A CAPPELLA MUSIC by Edward Fudge

A cappella Music: Edward Fudge GracEmail: The New Testament neither requires instrumental music in worship nor forbids it. Edward Fudge has posted his GracEmail article here. The following remarks in red beg to disagree. A Cappella means "in the style of the church" where Catholics believe that the church has the right to overpower scripture. Modern churches of Christ do not sing A Cappella but "in the style of Scripture."

Click for Edward Fudge's Baptist take on the Singular Plural argument. He teaches the Christian covenant for the guilty Jews and the Gentile Covenant of "faith only" for the rest. Updated 5/13/04

But that calls the prophets (by the Spirit of Christ) and God Himself a liar

Edward Fudge: the Core Gospel or the "bull's eye thing."

See A Cappella Worship Ministry.

"They [the Puritans] disallowed of the cathedral mode of worship; of singing their prayers, and of the antiphone or chanting of the Psalms by turns, which the ecclesiastical commissioners in King Edward the Sixth's time advised the laying aside. Nor did they approve of musical instruments, as trumpets, organs, etc., which were not in use in the church for above 1200 years after Christ" (George Giradeau, p. 134).

A Cappella Worship Leader
Aquinas, Thomas Praise Singing.
Praise Songs as Christian Voodoo
Ancient Pagan Praise Leader
Music as Brainwashing
Latter Rain, praise teams, praise singing, charismatic
Praise Worship Ploughs the Ground Hosea 10:ll
Rubel Shelly Praise and Thanksgiving
Rubel Shelly Psalm 106
See how CHARISMATIC music was born of sodomy preferably in the form of Pederasty.
See that ZOE is Eos or Helios or Aphrodite or Lucifer: the singing and harp-playing prostitute.
See how it works out when the "children and effeminate rule over you."
See more notes on a cappella.
See Edward Fudge on A Cappella YOU ARE HERE

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The expression "our tradition" intends to teach the error that churches of Christ depend upon traditionalism for its rejection of instrumental music in worship. Since there have been non-instrumental churches for two thousand years and churches of Christ remained in that Biblical practice it is just wrong to claim that rejecting mechanical instruments for spiritual worship is based on traditionalism. There is NO MUSIC word used in the entire Bible about "worship." As TRADITION it was related to prostitutes, sodomites, warfare, slaughtering TYPES of Lord Jesus Christ, used as SLAVE DRIVERS to enslave even Israelites to build the temple, give glory to the EARTHLY KINGDOM and temple permitted as a CONCESSION to David who was TOO FEARFUL to ever return to Gibeon.

The SYNAGOGUE as Qahal began as the assembly or "church in the wilderness." Playing instruments and "making a joyful noise before the Lord" was OUTLAWED for the synagogue because it was the WARRIOR'S PANIC SONG. It carried the same meaning as external melody made with thousands of twanged bowstrings (zithers). See Numbers 10 and thw word ALARM. This was the same word used in prophesying of JUDAS who would aid the LEVITES in their musical TRIUMPH OVER Jesus which was not permanent. Psalm 41 translated at the Dead Sea sees Messiah warred over by musical instruments, but in the end he would use the harps of God or his own hear and mouth. The JUDAS BAG was ALWAYS attached to a flute case and it is pictured in the Greek paintings and pottery and defined as: FOR CARRYING THE MOUTHPIECES OF WIND INSTRUMENTS. The male flute players with the JUDAS BAG attached are usually naked.

Next, a cappella is not "congregational singing." Instrumental music could not be played in the Sistine Chapel in the 1700s. Therefore, castrated "males sounding female" formed choirs singing "organum" or in the style of the organ.

A Cappella does not mean "in the Bible style" or "in the synagogue style." A cappella was invented in the late 15th century. It was written for the Sistine Chapel in the Vatican which permitted no instruments. A Cappella is Italian for 'in the church style" meaning "in the Catholic church style." Contrary to singing "with one voice" or the teaching of the Bible commanded by Paul, a cappella was already polyphonic or multipart and was "sacred choral music." We have detailed the horrors of A cappella here.

"The papacy also continued the practice of creating castratos (boys castrated before puberty to keep their singing voices high-pitched) for their own entertainment, long after it had fallen in disfavor throughout Italy."

"Into this artificial world came the castrati, who had first gained a place in Italian churches for their 'angelic' voices. Castratos are said to have been the world's first superstars, because of the great sums paid to them for their singing, and scheduled engagements that took them to cities across Europe, to please their enthusiastic followers.

"How can we hear their music today, since we have no more castratos to listen to? Well, during the current renaissance in Baroque music, some castrato roles have been carefully recreated by counter-tenors also known as male altos or sopranos. Other musici parts are sung by women who use a natural alto or soprano range,

but adopt a style which attempts to make the music sound appropriately 'masculine', at least for male roles. There is much debate as to which is better--but keeping in mind the fact that most early composers wrote 'trouser' roles for women to sing, and that castratos frequently presented women's roles, especially in their youth, it would seem that gender stretching is an original part of this music, and perhaps one reason for its continuing dramatic impact." 

