Farmer's Branch Church of Christ
Part B
Farmer's Branch Church of Christ Rationale for
Instrumental Music part One. We have shown that not one appeal to the
Bible to PROVE their decision to add instrumental music is faithful
the the Bible facts or church history. "Music" in and around the temple was to
make a loud crashing noise during the burning of sacrificed animals.
This was "outside the camp" or the temple and in the court yard. The
Holy Place was a type of the church of Christ and NO singer or
musician could ever enter the holy places. Singing and Music are related to "taking
your inheritance" or to musical prostitutes both male and female.
Instruments all have evil roots beginning with Jubal who HANDLED
instruments "without authority" because he used them to control
others and TAKE THEIR INHERITANCE. The source of instruments in the Bible is
Lucifer as a fallen angel who tried to steal the worship from God by
the use of music. The users of music were children or male and female
prostitutes: thus instruments are related to unlawful handling of
people in a sexual sense. Instrumental music and complex harmony
produces the drug-induced effects of "fight, flight or sexual
feelings" which the "leadership" can peddle as spiritual
worship.
The Old Lucian of Samosata
Dodge Farmer's Branch
Church of Christ: The
words "psallo" and "psalmos" as used in secular Greek
literature from the 5th century B.C. to the 2nd century A.D. apparently
never referred to
singing but
only to the playing or
the sound of an instrument. If true then this would not authorize
SINGING externally while MAKING MELODY with a machine. It is a fact
that PLAYING while SINGING someone's song at the same time was
considered quite disgraceful. Therefore, if you try to TEACH
the inspired Words of God by singing silly, erotic "praise" songs and
PLAYING an instrument you INSULT the composer of the song.
It is a fact known to any Bible readers
that the word PSALLO or MELODY NEVER includes and instrument UNLESS
that instrument is named. See more after our sample of PROOF TEXTS to
prove that the statement is totally false. The DIRECT COMMAND is to SPEAK or PREACH
one to another. The INTERNAL result would be singing AND making
melody IN THE HEART. Men like Philo and many others understood this
to mean SILENCE. This is demanded also by the command to TEACH rather
than a command to SING and play instruments. If you don't read Paul then no further
conclusions have value. The false Proof-Text:
"You cannot psallein (or
psallo) without an instrument" The Fact: "You cannot play the flute
without a flute." And, my copy of Lucian is
translated properly and DOES NOT mean that you cannot make melody
without an instrument: > "Other arts,
again, are useless to their professor unless he has his plant;
you cannot
play the
flute if you have
not one to
play; lyrical music
requires a lyre,
horsemanship a horse.
But of ours (sponging) one of the excellences and conveniences is that
no
instrument is required
for its exercise. The Parasite, 17. Translated by H. W. and F. G. Fowler, Vol III,
1905 Lyric: 1. of a lyre 2. suitable for
singing as to the
accompaniment of a lyre.
Webster >
THE FARMER'S BRANCH PROOF
TEXT JUST ENDORSES WHAT HAPPENED WHEN THE CLERGY TRIED TO TRIUMPH
OVER JESUS THINKING THAT HE WAS DIONYSUS: >
"Lyra" as a term does not appear in Homer, and in Plato's
Laws it refers to lyric
poetry and
music. The Homeric Hymn to Hermes narrates
the mythic invention of a "lyra" by Hermes, who scooped out the insides of a
tortoise chelus
and covered it with hide Since the "first" lyre, then, was made from
a tortoise shell, the term chelys came to mean the lyre. There is some confusion about the term
"lyra" in literature, since it appears in
early Greek poetry (Sappho, Alcman) and fifth century tragedy as a
generic word for "lyre." "Lyra" then, is not only the tortoise-shell
"lyre," but is best understood as a generic word for any of four instruments with strings of
equal length: kithara, chelys-lyra, phorminx, and barbitos.
Perseus The story of HERMES
(Mercury) is much like the story of Jubal and the other children of
Lamech. >
Singing the lyrics
while playing the Lyra
ALWAYS implicated pagan, perverted rituals. The
barbitos is first mentioned in archaic lyric poetry (Alceus, Bacchylides,
Simonides, Sappho), and is especially associated on vase paintings
and in literature with the Ionian poet Anakreon (Anacreontea
2,15,23,42,43,60). On an Attic red-figure kalthoid (Munich 2416),
Alcaeus and Sappho are depicted holding the instrument, further
evidence that it was a popular instrument as acccompaniment for
singers.
It was
also popular as entertainment at drinking parties and during festivals such as
the Dionysia and the Anthesteria. In vase paintings from the
Classical Period the barbitos is played either in a seated or standing position,
by both women and men. Unlike the chelys-Lyra, the barbitos was not used in music
lessons because, according to Aristotle (Politics 1341a-b), it was designed purely for pleasure, not for education.
Thrasippus after having provided the chorus for Ecphantides...
later on it came to be disapproved of as a result of actual
experience,
when men
were more capable of judging what music conduced to virtue and what did
not;
and similarly also
many of the old instruments were disapproved of, like the pectis and the
barbitos and the instruments designed to give pleasure to those who hear people
playing them, the septangle, the triangle and the sambyc, Aristotle noted
that when people run out of productive work, pride often causes them
to turn to music. Moreover
the flute is not a
moralizing
but rather an exciting influence, so that it ought to be used for
occasions of the kind at which attendance has the effect of
purification rather than instruction And let
us add that the flute happens to possess the additional property telling
against its use in education that playing it prevents the employment of
speech.
Hence former ages rightly rejected its use by the young and the free, although at first they had employed it.
