics, bad rhetoric and effeminacy.
Rhetoric was forever at pains to disentangle itself from unwanted associations with female deception and histrionic art, because it was viewed as the art of socially weak women and slaves,and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups.
However, from the examples that I have just used, it is evident, I believe, which art of music I consider appropriate in the training of the orator and to what extent.
Nevertheless, I think that I need to be more explicit in stating that the music which I prescribe is not the modern music which has been emasculated by the lascivious melodies of the effeminate stage and has to no small extent destroyed the amount of manly vigor that we still possessed.
I refer rather to the music of old with which people used to sing the praises of brave men and which the brave themselves used to sing.
But this fact does not justify degeneration into sing-song or the effeminate modulations now in vogue. There is an excellent saying on this point attributed to Gaius Caesar while he was still a boy:
"If you are singing, you sing badly; if you are reading, you sing."
The 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 (Phryne—with formosa),”
mŭlĭer , II. Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,” Plaut. Bacch. 4, 8, 4.
Cic. Catil. 2.10.23 In these bands are all the gamblers,
all the adulterers, all the unclean and shameless citizens.
These boys, so witty and delicate,
have learnt not only to love and to be loved,
not only to sing and to dance,
but also to brandish daggers and to administer poisons;
and unless they are driven out,
unless they die, even should Catiline die,
I warn you that the school of Catiline would exist in the republic.
But what do those wretches want? Are they going to take their wives with them to the camp? how can they do without them, especially in these nights? and how will they endure the Apennines, and these frosts, and this snow?
unless they think that they will bear the winter more easily
because they have been in the habit of dancing naked at their feasts. O
war much to be dreaded, when Catiline is going to have his bodyguard of prostitutes!
Suet. Tit. 3 While yet a boy, he was remarkable for his noble endowments both of body and mind; and as he advanced in years, they became still more conspicuous.
He had a fine person, combining an equal mixture of majesty and grace;
was very strong, though not tall, and somewhat corpulent.
Gifted with an excellent memory, and a capacity for all the arts of peace and war; he was a perfect master of the use of arms and riding; very ready in the Latin and Greek tongues,
both in verse and prose; and such was the facility he possessed in both,
that he would harangue and VERSIFY extempore.
Nor was he unacquainted with MUSIC,
but could both SING and PLAY upon the HARP sweetly and scientifically.
I have likewise been informed by many persons,
that he was remarkably quick in writing short-hand,
would in merriment and jest engage with his secretaries
in the imitation of any hand-writing he saw, and often say, "
that he was admirably qualified for forgery."
The Evil Psallo includes: Phrȳnē , ēs, f., = Phrunē.I. A celebrated hetœra in Athens, so wealthy that she offered to rebuild the city of Thebes after it had been destroyed by Alexander: “nec quae deletas potuit componere Thebas Phryne,” Prop. 2, 6, 6; cf. Quint. 2, 15, 9; Val. Max. 4, 3, ext. 3.—II. A Roman courtesan, Hor. Epod. 14, 16.—
Quint. Inst. 2 15.9 So also according to general opinion Phryne was saved not by the eloquence of Hyperides, admirable as it was, but by the sight of her exquisite body, which she further revealed by drawing aside her tunic. And if all these have power to persuade, the end of oratory, which we are discussing, cannot adequately be defined as persuasion.
componere Plin. praef. § 25: carmen,” Cic. Mur. 12, 26: “carmina,” Tac. Or. 12; id. A. 3, 49: “epistulas, blanditias tremulā voce,” T
2. In a bad sense, soft, effeminate, unmanly, weak (syn. effeminatus): “philosophus tam mollis, tam languidus, tam enervatus,” Cic. de Or. 1, 52, 226: “Sabaei,” Verg. G. 1, 57: “viri molles, i. e. pathici,” Liv. 33, 28; Sen. Ep. 87: “disciplina,” effeminate,
III. A procuress, Tib. 2, 6, 45.
The Evil Psallo includes: căno , cĕcĭni, cantum (ancient I.imp. cante = canite, “once canituri,” Vulg. Apoc. 8, 13), 3, v. n. and a. [cf. kanassō, kanakhē, konabos; Germ. Hahn; Engl. chanticleer; kuknos, ciconice; Sanscr. kōkas = DUCK; A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite
Rev. 8:12 And the fourth angel sounded,
and the third part of the sun was smitten,
and the third part of the moon,
and the third part of the stars;
so as the third part of them was darkened,
and the day shone not for a third part of it, and the night likewise.
Rev. 8:13 And I beheld, and heard an angel flying through the midst of heaven,
saying with a loud voice, Woe, woe, woe,
to the inhabiters of the earth by reason of
the other voices of the trumpet of the three angels,
which are yet to sound!
ka^na^kh-ē , Dor. -Kha, hē, (kanassō) Od.6.82; odontōn men k. pele gnashing of teeth, Il.19.365, Hes.Sc.164: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;
k. aulōn sound of flutes, Pi.P.10.39 (pl.), B.2.12, cf. S.Tr.642 (lyr.); of the lyre, h.Ap.185.
ka^na^kh-eō , a Verb expressing various sounds, kanakhēse de KhalkosA.r ang, clashed, Od.19.469; kanakhousi pēgai plash, Cratin.186; kanakhōn holophōnos alektōr crowing, ., k. melos to let a song ring loud, A.R.4.907.
CLANGING BRASS khalkos “sidēros de kai kh. polemōn organa” Pl.Lg.956a SUITABLE FOR OFFERINGS IN TEMPLES OR ANATHEMA
organon , to, (ergon, erdō) A.instrument, implement, tool, for making or doing a thing,
3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhorda” Id.R.399c, al.; “met' ōdēs kai tinōn organōn” Phld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2.
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.Even the Vocal or Instrumental Psallo II. In partic., in ecclestiacal Latin, to sing the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1 Cor. 14, 15
* Sing, play, and dance] “Psallere, saltare.” As psallo signifies both to play on a musical instrument,
and to sing to it while playing, I have thought it necessary to give both senses in the translation.
However Psallō. used in Scripture does NOT include plucking a harp to make music.
Everyone in Corinth wanted to speak their own sermons and sing their own songs. They wanted to speak in their own tongue or MINOR DIALECT while most in Corinth could understand Koine Greek. Unless there was someone to translate they should keep silent.
1Cor. 14:15 What is it then?
I will pray WITH the spirit,
and I will pray WITH the understanding also:
I will sing WITH the spirit,
and I will sing WITH the understanding also.
SPEAKING connected to TONGUES includes Playing Musical Instrument.
We (Disciples) SPEAK "that which is written" or "that which has been taught" or Scripture because we are washed with water INTO DISCIPLESHIP to the Word of God.
Eph. 5:26 That he might sanctify and cleanse it with the washing of water by the word,
Eph. 5:26WEB That he might sanctify and cleanse it
with the washing of water
[INTO] the word, (In Verbo, En, Eis)
Into Converto , epistles of a writer, to be occupied in, Into
INTO: Philo-sophos Love of educatioon, an academy Philo-mathes or Philo-Logos
OPPOSIITE of Sophistes A. master of one's craft, adept, expert,
of diviners, musicians Parapaion Khelon (play the harp, Hieron Melon
(Melody in a religious shrine).
A quibbler, cheate, one who gave lessons FOR MONEY.
Fides (not faithful to the community) but Fides (faithful to Apollon)
IN VERBUM or INTO DISCIPLESHIP.
Discourse, conversation, Oral by word of mouth urnio plura verbo quam s
cripturā mandata dedimus, In eccl. Lat. as a translation of logos,
LOGOS Opposite PATHOS (personal experiences), Opposite folly,
Opposite reasoning, deliberation,
Logos OPPOSITE to
Epagoge bringing in AIDS, alurement, enticement, incantations,
opposite of human reasoning, leading into captivity
Example [Plat. Rep. 364c] any misdeed of a man or his ancestors,
and that if a man wishes to harm an enemy,
at slight cost he will be enabled to injure just and unjust alike,
since they are masters of spells and enchantments1
that constrain the gods to serve their end.
And for all these sayings they cite the poets as witnesses, with regard
to the ease and plentifulness of vice, quoting:“
Evil-doing in plenty a man shall find for the seeking;
Note 1 In Laws 933 D both are used of the victim with epōdais,
which primarily applies to the god.
Cf. Lucan, Phars. vi. 492 and 527.
Epode song sung rto or over, hence, enchantment, spell, charm,
pharmaka (sorcery Rev 18:23)
Isa 44:17 And the residue thereof he maketh a god, even his graven image:
he falleth down unto it, and worshippeth it, and prayeth unto it,
and saith, Deliver me; for thou art my god.
Logos is opposite poetry, meter, metron Jesus spoke without METRON.
WEB In ENDUO denotes either rest or motion within or into a place or thing;
being clothed with,
enter into a context.
Assume the person of
Inducted into the writings of Scriptures.
EXAMPLE: Xen. Cyrop. 8.1.12 If, therefore, those by whom the most numerous and most important affairs of state were to be transacted were not what they ought to be, he thought that his government would be a failure. But if they were all that they ought to be, he believed that everything would succeed. In this conviction, therefore, he took upon himself this charge; and he determined that the same practice of virtue should be his as well.
For he thought that it was not possible for him to incite others
to good and noble deeds, if he were not himself such as he ought to be.
for all of you who were baptized into Christ have clothed yourselves (enduo)
with Christ. Ga.3:27NIV
Washing of water into:
Vulgate IN the Word. Il.; en paidotribou the school of the training master.
We are BAPTIZED into DISCIPLESHIP: Jesus defines the SOLE PURPOSE:
Matt. 28:20 Teaching them to observe all things whatsoever I have commanded you:
and, lo, I am with you alway, even unto the end of the world. Amen.
1Cor. 4:15 For though ye have ten thousand instructors in Christ,
yet have ye not many fathers:
for in Christ Jesus I have begotten you through the gospel.
FOR WHAT PURPOSE:
1Cor. 4:16 Wherefore I beseech you, be ye followers of me.
1Cor. 4:17 For this cause have I sent unto you Timotheus, who is my beloved son,
and faithful in the Lord, who shall bring you into remembrance
of my ways which be in Christ,
as I teach every where in every church.
