Lucado Oak Hills and Instrumental Music In Worship

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.


Lucado.Oak.Hills.Instrumental.Music.Worship
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.

Tongues? 

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

Aggelos
,  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
Aggelos
, 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.play 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.
        A.
limb, in early writers always in pl.is corrupt for kata meros
       
2. metaphor., “esmen . . allēlōn melēEp.Rom.12.5, cf. 1 Ep.Cor.6.15.
        meros
,  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 LADED BURDEN IN HEBREW AND GREEK IS THE SINGING TO CREATE SPIRITUAL EXCITEMENT

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

REST IS:
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.

NEXT: LOOKING AT THE COMMON PROOF TEXTS--out of order!

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;

JESUS DOES NOT PRAY FOR THE WORLD: THE WORLD IMPOSES MUSICAL INSTRUMENTS
-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.
THE WORLD IS IMPOSED WHEN PEOPLE IMPOSE MUSICAL INSTRUMENTS WHICH DEFEATS THE LAMBS.
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.
A.
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.)
THE WORLD SPEAKS DIRECTLY TO THE MAGICAL INFLUENCE OF MUSIC ON THE STARRY HOST
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]

Erga
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] I.work, 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.

Psal-tikos
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 I.to 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
THE GOSPEL OF THE KINGDOM INVOLVES ONLY WHAT JESUS THE KING TAUGHT.
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:

Areskos 
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:

Hupokrinomai

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,
..........as 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
Chorus
[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.

GOD DID NOT COMMAND KING, KINGDOM, TEMPLE, ANIMAL SACRIFICES OR LEVITE SORCERS MAKING NOISE

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
-scription.

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,
..........to 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

Chorus
[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.

Again:
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

Ambushments:

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


g2490 
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.
Ludo
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:
Insania

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]
Spond-aulês
, ou, ho, playing the flute at a SPONDE (Ephesus) and (Rhegium).
Spondê
[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

Creusa
[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
,

LIFELESS
Apsuchos
(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,  
III.
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.

MAKING WAR:

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.

MAKING WAR:

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

MAKING A METAPHOR:

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. 

THE SECONDARY WAYS IT ISUSED

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 2.cat-call, 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

DENOTING ONLY THE SOUND OF PLUCKING YOUNG BOYS ETC.

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.

Hint:
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."

Psalm CXLVII.

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,
        he
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,
for
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,
by
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;
he
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,
..........at 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,
..........as 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]
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,
..........be 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
[pais]
4.
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,
..........like the sound of many waters and
..........like the sound of loud thunder, and the voice which I heard was
..........like the sound of harpists playing on their harps. Rev 14:2NAS

 
And I heard a voice from heaven
..........like the sound of many waters and
..........like the sound of loud thunder; the voice I heard was
..........like 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

Proskuneo
(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,
        afflicted
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,
        and
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 , I.to 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.

GOD'S PICTURE OF VAIN RELIGION, ENDORSED BY JESUS

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 even have a sound box.  They could have met in the forums and the people who went there for entertainment would have enjoyed it. They might have been more EVANGELICAL if they had added the methods of the world to attract the world.  Christians were despised because they did not do singing musically or use instruments.

All of thes passages are not just LAMENTING for the loss of their flutes and harps which anyone could afford and many people could play.  Their lamenting is the RESULT of false leaders using wine, women and music and fleecing the people by taking unlawful tithes. The result was that the people hungered and thirsted for the WORD and wandered from sea to sea but could not find it. As a result, the pagan leader's wives could no longer steal wine to get drunk while the people starved.  As a result of failure to teach the word, the people went into exile and the PROUD musical wives were led captive with fishhooks in their nose.
Amos 8:2 And he said, Amos, what seest thou? And I said, A basket [homosexual singers] of summer fruit. Then said the LORD unto me, The end is come upon my people of Israel; I will not again pass by them any more.
        Amos 8:3 And the songs of the temple shall be howlings in that day, saith the Lord GOD: there shall be many dead bodies in every place; they shall cast them forth with silence.
[As Jesus cast out the musical minstrels LIKE DUNG.]
        Amos 8:11 Behold, the days come, saith the Lord GOD, that I will send a famine in the land, not a famine of bread, nor a thirst for water, but of hearing the words of the LORD:
Lynn Anderson etal confusing cause and effect: Isa 14:11  “All your pomp has been brought down to the grave, along with the noise of your HARP; maggots are spread out beneath you and worms cover you.”
This speaks of Lucifer
 
Both Tyre and Babylon are types of Lucifer and we have drawings of a burial site where the king went into the grave with his harps and buried alive harpists.  Notice that this is the kings or the "senior pastors" of the nations of which Israel was one.

Thy glory has come down to Hades, and thy great mirth: under thee they shall spread corruption and the worm shall be thy covering. Isaiah 14:11 LXX

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)

[11] detracta est ad inferos superbia tua concidit cadaver tuum subter te sternetur tinea et operimentum tuum erunt vermes

Superbia I. In a bad sense, loftiness, haughtiness, pride, arrogance, vanity, rudness, discourtesy

Ludibrium I. a mockery, derision, wantonness. . A laughing-stock, butt, jest, sport  B. A scoff, jest, sport: to reproach jestingly, scoff, such a drunkard as to be a standing jest, C. Abuse, violence done to a woman: in corporum ludibria deflere,

Moses saw that the people were running wild and that Aaron had let them get out of control and so become a laughingstock to their enemies. Exodus 32:25

Chrysostom notes: For dancing, and cymbals, and flutes, and shameful words, and songs, and drunkenness, and revellings, and all the Devil's great heap (polu o tou diabolou forutoj) of garbage is then introduced.  they are indignent that the woman is not exhibited to a multitude, that she is not set forth as a stage spectacle, common to all beholders:  whereas most assuredly they should rather count it insult when these things do take place; and a laughing stock, and a farce.

to look upon the beauty of the damsel's countenance; nor yet in the house only but even through the market-place do they lead her in pomp to make an exhibition;

Isa 14:12 How art thou fallen from heaven, O LUCIFER son of the morning!
how art thou cut down to the ground, which didst weaken the nati
ons!

Heylel (h1966) hay-lale'; from 1984 [David's Praise] (in the sense of brightness); the morning-star: - lucifer.

Isaiah 14:15 Yet thou shalt be brought down to hell, to the sides of the pit
And Isaiah 30 says that the MARKS of being brought down to hell will be the same Lucifer's wind, string and percussion instruments.
See how the Abominable Branch was the "song with instruments opposed to Christ the True Branch.

Behold, the Lord will cast her out, and he will smite her power in the sea; and she shall be devoured (burned up) with fire. Zechariah 9:4

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. Is.23:15

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

Lynn Anderson etal: Isa 24:6-8  “Therefore a curse consumes the earth; its people must bear their guilt. Therefore earth's inhabitants are burned up, and very few are left.  The new wine dries up and the vine withers; all the merrymakers groan. The gaiety of the tambourines is stilled, the noise of the revelers has stopped, the joyful harp is silent.
Their lostness was CAUSED by their reveling with music: does anyone suggest that we CAN now revel?

And it shall be, as with the people, so with the priest; as with the servant, so with his master; as with the maid, so with her mistress; as with the buyer, so with the seller; as with the lender, so with the borrower; as with the taker of usury, so with the giver of usury to him. Isa 24:2

See Revelation 18 Parallel.  

The land shall be utterly emptied, and utterly spoiled: for the Lord hath spoken this word. Isa 24:3

The earth mourneth and fadeth away,
the world languisheth and fadeth away,
the haughty people of the earth do languish. Isa 24:4

The earth also is defiled under the inhabitants thereof;

because they have transgressed the laws,
changed the ordinance,
broken the everlasting covenant. Isa 24:5

Does that sound like a law of silence?

Therefore hath the curse devoured the earth, and they that dwell therein are desolate: therefore the inhabitants of the earth are burned, and few men left. Isa 24:6

The new wine mourneth, the vine languisheth,
.......... all the merryhearted do sigh. Isa 24:7

The mirth of tabrets ceaseth, the noise of them that rejoice endeth,
.......... the joy of the harp ceaseth. Isa 24:8

4885. masows, maw-soce´; from 7797; delight, concretely (the cause or object) or abstractly (the feeling):-joy, mirth, rejoice.

They shall not drink wine with a song; [Parallel strolling minstrel / prostitute]
..........strong drink shall be bitter to them that drink it. Isa 24:9

The city of confusion is broken down: every house is shut up, that no man may come in. Isa 24:10
There is a crying for wine in the streets; all joy is darkened, the mirth of the land is gone. Isa 24:11
In the city is left desolation, and the gate is smitten with destruction. Isa 24:12
When thus it shall be in the midst of the land among the people,

there shall be as the shaking of an olive tree,
and as the gleaning grapes when the vintage is done. Isa 24:13

The word Chalal (h2490) means play the flute, cut YOUR vines, pollute and prostitute.

The pruning hook was also a musical instrument.

Mizmowr (h4210) miz-more'; from 2167; prop.instrumental music; by impl. a poem set to notes: - psalm. For afore the harvest, when the bud is perfect, and the sour grape is ripening in the flower,

he shall both cut off the sprigs with pruning hooks, and take away and cut down the branches. Is.18:5

They shall be left together unto the fowls of the mountains, and to the beasts of the earth: and the fowls shall summer upon them, and all the beasts of the earth shall winter upon them. Isa 18:6

They shall lift up their voice, they shall sing for the majesty of the Lord, they shall cry aloud from the sea. Isa 24:14

H5375 This is the Hebrew word for the Pleasuring or creating excitement Paul outlawed in the synagogue in romans 15.