For as they came to
have more
leisure because of their wealth and grew more high-spirited and
valorous,
both at a still earlier date and because after the Persian Wars they
were filled with pride as a result of their achievements The barbitos made
a loud booming noise which might be useful for pleasure but it had no
value in education. He notes that: A
wealthy citizen (choregus) who undertook the duty of equipping and
training a chorus for a religious celebration (especially the production of a drama at Athens) usually
had an assistant of lower station to supply the instrumental music. [Note: When the
Jews in 1815 added the first instruments to compete with the
Christians, they quite naturally hired Gentile musicians] [1341b] and all the instruments that require manual
skill.And indeed there is a reasonable foundation for the story that
was told by the ancients about the flute. The tale goes that Athena found a
flute and threw it away. Now it is not a bad point in the story that
the goddess did this out of annoyance because of the ugly distortion
of her features; but as a matter of fact it is more likely that it
was because
education in flute-playing has no effect on the intelligence, whereas
we attribute science and art to Athena. And since we
reject professional education in the instruments and in
performance (and we count performance in competitions as
professional, for the performer does not take part in it for his own
improvement, but for his hearers' pleasure, and that a vulgar
pleasure,
owing to
which we do not consider performing to be proper for free
men, but
somewhat menial. >
Heredotus explains how Cyrus was told how to neuter
MALE captives: Grant, then,
forgiveness to the Lydians, and to make sure of their never rebelling against
thee, or
alarming thee more, send and
forbid them to keep any
weapons of war,
command them to wear
tunics under their
cloaks, and to put buskins upon their legs, and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein), and shop-keeping (Hucksterism). (Or translated lyre playing and harping which is redundant) So wilt thou soon
see them become women
instead of men,
and there will be no more
fear of their revolting from thee." >
Plato Ion notes: In
like manner the Muse
(Rev 18) first of all inspires men herself; and from these
inspired
persons a
chain of other
persons is
suspended, who take the inspiration. For all the good
epic
poets utter all those
fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; just as the Corybantian worshippers do not dance when
in their senses, so the lyric poets
do not indite
those fine songs in their
senses, but when they have started on
the melody
and rhythm
they begin to be frantic, and it is under possession as
the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers
that the soul of the
lyric
poets does the same
thing, by their own report. For the poet is a light and winged and holy thing, and there is no
invention in him until
he has been
inspired and is
out of his
senses, and the
mind is no longer in
him: when he has not attained to this
state, he is powerless
and is unable to utter his oracles. Had he learned by rules of
art, he would have known how to speak not of one theme only, but of
all; and therefore god
takes away the minds of
poets, and uses them as
his
ministers,
as he also uses
diviners and holy prophetess, in order that we who hear them
may know them to be speaking not of themselves who utter these
priceless words in a state of unconsciousness, but that god himself is the
speaker, and that through them he is conversing with us. But what WAS their
motive: Ion.
Only too well; for I look down upon them from the stage,
and behold the
various emotions of pity,
wonder, sternness, stamped upon their countenances when I am speaking:
and I am obliged to give my
very best
attention to them; for
if I make them
cry I myself shall laugh, and if I make them laugh I
myself shall cry when
the time of payment arrives. Or: For I have to pay the closest
attention to them; since, if I set
them crying, I shall
laugh myself because of the money I take, but if they laugh, I myself shall cry because of the money I lose. >
"Melody" as it came to speak of the ARTS
might be some harmonic sounding phrase: "The Lion invaded the church
on little cat's paws." Gregory of Nyssa (born
c. 335, died c. 394) described the HUMAN voice as the grandest MUSICAL INSTRUMENT: 8 . Now since man is a
rational animal, the
instrument of his body must be made suitable for the use of reason;
as you may see musicians
producing their
music according to the form of their
instruments,
and
not piping
with harps
nor harping upon flutes, so it must needs be that the
organization of these instruments of ours should be adapted for
reason, that when
struck by the vocal organs it might be able to sound properly for the use of
words. >
2. And as some
skilled
musician, who may have
been deprived by some affection of his own voice, and yet wish to make his skill known, >
might make melody with voices of
others, > and publish his art by the aid of flutes
or of the lyre,
> so also the human mind being a
discoverer of all sorts of conceptions, seeing that it is unable, by
the mere soul, to reveal to those who hear by bodily senses the motions of its understanding, touches, like some
skilful composer, these
animated
instruments, and makes
known its hidden
thoughts by means of
the sound
produced upon
them. >
The musical SOWING OF
DISCORD is based on the false teaching that Lucian spoke of melody
and instrument long after Paul used the word psallo. However, it is a
fact that Lucian learned and used ancient Attic Greek: Liddell and
Scott,
Preface (pg vi) It will be understood,
however, that the age of a word does not wholly depend on that of its
author. For, first, many Greek books have been lost;
secondly, a
word of Attic stamp, first occurring in
Lucian, Alciphron, or later imitators of Attic Greek, may be
considered as virtually older than those found in the vernacular writers of the Alexandrian age.
Further, the language
changed differently in different places at the same time; as in the
cases of Demosthenes and Aristotle, whom we have been compelled to
place in different Epochs. And even at
the same place, as at Athens, there were naturally
two
parties, one clinging
to old usages, the other fond of what was new. The Greek of
Thucydides and Lysias may be compared in illustration of this
remark. Lucian understands
musicians as SPONGERS and PERVERTS: doing nothing useful for mankind.
