Lucado Oak Hills and Instrumental Music In Worship 

Apollyon, Apollo, Apollyon is the god worshipped and the leader of the Locusts or his musical worship team.
Litteral worship means to FALL ON YOUR FACE.  Worship IN Spirit (place) bows to the WORD or Regulative Principle.  You cannot MERCHANDISE God and be part of the WAY that is called a SECT.

Max Lucado Selling Water to the Thirsty
Max Lucado and Anathema

Max Lucado and Antichrist

Max Lucado and Armageddon

Max Lucado a Christian?

Max Lucado and Anathema

Jude warns that the Instrumental-Trinitarian-Perverted PLAY will marked by rejecting ONCE delivered Word, Logos or inclusive-exclusive Regulative Principle: They were FOREORDAINED. No honest preacher can be Rich and Famous: you have to SELL YOUR SOUL.

Unleashed from the Smokey Pit: Apollyon leader of the Locusts-Muses Shepherdesses-Prostitutes.

Ov. Met. 11.146
When Pan had doone, the sacred Tmole to Phebus turnd his looke,

And with the turning of his head his busshye heare he shooke.
Then Phebus [Apollineos] with a crowne of Bay uppon his golden heare
Did sweepe the ground with scarlet robe. In left hand he did beare
His viol made of precious stones [
gemma] and Ivorye intermixt.

Ăpollĭnĕus , a, um, adj. id.,
I.relating or belonging to Apollo (only poet.): “urbs,” i. e. Delos, where Apollo was born and specially honored, Ov. M. 13, 631: “proles,” i. e. Æsculapius, id. ib. 15, 533: “mater,” i. e. Latona, Stat. Th. 11, 12: “vates,” i. e. Orpheus, Ov. M. 11, 8: ars, both the art of soothsaying, id. Ib. 264, and that of healing, id. Tr. 3, 3, 10: “cantus,id. M. 11, 155 et saep.

gemma multas in digitis, plures in carmine gemmas Invenies,Mart. 5, 11, 3:

My friend Stella, Severus, wears on his fingers sardonyxes, emeralds, diamonds, jaspers. Though there are many gems on his fingers, there are more in his verses, whence, I conclude, his hand is so decorated.  3 See Ep. 8.
Is. 30:32 And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it.

Ezek. 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. [Cast as Profane]

Ovid: And in his right hand for to strike,
        his bowe was redy fixt.
He was the verrye paterne of a good Musician ryght
Anon he gan with conning hand
        the tuned strings to smyght.

plectrum   The PSALLO foundation of the musicators OUTLAWS the plectrum.  It only permits striking a bow or lyre string with the FINGERS.

artĭfex  artificibus eos auloedos esse, qui citharoedi   artifices scaenici,
A maker, originator, author, contriver: Also for a sly, cunning contriver, inventor of a thing (cf

căno   [cf. kanassō, kanakhē, konabos; clanging bronze  to utter melodious notes, to sing, sound, play. A. Of men: “si absurde canat, tibia canentum   harundine,    [flute] cithara,
Ovid: The sweetenesse of the which did so the judge of them delyght,
That Pan was willed for to put his Reedepype in his cace,
And not to fiddle nor to sing where viols were in place.
pello , 4. Of a musical instrument, to strike the chords, play: “nervi pulsi,struck, Cic. Brut. 54, 199: “lyra pulsa manu,Ov. M. 10, 205;
1. To drive out or away, to banish, expel: Phoebeā morbos arte
2. To beat, conquer, overcome
morbus  B. Grief, sorrow, distress:  “nomen insaniae significat mentis

4. Of a musical instrument, to strike the chords, play: “nervi pulsi,struck, Cic. Brut. 54, 199: “lyra pulsa manu,Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown,


The Tabret or Drum has the same meaning as Topheth or Hell: musical instruments are always used by God to drive His enemies into HELL or CAST ALIVE INTO THE LAKE OF FIRE.  The Instruments are removed from any Church at the same time Jesus comes and removes the candlestick of seven spirits OF Divine Truth.  Max gets his PATTERN for the use of instruments from 2 Chronicles 29: the instrument players performed for INFANTS, then GOATS and back to INFANTS.  The DRUMS are to make the LAMBS dumb before the slaughter.

Any thing or PERSON who has been devoted to ADORN a religious place can never be redeemed and must be BURNED.

RANDY FRAZEE STRUMS FOR MAX LUCADO   The use of a banjo pick VIOLATES the meaning of PSALLO so is self-condemned by using psallo as authority to sow discord and trust on grace to save him.



END TIME BABYLON MOTHER OF HARLOTS: Apollon's Muses or Locusts as his musical worship team are filthy prostitutes: fruits

Theophilus invented the TRIAS concept and marks modern trinitarians as does 1 John as ANTICHRIST. Both the neo-trinity and female or effeminate leadership aree products of women or the effeminate.  Paul said that Eve was WHOLLY SEDUCED and Cain was OF that wicked one:

This Eve, on account of her having been in the beginning deceived by the serpent, and become the author of sin, the wicked demon, who also is called Satan, who then spoke to her through the serpent, and who works even to this day in those men that are possessed by him, invokes as Eve.58 And he is called "demon" and "dragon," on account of his [a0podedrake/nai] revolting from God. For at first he was an angel. And concerning his history there is a great deal to be said; wherefore I at present omit the relation of it, for I have also given an account of him in another place.
        And to Enoch was born a son, by name Gaidad; who begat a son called Meel; and Meel begat Mathusala; and Mathusala, Lamech. And Lamech took unto him two wives, whose names were Adah and Zillah. At that time there was made a beginning of polygamy, and also of music. For Lamech had three sons: Jabal, Jubal, Tubal. And Jabal became a keeper of cattle, and dwelt in tents; but Jubal is he who made known the psaltery and the harp; and Tubal became a smith, a forger in brass and iron. So far the seed of Cain is registered;
[Cain is derived from a Musical Instrument and Lances: He is the FATHER of those who handle musical instruments without authority: Handle means in a sexual sense.]

58 Referring to the bacchanalian orgies in which " Eva " was shouted, and which the Fathers professed to believe was an unintentional invocation of Eve, the authoress of all sin.

The word "abomination" is also key to understanding the context. In Hebrew, the word "to 'evah," (abomination) is almost invariably linked to idolatry. In the passages from which both verses are taken, God tells Moses to tell the people not to follow the idolatrous practices of the people around them, people who sacrificed their children to Molech, or who masturbated into the fire to offer their semen to Molech, for example. Chapter 20 starts off with the same warning.

"To 'evah" also means "something which is ritually unclean," not something evil in itself, like rape or theft. Eating pork or having sex during menstruation are ritually unclean.

The Babylon Mother of Harlot rises again and uses lusted after fruits (Same as in Amos 8) as speakers, singers, instrument players and ANY religious craftsmen always called like the Levite's SORCERERS and PARASITES.  In Revelation 18 John says that they are sorcerers who HAD once deceived the whole world.  That is the justification for them to be CAST ALIVE INTO THE LAKE OF FIRE. Christ in Isaiah uses the practices of the Jews as their anticipated punishment.

Jude 3 Beloved, when I gave all diligence to write unto you of the common salvation,
        it was needful for me to write unto you, and exhort you
        that ye should earnestly contend
        for the faith which was once delivered unto the saints.

Jude 4 For there are certain men crept in unawares,
        who were before of old ordained to this condemnation
        ungodly men, turning the grace of our God into lasciviousness,
        and denying the ONLY Lord God, and our Lord Jesus Christ.  [Trinitarians are called antichrists by John]
Jude 5 I will therefore put you in remembrance, though ye once knew this,
        how that the Lord, having saved the people out of the land of Egypt,
        afterward destroyed them that believed not.
Jude 6 And the angels which kept not their first estate,
         but left their own habitation, he hath reserved in everlasting chains
        under darkness unto the judgment of the great day.
Jude 7 Even as Sodom [earthly Jerusalem] and Gomorrha,
        and the cities about them in like manner, giving themselves over to fornication,
        and going after strange flesh, are set forth for an example,
        suffering the vengeance of eternal fire.

A Charmer is an Abomination: This was outlawed for the Church of Christ (the Rock) in the wilderness as "vocal or instrumental rejoicing or speaking your own words.

incantātor , ōris, m. incanto, I. an enchanter, wizard (

consŭlo (a). In the lang. of religion, to consult a deity, an oracle, omens, etc.: Apollinem de re,Cic. Leg. 2, 16, 40: “deum consuluit auguriis, quae suscipienda essent,Liv. 1, 20, 7: “deos hominum fibris,Tac. A. 14, 30 fin.: “Phoebi oracula,Ov. M. 3, 9; Suet. Vesp. 5: “Tiresiam conjectorem,Plaut. Am. 5, 1, 76:

Cantus A. Prophetic or oracular song: “veridicos Parcae coeperunt edere cantus,Cat. 64, 306; cf. Tib. 1, 8, 4.—
B. An incantation, charm, magic song, etc.: cantusque artesque magorum.
cantus e curru Lunam deducere tentat,
2. With instruments, a playing, music: “in nervorum vocumque cantibus,Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,Cat. 64, 264: “querulae tibiae,

Amos 5:26 But ye have borne the tabernacle of your Moloch and Chiun your images,
        the STAR of your god, which ye made to yourselves.

Acts 7:41 And they made a calf in those days,
        and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands


This is a picture of the instrumental worship at Jerusalem and Mount Gerizim just before and just after Russ and David claim that God commanded them to impose instrumental Worship. Perhaps He did:
Acts 7:42 Then God turned,
        and gave them up to worship the HOST of heaven; 
        as it is written in the book of the prophets,
        O ye house of Israel,  have ye offered to me slain beasts and sacrifices
        by the space of forty years in the wilderness?
Max Lucado has a Vision to invalidated Biblical Facts.
Amos 5:27 Therefore will I cause you to go into
        captivity beyond Damascus,
        saith the LORD, whose name is The God of hosts.
Acts 7:43 Yea, ye took up the tabernacle of Moloch
        and the star of your god Remphan
        figures which ye made to worship them: 
        and I will carry you away beyond Babylon.

Isaiah 30 has the Spirit OF Christ saying that the Jews and their Assyrian worship

And his
breath [SPIRIT], as rushing water [Free Word] in a valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue them and overtake them. Isaiah 30:28 LXX
Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX
and the Lord shall make his glorious voice to be heard and the wrath of his arm, to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX
And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums and with harp. Isaiah 30:32 LXX
For thou shalt be required before thy time: has it
been prepared for thee also to reign? nay, God has prepared for thee a deep trench, wood piled fire and much wood: the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX


Judas  was a thief: his bag or box was
always attached to the spotted flute case.

And God WATCHED the prophesied and fulfilled Musical Worship Team
Trumpet, drums, flute, cymbals and castinets with buffoons
Psallo permits ONLY smiting a string with your FINGERS: not a plectrum
Psallo and SOP have the same root meaning.

Max Lucado ignores the prophecy and fulfilment of how Jesus was MOCKED with musical instruments.


Revelation 18F: they are all called Sorcerers who HAD once deceived the whole world.




11.11. 13 See David Young, North Boulevard Church of Christ in Murfreesboro and restoring the REVIVALISM or Cosmic worship defined as sorcery in Scripture and recorded history. DENOUNCING as "traditionalism" the Church of Christ's grasp that "vocal or instrumental rejoicing or self-speak rhetoric" was outlawed when Christ the Rock provided the Qahal, synagogue, ekklesia or Church of Christ in the wilderness to PROTECT the godly people from the Jacob-Cursed and God-abandoned Levites who performed SORCERY with instrumental noise after God abandoned them to worship the Starry Host (Cosmic Worshi[p) at Mount Sinai.  IMAGINING founding 60,000 congregations on the Max Lucado conversion to the MOTHER CHURCH controlling DAUGHTER churches.  See Cane Ridge # 3 to see that the SALEM resourced revivals by SOPHISTS who validated their consuming food by enchanting the "laity" and make them dance when the sorcerers piped.

This is defined in Revelation 17-18
The Rise of the Babylon Mother of Harlots
Unleashes the "lusted after fruits" defined in Amos 8
As rhetoricians, singers and instrument players (Sophists or the Wise from whom God HIDES)
John called the Sorcerers and this marks Jesus removing the LAMPS (seven spirits) and sentencing them to be Cast alive into the Lake of Fire.
Abaddon or Apollyon is the leader of the MUSES known as adulteresses becoming shepherds.

Max Lucado imposed "Instrumental Music as Worship" because he said that Paul who condemns anything beyond the Word or LOGOS (Regulative) principle was NOT inspired but HE was inspired and had a vision.  Selling anything beyond speaking the free water of the Word is called prostitution: it doesn't matter which body part you sell.  The Spirit OF Christ defined a Church of Christ as REST both inclusively and exclusively. He excluded seeking your own pleasure or speaking your own words.  Being lifted up with pride was the sin of Lucifer called the "singing and harp-playing prostitute in the garden of Eden" and the "Babylon mother of harlots (Revelation 17) uses lusted after fruits as speakers, singers and instrument players.  John called them SORCERERS and that they would be cast alive into the Lake of Fire.  Jesus promised that if you do not speak HIS WORDS (Logos is the Regulative Principle) you are a Scribe or Pharisee He called hypocrites by naming speakers, singers and instrument players in Ezekiel 33.
Max Lucado explaining how to write "beyond the sacred pages." Yet, Paul wrote, not because of heavenly action, but because of congregational angst.  Titus needed direction, the Ephesians needed assurance.  Timothy struggled, the Corinthians squabbled and the Galatians waffled.  So Paul wrote to them.

How he made music with his words. He turned epistles into concert hall sheet music.  “Though I speak with the tongues of men and angels, but have not love, I have become as sounding brass or clanging cymbal.”  (1 Cor. 13:1) It’s as if he dipped his pen in honey. He could sound like a poet in the seventh heaven.

He could also sound like a pastor on Monday morning.  Tired, frustrated.  Beginning sentences and not finishing them. Starting a second thought before he finished the first.  Throwing out ideas in lumps instead of lyrics.  But that was ok.  He wasn’t writing the Bible.  He was writing to Philemon.  He wasn’t crafting epistles; he was solving problems.  Paul didn’t write for the ages; he wrote for the churches.  He wrote for souls.

And we’ve written:  articles, blogs, books, stories. Not like Luke, Paul, and John.  But not unlike them, either.

We’ve had our moments of inspiration.  Sandwiched between hours of perspiration, for sure.  But we’ve had our moments—mystical moments of pounding heart and pounding keyboard. We’ve felt the wind behind our backs and sensed a holy hand guiding ours.  We, like our Creator, have beheld our creations and declared, “It’s good.”  (Or, at least, “It’s not so bad.”)  And we have asked:  Is this our call?  Our assignment?  To use words to shape souls?

First, Jesus of Nazareth as Holy Spirit appeared to Paul and let Himself be seen to ENABLE Paul to be a post-resurrection witness and inspired writer.  Paul wrote circular letters to be READ in all of the churches.

WHAT JESUS AS HOLY SPIRIT TOLD PAUL TO WRITE TO MAX LUCADO AND ANYONE WHO SELLS THE FREE WATER OF THE WORD AND CORRUPTS IT.  Paul and the Greek Scholars called those who corrupt the word of the author "by selling learning at retail" is a PROSTITUTE.


1Corinthians 13:1 Though I speak with the tongues
        of men and of angels,               (condemned)
        and have not charity, (Grace)   (condemned)
        I am become as sounding brass, or a tinkling cymbal.

This is not speaking as in the command to SPEAK one to another to teach and comfort. Sounding brass and tinkling cymbals here are identifying marks of people who have NO LOVE. Even if they COULD speak all of the languages in the world there would be no love. The command is to SPEAK or LOGOS the Word of Christ which is the opposite of rhetoric, singing or playing instruments. Speaking in the tongues of angels was IN FACT making music in tongues.  Tongues and Instruments INTEND to lull people to sleep with THE LOCUSTS OF REVELATION.

La^l-eō, Mark of the Locusts II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday,  III.  of musical sounds, “aulō [flute] laleōTheoc.20.29; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echomagadin lalein sound the magadis,  [double flute]
It may help us to understand that the Greek word lelein refers primarily to utterance rather than to meaningful conversation. The term is used repeatedly in chapter 14 to describe speaking in tongues. Phrynichus, the ancient dictionarian, defined the term as 'to talk nonsense'.

The word is used of gossip, prattling, babbling, animal sounds, and musical instruments. During the classical period, it usually was employed in a contemptuous sense. Debrunner, writing in the Kittle-Friedrich Theological Dictionary of the New Testament, states 'Lalein can also be used quite objectively of speech when there is reference to sound rather than than meaning. 'To what kind of utterance can St. Paul refer? There were many types of vocalization in ecstatic rites.

They have been heard to utter (different voices of equal strength, or with great diversity and inequality) in tones that alternated with silence; and again in other cases harmonious crescendo or dimenuendo of tone, and in still other cases other kinds of utterance. (Iamblichus, On the Mysteries, III, 4-6)
-kat-auleô , A. charm by flute-playing, metaphor I will flute to you on a ghastly flute, E.HF871 (troch.):--Pass., of persons, methuôn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros chelônidos psophon to be played to on the flute with lyre accompaniment,
II. in Pass., [ton monochordon kanona] parechein tais aisthêsesi . . katauloumenon subdued by a flute accompaniment, to be piped down, ridiculed, gelômenoi  
2.  make a place sound with flute-playing, resound with flute-playing, nêsos katêuleito Plu.Ant.56

,  of a loquacious person 2.  generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet
, ho, ,
A. messenger, envoy, Il.2.26, etc.; “di' aggelōn homileein tiniHdt.5.92.z, cf. SIG229.25 (Erythrae):— prov., Arabios a., of a loquacious person, Men.32.
2. generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet,“aggelon glōssan logōn E.Supp.203; “aisthēsis hēmin a.Plot.5.3.3; neut. pl., “aggela nikēsNonn.D.34.226.
4. In later philos., semi-divine being, hēliakoi a.Jul.Or.4.141b,  “a. kai arkhaggeloi”  also in mystical and magical writings, aggela nikēs
nik-ēi_, II. pr. n., Nike, the goddess of victory, Hes.Th.384, cf. Pi.I.2.26, etc.; “Nikē Athana PoliasS.Ph.134, cf. E. Ion457 (lyr.), 1529.
Eur. Supp. 203 Theseus
[195] Full often have I argued out this subject with others. For there are those who say, there is more bad than good in human nature; but I hold a contrary view, that good over bad predominates in man, [200] for if it were not so, we should not exist. He has my praise,
        whichever god brought us to live by rule from chaos and from brutishness,
        first by implanting reason, and next by giving us a tongue to declare our thoughts,
        so as to know the meaning of what is said..

And where sight fails us and our knowledge is not sure, the seer foretells by gazing on the flame, by reading signs in folds of entrails, or by
divination from the flight of birds.
        Are we not then too proud, when heaven has made such [215] preparation for our life,
                 not to be content with it?
        But our presumption seeks to lord it over heaven,
                 and in the pride of our hearts we think we are wiser than the gods.

Oak Hills Church of Christ under Max Lucado with Lynn Anderson's input uses Farmers Branch Church of Christ's totally perverted view of music in Scripture.
Notes from Oak Hills and Instrumental Music.  Max Lucado got his vision from the Farmer's Branch paper also used by Rick Atchley and Mark Henderson. This is turn has been hand fed from the NACC by men such as Knowles, Johnson and David Faust masking under the theme of UNITY.

Jim Hackney at Heritage Church of Christ (EX) IMPOSES instruments claiming that He has power to BIND and LOOSE.

Heritage Church of Christ Instrumental

Jim Hackney reads off the list of "instrument" passages supplied by the NACC.  Unfortunately these all become lies and maybe blasphemy by claiming that God commanded something to which He ABANBDONED the Jews BECAUSE OF musical idolatry of the Egyptian trinity.
First, since psallo never at any time or place in recorded history MEANT more than pluck or smite a string with your FINGERS and never with a PLECTRUM they would know that pluck had and has absolutely no "musical" content.  That is why there is no recorded Bible or literary example of being able to instruct someone to pluck a string with one word. If you tell someone PLUCK there is no telling what would happen to you.  The same is true in English and all languages.

Second, if you want to tell someone to PLUCK an INSTRUMENT there are compound words for all named instruments and STYLES of plucking.
Third, you blaspheme the Spirit of Christ by saying that:
  1. He was too ignorant not to use TWO words such as PSALLO Plus A Harp.
  2. He was too ignorant not to use one compound word which meant play a harp
  3. He just wanted to throw in stumble words for those who have not been washed with water INTO the Word or school of Christ or
  4. He intentionally wanted to sow massive discord since singing as an ACT was first imposed in the hear 373.
Even if "psallo" meant play a harp it could NEVER be used to justify a guitar pick, a flute or drums

Playing the part of those deliberately sowing discord and blaspheming, let's assume that the Spirit of Christ or Paul or anyone prior to 1878 was too illiterate to know about all of the compound words.  For instance.

Anti-psallô, a stringed instrument in accompaniment of song, a. elegois phorminga  {harp of Apollo, Abaddon, Apollyon's instrument]

Epi-psallō, A. play the lyre, S.Fr.60, Poll.4.58(Pass.); “melesi kai rhuthmois” 
                    SING,tous humnousLXX 2 Ma.1.30: Then the priests sang the hymns.
Even if you define a melody that would NOT include a rhythm.
Melos  rooted in cutting limb from limb like all musical terms.
limb, in early writers always in corrupt for kata meros
2. metaphor., “esmen . . allēlōn melēEp.Rom.12.5, cf. 1 Ep.Cor.6.15.
,  A. share, portion, 2. with Preps., ana meros in turn, successively,
        III. the part one takes in a thing
B. Especially musical member, phrase: hence, song, strain, first in h.Hom.19.16
        lyric poetry, choral songs, Opposite Epic or Dramatic verse

Perhaps the Holy Spirit was not educated enough NOT to use psallo which is never translated to mean musical melody and was not aware that He could have used MELOS which means musical melody or a series of single notes.
HH 19 To Pan:1 Muse, tell me about Pan, the dear son of Hermes, with his goat's feet and two horns —a lover of merry noise. Through wooded glades he wanders with dancing nymphs who foot it on some sheer cliff's edge, [5] calling upon Pan, the shepherd-god, long-haired, unkempt.... Often he courses through the glistening high mountains, and often on the shouldered hills he speeds along slaying wild beasts, this keen-eyed god. Only at evening, [15] as he returns from the chase,
        he sounds his note,
        playing sweet and low on his pipes of reed:
        not even she could excel him in melody
        that bird who in flower-laden spring pouring forth her lament utters honey-voiced song amid the leaves....
Then all the immortals were glad in heart and Bacchic Dionysus in especial; and they called the boy Pan because he delighted all their hearts.
2. music to which a song is set, tune, Arist.Po.1450a14;
        Melos is Opposite. rhuthmos, metron, Pl.Grg. 502c;
                Melos is Opposite metron , II. metre, Ar.Nu.638, 641, etc.;
Aristoph. Cl. 638 Soc.
In the first place, to be clever at an entertainment, understanding what rhythm is for the war-dance, and what, again, according to the dactyle.
Again "meter" is the opposite of melos or melody and rhythm.
                   Opposite melos (music) and rhuthmos (time), Pl.Grg.502c
         Melos is Opposite. rhuthmos, rhēma, Id.Lg.656c;
                 Melos is Opposite rhēma  (erō) A. that which is said or spoken, word, saying,
                                    Ero I. I will say or speak, II. I will tell, proclaim, 2. to be specified, agreed, promised
                                                II.2. to be specified, agreed, promised
sullegō  II. of persons, collect, get together, “stasiōtasHdt.1.59; “egkhōriousE.IT303; “khoronAntipho 6.11; “ekklēsian
—Pass., come together, assemble, “rhēmata kai logous
mustered, Gathered

1Corinthians 14:23 If therefore the whole church be come together into one place, and all speak with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad?

1 Cor 14: 23 Ean oun sunelthē ekklēsia holē epi to auto kai pantes lalōsin glōssais, eiselthōsin de idiōtai ē apistoi, ouk erousin hoti mainesthe;
Sunerkhomai II. come together, assemble, meetsunelthe pros Theōna

La^l-eō ,Mark of the Locusts
II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, 
III.  of musical sounds, “aulō [flute] laleōTheoc.20.29; of trees, v.supr.1.2; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echomagadin lalein sound the magadis,  [double flute]
                        3. subject of speech, matter, Hebraism cf. rhētos
rhēt-os on stated terms, on certain conditions, according to covenant
IV. to rh. the precise, literal contents of a document,
                                 the letter
of the law,

expressly, distinctly, Plb.3.23.5,
                                      rhētos literal, Opposite. allegorical, Ph.1.69, al.
Opposite Allēgor-eō , (agoreuō2. abs., speak figuratively or metaphorically,
4. allēgor-ētēs , ou, ho, allegorical expounder,
agoreuō agora  1. to speak in the assembly, harangue, speak
of the kērux in the Ecclesia, tis agoreuein bouletai; who wishes to address the people?
If you have a favorite "proof text" you may scroll down to the yellow background statements of the Andersons.  I have added only a small part of the proof that they are simply worng about the Bible. You will notice that the proofs are "scrambled" and I may put them in logical and Biblical order with a table of context so you can read what you wish.  I have excluded personal references to people at Oak Hills and some of the overwrought use of "buildings" apparently to justify the use of instrumental music.  I have left the links to definitions and Greek literature which take up space: I may remove them but it woudl be a good idea for the Greek "scholars" defending instrumental music to be exposed to a tiny bit of evidence which repudiates music and their scholarship.