No reader of the Greek literature can escape the fact that this was caused by singing and music.

Wherefore glorify ye the Lord in the fires, even the name of the Lord God of Israel in the isles of the sea. Isa 24:15

The universal MARK of being lost beyond redemption and taken captive.

From the uttermost part of the earth have we heard songs, even glory to the righteous. Isa 24:16

Zamiyr (h2158) zaw-meer'; or zamir zaw-meer'; and (fem.) zÿmirah zem-ee-raw'; from 2167; a song to be accompanied with instrumental music: - psalm (-ist), singing, song

Zamar is never used without defining the instrument: therefore, one CAN sing with a harp but SING does not include a harp.

Horror hath taken hold upon me because of the wicked that forsake thy law. Psa 119:53

But, David who was never a Worship Leader said:

Thy statutes have been my songs in the house [self] of my pilgrimage. Psa 119:54
I have remembered thy name, O Lord,
in the night, and have kept thy law. Psa 119:55

But I said, My leanness, my leanness,

The Lord will be terrible unto them: for he will famish all the gods of the earth; and men shall worship him, every one from his place, even all the isles of the heathen. Zep.2:11
Lynn Anderson etal:  Isa 27:13  And in that day a great trumpet will sound. Those who were perishing in Assyria and those who were exiled in Egypt will come and worship the LORD on the holy mountain in Jerusalem.

Isa 27:12 And it shall come to pass in that day, that the LORD shall beat off from the channel of the river unto the stream of Egypt, and ye shall be gathered one by one, O ye children of Israel

Isa 27:13 And it shall come to pass in that day, that the great trumpet shall be blown, and they shall come which were ready to perish in the land of Assyria, and the outcasts in the land of Egypt, and shall worship the LORD in the holy mount at Jerusalem.

This trumpet DOETH NOT music make! One note! 

7782. showphar, shophar, sho-far´; from 8231 in the original sense of incising; a cornet (as giving a clear sound) or curved horn:--cornet, trumpet.

The Shofar was a horn which was tuned by the priest to ONE NOTE: no one could cut holes in it and therefore it could not MAKE MUSIC.  Hear the Sounds.

We learn from the Mishna and the Talmud that in the Hellenistic period no improvements or modifications that might affect the tone were permitted: no gold-plating of its interior, no plugging of holes, no alteration of its length (the minimum permissible length of a ritually approved horn was 3 handbreadths); the shofar tone was to be preserved unaltered. Nor was the process of steaming or boiling permitted.

Here is the literal meaning of PSALMOS!

Apart from its liturgical uses the shofar was closely connected with magical symbolism. Its blast destroyed the walls of Jericho, and in the Dead Sea scrolls we read that during battles shofar blowers sounded a powerful war cry to instill fear into the hearts of the enemy while priests blew the six trumpets of killing. Historically the shofar has also served in a number of popular usages: it was sounded during rites to bring rain, in the event of local disasters, and so on. In our times its liturgical use is restricted to New Year (Rosh Hashanah) and the Day of Atonement (Yom Kippur). See Photos HERE.

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? 

"Only in Ps 150:3 is it (shophar) mentioned with most of the other really musical instruments. Hence, we must conclude that the function of the shophar was to make noise--be it of earthly or of eschatological character--but not to make music. After the destruction of the temple and the general banishment of all instrumental music, the shophar alone survived, just because it was not a musical instrument."(International Dictionary of the Bible, p. 473, Abingdon).

Lynn Anderson etal: 

Isa 30:29  And you will sing as on the night you celebrate a holy festival; your hearts will rejoice as when people go up with flutes to the mountain of the LORD, to the Rock of Israel.
Isa 30:32  Every stroke the LORD lays on them with his punishing rod will be to the music of tambourines and harps, as he fights them in battle with the blows of his arm.
 
The Jews went in musical processions to Jerusalem specificially to worship Molech as they had at Tyre where the king is called "the singing and harp playing prostitute in the garden of Eden."  Isaiah 30 defines FOR WHOM God comes in judgment.  He speaks of the Assyrians, Egyptians and includes Judah where they burned children just before and just after the PROOF TEXT fo musical instruments in a Plague Stopping rituals where Levitical Warrior Musicians could NOT enter or come close to the holy things EVEN TO CLEAN OUT THE GARBAGE.

THE PROPHECY

And thou shalt pollute the plated idols
        and thou shalt grind to powder (like "melody" in Greek) the gilt ones,
        and shalt scatter them as the
water of a removed woman,
        and thou shalt
thrust them forth as dung. Isaiah 30:22 LXX

THE FULFILLMENT
Jesus CAST OUT the minstrels like DUNG. A minstrel is: Aaoidos [a^], ho, ( [aeidô]) singer, minstrel, bard, 3. enchanter

Aoidos ( [aeidô] ) singer, MINSTREL, bard, I goôn, chrêsmôn aoidos, E.HF110, Heracl. 403; pratos a., of the cock,  

2. fem., songstress of the nightingale, aoidos Mousa

Of GOON or the weeping song and dancing when the clergy Piped:

The MUSES are agents of Apollo, Abaddon or Apollon: the LOCUSTS.

But when the people were put forth, he went in, and took her by the hand, and the maid arose. Matthew 9:25

PUT FORTH: Ekballô I. to throw or cast out of a place, 2. to cast out of a place, banish
        VI. to produce, of women

        IV. Dem.; to drive an actor from the stage, Lat. explodere, 
        I. to drive out or off by clapping;
        orig. a scenic word said of a player, to hiss or hoot off, explode him.

Ballo (g906) bal'-lo; a prim. verb; to throw (in various applications, more or less violent or intense): - arise, cast (out) dung, lay, lie, pour, put (up), send, strike, throw (down), thrust. Comp. 4496.

And the light of the moon shall be as the light of the sun, and the light of the sun shall be seven fold in the day when the Lord shall heal the breach of his people, and shall heal the pain of thy wound. Isaiah 30:26 LXX

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

THE BURNING OF HARPS AND HARPISTS

It is said that there were tens of thousands of harps and other musical instruments stored on the temple grounds.  The Levites, according to Josephus, had gotten permission to "wear linen garments" and restore the priestly musicians: this would give glory to the KING. They got permission but Josephus attributes the failure of the nation to these Levites and they would do it again.

Probably almost all of the harpists and harps were burned up at topheth as a type of hell and rested on a bed of maggots. The Jews are still looking for these harps in order to restart the sacrificial system in a rebuilt temple. We know where the harps went!

Lynn Anderson etal:  Jer 31:4  I will build you up again and you will be rebuilt, O Virgin Israel. Again you will take up your tambourines and go out to dance with the joyful.
You see, there IS a difference between what you do in the vintage festivals and what you do in the SYNAGOGUES which outlawed loud vocal and instrumental rejoicing; 
Again I will build thee, and thou shalt be built, O virgin of Israel:
..........thou shalt again be adorned with thy tabrets,
..........and shalt go forth in the dances of them that make merry. Jer. 31:4

Go forth means:

Yaca (h3318) yaw-tsaw'.. break out, bring forth (out, up), carry out, come (abroad, out, thereat, without), / be condemned, depart(-ing, -ure), draw forth, in the end, escape, exact, fail, fall (out), fetch forth (out), get away (forth, hence, out)...

Of Miriam: The timbrel "was a typical women's instrument. It is mentioned seven times in the OT; thus it must have been very popular. Although it occurs in the Psalter and in religious hymns (Exod 15; Jer. 31:4), it was not permitted in the temple. Its function in the Bible was restricted to secular or religious frolicking, cultic dances, or processions (e. g., II Sam. 6:5; 1I Chr. 13:4; Ps. 68:25). Its absence in the temple ritual was possible due to the strong female symbolism, which always accompanied the tambourine, and which made its use so popular at all fertility rites." (Interpreter's Dictionary of the Bible, p. 474, Abingdon).

Adorned and destroying COMFORT ZONES is a sign of doom.

Adah (h5710) aw-daw'; a prim. root; to advance, i. e. pass on or continue; causat. to remove; spec. to bedeck (i. e. bring an ornament upon): - adorn, deck (self), pass by, take away.

As he that taketh away a garment in cold weather, and as vinegar upon nitre, so is he that singeth songs to an heavy heart. Pr.25:20

This dance was a repeat of Mount Sinai because Jeremiah FIRST speaks of the dreamed of restoration of the nation.

Mechowlah (h4246) mekh-o-law'; fem. of 4234; a dance: - company, dances (-cing).

And it came to pass, as soon as he came nigh unto the camp, that he saw the calf, and the dancing: and Moses anger waxed hot, and he cast the tables out of his hands, and brake them beneath the mount. Ex.32:19

And see, and, behold, if the daughters of Shiloh come out to dance in dances, then come ye out of the vineyards, and catch you every man his wife of the daughters of Shiloh, and go to the land of Benjamin. Jud.21:21

Is not this David, of whom they sang one to another in dances, saying, Saul slew his thousands, and David his ten thousands? 1S.29:5

Upon this I awaked, and beheld; and my sleep was sweet unto me. Jer. 31:26

All just a dream?