>
Lucian wrote about BOY
worship ministers. Alexander the Oracle Monger
knew that you could pervert the "fat heads and simpletons" by just
playing the flute. However, his "musical worship team" consisted of
men like the Pope's A Cappella choir in early days: The scoffer Lucian pours out his sarcasm in a passage in which he
speaks of the fraudulent prophet Alexander of Abonouteichos (the Oracle Monger), who kept
choir boys
in the service of the
gods with him: To all others he
forbade pederasty (Platonic love of a man for a boy) as shameful. In
order not to admit his
own guilt in this
matter, however, the admirable fellow devised the following scheme:
he proposed to the
cities in Paphlagonia and Pontus that every three years they should
send him choir
boys who would
sing
hymns of
praise with him to
the god. Moreover, only the
noblest, fairest and most charming boys were to be sent -- after a previous careful examination. These he confined
with himself, slept with and abused
with every possible lechery. (Lucian, Alexander, 41.247} Choirs
were used because "Thus they led the simple into error and sought to
bewitch the ears of lay
people, who
are easily led astray by hymns and
melodies." >
Johannes Quasten in
Music and Worship in
Pagan and Christian Antiquity, p. 83 notes: In Antiquity
women
musicians
and singers had a very bad
reputation. The flutists, harpists and singers at banquets were courtesans. In Lucian
of
Samosata's
Dialogues of a
Courtesan we hear
almost exclusively of women musicians and singers. Sullust writes of Sempronia: She
played the cithara and danced more elegantly than was becoming an upright woman, and she could do many other
things which minister
to voluptuousness. Arnobius (fl. 4th
century, Africa) identifies the harpists and the courtesans with one another. He asks: Has God created
souls for this, that women
should become harlots, sambucists and harpists in order to surrender their bodies to lust?
Women's singing was a vital
part of all pagan
worship. In very early
times women became priestly singers of the gods in the temple. "Women and
girls from the different ranks of society were proud to
enter the service of
the gods as singers and musicians. The understanding of this service was universal:
these singers constituted
the 'harem of the gods'."
(Johannes Quasten) >
Strabo: [10.3.17] From its melody
and rhythm
and instruments, all Thracian music has been considered to be
Asiatic. And this is clear, first, from the
places where the
Muses have been worshipped, for Pieria and Olympus and
Pimpla and Leibethrum were in ancient times Thracian places and
mountains, though they are now held by the Macedonians; and again,
Helicon (home of Thespiaae and Eros) was
consecrated to the Muses by the Thracians who settled in Boeotia, the
same who consecrated the cave
of the nymphs called Leibethrides. And again, those
who devoted their attention to the music of early times are called Thracians, I mean Orpheus, Thracians, and Thracians; and Thracians, (sweet singer) too, got his name from there. And those writers
who have consecrated
the whole of Asia,
as far as India, to Dionysus, derive the greater part of music from there. And one writer
says, "striking the Asiatic cithara"; another calls flutes
"Berecyntian" and "Phrygian"; and some of the instruments have been
called by barbarian names, "nablas," "sambyce," "barbitos," "magadis," and several others. [10.3.19] Further, one might
also find, in addition to these facts concerning these
genii (spirits or
demons) and their
various names, that they were called, not only
ministers of
gods, but also gods
themselves. For instance, Hesiod says that
five daughters were born to Hecaterus and
the daughter of Phoroneus, from whom sprang the mountain-ranging
nymphs, goddesses, and the breed of
Satyrs (Effeminate musical clergy),
creatures worthless and
unfit for work, and also the Curetes,
sportive gods, dancers. This is the false view of
Scripture and history which is peddled to churches being taken over
by Baptists or other musical churches claiming to be members of the
church of Christ. Throughout the Bible where a MELODY word is
used there simply IS NO INSTRUMENT unless that instrument is named.
Take thou away
from me the noise
of thy songs;
for I will not hear the melody
of thy viols.
Am.5:23 The "song of the
prostitute" is what Lucifer as the king of Tyre sings:
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. Isa 23:15 Take an
harp, go about the city, thou harlot that
hast been forgotten; make sweet melody
(h5059),
sing many
songs, that thou
mayest be remembered. Is.23:16 When we say SONG we say
nothing about an instrument; we simply mean that our poem is METRICAL
and can be sung with an instrument which might have as few as THREE
notes or strings. A PSALM does not INCLUDE an instrument:
Psalmos (h5568) psal-mos'; from 5567; a set piece of music, i.e. a sacred ode accompanied with the
voice,
harp or other
instrument; a
"psalm"); collect. the book of the
Psalms: - psalm. Comp. 5603. > A SONG is a SONG as soon as it is put
down on paper. > When we SING the song we ADO the
ODE. > We might ACCOMPANY the Ode with OUR
VOICE as the first instrument of Choice. Paul through the Spirit
took THREE precautions to keep even the fools from being
fooled: >
Speaking to yourselves in Words have NO
meaning if you can SPEAK
or preach and SING
at the same time. By analogy, you CANNOT run and walk at the same
time. The word speaking means to DIALOG the Words of Christ Therefore, there can be no
SANITY and INSTRUMENTAL MUSIC at the same time based on the word
SPEAK or TEACH or ADMONISH. > psalms and hymns and spiritual songs, We have shown what
the Britannica knows: that a SONG insists on the human voice as the
FIRST INSTRUMENT OF CHOICE. The Greek or Hebrew simply
means that an ODE is metrical so that it MIGHT BE accompanied with a
harp. Therefore, the word Psalmos
EXCLUDES a mechanical instrument as the work of human hands.
Psalms, hymns are all inspired Biblical material or
"that which is written, the Spirit or the Word of
Christ." Instrumental
songs, hymns or spiritual songs ALWAYS speak of something evil or of
attacks upon personal enemies. > singing and making melody The word
"ado" never includes instruments.
Ado (g103) ad'-o; a prim. verb; to sing: -
sing. Therefore, if this is a
command to SING
as opposed to TEACH then the word is ADO and you cannot use
instruments to ADO. Melody or PSALLO is not a "musical" word and Paul never makes the mistake of
using a musical term. Melody is related to touching or grinding one
into powder similar to the SOP Jesus had ground for Judas.