WHAT IS THE SOLE PURPOSE?
Eph. 5:27 That he might present it to himself a glorious church,
not having spot, or wrinkle, or any such thing;
but that it should be holy and without blemish
We are washed WITH water INTO discipleship to THE WORD: A disciple must BY DEFINITION understand the purpose FOR WHICH he was INDUCTED into the Ekklesia / Synagogue which is A SCHOOL OF THE WORD. That is defined INCLUSIVELY and EXCLUSIVELY by Christ in the wilderness.
You cannot DO ACTS which have the sole purpose of INFLUENCING THE GODS (or filling up the plate) without being a LEGALIST. A DISCIPLE listens to the MASTER TEACHER.
THERE WAS NO SINGING IN THE SYNAGOGUE OR EARLY CHURCHES: Singing as an ACT of worship was added in the year 373 . The songs were not the commanded inspired text or "that which is written." The style was intended to TEACH and ADMONISH and "pleasuring" was outlawed.
III. In milit. lang., t. t., both act. and neutr., of signals, to blow, to sound, to give; or to be sounded, resound.
A. Act.: “bellicum (lit. and trop.) canere, v. bellicus: classicum, v. classicus: signa canere jubet,” to give the signal for battle, Sall. C. 59, 1; id. J. 99, 1:
The word ODE means the simple speaking style and further defines PSALMOS as in the form of "cantillating" the text. Nevertheless, here are some facts you can wrestle to your own destruction but SINGING was an early apostasy.Psalmus , i, m., = psalmos, i. q. psalma,
In the Secular World:
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 distinguished4 by much refinement of wit, and much grace of expression.Elego I. to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215.
The meaning of the Cross:Lego A. In gen.: “oleam, The sweet smell of an offering.
G4717 stauroō stow-ro'-o From G4716 ; to impale on the cross;
figuratively to extinguish (subdue) passion or selfishness:—crucify.
How to recrucify Jesus Christ:
Here is what an agitator does nothing its connection to "crucify."
Anastatoo (g387) an-as-tat-o'-o; from a der. of 450 (in the sense of removal); prop. to drive out of home, i.e. (by impl.) to disturb (lit. or fig.): - trouble, turn upside down, make an uproar, to stir up, excite, unsettle to excite tumults and seditions in the state to upset, unsettle, minds by disseminating religious error.
Galatians 5:1.-"With freedom did Christ set us free; stand fast therefore.115 ."
"I would that they which unsettle you would even cut themselves off." And he says well "that unsettle you."
"A man that is heretical after the first and second admonition refuse." (Tit. iii: 10) If they will, let them not only be circumcised, but mutilated.
Where then are those who dare to mutilate themselves; seeing that they draw down the Apostolic curse, and accuse the workmanship of God, and take part with the Manichees? ...
But if you will not allow this, why do you not mutilate the tongue for blasphemy, the hands for rapine, the feet for their evil courses, in short, the whole body?
For the ear enchanted by the sound of a flute hath often enervated the soul;
and the perception of a sweet perfume by the nostrils hath bewitched the mind, and made it frantic for pleasure.
1. To take out, pick out, extract, remove: 2. To pluck, strip, gather fruit from (a tree, etc.): “oleam qui legerit,” Cato, R. R. 144, 1: “ficus non erat apta legi,
5. To take to one's self unjustly, to carry off, steal, purloin, plunder, “soceros legere et gremiis abducere pactas,” Verg. A. 10, 79
Abducto 3. To carry away forcibly, to raxish, rob: “ad quem iste deduxerat Tertiam, Isidori mimi flliam, vi abductam ab Rhodio tibicine,”
Vergil Aeneid commentary [6.645] Orpheus was one of the mythical fathers of song, and his name was associated with revelations about the lower world, supposed to be preserved by secret societies (Dict. M. Orpheus), so that he is naturally made the harper who plays while the blessed spirits dance and sing. He is called ‘sacerdos,’ as in Hor. A. P. 391 he is called “sacer interpresque deorum.” The long robe was characteristic of musicians, as Cerda shows, comp. Prop. 3. 23. 16, “Pythius in longa carmina veste sonat” (of the statue of Apollo in the Palatine temple), and also Hor. A. P. 215, Ov. F. 6. 654, 688, where the long robes of the ‘tibicines’ are mentioned and accounted for. ‘Cum veste’ above v. 359. Elsewhere we have ‘in veste,’ as 12. 169, “puraque in veste sacerdos.”To take people's money
Tibicino To play upon the pipe or flute: “ordo tibicinantium,”
See more on Cantus : “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:Verg. A. 10.79
Be it so!
Cassandra's frenzy he obeyed. What voice —
say, was it mine?—urged him to quit his camp,
risk life in storms, or trust his war, his walls,
to a boy-captain, or stir up to strife
Etruria's faithful, unoffending sons?
What god, what pitiless behest of mine,
impelled him to such harm? Who traces here
the hand of Juno, or of Iris sped
from heaven? Is it an ignoble stroke
that Italy around the new-born Troy
makes circling fire, and Turnus plants his heel
on his hereditary earth, the son
of old Pilumnus and the nymph divine,
Venilia? For what offence would Troy
bring sword and fire on Latium, or enslave
lands of an alien name, and bear away
plunder and spoil? Why seek they marriages,
and snatch from arms of love the plighted maids?
An olive-branch is in their hands; their ships
make menace of grim steel.
Canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.)2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing, drawl: si cantas, male cantas, si legis, cantas
C. Hence, because the oracles were of old uttered in verse, of any mysterious, prophetic, or warning utterance, to predict, warn, point out, indicate, make known, say
III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm, Cato, R. R. 160, 1; Varr. R. R. 1, 2, 27: “frigidus in pratis cantando rumpitur anguis,” Verg. E. 8, 71: “cantata Luna,” exorcised by magic, Prop. 4 (5), 5, 13: “falx,” Ov. H. 6, 84: “herbae,” id. M. 7, 98: “ignis,” Sil. 1, 430: “tum quoque cantato densetur carmine caelum,” an incantation, Ov. M. 14, 369.—B. To call forth, produce by charms: “et chelydris cantare soporem,” Sil. 8, 498: “cantata umbra,” Luc. 6, 767.
Sopor 2. Pregn., the sleep of death, death: “in soporem conlocastis nudos,” Plaut. Am. 1, 1, 148; 1, 1, 150: “aeternus,” Lucr. 3, 466: “perpetuus,” Hor. C. 1, 24, 5.—
C. Poppy-juice, opium: “e nigro papavere sopor gignitur scapo inciso,” Plin. 20, 18, 76, § 198.—
Therefore, there can be no argument about the style of singing or about instruments. MUSIC had no place in the ekklesia, synagogue or school of the Bible.
Click to see that Paul was commanding the ASSEMBLY as forms of the word "synagogue" or school of the Bible. This is why he commanded TEACH or SPEAK and not "make music."
The word elegos is probably not Greek, but borrowed from the Lydians, and means a plaintive melody accompanied by the flute.If Paul intended both sing AND Play the word is:
How it happened that the word was applied to elegiac poetry, the earliest representatives of which by no means confined it to mournful subjects, is doubtful. It may bethat the term was chosen only in reference to the musical setting,
the elegy having originally been accompanied by the flute
Anti-psallô, A.play a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Elegos , ho,
A.song, melody, orig. accompanied by the flute
Play is also katapsallô ,
A.play stringed instruments
He used neither.
The Old Testament leaves a universally bad taste when instrumental music or any kind of body work is used to try to worship God whom people believed responded to human, carnal appetites. Under the kings, Israel worshipped like the nations and was destroyed like the nations. This was in fulfilment of the sentence imposed upon Israel when they rose up to play in musical idolatry at Mount Sinai. God then "turned them over to hard bondage" to "serve the hosts of Heaven." This star worship was of Osiris for over 400 years in Egypt, was the worship of Israel at Mount Gerezim condemned by Amos 5, 6 and 8 and later imposed upon the temple-state under Solomon along with the rest of the "gods."
The "musicians" were Labor Leaders or Overseers or Excellers:
The "chief musicians" or "musical Levites" were "overseers":
And Solomon told out three score and ten thousand men to bear burdens, and fourscore thousand to hew in the mountain, and three thousand and six hundred to oversee (excel) them. 2Chr 2:2
And the men did the work faithfully: and the overseers of them were Jahath and Obadiah, the Levites, of the sons of Merari; and Zechariah and Meshullam, of the sons of the Kohathites, to set it forward; and other of the Levites, all that could skill of instruments of musick. 2Chr.34:12
"Other expressions of popular singing are the working songs, of which the early rabbinic literature speaks with contempt." (Interpreters Dictionary of the Bible, p. 460, Abingdon).
Perhaps the musicans should go out to the construction sites and cheer up the workers. Didn't the musicians magically raise the rocks to build Thebes to give the workmen rest? But, the construction forman would probably call the law because you it be dangerous.
Those who "set forward" the work of the temple excelled which means:
Nacach (h5329) naw-tsakh'; to glitter from afar, to be eminent as a superintendent, especially of the Temple services and its music; also to be permanent, to excel, chief musician, singer, overseer, set forward. (The Worship team or Minister of Music is the overseer or anxiety inducer).
Of which, twenty and four thousand were to set forward the work of the house of the Lord; and six thousand were officers and judges: 1Chr.23:4
Another description shows that the musical worship teams were the overseers of the group:
Paqiyd (h6496) paw-keed'; from 6485; a superintendent (civil, military or religious): - which had the charge, governor, office, overseer, [that] was set.
Now it came to pass, that at what time the chest was brought unto the kings office by the hand of the Levites, and when they saw that there was much money, the kings scribe and the high priests officer came and emptied the chest, and took it, and carried it to his place again. Thus they did day by day, and gathered money in abundance. 2 Chr.24:11
Of the sons of Asaph, the singers were over the business of the house of God. Ne.11:22b
Melakkah (h4399) mel-aw-kaw'; from the same as 4397; prop. deputyship, i. e. ministry; gen. employment (never servile) or work (abstr. or concr.); also property (as the result of labor): - business, * cattle, * industrious, occupation, (* -pied), * officer, thing (made), use, (manner of) work ([man], -manship).