This paper had been modified to supply the FALSE TEACHINGS of Lynn Anderson etal 10.07.08.  The Older paper of proof text posted on the internet with PARALLELS to Farmer's Branch's "white paper" to prove that they are all really lies about God's Word. I think that the "spirit" did not lead the elders.

Therefore, the fall into musical idolatry was led by the women under the guidance of the "proofs" from Lynn Anderson etal which have been circulated by handlers from the NACC.

In the worship bulletin for the Oak Hills Church of Christ (Max Lucado, pulpit minister) on September 5, 1999, (when their guest speaker was Buckner Fanning, of the Trinity Baptist Church in San Antonio) the following was printed:

A. Oak Hills Church of Christ Elders?: The elders want to provide you with a statement about a question that may have been raised. That question has to do with the use of musical instruments in our worship.

After many months of careful study and consideration,
the elders
unanimously concluded that there is no Biblical prohibition of the use of mechanical instruments in worship.

We believe that they didn't study the Bible. Rather, they were SHEPHERDED by the STAFF and believed what is abut 100% anti-Biblical and anti-Christian. For instance:

B. Farmer's Branch Church of Christ: The Need For This Consideration

This presentation regarding what the leadership of the Farmers Branch Church believes concerning vocal and instrumental musical expression

has been produced as a response to sincere questions posed by genuine disciples who are a part of the heritage of the Churches of Christ.

The Heglian dialect discusses YOUR opinion and MY opinion but we will COMPROMISE with MY opinion and then there will be no DIVISION.

A. Max Lucado's vision and Oak Hills Church of Christ Elders?: We merely want to state that CONSENSUS to you today without any PREDICTION of what that might mean to our worship services. Our worship style may or MAY not change, but we are in no hurry to change. We are HIGHLY SENSITIVE to your feelings, and we want to HEAR your THOUGHTS and WISHES.

We have it on the authority of God in Christ that after the end of the Law we can ONLY worship God in the new PLACE of our human spirit as we give heed to the Spirit OF truth.

But just before, the STAFF had stated:

"..the elders unanimously concluded that there is no Biblical prohibition of the use of mechanical instruments in worship.

B. Farmer's Branch Church of Christ:: For some time now, FBCC has occasionally incorporated the use of instrumental music into its Sunday morning assemblies in the form of a solo with an instrumental track or a special event such as a musical.

This has proven to be a unique experience for anyone who has had their faith nurtured in the context of the Churches of Christ which (in regard to most Churches of Christ) have been exclusively a capella in their form of worship.

Lynn Anderson in Navigating the Winds of Change shows how to slowly change people's "comfort zones" so that they become comfortable with that which they know is not Scriptural.  This says that one opinionated person has the right to manipulate your mind so that you gradually love to become the proverbial "boiled frog." Unfortunately, when such people learn how to manipulate you it becomes their religion and your weakness lets them act out their tyranical impulses. The result is that the slippery slope leads to destruction of that which you PRESUMED to create in your own image. I have collected many notes about Anderson's method of "shepherding" but minimalists understand that sheep will not rest and feed around the sounds of rushing waters.  I am sure that this represents his views which intimidated the elders and resulted in a full-blown rock and roll show.
Lynn Anderson etal: While we want to be considerate of feelings and comfort zones, we should be much more interested in being obedient to God and considering what He desires.  “Am I now seeking the favor of men, or of God?  Or am I trying to please men?  If I were still pleasing men, I should not be a servant of Christ.” Gal.1:10.  Rather than asking what kind of worship we are comfortable with, each of us should be asking what kind of worship is pleasing to God.

Who is this WE usurping the authority to SOW DISCORD for YOU. Sowing discord is one of those things God hates along with the discorders.  Jesus died to give us REST from the LADED BURDEN.
Matt. 11:25 At that time Jesus answered and said, I thank thee, O Father, Lord of heaven and earth,
        because thou hast hid these things from the wise and prudent,
        and hast revealed th
em unto babes.

The wise are the "doctors of the Law" and the "crooked race" pointing to the skolion musicians in the symposium
Sophos A. skilled in any handicraft or art, clever mantisId.Th.382; “oiōnothetas  Interpreter of signs.
poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.), cf. Ar.Ra.896

Sophizo practise an art, Thgn.19, IG12.678; play subtle tricks, deal subtly, etc.; ouden sophizomestha toisi daimosi we use no subtleties in dealing with the gods, E.Ba.200;
E.Ba.200 Teiresias
[200] We mortals have no cleverness in the eyes of the the gods. Our ancestral traditions, and those which we have held throughout our lives, no argument will overturn, not even if some craftiness should be discovered by the depths of our wits.  Will anyone say that I do not respect old age, [205] being about to dance with my head covered in ivy? No, for the god has made no distinction as to whether it is right for men young or old to dance, but wishes to have common honors from all and to be extolled, setting no one apart.
Sophia , Ion. -, h(, prop. A. cleverness or skill in handicraft and art, as in carpentry in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8,

Sophistes (Latin) A. master of one's craft, adept, expert, of diviners, Hdt.2.49;
        of poets, “meletan sophistais prosbalonPi.I.5(4).28,
        of musicians, “sophistēs . . parapaiōn khelun
        with modal words added, “hoi s. tōn hierōn melōn
Melos sp. musical member, phrase: hence, song, strain
2. music to which a song is set, tune, Arist.Po.1450a14; opposite rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma, Id.Lg.656c;
melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos
3. later of the rhētores, Professors of Rhetoric, and prose writers of the Empire

The burden in Greek includes:

epōd-os , on, (epadō A. singing to or over, using songs or charms to heal wounds, “epōdoi muthoiPl.Lg.903b.

b. Subst., enchanter,e. kai goēsE.Hipp. 1038 (but “goēs e.Ba.234): c. gen., a charm for or against,ethusen hautou paida epōdon Thrēkiōn aēmatōnA.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.

2. epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, burden, refrain, Ph. 1.312 : metaph., ho koinos hapasēs adoleskhias e. the 'old story', Plu.2.507e.

The Self-Pleasure outlawed in Romans 15 is a burden:

BURDEN IS: Airo (h142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

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

G700 aresky ar-es'-ko Probably from G142 (through the idea of exciting emotion); to be agreeable (or by implication to seek to be so):please.

aeirō , II. raise up, exalt, “apo smikrou d' an areias meganA.Ch.262, cf. 791 
esp. of pride and passion, exalt, excite, hupsou ai. thumon grow excited, S.OT914

Come unto me all ye that labor and are heavy laden, and I will give you rest. Matthew 11:28
Take my yoke upon you, and learn of me; for I am meek and lowly in heart:and ye shall find rest unto your souls. Matthew 11:29
For my yoke is easy, and my burden is light. Matthew 11:30
Labor is what we call "religion" and "worship."
Phortizo (g5412) for-tid'-zo; from 5414; to load up (prop. as aa vessel or animal), i.e. (fig.) to overburden with ceremony (or spiritual anxiety):- lade, be heavy laden.
Ana pauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain); by impl. to refresh:- take ease, refresh, (give, take) rest.
Ana means "every one of you."
Pauô, includes to: bring to an end, stop or silence by death, take one's rest, cease, have done, of one singing or speaking.

Yoke means a beam balance:the strong oxen helps carry the load of the weak one.
STAND fast therefore in the liberty wherewith Christ hath made us free, and be not entangled again with the yoke of bondage. Galatians 5:1
Meek means humble, non-demanding.
Lowly means the opposite of religious performers.
His Burden is:
Phortion (g5413) for-tee'-on; dimin. of 5414; an invoice (as part of freight),
That means: "Jesus carries the freight and you just carry the invoice."
Rest is:
Anapauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain); by impl. to refresh:- take ease, refresh, (give, take) rest.
Anapausis (g372) an-ap'-ow-sis; from 373; intermission; by impl. recreation:- rest. When you hear people yelling for you to do this here religious program, it is not God. Believe me. I tell my folks that they are reloading me with the burden Jesus died to remove just by anouncing (and anouncing and anouncing) all of those "busy" programs. All good of course, but not added to our "to do list" by Jesus.
So, you have heard it straight from Jesus:"Go enjoy an ice cream cone, sleep late, go for a long walk in the forest or along the beach, and just relax."

Pauo means stop the polemos or battle, fight, war: stop levying war against another, anaireisthai or airô egeirein, kathistanai, epagein to begin a war; p. poieisthai to make war, -- opp. to p. anapauein, kataluesthai to put an end to it, make peace, all in attic
The singing which is to PAUSE to give rest is b. mostly of things, make an end of, stop, abate
Pauo means: STOP the: melôid-ia , hê, singing, chanting,
II. chant, choral song, melôidias poiêtês, lullaby, generally, musis
Pauo means: Stop the pain of: aoidê [aeidô]
1. song, a singing, whether the art of song, Hom.; or the act of singing, song, Il.
2. the thing sung, a song, Hom., etc.
3. the subject of song, Od.

Pauo means: Stop worshipping the MUSES
kata-pauô put an end to, stop
3. depose from power, k. tina tês archês, tês basilêïês, Hdt.4.1, 6.64; tous turannous Id.5.38 , cf. 2.144, 7.105; Mousas depose them from their honours, cease to worship them, E. HF685 (lyr.):--Pass., tês basilêïês katepausthê Hdt. 1.130 , cf. 6.71.

Euripides, Heracles (ed. E. P. Coleridge)  Never will I cease to link in one the Graces and the Muses, [675] sweetest union. Never may I live among uneducated boors, but ever may I find a place among the crowned! [680] Yes, still the aged singer lifts up his voice of bygone memories: still is my song of the triumphs of Heracles, whether Bromius the giver of wine is near, or the strains of the seven-stringed lyre and the Libyan pipe are rising; [685] not yet will I cease to sing the Muses' praise, my patrons in the dance.
I have posted a separate study of  DISCORDING OUR COMFORT ZONES here.

A primary meaning of GOSPEL is "come to me all ye that labor and are heavy laden and I will give you rest." Heaven laden and burden specificially identifies the type of singing of the "crooked generation."  The word REST or Greek PAUO has the same meaning as SABBATH when instruments (for doing hard work) were outlawed. The command in Isaiah 58 is not to seek your own pleasure or not to speak your own words. See how music INTENDS to lade people with burdens in a sexual arousal sense.  And Click Here to see how REST outlaws the use of instruments.  And further the meaning of instrumental music as heresy which has the meaning of "creating spiritual excitement ot CARRY YOU AWAY for the musicians own uses."

Before looking at isolated "instrument" verses people use to prove that musical idolatry which invited God to turn Isreal over to worship the starry hosts (Acts 7 etc.) is God commanding us to do likewise in the ekklesia, church or school of the Bible, we should try to understand why a tiny few feel obligated to deliberately sow discord and sanctify it as "upsetting their comfort zones" to force everyone into their own comfort zones.  The analogy of CRACK addiction is not exaggerated.

Based on the need for music as a comfort zone for the whole week we should ask whether sitting down and listening to the Word of God for a few minutes without music deprives them of the opiate they need to make it through life.  Reading and listening is not addictive: music is a highly addictive drug (endorphins) inducer.

More troubling is that they usurp the roles of the elders and the collective body who are the "owners" of their community comfort zone. Evangelism, on the other hand, is the role of those claiming to be "located missionaries." Those with talent are commanded to use it to minister to others: those who speak in the assembly are commanded to speak as the oracle of God. The words for speak are defined and proven in the ancient texts to be the opposite of poetry or music which was used to deceive.

They make the claim that not using machines for doing hard work in the assembly is a form of mental illness.
"A comfort zone denotes that limited set of behaviors that a person will engage without becoming anxious. A comfort zone is a type of mental conditioning that causes a person to create and operate mental boundaries that are not real. Such boundaries create an unfounded sense of security

Of Anxiety: Somatically the body prepares the organism to deal with threat (known as an emergency reaction): blood pressure and heart rate are increased, sweating is increased, bloodflow to the major muscle groups is increased, and immune and digestive system functions are inhibited. Externally, somatic signs of anxiety may include pale skin, sweating, trembling, and pupillary dilation."
Even Nimrod of the Towers of Babylon knew how to upset people so that he "could regenerate morals by external means." He, too, led about a female musical worship team. Musicians were always known as "the harem of the gods."  Here is some good data on the DRUG HIGH which is produced by the singing, clapping and gyrating the body to arouse people into--in the words of Carol Wimber--a sexual like climax with God. This was the purpose driving all pagan religions which USED such women to fill the collection plates.

More sinister is the well-documented fact in the Bible and ancient literature is that speaking the Word of God is always the mark of godly people while "making" Rock and Roll music is always the mark of the spiritual harlot, the ignorant and the very lowest classes.


Lynn Anderson etal: Gal. 1:4 Who gave himself for our sins, that he might deliver us from this present evil world, according to the will of God and our Father:
Titus 2:11 For the grace of God that bringeth salvation hath appeared to all men,
Titus 2:12 Teaching us that,
        denying ungodliness and WORLDY lusts,
        we should live soberly, righteously, and godly,
        in this present world;

-Căno , cĕcĭni, cantum (ancient I. imp. cante = canite, Carm “once canituri,Vulg. Apoc. 8, 13),
2. Of the faulty delivery of an orator, to speak in a sing-song tone: “inclinată ululantique voce more Asiatico canere,Cic. Or. 8, 27; cf. canto and canticum.—

In the lang. of the Pythagoreans, of the heavenly bodies (considered as living beings),the music of the spheres, Cic. N. D. 3, 11, 27.—

C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: canentes tibiae,Cic. N. D. 2, 8, 22: “maestae cecinere tubae,Prop. 4 (5), 11, 9.frondiferasque novis avibus canere undique silvas,
-Tuba War trumpet the ONLY instruments God authorized. Apart from military purposes, it was used on various occasions, as at religious festivals, games, funerals,
imitated by Verg. A. 9, 503: “tubae utrimque canunt,Plaut. Am. 1, 1, 73
kosmos,  metaph., of ornaments of speech, such as epithets, Id.9.9 (pl.), Arist.Rh.1408a14, Po.1457b2, 1458a33; hadumelē k. keladein to sing sweet songs of praise, Pi.O.11 (10).13 (s.v.l.).
Pind. O. 11 My tongue wants to foster such themes; [10] but it is by the gift of a god that a man flourishes with a skillful mind, as with anything else. For the present rest assured, Hagesidamus son of Archestratus: for the sake of your boxing victory,
        I shall loudly sing a sweet song, an adornment for your garland of golden olive,
        [15] while I honor the race of the Western Locrians.
There, Muses, join in the victory-song; I shall pledge my word to you that we will find there a race that does not repel the stranger, or is inexperienced in fine deeds, but one that is wise and warlike too.
Kosmo-krator epith. of ouranos, Orph.H.4.3; “Zeus Mitras Hēlios k. Dam.Pr.131; hoi k. tou skotous toutou the cosmic rulers of this sinful world, Ep.Eph.6.12; “hoi k. hoi ta hupo selēnēn stoikheia dioikountes

glōssokomon glōssa III, komeō

a case for the mouthpiece of a pipe: generally, a case, casket, NTest.
glōssa , Ion. glassa , Herod.3.84, al., SIG1002.7 (Milet.), Schwyzer 692 (Chios), Att. glōtta , ēs, h(,
A. tongue, Od.3.332, etc. 1. in Music, rced or tongue of a pipe, Aeschin.3.229, Arist.HA565a24, Thphr.HP4.11.4, etc.
Aeschin. 3 229 he knew that he had not the ability to describe one of all the things he had accomplished, but saw in his accuser a man able to set forth to the hearers in all detail how he had himself administered things which had not been done by him at all. But when a man who is made up of words, and those words bitter words and useless—when such a man takes refuge in “simplicity” and “the facts,” who could have patience with him? If you treat him as you might a clarinet, and take out his tongue, you have nothing left!

1 Cor 11:[14] Doesn't even nature itself teach you that if a man has long hair, it is a dishonor to him?
1 Cor 11:[15] But if a woman has long hair, it is a glory to her, for her hair is given to her for a covering
ati_m-ia , Ion. -, h(,
2. deprivation of privileges, A.Eu.394 (lyr.); esp. of civic rights, And.1.74, X.Lac.9.6, D.9.44; coupled with thanatos and phugē, IG1.27a74.
II. of things, esthēmatōn a., i.e. sorry garb, A.Pers.847; “komē . . atimias pleōsCratin.9. [Ep. “atimi_ēHom. l.c., Tyrt.10.10.]
Ephesians 6.[12] For our wrestling is not against flesh and blood, but against the principalities, against the powers, against the world's rulers of the darkness of this age, and against the spiritual hosts of wickedness in the heavenly places.

G3823 palē pal'-ay From πάλλω pallō (to vibrate; another form for G906 ); wrestling:—+ wrestle.

Pallô, poise, sway a missile before it is thrown, sway, brandish, she drove it furiously, tripped on the shield-rim, quiver, leap, esp. in fearII. Pass., swing, dash oneself, Pi.N.5.21; vibrate, of strings, Pl.Phd.94c (psalloito ap. Stob.);  leap, bound, quiver, quake, phrena deimati pallôn S.OT153 (lyr.); dash along, of horses, E.El.477 (lyr.)
kosm-ikos , ē, on, (kosmos IV) s.v. Orpheus: Astrol., k. kentra (goad)  skhēma 
hēlios , o(, Ep. ēelios ,
II. as pr. n., Helios, the sun-god, Od.8.271, etc.; ton . Men.Sam. 108; hupo Dia Gēn Hēlion, in manumission-formula, POxy.48.6, 49.8 (i A.D.), IG9(1).412(Aetolia), IPE2.54.10(iii A.D.); [“Hēlios doulous eleutherous poieiArtem.2.36; identified with Apollo, Carm.Pop.12, E.Fr.781.11; with Dionysus, D.Chr.31.11, etc.
2. Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c, cf. D.S.2.30, Theo Sm. p.130H. (I.-E. sāwelios, cf. Cret. abelios, Lith. sáulė, Lat. sōl.
This evil world in Greek includes the LADED BURDENS (songs) which creates spiritual anxiety through religious ritual.
Poneros in a physical sense: oppressed by toils, ponêrotatos kaiaristos, of See Shield of Heracles, for the ugly meaning of the muses 2. of things, toilsome, painful, grievous, erga  274 ; phortion  [The burden Jesus removed]

involves a musical instrument such as those handled (without authority) by Jubal and are defined as machines for doing hard work."

Organon , to, ( [ergon,] ) I. an implement, instrument, engine of any kind
Ergon  [Ergô], 1. in Il. mostly of deeds of war, 3. a hard piece of work, a hard task, Il.: also, a shocking deed or act,
A. instrument, implement, tool, for making or doing a thing
3. musical instrument the "organ" of Jubal.

The Bible says that Jubal handled musical instruments WITHOUT AUTHORITY.

Then and now everyone knows that making music is works-intensive and "legalism" meaning making music to force the laws of Apollyon or Abaddon as NOMOS.

Aristotle Politics 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; and indeed performers do become vulgar, since the object at which they aim is a low one, as vulgarity in the audience usually influences the music, so that it imparts to the artists  who practise it with a view to suit the audience a special kind of personality, 
Appealing to Aldus Huxley to validate turning from the Word to the performing arts must accept he also said that this performance induces a perverted manner into the habitual performers.  Plato observed the same thing.
Organum: a device, plan, contrivance; esp. a trick, artifice, stratagem. Of musical instruments, a pipe,  Vulg. Gen. 4, 21  

Gen 4:21 And his brother's name was Jubal: he was the father of all such as handle the harp and organ.

The word handle flows naturally from the musical enchanter in the garden of Eden who wholly seduced Eve in a sexual sense, to TOPHETH or HELL once king's Solomon's music grove in Jerusalem.

H8610 taphas taw-fas' A primitive root; to manipulate, that is, seize; chiefly to capture, wield; specifically to overlay; figuratively to use unwarrantably:--catch, handle, (lay, take) hold (on, over), stop, X surely, surprise, take.

A. of or for harp playing, ps. organon a stringed instrument, (of the magadis)
A or secret worship, of the rites of Bacchus, Phallikos, of or for the phallos: to ph. (sc. MELOS) the phallic song, also a dance,
Galliambus, i, m. [3. Gallus, II. A.] , a song of the priests [a castratos] of . [The Popes A capellas were GALLIAMBUS: don't do that in church, please]

Used With: Machina. a machine, i. e. any artificial contrivance for performing work, II.Trop., a device, plan, contrivance; esp. a trick, artifice, stratagem

Paul warning about passing judgment did not give others the right  to wreck my life whileI have no right to condemn you: passing judgment is IMPOSING things into the assembly which causes discord. It is consistent with those imposing music that they take into account the loss of a large part of the "owners" because they have a higher use and appeal to the law of  IMMINENT DOMAIN. In Paul's words, creating such mental arousal as to separate the body is to CRUCIFY CHRIST to yourself all over.

The purpose of instruments under the law as well as psalms as warrior chants was to magnify their power to delibertly disturb ot sow discord: they are therefore violent people. Passing judgment is imposing pagan musical rituals to sow discord. 

Dis-turbo drive asunder, to separate by violence, to throw into disorder, disturb. judicium , to give his vote; of a judge (different from sententiam ferre, to pass sentence)

Musical instruments bring on the WRATH which Paul tried to prevent by allowing only senior males to perform publically:

Orgao I. to be getting ready to bear, growing ripe for something, II. of men, like sphrigaô, swell with lust, wax wanton, be rampant, aphrodisiois mainomenos [Zoe: mad women in Corinth], to be in heat, desire sexual intercourse, organ pros tên homilian, 2. generally, to be eager or ready, to be excitedjudge under the influence of passion.

Paul restricted women specificially whose flailing unholy arms brings on wrath or an ORGY.  This spiritual anxiety Jesud outlawed along with the burden laders is what PREVENTS the understanding of the Word as the only true purpose for the assembly.

Peter said that we should ave us from this CROOKED generation. All of history knows that music was for "entertainment" only and appealed--according to the classics and church fathers--to the lower classes. This crooked generation was the enemy beginning with the "serpent" in the garden of Eden who is defined throughout that area as a Musical Enchanter(ess).  Isaiah defines "Lucifer as the singing and harp playing prostitute in the garden of Eden."
Acts 2:40 And with many other words did he testify and exhort, saying, Save yourselves from this untoward [crooked] generation.
The untoward or perverted or crooked generation were MARKED:

Skolios 1 curved, winding, twisted, tangled, bent sideways, douleiê kephalê skoliê, unjust, unrighteous , Il., Hes., etc.; skolia prattein,

Prattein, Prassô II. experience certain fortunes, achieved bondage, i.e. brought it on himself, grant power of song, get something, plot, 3. of sexual intercourse, b. esp. of secret practices and intrigues
Impure Grace is: Charis for his pleasure, for his sake, glôssês charin for one's tongue's pleasure,  pleasure or sakefor the sake of my flesh, for the pleasure of devouring it,  prassein, 4. love-charm, philtre, charizesthai (1.2), indulge, humour, orgêi,  Charizomai charizô  in erotic sense, grant favours to a man,

Skolion [sub. melos] a song which went round at banquets, sung to the lyre by the guests, Ar.; so called from its zigzag course-- each guest who sung holding a myrtle-branch murrinê, which he passed across the table to any one he chose.

This is the only meaning of "musical" melody and Jesus and Paul calls it crooked. This was invented by Sappho as the prototypical Lesbian. Aristonexus is used by Burgess, Johnson, Payne etc as their authority for PLUCKING in church.

What Melic poetry like Sappho's actually was is best comprehended in the light of Plato's definition of melos, that it is 'compounded out of three things, speech, music, and rhythm.' Sappho is said by Athenaeus, quoting Menaechmus and Aristoxenus, to have been the first of the Greek poets to use the Pêktis (pêktis), a foreign instrument of uncertain form, a kind of harp (cf. fr. 122), which was played by the fingers without a plectrum. Wharton's Life of Sappho 

Lesbia. 16. But whenever these poems were written, they spring from experiences that did not touch deeply the soul of the writer. A passing fancy, a moment's passion, an evanescent humor brought them forth. But at Rome, and not long after he arrived at Rome, Catullus met the mastering passion of his life, and beside the verses to which it gave birth the melodious chamber ditties of Horace and the elaborated passions of the elegiasts are but as tinkling cymbals.

To the woman who exercised this wonderful power over him he gives the name of Lesbia. But more often he is not content with a name, and the familiar terms of endearment flow from his lips with a newer and deeper meaning;

for he delights to feel that though his experience is on the outside like that of other men,
his mistress is peerless in virtues and his love for her a love passing that of women 

Now, HERE is the audition for the Musical Worship Team.