Lynn Anderson etal:  
Ezek 33:2  "Son of man, speak to your countrymen and say to them: 'When I bring the sword against a land, and the people of the land choose one of their men and make him their watchman,
Ezek 33:3  and he sees the sword coming against the land and blows the trumpet to warn the people,
Ezek 33:4  then if anyone hears the trumpet
        but does not take warning and the sword comes and takes his life,
        his blood will be on his own head.
Ezek 33:5  Since he heard the sound of the trumpet
        but did not take warning, his blood will be on his own head.
        If he had taken warning, he would have saved himself.
Ezek 33:6  But if the watchman sees the sword coming
        and does not blow the trumpet to warn the people
        and the sword comes and takes the life of one of them,
        that man will be taken away because of his sin,
        but I will hold the watchman accountable for his blood.'

Do we have to comment? The trumpet was ordained to WARN and was reserved for that purpose. When they blew the trumpet to assemble the synagogue they DID NOT make an alarm meaning "vocal and instrumental rejoicing." If some turkey uses the fire alarm or Tornado warning bell to PLAY MUSIC we put such creatures into jail.

People are trying to MAKE MUSIC insteading of seeing ALL musical sounds as WARNINGS.


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

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.

GOD'S PICTURE OF VAIN RELIGION, ENDORSED BY JESUS

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.

Lynn Anderson etal:  Hosea 8:1  "Put the trumpet to your lips! An eagle is over the house of the LORD because the people have broken my covenant and rebelled against my law.

See Hosea as the proof text for the Praise Team.

Fact: when you hear the trumpet sound which was NOT a musical instrument you may know that you have broken God's Covenant. The musical instrument always means that people have refused to hear the Word of God.  The final TRUMPET sound will be the SORCERERS invading the church little bits at a time like when you boil a frog
. When you hear theINSTRUMENTS in the house it is a MARK that God has cast you off.
Hos 8:1 Set the trumpet to thy mouth.
        He shall come as an eagle against the house of the LORD,
        because they have transgressed my covenant,
        and trespassed against my law. 

The MARK of violating the Word of God is absolute.

Hos 8:2 Israel shall cry unto me, My God, we know thee.
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.

Compare Amos:
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 8:6 For from Israel was it also: the workman made it; therefore it is not God:
    but the calf of Samaria shall be broken in pieces.

If you make the songs, it is not from God.

Lynn Anderson etal:  Joel 2:1  Blow the trumpet in Zion; sound the alarm on my holy hill. Let all who live in the land tremble, for the day of the LORD is coming. It is close at hand--
Joel 2:1 Blow ye the trumpet in Zion, and sound an alarm in my holy mountain: let all the inhabitants of the land tremble: for the day of the LORD cometh, for it is nigh at hand;
H7321 rua roo-ah' A primitive root; to mar (especially by breaking); figuratively to split the ears (with sound), that is, shout (for alarm or joy):blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.

Outlawed for the synagogue or church in the wilderness:
Psallo (g5567) psal'-lo; prob. strengthened from psao, (to rub or touch the surface; comp. 5597); to twitch or twang, i.e. to play on a stringed instrument (celebrate the divine worship with music and accompanying odes): - make melody, sing (psalms)
H7322 ruph roof A primitive root; properly to triturate (in a mortar), that is, (figuratively) to agitate (by concussion):--tremble. Psocho (g5597) pso'-kho; prol. from the same base as 5567; to triturate, i.e. (by anal.) to rub out (kernels from husks with the fingers or hand): - rub.

Joel 2:2 A day of darkness and of gloominess, a day of clouds and of thick darkness, as the morning spread upon the mountains: a great people and a strong; there hath not been ever the like, neither shall be any more after it, even to the years of many generations.

Joel 2:3 A fire devoureth before them; and behind them a flame burneth: the land is as the garden of Eden before them, and behind them a desolate wilderness; yea, and nothing shall escape them.

H7264 ragaz raw-gaz' A primitive root; to quiver (with any violent emotion, especially anger or fear):--be afraid, stand in awe, disquiet, fall out, fret, move, provoke, quake, rage, shake, tremble, trouble

Lynn Anderson etal:  Zep 1:15  That day will be a day of wrath, a day of distress and anguish, a day of trouble and ruin, a day of darkness and gloom, a day of clouds and blackness,
Zep 1:16  a day of trumpet and battle cry against the fortified cities and against the corner towers.

The trumpet was given to send warnings: it was excluded for the syngaogue or church in the wilderness. Therefore it would be foolish to use the trumpet when there is now war or no signal that the camp was being removed from its present location.  None of the proof text fail to prove that in the church the noise is a sign of God's wrath or doom. No one tries to justify the use of such machines in the ekklesia without intentionally failing to tell the while truth:
Zep 1:12 And it shall come to pass at that time, that I will search Jerusalem with candles, and punish the men that are settled on their lees: that say in their heart, The LORD will not do good, neither will he do evil.

Zep 1:13 Therefore their goods shall become a booty, and their houses a desolation: they shall also build houses, but not inhabit them; and they shall plant vineyards, but not drink the wine thereof.

Zep 1:14 The great day of the LORD is near, it is near, and hasteth greatly, even the voice of the day of the LORD: the mighty man shall cry there bitterly

Zep 1:15 That day is a day of wrath, a day of trouble and distress, a day of wasteness and desolation, a day of darkness and gloominess, a day of clouds and thick darkness,

Zep 1:16 A day of the trumpet and alarm against the fenced cities, and against the high towers.

Zep 1:17 And I will bring distress upon men, that they shall walk like blind men, because they have sinned against the LORD: and their blood shall be poured out as dust,  and their flesh as the dung. 

Lynn Anderson etal:  Rev 18:21-22  “Then a mighty angel picked up a boulder the size of a large millstone and threw it into the sea, and said: "With such violence the great city of Babylon will be thrown down, never to be found again.  The music of harpists and musicians, flute players and trumpeters, will never be heard in you again. No workman of any trade will ever be found in you again. The sound of a millstone will never be heard in you again.”

Revelation is a warning message for those with a right to know: this is a MARK of the invasion of the church by a swarm of locusts which in John's area were known as the muses or musical worship team under Apollyon or Abaddon.  When you see or hear these signs then you know that the feminist mother of harlots has begun to "rule over you" as women and children.

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.

Revelation 17 defines the Mother of Harlots who is the feminist goddess worshipped by all musical people: you did not MAKE MUSIC to a Patriarchal god. Therefore, the music is the MARK great distress  The Mother of Harlots USES the "lusted after fruits." These are the same "baskets of summer fruits" in Amos which implicates the musicians as dogs or male prostitutes.
John would have been familiar with Hesoid who recognizes the MUSES as HARLOTS

(
ll. 1-25) From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring and the altar of the almighty son of Cronos, and, when they have washed their tender bodies in Permessus or in the Horse's Spring or Olmeius, make their fair, lovely dances upon highest Helicon and move with vigorous feet. 

Thence they arise and go abroad by night, veiled in thick mist, and utter their song with lovely voice, praising Zeus the aegis-holder and queenly Hera of Argos who walks on golden sandals and the daughter of Zeus the aegis-holder bright-eyed Athene, and Phoebus Apollo, and Artemis who delights in arrows, and Poseidon the earth-holder who shakes the earth, and reverend Themis and quick-glancing (coquettishness) Aphrodite, and Hebe with the crown of gold, and fair Dione, Leto, Iapetus, and Cronos the crafty counsellor, Eos and great Helius and bright Selene, Earth too, and great Oceanus, and dark Night, and the holy race of all the other deathless ones that are for ever. And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me -- the Muses of Olympus, daughters of Zeus who holds the aegis:

(ll. 26-28) `Shepherds of the wilderness,
wretched things of shame, mere bellies,
............we know how to speak many false things as though they were true;
............but we know, when we will, to utter true things.'

(ll. 29-35) So said the ready-voiced daughters of great Zeus,
and they plucked and gave me a rod,
a shoot of sturdy laurel, a marvellous thing,
and breathed into me a divine voice
to celebrate things that shall be and things there were aforetime;
and they bade me sing of the race of the blessed gods that are eternally,
but ever to sing of themselves both first and last.

Skêptron ,II. staff or baton, esp. as the badge of command, sceptre: in Hom. borne by kings and chiefs, and transmitted from father to son, by speakers, who on rising to speak received it from the herald,  by priests and soothsayers
Revelation 18 implicates the rhetoricians, singers and instrument players and calls the SORCERERS who had deceived the whole world.  The Muses were the dirty adulteresses as Apollyon's musical worship team. John is pointing directly to Delphi just up the coast from Corinth and close to Patmos.   John lumps sorcerers (religious musicians) and dogs as doomed to hell.

The craftsmen is the word TECHNE which includes all of the PERFORMING religionists Jesus called Hypocriites and John called Sorcerers as does all Greek musical terms.  In the Greek theater which was always religious this points to "theater builders and stage managers." In these end times it is CRAFTY to steal the church house of widows and turn it into a "theater for holy entertainment" as they boast. 