You will notice that all of the Word of God and historical facts are turned on their heads. The use of this expression is part of the Navigating the Winds of Change to teach as a fact that the non-use of instruments has only traditionalism as it's foundation.

They get away with it because they, the same people, have fed the churches in which they have no right to exist with "Chicken Soup for the Crippled" to make an appeal to those who believe that the brightest fellow in the organization is the one who can find the dirt on the floor.

The battle over the use of instrumental music all took place in NORTHERN states. All division occurred in Northern States. Southern churches continued a two thousand year practice. However, rich northern cities prospering from the civil war decided to carpet bag the churches and evangelize churches to bring them under instrumental music and the denominational organization. J. H. Garrison wanted to enfold all of "christendom" within the group. Therefore, the use of law courts to confiscate non-instrumental churches was considered ethical. After all, northern theologians sent rifled guns into the South and declared that "there is more power from one of these guns than from a hundred Bibles."

In every attempt to defend instruments there is a "locked at the hip" need to define southern churches as ignorant and even racists. All churches of Christ in the South remain faithful to 2,000 of history and the Bible and do not use instruments. All who bear the name Church of Christ and who use instruments (North and South) are not "churches of Christ" but are often Disciples of Christ or independents. Instrumental churches are more numerous in the North because all of the "sectarian" battles to introduce instruments were in Northern states. Don't let anyone tell you an untruth: instruments were never an issue in the church until division was created by organizational men attempting to convert people to instruments and the restoration of the same form of institution they bled and died to escape. Before that time, musical and non-musical churches were in fellowship.

No, churches of Christ sing without instruments as historical traditionalism but as a historical faithfulness to the total Bible and 2,000 years of faithfulness.

The Associate Presbyterians of America, and those from whom we descended in the old countries, and particularly those of Scotland and Ireland, from whom we have received our common faith, have always, and under all circumstances as a body,

opposed and rejected every human addition to God's word, God's ordinances, and God's worship.

The church never ceased while Catholicism reigned in a political sense. Among those groups there was no instrumental music. It was rejected for the same reason the Jews rejected music: without animal sacrifices in Canaan there was no legal or rational place for mechanical "noise." We note that the word "music" is not a Biblical word except in a secular or pagan sense. The Temple worship was the capitol of a "like the nations" kingdom and they worshiped like the nations and they were destroyed like the nations.

Yes, and let me count the ways (some of them). The blue links are articles which we have posted on these writers.

Romans 14 does not allow you to violate God's will in the quest for unity.

Romans 14 shows a plan for unity for the assembly time: The Orphic, Vegetarian, instrumental music background could meet with the Dionysic, meat-eating, wine-drinking, instrumental music background and Paul define a way quite identical to Ephesians 5 and Colossians 3. This would include Jews who had their own scruples:

WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves. Romans 15:1

Let every one of us please his neighbour for his good to edification (teaching, education). Romans 15: 2
For even Christ pleased not himself; but, as it is written, The reproaches of them that reproached thee fell on me. Romans 15: 3

PLEASE in the synagogue sense would have the preacher READ the text and then sit down and have ox dialogued. You simply don't need a DIRECT COMMAND to have the uncommon decency to use REVERENCE and GODLY FEAR for that short period of time so that everyone can LEARN the psalms and then return home, teach them and use them for "speaking to yourself" to further teach yourself the words of CHRIST which are Spirit and Life: your musicians words ARE NOT.

MUSIC in the Bible PLEASES THE CARNAL SENSES. It FEELS good because it creates a drug high. Music knows NO OTHER FUNCTION than to entertain the mind

PLEASE IS: Aresko (g700) ares'-Jo; prob. from 142 (through the idea of EXCITING EMOTIONS)

Areskos [g142] A. pleasing, mostly in bad sense, obsequious, cringing, II. areskos, ho, the staff borne by pornoboskoi [brothel keeper] on the stage, Poll.4.120.

Hairetikos (g141) hahee-ret-ee-kos'; from the same as 140; a schismatic: - heretic [the Gr. word itself].

A man that is an heretick, after the first and second admonition reject; Tit.3:10  AIRO (g142) awry; a prim. verb; to LIFT; by imp. to take up or AWAY; fig. to RAISE THE VOICE, KEEP IN SUSPENSE the MIND

Aoidê 1. art of song, autar aoidên thespesiên, spell, incantaation thing sung, song, whether of joy or sorrow,</font>

The LIKE JESUS means that He died to remove the burden defined as "creating spiritual anxiety through religious rituals."

Come unto me all ye that labor and are heavy laden, and I will give you rest. Matthew 11:28

Jesus didn't tell you to COME to a church which has used PROGRAMS and PERFORMANCE to make music.