(a) from skolios crooked, because of the crooked order of the singers, the bad singers being passed over, or the couches being crookedly arranged, later, the omission of the bad singers being ascribed to the difficulty or non-social character of the songs skolion, or it was said that the songs were easy, but appeared difficult to drunken revellers,  
Lynn Anderson etal: Gal. 1:5 To whom be glory for ever and ever. Amen.
Paul defined the ekklesia or synagogue in Romans 15 from which he EXCLUDED "Areskos" or self-pleasure which includes ALL of the hypocritic arts.  The literature describes a "demagogue who appeases the mases using the performing arts" and connects the word "kleptoma."

The ONLY way he defines a way to GLORIFY God or praise God is to speak with ONE MIND and ONE MOUTH using "that which is written." This educates, comforts with Scripture and PREVENTS disunity.  It is not possible to watch performing musicians without giving the glory to THEM: that is why they perform.

Lynn Anderson etal: Gal. 1:6 I marvel that ye are so soon removed from him that called you into the grace of Christ unto another gospel:
Gal. 1:7 Which is not another; but there be some that trouble [compel] you, and would pervert the gospel of Christ.

Peter warned us to save OURSELVES from this crooked race: this points directly to the "getting fluted down with wine" symposium where the FLUTE-girl and HARP-girl were at a premium WHEN they wanted to get aroused. Even in these vile places of "religious festivals" when they needed to discuss something important they told the flute-girls to "go outside and play with yourselves." Good advice.
3344. metastrepho, met-as-tref´-o; from 3326 and 4762; to turn across, i.e. transmute or (figuratively) corruptpervert, turn.
This has the same meaning as the crooked generation of skolion singers who eleminate all who do not perform the "idolatry of talent."

Crooked: G4646 skolios skol-ee-os' From the base of G4628 ; warped, that is, winding; figuratively perverse:—crooked, froward, untoward. 

Perverse: G1294 diastrephō dee-as-tref'-o From G1223 and G4762 ; to distort, that is, (figuratively) misinterpret, or (morally) corrupt:—perverse (-rt), turn away.

G4762 strephō stref'-o Strengthened from the base of G5157 ; to twist, that is, turn quite around or reverse (literally or figuratively):—convert, turn (again, back again, self, self about

G5157 tropē trop-ay' From an apparently primary word τρέπω trepō (to turn); a turn (“trope”), that is, revolution (figuratively variation):--turning.
Tropos , ho, ( [trepô] ) turn, direction fashion, guise: in barbarous guise or fashion IV. in Music, like harmonia,

Deipnosophistai 3 lots of flute-girl prostitute parallels,

I know, too, of Polystratus of Athens, nicknamed the Etruscan, and a disciple of Theophrastus, that he used to clothe himself in the garments of the flute-girls.

Even princes were often excited over flute-girls and harp-girls, as is made clear by Parmenio in the Letter to Alexander dispatched to him after the capture of Damascus, when he came into possession of Darius's household goods. Having caused an inventory to be made of the captured stuff, he writes also the following:

    "I discovered concubines of the king who played musical instruments, to the number of 329; men employed to weave chaplets, 46; caterers, 277; kettle-tenders, 29; pudding-makers, 13; bartenders, 17; wine-clarifiers, 70; perfume- makers, 14."

The instrumentalists appeal to Alexander to prove that PSALLO meant to play instruments: However, ALL of the passages they point to as PROOF speak of older males, like Alexander, who PLUCKED his harp so skillfully that it shamed his father: he was plucking his harp to pluck a young man who had been plucked as "youth minister."

Because the "gospel" gives us freedom from any but those who let us REST and learn the word, the gospel is perverted by music or any kind of theatrical or hypocritic performance

Lynn Anderson etal: Gal. 1:8 But though we, or an angel from heaven, preach any other gospel unto you than that which we have preached unto you, let him be accursed.
Gal. 1:9 As we said before, so say I now again, If any man preach any other gospel unto you than that ye have received, let him be accursed.
Gal. 1:10 For do I now persuade men, or God? or do I seek to please men? for if I yet pleased men, I should not be the servant of Christ.

Self pleasure is what Paul OUTLAWED for the ekklesia, synagogu or school of the Bible:

Rom 15:1 WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves
Matthew 28:18 And Jesus came and spake unto them, saying,
        All power is given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore, and teach all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
Matthew 28:20 Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen
The weak are the infirm and that includes lots of old people and most people to some extent. What the performers think is spiritual is creating the "spiritual anxiety" died to remove. No one goes away from a "musical" performance not being damaged by decibel poisoning and a "drug" high.

Aresko (g700) ar-es'-ko; prob. from 142 (through the idea of exciting emotion); to be agreeable (or by impl. to seek to be so): - please.

Music was always the mark of the prostitute or Sodomite:

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

Airo (g142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

Airô to raise up, exalt, Aesch.:--of passion, to exalt, excite, hupsou airein thumon to grow excited, to raise by words, to extol, exaggerate, to take up for oneself: to carry off, win, gain

This had the same meaning of EXTERNAL SINGING:

Aoidê 1. art of song, autar aoidên thespesiên, spell, incantation, thing sung, song, whether of joy or sorrow,

Aeidô sing,.hence of all kinds of vocal sounds, crow as cocks, hoot as owls, croak as frogs,; hoi tettiges chamothen aisontai, crowing too soon.

The tettiges are the LOCUSTS which are the MUSES serving Apollo, Abaddon or Apollyo

Aeirô is connected to:

Kithar-izô ,( [kitharis] ):--play the cithara, phormingi [Apollyon's instrument], kitharize. Instrument players were defined as parasites.

The included Attic word Airô to raise up, exalt, Aesch.:--of passion, to exalt, excite, hupsou airein thumon to grow excited, to raise by words, to extol, exaggerate, to take up for oneself: to carry off, win, gain

Romans XV. 1 debemus autem nos firmiores imbecillitates infirmorum sustinere et non nobis placere

Sustinere  I. to hold up, hold upright, uphold, to bear up, keep up, support, sustain 1.To sustain, support, maintain, by food, money, or other means (maintain, preserve with dignity of a citizen II. Concr., the citizens united in a community, the body - politic, the state, and as this consists of one city and its territory, or of several cities, it differs from urbs, i.e. the compass of the dwellings of the collected citizens; 

Imbecillitas Caes. B. G. 7, 77, 9

Caes. B. G. 7, 77, 9  Caesar, Gallic War 7.77. LXXVII. But those who were blockaded at Alesia , the day being past, on which they had expected auxiliaries from their countrymen, and all their corn being consumed ignorant of what was going on among the Aedui, convened an assembly [Concilium Pastorium] and deliberated on the exigency of their situation. After various opinions had been expressed among them, some of which proposed a surrender, others a sally, while their strength would support it, the speech of Critognatus ought not to be omitted for its singular and detestable cruelty. 

Concilium is the same as Latin ecclesia or Greek sulloge or synagogue. I.a collection of people, an association, gathering, union, meeting A.An assembly for consultation pastorum pasco  2.To feed, nourish, maintain, support, 3.To cherish, cultivate, let grow, feed 

4. Of animals, to graze, browse (poet.): pascentes capellae,

Pastor 2.The minister or superintendent of a church or congregation

Ezek XXXIV. The word of Yahweh came to me, saying, [2]  Son of man, prophesy against the shepherds of Israel, prophesy, and tell them, even to the shepherds, Thus says the Lord Yahweh: Woe to the shepherds of Israel who feed themselves! Shouldn't the shepherds feed the sheep? [3]  You eat the fat, and you clothe you with the wool, you kill the fatlings; but you don't feed the sheep. [4]  You haven't strengthened the diseased, neither have you healed that which was sick, neither have you bound up that which was broken, neither have you brought back that which was driven away, neither have you sought that which was lost; but with force and with rigor have you ruled over them. [5]  They were scattered, because there was no shepherd; and they became food to all the animals of the field, and were scattered.

Eph 4:[11]  He gave some to be apostles; and some, prophets; and some, evangelists; and some, shepherds and teachers; [12]  for the perfecting of the saints, to the work of serving, to the building up of the body of Christ; [13]  until we all attain to the unity of the faith, and of the knowledge of the Son of God, to a full grown man, to the measure of the stature of the fullness of Christ 

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 

Rom. 8:8 So then they that are in the flesh cannot please God.
Rom. 8:9 But ye are not in the flesh, but in the Spirit, 
        if so be that the Spirit of God dwell in you. 
        Now if any man have not the Spirit of Christ, he is none of his.

Outlawed: Scaenicus I. of or belonging to the stage, scenic, dramaticORGANA, theatrical
I. Lit.: poëtae, dramatic poets, ludi, stage-plays, theatrical representations, : fabula, a drama
2. Placere sibi, to be pleased or satisfied with one's self, to flatter one's self, to pride or plume one's self

I. Lit.: poëtae, dramatic poets, ludi, stage-plays, theatrical representations, : fabula, a drama, organa, Suet. Ner. 44 : coronae, id. ib. 53 : habitus, id. ib. 38 : gestus, Cic. de Or. 3, 59, 220 : modulatio Comedy. Orator

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

Lynn Anderson etal:
II.  Inspired Scripture

I believe in a God who speaks clearly through His Inspired Word.  His important truths are readily apparent throughout the whole of scripture.  Certainly there are finer nuances to be gleaned by deeper study, but He does not leave us to guess where He stands and then hope to escape the wrath of hell if we guess wrong.
I believe that all scripture is “inspired by God” (2Tim. 3:16). 

I have heard it said many times that the Bible doesn’t address the issue of instrumental worship for the church and that it is conspicuously missing. 

Sorry, but I have never heard that the Bible doesn't address instruments except from instrumental apologists: I think they meant that the Bible did not authorize it.  The most overwhelming issue of the Old Testament is the clergy being abandoned to pagan music and the prophets universally condemning them as robbers and parasites JUST what God promised when the elders fired God and hired a DOMINANT PREACHER. God didn't tell you that you cannot be a hypocrite either:


I. to reply, make answer, answer, Hom., Hdt.
2. to
expound, interpret, explain, Od., Ar.:--the attic word in this sense is apo-krinomai.

II. of actors, to answer on the stage: hence to play a part, be an actor
2. to represent
dramatically: hence to exaggerate
3. metaph. to
play a part, to feign, pretend, c. inf., id=Dem.

Latin canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 

Parasi-tus , i, m., = parasitos, lit. one who eats with another; hence,
I. In gen., a
guest (pure Lat. conviva): parasiti Jovis, the gods-Hence, parasitus Phoebi, a player, actor,  

II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite
Some claim that God is silent and his silence gives ME the right to impose new practices whih BECOME the words of God which cannot be disputed. And so totally inspired that they claim that God COMMANDED instrumental praise and we must not be disobedient.  

When God brought Israel out of Egypt by pure grace, He gave them The Book of the Covenant. They agreed to keep it but refused to listen to the voice of God. While Moses was on the mountain getting a written code of grace, the people rose up in musical idolatry. For that transgression God removed Grace and gave them The Book of The Law and turned them over to worship the starry host.

Exod 32:1 AND when the people saw that Moses delayed to come down out of the mount, the people gathered themselves together unto Aaron, and said unto him, Up, make us gods, which shall go before us; for as for this Moses, the man that brought us up out of the land of Egypt, we wot not what is become of him.

Exod 32:2 And Aaron said unto them, Break off the golden earrings, which are in the ears of your wives, of your sons, and of your daughters, and bring them unto me.

Exod 32:3 And all the people brake off the golden earrings which were in their ears, and brought them unto Aaron.

Exod 32:4 And he received them at their hand, and fashioned it with a graving tool, after he had made it a molten calf: and they said, These be thy gods, O Israel, which brought thee up out of the land of Egypt.

Exod 32:5 And when Aaron saw it, he built an altar before it; and Aaron made proclamation, and said, To morrow is a feast to the Lord.

Exod 32:6 And they rose up early on the morrow, and offered burnt offerings, and brought peace offerings; and the people sat down to eat and to drink, and rose up to play.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

"In the New Testament there is nowhere any emphasis laid on the musical form of the hymns; and in particular none on instrumental accompaniment whereas this is significantly paganism." (Delling, Gerhard, Worship in the New Testament, trans. Percy Scott Phil. Westminster press, 1962, p. 86).

Both the Greek and Latin define this is MUSICAL IDOLATRY;

Ludo A.To sport, play with any thing, to practise as a pastime, amuse one's self with any thing. B.To sport, dally, wanton (cf. "amorous play

Tertullian De Spectaculus Chapter X. Theatrical Performance and Religion 

Let us pass on now to theatrical exhibitions, which we have already shown have a common origin with the circus [Circe=church], and bear like idolatrous designations-even as from the first they have borne the name of "Ludi," and equally minister to idols.

They resemble each other also in their pomp, having the same procession to the scene of their display from temples and altars, and that mournful profusion of incense and blood,
.........with music of pipes and trumpets,
........ all under the direction of the soothsayer and the undertaker,
........ those two foul masters of funeral rites and sacrifices.

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

Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves.
gamêliôi lechei [marriage couch-bed] hêdonais, playing in the wind, exult over, treat haughtily or contemptuously, made a mock of, tinos sumphorais, III. use or abuse at pleasure

Exod 32:17 And when Joshua heard the noise of the people as they shouted, he said unto Moses, There is a noise of war in the camp.

Lam. 2:6 And he hath 
      1. violently taken away his tabernacle, as if it were of a garden:
      2. he hath destroyed his places of the assembly: [h4150 synagogues: good and bad]
          the LORD hath caused the solemn feasts and sabbaths to be forgotten in Zion,
          and hath despised in the indignation of his anger the king and the priest.

Hos 8:3 Israel hath cast off the thing that is good: the enemy shall pursue him.

Hos 8:4 They have set up kings, but not by me: they have made princes, and I knew it not: of their silver and their gold have they made them idols, that they may be cut off.

Hos 8:5 Thy calf, O Samaria, hath cast thee off; mine anger is kindled against them: how long will it be ere they attain to innocency?

Hos. 13:11 I gave thee a king in mine anger, and took him away in my wrath.

3. The Lord hath cast off his altar (candlestick), he hath abhorred his sanctuary,
he hath given up
into the hand of the enemy the walls of her palaces;
they have
made a noise in the house  [Temple] of the Lord, as in the day of a solemn feast. Lam 2:7

WES: 2:7 They - The enemies with their triumphs and blasphemies, made as great a noise, as those that sang holy songs, or played on instruments, were wont to make to the glory of God.

Exod 32:18 And he said, It is not the voice of them that shout for mastery, neither is it the voice of them that cry for being overcome; but the noise of them that sing do I hear.

Paul warned both the Romans and Corinthians about this musical idolatry

1Co.10:7 Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play.

Paizo (g3815) paheed'-zo; from 3816; to sport (as a boy): - play.
Paig-ma , atos, to,
A. play, sport,  whene'er the pipe sounds its sportive strains, E.Ba.161(lyr.); Ludia p. luras 

E.Ba.161  Euripides Bacchae
[135] He is sweet in the mountains, whenever after the running dance he falls on the ground, wearing the sacred garment of fawn skin, hunting the blood of the slain goat, a raw-eaten delight, rushing to the [140]  Phrygian, the Lydian mountains, and the leader of the dance is Bromius, evoe!  The plain flows with milk, it flows with wine, it flows with the nectar of bees. [145]  The Bacchic one, raising the flaming torch of pine on his thyrsos, like the smoke of Syrian incense, darts about, arousing the wanderers [planetes [Wandering stars] with his racing and dancing, agitating them with his shouts, [150]  casting his rich locks into the air. And among the Maenad cries his voice rings deep:  “Go, Bacchae, go, Bacchae, with the luxury of Tmolus that flows with gold, [155]  sing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, [160]  when the sweet-sounding sacred pipe sounds a sacred playful tune suited [165] to the wanderers, to the mountain, to the mountain!” And the Bacchante, rejoicing like a foal with its grazing mother, rouses her swift foot in a gamboling dance
êïos epithed of Phoebus, A. êïe Phoib [Apollo, Apollon, Apollyon] 
enopê 3. of things, sound, 08; kitharas e. E.Ion882 O you, who cause a voice to sing from your seven-stringed lyre, a voice that lets lovely-sounding hymns peal forth in the rustic lifeless horn
Note 2. lura  A.lyre, a stringed instrument with a sounding-board formed of the shell of a tortoise thrênon (since the dirge was accompanied by the flute)
The Bible is NOT lyric poetry. 
Lynn Anderson etal: Is not the Old Testament part of our Bible?  Is it not part of all scripture?  Was it not written to teach us about God (Ro. 15:4) and what He values (love, justice, mercy, faith, worship, etc.) and what He hates (evil, idolatry, etc.)?  When the early church gathered to worship, what scripture did they study together - not the New Testament - it had not been written yet.  What was their hymnbook? - the psalms, which over and over include mandates to use instruments

Rom 15:4  “For everything that was written in the past was written to teach us, so that through endurance and the encouragement of the Scriptures we might have hope.


Paul excludes the diversities of Romans 15 and defines the ekklesia or synagogue or school of the Bible in Romans 15: the teaching was done by speaking "that which is written" using one mind and one mouth. Self-pleasure excludes all form of theatrics especially exhibitionism which was a female or perverted mark.

This was written for our learning including telling us that Israel fell from Grace because of musical idolatry.  Because there is no exception to this radical condemnation, it is not possible for anyone taking an honest look at the text to conclude that it teaches us to DO that which caused God to abandon them to musical idolatry in national-only animal sacrifices.
1Cor. 10:6 Now these things were our examples,
        to the intent we should not lust after evil things, as they also lusted.
1Cor. 10:7 Neither be ye idolaters, as were some of them; as it is written,
        The people sat down to eat and drink, and rose up to play.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

"They sat down to eat and drink and rose up to play. They practiced rites in which they made themselves naked, perhaps similar to those which were carried out by naked Babylonian priests." (Woodrow, p. 158)

Anton Marks "We know that all of the Israelites brought Egyptian gods and practices with them and it is not far-fetched to think that Miriam, who had not yet been exposed to the Covenant, was part of the consciousness-altering rhythms and which was part of a priestly myth-play brought to destructive consummation at Mount Sinai as the golden calf was called back into action. 

This "rising up to play" involved eating, drinking, nakedness and musical worship. The goddess, Hathor, is the best candidate for the Mother Goddess of the Mount Sinai idolatry. Here priestessess or prophetesses were highly trained with musical instruments, cultic songs and be able to join in the religious dance.

1Cor. 10:11 Now all these things happened unto them for ensamples: and they are written for our admonition, upon whom the ends of the world are come.  
When Paul addressed those areas where pagan singing with instruments--and music included the whole body--he commanded that the SPEAK "that which is written" (Rom 15), The Spirit (Eph 5; John 6:63) or the Word of Christ (Col 3.) These were all forms of the BOOK of Psalms or other inspired text.  Modern writers do not write inspired Scripture.

Where there were numerous prophets which usually meang prophesiers or mad singing and playing people who arroused you to pick your pocket, Peter told the churches to give attention to the PROPHETS and the Day Star would arise in their hearts.

The reason for both is that Peter left a written memory and claimed that it was from an eye and ear witness of Jesus Christ Who validated HIS mission by working miracles.  Therefore, singing that which is written is a MARK as the only real way we can identify what Paul identified as the pagan, perferted performers.  A teacher who did not "teach that which is written" was marked as a false teacher. That is why God put that authority in the hands of Pastor-Teachers as the elders and not young professional performers to put on a show.

Jesus had a bound copy of the Greek version: maybe similar to the one the eunuch was reading so that he knew that baptism was prophesied.  The meaning of a Scribe was that they would be at every major event taking notes and making copies to sell before the audience got away.  Everything that Jesus said would be recorded and became short accounts.

Therefore, they would need nothing more to assemble to read whatever text they had, discuss it and be admonished to observe it. With the addition of the Lord's Supper they could conduct "church" until Jesus comes.

Lynn Anderson etal:
Psa 4:1  For the director of music. With stringed instruments.
Psa 5:1  For the director of music. For flutes.
Psa 6:1  For the director of music. With stringed instruments.
Psa 33:2  Praise the LORD with the harp; make music to him on the ten-stringed lyre.
Psa 33:3  Sing to him a new song; play skillfully, and shout for joy.
Psa 43:4  Then will I go to the altar of God, to God, my joy and my delight. I will praise you with the harp, O God, my God.
Psa 47:5  God has ascended amid shouts of joy, the LORD amid the sounding of trumpets.
Psa 49:4  I will turn my ear to a proverb; with the harp I will expound my riddle:
Psa 54:1  For the director of music. With stringed instruments.
Psa 55:1  For the director of music. With stringed instruments.
Psa 61:1  For the director of music. With stringed instruments.
Psa 67:1  For the director of music. With stringed instruments.

Who is the chief Musician: the truth is that he is often the slave driver.

Commentators and critics have confessed that they can make only conjectures as to the primitive meaning and use of the word (for it is only one word in Hebrew) lamenazzeah. 

The Ancient Versions attempt a rendering.  The Sept. has eis to telos = unto, for, or, with a view to the end.  The Arabic, Ethiopic, and Vulgate render it "at the end".  The Chald. renders it (Ps. 45) "to the praise".  The Talmudists hold that it related to Him Who is to come; while Aquila (one of the Sept. Revisers, A.D. 130) renders it "to Nikopoio" = to the giver of victory.

It is clear that a Person was intended by these various renderings; but they appear to be interpretations rather than translations.  Regarded as the former, they may be useful in showing us how the Psalms point to Christ; for He is the end.  It is He Who giveth victory; it is He Who is the Coming One :  and, while the book is called Sepher Tehillim, the Book of Praises, it is He Who "inhabiteth the praises of Israel" (Ps. 22:3).

All ancient Hebrew manuscripts, with the early and best later printed editions, show no break whatever between the lines of one Psalm and another.

The Septuagint translators had been many years in Babylon, and the oldest among them must have been very young when carried away thither.

There was none who had full knowledge and experience of the ancient usages of the Temple worship.

Consequently, when they came to their task some 197 years after the latest carrying away to Babylon, there was nothing to show them where one Psalm ended and where the next began.

Hence, when they came to the word lamenazzeah, "To the chief Musician", they took it as being the first line of a Psalm, instead of the last line of the preceding Psalm which they had just translated.  All subsequent Versions, in all languages, have followed them in this mistake.  For mistake it was, as we may see from the only two examples of independent Psalms given us in the Scriptures :  viz. Isa. 38:9-20, and Hab. 3.

In each of these isolated Psalms we have the true models on which all the other Psalms are based.

In each case we have
    1.  The Super
-scription, or Title proper.
    2.  The body of the Psalm itself.
    3.  The Sub

In each of these two cases the word lamenazzeah forms the sub-scription, and appears at the end of the Psalm. Those who "set forward" the work of the temple excelled which means:

Nacach (h5329) naw-tsakh'; to glitter from afar, to be eminent as a superintendent, especially of the Temple services and its music; also to be permanent, to excel, chief musician, singer, overseer, set forward. (The Worship team or Minister of Music is the overseer or anxiety inducer).

Of which, twenty and four thousand were to set forward the work of the house of the Lord; and six thousand were officers and judges: 1Chr.23:4

There were also women musical singers "for my own pleasure" or my "musical instruments" or "my concubines" but there were never any Levitical women worship team members.

Another description shows that the musical worship teams were the overseers of the group:

Paqiyd (h6496) paw-keed'; from 6485; a superintendent (civil, military or religious): - which had the charge, governor, office, overseer, [that] was set.

Of the sons of Asaph, the singers were over the business of the house of God. Ne.11:22b
Godly people performed no work on the REST DAY: work involved sending out ministers of God.

Melakkah (h4399) mel-aw-kaw'; from the same as 4397; prop. deputyship, i. e. ministry; gen. employment (never servile) or work (abstr. or concr.); also property (as the result of labor): - business, * cattle, * industrious, occupation, (* -pied), * officer, thing (made), use, (manner of) work ([man], -manship).

This is outlawed for the day of Rest: 

The singers and musicians were eminent (famous, celebrated, conspicuous or exalted). They were the chief singers, set forward to advance the work of the institution. They were in charge, they were officers, they were the overseers of the "flock."
        This was not because of the elders or tribal leaders approved.
Rather, the chief "lion" organized his own teams to grasp ruler ship after the wars were over. This led to the displacement of the religious institution by the "peace party." However, when they cry "peace, peace" we had better watch out.

And the young men that were brought up with him spake unto him, saying, Thus shalt thou answer the people that spake unto thee, saying, Thy father made our yoke heavy, but make thou it somewhat lighter for us; thus shalt thou say unto them, My little finger shall be thicker than my fathers loins. 2 Chron 10:10

For whereas my father put a heavy yoke upon you, I will put more to your yoke: my father chastised you with whips, but I will chastise you with scorpions. 2 Chron 10:11

And answered them after the advice of the young men, saying, My father made your yoke heavy, but I will add thereto: my father chastised you with whips, but I will chastise you with scorpions. 2 Chron 10:14

This caused Civil war after Solomon's death

See that human hymns are idols. 

John Murray defining Psalms as Inspired Psalms: We cannot write those. 

"In the Septuagint psalmos occurs some 67 times in the titles to the Psalms. In most cases it is the translation of the Hebrew mismor, but in a few cases it translates other Hebrew words.