The end like the beginning will be marked by Mother Goddess led by women. Therefore, let's back up to Revealtion 17:
Rev 17:1 And there came one of the seven angels which had the seven vials, and talked with me, saying unto me, Come hither; I will show unto thee the judgment of the great whore that sitteth upon many waters:
Rev 17:2 With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication.
Rev 17:3 So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.
Rev 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:
Rev 17:5 And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
When Paul warned about the rising up to PLAY at Mount Sinai in the musical idolatry of the trinity, in 1 Cor 10 he identifies it as DEMON WORSHIP.  There "is not tradition other than that demigods intruduced musical instruments" to SECUCE people. 
Rev 18:1 And after these things I saw another angel come down from heaven, having great power; and the earth was lightened with his glory. 2 And he cried mightily with a strong voice, saying, Babylon the great is fallen, is fallen, and is become the habitation of devils, and the hold of every foul spirit, and a cage of every unclean and hateful bird. [seed pickers]
Rev 18:14 And the fruits [faithful dogs Ph 3] that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all.

However, all of these habitations of devils will cease and the musicators will cease and Jesus will visit for the last time and pick up the Candlestick of "the seven spirits of God" all related to teaching knowledge--as it has been taught.

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev 18:22

Rev 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived
Lynn Anderson etal: The Oxford Companion to Music.  Oxford University Press. London, 1956.  p. 541.  The Synagogue system came about ‘so that those who cannot take part more than the statutory three times a year in the worship of the Temple at Jerusalem may have their regular and frequent local worship. 

These festivals were not called WORSHIP SERVICES: only warrior aged males were forced to muster. Older males, children and females were not forced to attend and most probably did not because it was like summer camp: one of the tithes could be turned into money and used to by wine and strong drink for themselves and the Levite ministers--who were always poor.

After the fall from grace by musical idolatry at Mount Sinai the Spirit of Christ defined the Holy Convocation or synagogue as a school of the Bible which excluded vocal or instrumental rejoicing. See the facts about the Synagogue for the spiritual people which QUARANTINED them from the regulat sabbatic or Dionysus worship with wine, women and music.

"The Pharisees asserted that God could and should be worshiped even away from the Temple and outside Jerusalem. To the Pharisees, worship consisted not in bloody sacrifices--

the practice of the Temple priests--
but in
prayer and in the study of God's law.

That is what the agents of change want to shut down: that is always the motive for music. The Phraisees were bad but originally had pure motives but the hassidim had been superceded by false Jews. 

Hence the Pharisees fostered the synagogue as an institution of religious worship, outside and separate from the Temple. The synagogue may thus be considered a Pharisaic institution since the Pharisees developed it, raised it to high eminence, and gave it a central place in Jewish religious life. (Britannica Members)

Why there was never any rationale for music?

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.
 If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

The Qahal as the major word for the synagogue was set up in the wildernes for rest FROM religion, reading and discussing the Word of God: Jesus did NOT change that.  This excluded vocal and instrumental rejoicing because only simple simons would want to make musical noise when you meet for what the Campbells called "A School of Christ."

Lynn Anderson etal:   Every village has its synagogue and a ritual is laid down which, after the destruction of Jerusalem under the Roman rule in A.D. 70, is to develop the vocal part of the Jewish musical traditions in all the Mediterranean lands and, at the greater dispersal that followed, to carry it into every part of the civilized world.  But a dispersed Jewry was a sorrowing Jewry, and in the synagogues that were now to be found almost everywhere in the known world an abstention from instrumental music served as a lasting reminder of the glories of the Temple worship of the past, which should, it was confidently believed, after a period of patient waiting some day be renewed.

By direct command, practice from the wilderness onward, the practice of Jesus, the command through the word "ekklesia," the practices of Paul, the commands of Paul and the universal practice of the PRE-apostate church "there was never any praise service in the synagogue" The sacrificial system of which "noise" was exorcism was restricted to Jerusalem, inside the walls, at but never IN the temple.  The Jews ceased the use of music because it would have been a sin to use it after the sacrificial system was about dead long before the time of Christ.


See our notes on the Synagogue.

No, the synagogue was by definition NOT
a place to do musical rejoicing because THAT was what lost them their nation and temple.  No synagogue added an instrument until 1815.  It is true that cantillation or chanting developed into something very elaborate. We would still not call it singing in the "churchy sense."

None of the Bible is metrical and CANNOT be sung in a tunful sense if your life depended on it.

Cantillation Jewish Encyclopedia

These conventionalities of pitch result in an elementary form of song, and thus became early known as "singing to speech" ( accentus). But when a larger audience is addressed the assistance of a sing-song utterance in marking this accent or prosody, and rendering the precise interdependence of the successive words unmistakable, has been recognized by all who have ever had to speak in the open air or in a large building, and has been from the earliest ages adopted for the public recitation of sacred texts. Among Jews the desire to read the Scriptures in the manner described in Neh. viii. 8 has from time immemorial resulted in the use of some sort of musical declamation. This mode of recitation, depending not upon the rhythm and sequence of the sounds chanted, but upon the rhythm and sequence of the syllables to which they are chanted, is known as cantillation.

Music in the Synagogue: Britannica Members

"The description of the synagogue service above noted the role of the hazzan, or cantor. It is he who reads the service and declaims the scriptural lessons to certain set musical modes that vary with the season and occasion.

In the 19th century in Western Europe much of the traditional music was either discarded or re-worked under the influence of western forms and styles. In addition the pipe-organ was introduced and was the centre of stormy controversy.

The synagogue or church in the wilderness was to QUARANTINE the civillians FROM the pagan sacrificial systems. The Sabbath was an evil day and rituals were held and this derived from Babylon along with the tithe.  The citizens met in thes synagogues which always existed but which was the only "religious" institution after the RETURN.  The synagogue was devoted to the WORD and prayer and "never had a praise service."  When the temple was destroyed there was no rationale and not legal to use instrumental music. They continued with the psalms which were chanted or spoken in cantillation as defined by PSALMOS.  Only in time did the changing get more embellished and no one dared use an organ until the year 1815.

Lynn Anderson etal:   Zondervan, p.562 – “The Jews refused to play the lyre (kinnor) during the Babylonian Exile.  They suspended their kinnorim on the willows; how could they ‘sing the Lord’s song in a strange land?’ (Ps. 137:4).  The kinnor was gay,
      and when the prophets of old admonished the people, they threatened that the kinnor, the symbol of joy and happiness, would be silenced unless the people repented from their sins.”
 
Those involved with the sacrificial system knew that it was not legal to play sacrificial music outside of Canaan. The Willow Tree also has symbolid association with Orpheus: it was Orpheus and the Lesbian women who invented THRESKIA or IMpure religion. The added tune or rhythm but "tunefulness" did not really exist.  The symbol of Orpheus to which the Jews had been abandoned at Mount Sinai because of Musical Worship was usually meant when they spoke of Lord.  This also connects with Dionysus and Zeus in the Abomination of Desolation which proves that this MUSICAL worship was always the MARK of sexual and homosexual JOY.  They made TOO MUCH JOY with wine women and song and lost everything that had any meaning to them.  However, they were exiled BECAUSE of this idolatry and the tiny remmant were largely cured so that there was NO musical worship connected with Jehovah.

Jesus warned that truth had been hidden in parables from the foundation of the world. This was to fool the fools like the Scribes and Pharisees whom Jesus identified as hypocrites: rhetoricians, singers and musicians. The connections between the abandoned Jews and the Greeks and Egyptians is clear.
Pausanias, Greece. [6] Turning our gaze again to the lower part of the picture we see, next after Patroclus, Orpheus sitting on what seems to be a sort of hill; he grasps with his left hand a harp, and with his right he touches a willow. It is the branches that he touches, and he is leaning against the tree. The grove seems to be that of Persephone, where grow, as Homer thought,2 black poplars and willows. The appearance of Orpheus is Greek, and neither his garb nor his head-gear is Thracian.

[7] On the other side of the willow-tree Promedon is leaning against it. Some there are who think that the name Promedon is as it were a poetic invention of Polygnotus; others have said that Promedon was a Greek who was fond of listening to all kinds of music, especially to the singing of Orpheus.

During their captivity the Jews were really "going home." Remember that it was Jubal, Jabal, Tubal-Cain and Naamah who introduced the Babylonian form of magic and music.

"Some of the psalms express a tribalistic hatred of foreign powers; even the beautiful laments of the exiles 'by the waters of Babylon,' for example, concludes with the assurance that the daughter of Babylon will be destroyed. 'Happy shall he be, that taketh and dasheth the little ones against the stones.' 

"But in nearly a third of the collection the 'enemies' whose death the psalmist so confidently prays for and anticipates are not Gentile nations, but indivitual Jews who do not share the religious conviction of the Hasidim (Pharisees). In the words of Psalm 58, 'the righteous shall rejoice when he seeth the vengeance: he shall wash his feet in the blood of the wicked. So that a man shall say, Verily there is reward for the righteous: verily he is a God that judgeth in the earth." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 134, Knopf)

Naamah 'Lilith' is usually derived from the Babylonian-Assyrian word 'lilitu,' 'a female demon, or wind-spirit' -- one of a triad mentioned in Babylonian spells. But she appears earlier as 'Lillake' on a 2000 BC Sumerian tablet from

Ur containing the tale of Gilgamesh and the Willow Tree.
There she is a demoness dwelling in the trunk of a
willow tree
tended by the Goddess
Inanna (Anath) on the banks of the Euphrates.

Lilith typifies the Anath-worshipping Canaanite women, who were permitted pre-nuptial promiscuity. Time after time the prophets denounced Israelite women for following Canaanite practices; at first, apparently, with the priests' approval --

since their habit of dedicating to God the fees thus earned is expressly forbidden in Deuteronomy XXIII:18.