What we call "Worship" was hard labor of bondage imposed at Mount Sinai
David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1 Chronicles 25:1
Abodah (h5656) ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought
Abad (h5647) aw-bad'; a prim. root; to work (in any sense); by impl. to serve, till, (caus.) enslave, etc.: - * be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labour (-ing man), bring to pass, (cause to, make to) serve (-ing, self), (be, become) servant (-s), do (use) service, till (-er), transgress [from margin], (set a) work, be wrought, worshipper.
The tribe of Levi was to carry the burden for the people in a new secular kingdom. When they are playing instruments of David during the burning phase the common people are excluded under penalty of death. The Levites and another class of workmen had tens of thousands of animal carcasses to burn. Those who are said to "worship" did so by falling on their face: singing with instruments is never called an act of worship.
The backgroud of Psallo is a millitary or warrior background. Instruments were "sounded" to panic the enemy into running like a coward but they were not used to "worship" which always occurs "in spirit" or in the mind. Anything which disturbs this "in mind" worship is a hindrance and not a help.
Scholars have aptly called musical performance "the idolatry of talent." And as a result, God is remade in the image of secular man.
Augustine on the Psalms noted that making melody external is a work which David always performed trying to find God whom he believed had become lost:
"Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5). Praise Him not with the voice only; take up works, that ye may not only sing, but work also.
- He who singeth and worketh,
- maketh melody with psaltery and upon the harp.
In Hebrew, the "bow twangs" or "harp sounds" or "spear clanks" were defined by a word which is used or both "instrument" and "Weapon":
Keliy (h3627) kel-ee'; from 3615; something prepared, i. e. any apparatus (as an implement, utensil, dress, vessel or weapon): - armour ([-bearee]), artillery, bag, carriage, / furnish, furniture, instrument, jewel, that is made of, * one from another, that which pertaineth, pot, / psaltery, sack, stuff, thing, tool, vessel, ware, weapon
The New Testament also has some negative comments about music and defines "singing" and "melody" in a radically new way: that already common among the Koine-speaking common people. The word for "melody" is derived from "grinding to bits" and the "sop" which Jesus fed Judas whose "bag" was for holding the mouthpieces (reeds) of wind instruments; it is derived from "speaking in tongues" plus "of the world."
Paul defined these "lifeless instruments" or "carnal weapons" by words showing that they were destructive, could both guard and pacify the lambs with the bow or could attract the SEEKERS with musical and dramatic performance. The classical writers show how low the word had sunk.
Furthermore, there is no command, example or inference that Jesus wanted us to worship with instruments -- or singing sentimental poetry for that matter --which the classical writers considered human works added to simple one-another singing where "singing" was reciting the already-composed songs and already-preached sermons. However, the make-work principle has governed most religion, beginning in the Garden of Eden.
As proof of the Scripture's inspiration, each and every effort to force it to approve of music as the works of human talent and hands fails. Human authority, however, is usually derived from books which are notorious for misquoting the historical writers such as Clement of Alexandria.
Therefore, another dodge which must flow from a shallow understanding and application of Scripture, is to show that those who consider musical worship as sinful but do not consider musical instruments in the home as sinful and are therefore inconsistent. The obvious bait and switch is to say that if instruments are not sinful in the home then you must be consistent (smart) and allow instruments in the worship -- while you enjoy the "performance."
Instrumental music in worship is often defended by the fact that we use instruments in the home. However, we have to ask:
"Is eating steak for the Lord's Supper sinful?" Overwhelmingly, "Yes." "Is eating steak to recover from the musical worship Sunday "worship" sinful?" Overwhelmingly, "No." Well, this just proves that you are inconsistent " No. It just means that we have discernment. Music is not wrong within itself. In worship it, by definition, takes the place of the Words of Christ.
The principle is not legal: Jesus doesn't care what you eat. However, if you eat steak because it tastes good or sing performance music for the audience during the Lord's Super you are showing little concern for the participants and for the Lord whom it is supposed to honor as we "silently search for leaven" in our own life.
Paul illustrates short periods out of the week to come together, sit down, shut our mouths and learn from Him. We eat the Lord's Supper with unleavened bread and unleavened fruit of the vine to honor Jesus and not the old, legalistic mediating clergy Whom Jesus replaced. Please get it: you cannot do both! Jesus said that the clergy loaded the "pack animals" down with "anxiety created by religious ritual" but He came to give us "rest and to take our ease" from such Spirit-wounding warfare.
But in some dictionaries, the word "psallo" demands the use of instruments.
"Psalm" is a Greek and not a Hebrew word. The Hebrew simply means "praise" and does not include an instrument unless one is specified:
Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Am.5:23
Lucifer is the "Babylon whore" of the end-time religion. In Tyre, he/she was a harp-playing prostitute who wanted to be remembered "as a male."
And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isaiah 23:15
"Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Isaiah 23:16
Singing "as a harlot" or warrior meant "taking up a harp."
- She said, and from her quiver chose with speed
- The winged shaft, predestin'd for the deed;
- Then to the stubborn yew her strength applied,
- Till the far distant horns approach'd on either side.
- The bowstring touch'd her breast, so strong she drew;
- Whizzing in air the fatal arrow flew.
- At once the twanging bow and sounding dart
- The traitor heard, and felt the point within his heart.
- Him, beating with his heels in pangs of death,
- His flying friends to foreign fields bequeath.
- The conqu'ring damsel, with expanded wings,
- The welcome message to her mistress brings.
In this SOUNDING or OVERSEEING the bow, string and arrow shaft twang "musically" just before your heart spouted blood and you accompanied it with the "drumming" of your dying feet.
As a father's I repeat.
Son of Latona, Paean, Paean, hail!
Never, O never may thy honours fail!
Now from this labour with the laurel bough
I cease; and sprinkling from the golden vase
The chaste drops which Castalia's fountain rolls,
Bedew the pavement. Never may I quit
This office to the god; or, if I quit it,
Be it, good Fortune, at thy favouring call!
But see, the early birds have left their nests,
And this way from Parnassus wing their flight.
Come not, I charge you, near the battlements,
Nor near the golden dome. Herald of Jove,
Strong though thy beak beyond the feather'd kind,
My bow shall reach thee. Towards the altar, see,
A swan comes sailing: elsewhere wilt thou move
Thy scarlet-tinctured foot? or from my bow
 The lyre of Phoebus to thy notes attuned [sunoidos]
Will not protect thee; farther stretch thy wings;
Go, wanton, skim along the Delian lake,
Or wilt thou steep thy melody in blood.
If "instruments" are inherent in the word psallo then each singer must have their own instrument or they cannot psallo. If all human experience is not adequate, it may help to summarize some of the evidence which denies that psallo gives authority for legalistic, performance mechanical worship. First, look at one of the examples:
And be not drunk with wine, wherein is excess; but be filled with the Spirit; Ephesians 5:18
........... Speaking to yourselves in psalms and hymns and spiritual songs,
........... singing and making melody in your heart to the Lord; Ephesians 5:19
You cannot help notice that the "operative" command is not to sing or make melody but to teach or preach by speaking. Teach is the same word as preach. If the preacher won't let you play the flute while he preaches then God won't be happy with you if you have a team of "sister singers" trying to seduce Him while He is speaking.
We can settle the issue quickly and move on. If Psallo means to sing a song with musical accompaniment then Paul said:
Speaking (teaching, dialoging) to yourselves in psalms and hymns and spiritual songs,
(singing) and (singing with instruments) in your heart to the Lord; Ephesians 5:19
Or shouldn't we understand this as typical parallelism which says:
Speaking to yourselves in psalms and hymns and spiritual songs,
Which says in parallel way to emphasize and guard against misunderstanding:
singing and making melody in your heart to the Lord; Ephesians 5:19
What this already meant to the Psalm writers was that one sings to god when one praises God which is to tell what He has done:
(external) I will confess you among the nations, O Lord; and
(internal) I will sing (psalo) to your name." Psalms 18:49 (quoted in Rom. 15:19),
Sing (psalate) to the Lord, O you his saints, in recollection of his holiness.' Psalm 30:4,I will confess you, Lord, with my whole heart,
because you have heard the words of my mouth;
and I will sing (psalo) to you before the angels.' Psalms 138:1,
Sing (psalate) to the Lord, O you his saints, in recollection of his holiness.' Psalm 30:4,I will confess you, Lord, with my whole heart,
because you have heard the words of my mouth;
and I will sing (psalo) to you before the angels.' Psalms 138:1,
O give thanks unto the Lord; call upon his name:
........... make known his deeds among the people. Psalm 105:1
Sing to the LORD, for he has done glorious things;
........... let this be known to all the world. Isaiah 12:5
What this meant to Jesus:
We know that Jesus disparaged the Jewish clergy as "children playing musical games." They tried to pipe to artificially induce the choral dancing madness into Him. The associated words connecting the PAIS as the leaders of the musical procession also are associated with sodomy as an end product of the charismatic effor.
We know that Jesus did not "psalm" but hymned:
Humneo (g5214) hoom-neh'-o; from 5215; to hymn, i.e. sing a religious ode; by impl. to celebrate (God) in song: - sing an hymn (praise unto).
We know that "psalming" is not mentioned in any gospel account but it is used of both Jesus and others to speak of what was recorded in the Psalms. These were poetic records of the history of the Jews. Only later did the Jews set them to music:
And David himself saith in the book of Psalms, The Lord said unto my Lord, Sit thou on my right hand, Luke 20:42
Even "unspiritual" Psalms would be suitable for the Christian assembly if we understood the activity in Paul's words to "teach and admonish." To teach the Jewish history would not be to endorse all of it.
We know that Jesus denied the value of David's "singing" by using the word "saith"--
Lego (g3004) leg'-o; a prim. verb; prop. to "lay" forth, i.e. (fig.) relate (in words [usually of systematic or set discourse.
We know that when these hymns were sung in a collective sense they were not solos or performances for others (see more below):
Odai are the cultic songs of the community. They are not sung by the individual, but by the community gathered for worship
What this meant to Paul:
Now I say that Jesus Christ was a minister (public servant) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8
.......And that the Gentiles might glorify God for his mercy; as it is written,
........... ...(external) For this cause I will confess to thee among the Gentiles,
........... ...(internal) and sing unto thy name. Romans 15:9
Paul understood singing in this two-part method of teaching one another with the Biblical text while the singing is directed to God. He said the same thing to the Ephesians and Colossians.