In the Hebrew the idea is that
you TOUCH the strings of a harp just like you TOUCH a woman sexually
without authority. When Jubal HANDLED musical
instruments to control others the word is to "use unwarrantably" or
"without authority" and is related to beating on the tambourine or to
TOPHETH which was king Solomon's music grove which became a symbol of
hell itself. > in your heart
to the Lord;
Ep.5:19 If we told our
child to "go outside and make a mess in the sand box" where would
SANE people expect the child to MAKE A MESS? Oh, well, it just doesn't
matter whether it is IN the sand box or OUT of the sand box: in the
assembly in the living room or in the kitchen. Utterly ridiculous:
in your heart means IN
YOUR SPIRIT or mind which is the ONLY place Jesus said that you could
worship God IN SPIRIT and in Truth. When you speak the truth
INTERNALLY in your own spirit then you direct the message TO GOD and
not to the AUDIENCE. Just what part of ABC
cannot you spell? Melody in Hebrew means to
TOUCH or take one's GRAPE HARVEST. Or to play the flute, to pollute
or to prostitute. When applied to a musical
instrument, the idea is TOUCH without authority and is not a MUSICAL
term related to worship in spirit. Paul followed the meaning
of the word PSALMOS which makes the HUMAN VOICE or HEART the FIRST
INSTRUMENT OF CHOICE. Paul said make melody IN THE HEART and not upon
a harp. No musician can get into my
heart, spirit or mind and therefore no musician can make melody for
ME. The christian church does a good song and
dance to try to get the word "psallo" to include instruments AFTER
Paul wrote. However, the evidence is deliberately distorted. Again,
we note how Cyrus was to PASSIFY the warriors: Command them
to wear
tunics under their
cloaks, and to put buskins upon their legs, and make them
bring up their
sons to
cithern-playing (Kitharizein), singing (psallein), and shop-keeping (Hucksterism). (Or translated lyre playing and harping which is redundant) So wilt thou soon
see them become women
instead of men,
and there will be no more
fear of their revolting from thee." So there is a UNIVERSAL fact: NO Instrument
inheres in any of the Greek word UNLESS the instrument is
NAMED. When singing WITH instruments is mentioned in
the classics it is universally associated with prostitute women or
men who
were favorite to USE and ABUSE at men's feasts
which were always religious. For instance, SINGING Homer and
playing an instrument at the same time would be to INSULT Homer even
as it is to insult Jesus. It is ok to do that when you are "drunk on
wine." I know of no Greek history
on singing WITH instruments which does not place them in the hands of
children or perverted males or women. Second, Old
Lucian of Samosata is called on for help but they forget that Lucian was
trained in ATTIC Greek-not Koine-and PERFORMED in Attic because that
was still the language of the aristocrats in their perverted
festivals. Lucian specifically ridicules Alexander's Seeker Center
because he could blow the flute and
seduce
the 'fat heads and simpletons.' Singing with instruments was the
UNIVERSAL way to strip people of their money. See Lucian and the Church Fathers.
Third: The
word PSALMOS like the word SONG says nothing about an instrument.
Rather, a song means that it is metrical and it MAY be accompanied
with an instrument whereas prose may not. In all history the HUMAN VOICE is always the
first INSTRUMENT OF CHOICE. Again, it would be BASIC HONESTY to not
distort the meaning of PSALLO before the instrument was not part of
the KOINE definition. Psalmos (g5568) psal-mos'; from 5567; a set piece of music,
i.e. a sacred ode accompanied
with the voice, harp or other instrument; a "psalm");
collect. the book of the Psalms: - psalm. Comp. 5603. Paul defined the melody is
INTERNAL but the speaking is with the voice. Therefore, Paul
used the FIRST INSTRUMENT OF CHOICE which is the "harp of God" which
Jesus used when the Jewish clergy attacked him with
music.
The NIV is the ONLY source
known to history (as far as we can discover) which ever translated
PSALLO as to MAKE MUSIC. And the NIV does it ONLY ONCE.
Farmer's Branch
Church of Christ: In
the New Testament "psallo" means to make music in praise
or to sing praise to
God and is translated
make
music. The word
"psalmos" means song and is translated psalm referring almost
certainly to the Old Testament Psalms. These words may imply singing with instrumental accompaniment but do
not demand it. I don't know how to say that's a lie
without saying that's a lie. I might praise my wife's cooking but if
I organized a PRAISE TEAM she might have me committed: and so she
should because I would be a dangerous person. Paul issued a DIRECT
COMMAND to "glorify God with one voice" by "speaking that which is
written." (Rom 15). The word MAKE
MUSIC or PRAISE is never mentioned in a religious sense of a
congregation in the entire Bible. No, Melody never means MAKE MUSIC. Melody
means "MAKE POWDER" or PANIC THE ENEMY by plucking the bow string or
plucking out hair. Melody is not MUSIC and is not related to the word
HARMONY which not included by Paul. No, Melody never means PRAISE. The silver
trumpets were used to sound the ALARM which meant to "play
instruments and make a joyful noise before the Lord." This was the
WARRIOR'S CHANT in which you praised Your God as able to slaughter
their god: it has no spiritual connection and is OUTLAWED in numbers
10:7. No, there is no RITUALISTIC praise singing
except among the superstitious pagans who believed that the gods
REQUIRED their help in running the world. Praise singing sought to
AID the gods, APPEASE the gods or even THREATEN the gods.