Lilith's flight to the Red Sea recalls the ancient Hebrew view that water attracts demons. Tortured and rebellious demons" also found safe harbourage in Egypt. Thus Asmodeus, who had strangled Sarah's first six husbands, fled "to the uttermost parts of Egypt" (Tobit VIII:3), when Tobias burned the heart and liver of a fish on their wedding nigh. Click for More

"The very name Orpheus is just a synonym for Bel, the name of the great Babylonian god, which, while originally given to Cush, became hereditary in the line of his deified descendants. Bel signifies 'to mix,' as well as to confound,' and 'Orv' in Hebrew, which in Chaldee becomes Orph signifies also 'to mix.'

But 'Orv,' or 'Orph,' signifies besides 'a willow-tree;' and therefore, in exact accordance with the mystic system, we find the symbol of Orpheus among the Greeks to have been a willow tree.

"Since the Babylonian Jews were unable to participate in the worship of the cultus as in former days, the exile marked an important turning-point in their religious developmemt. Open-air meetings by the Kabar irrigation-canal replaced gatherings in the Temple and its precincts,

Kabar or Chebar is derived from:

Chabar (h2266) khaw-bar'; a prim. root; to join (lit. or fig.); spec. (by means of spells) to fascinate: - charm (-er), be compact, couple (together), have fellowship with, heap up, join (self, together), league.

Ephraim is joined to idols: let him alone. Ho.4:17

Lynn Anderson etal:  3. Since instruments were not used in the synagogues and there was no longer a temple in which to use them, they were increasingly associated with pagan worship and secular theater.

They were PROOFS of paganism even at Mount Sinai when they rose up to play in musical idolatry. They are connected with paganism (king-clergy) by the prophets by the Spirit of Christ who calls the monarchy robbers and parasites.  In the Greek world a PARASITE was one who made loud noise during animal sacrifices.

Instruments were never used IN the Holy Place as typical of the body or Church of Christ. It is said that when Jesus came the Jews had no GOD and had no TEMPLE.  The temple was called HEROD'S temple and the priestly leadership were HIRELING and not Israelites.  Even if the temple had stood the common people would be put OUTSIDE the gates when the animal burning was signalled by the trumpets and NOISE of instruments. That is why Paul says that if we want to find Jesus we have to go OUTSIDE the massed multituted or camp and suffer reproaches with Jesus.  The "congregation" assembled for sacrificial noise or music was only the king, clergy and national leadership. And THEY had been turned over to worship the starry host BECAUSE of musical idolatry at Mount Sinai.

4.  There may have been few skilled musicians among the new Christians since it was the priests who were responsible for developing their skills in Temple service.  
 
I believe the priests blew the authorized trumpets of God: it was the Levitical Warrior Musicians who played instruments to make a great crashing noise.  Whey would they even think about it since the culture of the synagogue outlawed both singing and instruments and the universal mark of instruments was perverted paganism.

The prophecy of the King of Babylon is really pictured at Topheth which was once the King's Music Grove where Asherah was worshipped and infants were sacrificed to Molech with music.   We are not aware of any of the NATIONAL Levites who were converted and they and their harps were cause to ROT and burn up or be consumed by MAGGOTS at Hell--just outside the city walls.  Jews lament the tens of thousands of harps which were destroyed.  Maybe if God LOVED instrumental music He might have saved one or two. No. No Bible student can even hallucinate "making music" in the ekklesia.

The Apostolic Constitions which may date about the year 200 but certainly reflects the general understanding of the church assembly notes:

For He has delivered us from the sword, and hath freed us from famine, and sustained us; has delivered us from sickness, has preserved us from an evil tongue. For all which things do we give Thee thanks through Christ,
who has given us an articulate voice to confess withal,
and added to it a suitable
tongue as an instrument to modulate withal,
and a proper taste, and a suitable touch, and a
sight for contemplation,and the hearing of sounds, and the smelling of vapours, and hands for work, and feet for walking.
And all these members dost Thou form from a little drop in the womb;
        and after the formation dost Thou bestow on it an immortal soul,
        and producest it into the light as a rational creature, even man.

If one belonging to the theatre

(1) come, whether it be man or woman, or charioteer, or dueller, or racer, or player of prizes, or Olympic gamester, or one that plays on the pipe, on the lute, or on the harp at those games, or a dancing-master or an huckster,

(2) either let them leave off their employments, or let them be rejected. If a soldier come, let him be taught to "do no injustice, to accuse no man falsely, and to be content with his allotted wages:"

(3) if he submit to those rules, let him be received; but if he refuse them, let him be rejected. He that is guilty of sins not to be named, a sodomite, an effeminate person, a magician, an enchanter, an astrologer, a diviner, an user of magic verses, a juggler, a mountebank, one that makes amulets, a charmer, a soothsayer, a fortune-teller, an observer of palmistry; he that, when he meets you, observes defects in the eyes or feet of the birds or cats, or noises, or symbolical sounds: let these be proved for some time,

Lynn Anderson etal:  5.  The use of instruments may have been implicit in the early fathers’ use of the word Psalm.
Zondervan, p. 564.  The Psaltery – “. . . ten-stringed, rectangular zither.  To the early Church Fathers this psaltery was symbolic: the ten strings, the Ten Commandments; and the four sides, the Gospels.”

Psalm like song can be read, recited, sung or sung with an instrument.  However PSALM does not include the instrument. Because the BOOK of Psalms is a GREEK translation we know that they used a word consistent with the form of music recognized in the Greek pagan rituals which was always destructive.  That is why all of the "instrumental" Psalms have destructive or even polluted meanings because they were "warrior chants." The Psalms are NOT metrical and cannot be sung as the apologist plans to do which was always called charming, enchanting or sorcery.

"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp.  Source http://www.s-hamilton.k12.ia.us/antiqua/psaltery.htm 

NEBUCHADNEZZAR the king made an image of gold, whose height was threescore cubits (60), and the breadth thereof six (6) cubits: he set it up in the plain of Dura (circle), in the province of Babylon. Dan 3:1 

The Temple in Jerusalem had two of these Phallic Imagtes out front!

That at what time ye hear the sound of the (1) cornet, (2) flute, (3) harp, (4) sackbut, (5) psaltery, (6) dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Dan 3:5

Six instruments are named Six Times in in Six verses.

Psaltery reminds us of a NEW WINESKIN religion which is made of THAT WHICH DIED OF ITSELF: 

Nebel (h5035) neh'-bel; or nebel nay'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Nabel (h5034) naw-bale'; a prim. root; to wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked; causat. to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, * surely, make vile, wither..

Nabal (h5036) naw-bawl'; from 5034; stupid; wicked (espec. impious): - fool (-ish, -ish man, -ish woman), vile person.

Lynn Anderson etal:  Whatever the reasons for the lack of instruments in the early church, we must hold scripture supreme over tradition.
True: and all Bible students and historic scholars KNEW that instruments were OUTLAWED and always associated with destructive events and even Satan, prostitutes and Sodomites.

Justin Martyr a.d. 110-165

And the wealthy among us help the needy; and we always keep together; and for all things
wherewith we are supplied, we bless the Maker of all through His Son Jesus Christ, and through the Holy Ghost.

And on the day called Sunday, (th tou Hliou legomenh hmera.) all who live in cities or in the country gather together to one place, and the memoirs of the apostles or the writings of the prophets are read, as long as time permits; then, when the reader has ceased, the president verbally instructs, and exhorts to the imitation of these good things
.

Till I come, give attendance to (public) reading, to exhortation, to doctrine.1Ti.4:13

Apost. Const. Then let the high priest say: It is very meet and fight before all things to sing an hymn to Thee, who art the true God, who art before all beings, "from whom the whole family in heaven and earth is named;"

Of a memorial for the dead: XLII. Let the third day of the departed be celebrated with psalms, and
lessons, and prayers, on account of Him who arose within the space of three days;

Demonstrations of Aphrahac c 337 wrote

§19. Now thus is faith; when a man believes in God the Lord of all, Who made the heavens and the earth and the seas and all that is in them; and He made Adam in His image; and He gave the Law to Moses; He sent of His Spirit upon the prophets; He sent moreover His Christ into the world.

Furthermore that a man should believe in the resurrection of the dead; and should furthermore also believe in the sacrament of baptism.

This is the faith of the Church of God. And (it is necessary) that a man should separate himself from the observance of hours and Sabbaths and moons and seasons, and divinations and sorceries and Chaldaean arts and magic, from fornication and from festive music, from vain doctrines, which are instruments of the Evil One, from the blandishment of honeyed words, from blasphemy and from adultery.

And that a man should not bear false witness, and that a man should not speak with double tongue. These then are the works of the faith which is based on the true Stone which is Christ, on Whom the whole building is reared up.

And on and on which you can read here.

Barton Stone – “The past is to be consigned to the rubbish heap upon which Christ died.”

Lynn Anderson etal:   Martin Luther--1521—“Unless I am convinced by Scripture and plain reason--I do not accept the authority of popes and councils, for they have contradicted each other--my conscience is captive to the Word of God.”
See Luther on music.

By 1501: "By re-introducing public worship, the reformers displaced virtually overnight a thousand years of high church ritual. The Reformation fathers condemned the Gregorian Chant for some very telling reasons, revealing along the way their own evolving concepts of music.