Psalmos means simply "song of praise." The frequency with which the word psalmos occurs in the titles is probably the reason why the Book of Psalms is called in the LXX version simply psalmoi. In the Hebrew it is called tehillim.

Tehillah (h8416) teh-hil-law'; from 1984; laudation; spec. (concr.) a hymn: - praise.

I will declare thy name unto my brethren: in the midst of the congregation will I praise thee. Psalm 22:22

"There is nothing in the context of these two passages requiring us to regard "psalms" as referring to uninspired compositions.

On the other hand, there are abundant instances in the usage of Scripture elsewhere which show that the word "psalm" refers to an inspired composition.

"Furthermore, there is no instance in which the word "psalm," as used with reference to a song of praise to God, can be shown to refer to an uninspired song.

It is therefore quite unwarranted to regard "psalms" in these two passages as referring to uninspired songs, whereas there is abundant warrant for regarding them as denoting inspired compositions. 

Probably most churches do NOT follow that direct command and are therefore not informed.  Paul outlawed SELF-pleasure which we have proven excludes all forms of arousal singing or instruments.  He further defined the METHOD of teaching "that which is written." He said us ONE MIND and ONE MOUTH as the way to educate, glorify or praise God, comfort WITH the Scriptures and thereby keep the unity of the body. No one in history has ever imposed music without knowing that they would sow discord which IS a burnable offense.

No musical performers SPEAK that which is written in UNISON and therefore violate the direct command for the teaching purpose and the method of teaching: rarely will a Physics professor let some musician rewrite his lectures and perform them with a musical band.

Lynn Anderson etal:
III.  God Never Changes

I believe in a God that never changes.  He is not given to whims and fancies that come and go.  A loving God would not desire and command something at one time (Num. 10:2, Ps. 98, 150, I Chron. 25:6, etc.), later decide that He hates it (and neglect to mention that fact - just expect us to guess it), then change His mind again and require it (I Cor. 15:52, I Thess. 4:16, Rev. 5:8, 8:2, 14:2, 15:2).  God does not change.

That is partly true: Jacob cursed the tribe of Levi and warned us NOT to attend their assemblies or enter into covenant with them  Genesis 49

People lived under the Abrahamic covenant of Grace before they fell into musical idolatry at Mount Sinai. God abandoned the national system of kings and priests to make war and conduct NATIONAL animal sacrifices to which the people's congregation never attended.  The serpent in the garden of Eden was a "musical enchanter(ess)".  The king/queen of Tyre was typical of Lucifer called the "singing and harp playing prostitute" in the garden of Eden. There are examples of instrumental music during the Patriarchal period and the concept is of giving Jacob a musical party so that he did not even know that he was wedding the wrong woman.

If God abandones you to idolatry then maybe God DOES change: He always changes when we repent.
The assembly for instruction did NOT change when the curse of musical-sacrificial terror was IMPOSED.
Gal. 3:14 That the blessing of Abraham might come on the Gentiles through Jesus Christ; 
        that we might receive the promise of the Spirit through faith.
Gal. 3:15 Brethren, I speak after the manner of men;
        Though it be but a man’s covenant, yet if it be confirmed,
        no man disannulleth, or addeth thereto.

By appealing to the Law imposed because of musical idolatry one defacto rejects the Covenant of Grace destroyed BY musical idolatry.
Gal. 3:16 Now to Abraham and his seed were the promises made.
        He saith not, And to seeds, as of many; but as of one,
        And to thy seed, which is Christ.
Gal. 3:19 Wherefore then serveth the law?
        It was added because of transgressions,
        till the seed should come to whom the promise was made;
        and it was ordained by angels in the HAND of a mediator.

After we are baptized into Christ:

Gal. 3:28 There is neither Jew nor Greek, there is neither bond nor free,
        there is neither male nor female: for ye are all one in Christ Jesus.

Gal. 3:29 And if ye be Christ’s, then are ye Abraham’s seed,
        and heirs according to the promise.
At the same time the Qahal, synagogue or church in the wilderness was ordained for all of the rest as a school of the Bible. It excluded vocal and instrumental rejoicing.

That neer changed and the synagogue was all that was left for the most part after the Return.

Lynn Anderson etal: A.  Old Testament
1.  Pre-Davidic

Ex. 15:20 - Pre-Davidic – “Miriam, the prophetess, sister of Aaron and Moses, took a timbrel in her hand and led the women in her song of praise.”

Job writes of the time before Miriam:
Mark me, and be astonished, and lay your hand upon your mouth Job 21:5 .
Even when I remember I am afraid, and trembling taketh hold on my flesh. Job 21:6

Wherefore do the wicked live, become old, yea, are mighty in power? Job 21:7

Their seed is established in their sight with them,
     and their offspring before their eyes. Job 21:8
Their houses are safe from fear, neither is the rod of God upon them. Job 21:9
Their bull gendereth, and faileth not; their cow calveth, and casteth not her calf. Job 21:10
They send forth their little ones like a flock, and their children dance. Job 21:11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21:12
        [The evil take wind, string and percussion instruments]
They spend their days in wealth, and in a moment go down to the grave. Job 21:13

        Therefore they say unto God,
             Depart from us; 
             for we desire not the knowledge of thy ways. Job 21:14

         What is the Almighty, that we should serve him?
             and what profit should we have,
             if we pray unto him? Job 21:15

Lo, their good is not in their hand:
        the counsel of the wicked is far from me. Job 21:16
How oft is the candle of the wicked put out
        and how oft cometh their destruction upon them!
        God distributeth sorrows in his anger. Job 21:17
They are as stubble before the wind, [baptism of the spirit]
        and as chaff that the storm carrieth away. Job 21:18

Of the pipe which Jubal handles meaning without authority: "It (the pipe meaning to love passionately) was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, as we see from Genesis Rabbah 50:

    "The angels said to Lot: There are players of the pipe (organ) in the country, hence it ought to be destroyed. Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests. (Interpreter's Dictionary of the Bible, p. 460, Abingdon)

Organum -Of musical instruments, a pipe, Vulg. Gen. 4, 21;  an organ, water-organ: organa hydraulica, -Of a church-organ
Organon, to, ( [ergon, erdô] ) a Musical instrument: a machine for doing hard work in making war and creating the "arousal" in pagan ceremonial legalism
    Polemeios: warlike, aoida war-note, of the trumpet, B.17.4
    aoid-ê  5. = eppsdê, spell, incantation

All musical terms and names of instruments speak of casting a spell: John called the speakers, singers and instrument players in Revelation 18 SORCERERS. They worked UNDER the Mother of Harlots (Rev 17)

Music is the MARK god reserved only for those making war on His people as they try to "wear out the saints" to worship THEM.
When Israel fell into musical idolatry, the Law was written to warn a people condemned to return to their Assyrian and Babylonian roots.  Babylonian tablets were up to 3,000 years old when Moses was born. That is where we understand what the end Time Babylon Mother of Harlots means. Inanna got the Ea (Lamech) the patron god of music drunk and stole the magical chants--the ME: these included the power over the eldership, the power over musical performers and the power of homosexual seduction and many more.

"Long before Israel's existence, we find in Akkadian tablets the word halhallatu for 'double clarinet,' and we have many ancient representations of this instruments... it served also to express extreme joy as well as deep mourning. Its liturgical function is dubious, to say the least. According to Rabbinic literature, the days were limited to twelve, or maximally eighteen, when (it) was played before the altar.

"Extremely popular for secular purposes the (double clarinet) was played at weddings, banquets, and funerals. At funerals it served as accompaniment to the customary wailing women; this is the meaning of Matt. 9:23. The chief characteristics of the clarinet were: popularity, juxtaposition with hand drum and lyre, expression of extreme emotionalism, and symbolic meaning of fertility and resurrection." (Interpreters Dictionary of the Bible, p. 472, Abingdon).

Living in the princely quarters Miriam would automatically be a prophetess of Hathor, the female counterpart to Apis the golden calf worshipped at Mount sinai.  These represented the Egyptian trinity of Osiris, Isis and infant Horus. The name of her prophesying is called "soothsaying." When she pretended to speak for God she got slapped with a dose of leprosy and dissapears.  Miriam means "bitter waters" and is the likely prototypical usurping woman in Paul's writings:
Theodoret (Quasten, Music & Worship, p. 65) claimed that the Jews brought liturgical music from Egypt and Philo wrote that "Moses learned rhythm, harmony, meter and everything concerned with instrumental music from the Egyptians." This is why Moses knew that the noise at Mount Sinai was not the sound of defeat or of victory. Rather, it was the "sound of them singing that I hear."

The Jews sang in the type of the Egyptian threnodies (elegies for the dead):
Thus they made a golden bull, the image of an animal that was held to be the most sacred in that land;

they offered unholy sacrifices, performed impious dances and sang hymns
which differed in no way from the
pagan mourning songs. Philo, De specialibus legibus 

[Jesus threw them out more or less violently like dung]

"This reference probably indicates the use of songs from the cult of Osiris... it can hardly be denied that Egyptian influence on Jewish musical practices was quite significant. This would stand to reason because of the high quality of Egyptian cultic music. The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).

"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the cult of Isis.

The music during the transferring the Ark to Sion (David rose up to play)
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.

"As Herodotus reports, women sang the praises of Osiris while liknesses of the gods were born
        about and,
during the festival of Diana at Bubastis,
        Women's singing was a vital part of all pagan worship. In very
        times women became priestly singers of the gods in the temple

When males do that in the presence of God they have dug deeper than any male in paganism unless it is recorded "he was drunk, perverted or just having fun."

"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. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41

"Hebrew music... was used in the luxurious times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and stretched upon their couches of ivory, were wont at their banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and amused themselves with devising musical instruments while their nation was perishing... music was the legitimate expression of mirth and gladness, and the indication of peace and prosperity." (Smith's Bible Dictionary, Music, p. 590).

Here is what God thought of her "revelations."
Take heed in the plague of leprosy, that thou observe diligently, and do according to all that the priests the Levites shall teach you: as I commanded them, so ye shall observe to do. Deut 24:8
Remember what the Lord thy God did unto Miriam by the way, after that ye were come forth out of Egypt. Deut 24:9

Here is what Miriam did which was common to what the Israelites did in Egypt and never ceased to do.
Sistrum, a metallic rattle which was used by the Egyptians in celebrating the rites of Isis, and in other lascivious festivals,.Ov. Am. 2, 13, 11 By the Jews, Vulg. 1 Reg. [Samuel] 18, 6 .--Hence sarcastically, as if used for a war - trumpet by the wanton Cleopatra Verg. A.8.696   Luc. 10.63

Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et choris
Prophe-ta  I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call out] Aegyptius, propheta primarius
Lynn Anderson etal: Ex. 28:33-35  Jehovah prescribes the high priest’s garments: “…and beneath upon the hem of it thou shalt make . . . bells of gold . . .that he die not”.

Num. 10:1-10  “The Lord said to Moses, ‘Make two silver trumpets
. .

I Sam. 10:5  Samuel tells the newly anointed King Saul that he would meet “a band of prophets coming down from the high place with harp, tambourine, flute, and lyre before them, prophesying.  Then the Spirit of the Lord will come mightily upon you, and you shall prophesy with them and be turned into another man.”  Wow - talk about transforming worship!

See Saul's Madness induced by the prophets from the Philistine HIGH PLACE.

"This is the first mention in the OT of a band of prophets. These were men who went about in companies and were able by means of music and dancing to work themselves up into a convulsive and ecstatic frenzy (2 Ki. 3:1-10). 

Their abnormality was believed to be caused by the invasive influence of the spirit of god. The word prophesied here does not mean either foretelling the future or preaching after the manner of the later prophets, but engaging in the ritual dance of the prophetic guild (19:18-24). Their behavior was commonly regarded as a form of madness (2 Ki. 9:11; Jer. 29:26)" (The Int. Bible Ency., I Sam. p. 932).

And the Lord said unto Samuel, Hearken unto the voice of the people in all that they say unto thee: for they have not rejected thee, but they have rejected me, that I should not reign over them. 1 Samuel 8:7

According to all the works which they have done since the day that I brought them up out of Egypt even unto this day, wherewith they have forsaken me, and served other gods, so do they also unto thee. 1 Samuel 8:8

O Israel, thou hast destroyed thyself; but in me is thine help. Hosea 13:9

I will be thy king: where is any other that may save thee in all thy cities? and thy judges of whom thou saidst, Give me a king and princes? Hosea 13:10

I gave thee a king in mine anger, and took him away in my wrath. Hosea 13:11

Lynn Anderson etal: 2 Sam 6:5  David and the whole house of Israel were celebrating with all their might before the LORD, with songs and with harps, lyres, tambourines, sistrums and cymbals.
"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the cult of Isis.

The music during the transferring the Ark to Sion (David rose up to play)
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.

Lynn Anderson etal:  2 Sam 6:15  while he and the entire house of Israel brought up the ark of the LORD with shouts and the sound of trumpets.
2 Sam 6:13 And it was so, that when they that bare the ark of the Lord had gone six paces, he sacrificed oxen and fatlings 

2 Sam 6:15 So David and all the house of Israel brought up the ark of the Lord with shouting, and with the sound of the trumpet.

Ju-bilo , a-vi, a-tum, 1, v. n. and

I. a. [jubilum], to shout, to raise a shout of joy: quiritare, jubilare, V to call out to a person: io buccol quis me jubilat? Poet. ib.: jubilate Deo, Vulg. Psa. 99, 4 

2 Sam 6:16 And as the ark of the Lord came into the city of David,
............ Michal Sauls daughter looked through a window,
............ and saw king David leaping and dancing before the Lord;
............ and she despised him in her heart.

Latin Play:lu-do B. To play, sport, frisk, frolic an ad pugnandum,

pugno , a-vi, a-tum, 1, v. n. and very rarely

I. a. [root pug-, to thrust, strike, whence pugil, pungo, etc.], to fight, either singly or in armies, to combat, give battle, engage, contend (very freq. and class.).

A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing: illa ipsa ludens conjeci in communes locos, Cic. Par. prooem.: Prima Syracosio dignata est ludere versu Nostra ... Thalia, Verg. E. 6, 1 .--Esp., to play on an instrument of music, to make or compose music or song:

B. To sport, dally, wanton (cf. "amorous play," Ov. A. A. 2, 389; Cat. 61, 207

2 Sam 6:20 Then David returned to bless his household.
............ And Michal the daughter of Saul came out to meet David,
............ and said, How glorious was the king of Israel to day,
............ who uncovered himself to day
............ in the eyes of the handmaids of his servants,
............ as one of the vain fellows shamelessly uncovereth himself 

Nu-doI. to make naked or bare; to strip, bare, lay bare, expose to view, uncover (syn.: exuo, detego, revelo).

Scurra , ae, m. 1. A city buffoon, droll, jester (usually in the suite of wealthy persons, and accordingly a kind of parasite; syn.: -Of the clown in a pantomime,  

Vain is h205. aven, aw-ven´; from an unused root perhaps meaning properly, to pant (hence, to exert oneself, usually in vain; to come to naught); strictly nothingness; also trouble. vanity, wickedness; specifically an idol:affliction, evil, false, idol, iniquity, mischief, mourners(-ing), naught, sorrow, unjust, unrighteous, vain, vanity, wicked(-ness). Compare 369.

Ezek 22:28 And her prophets have
        daubed them with untempered [Taphel, Tabret, frivolity] morter,
        seeing vanity, and divining lies [magical songs] unto them, saying,
        Thus saith the Lord God, when the Lord hath not spoken.

Latin: Vānus Ghost, emptiness, nothingness, naught, of persons, show, false, lying, deceptive, delusive, untrustworth, vainglorious, ostentatious, boastful, vain, weak, wavering.

Vanities are Magica which is equated to Exegetice or those people who add to the Word of God.

Magica Vanities: This is the Garden of Eden Story. Which is the Lucifer-Zoe story etal.

Vanitas I.Lit., emptiness, nothingness, nullity, want of reality:

B. Esp., falsity, falsehood, deception, untruth, untrustworthiness, fickleness, magice I. the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam [p. 1097] dico magicenqu.
          Included Vanitas: tŭmultus  an uproar, bustle, violent commotion, disturbance
Included Tumultus pulso and psallo have the same meaning: to push, strike, beat, Of military engines, Of musical instruments: chordas digitis et pectine eburno, to strike, play uponcymbala,A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet:
C.To drive away,
remove, put out of the way,
A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet:

    Similar Vanitas: to Rythmice I. the art of observing rhythm

Lynn Anderson etal:2.  Davidic

1 Chr 6:32  “They ministered with music before the tabernacle, the Tent of Meeting, until Solomon built the temple of the LORD in Jerusalem. They performed their duties according to the regulations laid down for them.”  NIV
God gave Israel kings to carry out the captivity and death sentence imposed because of musical idolatry at Mount Sinai.
Acts 7:41 And they made a calf in those days, and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands.
Acts 7:42  Then God turned, and gave them up to worship the host of heaven;
        as it is written in the book of the prophets, O ye house of Israel,
        have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness?
Acts 7:43 Yea, ye took up the tabernacle of Moloch, and the star of your god Remphan,
        figures which ye made to worship them:
        and I will carry you away beyond Babylon.

Acts 7:45 Which also our fathers that came after brought in with Jesus into the possession of the Gentiles, whom God drave out before the face of our fathers, unto the days of David;

Acts 7:46 David Who found favour before God,
    and desired to find a tabernacle for the God of Jacob.
Acts 7:47 But Solomon built him an house.
Acts 7:48 Howbeit the most High dwelleth not in temples made with hands; as saith the prophet,
Acts 7:49 Heaven is my throne, and earth is my footstool: what house will ye build me? saith the Lord: or what is the place of my rest?
Acts 7:50 Hath not my hand made all these things?
Acts 7:51 Ye stiffnecked and uncircumcised in heart and ears, ye do always resist the Holy Ghost: as your fathers did, so do ye.
That is the proof text Lynn Anderson and others are using to sow discord and subvert your church: he is still honored at ACU and LU!

When David sinned so that he could never again return to GOD'S Tabernacle, God gave him a Jebusite High Place already fitted for idolatry.  David made his OWN tent and transferred the Ark and the singers to ZION (Nor Moriah totally consumed in paganism):
After the processional with music in which the ark was brought to Jerusalem it is said:

"The ancient Tabernacle was now divided; the ark was brought into Zion, whereas the brazen altar at least, and probably the vessels of the holy place (ex. 25:23-40; 37:10-28; 40:22-27), were established in the high place at Gibeon.

Asaph and the singers (1 Chron. 6:31-47; 15:16-19; 16:5; 25:6) were left before the ark, while the priests ministered in Gibeon before the Tabernacle (16:39)." (Schofield Bible, p. 478-479).

"The original altar of Burnt-offering continued at Gibeon with the Tabernacle (2 Chr. 1:3, 5). David must have erected a new altar for sacrifice at Jerusalem.

> The sacrifices commanded by the Law were, it appears, offered at the former place (Gibeon);
at the latter were offered voluntary additional sacrifices." (Albert Barnes, 1 Chron, p. 347).

1Chr. 6:15 And Jehozadak went into captivity, when the LORD carried away Judah and Jerusalem by the hand of Nebuchadnezzar.

1Chr. 6:32 And they ministered before the dwelling place of the tabernacle of the congregation with singing, until Solomon had built the house of the LORD in Jerusalem: and then they waited on their office according to their order.

The KJV uses the word SINGING: Zamar NEVER includes an instrument without naming that instrument.

This just means SINGING because David never performed WORSHIP with either singing or instruments. Ecclesiasticus was in the bound Bible Jesus quoted from:

48:8. In all that he did he gave thanks to the Holy One, the Most High, with ascriptions of glory;
..........HE sang praise with all his heart, and he loved his Maker.

48:9. He placed singers before the altar, make sweet melody with their voices.

48:10. HE gave beauty to the feasts, and arranged their times throughout the year,
..........while they praised God's holy name,
..........and the sanctuary resounded from early morning.
From What the Bible Says
1Chr. 13:8 And David and all Israel played before God with all their might,
        and with singing, and with harps, and with psalteries, and with timbrels,
        and with cymbals, and with trumpets.
1Chr. 13:9 And when they came unto the threshingfloor of Chidon, Uzza put forth his hand to hold the ark; for the oxen stumbled.
1Chr. 13:10 And the anger of the LORD was kindled against Uzza, and he smote him, because he put his hand to the ark: and there he died before God.
1Chr. 13:11 And David was displeased, because the LORD had made a breach upon Uzza: wherefore that place is called Perezuzza to this day.

"we recognize the same elements: the sacrifices and libation, the cultic feast in which the congregation gets a share of food and drink after it has been blessed by the king, and the merry-making, now in the form of instrumental and vocal music. But the central act of the ritual, which was performed by the king, is called literally 'drinking' the god (Gurney, O. R. Some Aspects of Hittite Religion, p. 33-34, Oxford University Press, 1977)

Lynn Anderson etal: 1 Chr 15:16  David told the leaders of the Levites to appoint their brothers as singers to sing joyful songs, accompanied by musical instruments: lyres, harps and cymbals.
These were Levitical Warrior Musicians under the KING and COMMANDERS OF THE ARMY: the singing was ordained by the KING because these were to give glory to the king whom God had given in His Anger and whom God said would destroy the nation: and they did.
1Chr. 25:1 Moreover David and the captains of the host separated to the service [hard bondage] of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was:

1Chr. 25:2 Of the sons of Asaph; Zaccur, and Joseph, and Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph, which prophesied according to the order of the king.
Asaph is from h622: a primitive root; to gather for any purpose; hence, to receive, take away, i.e. remove (destroy, leave behind, put up, restore, etc.):—assemble, bring, consume, destroy, felch, gather (in, together, up again), x generally, get (him), lose, put all together, receive, recover (another from leprosy), (be) rereward, x surely, take (away, into, up), x utterly, withdraw.

"As we have seen in the passage discussed above (I Sam. 10:5-13), prophecy was intimately associated with politics from the very first moment it appeared in Israel. The prophetic band was stationed right next to a Philistine garrison. Their purpose was to incite Israelites to engage in holy war against the Philistine foe, and to do this they must have sung, with the fervor of their ecstasy, war songs which aroused the people to action. Like the charismatic judges of an earlier day, they were intoxicated with 'enthusiasm." (Anderson, Bernard, p. 231).

From What the Bible Says
From the warning of God and the retrospective of Nehemiah and the statement that the "law was against us" we know that the kings were imposed whey the elders fired God. They were told that the kings would enslave them and carry then into captivity and death. And because God had turned them over to worship the starry host we understand that the military and clergy were involved with thee worship of Dionysus which they had inherited from Egypt as a curse:

1 Chr 25:1  David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service:

Payne insists that the Hebrew of 1 Chronicles 25:1 unambiguously identifies these leaders as military commanders, an interpretation favoured by several Bible translations. (Payne, p 423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible) If military commanders had a particular interest in the appointment of musicians, it suggests a strong link between music and warfare.

Service is: H5656 ăbôdâh From H5647 ; work of any kind:  bondage, + bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, X wrought.

H5647 ‛âbad aw-bad' A primitive root; to work (in any sense); by implication to serve, till, (causatively) enslavebe, keep in bondage, be bondmen, bond-service, compel

1 Chron 25:2 Of the sons of Asaph; Zaccur, and Joseph, and Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph, which prophesied according to the order of the king.

H623 ’âsâph aw-sawf' From H622 ; collector; Asaph, the name of three Israelites, and of the family of the first:---Asaph.
      H622 ’âsaph aw-saf' A primitive root; to gather for any purpose; hence to receive, take away, that is, remove (destroy, leave behind, put up, restore, etc.):--assemble, bring, consume, destroy, fetch, gather (in, together, up again),   surely, take (away, into, up), X utterly, withdraw.

"The Hithpa'el of
nb', in the ancient texts, refers to ecstasy and delirium rather than to the emission of a 'prophecy'." (de Vaux, Roland, The Bible and the Ancient Near East, p. 243 Doubleday

Maniac inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed or glaring eyes-- have no place in the self-controlling dignity of Christian inspiration. Even Jewish prophets, in the paroxysm of emotion, might lie naked on the ground and rave (1 Sam. xix. 24); but the genuine inspiration in Christian ages never obliterates the self-consciousness or overpowers the reason. It abhors the hysteria and stimulation and frenzy which have sometimes disgraced revivalism and filled lunatic asylums." (Pulpit Commentary, 1 Cor., p. 460).

David's Praise word in the instrumental Psalms is Halal from which we get the word for LUCIFER which speaks of a light and sound show to steal people's prophecyHillel, Judges 12:13.  Sophocles, Antigone

[791] You seize the minds of just men and drag them to injustice, to their ruin. You it is who have incited this conflict of men whose flesh and blood are one. [795] But victory [Nike] belongs to radiant Desire swelling from the eyes of the sweet-bedded bride. Desire sits enthroned in power beside the mighty laws. [800] For in all this divine Aphrodite plays her irresistible game.

Commentary [800] empaizei, 'wreaks her will' in that contest which nikai implies. We find empaizô with a dat. (1) of the object, as Her. 4.134 empaizontas hêmin, 'mocking us': (2) of the sphere, as Ar. Th. 975 choroisin empaizei, 'sports in dances.' The en of empaizei here might also be explained as (a) in the imeros, or the blephara, i.e. by their agency: or (b) 'on her victim.' But the interpretation first given appears simpler. (Cp. Vergil's absol. use of illudere, G. 1. 181, Tum variae illudant pestes.)