Melody always meant the twanging noise made
by a bow as you "psalloed" someone to death with an arror. It is
melody because a harp makes the same sound. Which is also the sound
your hair makes when the enemy PLUCKS it out like a harp
string. MAKING MUSIC is used ONLY in the
NIV
which usually soft-peddles the music idea because it is not a version
but COMMENTARY. The NIV is a feminist commentary and is responsible
for the rise of effeminate "rituals" which IS NOT worship. The book
of Revelation proves that when you bow or fall in worship, you HOLD
the harps but you CANNOT play them. When music was intended Paul had the Greek
word SUMPHONIA but that was the perverted pagan concept. To correct
the problem Paul said TEACH and leave the melody in your
heart. Jesus said that worship was
IN SPIRIT as the new PLACE as opposed to Gerezim and Jerusalem as
PHYSICAL PLACES. While Jerusalem had been the State Capital of the
Jews, it had also fallen into paganism. In Second Maccabees we
understand that the ABOMINATION OF DESOLATION included the DIONSYSUS
singers (prostitutes if women) and musicians (Sodomites if
men). HERE IS THE TOTAL CONTEXT
OF PLAYING AND SINGING IN THE GREEK PHALLIC WORSHIP: 1 - Not long after this, the king sent
an Athenian senator to compel the Jews to forsake the laws of their fathers and cease to live by the laws of God, 2 - and also to pollute the temple > in
Jerusalem and call it
the temple of Olympian
Zeus, > and to call the one in Gerizim the temple of Zeus the Friend
of Strangers, as did
the people who dwelt in that place. We include just a note on
what this meant: When
Zeus had an affair
with Mnemosyne, he coupled with her for nine consecutive nights,
which produced nine
daughters, who became
known as the Muses.
They entertained their father
and the other gods as a celestial choir on Mount Olympus. They
became
deities of intellectual pursuits. Also the three Charites or Graces were born from Zeus and Eurynome. From all
his children Zeus gave man all he needed to live life in an ordered
and moral way. Sing,
clear-voiced
Muse, of Castor and
Polydeuces, the Tyndaridae, who sprang from Olympian Zeus. Beneath the heights fo Taygetus
stately Leda bare them, when the dark-clouded Son of Cronos had
privily bent her to his
will. Very easily he softened the son of all-glorious Leto as he would, stern though the Far-shooter was.
He took the
lyre upon his left arm and tried each
string in turn with the key, so that it sounded awesomely at his touch. And Phoebus Apollo laughed for joy; for the sweet throb of the marvellous music
went to his heart, and a
soft
longing took hold on
his soul as he listened. Then the son of Maia,
harping sweetly upon
his lyre, took courage
and stood at the left
hand of Phoebus
Apollo; and soon, while he
played shrilly on his
lyre, he lifted up his voice and sang,
and lovely
was the sound of his voice that followed. And yet there are also times
when I'm a Satyr or Silenos! We men who belong to Dionysian Brotherhoods of
Satyrs (Dionusiakoi
Thiasoi Saturôn) will take on the identities of His animals,
especially the He-Goat or Stallion, and spread His Phallic Energy throughout the town. And on this night of
exuberant life, if I wear the headband of Dionysos Mitrêphoros,
I may find myself approached by thursos-bearing Bacchants to be
led off by
torch-light to
manifest for them the God or some lesser Daimôn in their mysteries. (This Dionysian Mitra or
headband proclaims my willingness to invoke my Lord; it encircles the
head and loops are pulled up under it so the ends hang like flaps at
the ears.) Dionysos is the God of the Mask and, all night long,
masked souls will roam the streets manifesting the awesome presence
of Divinity. The Epheboi lead the Axios
Tauros (Worthy Bull), which will be
sacrificed at the temple, though we take no joy in this
killing, for Dionysos Himself is called Axios
Tauros. In addition to the Bull, many men and
women carry bloodless offerings for the God. Many of us wear beautiful
robes, especially the Khorêgoi {XORHGOI/} (Chorus Leaders), who will direct the
dramatic performances. We see robes of scarlet and royal purple, gold
embroidered. Some of us wear golden crowns. Some men carry erect Phalloi, especially those who have come to
represent other cities at our festival. In this way we honor the God
as we were instructed to do those many centuries ago when He first
came to us. For, as Varro ( Augustine, De Civ. D. 7.21) explained,
Dionysos the Lord of Moist Nature (Kurios Hugras Phuseos) has
sovereignty not only over the vital sap of plants (of which wine is
the highest essence), but also over the fertile sperm of
animals. Along the way we pause at many
altars, including the Altar of the Twelve Gods, for choral performances, especially of Dithyrambs. In our procession we also have the
usual Ribald Songs (Skômmata) and Vulgar Shouts to
drive off the
enemies of Life.
Indeed, the Procession is a joyous efflorescence of irrepressible
Life, and many pleasant contacts are made or renewed within the happy
crowd. After the Procession, we make
sacrifice to Him at His temple. Besides the bull, there are many
bloodless offerings. Then more Dithyrambs are performed for Dionysos,
which celebrate Him as Lord of Indestructible Life (Zôê): However, in the temple area,
the Feast of Tabernacles had turned into a huge fertility ritual
where even the elders competed to "become a man of note." In
Dionysus worship three clergy "poets
competed, each
contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a
circle, The
effectiveness of the musical performance was enhanced with Asherah
poles or errected columns. The goal was to "know their gods
personally." "dressed as
satyrs, part human, part bestial, and bearing
before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the
Cross. The "music" word is never
used of spiritual worship of The True God. The Greek word for music
is: Sumphonia (h4858) soom-fo-nee'-ah; from 4859; unison of sound ("symphony"), i.e. a concert of instruments (harmonious note): - music.
Paul did not prescribe
SUMPHONIA and therefore did not include but EXCLUDED instruments.
Sumphonia was for singing, dancing, feasting and usually sexuality
and perverted sexuality. (Fathered by Apollo or
Abaddon or Apollyon) Now his elder son
was in the field: and as he came and drew nigh to the house, he heard
musick and dancing. Luke 15:25 "The earliest meaning of the
Greek word sumphonia (Aramaic: sumponeyâ) was "sounding together," that is, the
simultaneous
playing of instruments
or voices producing a
concord." Our preacher is willing to
sow discord all over the world and "offend these little ones" by
insisting the PSALLO means to make music: "you cannot psallo without
an instrument." We showed where that major PROOF TEXT came from and
was deliberately perverted. Next, if Paul wanted to
tell us to SING and PLAY instruments he would have just used the word
"Sumphonia." He DID NOT SAY "Make a Symphony out of the worship
ritual." Paul connected
music with the end-time Babylonian Harlot worship. Since MELODY is a highly
damaging concept when done externally and Paul knew the word
SUMPHONIA which meant to sing AND play, Paul's use of INTERNAL melody
specificially OUTLAWS simultaneous playing and singing.