JESUS DID NOT COMMAND A CAPPELLA "MUSIC": SPEAK is defined as the opposite of poetry and music.

Romans XV. debemus autem nos firmiores inbecillitates infirmorum sustinere et non nobis placere

WHAT IS OUTLAWED:

Outlawed: Placeo to please, to be pleasing or agreeable, to be welcome, acceptable, to satisfy (class.). 1. In scenic lang., of players or pieces presented, to please, find favor, give satisfaction: scenico placenti

Outlawed: Scaenicus I. of or belonging to the stage, scenic, dramatic, ORGANA, theatrical
I. Lit.: poëtae, dramatic poets, ludi, stage-plays, theatrical representations, : fabula, a drama, 

Organa, modulatio Comedy. Orator
A. instrument, implement, tool, for making or doing a thing
3.musical instrument,of the pipe

Poi-êtês II. composer of a poem, author, p. kômôidias Pl.Lg.935e; p. kainôn dramatôn, b. composer of music, 2. author of a speech

Organum Vitr. 10, 1.--Of musical instruments, a pipe,. Gen. 4, 21; id. 2 Par. 34, 12 -Of hydraulic engines, an organ, water-organ: organa hydraulica,

Gen 4:21 And his brother's name was Jubal: he was the father of all such as handle the harp and organ.
H8610 manipulate, figuratively to use unwarrantably:--catch, handle, (lay, take) hold (on, over), stop, X surely, surprise, take.
H8608 taphaph to drum, that is, play (as) on the tambourine:taber, play with timbrels.
H8611 tôpheth to'-feth From the base of H8608 ; a smiting, that is, (figuratively) contempt:--tabret. MEANING HELL

Organon , to, ( [ergon, erdô] ) I. an implement, instrument, engine of any kind (mostly post-Aug.), Col. 3, 13, 12.--Of military or architectonic engines (whereas machina denotes one of a larger size and more complicated construction)

FOR DOING HARD WORK: Ergon  [Ergô] I.work, 1. in Il. mostly of deeds of war, polemêïaerga, 3. a hard piece of work, a hard task, Il.: also, a shocking deed or act,

Modulatio. In partic., a rhythmical measure, modulation; hence, singing and playing, melody, in poetry and music, Quint. 9, 4, 139: modulatione produci aut corripi (verba), id. 9, 4, 89 : modulatio pedum, id. 1, 6, 2 : scenica, id. 11, 3, 57 : vocis, melody, id. 11, 3, 59 : musica, Aus. Ep. 25, 13 .

Clement of Alexandria: "After having paid reverence to the discourse about God, they leave within [at church] what they have heard. And outside they foolishly amuse themselves with impious playing, and amatory quavering (feminine vibrato), occupied with flute-playing, and dancing, and intoxication, and all kinds of trash.

Saleuo (g4531) sal-yoo'-o; from 4535; to waver, i.e. agitate, rock, topple or (by impl.) destroy; fig. to disturb, incite: - move, shake (together), which can [-not] be shaken, stir up.

Salos (g4535) sal'-os; prob. from the base of 4525; a vibration, i.e. (spec.) billow: - wave.

Saino (g4525) sah'ee-no; akin to 4579: to wag (as a dog its tail fawningly), i.e. (gen.) to shake (fig. disturb): - move.

Salpigc (g4536) sal'-pinx; perh. from 4535 (through the idea of quavering or reverberation): a trumpet: - trump (- et).

WHAT IS PERMITTED TO BE AN EKKLESIA OR SCHOOL OF THE BIBLE: 

Please for Edification or Education:

A.To take a thing by hearing, i. e., 1.To hear, to perceive, to observe, to learn (cf. opp. do = I give in words, i. e. I say): hoc simul accipe dictum, 2.To comprehend or understand any thing communicated 3. With the accessory idea of judging, to take a thing thus or thus, to interpret or explain

For whatsoever things were written aforetime were written for our learning, that we through patience and comfort of the scriptures might have hope. Romans 15: 4

Edification means LEARNING. Using music you shut down the learning centers and appeal directly to the emotional, pleasure centers. That is why music and sexuality have always been TWINS.

Aedificatio, I. Abstr., the act of building, a building or constructing. II. Concr., a building, a structure, edifice,

III. Figurative, building up, instructing, edification. Absolute: loquitur ad Aedificationem Ecclesiae, Vulg. 1 Cor. 14, 12 ; ib. Eph. 4, 12.

Loquor a. [Sanscr. lap-, to talk, whisper; Gr. lak-, elakon, laskô], to speak, talk, say (in the language of common life, in the tone of conversation; cf. Quint. 9, 4, 10; 11, 3, 45).

B. Act. 1. To speak out, to say, tell, talk about, mention, utter, name, declare, show, indicate or express clearly MESSENIO By my troth, young man, prithee, tell me your name, unless it's disagreable.