Both Zamar and Psallo are a WARFARE word and never a WORSHIP word.

Psallô (psao)

1. 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,  
   schoinos miltophurês psallomenêI phurôI. metaph. to mingle together so as to soil or defile, confuse, to be doomed to have one's hair defiled with earth,  thêriôdous from a confused and savage
Tox-euma , atos, to, A. arrow, metaphor, of songs and words S.Ant.1085
Sophocles, Antigone Teiresias There, now, are arrows for your heart, since you provoke me, [1085] launched at you, archer-like, in my anger. They fly true--you cannot run from their burning sting. Boy, lead me home, so that he may launch his rage against younger men, and learn to keep a quieter tongue [1090] and a better mind within his breast than he now bears
Lynn Anderson etal: Psalms - more quoted in the NT than any other OT book.  In Luke 24:44 and John 10:34, Jesus confirms the prophecy of Psalms, saying, “the scripture cannot be broken.”

Some have sought to discredit instrumental music in the Old Testament as merely a Davidic invention.  Instruments were used both before and after David, however.  David clearly had the Lord’s blessing.  He is referred to 59 times in the N.T.
But, one should understand that the instrumental psalms and warrior chants intended to drive the enemy into panic with taunt singing: that is what is happening with the singing and clapping to show defeat of the old "grey hairs." Because these taunt songs carried sexual warnings to anyone the captured, it comes as no surprise says Delitsch on the Psalms:
Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing.

Payne insists that the Hebrew of 1 Chronicles 25:1 unambiguously identifies these leaders as military commanders, an interpretation favoured by several Bible translations. (Payne, p 423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible) If military commanders had a particular interest in the appointment of musicians, it suggests a strong link between music and warfare.
David sang boast songs against HIS own personal enemies so you have to take these as allegorical or implicate David as a conformed effeminate as may be claimed in Scripture:
Tympanotriba  I. a taborer, a timbrel-player, a term of reproach for a soft, effeminate person (alluding to the priests of Cybele), 
T. Maccius Plautus, Truculentus, or The Churl
STRATOPHANES Say you so, indeed? I'll first make trial of that. Do you, for the sake of such a shabby present, vegetables, and comestibles, and vinegar-water, bestow your love upon an effeminate, frizzle-pated, dark-haunt frequenting, drum-drubbing debauchee

6 Is he deranged: "Hariolus." Literally, "a soothsayer," or "diviner." In their prophetic frenzy, these persons often had the appearance of being mad, and were so considered.
   7 Drum-drubbing debauchee: "Typanotriba." Literally, "drum," or "tambourine beater." He alludes to the eunuch-priests of Cybele, who used to beat tambourines in her procession-probably in allusion to debauchees, emasculated by riot and dissipation

After all, what do you think the CODE TERM "New Wineskins Worship" means?

Because the Sabazianism to which God abandoned the Israelites BECAUSE of musical idolatry we should look to Dionysus as the PATTERNISM and PURPOSE of discording the church:

"dionysus's worship is thus established by the simple means of killing the opposition. It has been suggested that every tragic hero who suffers and dies on stage at the Dionysia, the great dramatic festival at Athens (of the South?), is in fact dionysus himself, being killed."

In the Eleusian mysteries, the wine was not noted for its alcohol but for drugs perhaps from fermented barley or from mushrooms used to bring on the exhilaration. Of the priest, it is said that:

"As he performed the service, he intoned ancient chants in a falsetto voice, for his role in the Mystery was asexual, a male who had sacrificed his gender to the Great Goddess. Resource
Because God gave David a Jubusite High Place rather than let the people be slaughtered, before twisting all known scripture it might help to understand that this was a QUARANTINE to keep the people away from the fall from grace:

"The tradition that associated music and psalmody with the Davidic age generally has been verified by archaeological discoveries, which show decisively that for centuries previously the people of Palestine had been renowned for their musical interests. Palestinian nomads on a visit to Egypt were depicted in the Beni Hasan tableau as walking behind their animals to the accompaniment of music. Other Egyptian sources from 1550 B.C. refer to examples of Canaanite music, while Ugaritic texts are replete with religious poetry, some of it being distinctly parallel in phraseology to the Hebrew Psalter. From the same sources come references to a class of temple personnel known as 'sarim,' who closely resembled the Hebrew singers of the monarchy and later periods." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 411).

By taking over and adapting Jerusalem's ancient cult, David provided Israel with a new worship, one that featured his own status and its sacral significance. Britannica

"The book of Psalms contain new doctrine after the Law of Moses. And after the writing of Moses, it is the second book of doctrine... (David) first gave to the Hebrews a new style of psalmody, bu which he abrogates the ordinances established by Moses with respect to sacrifices, and introduces the new hymn and a new style of jubilant praise in the worship of God; and throughout his whole ministry he teaches very many other things that went beyond the law of Moses." (Fragment of Commentary by Hippolytus, bishop of Rome, Ante-Nicene, V, p. 170)

See how God turned the nation over to this form of Egyptian Worship.

Lynn Anderson etal: 3.  Post-Davidic

2 Ki 3:15  “But now bring me a harpist." While the harpist was playing, the hand of the LORD came upon Elisha and he said, “This is what the LORD says:”
This is a long story which you may read here to be a DISCIPLE rather than a musician.

Jehoram was the son of Ahab and Jezebel. He had grown up with the hundreds of "prophets of Asherah and of Baal." Their practice had been to play music, sing, dance by bending the knee and even wounding themselves.

However, their effort was not a sign of spirituality but was a method by which God brought them to destruction even as Elijah accomplished God's will by quiet words.

Jehoram wanted Elisha to help him restore the LAW OF GIVING unlawfully. Elisha reluctantly performed his prophecy and caused all of the tithers to DESTROY their "means of giving." There must be a moral here?

Most of those who call in a HARPIST PROPHESIER (not a writing prophet) the effect in every instance is to DRIVE OUT those who had suppled the unlawful tithes and offerings..
Lynn Anderson etal: II Chron. 5:13,14 “The trumpeters and singers joined in unison, as with one voice, to give praise and thanks to the LORD. Accompanied by trumpets, cymbals and other instruments, they raised their voices in praise to the LORD and sang:   "He is good;
his love endures forever."

Then the temple of the LORD was filled with a cloud, and the priests could not perform their service because of the cloud, for the glory of the LORD filled the temple of God.”
Stephen told the truth and God murdered for REPUDIATING that which this apologist for music is trying to restore as ceremonial legalism.
  1. God promised David a Tent
  2. But, Solomon built God a HOUSE
  3. But, God does not live in houses built by human hands: especially by Hiram the Architect who built Jerusalem's about like that at Tyre for "the singing and harp playing prostitute.
When the Ark was placed into the Most Holy place there went the easy access to the symbolic presence of God, to His Word once in the ark and Grace UNDER the mercy Seat.

With the loud NOISE playing 120 ram's horns all tuned to ONE NOTE blasted out, God SHUT DOWN the Temple and SEALED His presence FROM the common people.  Not to worry, the people who had been put OUTSITE the gates prayed directly to God and God answered from HEAVEN. So, guess God was not in the house after all.

ADDED: He will take the girls for his court and the young boys from the farms including performing musical glorification of the king and making war to shed blood.
1Sam. 8:12 And he will appoint him captains over thousands, and captains over fifties; and will set them to ear his ground, and to reap his harvest, and to make his instruments of war, and instruments of his chariots.

See the Pagan implication of the instruments of his chariots.
Ar.Pax235; of musical notes, I d.Av.683 (lyr.), Pl.Lg.812d;

Anapaistos hammered, forged, rebounding,
Pindar, Olympian 4.[1] Charioteer of the thundercloud with untiring feet, highest Zeus! Your Seasons, whirling to the embroidered notes of the lyre's song, sent me as a witness of the most lofty games. When friends are successful, the noble immediately smile on [5] the sweet announcement. Son of Cronus

(3) Chamman ("sun-image"):

Chamman, the King James Version "images," "idols"; the Revised Version (British and American) "sun-images" (Leviticus 26:30; 2 Chronicles 14:5; 34:4,7; Isaiah 17:8; 27:9; Ezekiel 6:4,6):

This worship may originally have come from Babylonia, but the reverence of the sun under the name Baal-hamman had long been common in Palestine before Joshua and the Israelites entered the country. These sun-images were probably obelisks or pillars connected with the worship of some local Baal. The chariot and horses of the sun, mentioned (2 Kings 23:11) as having an honored place at the western entrance of the Jerusalem Temple, represented not a local but a foreign cult. In Babylonian temples, sacrifices were made to the sun-chariot, which seems to have had a special significance in time of war (Pinches, HDB, IV, 629; see also CHARIOTS OF THE SUN).

Here is Apollo's Sun Chariot

Lynn Anderson etal:   2 Chr 20:28  They entered Jerusalem and went to the temple of the Lord with harps and lutes and trumpets.
     And when he had consulted with the people, he appointed singers unto the Lord,
and that should praise the beauty of holiness,

This is how the writer proposes to SET AMBUSH against the people of God?

as they went out before the army,
and to say, Praise the Lord; for his mercy endureth for ever. 2 Chronicles 20:21

Shiyr (h7891) sheer; or (the orig. form) 7788 (1 Sam. 18:6), shoor; a prim. root [rather ident. with 7788 through the idea of strolling minstrelsy]; to sing: - behold [by mistake for 7788], sing (-er, - ing man, -ing woman).

Shuwr (h7788) shoor; a prim. root; prop. to turn, i. e. travel about (as a harlot or a merchant): - go, sing. See also 7891.

Isa 54:15 Behold, they shall surely gather together,
but not by me: whosoever shall gather together against thee
shall fall for thy sake.

Guwr (h1381) goor; a prim. root; prop. to turn aside from the road (for a lodging or any other purpose), i. e. sojourn (as a guest); also to shrink, fear (as in a strange place); also to gather for hostility (as afraid): - abide, assemble, be afraid, dwell, fear, gather (together), inhabitant, remain, sojourn, stand in awe, (be) stranger, * surely.

This was the boasting PRAISE trying to panic the enemy:

H3034 Yada: Literally to use (that is, hold out) the hand; physically to throw (a stone, an arrow) at or away

And when they began to sing and to praise

Rinnah (h7440) rin-naw'; from 7442; prop. a creaking (or shrill sound), i. e. shout (of joy or grief): - cry, gladness, joy, proclamation, rejoicing, shouting, sing (-ing), triumph.

Ranan (h7442) raw-nan'; a prim. root; prop. to creak (or emit a stridulous sound), i. e. to shout (usually for joy): - aloud for joy, cry out, be joyful, (greatly, make to) rejoice, (cause to) shout (for joy), (cause to) sing (aloud, for joy, out), triumph.

Ranah (h7439) raw-naw'; a prim. root; to whiz: - rattle.
The quiver rattleth against him, the glittering spear and the shield Jb.39:23

Tehillah (h8416) teh-hil-law'; from 1984; [making self vile] laudation; spec. (concr.) a hymn: - praise.

the Lord set ambushments against the children of Ammon, Moab, and mount Seir, which were come against Judah; and they were smitten. 2 Chronicles 20:22


Arab (h693) aw-rab'; a prim. root; to lurk: - (lie in) ambush (- ment), lay (lie in) wait.

Smitten is:

Nagaph (h5062) naw-gaf'; a prim. root; to push, gore, defeat, stub (the toe), inflict (a disease): - beat, dash, hurt, plague, slay, smite (down), strike, stumble, * surely, put to the worse.

Nega (h5061) neh'-gah; from 5060; a blow (fig. infliction); also (by impl.) a spot (concr. a leprous person or dress): - plague, sore, stricken, stripe, stroke, wound. 
Naga (h5060) naw-gah'; a prim. root; prop. to touch, i. e. lay the hand upon (for any purpose; euphem., to lie with a woman); by impl. to reach (fig. to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.): - beat, (* be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.  

Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing..

For the children of Ammon and Moab stood up against the inhabitants of mount Seir, utterly to slay and destroy them:

and when they had made an end of the inhabitants of Seir, every one helped to destroy another. 2 Chronicles 20:23 

And when Judah came toward the watch tower in the wilderness, they looked unto the multitude, and, behold, they were dead bodies fallen to the earth, and none escaped. 2 Chronicles 20:24

And when Jehoshaphat and his people came to take away the spoil of them, they found among them in abundance both riches with the dead bodies, and precious jewels, which they stripped off for themselves, more than they could carry away: and they were three days in gathering of the spoil, it was so much. 2 Chronicles 20:25
See a review of David Faust to see the whole story.

Lynn Anderson etal: II Chron. 29:25ff When Hezekiah restored the temple worship, he reinstated instruments:  “And he stationed the Levites in the house of the Lord with cymbals, harps, and lyres, according to the commandment of David and of Gad the kingís seer and of Nathan the prophet; for the commandment was from the Lord through his prophets.

The Levites were in the courts and could not go into a covered house even to clean out the garbage.
David never commanded instruments for his plague stopping ceremony but it is clear that ALL musical instruments were by the command of David THROUGH Gad the Stargazer.

Hezekiah's Reform: not a patternism for worship.

c. 1048 B.C. The precedent: David made a deal with God to stop the plagues which he (David) had caused. God gave David a Jebusite High Place to construct an alternative altar because he never lost the fear of God and could not go to Gibeon again. When he built the temple, Solomon did not consult God at Jerusalem but returned to Gibeon. 

We Repeat:

"The ancient Tabernacle was now divided; the ark was brought into Zion, whereas the brazen altar at least, and probably the vessels of the holy place (ex. 25:23-40; 37:10-28; 40:22-27), were established in the high place at Gibeon.

Asaph and the singers (1 Chron. 6:31-47; 15:16-19; 16:5; 25:6) were left before the ark, while the priests ministered in Gibeon before the Tabernacle (16:39)." (Schofield Bible, p. 478-479).

"The original altar of Burnt-offering continued at Gibeon with the Tabernacle (2 Chr. 1:3, 5). David must have erected a new altar for sacrifice at Jerusalem.

> The sacrifices commanded by the Law were, it appears, offered at the former place (Gibeon);
at the latter were offered voluntary additional sacrifices." (Albert Barnes, 1 Chron, p. 347).

How can that be disputed if God turned them over to worship the starry host and God gave the kings in His anger and took them away in His anger?

c. 728 B.C. Hezekiah's use: The Jerusalem temple was so polluted that not even animal sacrifices could be made there. The priests had set up alternative altars outside of the city. A plague was on the nation, the city and the temple. To collect the people inside of the walls, Hezekiah made a deal with God to purify the temple so that the priests and therefore the people would be more collected inside of Jerusalem and able to withstand a certain attack. The "congregation" was never the common people but the king, commanders of the army, city officials and clergy participated in these rituals.

This does not establish PATTERNISM for Christian worship which is wholly in the new PLACE of the human spirit.

The Temple Was the Capital of Israel: Bank, etc
The Temple Was Not for People's Worship
Animal Sacrifices at the Temple were Identical to All National Capitol Buildings
The Jerusalem was "Capitol Hill" and Not "Church.

Lynn Anderson etal: II Chron. 30:21 “The Israelites who were present in Jerusalem celebrated the Feast of Unleavened Bread for seven days with great rejoicing, while the Levites and priests sang to the LORD every day, accompanied by the Lord's instruments of praise.  Hezekiah spoke encouragingly to all the Levites, who showed good understanding of the service of the LORD. For the seven days they ate their assigned portion and offered fellowship offerings and praised the LORD, the God of their fathers.”

This was not congregational worship but more like a Camp Meeting. While the Levites and priests sang and played loud instruments at times, the purpose was for education.

Here is what the priests and levites who never TAUGHT KNOWLEDGE were doing only once a year but had not been holding this community festival.

2 Chr 30:21 And the children of Israel that were present at Jerusalem kept the feast of unleavened bread seven days with great gladness: 
        and the Levites and the priests praised the LORD day by day, 
        singing with loud instruments unto the LORD. 

h2490.  Chalal, to wound, to dissolve; figuratively, to profane (a person, place or thing), to break (one’s word), tdenom. (from 2485) to play (the flute):--begin (x men began), defile, x break, defile, x eat (as common things), x first, x gather the grape thereof, x takeinheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

But, here is what Hezekiah--always fighting a losing battle--was doing TO the Levites who might have been teaching.

2 Chr 30:22 And Hezekiah spake comfortably unto all the Levites that taught the good knowledge of the LORD: and they did eat throughout the feast seven days, offering peace offerings, and making confession to the LORD God of their fathers.

Christ has become OUR Passover so guess we won't be holding a musical festival and if we do, we will do it OUT IN THE OPEN,.

Lynn Anderson etal: Neh 12:27  “At the dedication of the wall of Jerusalem, the Levites were sought out from where they lived and were brought to Jerusalem to celebrate joyfully the dedication with songs of thanksgiving and with the music of cymbals, harps and lyres.

Hezekiah also defined WHY they had been taken captive and their temple destroyed and walls broken down:

So the children went in and possessed the land, and thou subduedst before them the inhabitants of the land, the Canaanites, and gavest them into their hands, with their kings, and the people of the land, that they might do with them as they would. Neh 9:24

And they took strong cities, and a fat land, and possessed houses full of all goods, wells digged, vineyards, and oliveyards, and fruit trees in abundance:
so they did eat, and were filled, and became fat, and delighted
Nevertheless they were disobedient, and rebelled against thee,
          and cast thy law behind their backs,
          and slew thy prophets which testified against them to turn them to thee,
          and they wrought great provocations. Neh 9:26

Neither have our kings, our princes, our priests, nor our fathers, kept thy law, nor hearkened unto thy commandments and thy testimonies, wherewith thou didst testify against them. Neh 9:34

For they have not served thee in their kingdom, and in thy great goodness that thou gavest them, and in the large and fat land which thou gavest before them, neither turned they from their wicked works. Neh 9:35

Behold, we are servants this day, [and so are you]
        and for the land that thou gavest unto our fathers to eat the fruit thereof and the good thereof,
        behold, we are servants in it: Neh 9:36

And it yieldeth 
        much increase unto the kings whom thou hast set over us 
        because of our sins:
        also they have dominion over our bodies, and over our cattle,
        at their pleasure
        and we are in great distress. Neh 9:37

        They have sown wheat, but shall reap thorns
        they have put themselves to pain, but shall not profit: 
        and they shall be ashamed of your revenues 
        because of the fierce anger of the Lord. Je.12:13

Hezekiah refers all the way back to David to understand how to dedicate or purify a temple: this leaves no doubt about who commanded what:

And certain of the priests sons with trumpets
        namely, Zechariah the son of Jonathan, the son of Shemaiah,
        the son of Mattaniah, the son of Michaiah, the son of Zaccur,
        the son of Asaph: Nehemiah 12: 35

        And his brethren, Shemaiah, and Azarael, Milalai, Gilalai, Maai,
        Nethaneel, and Judah, Hanani,

with the musical instruments of David the man of God, and Ezra
        the scribe before them. Nehemiah 12: 36

So stood the two companies of them that gave thanks in the house of God, and I, and the half of the rulers with me: Nehemiah 12: 40

The Priests: And the priests; Eliakim, Maaseiah, Miniamin, Michaiah, Elioenai, Zechariah, and Hananiah, with trumpets; Nehemiah 12: 41

The Levites: And Maaseiah, and Shemaiah, and Eleazar, and Uzzi, and Jehohanan, and Malchijah, and Elam, and Ezer. And the singers sang loud, with Jezrahiah their overseer. Nehemiah 12: 42

1037 BC - Solomon succeeds King David.

520 BC - work on the temple walls begins.

Notice that Nehemiah reaches back to David to explain what has just taken place:

And both the singers and the porters kept the ward of their God, and the ward of the purification, according to the commandment of David, and of Solomon his son. Nehemiah 12: 45

For in the days of David and Asaph of old there were chief of the singers, and songs of praise and thanksgiving unto God. Nehemiah 12: 46

And all Israel in the days of Zerubbabel, and in the days of Nehemiah, gave the portions of the singers and the porters, every day his portion: and they sanctified holy things unto the Levites; and the Levites sanctified them unto the children of Aaron. Nehemiah 12: 47

"The solemn ritual described in Neh. 8-10 is one of the most important moments in the history of Israel: this is as it were the official birth of Judaism. The gathering does not take place in the Temple, but in the public square. It does not consist of bloody sacrifices, but of reading the law and prayer. " (Charpentier, How To Read the Bible, p. 75)

Of course, as a result of this loud rejoicing or boasting, they attracted the attention of the enemy and the rebuilding was stopped for about 16 years.

Lynn Anderson etal:  Zech. 9:14 “ . . . and the Lord God shall blow the trumpet.

Proof texts always have a before and after: Trumpets always signal MAKING WAR.

Rejoice greatly, O daughter of Zion; shout,

O daughter of Jerusalem: behold, thy King cometh unto thee: he is just, and having salvation; lowly, and riding upon an ass, and upon a colt the foal of an ass. Zech 9:9 

Salvation is Jesus or Joshua or Jehovah- Saves.

Yasha (h3467) yaw-shah'; a prim. root; prop. to be open, wide or free, i. e. (by impl.) to be safe; causat. to free or succor: - * at all, avenging, defend, deliver (-er), help, preserve, rescue, be safe, bring

Tell ye the daughter of Sion, Behold, thy King cometh unto thee, meek, and sitting upon an ass, and a colt the foal of an ass. Matt 21:5

When I have bent Judah for me, filled the bow with Ephraim,
        and raised up thy sons, O Zion,
        against thy sons, O Greece,
        and made thee as the sword of a mighty man. Zech 9:13

And the Lord shall be seen over them,
        and his arrow shall go forth as the lightning:
        and the Lord God shall blow the trumpet,
        and shall go with whirlwinds of the south  Zech 9:14

The description of the trumpets.

[The Rule of the Trumpets: the trumpets] of alarm for all their service for the [ . . . ] for their commissioned men, 17[by tens of thousands and thousands and hundreds and fifties] and tens. Upon the t[rumpets . . . ]

[ . . . ] )8[ . . . ] 19[ . . . which ] 20 [,, . they shall write . . . the trumpets of Col. 3 the battle formations, and the trumpets for assembling them when the gates of the war are opened so that the infantry might advance, the trumpets for the signal of the slain, the trumpets of 2 the ambush, the trumpets of pursuit when the enemy is defeated, and the trumpets of reassembly when the battle returns.

On the trumpets for the assembly of the congregation they shall write, "The called of God." 3 0n the trumpets for the assembly of the chiefs they shall write, "The princes of God." On the trumpets of the formations they shall write, "The rule of God." On the trumpets of the men of renown [they shall write], "The heads of the congregation's clans."

Then when they are assembled at the house of meeting, they shall write, "The testimonies of God for a holy congregation." On the trumpets of the camps 5 they shall write, "The peace of God in the camps of His saints."

On the trumpets for their campaigns they shall write,

"The mighty deeds of God to scatter the enemy and to put all those who hate justice to flight and a withdrawal of mercy from all who hate God."

On the trumpets of the battle formations they shall write, "Formations of the divisions of God to avenge His anger on all Sons of Darkness."

7 0n the trumpets for assembling the infantry when the gates of war open that they might go out against the battle line of the enemy, they shall write, "A remembrance of requital at the appointed time 8 0f God."
      On the trumpets of the
slain they shall write, "The hand of the might of God in battle so as to bring down all the slain because of unfaithfulness."
   On the
trumpets of ambush they shall write, 9 "Mysteries of God to wipe out wickedness."
      On the trumpets of pursuit they shall write,"God has struck all Sons of Darkness, He shall not
abate His anger until they are annihilated." When they return from battle to enter the formation, they shall write on the trumpets of retreat, "God has gathered."
    On the
trumpets for the way of return from battle with the enemy to enter the congregation in Jerusalem, they shall write,"Rejoicings of God in a peaceful return." 

The Lord of hosts shall defend them;
        and they shall devour, and subdue with sling stones;
        and they shall drink, and make a noise as through wine;
        and they shall be filled like bowls, and as the corners of the altar. Zech 9:15

Isaiah 30 proves that HELL was prepared for the enemies of God (liars, dogs, sorcerers). The MARK of SOUND of God driving them into hell will be wind, string and percussion instruments.

And the Lord their God shall save them in that day as the flock of his people: for they shall be as the stones of a crown, lifted up as an ensign upon his land. Zech 9:16

For how great is his goodness, and how great is his beauty corn shall make the young men cheerful, and new wine the maids. Zech 9:17

Tiyrowsh (h8492) tee-roshe'; or tyrosh tee-roshe'; from 3423 in the sense of expulsion; must or fresh grape-juice (as just squeezed out); by impl. (rarely) fermented wine: - (new, sweet) wine

The ministry of the priests and Levites.

When the battle line are arrayed against the enemy battle line against battle line there shall go forth from the middle opening into the gap between the battle lines seven priests of the sons of Aaron, dressed in fine white linen garments: a linen tunic and linen breeches, and girded with a linen sash of twined fine linen, violet, '"purple, and crimson, and a varicolored Sign, the work of a skillful workman, and decorated caps on their heads; the garments for battle, and they shall not take them into the sanctuary.