Jerome, commenting
on Luke 15:25 where the word occurs, noted: "The sumphonia is not
a kind of instrument,
as some Latin writers think, but it means concordant harmony. It is expressed in Latin by
consonantia." Coxon concludes as follows [p. 36]:
Resource > Paul does not command HARMONY which is
more destructive than the Greek melody. > Paul commanded INTERNAL melody because
external melody is equally DISCORDING. > Paul DID NOT command
"sumphonia." > Therefore, the preacher boys are agents
of a foreign spirit. Even external melody is not
HARMONY and is not related to it. Moderrn harmony used as "churchy"
arose as TUNEFULNESS in the 19th century and is much more TWANGING or
damaging than ancient melody. NO SURPRISE: that when an
instrument is intended IT IS MENTIONED: "sing and make melody with
a harp." The concept of symphony
before c. 1750 Britannica Members "The word symphonia was used by the Greeks in reference to
notes
sounding
together in harmony and by extension meant an "ensemble" or "band"
rather than a musical
form. The word implies a
pleasant concord of
different notes and
has been used in fields other
than music to denote a pleasing combination of various elements. In
the New Testament Gospel According to Luke (King James Version),
symphonia is translated as "musick," as distinct from choroi, "dancing." The end time Lucifer (Zoe)
prostitute worship will again send the musicians into
sheol: 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 18:22 Musicians (g3451) moo-sik-os'; from Mousa , (a Muse); "musical", i.e. (as noun) a minstrel: - musician The GRINDERS in Hebrew meant "concubines." When you went to the millstone you might buy flour
or sex. Since music or the muses are the 9 female team of Apollo
(Abaddon or Apollyon) it is no surprise that the almost universal
end-time religion with be Babylonian Prostitute worship where the
prostitutes were part of the ministry team. Minstrels were also prostitutes who used MUSIC to seduce their
customers. The muses were the seven female musicians
of APOLLO. He had a grand Seeker-Center at Delphi. In Revelation he
is Abaddon or Apollyon. "The
Muses are often spoken of as unmarried, but they are repeatedly referred to as the
mothers of famous
sons, such as
Orpheus, Rhesus, Eumolpus, and others
connected somehow with poetry and song. As SHE, she is ZOE known as the "beast or
female instructing principle."
Farmer's Branch
Church of Christ: The
conclusion resulting from this study of word meanings is that musical
instruments are not
denied or
demanded in singing praise to the Lord. If the meaning of Hebrew, Greek and modern
translations informed by at least having read some Old Testament has
any value then instrumental music is UTTERLY CONDEMNED probably more
times than any other mortal sin. Jesus said that He didn't come to SPEAK to the
doctors of the Law and therefore left them blind and deaf. Every
musical term or name of an instrument is related to Satan,
destruction, ignoring God or to male and female prostitution. Jesus
tossed out "more or less violently" the musical worship team who
could mourn you a funeral or jazz you up a wedding. The clear
prophecy was that the Jewish clergy would try to defeat the word of
Jesus. This is the LAW OF SILENCE: God hath NOT said,
'Thou SHALT NOT play music' therefore WE GONNA play music. However,
this squirming for authority is denounced by the Bible and most of
church history. God hath NOT SAID, 'thou shalt
not baptize adults in pig oil.' God hath NOT SAID, 'thou SHALT NOT baptize
babies.' When you despise God's Word "as it has been
taught" then God pokes out your eyes and plugs your ears.
If you deliberately TAKE LIBERTIES with the
entire Bible to make it say what it REFUTES then one MIGHT reach the
conclusion that instruments are NOT DENIED. However, this would deny
that one is a LEADER in the Christian sense and probably implicates
an AGENT "infiltrating and diverting" people with falsehood.
The Bible is filled, from
the garden of Eden to the end-time Babylonian Whore religion, with
connecting MUSIC to spiritual ADULTERY. If the preacher
DOES NOT KNOW THAT then he is not competent to fill the "office"
which Jesus removed anyway. If the preacher KNOWS that
then he is deliberately PERVERTING the Word of God to get the flock
ready to be judged when the Whore Wordhip and worshipers are returned
to Hell just like the MOTHER LUCIFER or (Sophia Zoe). That might be true of "singing praises" to the
Lord but we noted that PRAISE SINGING was not in the Synagogue or
early church which was a Christian synagoge. We noted that
praise singing was the universal pagan superstition that one could
magically keep the gods from failing or that by "making self vile" as
did David you could keep God from punishing the "MAD" or
insane. The 2,000 year history of looking
for AUTHORITY absolute prohibits
instruments. The universaly connection between instruments
and perversion prohibits instruments. The connection between instruments and
SILENCING God prohibits
instruments. The universal SOWING OF DISCORD should
prohibit instruments. Paul's command for the FIRST INSTRUMENT OF
CHOICE excludes "lifeless instruments" or carnal weapons.
Farmer's Branch
Church of Christ: The
facts of this study inevitably beg the
question: if the
Holy
Spirit, speaking
through Paul, intended
to prohibit musical
instruments in praise to the Lord, why did He use words which were so
commonly associated with them? First, be
aware that Paul addressed instrumental
music in the context of MUSICAL idolatry in First Corinthians 10 and in Romans 10 in connection
with DEMON worship or RISING UP TO
PLAY. This was singing with
instruments and more. By OUTLAWING Play or Demon Worship
Paul prohibits musical instruments in
Worship. Scholarship recognizes the PLAY
at Mount Sinai as IDOLATROUS INSTRUMENTAL WORSHIP. If YOU told little Johnny to play in the
sandbox how could little Johnny qualify to remain out of an
institution and tell everyone that father had NOT SAID "thou shalt
not play on the dinner table." No spiritual person can miss the message of
instrumental music. Paul used PSALMOS and dispelled the
ignorance in two ways: He used a word which had the
human voice as THE FIRST INSTRUMENT OF CHOICE. To make sure that not even Doctors of the Law
could miss it, he placed the MELODY in the heart.