Ecclesia ekklêsia, an assembly of the (Greek) people.

The ekklesia in a legal sense was like a county court. They heard evidence and made legal decisions. If a flute player tried to PERFORM they would cast him out as an ignorant pervert.

The resources for the SYNAGOGUE which Paul is defining as a way to remove DIVERSITIES in the assembly as in Ehesiand and Colossians is the INSPIRED TEXT writen by the SPIRIT OF CHRIST:

For whatsoever things were written aforetime were written for our learning, that we through patience and comfort of the scriptures might have hope. Romans 15: 4

Now, even at the towers of Babylon, people understood that music was for entertainment, mind control or seduction:

Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Romans 15: 5

That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ. Romans 15: 6

Wherefore receive ye one another, as Christ also received us, to the glory of God. Romans 15: 7

The direct command is to TEACH OR PREACH, the resource was THE INSPIRED TEXT, the singing and melody were in the heart because both were SECULAR. The singers an flute-players were PROSTITUTES and were under the same CITY OFFICIALS as the cemetary and dung heap. Rhetoricians, sophists, singers, musicians and craftsmen (techne) were the SORCERERS in the Greek world and will go back into hell with the holy whore (Revelation 18). They were all PARASITES because they lived off people as performers, buffoons, (preacher jokes) without providing lasting good to the community.

There are no "music" words either in the Old or New Testament: music was pagan but teaching was God's demand.

Because the direct commands and approved example of Jesus the Bible does not hint of "singing" in the sense of being tuneful.  The historic church had "singing" of NOT-Scriptural poems imposed from the Syriac churches in conflict with the West about the year 373.  So any kind of "music" in the ekklesia would be SOMEONE'S traditionalism.

Rubel Shelly reaches the same false conclusions about "traditions." It is a fact that the total Bible is totally opposed to instruments because they dull the rational, decision making power. For 2000 years -- even in the Catholic Encyclopedia -- every student knows that instruments were rejected because the commands, examples and inferences were to teach with the Words of Christ. When instruments were imposed by the "doctors of the law" Jesus fired, it was purely as a Seeker-Friendly effort to proselyte the sheep from other's churches.

Singing is always unaccompanied singing unless the instrument is clearly defined. Paul defined one of the instruments allowed by the pre-Biblical Greek -- the human voice.

kithara the Lat. cithara (whence guitar), a kind of lyre or lute, Hhymn., Hdt., attic: --it was of triangular shape, with seven strings, Eur. Cf. ki^tha^rizô

Latin with similar definitions

parasi-tor . a-ri, v. dep. [id.] , to play the parasite, to sponge: parasitarier, Plaut. Stich. 4, 2, 54 : parasitando pascere ventres suos, id. Pers. 1, 2, 3 .

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Absolutely, 100% wrong!

We have defined the fall from grace because of musical idolatry at Mount Sinai.  God turned them over to worship the starry host and when they "fired" God and demanded a king He promised that the kings would enslave and destroy them.  Most of the prophets affirm that the Temple sacrificial system was not commanded but IMPOSED to make them like all of the other national temple-states.  Nehemiah confirms that they had been enslaved and destroyed so the imposed clergy could fleece them.  Click for the outline in our review of Terry Rush.

The sacrificial system had been dead for many centuries so that it is concluded that the Jews "had no God and had no Temple." The faithful Jews had fled rather than have the young males castrated to become the musical and sexual ministers in the Temple built by Herod and NOT by god.  However, none was so vile as to let singers, musicians or "worshipers" into the temple proper.

Justin Martyr b 110

Chapter XXII.-So Also Were Sacrifices and Oblations.

"And that you may learn that it was for the sins of your own nation, and for their idolatries and
        not because there was any necessity for such sacrifices,
        that they were likewise enjoined, listen to the manner in which He speaks of these by Amos, one of the twelve, saying:

`Woe unto you that desire the day of the Lord! to what end is this day of the Lord for you?

It is darkness and not light, as when a man flees from the face of a lion, and a bear meets him; and he goes into his house, and leans his hands against the wall, and the serpent [devil] bites [stings with tithes] him. Shall not the day of the Lord be darkness and not light, even very dark, and no brightness in it? I have hated, I have despised your feast-days, and I will not smell in your solemn assemblies:

wherefore, though ye offer Me your burnt-offerings and sacrifices, I will not accept them; neither will I regard the peace-offerings of your presence.

Take thou away from Me the multitude of thy songs and psalms; I will not hear thine instruments.

BUT, let judgment be rolled down as water, and righteousness as an impassable torrent. 

Sure, your false preachers also lie about Amos. And I affirm that when you HEAR the sound of the instruments it is the sign that God is repaying His enemies for rejecting His word.  That is the ONLY way to really make the LOST OBVIOUS.