They objected to the distractions of elaborate vocal and instrumental music, the dangers of overly theatrical performances, the unwarranted expense of elaborate ceremonies and enormous pipe organs and the uselessness of text unintelligible to the common man.

"Contrasting the high church's entrenched musical traditions was the simple and pragmatic approach of men like Martin Luther. One of Luther's stated goals was the restoration of true worship.

He understood the tremendous benefit resulting from hearing the word of God and then uniting as a congregation to offer thanksgiving in song.

This stress on congregational participation in worship became a lynchpin of the Reformation.

It might come as a surprise that the Catholic church NEVER engaged in "congregational singing with instrumental accompaniment." Whey they began singing of sorts in the year 373 even when organs were imposed it was by people in high places and used by composers and fiddled around with by the idle monks.  Harmony was thus beginning to develop after the year 1200.  The organ was used for preludes, interludes and recessional. It was only playing by the professionals for entertainment which polluted the churches in the eyes of the reformers.

Lynn Anderson etal:  V.  Heritage [a virus you caught from your mother]

Many are concerned that we should preserve our Church of Christ heritage. 
 
Right off the bat this is perjorative and intended to dissociate people to make them think that we DON'T use instruments because it is a disease we caught from out ignorant parents.  This is absurd: there is nothing but universal condemnation of instrumental music as a warning even to those "outside of church' who would fall into a trap because the performance style is perverted and perverting. All scholars note that when you move from SPEAK or SAY to even rhetoric you both MARK and CAUSE effeminancy.  At the time of the American Restoration Movement none of the denominations looking for something better used instruments and all refuted their use: Methodists and Baptists went through the same musical sectarianism as the Church of Christ.  Furthermore, it is a fact that The Church of Christ was never "joined" to the Disciples who imposed instruments planning to sow discord.

The Bible is perfectly clear and and ALL of the historic scholars rejected instruments on the same basis they would reject dirty dancing or brothel stalls in the temple.  All of the denomonitations which fed into the church of Christ rejected instruments: it was the Disciples of Christ which followed the denominations after the Civil war because they confessed that their institute could not survive without entertainment.

Not even the Catholic churches ever engaged in "congregational singing with organ accompaniment." The organ was EXTRA liturgy and used between events: the organ marked preludes, interludes and recessionals. That is, it was purely entertainment because no priest ever installed an organ in a church.

So the heritage or traditional is about as evil a lie as possible especially since it is intended to inflict pain and sow discord.

Most historic church had DIRECT COMMANDS and APPROVED EXAMPLES of speaking or chanting ONLY the Biblical text. The purpose was to Teach and Admonish one another. One would have to be mad to hallucinate music if they understood the nature of the ekklesia which institution excluded all but vocal instruction.


Lynn Anderson etal:  I wholeheartedly agree!  The heritage that I received was this - that we should be as the ‘noble Beroeans’ who ‘examined the scriptures daily to see if these things were so.’ Acts 17:11.  The Church of Christ taught me to constantly be studying God’s Word.  If we have already found all of the answers and there is no room to come up with any different conclusions, what is the point of study? 

Because "vocal and instrumental rejoicing" was outlawed in the synagogue or "church in the wilderness" and there was no praise service in the synagogue, there was never a QUESTION which needed anyonw who THINKS they have a latter day answer. The point of study was directly commanded to "sing that which is written" and "teach that which has been taught." You could be severely brain damaged and never hallucinate the possibility of making noise and doing gyrations when Jesus comes to be our.

The synagogue and later ekklesia or church was devoted TOTALLY to reading and examining "that which is written" as the elders "taught that which had been taught." Peter left it as a MARK of false teachers those who did not teach that which he and others had left for our "memory."

One good reason would be to study the Old Testament and especially the Prophets to understand that God totally repudiates MUSIC of any form because it is a slick way to navigate people where you want to go usually with the intention of bringing them into bondage to fleece the lambs and craunch their bones. Isaiah 58 defines a TRUE Sabbath and outlaws "seeking your own pleasure or speaking your own words." That is because to do so CLAIMS that God left a lot of silence holes for us to fill in--and pay them too.  None of the proof texts in this paper show that the writer has read the CONTEXT and assuredly does not know the story line.


Lynn Anderson etal: A willingness and determination to follow scripture, even in the face of deeplyentrenched traditions, is what the reformation and restoration movements were built upon.
‘Scripture alone’ became the rallying cry of the Reformation.  For the pioneers of the Restoration Movement, the favorite motto was: ‘In matters of faith, unity; in matters of opinion, liberty; in all things, love.’ Only things clearly stated in Scripture were considered matters of faith.
 
Even if you were simple simon you would know that there was no music commanded in the New Testament and it therefore could not be a matter of faith.  On the other hand, music is the MARK of people telling God to shut up and is therefore the MARK of ANTI-biblical false teachers.

In fact, ALL church fathers demand that we use Scripture only for matters of faith and practice.  This was not invented for the Restoration Movemement. The High Church principle was the motto of the Disciples of Christ out of their Methodist, Anglican, Church of England, Catholic roots.  However, the Church of England never voted to aprove the right of the church to IMPOSE anything not commanded by Scripture.

It would not be remotely possible to have ever studied the Bible without knowing that the "serpent" in the garden of Eden was a "singing and harp playing prostitute" or a musical enchanter(ess).  Revelation 17 ends with the Mother of Harlots (marked by music) uses lusted after "fruits" as rhetoricians, singers and instrument players.


Lynn Anderson etal:   Zwingli (1484-1531) rejected audible music of any kind, believing that whatever Scripture does not explicitly command is forbidden.  Since Paul, in Col. 3:16 calling us to ‘teach and admonish one another with all wisdom, and as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God,’ specifies ‘in your hearts,’ it must be done silently
 
The direct command was to SPEAK one to another with the INSPIRED TEXT ONLY. The INTERNAL act was to sing AND make melody IN the heart. The concept of speaking a Psalm in order to learn it took place at church: then, you went home and sang SILENTLY as much as you wished. Philo denied that humans have the ability or words to praise God audibly.

None of the Bible was metrical and you could not sing ANY of it in a tuneful sense if your life depended on it. Zwingli knew that the Psalms would have to be RADICALLY RECOMPOSED in order to set them to Meter.  To do so was a matter of disrespect for the written Word which had NEVER been "sung" in the modern musical sense.

Why should be be down on Zwingli for opposing the REWRITING of the Psalms with very bad errors being inserted and NOT utterly condemn someone for rewriting Acts just so the females and effeminates can SING?

No, that is another lie: Paul said SPEAK one to another in Psalms, hymns and spiritual songs (inspired text) AND sing and make melody IN THE HEART.  The word SPEAK is the opposite of poetry or music and the word ODE is the same as Hebrew Cantillation which is not TUNEFUL but accented SPEAKING just like Paul commanded and Jesus exampled.

Lynn Anderson etal:  For this reason, Zwingli did not even allow congregational singing. The fallacy of Zwingli’s interpretation is apparent--how can we teach and admonish each other with songs that we sing silently to God?
 
Again, it would not be possible to SING in a tuneful sense and obey the direct command to speak or sing "that which is written."  Zwingli was not condemning sining the commanded text because it COULD NOT be sung. Even when Calvin allowed some paraphrases of the Psalms to make them metrical this would not be acceptable to MOST people who understand that the REWRITE the Word of God.

We can SPEAK outwardly and SING inwardly! That is EXACTLY what Paul commanded. And you cannot SING and SPEAK at the same time and making melody on a harp in the heart would hurt really bad as the word PSALLO means. Philo said the same thing because worship is in the PLACE of the human spirit and Paul said we worship IN the spirit as opposed to IN the flesh because there be dogs or catamites with their old style praise singing. Because worship is what you think, the only way to literally worship would be to fall on your face--now try doing dirty dancing, singing and plan a "machine for doing hard work."
Euphêmos I. uttering sounds of good omen, or abstaining from inauspicious words, i. e. religiously silent, opp. to dusphêmos, Aesch., etc.; euphêmou stoma phrontidos hientes uttering words of religious thought, i. e. keeping a holy silence, Soph.; so, hup' euphêmou boês, i. e. in silence,  
Opposite to: hierourg-eô,  A. perform sacred rites, . zôia sacrifice them, telet-ê , , ( [teleô]A. rite, esp. initiation in the mysteries,  3. a making magically potent, II.a festival accompanied by mystic rites, Of Dionysus
Johannes Quasten, Music and Worship in Pagan andd Christian Antiquity, notes of Philo: 

"One cannot truly offer thanks to God as the vast majority of men do, with external effects, consecrated gifts and sacrifices..., but rather with songs of praise and hymns--

not so much as the audible voice sings, but such as are raised and re-echoed by the invisible mind."

Philo saw that the high priest had to lay aside his long flowing robe, set with little bells and colorfully adorned, when he went into the holy of holies. This was an indication that one must not worship God with music and colorful array; owe should rather pour out to him one's soul's blood and offer him one's whole spirit as incense. For

if the soul has opened itself totally in word and deed and is filled with God then the voices of the senses and all other burdensom and hateful noises cease..