The one priest shall walk before all the men of the battle line to encourage them for battle.

In the hands of the remaining six shall be the trumpets of assembly' the trumpets of memorial, the trumpets of the alarm, the trumpets of pursuit, and the trumpets of reassembly.

When the priests go out into the gap between the battle lines,

seven Levites shall go out with them. In their hands shall be seven trumpets of rams' horns. Three officers from among the Levites shall walk before the priests and the Levites.

The priests shall blow the two trumpets of assembly . . . of ba]ttle upon fifty shields, and fifty infantrymen shall go out from the one gate and [ . . . ] Levites, officers. With each battle line they shall go out according to all [this] o[rder.... men of the] infantry from the gates [and they shall take positi]on between the two battle lines, and [ . . . ] the battle ] [,, . ] the trumpets shall blow continually to direct the slingmen until they have completed hurling seven times.

Lynn Anderson etal: Hab 3:19 “The Sovereign LORD is my strength; he makes my feet like the feet of a deer, he enables me to go on the heights.  For the director of music. On my stringed instruments.
For the director of music. On my stringed instruments. This defines how this message is to be presented and does not command instrumental music.

Hab 3:1 A prayer of Habakkuk the prophet upon Shigionoth.  

Shigionoth is a poem set to music and signals a judgmental message:

Shiggayown (h7692) shig-gaw-yone' from 7686; prop. aberration, i. e. (tech.) a dithyramb or rambling poem: - Shiggaion, Shigionoth

Shagah (h7686) shaw-gaw'; a prim. root; to stray (caus. mislead), usually (fig.) to mistake, espec. (mor.) to transgress; by extens. (through the idea of intoxication) to reel, (fig.) be enraptured: - (cause to) go astray, deceive, err, be ravished, sin through ignorance, (let, make to) wander.

But they also have erred through wine, and through strong drink are out of the way; the priest and the prophet have erred through strong drink, they are swallowed up of wine, they are out of the way through strong drink; they err in vision, they stumble in judgment. Is.28:7

WINE is a mocker, strong drink is raging: and whosoever is deceived thereby is not wise. Pr.20:1   
Lynn Anderson etal: Garrett, Leroy Restoration Review.  January, 1991.  “The argument we have always made that instruments were authorized in the Old Testament but not the New hardly applies to the Psalms, for it is not a matter of the instruments being ‘authorized’ or legislated.  They were used out of the spontaneous devotion of the people.  They praised God in every way available to them, which would of course include instruments of music.  We need to question a hermeneutics that keeps saying, ‘But that’s in the Old Testament.’  We should at least be able to understand how our Christian friends who choose to use instruments consider it odd that we elect to make use of all the spiritual values in the Psalms except “Praise Him with stringed instruments” (Ps. 150:4).”

The word PSALM in the Hebrew Paul would know is not the BOOK of Psalms: it includes about 50 which were not devoted and none of these INCLUDE a musical instrument.

Only 57 of the Book of Psalms are psalms or mizmors.  
The Greek words were used because they have a universal perverted meaning unless they are used for LEARNING ONLY. We don't ACTUALLY bash infants heads. The word "psalmos" is a song: you have to define an instrument IF one is included.

However, because the Septuaging was a Greek translation and they would know that the PSALLO type words spoke of making war or making love in a perverted sense, the false teachers ignoring all of history intend to lead you into something evil.
Psalmos also appears in the LXX as equivalent to the Hebrew word neginah. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praise of the Lord composed by King Hezekiah, Is 38:20 (my songs).
Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to PLAY on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing.
h5060 naga naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.):- beat, (X be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch

Used interchageably with

chalal, to wound, to dissolve; figuratively, to profane (a person, place or thing), to break (one’s word), tdenom. (from 2485) to play (the flute):--begin (x men began), defile, x break, defile, x eat (as common things), x first, x gather the grape thereof, x take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.
A.To sport, play with any thing, to practise as a pastime, amuse one's self with any thing: Especially to play on an instrument of music, to make or compose music or song:
B.To sport, dally, wanton (cf. "amorous play,")
C. Ludere aliquem or aliquid, to play, mock, imitate, mimic a person or thing (only in mockery; cf.: partes agere, etc.): civem bonum ludit, Cael. ap. Cic. Fam. 8, 9, 1; cf.: ludere opus, to imitate work, make believe work 

E.To spend in play or amusement, to sport away: otium, Mart. 3, 67, 9 .--Hence, ludere operam, to throw away one's labor, to labor in vain,
F.To make sport or game of a person, to ridicule, rally, banter:
G.To delude, deceive:

The history of the Greek language extends back about fifteen centuries before Christ. The era called the "classical" period was from around 900 B.C. (the time of Homer) to the conquests of Alexander the Great (c. 330 B.C.). During this time psallo carried the basic sense of "to touch sharply, to move by touching, to pull, twitch" (Liddell, p. 1841).
Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?
Luke 7:25 But what went ye out for to see? A man clothed in soft raiment? Behold, they which are gorgeously apparelled, and live delicately, are in kings courts.
Don-eô, A. shake, of the effects of the wind,they shake the young tree, having driven them,  to de te pnoiai doneousin they shake the young tree, kardian to agitate one's mind,
hêmas edonêsen hê mousikê, , donountai to neurôdes have twitchings in the tendons,
Twitching: Psallô (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.

Tendons Nervus
  i, m. [root snar-; Old Germ. snara, a snare; Gr. neuron; cf. parvus and pauros] , a sinew, tendon, nerve.
1. I. q. membrum virile; 2. A string of a musical instrument, 3. A bowstring: reciproca tendens nervo
The Shaken by the Wind continued:
Erôti Fr.6.5 ; paida 
Paul insisted that we meet WITHOUT WRATH: this is the word Orge and EROS was the god pagans worshipped.
Org-aô, II. of men, like sphrigaô, swell with lust, wax wanton, be rampant, Ar.Lys.1113, Av. 462 (where the Sch. explains it epithumêtikôs echô) ; ho ep' aphrodisiois mainomenos . . orgôn Poll.6.188 ; of human beings and animals, to be in heat, desire sexual intercourse, organ pros tên homilian, ocheian, Arist.HA542a32,560b13 ; o. ocheuesthai ib.500b11 ; pros to gennan Plu. 2.651c

2. generally, to be eager or ready, to be excited, Lakedaimoniôn orgôntôn emellon
peirasesthai Th.4.108 ; orgôntes krinein judge under the influence of passion, Id.8.2
2. drive about Od.22.300; disturb, terrify, Tim.Pers.222: hence of love, agitate, excite,
II. of sound, murmur, buzz, of bees, prob. in h.Merc. 563; d. throon humnôn rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran [lyre] te boai kanachai t' aulôn [flute] doneontai Id.P.10.39 ; of bees, Choeril.2; rhoizêmasin aithêr doneitai Ar.Av.1183 .--Poet. word, used in Ion., X.Smp.2.8, and late Prose; of medical percussion, Aret.SD2.1

Pindar Pythian 10.[31] Once Perseus, the leader of his people, entered their homes and feasted among them, when he found them sacrificing glorious hecatombs of donkeys to the god. In the festivities of those people [35] and in their praises Apollo rejoices most, and he laughs when he sees the erect arrogance of the beasts. [37] The Muse is not absent from their customs; all around swirl the dances of girls, the lyre's loud chords and the cries of flutes. [40] They wreathe their hair with golden laurel branches and revel joyfully. No sickness or ruinous old age is mixed into that sacred race; without toil or battles [43] they live without fear of strict Nemesis.

The choicest hymn of praise flits from theme to theme, like a bee. [55][55] And I hope that, while the Ephyreans pour forth my sweet voice beside the Peneius, with my songs I will make Hippocleas even more admired for his garlands by boys his age and by his elders, and I will make the girls think of him. For [60] people«s minds are tickled by various desires; [61] but whatever each man strives for, let him hold on to it eagerly if he gets it, the concern that is close at hand. It is impossible to foresee what will happen a year from now.
Lynn Anderson etal: In fact, to what is Paul referring when he speaks of  “all scripture”?  Is he referring to his own letters, which he is in the middle of writing?  Is he referring to the gospels, which may not have even been written yet?  Well - the argument goes - but we are following the NT church.  Shouldn’t we rather be following Jesus,  (who, by the way, was known to worship at the temple where instruments were used.)
The ONLY role of the ekklesia or synagogue is teaching the Word: you do not teach by making music but indeed stop the learning process. Paul commanded that we READ or SPEAK the Psalms and speak is the "opposite to poerty or music." No one missed that until the year 373. Once you start the slippery slope there is no stopping. The Psalms are not metrical and you cannot make music with them without rewriting them:
2 T im. 3:16 All scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness:

How do you present the Scriptures?

1Tim. 4:13 Till I come, give attendance to [public] reading, to exhortation, to doctrine.

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

Thus ends the synagogue other than prayers.

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

2Cor. 3:14 But their minds were blinded:
        for until this day remaineth the same vail untaken away
        in the reading of the old testament;
        which vail is done away in Christ.

The most memorable events OUTSIDE but never IN the temple was "casting out the musical minstrels" more or less violently like Dung.  And he cast out the Collection Plates and the collectors.  He consigned the pipers, singers and dancers to the marketplace with all the other polluted musicians. Because the TOOK the Widows mites Jesus promised that the temple would be dismantled stone by stone.

There is no proof that Jesus ever attended OUTSIDE the gates during any sacrificial music. 
Lynn Anderson etal: B.  New Testament

Luke 7:32  They are like children sitting in the marketplace and calling out to each other: "'We played the flute for you, and you did not dance; we sang a dirge, and you did not cry.'
Yes, they hoped that John wore the soft clothing of the Catamite and that Jesus would sing or lament and dance when they piped. This was a clear mark of the perverted initiation into the cult of Dionysus or the god of the new wineskin.  This was sodomy as part of the old Abomination of Desolation defined in Second Maccabees.

Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?
Don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree kardian to agitate one's mind, hêmas edonêsen hê mousikê, II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humnôn rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran te boai kanachai t' aulôn doneontai Id.P.10.39 ; of bees, Choeril.2; rhoizêmasin aithêr doneitai Ar.Av.1183 .--Poet. word, used in Ion., X.Smp.2.8, and late Prose; of medical percussion, Aret.SD2.1 
"Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music. 
Hippolytus V 
"Yobal made reed instruments, and harps, and flutes, and whistles, 
        and the devils went and dwelt inside them.
       When men blew into the pipes, the devils sang inside them
        And Satan had been made ruler (or prince) of that camp
And when the men and women were  stirred up to lascivious frenzy by the devilish playing of the reeds which emitted musical sounds, and by the harps which the men played through the operation of the power of the devils, and by the sounds of the tambourines and of the sistra which were beaten and rattled through the agency of evil spirits, the sounds of their laughter were heard in the air above them, and ascended to that holy mountain.

Luke 7:25 But what went ye out for to see? A man clothed in soft raiment? Behold, they which are gorgeously apparelled, and live delicately, are in kings courts. 

Delicate Malakos path-êtikos d. = pathêtikos

Path-êtikos 2. sensuous, impassioned, patheti clegein describe the symptoms of emotionemotional style 

3. Astrol., p. zôidion, = pathikon

1 Cor 6:[9]WEB Or don't you know that the unrighteous will not inherit the Kingdom of God? Don't be deceived. Neither the sexually immoral, nor idolaters, nor adulterers, nor male prostitutes, nor homosexuals, [10] nor thieves, nor covetous, nor drunkards, nor slanderers, nor extortioners, will inherit the Kingdom of God. [11] Such were some of you, but you were washed. But you were sanctified. But you were justified in the name of the Lord Jesus, and in the Spirit of our God.

e. of music, soft, effeminate,  tuned to a low pitch 

Harmonia IV. in Music, stringing, ha. toxou [bow] kai luras [harp], method of stringing, musical scale  2. generally, music, autôi de tôi rhuthmôi mimountai chôris  
V. personified, as a mythical, Neikos,  

MUSIC demands rhythm, acting and dancing: there is not ETHICAL music idea in the Bible. 

g. of reasoning, weak, loose, logos Isoc.12.4 ( sullogizesthai to reason loosely 

Luke 7:26 But what went ye out for to see? A prophet? Yea, I say unto you, and much more than a prophet. 

They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept. Luke 7:32

Jesus consignes the pipers, singers and dancers to the market-place where all of the singing, dancing, music and pagan ceremonies took place. The Jews HOPED that Dionysus was their messiah because that is the worship God abandoned them to BECAUSE of musical idolatry.

The singing or lamenting was the natural result of the "initiation" which was the same as bowing to Baal.  Initiation into homosexuality was the goal:

Aulêtikos, kalamos used for making flutes, (sc. technê), hê, flute-playing,. Adv.-kôs, dei karkinoun [spread like cancer]
, ou, ho, playing the flute at a SPONDE (Ephesus) and (Rhegium).
[spendô] I. a drink-offering, i. e. the wine poured out to the gods before drinking, Lat. libatio,  

Pl.Euthd. 277d. Plato, Euthydemus, Socrates: Euthydemus was proceeding to press the youth for the third fall, when I, [277d] perceiving the lad was going under, and wishing to give him some breathing-space lest he should shame us by losing heart, encouraged him with these words: Cleinias, do not be surprised that these arguments seem strange to you; for perhaps you do not discern what our two visitors are doing to you. 

They are acting just like the celebrants of the Corybantic rites, when they perform the enthronement of the person whom they are about to initiate. There, as you know, if you have been through it, they have dancing and merrymaking: so here these two [277e] are merely dancing about you and performing their sportive gambols with a view to your subsequent initiation ..... Such things are the sport of the sciences--and that is why I tell you these men are making game of you; I call it sport

This is THE meaning of Rock and Roll! They hoped that Jesus would dance and lament (ouch) the Dionysus initiation which means BOWING before Baal. 

Choreia ,
A. dance, esp. choral
dance with music chorous choreias tôi Dionusôi  
2. of any circling motion, as of the stars
planêtôn te kai aplanôn choreiais

Lynn Anderson etal: 1 Cor 14:7  Even in the case of lifeless things that make sounds, such as the flute or harp, how will anyone know what tune is being played unless there is a distinction in the notes?

1 Cor 14:8  Again, if the trumpet does not sound a clear call, who will get ready for battle?

In 1 Corinthians 13 Paul equated speaking in tongues to the "worship of angels" which was witchcraft, to the sounds of war and to the sounds in the theater where echo chambers acted like pipe organs to amplify the  voice. Lifeless instruments are carnal weapons and this is Paul radically condemning them as ANTI-Christian.  By being informed about the literature which Paul and school kids knew, false teachers are charging to do brain surgery after discovering that HE has a brain.

Plutarch Cor but that a body which hath neither life nor soul should have any direct or exquisite words formed in it by express voice, that is altogether unpossible . For the soul nor God himself can distinctly speak without a body, having necessary organs and instruments meet for the parts of the same, to form and utter distinct words. But where stories many times do force us to believe a thing reported to be true, by many grave testimonies: there we must say, that it is some passion contrary to our five natural senses, which being begotten in the imaginative part or understanding draweth an opinion unto itself, even as we do in our sleeping.

Euripides, Ion

[881] O you, who cause a voice to sing from your seven-stringed lyre, a voice that lets lovely-sounding hymns peal forth in the rustic lifeless horn

(g895) ap'-soo-khos; from 1 (as a neg. particle) and 5590 [breath]; lifeless, i.e. inanimate (mechanical): - without life.

Apsuch-os, on, lifeless, inanimate, empnoun [breath] aniei Mousan Sopat.10; ha -otata tôn ostôn with least life or sensation

Mnêma 2. mound or building in honour of the dead, monument, tomb

Heredotus 7.CLXVII. The story told by the Carchedonians themselves seems to have some element of truth. They say that the barbarians fought with the Greeks in Sicily from dawn until late evening (so long, it is said, the battle was drawn out), during which time Amilcas stayed in his camp offering sacrifice and striving to obtain favorable omens by burning whole bodies on a great pyre.

When he saw his army routed, he cast himself into the fire where he was pouring libations on the sacrifice; he was consumed by this and was not seen any more. [2] Whether he vanished as the Phoenicians say, or in the manner related by the Carchedonians and Syracusans, sacrifice is offered to him, and monuments have been set up in all the colonists' cities, the greatest of which is in Carchedon itself 

II. spiritless, faint-hearted,  
materialistic, logos  

HOPLON Euripides-Ion

O thou, that wakest on thy seven-string'd lyre
Sweet notes, that from the rustic lifeless horn
Enchant the ear with heavenly melody,
Son of Latona, thee before this light
Will I reprove. Thou camest to me, with gold
Thy locks all glittering, as the vermeil flowers
Because they were addicted to the astrial gods it comes as no surprise that even David wanted to WAKE UP his lyre UNLESS he was speaking in figurative language.

Awake up, my glory; awake, psaltery and harp: I myself will awake early. Ps.57:8; Psa 108:2
Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it. Hab 2:19
But the Lord is in his holy temple: let all the earth keep silence before him. Hab 2:20 
And now my son and thine, ill-fated babe,
Is rent by ravenous vultures; thou, meanwhile,
Art to thy lyre attuning strains of joy.
Lynn Anderson etal: Eph. 5:19 and Col. 3:16 refer to “psalms, hymns, and spiritual songs”.  Every source I checked ties instrumental music to the word “psalm”.
No, that is a bad lie: none of the psalms were metrical and none were ever sung accompianed by an instrument. The method would be to SPEAK the text and sound a string note before or after to focus on the WORD.
Col 3:16 Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.

16 Let the word of Christ
        [What about the songs of Twila Paris: isn't her's just as good as Christs or that which is written?]

dwell in you richly in all wisdom;
        [Why can't Twila dwell in the worship leader? Isn't Twila as wise as Christ?]

teaching and admonishing one another
        [Why isn't it just as good to entertain and defend the audience?]
        [Doesn't saying Lord, Lord 100 times teach?]
        [Why shouldn't a half dozen sing to the rest of the audience?]
        [How could you prove that one another really means one another in this changed culture?]

in psalms and hymns and spiritual songs,
        [Psalms, hymns and spiritual songs are types of the Biblical psalms.
         Why should I be stuck with old style Bible text in my enlightened culture?
         If we all psalmos with a harp, do we all have to put down our harp when we sing an ode?
         Since the "psallo-based" words spoke of war and pollution and was never used "to play an instrument"
         But only PLUCK with your fingers and NEVER with a plectrum,
         would our enlightened age let us change
 that to mean
             "pluck with a guitar pick?" Or, BLOW on a flute or BEAT on a drum or CLANG with brass?]

         But according to Paul time trained as a Jew, a psalm would point to the mizmors There
         are only 50 mizmors not restricted and NONE of these name an instrument. Now, shall
         we PhDuhs define a Psalm according to Paul time or do we use our modern Bible
         which use psalm to name a WHOLE BOOK and not true psalms?]

        On the very large OTHER HAND here are the psalms used by those who intend to do you harm?
Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praise of the Lord composed by King Hezekiah, Is 38:20 (my songs).
5060. naga, naw-gah´; a primitive root; properly, to touch, i.e. lay the hand upon (for any purpose; euphem., to lie with a woman); by implication, to reach (figuratively, to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.):beat, (x be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.

Psallo has the base meaning of TOUCH or HANDLE.
Thayer gives many definitions and uses of the word Psalmos. The first is "to pluck off, to pull out the hair". Even at first glance we both know that this is not the definition we need, but we must ask why is the word defined in this way. This particular meaning of Psalmos is attributed (by Thayer) to Aeschylus between the years 525 and 426 B.C. This is obviously not the definition to what the Apostle Paul wrote in the early first century
singing with grace in your hearts to the Lord.
        [Why isn't singing in your mouth better?
         if melody in Eph 3:15 means making melody on a harp,
             then why doesn't with grace mean to play some kind of stringed instrument?
         Did Paul tell the Ephesians they could make melody on a HARP (only)
         and then limit the Colossians to singing with grace IN their heart?

There is no instrument in GRACE and there is no instrument is PSALLO because both define a spiritual result IN the heart as a result of SPEAKING the inspired text.
The command was to SPEAK with one mind and one mouth "using that which is written." The purpose was to teach so that a faithful believer would attend assembly having memorized a whole psalm or other passage. Even if the psalmists is lusting to bash heads of infants, the purpose is not unlearned praise singing but to understand the underlying prose history.

Eph 5: [19]WEB loquentes vobismet ipsis in psalmis et hymnis et canticis spiritalibus cantantes et psallentes in cordibus vestris Domino

Loquor I. inf. loquier, Naev. ap. Gell. 1, 24, 2), v. dep. n. and a. [Sanscr. lap-, to talk, whisper; to speak, talk, say (in the lang. of common life, in the tone of conversation; cf. Quint. 9, 4, 10; 11, 3, 45). A. To speak, declare, show, indicate or express clearly

logik-os , ê, on, ( [logos] ) the organs of speech A. of or for speaking or speech, logikê, hê, speech, opposite to mousikê,

Again 57 of the texts are called psalms by those who translated into the GREEK. Because the universal understanding of the Greek words you will discover that probably most of them are warrior chants used to intimidate the enemy.  After all, David was one of the kings given to carry out the captiviity and death sentence and to WIN wars on their. David was NOT a worship minister nor did he prescribe worship.  The Levitical Warrior musicians were directed by the King and commanders of the army and NOT by the priests.

Psalms are poems and tend to be poetic: you have to understand forms of figurative language or be prepared to hav a "smashing in the heads of some infants" ceremony next week.
The tabulation of musical passages "contains a rather disproportionate number of metaphorical sentences, where music or its instruments are not to be understood literally but are used as similies or rhetorical figures. The most celebrated of these poetical passages is Paul's glorification of love in I Cor. 13." (Interpreter's Dict of the Bible, Music, p. 466).
Jesus said that truth had been hidden in parables or symbolic langauge from the foundation of the world. Isaiah 48 specificially says that was to TRAP those who made a living out of singing or predicting the future.

Paul commanded that they be used to SPEAK and therefore Teach and Admonish because the ekklesia or synagogue never had a praise service based on direct command and minimal common sense.

Lynn Anderson etal: Zondervan Pictorial Bible Dictionary.  Grand Rapids, Michigan, 1963.  P.694.
Psalms – “Its name in Latin and English Bibles . . . comes from the Greek, Psalmo, which means ‘twangings [of harp strings]’, and then, as a result, songs sung to the accompaniment of harps.  This latter name originated in the LXX (cf. its NT authenticity, Luke 20:42) and reflects the form of the book’s poetry.  The same is true of its alternate title, Psalterion, meaning ‘psaltery,’ and then, a collection of harp songs, from which comes the English term ‘Psalter.’”
Vine, W.E. Expository Dictionary of New Testament Words.  Old Tappan, New Jersey, 1966.  Psalm – “Psalmos--primarily denoted a striking or twitching with the fingers (on musical strings); then, a sacred song, sung to musical accompaniment, a psalm.  It is used (a) of the O.T. book of Psalms, Luke 20:42; 24:44; Acts 1:20; (b) of a particular psalm,

Acts 13:33; (c) of psalms in general, I Cor. 14:26; Eph. 5:19; Col. 3:16.

Vine: Psallo primarily "to twitch, twang,"

then, "to play a stringed instrument with the fingers,"

O.T. "and hence, in the Sept., "to sing with a harp, sing psalms,"
[never without including the name of the instrument] 

N.T. denotes, in the NT, "to sing a hymn, sing praise;" in Eph 5:19, "making melody" (for the preceding word ado, see SING). Elsewhere it is rendered "sing," Rom 15:9; 1 Cor 14:15; in James 5:13, RV, "let him sing praise" (AV, "let him sing psalms"). 

Hymns "was that part of the Hallel consisting of Psalms 113-118; where the verb itself is rendered 'to sing praises' or 'praise' Acts 16:25; Heb 2:12. The Psalms are called, in general, 'hymns,' by Philo; Josephus calls them 'songs and hymns.'" Vine on Humneo 

Lynn Anderson etal Note: The psalmos denoted that which had a musical accompaniment; the ode was the generic term for a song; hence the accompanying adjective ‘spiritual.’”

This does not DEFINE Psalmos but shows how it is used in the literature. Anyone not willing to risk their souls would deliberately destroy the peace and harmony for which Jesus died by looking up words in distionaries or lexicons which define the numerous ways the word is CONNECTED to music but never MEANS music.

Not true: A psalmos is a song and says nothing about how it is presented.


Psalmos, ho, twitching or twanging with the fingers, psalmoi toxôn E.Ion173 (lyr.); toxêrei psalmôi [toxeusas] Id.HF1064 (lyr.). 

Psalmoi toxôn does not mean "sing and play a harp" WITH a bow.  Psalmoi just means pluck or twang a bow.

Phoebus' lyre, that sings with you, [165]  would not protect you from my bow. Alter your wings' course; go to the Delian lake; if you do not obey, you will steep your lovely melody in blood. [170]  Ah, ah! what is this new bird that approaches; you will not place under the cornice a straw-built nest for your children, will you? My singing [psalmoi] bow will keep you off. Will you not obey?

ouden s' ha phorminx ha Phoibou 165
summolpos toxôn rhusait' an.
parage pterugas:

Phoebus is Apollo or the Apollyon of Revelation: His musical worship team are called LOCUSTS and are always dirty and adulterous ready to expose themselves.