In response to Olan Hicks identical claim we have recorded the Biblical facts. Christians going into the temple and trying to "sing congregationally" while the Levites as the only temple instrument players "ministered to the priests" would have been killed instantly. Jesus was not a Levite nor from Aaron and He did not go into the holy places of the Temple.

The Jewish "congregation" had always been the clergy and civil leadership.

The "people" never worshiped by "singing with instrumental accompaniment."

If a Hezekiah claims that he will play the harp in the temple for the rest of his days you might want to understand how "little Manasseh" grew up to burn babies in the red-hot arms of Molech to the beat of instrumental music. People lost and afraid that God is going to remove his Spirit (life) is likely to fall into desperate efforts to find the lost God (Psalm 51).

This body of believers had come to Jerusalem to observe the Jewish festival. After their conversion they no longer were observant Jews or the clergy would not have been upset. They certainly were freed from making offerings at the temple. They could not participate in animal sacrifices with its music and be Christians. Therefore, these people gathered at the temple and went out from there. The word "continued" shows the nature of their new religion:

And they continued steadfastly in the apostles doctrine and fellowship, and in breaking of bread, and in prayers. Ac.2:42

They did not do any of these in the temple:

And they, continuing daily with one accord in the temple, and breaking bread from house to house, did eat their meat with gladness and singleness of heart, Acts 2:46

We have illustrated that Jesus and the Jews were not in the temple but Solomon's porch where about anyone could gather. It was not a place of worship and the Christians never "sang congregationally" by hitchhiking on the "music" of the Levites which was a great, crashing noise which signalled that you had better be flat on your face even on Solomon's porch. If Jesus and the church did that they they would have continued sacrificial worship and not the Christian assembly for instructions.

Therefore, by this argument, to use instruments by using sacrificial worship as the "proof text" actually denies the value of the sacrifice of Jesus.

When we get to the "parking lot" we are "at church." And when we are in the pews we are "at church." However, if we are temple-oriented or "high church" we will never get to the holy area where only the preacher serves. The people never worshiped where music was played over animal sacrifices. Later practices at the time of Jesus in connection with the Feast of Tabernacles was more of a pagan fertility ritual than worship.

The "temple" the Christians entered was the:

Hieron (g2411) hee-er-on'; neut of 2413; a sacred place, i.e. the entire precincts (whereas 3485 denotes the central sanctuary itself) of the Temple (at Jerus. or elsewhere): - temple.

And Jesus walked in the temple in Solomons porch. John 10:23

And as the lame man which was healed held Peter and John, all the people ran together unto them in the porch that is called Solomons, greatly wondering. Acts 3:11

And by the hands of the apostles were many signs and wonders wrought among the people; (and they were all with one accord in Solomons porch. Acts 5:12

Jesus came to replace that as the "place" where one worships 'in spirit" or in the mind rather than with sacrifices and noise:

But I say unto you, That in this place is one greater than the temple. Mt.12:6

The place where the Christians did not enter was the:

Naos (g3485) nah-os'; (to dwell); a fane, shrine, temple: - shrine, temple. Comp. 2411

The Jewish "people" never worshiped in the temple:

Edersheim points out that the "stationary men" represented the 'congregation" but that the people were shut out of the sacrificial offering:

First: As the last great gate slowly moved on its hinges, the priests, on a signal given, blew three blasts on their silver trumpets,

summoning the Levites
and the 'representatives' of the people (the 'stationary men') to their duties, and announcing to the city that the morning sacrifice was about to be offered.

Second: As the president gave the word of command, which marked that 'the time of incense had come,' '

the whole multitude of the people without' withdrew from the inner court, and fell down before the Lord, spreading their hands * in silent prayer.

Third, The temple Music was blown and songs sung. This excluded all people not of the tribe of Levi. It also excluded all women.

Fourth: This closed the morning service. [Note: only representatives of the people were present. The common Jews did not participate in this temple service]

It was immediately followed by the sacrifices and offerings which private Israelites might have to bring, and which would occasionally continue till near the time for the evening service

Conclusion: the sacrificial worship was for the secular Temple-State and not for the congregation of Israel.

Again: fulfillment in the New Covenant: The animals were burned outside the "worship center."

Wherefore Jesus also, that he might sanctify the people with his own blood, suffered without the gate. Hebrews 13:12

Let us go forth therefore unto him without the camp, bearing his reproach. Hebrews 13:13
For here have we no continuing city, but we seek one to come. Hebrews 13:14

By him therefore let us offer the sacrifice of praise to God continually, that is, the fruit of our lips, giving thanks to his name. Hebrews 13:15

And Josephus warned that the musical Levites had been responsible for destroying the nation once and were intent on doing it again.