Zwingli knew that the word SPEAK is defined as "the opposite of poetry or music."  That is because melody conceives to deceive:

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.
If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

Zwingli had a point because the Scripture is NOT metrical and therefore CANNOT be sung in a tuneful sense. That is why Calvin reluctantly allowed the Psalms to be REWRITTEN or paraphrased to make singing simple harmony remotely possible. So, maybe Zwingli wa against REWRITING the Bible.  Modern musical performers make no attempt to "sing that which is written" so there is little connection with historical rationality. deceives and so people set their lies to a melody and invent The Law of Giving or The Law of Singing. The word Ode further defines PSALMOS as "in Hebrew Cantillation." The singing marks did not denote tunefulness but ACCENT and rhythm of SPEAKING.   Several resources note that "Melody as tunefulness belongs to the 19th century" so I SUPPOSE that their singing was not MAKING MUSIC.  Any prose devoted to a god when READ was called singing and singing was "using the normal inflections of the human voice."
Pindar, Nemean Odes 7. [20] And I expect that the story of Odysseus came to exceed his experiences, through the sweet songs of Homer, [22] since there is a certain solemnity in his lieswinged artfulness, and poetic skill deceives, seducing us with stories, and the heart of the mass of men is blind. For if For if [25] they had been able to see the truth, then mighty Aias, in anger over the arms, would never have planted in his chest the smooth sword--Aias, who was the most powerful in battle, except for Achilles, and whom the breath of the unswerving Zephyr conveyed in swift ships, to bring back the wife of golden-haired Menelaus [30] from the city of Ilus. and
Lynn Anderson etal:  Luther believed that Zwingli’s approach to Scripture turned the gospel into a new legalism.  Luther’s call to return to Scripture supported his greater call to return to Christ.  
See how Martin Luther reads Romans 15 to exclude the organ.

See that Martin Luther rejected instruments and congregational singing replaced "the musical worship team."

This means that hymn singing is preaching, a return of God's Word to the people

Luther, then,
restored singing to the church as preaching
,
the speaking "to one another with psalms and hymns and spiritual songs" (Eph. 5:19)
so that "the Word of Christ [might] richly dwell" in them (Col. 3:16).

Because the hymn was regarded as a proedicatio sonora -- a resounding sermon, it was placed "on the same level as the proclamation and prayers of the pastor." (Schalk, C., ed. Key Words in Church Music (St. Louis: Concordia Publishing House, 1978)

Consequently, the Reformation accorded congregational song an autonomous place in the liturgy. It was not simply regarded as the people's answer to the sermon, but instead stood side by side with the sermon, albeit in sequential order. (Blankenburg. W. "Der Gottdienstliche Liedgesang der Geineinde," in Leiturgia (Kassel: Johannes Stauda-Verlag. 1961)).

The Word of God could become the Living Word only when it was preached, and only then could it awaken faith.
--Since music (the notes) "make the text live," God preached the Gospel also through music.
--Both music and theology then are "bearers and interpreters of the Word of God, being living voices of the Gospel
."

In 1523, Thomas Muntzer was the first to replace the clerical choir with congregational singing, using virtually the same music. He translated the text into the vernacular--a true beginning of the restoration of biblical psalm singing among the people. Chuck From

Lynn Anderson etal:  John Calvin (1509-1564), like Luther, stressed ‘Christ alone.’ In his effort to restore the original Christian ordinances, Calvin hoped his doctrine of Christ might restrain the impulse toward legalistic imitation.  In discussing such things as ceremonies, he said that the ‘church must not be too fastidious.’ Rather, they must keep first things first, not letting questions of form and organization occupy too large a place.
 
Not true: Martin Luthers "Sola Fide" was based on "Sola Scriptura" because you cannot have faith without Scripture. And because Scriptura commanded baptism he said that you could not be saved withoout baptism

John Calvin called His a Restoration Movement and defended the CENI as does the Bible and all historical theologians.  For adults, John Calvin defined baptism just about the way Alexander Campbell did it.

Harmony of the Law - Volume 2 by John Calvin understood that the Qahal, synagogue or church in the wilderness OUTLAWED loud vocal and instrumental rejoicing which was reserved for warfare or victory:

"Profane nations also had their ceremonies, such as auguries, supplications, soothsayings, victims, because natural reason dictated that nothing could be engaged in successfully without Divine assistance; but God would have His people bound to Him in another way,
        so that, when called by the sound of the sacred trumpets as by a voice from heaven,
        they should assemble to holy and pious deliberations.

The circumstance of the place also has the same object. The door of the Tabernacle was to them, as if they placed themselves in the sight; of God.

We will speak of the word dewm, mogned (synagogue) elsewhere. Although it signifies an appointed time, or place, and also an assembly of the people, I prefer translating it convention, because God there in a solemn manner, as if before His sacred tribunal, called the people to witness, or, according to appointment, proceeded to make a covenant with them.

If you could not CALL the synagogue with instruments then how could you REST, read and rehearse the Word of God when people sing and play instruments:

Thus Malvenda in Poole's Syn., "et clangetis taratantara." The word is used by Ennius "At tuba terribili sonitu taratantara dixit." -- Serv. in, AEn, 4. A.V., "an alarm."

A difference is to be observed in this respect between his people under the Old and under the New Testament; for now that Christ has appeared, and the church has reached full age,

it were only to bury the light of the gospel should we introduce the shadows of a departed dispensation.

From this it appears that the Papists, as I shall have occasion to show elsewhere, in employing instrumental music cannot be said so much to imitate the practice of God's ancient people as to

Psalm 78: it in a sense less and absurd manner,
exhibiting a
silly delight in that worship of the Old Testament which was figurative and terminated with the gospel." (On Ps. xcii. 1.)

"Were any one to ask why the Apostle speaks with so little respect and even with contempt of Sacraments divinely instituted, and extenuates their efficacy? This he does, because he separates them from Christ; and we know that when viewed in themselves they are but beggarly elements, as Paul calls them. (Gal. 4: 9.)

Because the music in connection with animal sacrifices [a curse] under the Law were part of a training or disciplinary system, John Calvin understands the difference between the Old Law and the New Covenant

Then Calvin notes what the Catholics confess: that it was not really a borrowing from the sacrificial system but from the world of entertainment from all pagans:

"From this it appears that the Papists, as I shall have occasion to show elsewhere, in employing instrumental music

cannot be said so much to imitate the practice of God's ancient people as to ape it in a senseless and absurd manner, exhibiting a silly delight in that worship of the Old Testament which was figurative and terminated with the gospel." (Psalm 92:1) 
Lynn Anderson etal: Alexander Campbell called for Christians to “reduce to practice that simple original form of Christianity, expressly exhibited upon the sacred page; without attempting to inculcate anything of human authority, of private opinion, or inventions of men, as having any place in the constitution, faith, or worship, of the Christian Church, or anything as a matter of Christian faith or duty, for which there can not be expressly produced a ‘Thus saith the Lord,’ either in express terms or by approved precedent.
 
And everyone knows that there is no command, example or inference for music in the Bible or most of church history. The point is that you cannot IMPOSE a practice on the church unless it is absolutely required to carry out the purpose of the church.

The Campbell's defined church as "a school of Christ" and "worship" as reading and musing the Word of God. They repudiated instrumental music and Alexander refused to preach in a church until they silenced the organ and organists.  That means that if Jesus has not COMMANDED something necessary to carry out the school of the Bible then others have no right to IMPOSE something unless they can prove that it is commanded and necessary.  
Campbell wrote: speaking for Mr G. has him say:

"Music exerts a mysterious charm upon man--it takes captive the citadel of life--carries him out of himself, and leads him where it will. The shrill fife and the rattling drum, inspire the soldier just about to enter into battle, with a zeal and daring which no hardship can overcome, and no danger intimidate, and causes him to rush headlong into the thickest of the combat, regardless of consequences.

If martial music thus inspires the worshipers of Mars, will sacred music do less for the humble followers of the meek and lowly Jesus--the worshipers of the true and living God? No!

"It will not. It will inspire them, too, with zeal and courage, and impel them on to resist--not flesh and blood with instruments of death, but principalities and powers--spiritual wickedness in high places, with the armor of God and the sword of the Spirit.

Lynn Anderson defends the worship of MARS but Alexander Campbell repudiated it simply by stating the case for instruments (restoration of paganism) and then repudiates it:
The argument drawn from the Psalms in favor of instrumental music,is exceedingly apposite to the Roman Catholic, English Protestant, and Scotch Presbyterian churches, and even to the Methodist communities. Their churches having all the world in them--that is, all the fleshly progeny of all the communicants, and being founded on the Jewish pattern of things--baptism being given to all born into the world of these politico-ecclesiastic communities--

I wonder not, then, that an organ, a fiddle, or a Jews-harp, should be requisite to stir up their carnal hearts, and work into ecstasy their animal souls,

else "hosannahs languish on their tongues, and their devotions die."
And that all persons who have no spiritual discernment, taste, or relish for their spiritual meditations, consolations and sympathies of renewed hears, should call for such aid, is but natural.

Pure water from the flinty rock has no attractions for the mere toper or wine-bibber. A little alcohol, or genuine Cognac brandy, or good old Madeira, is essential to the beverage to make it truly refreshing.

So to those who have no real devotion or spirituality in them, and whose animal nature flags under the oppression of church service, I think with Mr. G., that instrumental music would be not only a desideratum, but an essential prerequisite to fire up their souls to even animal devotion.

But I presume, to all spiritually-minded Christians, such aids would be as a cow bell in a concert.

Lynn Anderson etal: The Stone movement amounted far more to a rejection of historic traditions than to a positive reconstruction of primitive Christian practices.  Their emphasis was Christian character and Christian freedom.