Phorm-inx  A. lyre, freq. in Hom., esp. as the instrument of Apollo. 2. ph. achordos, metaph. for a bow, Arist.Rh.1413a1.

psalmoi s' eirxousin toxôn. ou peisêi; chôrôn dinais
Here psalmoi means just SINGING. Melody is aoide meaning "beautiful singing."

Here the singing is something the BOW does which is not tuneful.


toxêrei psalmôi [toxeusas]
[Furnished with the Bow]  +  [Twitching with the fingers] + [Shoot with the bow]
Pulso  to push, strike, beat, Of musical instruments: chordas digitis et pectine eburno, to strike, play uponA. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet, C.To drive away, remove, put out of the wayD. To injure, insult: pulsatos infecto foedere divos, of treason


or metaphor Send forth a hymn
3. c. acc. rei, shoot from a bow, metaph., discharge, send forth, humnous Pi.I.2.3 hath shot arrows in vain, E.Hec.603
Pindar Isthmian 1.2.[1] The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite [ZOE] on her lovely throne. [6] For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore.

Pindar, Odes Isthmian Odes Pi.I.5(4).47;
My swift tongue has many arrows, to shout the praises of these heroes.

"And Sophia and Zoe caught him up and
gave him [jehovah] charge of the seventh heaven, below the veil between above and below. And he is called 'God of the forces, Sabaoth', since he is up above the forces of chaos, for Sophia established him. Jehovah made himself a huge four-faced chariot of cherubim, and infinitely many angels to act as ministers, and also harps and lyres.

"Between the more known, near the Sumerians, the goddess Ereshkigal; the goddess
Inanna, associated with the winged lion, or while subjugating the lion [of the tribe of Judah], having assumed on themself the wings; near the Hittites, Hebat, spouse of Teshub, represented like a matrona, up on her sacred animal, the lion; the lunar goddess Shaushka (identified with Ishtar, IIIth dynasty of Ur, accadic period, approximately 2350 BC)

"Erotic dance was a sacred ritual in ancient Egypt, common in fertility rituals and sex magick. The most famous was the erotic dance of the priestesses of Het Heret [whom the Greeks called Hathor], but also common in the temples of Bast, Aset [Isis], and Nuit.

The meaning of 'Eve' is disputed. Hawwah is explained in Genesis III. 20 as 'mother of all living'; but this may well be a Hebraicized form of the divine name Heba, hebat, Khebat or Khiba. The goddess, wife of the Hittite Storm-god, is shown riding a lion in a rock-sculpture at Hattrusas--which equates her with Anath--and appears as a form of ishtar in Hurrian texts.

She was worshipped at Jerusalem (see 27.2). Her Greek name was Hebe, Heracles's goddess-wife. 


SECOND: Psal-mos way the word is used: not what it meant:

II. mostly of musical strings, pêktidôn psalmois krekon humnon Telest.5 , cf. Diog.Trag.1.9, Aret.CA1.1.
Pêktidôn psalmois krekon humnon
Pêktidôn  Pêktis
I. an ancient harp used by the Lydians, Hdt., etc.
II. a sort of shepherd's pipe, joined of several reeds, like Pan's pipes (surinx),   surinx, whistle, hiss, as in theatres, Id.Lg.700c; cf. surizô11.2
    surigmos:--the last part of the nomos Puthikos was called suringes,
    prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.
NOMOS or singing the LAWS of Apollo (Apollyon etal) is the ONLY definition of LEGALISM. That is because you use machines for doing HARD WORK or creating the shock and awe which is hallucinated as "worship."
Psalmois twitching or twanging with the fingers
Krekon Krekô , A. weave
2. STRIKE a stringed instrument with the plectron, magadin   generally, play on any instrument, aulon Ar.Av. 682 pêktidôn psalmois k. humnon


THIRD: 2. the sound of the cithara or harp, psalmos d'alalazei A.Fr.57.7 (anap.); there were contests in to psallein  C.). 

Alal-azô (formed from the cry alalai): --raise the war-cry shout the shout of victory, nikên alalazein

2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; ôloluxan hai gunaikes, êlalaxan de hoi andres Hld.3.5 .

II. rarely also of other sounds than the voice, sound loudly, psalmos d' alalazei; kumbalon alalazon 1 Ep.Cor.13.1 

T. Maccius Plautus, Miles Gloriosus, or The Braggart Captain

Now I will disclose to you both the subject and the name of the play which we are just now about to act, and for the sake of which you are now seated in this mirthful place , "Alazon" is the name (86)

This city is Ephesus; then, the Captain, my master, who has gone off hence to the Forum, a bragging, impudent, stinking fellow, brimful of lying and lasciviousness, says that all the women are following him of their own accord. Wherever he goes, he is the laughing stock of all; and so, the Courtesans here--since they make wry mouths at him, you may see the greater part of them with lips all awry Alazon is the name:

Alazôn, "the boaster," he says, was the Greek name of the play. It is not known who was the Greek author from whom Plautus took this play, which is one of his best.

How better utterly condemn musical instruments associated with pagan women?

1 Cor 13:1 THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.

Alalazo (g214) al-al-ad'-zo; from alale, (a shout, "halloo"); to vociferate, i.e. (by impl.) to wail; fig. to clang: - tinkle, wail

Mk.5:38 And he cometh to the house of the ruler of the synagogue, and seeth the tumult, and them that wept and wailed greatly.

FOURTH: 3. later, [This ONLY defines how the word is used: not a definition]

a. song sung to the harp, [Psalmus does not INCLUDE the harp unless NAMED]

A song sung TO a harp means that you twang the string then seek to imitae that sound: this identifies mose uses of an instrument which was imitated but never to TEACH. Here is where the musical imposers have to go for evidence for point a.

Is. 23:15 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.

Here is how a harlot sings:

Is. 23:16 Take an [1] harp, go about the city, thou harlot that hast been forgotten; make sweet [2] melody, [3] sing many songs, that thou mayest be remembered.

b. psalm, LXX 2 Ki.23.1, XXIII. Now these are the last words of David. David the son of Jesse says, The man who was raised on high says, The anointed of the God of Jacob, 

c. The sweet psalmist of Israel: [2] The Spirit of Yahweh spoke by me, His word was on my tongue

al., Ep.Eph.5.19 Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord;

d. biblos psalmôn

Ev.Luc.20.42 . And David himself saith in the book of Psalms, The Lord said unto my Lord, Sit thou on my right hand,
That is why Paul commanded "plucking your heart strings" which was a common statement.
Lynn Anderson etal: Lucian--160 A.D.—“It is impossible to pipe without a pipe or to PSALLEIN without a lyre or to ride without a horse.” "The classical meaning of psallo continued into Hellenistic and post-New Testament times. The satirist Lucian of Samosata in the second century A.D. said
Hint: Psallein means play a harp! Hint: Lucian never ceased writting in ATTIC and never in Koine because he was selling his documents and recital to the rich and famous who affected ATTIC meaning the soft and effeminate.
2. the sound of the cithara or harp, psalmos d'alalazei A.Fr.57.7 (anap.); there were contests in to psallein
That does NOT define PSALLO.
See our comments on Lucian

And, Lucian would say, you cannot ride a horse without a horse just as you cannot RECITE lyric poetry without a LYRE. Simple! Lucian wrote in Attic!

Or lyric poetry, which requires not a reader, but a chorus and a harp-accompaniment?

Neither the Bible or any other manly material is lyric poetry: that comes from the Lesbian singers. 

The Psallo words mean ONLY to pull or pluck something which you must define. The sacrificial musicians were called PARASITES.

'It is impossible to
pipe [aulein] without a pipe or to strum [psallein] without a lyre or to ride without a horse' (Parasite 17)

"Sponging" is the superior art and "the sponger has no ulterior object; occupation and pre-occupation are for him one and the same." However,
........ "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

A. Ralph Johnson probably quoting Tom Burgess in the Christian church's defense of instrumental music says:

Athenaeus. (A.D. 230)

"Being very talented, he could play on the harp [epsallen] with the bare hand without a plectrum." -The Deiphnosphists, IV. 183-184, Tr. by Gulick Bk. 4, Sec. 183 D.

epsallen means "play on the harp" and Paul didn't use the word!
"Aristoxenus says that the magadis and the PECTIS may be played without a plectrum, by simply plucking [psalmou] with the fingers....

Again, Phrynichus says in The Phoenician Women,
'With [1] plucking [psalmoisin] of the [2] strings
they [3]  sing [aeidontes] their lays in answering strains."
No one SPOKE at the same time as the PLUCK.
The Deiphnosphists, XIV. 635, Translated by Gulick, Vol. 6, p. 427.

"And so the lyre-player [psaltees] not rudely nor inelegantly put the curb on Phillip when he tried to dispute with him about the way to strike [psalles] the lyre [psalteerion].

Here is the ONLY meaning of flute and harp players in history: The Deipnosophists of Athenaeus of Naucratis Book XIII: Concerning Women

Remember that Apollo is Abaddon or Apollyon in the book of Revelation. The muses or musicians are the LOCUSTS or musical performers in the legends John knew about to define the end-time holy whore worship

39. There were also some instruments besides those which were blown into, and those which were used with different strings, which gave forth only sounds of a simple nature, such as the castanets (κρέμβαλα), which are mentioned by Dicaearchus, in his essay On the Manners and Customs of Greece, where he says, that formerly certain instruments were in very frequent use, in order to accompany women while dancing and singing; and when any one touched these instruments with their fingers they uttered a shrill sound. And he says that this is plainly shown in the hymn to Artemis, which begins thus-
      Artemis, now my mind will have me utter
      A pleasing song in honour of your deity,
      While this my comrade strikes with nimble hand
      The well-gilt brazen-sounding castanets

Note: only male perverts did this unless they were drunk.

"Hear, ye Styacs, vendors of twaddle, hypocritical mouthers of words who alone by yourselves gobble up everything on the platters before a wise man can get a share, and then are caught doing the very opposite of what you solemnly chant;" oglers of boys you are, and in that alone emulating the founder of your philosophy, Zeno the Phoenician, who never resorted to a woman, but always to boy-favourites,

Lynn Anderson etal: Basil The Great, bishop of Caesarea--mid 4th century—“For it is a canticle and not a psalm; because it is sung with harmonious modulation by the unaccompanied voice and with no instrument sounding.”

Bill Swetmon notes that "Some think that the verb has its original signification of singing with an instrument. this is the dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment; and Clement of Alexandria, while forbidding the use of the flute in the Agapae, permitted the harp." (p. 28)

In Homily X, 1; on Psalm I, Basil wrote:

2. When they are asked the reason for this furious and truceless war, they allege psalms and a kind of music varying from the custom which has obtained among you, and similar pretexts of which they ought to be ashamed.  Their lips speak not of the deeds of men: they sing hymns to God continually, working with their own hands that they may have to distribute to them that need.

Therefore, He devised for us these harmonious melodies of the psalms, that they who are children in age or even those who are youthful in disposition might to all appearances chant but, in reality, become trained in soul.

For, never has any one of the many indifferent persons gone away easily holding in mind either an apostolic or prophetic message,

but they do chant the words of the psalms even in the home,
and they spread them around in the market place, and if perchance someone becomes exceedingly wrathful, when he begins to be soothed by the psalm, he departs with the wrath of his soul immediately lulled to sleep by means of the melody.

A psalm implies serenity of soul; it is the author of peace, which calms bewildering and seething thoughts. For it softens the wrath of the soul, and what is unbridled it chastens.

A psalm forms friendships, unites those separated, conciliates those at enmity.
Who, indeed, can still consider him an enemy with whom he has uttered the same prayer to God

So that psalmody, bringing about choral singing, a bond, as it were, toward unity, and joining the people into a harmonious union of one choir, produces also the greatest of blessings, charity.

It is in his personal poems that Gregory is most original and interesting.

Nay! I owe thee naught beside,
Though thine hands be open wide.
Would a table suit thy wishes,
Fragrant with sweet oils and dishes
Wrought to subtile niceness? where
Stringed music strokes the air,
And blithe hand-clappings, and the smooth
Fine postures of the tender youth,
And virgins wheeling through the dance,
With an unveiled countenance;
Joys for drinkers, who love shame,
And the maddening wine-cup's flame.
Wilt thou such, howe'er decried?
Take them and a rope beside!
Tom Burgess on Chrysostom

Brown notes of Clement: 
"The testimony of
Clement is, that musical instruments in worship is fitter things for beasts than for men. Basil says, he thought musical instruments unprofitable and hurtful.

He calls them, the inventions of Jubal of the race of Cain.
At page 955, he says, "In such
vain arts, as the playing upon the harp, or pipe, as soon as the action ceases, the work itself vanishes. So that really, according to the Apostle's expression, The end of those things is destruction." And again, at page 957, he says,

"Laban was a lover of the harp and of music, with which he would have sent away Jacob: if thou hadst told me, said he, I would have sent thee away with mirth, and with songs, with tabret, and with harp.

And stripped of all of your wealth.

[Laban had used a musical party with wine so that Jacob didn't know which woman he was sleeping with. He intended to use the same musical party to SEND Jacove away empty-handed]

"But the Patriarch avoided that music, as being a thing that would hinder his regarding the work of the Lord, and his considering the works of his hands."

Lynn Anderson etal: Augustine--396 A.D.—“there are some songs which cannot be called Psalms. . . But those are called Psalms which are sung to the psaltery.”  The transliteration of the Greek word psallo parallels that of the word baptizo.  The complete meaning of “immersion” was not made clear by simply anglicizing baptizo into baptize. 

The real Augustine: You need to understand that psalms are poems and poems tend to be poetic. You accept that or can engage in all of the vile rituals inherent in "psalm" in the Greek world. Psalms were never sung with instrumental accompaniment in the ekklesia or church in the wilderness. As with Clement, the use of the "lyre" in allegory is NOT in church but "how to conduct ourselves at feasts."


2. For a "Psalm" is a song, not any kind of song, but a song to a psaltery. A psaltery is a kind of instrument of music, like the lyre and the harp, and such kinds of instruments, which were invented for music.
He therefore who singeth Psalms,
        not only singeth with his voice,

        but with a
certain instrument besides, which is called a psaltery,
accompanieth his voice with his hands. Wilt thou then sing a Psalm?
Let not thy voice alone sound the praises of God; but let thy works also be in harmony with thy voice. ...
To please then the ear, sing with thy voice; but with thy
heart be not silent, with thy life be not still. Thou devisest no fraud in thy heart: thou singest a Psalm to God.
When thou eatest and drinkest,
sing a Psalm:
     not by intermingling sweet sounds suited to the ear,
      but by eating and drinking moderately, frugally, temperarely:
for thus saith the Apostle, "whether ye eat or drink, or whatever ye do, do all to the glory of God."

11. "Begin to the Lord in confession" (ver. 7). Begin with this, if thou wouldest arrive at a clear understanding of the truth. If thou wilt be brought from the road of faith to the profession of the reality, "begin in confession.

" First accuse thyself: accuse thyself, praise God. What after confession? (adomonish self, Col 3:16)

Let good works follow. "Sing unto our God upon the harp." What is, "Upon the harp"? As I have already explained, just like the Psalm upon the psaltery, so also is the "harp:" not with voice only, but with works.

Augustine on Psalm 144

"I will sing a new song unto Thee, O God" (ver. 9). "A new song" is of grace; "a new song" is of the new man; "a new song" is of the New Testament.

But lest thou shouldest think that grace departeth from the law, whereas rather by grace the law is fulfilled,

"upon a psaltery of ten strings will I sing unto Thee." Upon the law of ten commandments: therein may I sing to Thee; therein may I rejoice to Thee; therein may "I sing to Thee a new song;" for, "Love is the fulfilling of the law." 

But they who have not love may carry the psaltery,
        sing they cannot.
        Contradiction cannot make my psaltery to be silent.

Psallo is TRANSLATED but Baptism is TRANSLITERATED. It is a fact that no one will ever find psallo translated as melody: in the parallel command in Colossians 3 Paul said "with GRACE" in your heart. Both melody (melos) and grace are qualities of SPEACH.

Vincent's: Word Studies Of The New Testament, Vol. III, pg. 269-270 "...The noun psalm (Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to this verb (psallo in I Cor. 14:15 DEM), is used in the New Testament of a religious song in general, having the character of an Old Testament psalm...

    "Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment...

    "But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise."

See Augustine on Psalm 41: Judas will not musically triumph over Christ

"Think not this; but that enemy think of, of whom said the Lord, "an enemy hath done this."

For He it is who suggests that for things earthly he be worshipped,
overthrow the Christian Name this enemy cannot.
For he hath seen himself conquered by the fame and praises of Christ,

he hath seen, whereas he slew Christ's Martyrs, that they are crowned, he
triumphed over.

"He hath begun to be unable to persuade men that Christ is nought; and
because by
reviling Christ, he now with difficulty deceives,
lauding Christ, he endeavours to deceive.

Exaidô, A. sing out, sing one's last song, of the swan, 2. sing the exodos, of a chorus, II. trans., sing away by means of a spell.

"Before this what said he? Whom worship ye? A Jew, dead, crucified, a man of no moment, who could not even from himself drive away death. When after His Name he saw running the whole human race, saw that

in the Name of the Crucified
temples are thrown down,
idols are broken,
sacrifices abolished;

and that all these things predicted in the Prophets are considered by men,

by men with wonder astonished,
and closing now their hearts against the
reviling of Christ;
clothes himself with praise of Christ, and begins to deter from the faith in another manner.

Great is the law of Christ, powerful is that law, divine, ineffable! but who fulfilleth it? In the name of our Saviour, "tread upon the lion and the dragon."

By reviling openly roared the lion; by lauding craftily lurks the dragon.

"Let them come to the faith, who doubted; and not say, Who fulfilleth it? If on their own strength they presume, they will not fulfil it. Presuming on the grace of God let them believe, presuming (on it) let them come; to be aided come, not to be judged.

"So live all the faithful in the Name of Christ, each one in his degree fulfilling the commands of Christ, whether married, or celibates and virgins, they live as much as God granteth t
Lynn Anderson etal: Likewise, the complete meaning of  “a songs sung with stringed instruments” is notevident in the English form of psalm.  When, in our heritage, we discovered the definition of baptize to be immersion, we made it a doctrine that baptism must be by immersion.  What would consistency demand with regard to psalms ?
Psalm never had any musical meaning: it simply means to pluck and make a sound. We have shown that it primarily speaks of making war or it a metaphor for "shooting forth a song."

There is absolutely no connection: everyone always knew that baptism means to dip or to immerse. "Our heritage" did not discover it and neither did it discover the universal testimony against musical performance and it connection with vile people. The Spirit OF Christ does not depend on our culture and Paul does not use any musical terms including "psallo" which is primarily a warfare or polluting word: therefore, pluck the harp strings and not the harp strings and you young friend.  In no culture in the history of the church has anyone thought that it meant ot make music or play a harp.  

Lynn Anderson etal: The phrase often translated ‘in your heart’ has been translated a little differently by many scholars:

L Weigle = “with all your heart”;  Gingrich = “heartily”;  Chrysostom (385 A.D.) = “with close attention and understanding.

The parallel "with GRACE in your heart" then might become "WITH your grace?" When we SPEAK one to another we are to pay close attention IN our hearts but we do not sing WITH our hearts but our vocal cords.  If you are diverted by the Lucifer Principle you CANNOT pay attention to the words of Christ or your own speaking.

Lynn Anderson etal: Perhaps Eph 5:19 would be more accurately translated: 
“Speak to one another with songs sung with stringed instruments, praises to God and all kinds of spiritual songs. Sing and make music with your whole heart to the Lord.”  Without this distinction between the varied types of songs, it would just read, “songs, songs, and songs.
But, that would be a lie based on the text and all known translations: the NIV or feminist version uses "music" but melody is NOT a music word, ever never and then of bad women.  As history notes "if a male sang and played he was drunk, perverted or just having fun." Literally this verse says:

External: Speaking to yourselves in psalms and hymns and spiritual songs, 
Internal: singing and making melody in your heart to the Lord;

Technically you cannot SPEAK and SING at the same time.  Since they spoke in the synagogue and did not sing, bottom line is there is no musical content for the school of the Bible.

Eph 5: [19]WEB
loquentes vobismet ipsis in psalmis et hymnis et canticis spiritalibus cantantes et psallentes in cordibus vestris Domino 

Speak in Latin: Loquor 1. [Sanscr. lap-, to talk, whisper;, to speak, talk, say (in the lang. of common life, in the tone of conversation; A. To speak, declare, show, indicate or express clearly 

Speak in Greek: Laleo (g2980) lal-eh'-o; a prol. form of an otherwise obsol. verb; to talk, i.e. utter words: - preach, say, speak (after), talk, tell, utter. Comp. 3004.

Logik-os, ( [logos] ) A. of or for speaking or speech, merê l. the organs of speech,  logikê, hê, speech, opposite to mousikê 

 Psallo never speaks of "melody" in a tuneful sense.

The book of PRAISES was named PSALMS by the Greeks.  There are only 57 Mizmors which are called PSALMS in the BOOK of psalms.  Of these, 7 are dedicated to sacrificial agents or events: the other PSALMS do not include instruments.  All of the instrumental psalms have truly bad or evil connotations. That is because they were the PRAISE songs used by the Levitical Warrior Musicians to intimidate the enemy.

The BOOK of Psalms in the Greek translation are clearly marked as Psalms, Hymns, Spiritual Songs and Maschils or dark sayings ot proverbs. Therefore, when Paul commanded Psalms, hymns and spiritual songs in Romans 15 he defined "that which is written." In Ephesians 5 he defined the SPIRIT and Jesus said "my words are Spirit and Life" (Jon 6:63).  In Colossians he says to speak the Words of Christ.  Therefore, the songs, songs and songs misses elementary Bible.

No musical hostile takeover artists have any intention of using the songs written by the Spirit OF Christ and they do not intend to present anything which will allow you to see THROUGH them and see Christ who Paul said will be OUTSIDE suffering from your reproaches.

 Lynn Anderson etal: Twice, Paul refers to Christ’s return being heralded by the “trumpet of the Lord” (I Cor. 15:52, I Thess 4:16).  Why does God own a musical instrument and why does He employ it to announce the most dramatic event ever?  Why doesn’t He use voices at such a moment?  Could it be there are things that an instrument can express that a voice cannot?

1 Cor 15:52  “ . . . in a flash, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, the dead will be raised imperishable, and we will be changed.”

1 Th 4:16  “For the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first.  
I suppose many of the living will be PLAYING the trumpet REALLY LOUD? Maybe the "trumpet" has sounded as the country-wide hostile invasion of many religious groups by professional entertainers?  Maybe the women and effeminate playing in the holy places is both a verbal and visual aid so that those with the mark of the word will flee in droves.  Revelation has the locusts or muses taking captive a certain class and punishing them for easy left-behinds.

These, like Revelation 18, are signs of JUDGMENT and a warning for the living to "preach the gospel."

Salpinx I. a war-trumpet, trump, salpizô heaven trumpeted around, of thunder as if a signal for battle, 

Sêmainô  [sêma] I. to shew by a sign, indicate, make known2. in war, to give the signal of attack, Thuc.; sê. têi salpingiwhen signal was given for the Greeks to attack

Klazô 2. of dogs, barkPan and his pipes, 3. of things, as of arrows in the quiver, clash, rattleklazousi kôdônes phobon ring forth terror of the sea, roarsalpinx . . aoidan; 

Echê salpingos, a sound or noise of any sort, confused noise of a crowd, the roar of the sea, the groaning of trees in a wind,

The VOICE sounds like a trumpet but ALL of the trumpet sounds induce MORTAL FEAR.
Amos 3:6 Shall a trumpet be blown in the city, and the people not be afraid? shall there be evil in a city, and the LORD hath not done it?

Amos 3:7 Surely the Lord GOD will do nothing, but he revealeth his secret unto his servants the prophets.
God speaks spiritual truth ONLY through the prophets and apostles.  No prophet ever commanded musical instruments and no prophet FAILED to associate musical instrument with a breakdown into wine, women and music.

Here is a true translation and not the feminists commentary.  Paul warned that we worship in the PLACE of the spirit and not in the FLESH. The reason was that the dogs or "old style praise singers" were lurking and lusting.

1 Cor. 15:50 Now this I say, brethren, that flesh and blood cannot inherit the kingdom of God; neither doth corruption inherit incorruption.

1 Cor. 15:51 Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed,

You will notice that the trumpet is the MARK that you have been TAKEN CAPTIVE.

Amos 2:2 But I will send a fire upon Moab, and it shall devour the palaces of Kirioth:
and Moab shall die with tumult, with shouting, and with the sound of the trumpet:

1 Cor. 15:52 In a moment, in the twinkling of an eye, the last trump:
..........for the trumpet shall sound,
..........and the dead shall be raised incorruptible, and we shall be changed.

This is consisten with the only authorized use of the trumpet: to sound a warning or alarm and God outlawed this for the synagogue or church in the wilderness.

Isn't this too late to add to the church worship--unless you plan to be left behind?