Conclusion: The Christians did not and must not now worship where the music was played

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Psalm is a GREEK WORD. When the Greek translation was made the called the whole collection the BOOK OF PSALMS.   However, on 57 of them translates the Hebrew MIZMOR. Out of these 7 were dedicated and could only be sung for special occasion (the Hallels) or BY authorized Levites. The rest of the 50 DO NOT speak of worshiping with instrumental music. The Civilians never worshipped IN the Temple but assembled or synagogued even as the church in the wilderness to REST, read and rehearse the Word of God.

That would mean that God endorsed instruments in Christian singing and we should not make it an optional tradition. Rubel Shelly says that musical instruments were the "gift of God." No.  We have noted that the operative word for the "school of the Bible" was SPEAK which is the opposite of poetry and music. Poets and singers composed MYTHS and not true history.  There are only 57 of the BOOK of Psalms which are Mizmors.  7 of these were dedicated to certain temple operatives (outside of the temple) and the other 50 which the Jews recited are NOT instrumental.

What Paul said was not: "Sing Psalms." He said, "Teach and admonish one another with the inspired text." Teach is the same word as "preach" and the operative word is teach or instruct and not "sing" and most assuredly not engage in "music" which was always secular or pagan.

(A Psalm or Song for the sabbath day.)

IT is a good thing to give thanks unto the Lord, and to sing praises unto thy name, O most High: Psalm 92:1

To shew forth thy lovingkindness in the morning, and thy faithfulness every night, Psalm 92:2

Upon an instrument of ten strings, and upon the psaltery; upon the harp with a solemn sound. Psalm 92:3

If the writer wants to play the harp on the Sabbath I am sure that no one will be upset. He can play "when thy riseth up and before thy lieth down." However, the sabbath was not for WORSHIP but for rest. This quarantined the Israelites from the Babylonian Sabbath where the people SERVED the preacher or the agent of the gods in tithes, offerings, music and sexual pleasure. Both the First day and Seventh day Sabbath was also for a HOLY CONVOCATION. This boils down to READING or reciting any of the Law they had available. Jesus died to give us REST from "spiritual anxiety created by religious ritual." He threw out, more or less violently as one ejects dung, the musical ministels used to appeasing the gods and the dead spirit .

See Islamic Worship

Cantillation is also used in Islamic religious services in the recitation of the Qur'an and in the muezzin's call to prayer, or adhan.

Neither it nor the cantillation of the Qur'an are considered to be music, however, and music as such is forbidden in religious services.

At Mount Sinai as Smith notes below:

"...employment of music in religious services, though idolatrous,

After all, Paul commanded TEACHING which is preaching or to Timothy to "giving heed to the public reading of the Word."

"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 (singing) is related to the earthly realm,

> the second (chanting or as Paul commanded SPEAKING) 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.)

However, if he attempts it in church on the Lord's Day he should be "thrown out more or less violently" as Jesus ejected the professional "team" while he healed the young girl.

It is a standard practice to name the instrument which is to accompany a psalm. That is, the word psalmos demands that you define the "instrument." The options are "the human voice" or a "mechanical" or Paul would say a "lifeless" instrument.

sing praises unto thy name Upon an instrument of ten strings

Jesus and the apostles at the Passover "hymned a psalm" and therefore there was no mechanical instrument.

Furthermore, the Jewish authorities are quite agreed that playing a harp on the Sabbath violated the law against work. The word Psallo or Melody is not a MUSICAL term: it is a warfare word directly related to Apollo, Abaddon or Apollyon: the father of twanging bow strings to send singing arrows, thieves and liars.

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
carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, id=Anth.

II. to play a stringed instrument with the fingers, NOT with the plectron, Hdt., Ar., Plat.
2. later, to sing to a harp, SING NTest.

The connection betwee psallo and "singing" is that one spoke of "shooting out a hymn" or with Jesus "grieving out a hymn" to break your heart because of His Death.

To play upon the cithara identified one as a parasite.

Greek With similar to Psallo:

epi-psallô , play the lyre, S.Fr.60, Poll.4.58(Pass.); melesi kai rhuthmois Plu.2.713b ; sing, tous humnous LXX 2 Ma.1.30 :--Pass., Ph.1.626.

Latin with similar definition

parasi-tor . a-ri, v. dep. [id.] , to play the parasite, to sponge: parasitarier, Plaut. Stich. 4, 2, 54 : parasitando pascere ventres suos, id. Pers. 1, 2, 3 .

Greek with similar definition

mous-izô , sing or play, Dor. mous-isdô Theoc.8.38, 11.81:--Med. in act. sense, acharin keladon mousizomenos E.Cyc.489 (anap.)

The phrase: Belos ek keraos from Psallo means:

belos [ballô, as Lat. jaculum from jacio]

1. a MISSLE, esp. an ARROW, dart, bolt, Hom.; of the rock hurled by the Cyclops, Od.; of the ox's leg thrown at Ulysses, id=Od.; hupek beleôn out of the reach of darts, out of shot, Il.; so exô belôn Xen.