What this meant to some early disciples who understood Paul literally
This demands both a horizontal (one to another) teaching process, and a vertical (to God) process. The horizontal process is audible; the vertical process is silent:
First, some early groups understood this literally: speaking to one another to memorize, or speak already-memorized Biblical text, was to teach the Words of Christ which already filled the mind and heart of the people.
Second, the singing and melody was "in the heart" and it was directed "to God."
What this must mean for our worship
If we have any concern for the Psalmist, for Jesus' experience and teaching and for Paul, we must show regard for Christ Who inspired the Word. The Biblically-defined task remains the same: the collective assembly must be to teach one another the Words of Christ and God does not need to be instructed nor entertained. The result will be the education of the collected group and this, in turn, sings to and gives glory to God.
We will see further that the "oding" was an act of the community and it cannot be done by one person to the congregation any more than speaking or dialouging can be a one-person preaching performance.
From "filling up with the Spirit" or "the Word of Christ" in Colossians 3:16 the actions are: be informed of the words of Christ (Spirit John 6:63), speak those words one to another, the result will be teaching and warning one another, we will honor Christ by recycling His Words back to Him or else they are void and there will be unity which can come only through unison-type dialog and singing.
Looking at What Messiah Would bring to the World.
In Isaiah 11 Messiah would not be filled with a "little person" other than Himself as full Deity. Rather, Isaiah predicted that the Spirit which rested upon Him would be:
And the spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the Lord; Isaiah 11:2 and spirituality or "quick understanding" in the next verse.
Paul defined the Holy Spirit (to us) as the Mind of Christ (1 Corinthians 2). Christ left that Spirit in His Words. Later, Isaiah defines a process much like that defined by Paul in his "singing" passages.
Christ supplies all of our food stuffs for both body and soul. This form of presenting Christ's revelation is not new to Paul; it appears throughout the Word.
The Spirit which flowed out from the 'belly" was the Word of God which if ignored by substituting "another" spirit you are substituting another Christ and another gospel.
- HO, every one that thirsteth, come ye to the waters, and he that hath no money; come ye, buy, and eat; yea, come, buy wine and milk without money and without price. Isaiah 55:1
- Wherefore do ye spend money for that which is not bread? and your labour for that which satisfieth not? hearken diligently unto me, and eat ye that which is good, and let your soul delight itself in fatness. Isaiah 55:2
- Incline your ear, and come unto me: hear, and your soul shall live; and I will make an everlasting covenant with you, even the sure mercies of David. Isaiah 55:3
Christ is the witness, leader and commander to lead the nations or unbelievers to Himself as the only Holy God of the universe.
- Behold, I have given him for a witness to the people, a leader and commander to the people. Isaiah 55:4
- Behold, thou shalt call a nation that thou knowest not, and nations that knew not thee shall run unto thee, because of the Lord thy God, and for the Holy One of Israel; for he hath glorified thee. Isaiah 55:5
Paul demands that we fill up with Spirit or the Word of Christ because it is terminal presumptiousness to believe that you can interpret better than the Holy Spirit.
- Seek ye the Lord while he may be found, call ye upon him while he is near: Isaiah 55:6
- For my thoughts are not your thoughts, neither are your ways my ways, saith the Lord. Isaiah 55:8
- For as the heavens are higher than the earth, so are my ways higher than your ways, and my thoughts than your thoughts. Isaiah 55:9
The water comes down, does its creative work and returns to the clouds or else life would cease. The same is true of God's words: if we don't use and return His Words to Him our "singing" is vain. Jesus called this "vain religion."
- For as the rain cometh down, and the snow from heaven, and returneth not thither, but watereth the earth, and maketh it bring forth and bud, that it may give seed to the sower, and bread to the eater: Isaiah 55:10
- So shall my word be that goeth forth out of my mouth: it shall not return unto me void, but it shall accomplish that which I please, and it shall prosper in the thing whereto I sent it. Isaiah 55:11
Feeding on the Word allows us to enjoy the peace and unity Paul spoke of. The "heart" of God's creation can then sing and clap their hands.
- For ye shall go out with joy, and be led forth with peace: the mountains and the hills shall break forth before you into singing, and all the trees of the field shall clap their hands. Isaiah 55:12
God's people will prosper and God alone will get the glory. However, music is often called "the shawms of a dying civilization." Instead of the thorn shall come up the fir tree, and instead of the briar shall come up the myrtle tree: and it shall be to the Lord for a name, for an everlasting sign that shall not be cut off. Isaiah 55:13
In the New Testament:First, the word "psallo" originally carried the idea of the twanging sound made by a bowstring, stretched hide or gut or anything which would vibrate or make a grinding sound when put through the mill. Musical devices were often produced from polluted animals which died of themselves and could not be used for religious purposes. For instance, the hide of a goat left when the decayed body could be slipped out without damage to the skin could be made into a lyre or drum.
I have a flute made from a deer bone the dog drug up, gnawed, buried, dug up, and allowed to weather. I had to pollute it by boring holes and when I blew the sound was not a "god" inside but the noise of my own foul, polluted breath.
Until in the last century scholars did not know that the New Testament was written in Koine Greek: the language of the marketplace and not the classical Greek writers.
When the New Testament was written, psallo did not include musical instruments primarily because of the universal association between musical instruments and pagan religion which always attracted worshippers (secular seekers) by the display of female or effeminate male musical or dramatic talent.
Second, we can understand PSALLO by how the New Testament writers used the word. That is, the use of "singing" does not include a form of entertainment to solicit customers as it had in paganism; it is used as a parable for teaching the gospel message or anything taught by the Spirit of Christ.
Third, we can understand psallo by the fact that none of the credible translations include the musical instrument. To claimthat the Greek it included instruments" discounts two thousand years of Biblical scholarship.
Fourth, the very definition of every single musical term in both the Old and New Testament carries a very destructive, negative meaning, and are derived from even worse Hebrew and Greek roots. This includes the Hebrew word translated melody.
Fifth, if psallo includes musical instruments then the apostles rejected the command of Christ and their own letters because we have no clear statement that they "psalloed upon a harp." To the contrary, Paul implicates musical instruments in speaking in tongues which was part of the "get drunk with wine" and music of Greek religion.
Six, The early church clearly understood that psallo did not include instruments and was horrified and always deliberately divided by those who tried to introduce them. Many of those who introduced instruments were deliberately chasing away those who interfered with their role in the churches.
The word psallo occurs five times in the New Testament: Romans 15:9; 1Cor 14:15 (twice); Eph 5:19; and James 5:13. Without an exception, all the standard translations, King James, English Revised, American Standard, and Douay (Roman Catholic), render psallo as "sing, sing psalms, sing praise, make melody." Again to quote Paul:
The Solution to Warfare Against Jesus with Music
15:1 WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves.
15:10 And again he saith, Rejoice, ye Gentiles, with his people.
Romans 15:2 Let every one of us please his neighbour for his good to edification.
Romans 15:3 For even Christ pleased not himself; but, as it is written, The reproaches of them that reproached thee fell on me.
15:11 And again, Praise the Lord, all ye Gentiles; and laud him, all ye people.
For whatsoever things were written aforetime were written for our learning (teaching), that we through patience and comfort of the scriptures might have hope. Romans 15:4
And again, Esaias saith, There shall be a root of Jesse, and he that shall rise to reign over the Gentiles; in him shall the Gentiles trust. Romans 15:12
Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Romans 15:5
Now the God of hope fill you with all joy and peace in believing, that ye may abound in hope, through the power of the Holy Ghost. Romans 15:13
That ye may with one mind and one mouth glorify (tell of His works) God, even the Father of our Lord Jesus Christ. Romans 15:6
And I myself also am persuaded of you, my brethren, that ye also are full of goodness, filled with all knowledge, able also to admonish one another. Romans 15:14
Now I say that Jesus Christ was a minister (deacon) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8
Nevertheless, brethren, I have written the more boldly unto you in some sort, as putting you in mind, because of the grace that is given to me of God. Romans 15:15
And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will
(2) that the offering (bloodless sacrifice) up of the Gentiles might be acceptable, being sanctified by the Holy Ghost. Romans 15:16
(1) confess to thee among the Gentiles, and
(1) That I should be the minister of Jesus Christ to the Gentiles, ministering the gospel of God,
(2) sing unto thy name. Romans 15:9
ministering the gospel of God,
In Luke Luke 20:42 psalmos is the book of Psalms; in Rom. 15:9 sing is psallo.
This is quite identical to the pattern of Psalm 105:
in his holy name:
let the heart of them rejoice
that seek the Lord. Psalm 105:3
In Paul's other letters, the teaching or confessing is to others while the "singing" or melody is directed toward God. To direct the talent to the "audience" is changing the Christ-ordained direction of information flow. The result was to speak to the god (generic word used) which was to speak into the air. From the classical writers we know that the demons or angels inhabited the air and that people sang or spoke in tongues to them.
This was a prophecy that Lord Jesus Christ would "sing unto the Gentiles." It would be outrageous for the Incarnate God of the universe to bring in a band to help teach the gospel. He used a form of "singing" which was speaking in a style which would carry to the outermost edges of the crowd. This was called cantillating. It was reserved for the collective assembly. This "singing" happens when anyone ministers the gospel:
That I should be the minister of Jesus Christ to the Gentiles, ministering the gospel of God,
that the offering up of the Gentiles might be acceptable, being sanctified by the Holy Ghost. Romans 15:16
We know that Jesus chanted the traditional hymns during Passover (a family institution) but He never "sang" nor did He play instruments and He wouldn't dance to the clergy's tune.
This was also God's message to the Jews. The singing was not to the "congregation" but to the Lord as the result of teaching His Word to the congregation or the world. Much of this inspired sermonized and versivied material is presented in an easily-remembered form of poem or song:
O give thanks unto the Lord; call upon his name:
........... make known his deeds among the people. Psalm 105:1
Sing to the LORD, for he has done glorious things;
........... let this be known to all the world. Isaiah 12:5
However, God had already condemned the people with Zemar which was to prune the vine:
I will make it a wasteland, neither pruned nor cultivated, and briers and thorns will grow there. I will command the clouds not to rain on it." Is.5:6
One of the reasons was, according to Amos, their daily religious festivals at which they worshipped their own appetites:
And (you have) the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:
........... but they regard not the work of the Lord,
........... neither consider the operation of his hands. Isaiah 5:12
Of Jesus "singing to the Gentiles"
First, Again, Jesus never played a musical instrument while He taught eternal truth.