This is the only PLACE where Jesus said that acceptable worship can
take place. Therefore, to try to DO WORSHIP with musical rituals SEWS UP THE
CURTAIN to keep the Christian priest from entering THEIR OWN spirit
in order to SEEK God which is the ONLY true worship word often used by
Paul THERE IS NO
MUSICAL WORSHIP CONNECTION NOT CONNECTED WITH THE DEMONS INCLUDING
BAAL WORSHIP. OF THE MUSIC
CONDEMNED BY AMOS. THE
BATTLE OF BAAL IS THE SOURCE. The "doctors of the law are false
teacher: the gods worshiped in Amos included MOLECH who is a
Wandering Star called SATURN whose number is 666. "The marzeah was a
pagan ritual that took the form of a social
and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of
Sheol)." (King, Biblical Archaeological
Review, Aug, 1988, p. 35, 35) "These five elements are: (1)
reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical
accompaniment, (4)
drinking wine and (5) anointing oneself with oil." (King, p. 37).
"In pagan traditions, musical
instruments are invented by gods
or demi-gods, such as titans (satans). In the Bible, credit is assigned to antediluvian
patriarchs, for example, the descendants of Cain in Genesis 4:21.
There is no other
biblical tradition
about the invention of musical instruments." (Freedman, David Noel,
Bible Review, Summer 1985, p. 51). THE DANCE CONNECTED WITH
THIS AND PERFORMED BY DAVID WAS CALLED "BOWING THE KNEE TO
BAAL." Click to understand that Paul is OUTLAWING musical
"worship." Click to see how later prophets explained how Israel
FELL FROM GRACE through music. Second, this
warning is also issued to the Romans in
chapter 10. Running the references or
knowing a bit of Bible history will bring you to Mount Sinai. Sending
Across the Sea to get a SUBSTITUTE for Jehovah was a restoration of
their old Egyptian worship of the Triad
of Osiris, Isis and Horus under the
image of the golden calf. Third, in
First Corinthians 13 the booming
gong and clanging cymbal is directly
related to the FAMILIAR
SPIRIT of the witch of Endor. The
Greeks used a large brass vase as an echo chamber to PANIC the enemy
during war. The Familiar Spirit, the Nebel (meaning base of vile) and
the booming gong are ALL related to the CHALDEANS who were
astrologers first seen in the meaning of the SERPENT in the garden of
Eden and the gods as Starry
Hosts Israel was abandoned to AS A
RESULT
of their musical idolatry replacing God's Book of the
Covenant. When Israel turned to musical
idolatry God ABANDONED the nation to musical idolatry and so the
PERFORMED it in trying to pay for THEIR OWN sins until God delivered
the nation to captivity and death. Peter warned that careless people pervert
the words of Paul TO THEIR OWN DESTRUCTION. A minimal knowledge of
the classics would show exactly what Paul OUTLAWED exactly what the
perverted priests in Jerusalem tried on Jesus by piping hoping that
he would sing and dance: Strabo
[10.3.13] The
poets bear witness to such views as I have
suggested. For instance, when Pindar, in
the dithyramb which begins with these words, In earlier times
there marched (drawled) the lay of the dithyrambs long drawn out, mentions the
hymns sung in honor of Dionysus, both the ancient and the later ones,
and then, passing on from these, says, To perform the prelude in thy
honor, great
Mother, the
whirling of
cymbals is at hand, and among them, also, the clanging of
castanets,
and the torch that blazeth
beneath the tawny pine-trees, (The booms
and clangs of 1 Cor. 13-14 related to speaking in
tongues) he bears witness to the common
relationship between the rites exhibited in the worship of Dionysus among the Greeks and those in the
worship of the Mother of the gods among the Phrygians, for he makes
these rites closely akin to one another. And Euripides does likewise,
in his Bacchae, citing the Lydian usages at the same time with
those of Phrygia, because of their similarity: But ye who left
Mt. Tmolus (Sardis was
on this mt.), fortress
of Lydia, revel-band of
mine, women whom I brought from the land of barbarians as my assistants and travelling companions,
There are, it may
be, so many kinds of
voices in the world,
and none of them is without signification. 1 Corinthians 14:10
Therefore if I
know not the meaning of the voice, I shall be unto him that speaketh
a barbarian, and he that speaketh shall be a barbarian unto me. 1 Corinthians 14:11 uplift the tambourines native to Phrygian cities,
inventions of
mine and mother Rhea. (Zoe) See
Hypostasis of the Archons and Zoe's Musical Team And again, happy he who,
blest
man, initiated in the mystic rites, is pure in his life, . . . who,
preserving the righteous orgies of the great mother Cybele, and brandishing the
thyrsus on high, and wreathed with ivy, doth worship Dionysus. Come, ye Bacchae, come, ye Bacchae,
bringing
down
(double entendre) Bromius, (boisterous one) god the child of god, out
of the Phrygian mountains into the broad highways of Greece.