1 Thess 4:16 For the Lord himself shall descend from heaven with a shout, with the voice of the archangel, and with the trump of God: and the dead in Christ shall rise first:

1 Thess 4:17 Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.

1 Thess 4:18 Wherefore comfort one another with these words.

This defines the SYNAGOGUE of Romans 15 where the direct command for us is to comfort one another with the WORDS OF GOD.

Additional Proof Text:  

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

Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves.
gamêliôi lechei [marriage couch-bed] hêdonais, playing in the wind, exult over, treat haughtily or contemptuously, made a mock of, tinos sumphorais, III. use or abuse at pleasure

[See Plato-Symposium]
Then, said Eryximachus, as you are all agreed that drinking is to be voluntary, and that there is to be no compulsion,
..........I move, in the next place, that the flute-girl, who has just made her appearance, told to go away and play to herself, or, if she likes, to the women who are within.
To-day let us have conversation instead; and, if you will allow me, I will tell you what sort of conversation. This proposal having been accepted, Eryximachus proceeded as follows:-

Truphaô , ( [truphê] )
Paison paizô
to play (on an instrument), Hhymn. II. to sport, play, jest, joke, Hdt., Xen., etc.; p. pros tina to make sport of one, mock him,

And we know for certain that those who are LOST will be engaged in a musical "worship service" using loud trumpets: they will not hear the voice LIKE a trumpet and that is how Satan intends to make sure that you are not able to even hear the trumpet which seems to be sounding as we speak.

Lynn Anderson etal:   C.  Revelation

Revelation is full of references to instruments, including at least two situations where God Himself hands out the harps and trumpets (a strange thing for Him to do if He doesn’t wish to be worshipped in that way). (Rev. 8:2, 15:2)

Rev 5:8  “And when he had taken it, the four living creatures and the twenty-four elders fell down before the Lamb. Each one had a harp and they were holding golden bowls full of incense, which are the prayers of the saints.”
Rev 5:8 And when he had taken the book,

and the four beasts [living creatures]
four and twenty elders
fell down before the Lamb
having [holding] every one of them harps,

and [holding] golden vials full of odours,
which are the prayers of saint
Now, try PLAYING your harps!

The first time these "Living Creatures" are mentioned in the Bible is in Gen. 3:24, where they are called "CHERUBIM," but are not described. They were placed at the entrance to the "Garden of Eden" to prevent the re-entrance of Adam and Eve, and to keep the way of the "Tree of Life." It would appear as if at the place where they were sationed there was a Tabernacle, a place of worship to which Cain and Abel resorted to make their offerings, and that it was from there that Cain went out from the "PRESENCE OF THE LORD." Gen. 4:16.
1Chr. 21:29 For the tabernacle of the LORD, which Moses made in the wilderness,
        and the altar of the burnt offering, were at that season in the high place at Gibeon.
1Chr. 21:30 But David could not go before it to enquire of God:
        for he was afraid because of the sword of the angel of the LORD.
One of the definition of the beast in Revelation is PAN who uses his HORNS or musical instruments to help evil people build their mountain kingdom:

Later I thought of this clown of the flute as a grotesque modern form of the great god Pan of the forest whom the Greeks worshipped as the symbol of cosmic vitality--serene, goat-footed Pan who plays the sacred syrinx (pan pipes) in the sinking dusk and with its magic sound evokes an echo in all things: leaves and fountains shiver, the stars begin to tremble, and the shaggy goats dance at the edge of the grove. (qtd. in Kinsley, David R. The Sword and the Flute: 33, n. 49)

Pan is the same Dionysus worship in the Book of Revelation and that to which the elders abandoned the nation when they demanded a king so that they could worship like the nations:

"Pan is the symbol of the universe, the personification of nature, representative of all the Gods. His parentage was Hermes or Zeus. His colour was royal purple. He was a dark wine red, sometimes called moon blood. Pan was equivalent to Dionysus."

There was a half hours silence before the incense altar to which no harp player could come without getting killed.
Lynn Anderson etal Rev 14:2  “And I heard a sound from heaven like the roar of rushing waters and like a loud peal of thunder. The sound I heard was like that of harpists playing their harps.”

Note that the 144,000 are on the Earth:

AND I looked, and, lo, a Lamb stood on the mount Sion, and with him an hundred forty and four thousand, having his Fathers name written in their foreheads. Rev 14:1

What they heard was from heaven. 

And I heard a voice from heaven, the sound of many waters and the sound of loud thunder, and the voice which I heard was the sound of harpists playing on their harps. Rev 14:2NAS

And I heard a voice from heaven the sound of many waters and the sound of loud thunder; the voice I heard was the sound of harpers playing on their harps Revelation 14:2RSV

And they sung as it were a new song before the throne, and before the four beasts, and the elders: and no man could learn that song but the hundred and forty and four thousand, which were redeemed from the earth. Rev 14:3

Unless you are literally or spiritually dead, there is another angel: 

And I saw another angel fly in the midst of heaven,
..........having the everlasting gospel to preach unto them that dwell on the earth,
..........and to every nation, and kindred, and tongue, and people, Rev 14:6

The word preach like the Latin sermo means "in a conversational language."

INSTRUMENTAL NOISE is always the MARK or SOUND of Judgment and NOT Spiritual worship.

Saying [not singing] with a loud voice, Fear God, and give glory to him;
..........for the hour of his judgment is come:
..........and worship him that made heaven, and earth, and the sea,
..........and the fountains of waters. Rev 14:7

(g4352) pros-koo-neh'-o; from 4314 and a prob. der. of 2965 (mean. to kiss, like a dog licking his master's hand); to fawn or crouch to, i.e. (lit. or fig.) prostrate oneself in homage (do reverence to, adore): - worship.

Rev 14:9 And the third angel followed them, saying with a loud voice,
        If any man worship the beast and his image, and receive his mark in his forehead, or in his hand,

Rev 14:10 The same shall drink of the wine of the wrath of God, which is poured out without mixture into the cup of his indignation; and he shall be tormented with fire and brimstone in the presence of the holy angels, and in the presence of the Lamb:
God always warns you and those whom the gods destroy first drive mad.
Wisd 17.16 - And whoever was there fell down, and thus was kept shut up in a prison not made of iron;

17 - for whether he was a farmer or a shepherd or a workman who toiled in the wilderness, he was seized, and endured the inescapable fate; for with one chain of darkness they all were bound.

18 - Whether there came a whistling wind, or a melodious sound of birds in wide -
        spreading branches, or the rhythm of
violently rushing water,

19 - or the harsh crash of rocks hurled down, or the unseen running of leaping animals, or the sound of the most savage roaring beasts,  or an echo thrown back from a hollow of the mountains, it paralyzed them with terror.

20 - For the whole world was illumined with brilliant light, and was engaged in unhindered work,

21 - while over those men alone heavy night was spread, an image of the darkness that was destined to receive them; but still heavier than darkness were they to themselves.

18:1 - But for thy holy ones there was very great light. Their enemies heard their voices but did not see their forms, and counted them happy for not having suffered, 

Wisd 19.13 - The punishments did not come upon the sinners
        without prior signs in the
violence of thunder, [Rev 14]
        for they justly suffered because of their wicked acts;
        for they practiced a more bitter hatred of strangers.

Amos 3:6 Shall a trumpet be blown in the city, and the people not be afraid? shall there be evil in a city, and the LORD hath not done it?

Amos 3:7 Surely the Lord GOD will do nothing, but he revealeth his secret unto his servants the prophets.

14 - Others had refused to receive strangers when they came to them,
        but these made
slaves of guests who were their benefactors.

Stole the church house of widows. 

15 - And not only so, but punishment of some sort will come upon the former for their hostile reception of the aliens;

16 - but the latter, after receiving them with festal celebrations,
with terrible sufferings 
        those who had already shared the same rights.

17 - They were stricken also with loss of sight - - just as were those at the door of the righteous man - - when, surrounded by yawning darkness, each tried to find the way through his own door.

18 - For the elements changed places with one another,
        as on a harp the notes vary the nature of the rhythm,
        while each note remains the same.
        This may be
clearly inferred from the sight of what took place.

19 - For land animals were transformed into water creatures,
        and creatures that swim moved over to the land.

20 - Fire even in water retained its normal power,
water forgot its fire -quenching nature.
God's Wrath is: G2372 thumos thoo-mos' From G2380 ; passion (as if breathing hard):—fierceness, indignation, wrath. Compare G5590 .

However, the wrath Paul warned about when the women wave unholy ARMS is;

Org-aô , be getting ready to bear, growing ripe for something, and of fruit, swell as it ripens, II. of men, swell with lust, wax wanton, be rampant, 2. generally, to be eager or ready, to be excited,
3. metaph., full-blooded, swollen with passion or pride, sphrigôntathumonA.Pr.382 ; muthon E.Supp.478 . 4.swell with desire, be at heat,

Orgi-azô, A. celebrate orgia, E.Ba.415 thusias, pompas, choreias  pay ritual service to a god or goddess, tautêi Str.10.3.12 :--so in Med., orgiazesthai daimosi, orgia Mousôn

Alalazo 2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 sound loudly, psalmos d'alalazei A.Fr.57 ; kumbalon alalazon1 Ep.Cor.13.1
Lynn Anderson etal:   Rev 15:3  “They held harps given them by God and sang the song of Moses the servant of God and the song of the Lamb: "Great and marvelous are your deeds, Lord God Almighty. Just and true are your ways, King of the ages.”
The Greek ECHO means hold (used in very various applications, literally or figuratively, direct or remote; such as possession, ability, contiguity.

It never means PLAY.  Furthermore, the harps in the cursed monarchy are always the HARPS OF DAVID. These are the harps of God. God created us all with "harp strings" which make the "heart string" twang.

Like the incense, however, the harps are only symbolic,
reflecting the Jewish temple worship.
The fact that both hands of the elder were occupied
does not present an insuperable barrier to prostration in worship." (William S. Smith).

AND I saw (present tense!) another sign in heaven [image of jealousy], great and marvellous, seven angels having the seven last plagues; for in them is filled up the wrath of God. Re 15:1

Morris Silver: The image of jealousy (Ezek 8:3) in the LXX and Old Latin may be trnslated as "statue/image of the trader/buyer." Torczyner suggests that the compound term sha mala was transmitted from Assyrian (not Babylonian) into Hebrew as semel, with sh being pronounced as s. Thus, again, the "image of jealousy" whose presence in the sanctuary enraged Ezekiel was a businessman, not an idol.

When Apollo, the Having-fallen star unleashed the LOCUSTS or MUSES, they immediately began sowing discord and breaking up churches of all faiths. This is a MARK of he beast.

  Sêmeion 2. sign from the gods, omen Kathair-eô to s. to take it down, strike the flag,
      as a sign of dissolving an assembly, And.1.36; to tês ekklêsias,
      3. of sorcerers, bring down from the sky, selênên [sign in the moon].  *
       V. less freq. like the simple [heresy] hairein, take and carry off

Did you notice that the urge is to STRIKE THE FLAG and remove the name of Christ from the ekklesia or church sign. They DISSOLVE the ekklesia and CONVERT it into a synagogue of Satan: a house of merchandise. This is he same HERESY connected to the SELF-pleasing terms used by Paul in Romans 15.

Incentor , o-ris, m. [id.] , one who sets the tune or begins to sing, a precentor, singer I. Lit.: carminis, Paul. Nol. Carm. 15, 32 : [1] incentore [2] canam [3] Phoebo [4] Musisque [5] magistris, Avien. Perieg. 895 ; Isid. 6, 9, 13.--

II. Trop., an [A] inciter, exciter: [B] igneus [C] turbarum, Amm. 15, 1, 2 : civilis belli, Oros. 5, 19 : rebellionis [renewal of war] totius, id. 6, 11 . Flamen Hislop

Incensor I. one who kindles or sets fire to, II. Trop., an inciter, instigator: turbarum,
[2] Căno I. Neutr., to utter melodious notes, to sing, sound, play.  2. Of the faulty delivery of an orator, to speak in a sing-song tone: inclinată ululantique voce more Asiatico canere,  once canituri,Vulg. Apoc. 8, 13 )

2 Cor 2:17 For we are not as many, which corrupt the word of God: but as of sincerity, but as of God, in the sight of God speak we in Christ. 

kapêl-euô, (g2585) A. to be a retail-dealer, drive a petty trade... kapêleu' drive a trade, mathêmata sell learning by retail, hawk it about,  2 Ep.Cor.2.17 of prostitutesplaying tricks with life 

Hdt.1.155 Heredotus: Cyrus told how to take the FIGHT out of the enemy: [4] But pardon the Lydians, and give them this command so that they not revolt or pose a danger to you: send and forbid them to possess weapons of war,
............and order them to wear tunics under their cloaks
........... and knee-boots on their feet,
........... and to teach their sons lyre-playing [kitharizein]
........... and song [psallein] and dance
............and shop-keeping [huckstering].
........... And quickly, O king,
........... you shall see them become women instead of men,
........... so that you need not fear them, that they might revolt."

And I saw as it were a sea of glass mingled with fire: and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, (as it were) HOLDING the harps of God. Revelation 15:2  

And they
sing the song of Moses the servant of God,
........... and the song of the Lamb,
saying (3004), Great and marvellous are thy works, 
Lord God Almighty; just and true are thy ways, thou King of saints. Revelation 15:3 

Jamison-Fausett-Brown notes that:

"In the Jewish temple, musical instruments and singing resounded during the whole time of the offering of the sacrifices, which formed the first part of the service.

But at the offering of incense, solemn silence was kept ("My soul waiteth upon God," Ps 62:1; "is silent," Margin; Ps 65:1, Margin),
Duwmiyyah (h1747) doo-me-yaw'; from 1819; stillness; adv. silently; abstr. quiet, trust: - silence, silent, waiteth.
the people praying secretly all the time. The half-hour stillness implies, too, the earnest adoring expectation with which the blessed spirits and the angels await the succeeding unfolding of God's judgments. A short space is implied; for even an hour is so used (Re 17:12 18:10,19).
Scripture is clearly not ‘silent’ on the use of instruments.  Rather, the understanding of God that I gain from it is that He greatly appreciates that form of worship, to the point of even commanding it at times, and providing the gifts and instruments to do so!

Rev 15:8 And the temple was filled with smoke from the glory of God,
        and from his power; and NO MAN WAS ABLE TO ENTER
        till the seven plagues of the seven angels were fulfilled.

Lynn Anderson etal:  IV.  Tradition

Since there is no scriptural basis for the lack of instruments, the only reason is tradition

For those holding to traditions of men, Jesus rebukes with the words of Isaiah,
Mark 7:7-9 “’They worship me in vain; their teachings are but rules taught by men.’You have let go of the commands of God and are holding on to the traditions of men."  And he said to them: "You have a fine way of setting aside the commands of God in order to observe your own traditions!”

If you look up words in a lexicon be assured that you will find strong delusions.  Why would anyone search from cover to cover for "instruments" and then use those knowing that they are trying to trump the Bible and all of church history before them.  Is this mystical or what?  We have shown that ALL of the proof texts show negative or Satanic implications: Peter told the Jews blinded at Mount Sinai that they would not be able to read black text on white paper until they turned or converted to Christ. No one removes the name of CHRIST: Jesus comes and takes the lampstand or the "seven spirits of God" all related to divine knowledge which proves that God will not judge you by your sight or sound so you are wasting time and lives.

Next, let us establish that the hypocrites are slick speakers, singers, musicians, actors or dancers.

Matt. 15:7 Ye hypocrites, well did Esaias prophesy of you, saying,

Hypokrites (g5273) hoop-ok-ree-tace'; from 5271; an actor under an assumed character (stage-player), i.e. (fig.) a dissembler ("hypocrite"): - hypocrite.

Hupokrinô reply, make answer, of an oracle, 2. expound, interpret, explain [Peter outlawed this as private interpretation.] 2. deliver a speech, declaim, of orators and rhetoricians, represent dramatically, erôtikôn dramatôn 3. of an orator, use histrionic arts, exaggerate, ape, mimic, Mania or religious frenzy.

Rhêtor-ikos , ê, on, oratorical, hê rhêtorikê (sc. technê). These are the craftsmen lumped with the singers, musicians and "grinder" doing merchandise in the house of prayer. Rev. 18:22

LATIN: canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing 

How Isaiah defines the hypocrites:

For the Lord hath poured out upon you the spirit of deep sleep,
             and hath closed your eyes: the prophets and your rulers,
             the seers hath he covered. Isa 29:10

And the vision of all is become unto you
             as the words of a book that is sealed,
             which men deliver to one that is learned, saying,
             Read this, I pray thee: and he saith, I cannot;
             for it is sealed: Isa 29:11

And the book is delivered to him that is not learned, saying,
             Read this, I pray thee:
             and he saith, I am not learned. Isa 29:12

Wherefore the Lord said,
             Forasmuch as this people draw near me with their mouth,
             and with their lips do honour me,
             but have removed their heart far from me,
             and their fear toward me is taught by the precept of men: Isa 29:13

Seems like the "law of silence" as preventing the addition to anything not commanded which does not assist the teaching of the Words of God.

How Ezekiel defines the same hypocrites:

Jesus spoke in parables to the professional "sermon" speakers and "prayer" sayers where a hymn is a prayer. That was to MAKE SURE that the truth would NOT penetrate and they be saved.

Ezek 33:30 Also, thou son of man, the children of thy
             people still are talking against thee
             by the walls and in the doors of the houses, and

speak one to another, every one to his brother, saying,
             Come, I pray you, and hear
             what is the word that cometh forth from the Lord.

Ezek 33:31 And they come unto thee as the people cometh,
        and they sit before thee as
my people,
        and they hear thy words,
             but they will not do them:

for with their mouth they shew much love,
        but their heart goeth after their covetousness.

Only corrupters of the Word or selling stuff for a prophet is a hypocrite. Because no performing art contributes to anything but the pleasure of idle people, they are defined by the lexicon as hypocrites and therefore parasites.


Ezek 33:32 And, lo, thou art unto them
        as a very lovely song

        of one that hath a pleasant voice,
        and can play well on an instrument:
                for they hear thy words,
                but they do them not.

JFB 30. Not only the remnant in Judea, but those at the Chebar, though less flagrantly, betrayed the same unbelieving spirit. talking against thee--Though going to the prophet to hear the word of the Lord, they criticised, in an unfriendly spirit, his peculiarities of manner and his enigmatical style (Eze 20:49); making these the excuse for their impenitence. Their talking was not directly "against" Ezekiel, for they professed to like his ministrations; but God's word speaks of things as they really are, not as they appear. 

Jameson Fawcett Brown notes: Vulgate translates, "They turn thy words into a song of their mouths." heart goeth after covetousness--the grand rival to the love of God; therefore called "idolatry," and therefore associated with impure carnal love, as both alike transfer the heart's affection from the Creator to the creature

Lynn Anderson etal (It is interesting to note that the very next chapter in Isaiah promises a day with song with flutes, tambourines, and harps.  Isaiah 30.)
We have looked at Isaiah 30 as the REASON for which HELL was created. The definition of a HYPOCRITE gives us a clue. Because the Jews and Israelites burned children to Molech to the beat of musical instruments, God pronounces doom on similar national worship by showing them going in musical procession to Topheth (from tambourine) to do their dirty work.  The SOUNDS of God driving His enemies into HELL will be the same wind, string and percussion instruments lucifer--the singing and harp playing prostitute--used to wholly seduce Eve in a sexual sense says Paul. I will repeat it from the version we know Jesus quoted from.

Because spiritual people run for their lives, the only ones performing or "enjoing" the hypocritic arts to replace the Word of God are THE ONES doomed to hell.

See that HELL will be filled by people led there by God's enemies to the beat of wind, string and percussion instruments.

Again, the SOUNDS in Revelation are of impending doom: get busy and preach the gospel or burn! The baptism of spirit and fire are promised to the "generation of Vipers."

Behold, the name of the Lord comes after a long time, burning wrath; the word of his lips is with glory, a word full of anger, and the anger of his wrath shall devour as fire. Isaiah 30:27 LXX 

And his breath, as rushing water in a valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue them and overtake them. Isaiah 30:28 LXX

The Septuagint translates Verse 29 consistent with the rest of the chapter.

Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX

and the Lord shall make his glorious voice to be heard and the wrath of his arm [Messiah the Intercessor], to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX

And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums and with harp. Isaiah 30:32 LXX

For thou shalt be required before thy time: has it been prepared for thee also to reign? nay, God has prepared for thee a deep trench, wood piled fire and much wood: the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX

Is. 14:11 Thy pomp is brought down to the grave, and the noise of thy viols: the worm is spread under thee, and the maggots cover thee.
Amos 5:23 Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols

Again, those who bought the house and who run when the trumpet blows in the holy place will have been there and gone. Therefore, the ONLY ones being beaten into hell to the beat of Lucifer's instruments are the MUSES who are known as the LOCUSTS of Apollyon's musical worship team.

Lynn Anderson etal:  The early church fathers do not mention the use of instruments (except in referring to songs as psalms). 
That is just a flat untruth: The church fathers understand the "singing and harp playing prostitute" in the garden of Eden and the fallen angels who seduced with music. Thse are the same "lusted after fruits" John calls sorcerers in Rev 18 who HAD deceived the whole world.

The church fathers literature is filled with the repudiation of musical instruments even in social settings because the music engendered lust and disorderly conduct.  Those who lie about Clement of Alexander should know that he says that it is not a sin to use a liar, BUT they fail to tell you that he was speaking of social meals or OUTSIDE OF CHURCH.

Those sowing discord claims that the church of Christ is historyless and make such claims know that most people will believe it to be honest. Nothing could be less true or miss leading:

"Such allegorizing passages contain the nucleuses of the later substance, and perhaps the presage of the future trends of Christian music. The first three centuries of the church witnessed many controversies; some of them concerned themselves directly with music. The most important of these issues were: (a) organized versus spontaneous praying and singing; (b) scriptural versus extrascriptural poems; (c) fusion with Hellenistic music; (d) vocal versus instrumental music; (e) the rise of monasticism and its influence upon ecclesiastical chant." (Interpreter's Dict of the Bible, Music, p. 467).

The first problem occurred when the doxologies of the Bible which were like Psalms were replaced by "a great number of spontaneous and highly individualized doxologies." However, the non-Biblical responses were ratified and codified at the second synod of Vaison in 529. This writing of their own "song book" virtually destroyed spontaneous or Biblical worship.

In fact, the ACT of singing was not introduced until about th eyear 373.

"Already at the end of the second century the Byzantine, Syrian, and later the Armenian church showed a marked preference for new, nonscriptural hymns, despite all warnings by the catholic authorities. Even Canon 59 of the Council of Laodicea (360-81), which expressly prohibited nonscriptural texts, was constantly circumvented and openly violated, as the enormous hymn literature of the Eastern churches demonstrates."
They rejected musical performers along with sorcerers, instrument players, prostitutes and Sodomites. They understood the Bible and were Old Testament literate which non of the "advanced degrees" apparently have ever read.  They ALL explain WHY they didn't use instruments: because it was universally condemned in the Bible and because it has an evil effect on both performers and the "audience." "Melody as tunefulness belongs to the 19th century" says the Britannica an other sources.  Harmony began to develop after about 100 by monks and professionals trying to fit the Psalms to organ pitches. To do that they had to add the oooos, aaaaahs and other sounds.
And Neander says, that it was not until the 8th century that the idea was first heard of Instrumental music, in the worship of God, was not practised by the primitive christians, as is evident from church history.

The organ was first introduced into the church service by Marianus Sanutus, in the year 1290; and the first that was known in the West, was one sent to Pepin, by Constantinus Copronymus, about the middle of the 8th century.

But that they were not used in the christian church in the primitive times, is attested by all the ancient writers with one consent. This I might easily show by a thousand testimonies,

from Clement of Alexandria, Basil, Ambrose, Jerome, Augustine, Chrysostom, am many others; all of whom figuratively explain the passages of the Old Testament, which speak of musical instruments. For these and many more click for details.

See Unity Impact

354-430 Augustine of Hippo  For the Jews slew Christ, lest they should lose their place.

When we have to do with Pagans, and show this coming to pass in the Church of Christ, which before was predicted of the Name of Christ, of the Head and Body of Christ, lest they think that we have forged these predictions, and from things which have happened, as though they were future, had made them up, we bring forth the books of the Jews

Augustine on Psalm 149
When people take CHRIST out of their identifier it is proof that Jesus has been there and gone and the songs in the temple will be howlings because He has come to remove His candlestick of seven spirits OF Divine knowledge.
Lynn Anderson etal:  There could be several reasons for this.

1. Suffering severe persecution, it may have been inconvenient to tote around a harp in secret.

In fact toting around a harp would make them extremely welcome in the marketplaces and all low class activities.

2.  Instruments were a sign of joy. Destruction of the Temple, dispersion of the Jews, persecution of the church were all occasions for lament.  The prophets warned of cursed times when joyous instruments would be silent.  
I have a nice flute my dog and I made out of a deer leg bone: why do you think they named the TIBIA?  They could have clapped their hands: they didn't since it was most often to hiss the looser.  They could have stretched a piece of gut across a chair and produced the rhythm because harps did not play tunefully.  The lyre didn't