Second, Jesus specificially repudiated the Jewish clergy as being little children because they "piped" and tried to force Him to sing and dance just as the women of Dionysus worshipped even in Jerusalem. Jesus never "psalloed" but "hymned" after Passover. This was not singing but reciting one of the Psalms.
Conclusion: Paul did not understand "singing to the Gentiles" as including a musical instrument. He defined it as to "fill up with the Spirit" or "the Words of Christ" and then let it pour out to those who had never heard the gospel.
If instruments would remotely aid the evangelistic effort then Paul didn't know about it.
The next passage which translates psallo as sing is:
What is it then? I will pray with the spirit, and I will pray with the understanding also: I will sing with the spirit, and I will sing with the understanding also. 1 Corinthians 14:15
The "spirit" for this action is the already-revealed Words of Christ (Col 3:16; John 6:63) or they are freshly-inspired information which the entire fellowship urgently needs. This urgent message from God must be spoken in clear, understandable words. The style was not modern harmony but cantillation or urgent speaking. There is no clue that any inspired person existed in the church in Corinth. Therefore, the "spirit" or Mind of Christ or Words of Christ must come from teachings they have heard or portions of Scripture being circulated.
Paul has already disparaged instruments in 1 Corinthians 13:1 by equating them to speaking in tongues. The background is that he also uses the terms gongs booming and cymbals clanging to speak to the instruments used to create the "prophesying" he mentioned in 1 Cor. 11:5 outside of the assembly. This was a pagan form of ecstatic speech or speaking in tongues. These terms are quite identical to the "familiar spirit" of the witch of Endor and the singing is recognized in the classical writers as "prophesying" or pretending to get a message from the gods.
Unless any of these people were inspired, Paul demanded that they sit down and be silent. If there happened to be one inspired person in the assembly he must speak or sing his revelation one at a time but there must be another inspired person to guaranteed with two witnesses that he wasn't singing his own composition or preaching out of his own mind. Because there isn't a clue that anyone in Corinth was inspired, Paul does not really command any form of singing except to oneself.
The melody or "twanging" which people might try to insert into his revealed message is defined by Paul: He said to "twang or pluck" with the spirit and "twang or pluck" with the understanding. This means the thinking nature of the brain as well as the spirit or "mental disposition" of the mind or brain.
Conclusion: This leaves no room for twanging a harp or a twanging musical worship team because he did not say: "Twang with the harp" or "Twang with a team" unless that team is inspired and therefore knows something which is not readily available to all through the free Word.
The next use of psallo is in Ephesians 5:
In Ephesians 4 and 5 Paul described the assembly of the pagans where wine, singing, instrumental music and dancing was used to create an artificial "spirit" so that they "prophesied." We would hear this as speaking in tongues. In chapter 4 and 5 Paul also shows that God pours out His wrath by the use of wrathful men who are identified by the modern form of out-of-your-mind charismatic preaching, shouting, hand waving and dancing across the stage. The Church Fathers identified this as God inducing an effete principle, as with Saul, and this was supposed to cause people to just consider him mad.
On the other hand, either in or out of the "when you all come together" sense, Paul defined a radically new form of "music" which was the same Jesus-way of teaching the revealed Words of God.
If Paul was not speaking of "in the assembly" then there is no authority for any form of singing "in church." Therefore, there would be no authority for instruments. Then ask:"Why would you deliberately with malice aforethought divide a congregation over something you agree is not covered by inspiration?"
I think that the answer is: "Because I have lost faith in inspiration. I have tried the right-wing patterns of rough meanness, and the left-wing paradigms of slick meanness and they both leave me cold."
Let me suggest a new pattern: Just read and dialog (usually translated as preach) the total Word from Genesis to Revelation without taking out little tidbits to make sermons and songs in your own image. This allows the Spirit of Christ to do His work whether one-hour-a-week patterns develop or not.
Paul certainly would not be speaking of a casual conversation because no sane person would try to teach the Words of Christ in the coffee shop with a hot-wired chorus or musical instrument -- they would haul you off and lock you up.
Paul defined that which the Ephesians should not do by defining a co-participation in an assembly in contrast to evidence from the classical writer's testimony of singing groups and musical instruments to "induce" the "spirit." The motive was singular: to strip you of your money before you could get out of town because the "prophetesses" ("worship" singers) knew that the message was obtained by ventriloquism and, in fact, the business deal went sour and you lost money.
And have no fellowship with the unfruitful works of darkness, but rather reprove them. Ephesians 5:11
For it is a shame even to speak of those things which are done of them in secret. Ephesians 5:12
Paul defined the meaning of unfruitful works in First Corinthians where he mentions singing without musical instruments after he has equated speaking in tongues with an attempt to teach or lead with musical instruments:
For if I pray in an unknown tongue, my spirit prayeth, but my understanding is unfruitful. 1 Corinthians 14:14
He did not say "when I pray in an unknown tongues." This meant that Paul's "inner man" would be disconnected from his understanding so who could tell what was happening.
By ommiting "instruments" as that upon which the melody was to be made and by equating instruments to speaking in tongues or unfruitful works -- which we know was usually done in the darkness of the pagan temples -- Paul absolutely repudiates musical instruments.
We know exactly what happened as the "mysteries" were administered behind closed doors. The singing, dancing, instrumental music and even wine broke down the walls between the sexes and it was a carnal gathering. Whether we can touch or not, performing women in non-sedantary pastoring roles with beauty and clothes and gesture become the focus of the seekers; you cannot see Christ through a veil of beauty and talent. That's why Jesus liked the closet and the rural setting with sheep alongside quiet waters.
Wherefore be ye not unwise (egotistical, ignorant, lacking understanding as in 1 Cor 14:20), but understanding what the will (what Jesus taught) of the Lord is. Ephesians 5:17
And be not drunk with wine, wherein is excess; but be filled with the Spirit; Ephesians 5:18
Speaking (speaking or dialoging) to yourselves in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord; Ephesians 5:19
"Philo uses humnos regularly for the OT Psalms."
We noted that the Greek demands speaking to one another in a liturgical sense, while the pagans used singing, instrumental music and dancing groups to perform for the paying audience. This was a violation of the Christian principle of a "one another" ministry.
The Theologial Dictionary of the New Testament notes that:
"In the NT there is still no precise differentiation between ode, psalmos, and humnos. e.g., in Col.3:16 or Eph.5:19, in contrast to a later time, when ode (canticum) came to be used only for biblical songs (apart from the Psalms) used in liturgy. From the NT passages we may gather the following elements in the concept or the Christian ode as also confirmed from other sources.
(Our note: Sing in Ephesians 5:19 is Ode (g5603) o-day'; from 103; a chant or "ode" the gen. term for any words sung)
"a. Odai are the cultic songs of the community. They are not sung by the individual, but by the community gathered for worship...
Of a piece with this is the anonymity or the early authors, as also the attachment to OT tradition. Only in the 2nd century are the authors sometimes mentioned. In the Didascalia, 2, p..5.29, we can still read: 'It thou desirest hymns, thou hast the Psalms of David."'
"b. The ode is inspired. This is shown by the epithet pneumatikos, though it does indicate more generally its religious character. . . . With the inspiration or hymns is linked their improvisation, e.g., in I C. 14:26 (cr. Acts 4:24); Tert. adv. Marc., 5,b; Apolog. 39,18." (Note: and condemned, we might add).
In Acts 1:20 psalmos is the book of Psalms and in Rom. 15: sing is psallo.
- "Psallo is best translated by chant,
- not sing.
- The Greeks sharply distinguish chanting (psalmodia)
- from singing (tragoudi).
- The first is a sacred activity;
- the second, a secular one. In English,
- unfortunately, the distinction is not sharp. Constantine Cavarnos
Singing self-composed songs with literal or psudo-instruments (complex harmony) is of the KOSMOS or the earth. On the other hand, group singing of the revealed message with no special improvizing and talent-display is Spiritual.
The pagan prophetesses and the rare male performed the music for the paying worshipper while they (he) drank wine to enhance the sexual or "fertility" feelings created by the temple musicians. The sexual content was not just "show and tell" but the act was consummated by a prophetess. This was sold by the male proprietors-for-life of the temple as "knowing their god personally." The word melody or Greek Psallo was derived from words meaning to stretch, twist, grind to bits and is somewhat like the sop Jesus ground off to give Judas as a supernatural sign.
Therefore, Paul used common Greek words in a new way of the common people as opposed to the theatrical temples. They were to treat the "women" as mothers or sisters and not as musical-dramatic performers or sex-objects who, when unveiled, urged and invited sexual feelings if not consumation. Wine was excluded because wine inherently creates a distorted mind almost identical to that created by music as it creates endorphins or a morphine-like drug. Paul specificially placed the melody or "breaking or grinding" in the heart or mind because the task was to teach and admonish. By defining the instrument upon which the melody took place Paul excluded any non-spiritual musical instrument. He defines such instruments as lifeless or carnal.
As a move of desperation by those who are bent upon forcing instruments upon a peacful church, it is denied that Ephesians and Colossians has anything to do with the assembly. They why, in the name of consistency, use these passages to say that the silence gives us positive, evin audible, authority to fill in the hole in the donut the Holy Spirit left?
The parallel in Colossians equates "being filled with the spirit" to "let the word of Christ dwell in you." Jesus said in John 6:63 that "Spirit and Life" are contained within His Words. That eleminates my words as a singing resource, as Paul told the Corinthians, unless I am an inspired prophet. Using the image of a collected body, Paul warned the Colossians about putting on excernal, ceremonial garments of the prophetess just as he warned against wine as the mind-altering "spirit":
Put on therefore, as the elect (called out body) of God, holy and beloved, bowels of mercies, kindness, humbleness of mind, meekness (this eleminates performance), longsuffering; Colossians 3:12
........... Forbearing one another, and
........... forgiving one another,
........... ........... if any man have a quarrel against any: even as Christ forgave you,
........... ........... so also do ye. Colossians 3:13
The body cannot function is some human tries to be the "head" or the "mediator." Each member of any collected group must figuratively be dressed with humility and meekness. This doesn't sound like either a professional performance or like a casual meeting of two enemies.