And again, in the following
verses he connects the Cretan usages also with the Phrygian:
O thou
hiding-bower (Where Zeus was hid) of the Curetes, and sacred haunts
of Crete that gave birth to Zeus, where for me (the leader of
the chorus) the triple-crested (pope's crown) Corybantes (Phrygian priests of Cybele) in their caverns
invented this
hide-stretched circlet, (tambourine) and blent its Bacchic (Dionysiac) revelry with the high-pitched, sweet-sounding breath of Phrygian flutes, and in Rhea's hands placed its
resounding noise,
to accompany the shouts of the Bacchae, ("ev-ah" ovatio or ZOE)
and from Mother Rhea frenzied Satyrs obtained it and joined it to
the choral
dances of the
Trieterides, (Triennial Festivals) in whom Dionysus takes delight. And in the Palamedes the
Chorus says,
Thysa, daughter
of Dionysus, who on Ida (mountain) rejoices with his dear mother in
the Iacchic revels of tambourines. Fourth, in
First Corinthians chapter 14, Paul connects speaking in tongues to
the MUSICAL INSTRUMENTS of
WARFARE. God authorized the silver
trumpets to call signals and panic the enemy but OUTLAWED THEM during
assembly (Num 10:7). The word MELODY is a WAREFARE word
and not a MUSICAL or WORSHIP word unless you are part of the
prostitute paganism of Paul's time. Fifth, Paul
spoke of LIFELESS
INSTRUMENTS and also of
CARNAL WEAPONS. Since the word hoplon is the same, Paul
declares that MUSICAL INSTRUMENTS cannot do the intellectual fight
against principalities and powers in high places (pulpits are High
Places). Sixth, the
entire background to Paul's "not musical" statements directs any
interesting reader to the Greek
background. Following that background
we can understand that gongs and cymbals and instruments of warfare
speak DIRECTLY to the pagan, prostitute religion of most Greeks.
Click for data. Next, the
Spirit Lord had a name: Jesus of Nazareth. Since Jesus had been
attacked musically according to prophecy why would Jesus tell Paul to
USE instruments. If Paul did not INCLUDE then theological history
knows that he EXCLUDES. Since Paul didn't speak of
PRAISE
but teaching there was no logical reason why he should exclude
music: but he excluded by what he incluced. Psallo was primarily a MILITARY
term as the Levitical musicians were WARRIOR musicians intending to
panic the enemy into cowardice. Paul specificially EXCLUDED external melody
by defining INTERNAL melody. Since Paul spoke Koine and not the
Attic of
the king's courts, he and all of his listeners would UNDERSTAND that
the MUSIC and MELODY words were related to the male or female prostitute connected to his warning in 1 Cor 11 against
"uncovered prophesying." THE WORD PSALLO DID NOT INCLUDE
INSTRUMENTS AT THIS TIME. And the Word
Zamar or Psallo NEVER includes an instrument UNLESS the instrument is
NAMED. And when instruments are
named the message relates to sacrificing the TYPE of Jesus out in the
COURT and Not in the Holy Place. Other than that both
singing and playing NAMED instruments is almost always related to the
musical prostitutes right there around the temple. The root meaning with all Biblical musical
terms and names of instruments speak of the taking your inheritance,
polluting, prostituting or are connected with Satan. Therefore, there are no MUSICAL terms or
INSTRUMENT names which COULD be commanded without commanding
something destructive or SATANIC. Any school boy would grasp that MELODY was
not MUSIC but spoke of the TWANGING
arrow sending a SINGING arrow to literally "psallo" or grind your
heart into bits. They would understand that you could PSALLO a man's
head off with a SWORD where MUSICAL INSTRUMENTS AND WEAPONS came from
the same Greek word just as instruments and weapons come from the
same word in Hebrew. They might even remember that the
word
SOP
which Jesus ground up for Judas had the same meaning of "grinding the
enemy into a fine powder" with the NOISE of instruments. All literate readers would understand, as they
did down through history, that Paul didn't even get close to using a
MUSICAL CONCEPT for the "school of
the Bible.
Singing AND playing would
conjure up children's games or the perverted male and female
musicians USED in the festivals which were all religious in
nature. Farmer's
Branch: The mention of these words would undoubtedly conjure up thoughts of musical instruments in the recipients
of Paul's first century letter to the Ephesians. Therefore, the
first century
Christians
(writers and readers alike) would almost certainly have had no
problem with singing to instrumental accompaniment based on Biblical
words and their usage. Anyone who could pass the test to get out
of an institution understood the 100% connection between MUSIC and
homosexual worship of the HOMOSEXUAL Gods such as DIONYSUS the god of
the new wineskin. Isn't that interesting that the serpent or
NACHASH in the garden of Eden was a CONJURER or ENCHANTER?
We have collected
all of the historical writers we can find and NO ONE ever even dared think about using instruments in THE
SCHOOL OF THE BIBLE. Click for a
chronological list. As
late as the 1913 Catholic Encyclopedia insists that music was
borrowed from PAGAN CULTS and insisted that the Biblical pattern is
CONGREGATIONAL SINGING. No, the word MELODY even externally would not
conjure up worshiping by singing with
simultaneous instrumental
accompaniment. Based on the Babylonian tablets, the Bible, the
classical writers and the church fathers it would always
CONJURE
up the male and female
prostitutes who were of the lower
classes. Jerome in about 400
Letter LIV. To
Furia. Jerome advises
a widow on preserving her widowhood. Living in Rome was dangerous and
Jerome warns her. Her sister may have taken vows in Bethlehem. He
writes "You have wealth
and can easily therefore supply food to those who want it. Let virtue
consume what was provided for self-indulgence; one who means to
despise matrimony need fear no degree of want. Have about you troops
of virgins whom you may lead into the king's chamber. Support widows
that you may mingle them as a kind of violets with the virgins'
lilies and the martyrs' roses." 13. Avoid the company of young
men. Let long baited
youths dandified and wanton never be seen
under your roof. Repel a
singer as you would
some bane.
Hurry from your house
women who
live by playing
and singing,
the devil's choir whose
songs are the fatal ones of sirens. Of men on their MASCULINE JOURNEY:
When any person
was introduced he was delivered as a victim to the priests, who led him away to a place resounding with
shouts, the sound of music,
and the beating of
cymbals and
drums, lest his cries,
while suffering violation, should be heard abroad." First
10/24/02
2 Maccabees
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