2. like enchos, used of any WEAPON, as a sword, Ar.: an axe, Eur.

We have discussed Psalm 149 and 150 here. Many of these instruments were not allowed in the temple; the people did not worship in the temple; therefore, this has nothing to do with Christian worship. Augustine, with most of the church "Fathers" treated the instruments as figurative because no Christian could literally sing Psalm 149.

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We believe that it originally meant a poem set to meter so that it was composed so that it could be sung. For instance, we wouldn't try to sing the Declaration of Independence but we might read, speak, sing or use an instrument with The Star Spangled Banner. No one every demanded an instrument as worship while singing.

Psalmos (g5568) psal-mos'; from 5567; a set piece of music, i.e.
a sacred ode

(accmpanied with

the voice,

harp or

other instrument; a "psalm"); collect. the book of the Psalms: - psalm. Comp. 5603.

Ode (g5603) o-day'; from 103; a chant or "ode" the gen. term for any words sung; while 5215 denotes espec. a religious metrical composition, and

5568 still more spec. a Hebrew cantillation): - song.

Exactly like a psalm, an ode can be vocalized (accompanied with the human voice, harp or other instrument).

Nor in English there is any connection between "song" and musical instruments. However, all songs are written in meter and can be vocalized (accompanied with the human voice, harp or other instrument).

Paul was not silent, but He specificially named the 'first instrument of choice" which was the human heart.

When an instrument is intended it is named. For instance, "sing and make melody with a harp."

Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Amos 5:23

This was the "song of the prostitute" for the king of Tyre, Lucifer's agent:

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Is.23:16

Therefore without tradition, Paul issued a direct command to sing (psallo) psalms (psalmos) and the Spirit of Christ was not silent: He commanded that the "instrument" included in psalmos be speaking with the human voice and the melody or instrumental part be the "heart." We have discussed the words here. Scholarship is certain that psallo didn't demand the instrument in Koine Greek. Most apologists for instruments continue to erroneously misquote Lucian of Samosata.

ALL MUSICAL WORDS IN GREEK AND HEBREW RELATE TO WARFARE, POLLUTION AND PROSTITUTION. THE CLEAR "FATHER/ MOTHER" WAS LUCIFER OR ZOE WHO FORCED THE MINOR 'JEHOVAHS' INTO FORMING MUSICAL TEAMS TO WORSHIP SOPHIA-ZOE. LUCIFER BROUGHT WING, STRING AND PERCUSSION INSTRUMENTS INTO THE GARDEN OF EDEN.

THE SERPENT, OR NACHASH, WAS A MUSICAL ENCHANTER. IN THE BOOK OF REVELATON THE OPHIS IS DERIVED FROM sOPHISts. They belonged to the SECT of the Hypocrites and were sorcerers and therefore PARASITES or SPONGERS.

Apollo or Abaddon or Apollyon in Revelation is the father of musical harmony, twanging bowstrings to send singing arrows into the literal (or sexual) heart. He was the father of liars and thieves.

Therefore, when you let go of the arrow the bow and string "twangs"but the "singing"is bringing death. This was the common Classical understanding.

Fragment 10, Aristotle, de mundo 5, 396b20

Things taken together are wholes and not wholes, something is being brought together and brought apart, which is in tune and out of tune; out of all things there comes a unity, and out of a unity all things.

The BOW is called STRIFE, but its WORK is DEATH

Fragment 209, Hippolytus Ref Ix, 9, I

They do not apprehend how being at variance it agrees with itself: there is a palintonos (counter-stretched) harmony, as in the bow and the lyre.(4)

See the Twanging Background

Fragment 54, Hippolytus Ref IX, 9,5

An unapparent harmony is stronger than an apparent one.

Heraclitus: "All things come into being by conflict of opposites, and the sum of things flows like a stream. This order, the same for all things, no one of gods or men has made, but it always was, and is, and ever shall be, an ever-living fire, kindling according to fixed measure, and extinguished according to fixed measure. Justice meant a balance of opposites, and strife.

Heraclitus cited as an example the tension between the string and the frame in a bow or a musical instrument. 'Harmony lies in the bending back, as for instance of the bow or of the lyre... Opposition unites. From what draws apart results the most beautiful harmony. All things take place by strife'."(Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 188, Knopf)

Psallo has origins ONLY in the instrument of warfare which Paul called Carnal Weapons. The psallo content of playing or singing is related ONLY to snapping the strings with the FINGERS. It cannot be used of plectrons or wind instruments.

Henry George Liddell, Robert Scott, An Intermediate Greek-English Lexicon

(psao)

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 carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, id=Anth.

II. to play a stringed instrument with the fingers, NOT with the plectron, Hdt., Ar., Plat.

2. later, to sing to a harp, 

SING NTest.