And above all these things put on charity, which is the bond of perfectness. Colossians 3:14
And let the peace of God rule in your hearts, to the which also ye are called in one body; and be ye thankful. Colossians 3:15
And hath put all things under his feet, and gave him to be the head over all things to the church, Eph 1:22
Which is his body, the fulness of him that filleth all in all. Eph 1:23
For the perfecting of the saints, for the work of the ministry, for the edifying of the body of Christ: Ep.4:12
From whom the whole body fitly joined together and compacted by that which every joint supplieth, according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love. Ep.4:16
For the husband is the head of the wife, even as Christ is the head of the church: and he is the saviour of the body. Ep.5:23
Now, we don't try to make "peace in the heart" into an external ritual. Rather, internalizing peace and harmony destroys any spirit of dominance so that the "one another" edification can take place (isn't called "worship").
The church (gathered or ungathered) is the body of Christ. Therefore, if Jesus Christ is really with us when we do our "music" shouldn't we honor Him by singing His words? If we meet to honor Robert Frost and put Robert Frost off to one side and then fill the evening by quoting our own poems haven't we committed fraud? Didn't we us use Robert or Jesus as a "bait and switch" scam to get the people there to worship us?
The Head must be in charge as the only performer (See the above table). The "body" isn't prepared to "teach" or edify until it has equipped itself with God's Holy (adjective, not first name) Spirit or the Mind of Christ. Paul's command is not followed if we "fill up" with the words of a sentimental poetess but:
Let the word of Christ dwell in you richly in all wisdom;teaching and admonishing one another in psalms and hymns and spiritual songs,
singing (no instruments included) with grace (divine influence) in your hearts to the Lord. Colossians 3:16
And whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and the Father by him. Colossians 3:17
But he that prophesieth speaketh unto men to edification, and exhortation, and comfort. 1 Cor 14:3
Psalms, hymns and spiritual songs are the names for different Old Testament Psalms or the Biblical text revealed by the Spirit of Christ. Amos condemned inventing instruments and composing songs just as the church for hundreds of years insisted that "singing" has value only if it is from the inspired record. Many churches continue the practice.
In not a single word of these versions is psallo translated as meaning to perform on instruments of music. All modern versions, such as Goodspeed, Weymouth, Moffatt, and Knox, all translate psallo essentially the same as the standard translations. The men who gave us these versions, both standard and modern, are among the world's most competent Greek scholars; if the playing on mechanical instruments of music is expressed in the meaning of the word psallo, as used by the New Testament writers, is it not exceedingly strange that these translators failed to so render it?
"The Greek Catholic Church, with more than one hundred million members, does not use instrumental music in its service (except in some American churches to compete). Of all people they ought to know whether psallo includes mechanical instruments. Their conclusion is that it means simply to sing. Nor do many groups outside of the grasp of Hollywood -- especially many presbyterians and even seventh-day animal sacrificers throughout the world who clearly know from the Hebrew that music has no place.
GO to now, ye rich men, weep and howl for your miseries that shall come upon you. James 5:1
Somehow we doubt that this is an act of worship. Should we set aside a period of wailing and howling for all of those who support the plant and buildings and grounds? James then spoke in the context of singing:
Take, my brethren, the prophets, who have spoken in the name of the Lord, for an example of suffering affliction, and of patience. James 5:10
Behold, we count them happy which endure. Ye have heard of the patience of Job, and have seen the end of the Lord; that the Lord is very pitiful, and of tender mercy. James 5:11
But above all things, my brethren, swear not, neither by heaven, neither by the earth, neither by any other oath: but let your yea be yea; and your nay, nay; lest ye fall into condemnation. James 5:12
Wouldn't we be cruel to sing Psalms when 20% of the congregation is on anti-depressents in order to survive "anxiety created by religious ritual" or otherwise suffering or being afflicted?
Is any among you afflicted? (undergoing hardship) let him pray. Is any merry? let him sing psalms (psallo). James 5:13
This is during our daily lives. If we are happy we probably don't wait until we can sing in an "authorized" way by getting out of the bathtub and finding a harp. "Singing" is the fruit of the heart or spirit -- it cannot be a hyped-up "worship" ritual.
James again translates psallo for us: He does not say sing and sing with a harp. Sing is the complete action; the material of the simple singing is the Psalms.
The next verse confirms that the sick must send for the elders of the church:
Is any sick among you? let him call for the elders of the church; and let them pray over him, anointing him with oil in the name of the Lord: James 5:14
Or is this an "act of worship?" Well, James probably says nothing about the use of psallo to authorize instrumental music in the modern church, howling by the rich or a "faith-healing" act of worship.
The Definitions Used in the New Testament
Words are defined by how they are used in the Bible. If one sings a psalm with the accompaniment of a harp then the person is singing with a harp. By analogy, if one is eating "wine" from the cluster then it is obviously not intoxicating. It it bubbles in the vat and exhilarates and then intoxicates then this wine is intoxicating. The same is true of psallo.
"The very oldest of these psalms, a number of which point to David as their author, are not liturgical congregational hymns, but were originally individual prayer-songs, which emanated from personal experience, but were, in later times, employed for congregational use..." Int Std Bible Ency., The Religion of Israel.
We might add that the preambles such as: "Upon the harp" or "To the tune of Lilly of the Valley" were added to the simple poems after death because they were the personal property of the composer, just as American Indian chants belong to them alone.
(Note: we have no evidence of congregational singing with instrumental accompaniment as worship in the Bible. The clergy performed the music in the Temple before the priests while the "congregation" even outside of the walls fell and "worshipped" when they heard the trumpet blast.)
Zodhiates': Lexical Aids To The New Testament, pg. 1769 "...Actually a touching, and then a touching of the harp or other stringed instruments with the finger or with the plectrum; later known as the instrument itself, and
finally it became known as
the song sung (Note: this says that psallo was assigned to the song which they sang with the instrument. Therefore, if you want to add secular melody you need to specify the instrument. Paul did: he called it the heart and not the harp)
with the musical accompaniment.
This latest state of its meaning, 'psalm,' was adopted in the Septuagint.
"In all probability the psalms of Ephesians 5:19; Colossians 3:16 are the inspired psalms of the Hebrew Canon. The word certainly designates these on all other occasions when it occurs in the New Testament, with the one possible exception of I Corinthians 14:26..." (Our Note: this would agree with the idea that in Corinth they were singing the self-composed songs of paganism which didn't need both mind and spirit engaged.)
It should also be noted that the Septuagint also takes a dim view of most musical passages while other versions can be distorted to see God giving approval. For instance in the Septuagint or LXX:
You strum away on your harps like David and improvise on musical instruments. Amos 6:5 NIV "who excel in the sound of musical instruments;
they have regarded them as abiding, not as fleeting pleasure." Amos 6:5 LXX
Without knowing that Amos was condemning the marzeah which was a festival with and for the dead ancestor or god, we might see him condemning the idleness and not the music. However, Jesus read the LXX and would have known that Amos was condemning religious festivals which had no abiding value. At the same time they neglected the Scriptures. This symbol of music and an idle disregard of the Word are common themes in the notes which follow.
It is self evident: if you are singing sentimental poetry you are defacto ignoring the words of Christ.
Jesus would call this "vain worship" at best because they invented and improvized and it was, therefore, by the rules of men.
Justin's Dialog with Trypho the Jew translates this passage--
Who applaud at the sound of the musical instruments;
they reckon them as stable, and not as fleeting.
Who drink wine in bowls, and anoint themselves with the chief ointments,
but they are not grieved for the affliction of Joseph.
Psallô [psaô]I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps.
to twang the bow-string, Eur.; belos ek keraos ps.
to send a shaft twanging from the bow, Anth.; so, schoinos miltophurês psallomenê a
Vincent's: Word Studies Of The New Testament, Vol. III, pg. 269-270 "...The noun psalm (Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to this verb (psallo in I Cor. 14:15 DEM), is used in the New Testament of a religious song in general, having the character of an Old Testament psalm...
"Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment...
"But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise."
CONEYBEARE AND HOWSON: "Throughout the whole passage there is a contrast implied between the Heathen and the Christian practice, q.d. When you meet, let your enjoyment consist, not in fulness of wine, but fulness of the Spirit; let your songs be, not the drinking-songs of heathen feasts, but psalms and hymns; and their accompaniment, not the music of the lyre, but the melody of the heart; while you sing them to the praise. not of Bacchus or Venus, but of the Lord Jesus Christ." (P.775, n. 5.)
Ephesians 5:19 enjoins: (1) Speaking TO ONE ANOTHER in psalms and hymns and spiritual songs; (2) singing (adontes) and making melody (psallontes, psalming) with your heart TO THE LORD. (One is done with voice and lips, the other with the heart.)
PSALLO: From psao, to rub, to wipe; to handle, to touch (Thayer): Liddell and Scott.- I. To touch sharply, to pluck, pull. twitch; to twang the bow-string; to send a shaft twanging from the bow; so, schoinos miltophures psallomene a carpenter's red line, which is twitched and then let suddenly go, so as to leave a mark. II.
However, this word is never used of a chalk line which has its own word. The word in fact is the red, marking rope by which the authorities SWEPT people away from the singing, harping, dancing, speaking and selling radishes and bodies INTO the hill where the ekklesia was loacted where they heard INSTRUCTIONS ONLY. That is why Jesus used the word EKKLESIA and identified that vile, crooked generation with the Agora or marketplace.
To play a stringed instrument with the fingers, not with the plectron.
Miltoô 1 2 [miltos] to paint red:--Pass. to paint oneself red or be painted red, Hdt.; schoinion memiltômenon the rope covered with red chalk with which they swept loiterers out of the Agora to the Pnyx [location of the ekkllesia]
- Mito-omai , Med.,
A. ply the woof in weaving, AP6.285 (Nicarch.): metaph., phthongon mitôsasthai let one's voice sound like a string, ib.7.195 (Mel.); also, of Fate, Moira houtô emitôsato IG12(9).1240.15 (Aedepsus).
- Miltophurês 1 [phurô] daubed with red, Anth. Phurô
I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, dakrusin heimat' ephuron they wetted, sullied their garments with tears, Il.; also c. gen., cheilea phursô haimatos Od.:--Pass., dakrusi pephurmenê id=Il.; haimati oikos ephurthê Aesch.
2. of dry things, konei phurousa kara Eur.; gaiai pephursesthai koman to be doomed to have one's hair defiled with earth, Pind.II. metaph. to mingle together, confuse, ephuron eikê panta they mixed all things up together, did all at random, Aesch., etc.:--Pass. to be mixed up, ek pephurmenou kai thêriôdous from a confused and savage state, Eur.
Later, to sing to the harp,
However, the word never MEANS play the harp: it means to PULL with the fingers and suddenly let go to make a twack or twang or leave a mark. If you want to PLAY the HARP with the fingers then you MUST say PLUCK and then NAME one of the instruments played ONLY with the fingers and NEVER eith a plectrum.
The word NEVER means sing to a harp: you must say SING and the TWANG and name WHAT is to be twanged or plucked.
Thayer: a. To pluck off, pull out: the hair. b. To cause to vibrate by touching, to twang; spec. to touch or strike the chord, to touch the strings of a musical instrument, to play the harp, etc.;
Sept. for zamar and much oftener for nagan; to sing to the music of the harp; (Condemned: see below)
In the N.T. to sing a hymn, to celebrate the praise of God in song, Jas.5:13; Eph.5:13; Rom.15:9; 1 Cor.14:15 .
Evolution of Psallo: 1. From psao, to rub, to wipe; to handle, to touch. 2. To touch sharply. 3. To pluck off, or pull out, as the hair. 4. To pull, twitch, as a carpenter's line. 5. To twang the bow-string. 6. To send an arrow twanging from the bow. 7. To twang the strings of a musical instrument. 8. To play the harp or other stringed instrument with the fingers. 9. To sing to the accompaniment of the harp or other stringed instrument.
10. To sing (whether accompanied or not,
and in Christian context it was not in New Testament times and for some centuries later).
11. Currently used of chanting
"This word is derived from the word yavw (psao), which in ancient Greek originally meant to rub, to wipe; to handle, touch (Thayer references Aeschylus, d. 456 BC). .. later in "Classical Greek", "psallo" meant to pluck off, to cause to vibrate by touching, to twang (ref. to Euripades, d. 406 BC), or to touch, to strike the chord, to twang the strings (ref. Aristotle, d. 322 BC), to play on a stringed instrument, to play the harp (ref. Aristotle again, Aratus, 270 BC, and Plutarch*, d. AD 120). * Other writers of Classical Greek contemporary with the N.T. age also used the word in reference to the playing of an instrument (Strabo, Josephus, Lucian),but scholars universally recognize a clear distinction between the "Classical Greek" of these and other writers,
and the "Koine Greek" in which the N.T. is written.
Thus Thayer makes a distinction between the Classical Greek usage of "psallo," and the Koine use of the word and says, "In the N.T. to sing a hymn, to celebrate the praises of God in song."
Romans 15:9 (immediate context: Rom. 15:7-12)
. . . and for the Gentiles to glorify God for His mercy; as it is written, "Therefore I will give praise to Thee among the Gentiles,
And I will sing to Thy name."
"Psallo is best translated by chant, not sing. The Greeks sharply distinguish chanting (psalmodia) from singling (tragoudi). The first is a sacred activity; the second, a secular one. In English, unfortunately, the distinction is not sharp, and the word singing is frequently employed to refer to the sacred activity of chanting. A Greek would never, never say tragoudo (I sing), instead of psallo; the two terms have connotations and associations which are worlds apart -- the first is related to the earthly realm, the second to the heavenly." (Letter to James D. Bales of Harding University, September 22, 1959, from Constantine Cavarnos, of the Institute for Byzantine and Modern Greek Studies, 113 Gilbert Road, Belmont 78, Massachusetts.)
"Your letter to the St. Anthony Guild concerning the Greek word psallo has been referred to me, an editor of the new English Catholic version of the Old Testament. You ask the question: 'Does the use of mechanical instruments of music inhere in the Greek word Psallo as used in the New Testament?' The answer is no. The meaning of this word in the New Testament usage is simply 'I sing a sacred hymn in honor of God."' (Letter to Dr. James D. Bales from Father Stephen Hartdegen, C.P.M., Holy Name College, Franciscan House of Studies, 14th & Shepherd Streets, NE, Washington 17, DC)
Arndt and Gingrich on Psallo: "Abs sing/praise Js.5:13, M-M."
Continually I stand amazed at the scholarship in the Arndt-Gingrich lexicon. It is my understanding that under the direction of Dr. Gingrich you are now revising that lexicon. On the word psallo, since Thayer, Green, Abbott-Smith, etc., limit the New Testament meaning to sing praises, I would appreciate the reasoning that brought Doctors Arndt and Gingrich to insert "to the accompaniment of the harp" in relationship to Romans 15:19; Ephesians 5:19; and 1 Corinthians 14:15. Further, why is the phrase excluded in relationship to James 5:13. (Hugo McCord to Dr. Frederick W. Danker)
Response: It was so kind of you to take the time to make your inquiry regarding the word psallo. I see by comparison with Bauer's first edition that the editors of A.-G. have incorporated theobvious Old Testament meaning
into the metaphorical usage of the New Testament.
Bauer did not make this mistake, and we will be sure to correct it in the revision. I doubt whether the archaeologists can establish the use of the harp in early Christian services.
The revision of the Arndt/Gingrich lexicon gives this definition of psallo: . . . This process continued until
psallo in Modern Greek means 'sing' exclusively . .
with no reference to instrumental accompaniment . .
Moulton and Milligan: "Psallo, 'play on a harp,' but in the NT, as in Jas-5:13 = "sing a hymn."
Thayer noted of Old Testament "Melody" the Hebrew is zamar and much oftener for nagan; to sing to the music of the harp. We need to follow this clue to nagan's use in the Old Testament often as a synonym for playing or polluting:
Every musical idea in both the Old and New Testaments is based on roots denoting "to make vile, to pollute, to prostitute, to abrade, to grind to bits (as in sop), to panic the enemy or to sound the keynote so that everyone follows the leader." When the "congregation" assembled, this role for music was outlawed in God's command to Moses for the silver trumpets (Numbers 10:7). This is why Paul insisted that melody be in the heart to change the spirit and not be an attack upon the body. When musical harmony sounds "spiritual" and the hair rises on the back of your neck you have been attacked by dis-harmony or a dangerous drug which, in the words of one "pastor," is like LSD slipped into the communion juice but a bit slower.
The scholar quoted above equated Zamar and Nagan as the playing of musical instruments. The Scriptures are also careful to equate Nagan and Halal or Chalal as polluting persons or things with musical melody. This is based upon the fact that making and playing musical instruments were labor-intensive and works related efforts to triumph over or exercise control over people. Brass was hammered, twisted, rolled, wound into a tube and perforated. By analogy, a shofar with added holes to change the tone was polluted. Instruments were made of animal hides which had been pounded, twisted and stretched until they could produce the magical tones sold as the voice of the gods, demons or angels living inside the old wineskin.
First, look at some examples which equate Strong's h5059 to h2490 to define players on musical instruments:
The singers went before, the players on instruments followed after; among them were the damsels playing with timbrels. Psalm 68:25
Players in this verse in Hebrew:
Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing..
Naga (h5060) naw-gah'; a prim. root; prop. to touch, i. e. lay the hand upon (for any purpose; euphem., to lie with a woman); by impl. to reach (fig. to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.): - beat, (* be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.
Science tells us that almost all pleasure is first produced by pain. Music strikes or abrades us, we create morphine-like drugs to kill the pain and then we have some left over to give us the "thrill" which comes from listening to music or lying with a woman.
As well the singers as the players on instruments shall be there: all my springs are in thee. Psalm 87:7
Players in this verse is the Hebrew:
Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.
Chalah (h2470) khaw-law'; a prim. root [comp. 2342, 2470, 2490]; prop. to be rubbed or worn; hence (fig.) to be weak, sick, afflicted; or (causat.) to grieve, make sick; also to stroke (in flattering), entreat: - beseech, (be) diseased, (put to) grief, be grieved, (be) grievous, infirmity, intreat, lay to, put to pain, * pray, make prayer, be (fall, make) sick, sore, be sorry, make suit (* supplication), woman in travail, be (become) weak, be wounded.
Note: the circular dance of David was the same one they tried to force upon Jesus and that of the Dionysus women or effete men was a circular dance in imitation of an animal giving birth . When they became dizzy they were told (and sold) that the gods had invaded them just as exhilaration in worship is the new test of worship in the presence of God.
Halal praise is means much the same as Chalal. In the "like the nations prophets" which we see turning poor Saul into "another man" which means to "pervert" him from a pastoral person to a warrior to lead Israel into a like the nations civil state. These prophesiers believed that perversion and driving themselves into insanity was proof of the spirit of their god.
David and others often pretended insanity to declare themselves innocent before God -- not even God can condemn a crazy man:
Halal (h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.
Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.
For instance, of David trying to seduce the enemy into helping him:
And he changed (perverted) his behaviour before them, and feigned himself mad (h1984 halal) in their hands, and scrabbled (drummed marks) on the doors of the gate, and let his spittle fall down upon his beard. 1 Samuel 21:13
Have you noticed that singers and speakers "soar away," go into a charismatic fit, and get so violent with words that they actually froth at the mouth like a mad dog.? This spittle of David was:
Riyr (h7388) reer; from 7325; saliva; by resemblance broth: - spittle, white of an egg.
This can not easily happen when a person remains in their right mind and speaks with a normal, sane tone of voice.
Second, see the examples equating the musicians to the players as polluters or prostitutes because they used music to overpower the people for their own profit.
Third, see that melody and playing on instruments are the same.
Fourth, see that melody in Hebrew carries the same meaning as to "prune your vines" to "take your inheritance" as players, flute players, harp players and this is even related to Lucifer. Of the king of Tyre representing Lucifer:
Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Isaiah 23:16
Melody in Hebrew is: Zimrah (h2172) zim-raw'; from 2167; a musical piece or song to be accompanied by an instrument: - melody, psalm.