One superstition regarding the bow, universally and good-naturedly believed in, as we believe in the virtues of a horseshoe, is that the twanging of a bowstring will frighten ghosts and evil spirits from the house.

twang Audio pronunciation of twang ( P ) Pronunciation Key (twng)
v. twanged, twang·ing, twangs

1. To emit a sharp, vibrating sound, as the string of a musical instrument does when it is plucked.
2. To resound with a sharp, vibrating sound.
3. To speak in a strongly nasal tone of voice.

I gave my back to the smiters, and my cheeks to them that plucked off the hair: I hid not my face from shame and spitting. Isaiah 50:6

For, lo, the wicked bend their bow, they make ready their arrow upon the string, that they may privily shoot at the upright in heart. Psalm 11:2

Bend: Darak (h1869) daw-rak'; a prim. root; to tread; by impl. to walk; also to string a bow (by treading on it in bending): - archer, bend, come, draw, go (over), guide, lead (forth), thresh, tread (down), walk.

This was symbolic or pictorial language. In the Greek-speaking world the DEAD were honored by bringing a harp to the tombstone which was often engraved with a musical instrument. The message was that the dead in Christ have not perished: they are spirituall alive, they have no earthly duties and they are free to enjoy music. This was symbolic of those "taking their ease" and was acceptable IN THE LAND OF THE DEAD. However, Amos speaks of those pretending that they had no earthly duties and were, therefore, engaged in the Marzeah which was a feast with and for dead ancestors.

There is another angel or messenger and he tells those STILL ALIVE to preach the gospel. Therefore, the book of revelation outlaws instrumental music as worship among the living with the duties of preaching the gospel.

The universal opinion, including the official view of the Catholic scholars in the Catholic Encyclopedia, is that instruments were not authorized because one cannot very well teach and admonish one another while being overpowered by a pipe organ.

No one ever rejected instruments "because the pagans" worshiped with instruments. Rather, the evil results of the pagan practices were used to defend the Biblical view. The mind is still deliberately drugged with music so that the sermons are tolerated.

Every ugly, dirty gender-confused Rock musician knows that he can sell endorphins for a huge income while peddling morphine would land him in jail. Click the medical and musicologists proof.

From the Classical writers and down through history everyone knows (should) that musical instruments were carved on tombstones or buried with the dead (the king of Ur and his bull-image harp idol). This was the symbol that the deceased had no more earthly responsibilities. However, for those still on earth the message of Jesus was to preach His Word. Click for the proof that John is not speaking of harps as worship. Furthermore, John was at worship "in the spirit" or in his mind when he saw the visions.

The message of Revelation is that if you are physically dead, you have no earthly responsibility and you may play your harp.

However, the message of the angel to THE LIVING was to preach the gospel.

Jesus said that God only seeks those who worship IN SPIRIT. Because He had spoken of Gerezim and Jerusalem as PLACES, the spirit or mind is also the PLACE. For instance, John was "in the spirit" on the Lord's Day. Paul only speaks of prayer and worship "in the spirit."

Therefore, if it is in the body then it is not IN THE SPIRIT and therefore not "spiritual." ALL of the church fathers argued that the use of INSTRUMENTS violated the direct words of God. Consistent with Lucifer's use of music to cause the fall of the angels, the MUSICAL ENCHANTER (Nachash) in the garden, the TERMINAL FALL FROM GRACE by the musical idolatry at Mount Sinai, the fact that the LAW was "added because of this musical transgression," the fact that the TEMPLE was granted to the elders to lead them into captivity and death, the fact that NO JEWISH CONGREGATION ever sang with instrumental accompaniment, the ways in which Jesus repudiated the MUSICAL PEFORMERS, Paul's direct command that the MELODY be in the heart and the warning in Revelation that the HARLOT is identified by her singers and musicians were the TRUE REASONS they rejected instruments. They knew that instruments were connected to the ORIGINAL FALL because they were intended to STEAL WORSHIP due only to God.

See some other classical and church fathers to disprove this false statement.

This argument is required only to those who believe that instruments are "spiritual." In fact, all of the pagans believed that instruments were the "homes" of the gods. Therefore, when you plucked or beat on the god the sounds which came out were the voice of the spirit. Worship teams still claim to have the power to lead you into the presence of God. Click to see the universal view that instruments were idols or homes of the "spirits" but not of the Holy Spirit.

The writer assuredly skips over the historical fact that when the American Restoration Movement was formed by Methodists, Baptists and Presbyterians fleeing from clergy domination, instrumental music was not the problem. In fact, only some of the Anglican or Episcopal churches ever thought of using machines to worship God. And their earlier Church of England leaders had tried to remove music as a sure sign of Catholicism. They failed because of government control.

Jews knew that instruments and animal sacrifices were a matched pair: animal sacrifices cease there is no need for "noise" to mask the horrors of animal slaughter. The Jews never thought of using instruments in the synagogues until 1815 in a liberal,