Zamar (h2168) zaw-mar'; a prim. root [comp. 2167, 5568, 6785]; to trim (a vine): - prune.
Melody works because it makes the hair stand up on the back of your neck and arms and makes a cold chill run up and down your spine. Don't believe it when the change agents tell you that you have been professionally moved into the presence of God and have known Him personally or sexually. This is recognized by medical science as a "drug high" which produces fight, flight or sexual fantasies -- right there in what we call "worship."
Camar (h5568) saw-mar'; a prim. root; to be erect, i. e. bristle as hair: - stand up, tremble.
Fifth, see that melody in Greek is identical to melody in Hebrew:
Melody in Greek is: Psallo (g5567) psal'-lo; prob. strengthened from psao , (to rub or touch the surface; comp. 5597); to twitch or twang, i.e. to play on a stringed instrument (celebrate the divine worship with music and accompanying odes): - make melody, sing (psalms)
Psocho (g5597) pso'-kho; prol. from the same base as 5567; to triturate, i.e. (by anal.) to rub out (kernels from husks with the fingers or hand): - rub.
Psomion (g5596) pso-mee'-on; dim. from a der. of the base of 5597; a crumb or morsel (as if rubbed off), i.e. a mouthful: - sop.
This was the "Lucifer" connection because Judas was the change agent of Satan and would not triumph over Jesus with wind instrument. Rather, when Jesus fed Judas the sop He so twitched, twanged or rubbed him into powder that he went out and hanged himself and was made into a visual aid, a spectacle of God's triumph over him.
Sixth, you noted that melody, triturating or rubbing things raw or into powder is related to the SOP which Jesus fed Judas. The Judas Bag was a bag or chest "to carry the mouthpieces of wind instruments." Judas symbolically connected the musical principle to money collection. This in turn is connected to the money chests in the temple which were called "trumpets." Psalm 41 predicts that Judas would not "triumph over" Messiah where triumph means to blow wind instruments and make a joyful noise. This was clearly prohibited in Numbers 10:7 after Israel fell back into the Egyptian form of musical worship.
The Judas Bag hangs from the flute case to the left. The phallic pole was to keep the performers from falling from the influence of new wine from a new wineskin. In the classical writers, wine was used because wine and music always went together while trying to call the gods into your presence.
Conclusion: This is why Paul demanded that melody be in the heart. Furthermore, there is not a shred of evidence for the use of harmony which dates to about the same period as the introduction of musical instruments. Harmony imitates musical instruments, becomes addictive and calls for larger doses including a multi-horsepower pipe organ or a Rock or Rap band.
Melody In the Classics and Church Fathers
The classical writers knew from the Greek and the pagan music which destroyed the spiritual mind that those who considered musical melody as proof of the presence of the god were mistaken. In keeping with psallo and its grinding to powder roots, the following quotation shows why musical melody carried such a destructive message:
Augustine in his comments on Psalm XCVIII allegorized melody or the works of human hands included in the use of literal musical instruments. Simple singing is just returning God's words to Him. However, adding the harp is the labor-intensive work of the instrument, of learning the human skill, of performing of it and of the listeners working to interpret it as Paul would say, like speaking in tongues. Augustine points out correctly that instruments were "works" or inventions or improvizations added to the simple chanting of the Word to teach. These works were to stop the plagues in two cases where authority is uncler. In order to keep the people from dying, David performed his own works to atone for his own sins of counting the people.
5. "Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5).
- Praise Him not with the voice only;
- take up works, that ye may not only sing, but work also.
- He who singeth and worketh,
- maketh melody with psaltery and upon the harp.
"Now see what sort of instruments are next spoken of, in figure: "With ductile trumpets also, and the sound of the pipe of horn" (ver. 6). What are ductile trumpets, and pipes of horn?Ductile trumpets are of brass: they are drawn out by hammering; if by hammering, by being beaten,
ye shall be ductile trumpets, drawn out unto the praise of God, if ye improve when in tribulation: tribulation is hammering, improvement is the being drawn out.
This is Augustine's way of saying, "Make the melody in your heart and not upon clanging brass or tinkling cymbals."
Nothing in worship could be more works-intensive than musical performance. Behind any voice or the ability to play an instrument lies talent developed by many years of difficult and skilled training. And the classical writers acknowledged that entertainment was a legitimate role for that talent. A metalsmith has no office in the "worship" of the church just because he is talented and highly trained.
When the "team" sings or plays it is doing labor-intensive work. Many groups even force electricity to amplify their works many fold. By early definition, instruments and weapons come from the same Hebrew word because they were both ways to gain an advantage over your enemy by using the elements of the KOSMOS.
Then, whatever its claim, music attempts to perform worship for another child of God.
And to what end? Are the worshippers closer to God? Alexander Campbell said that one individual cannot bring another individual any closer to God than he is. Are the people closer to God by virtue of their talent which sets them above their brothers? Are they more moral? No. In fact, they have been abraded, however "spiritual" it sounds, and in fact the more spiritual it sounds the more proof we have that we have been injected with a morphine-like drug.
1. whether for amusement and relaxation, as one indulges in sleep and deep drinking (for these in themselves are not serious pursuits but merely pleasant, and 'relax our care,' as Euripides says;owing to which people actually class music with them and employ all of these things,
sleep, deep drinking and music, in the same way,
and they also place dancing in the same class);
2. or whether we ought rather to think that music tends in some degree to virtue (music being capable of producing a certain quality of character just as gymnastics are capable of producing a certain quality of body,
music accustoming men to be able to rejoice rightly);
or that it contributes something to intellectual entertainment and culture (for this must be set down as
3. a third alternative among those mentioned). Now it is not difficult to see that one must not make amusement the object of the education of the young;
for amusement does not go with learning--learning is a painful process.
"Melody" in a "musical" sense does not require instruments.
He placed singers before the altar, to make sweet melody with their voices. Ecclesiasticus 40: 9.
He gave beauty to the feasts, and arranged their times throughout the year, while they praised God's holy name, and the sanctuary resounded from early morning. Ecclesiasticus 40: 10.
Then the sons of Aaron shouted,
they sounded the trumpets of hammered work, they made a great noise to be heard for remembrance before the Most High. Ecclesiasticus 50:16
And the singers praised him
with their voices in sweet and full-toned melody. Ecclesiasticus 50:18
Aristotle, Rhetoric" Melody Deceives "for instance "having gone and having conversed with him," or, "having gone, I conversed with him."Also the practice of Antimachus is useful,
that of describing a thing by the qualities it does not possess; thus, in speaking of the hill Teumessus, hesays,
There is a little windswept hill;
"for in this way amplification may be carried on ad infinitum. This method may be applied to things good and bad, in whichever way it may be useful.
"Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..
The form of diction should be neither metrical nor without rhythm.
If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..
Of the different rhythms the heroic is dignified, but lacking the harmony of ordinary conversation; the iambic is the language of the many, wherefore of all meters it is most used in common speech;
but speech should be dignified and calculated to rouse the hearer.
Plato: Apology of Socrates and Crito crito,17.2 speaking directly to the charismatic prophesying being practiced by the women in Corinth:
hoi korubantiôntes: here a species of madness seems to be indicated,
- under the influence of which men
- imagined that they heard the flutes
- that were used in Corybantian revels.
- and the song of the bacchanals in Eur. Bacch. 123-127,
- Corybantes, wearing helms three-rimmed,
- Stretched skins to make my drum's full round;
- Then they, in hollowed caves, lithe-limbed,
- With drums, and, with the flute's shrill sound
- Full Phrygian, bacchic ditties hymned.
This is Paul's meaning of "clanging brass and tinkling cymbals" which, in church, was equated to speaking in tongues.
Herodotus Histories speaks of the "the interpreter" which must always accompany the prophetess as she "spoke in tongues" under the influence of music or poisonous gas from a hole in the ground, and as she uncovered her head to prove her innocence:
"Periander, who disclosed the oracle's answer to Thrasybulus, was the son of Cypselus, and sovereign of Corinth. The Corinthians say (and the Lesbians agree) that the most marvellous thing that happened to him in his life was the landing on Taenarus of Arion of Methymna, brought there by a dolphin.
This Arion was a lyre-player second to none in that age;
he was the first man whom we know to compose and name the dithyramb (dance-music for Dionysus)
........... which he afterwards taught at Corinth.
This was the triumphant hymn to Dionysus or Bacchus which the Jewish clergy tried to force Jesus into. If they could get Him to sing and dance they would have convinced everyone that He was not a spiritual person, much less God Himself.
"Additionally, human observation seems to reinforce the truth that God knows what He's doing. Without instruments people tend to sing better, pay attention to the words better, and generally get more internally from the singing portion of the worship service.
With instruments people tend to listen to the instrument rather than sing, ignore the words of the song, and come away mostly with only an appreciation of pretty music. But whether humans can make good sense of God's command really isn't the point; God has commanded, can we refuse?
I can go on forever adding evidence that the idea of melody or instrumental music as worship is inconsistent with the demand to teach and admonish one another and the fact that priestly performers have been outlawed by the death of Lord, Jesus Christ. Those who attempt to stand between the worshipper and their God as mediators (as worship teams clearly claim) have, little by little whittled away the Biblical evidence which shouts in their face.
You will have to wonder why people who know better deliberately distort the truth. I suppose that those who lust to introduce instruments into non-musical churches have really already "transferred their allegiance" and intend to take the "buildings and grounds" with them. I believe that this is grand theft.
If the argument hangs upon psallo and instruments are added, understand that you have forces working among you that will be hard to resist. This is true because your own forces have been broken down by the demand that "to be Christian you must not argue with my position" as we "bread down the walls" using the promise Keepers plan of the effete trying to undergo a masculine journey. And the fact that you have not resisted the first wave of the introduction of feminine and effeminate, pagan-like worship teams to perform for you just encourages the "camel" to move in and take over. The "Trogan Horse" has probably already been filled with those intending to take away your inheritance and the Word of God while good men sleep. I know. I know. Mixed metaphors again.
Never, never, never, never, never give up: the race has just started and the crown will go to those who have lawfully prepared and run the race
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