The only positive in agreement with the Church of Christ was Stone's defense of using the Bible for all of our faith and practices.  However, he honored "union" over any Biblical doctrine.
The Stone Movement had nothing in common with the Restoration movement.  He held nothing in common with Alexander Campbell except the authority of Scripture.  No Christian church would now return to the movement they sected out in 1927.  Here is one of the practices imported into the Christian churches which flowed out of the Methodists, Church of England and back to the Catholic church. Click for the Shouting Methodists added as an ACT of worship.
Lynn Anderson etal:  Benjamin Franklin (1872)—“The Lord is not attracted by imposing temples, worldly show, nor fine entertainments.”  Franklin was offended by the exorbitant cost of the newly built Central Christian Church in Cincinnati, with its stained glass window and $8000 pipe organ.  This put a bad taste in his mouth toward expensive instruments.

No, he said it because INSTRUMENTS especially ORGANS are in bad taste in a peaceable church assembling for quiet study and meditation.  The cost just nailed dow the fact that attracting the masses was the ONLY object.

Ben Franklin January, 1860: "IF any one had told us, forty years ago, that we would live to see the day when those professing to be Christians; who claim the Holy Scriptures as their only rule of faith and practice; those under the command, and who profess to appreciate the meaning of the command, to "observe all things whatever I have commanded you," would bring any instrument of music into a worshiping assembly, and use it there in worship, we should have repelled the idea as an idle dream. But this only shows how little we know of what men would do; or how little we saw of the power or the adversary to subvert the purest principles, to deceive the hearts of the simple, to undermine the very foundation of all piety, and turn the very worship of God itself into an attraction for the people of the world, an entertainment, or amusement.

It appears never to occur to the multitudes who throng the assemblies to hear instruments, sweet voices and artistic melodies, that there is no worship in it, or, at least, divine worship. All that can be heard in a theater, in a museum, or less godly places, where there is certainly no worship.

There is no worship in music, in itself. There is power in it, enchantment [sorcery says John Rev 18:23], but as easily associated with vice as virtue, with cruelty as with beneficence, with corruption as purity. We find music where there are no moral qualities, either good or bad--a mere secular entertainment. We listen to it, and admire it for its own sake, its beauty, its delightful strains, its enrapturing sounds, its melodies, and the pleasing sensations it produces within us.

But there is no worship in this. It is simply secular, having neither moral nor immoral qualities in it. 
We listen to a fine performer to see how he can perform,
and admire the performance, as artistic, dramatic, and elegant,
and give him the praise due a good performer. 

But there is nothing [412] religious in it. There is not a moral idea in it; it has no moral character--there is nothing spiritual in it; it has no spiritual character--there is nothing religious about it; it has no religious character.

Lynn Anderson etal:  T. B. Larimore (1843-1929)--never addressed dividing issues such as instrumental music and missionary societies.  He viewed them as ‘untaught questions among us.’  Scripture did not address them, he said; and, though he held his own ‘opinions or preferences,’ he did not feel it his duty to preach or write about them.  “I am as apt to be wrong as my brother. . . neither of us is infallible.

Larimore preaching for a church already divided over instruments would hardly take sides when he saw the more urgent need to preach the gospel to convert the people: especially those so unchristlike to deliberately sow discord just so they could hear Nellie PERFORM.

Burnette Writes: Allen says that one time Larimore went to a church to help them with the organ

Many things lead me to believe that divisions and bickering are a good sign that we're getting in the way of the gospel being preached and shown to the world. I could be doing much better in this.

The city churches know very well how to settle the pastor question, and stop the division over that issue. Just send the hired preacher out to preach the gospel, which is his scriptural duty, and restore the elders to their Bible functions. But will they do it? Prof. T. B. Larimore once held a meeting that continued five months. At the last sermon there were five confessions, and he said the meeting closed "too soon." He wants to hold a meeting (before he dies) that shall continue one year. He is only seventy-two.
issue (the musical instrument) and instead of talking about being pro or against organs, he preached the gospel for 22 weeks. After he left, they ended up splitting anyway and many blamed him for it, despite the many conversions because of the gospel.
Lynn Anderson etal: John Smith in 1832, “Let us, then, my brethren, be no longer Campbellites, or Stonites, New Lights or Old Lights, or any other kind of lights, but let us come to the Bible, and to the Bible alone, as the only book in the world that can give us all the light we need.”
 
His grandson, H. Leo Boles wrote of the CONDITIONS of the Church of Christ and the Disciples of Christ working together but NOT ever united:

They met on New Year's Day, 1832, and continued in session four days. "Raccoon" John Smith was selected from the Campbell group to set forth the New Testament grounds of unity, and B.W. Stone represented the "Christian Church." The meeting resulted in the uniting of these two groups. "Raccoon" John Smith was my grandfather. May the present meeting on this occasion have the same happy results. It will have the same results if all have the same spirit that actuated there, for we all have the same New Testament.

That agreement to disagree ceased with the missionary society in 1849.

"But an amalgamation of sects is not such a union as Christ prayed for and God enjoins. To agree to be one upon any system of human inventions would be contrary to his will, and could never be a blessing to the church or the world; therefore, the only union practicable or desirable must be based on the word of God as the only rule of faith and practice... 

"I have the more cheerfully resolved on this course, because the gospel is a system of facts, commands, and promises, and no deduction or inference from them, however logical or true, forms any part of the gospel of Jesus Christ. No heaven is promised to those who hold them, and no hell is threatened to those who deny them. They do not constitute, singly or together, an item of the ancient and apostolic gospel. While there is but one faith, there may be ten thousand opinions; and, hence, if Christians are ever to be one, they must be one in faith, and not in opinion. When certain subjects arise, even in conversation or social discussion, about which there is a contrariety of opinion and sensitiveness of feeling, speak of them in the words of the Scripture, and no offense will be given and no pride of doctrine will be encouraged. We may even come, in the end, by thus speaking the same things, to think the same things.

"For several years past I have stood pledged to meet the religious world, or any part of it, on the ancient gospel and order of things as presented in the words of the Book. This is the foundation on which Christians once stood, and on it they can, and ought to, stand again. 

From this I cannot depart to meet any man, or set of men, in the wide world. While, for the sake of peace and Christian union, I have long since waived the public maintenance of any speculation I may hold, yet no one gospel fact, commandment, or promise will I surrender for the world" (Life of Elder John Smith, pages 452-454.)

John
Smith was one of those who proposed to UNIFY the Disciples of Christ and what we call The Church of Christ. This proves that they were not of the same roots even then as Alexander Campbell knew. They agreed on "unity" but ONLY among those who attended the meeting. This was rejected by most of the Church of Christ congregations.  At it best the "unity" existed only in a few agreeing to meet in the same building and NOT discuss any doctrinal issue.  When these few were invated by the Organ that had nothing ot do with The Church of Christ. When the 1849 Missionary Society from a converted Baptist was proposed that mad even evangelical cooperation impossible. When the organ was imposed as SECTARIANISM the effort to work together ceased.  The Disciples always sought to seduce The Church of Christ even counting them in 1906 which the Census man knew to be a lie. The Christian Church is the only group which SECTED OUT of the Disciples beginning in 1927.
Yet Brother Clubb would have us believe that Alexander Campbell was not only president, but leader of the society. Certainly the society brethren kept Mr. Campbell president of the society--not so much for his counsel and advice, but for the influence and magic of his name.--John T. Lewis.] Boys and women there cast votes, and rushed the party papers through, while men, like John Smith, hung their heads in shame. For this act no justification can be pleaded. It is a stain upon the records of the society which it will take long years to efface.
The Church of Christ at this time was no closer to the Disciples than to the Baptists.

Lynn Anderson etal:  Throughout church history, instrumental music has been a topic of fierce debate.  Those who oppose it have made it a test of fellowship.  Those who support it do not generally deem it worthy of causing divisions, and often have bowed to the opposition for the sake of unity.

No, that's a lie: those who IMPOSED instruments into a peaceable church made it a test of fellowship!


No one gave any Biblical defences until the Disciples discovered "psallo" in about 1878.

The only reason it is debated is because latter day people are willing to kiss off many of their owners so that the "musical crowd" can find "acceptance in the mainstream."

In fact, those who INTRODUCED instruments destroyed fellowship knowing that they were sowing discord. However, this is something that went on primarily among the Disciples as the instrumentalists took over churches often known as the Christian church.  If the above statement were true they would never have become a musical sect and they want unity based only on one's affirmation that they are right. I would like to see any bowing since the debates have been instigated by instrumentalists attempting to lead away non-instrumental churches.

Men like McGarvey was not allowed to reject instruments in his own church because HE would be "sowing discord." Then as now they pretty much said "get over it or get out."

1898 --Braden vs. Warlick debate

Lynn Anderson etal:  1900 --Calhoun vs. Kurfees in series of articles.  Calhoun defended instrumental music.  M.C. Kurfees responded.  Kurfees suggested that he had no objections to the instrument in the place of worship if it were only seen like a bouquet of flowers.
 
I think that he meant that if it was neither SEEN nor HEARD.

M.C.Kurfees Origin of Instrumental music  Who is not so easily kissed off.
See Tom Morris on M.C.Kurfees

Again, I need to tell you that all of Tom Burgess' proof texts are of older men seducing young men.

Kurfees repudiated all of the false arguments which began only in 1837 when the disciples discovered the word PSALLO.  However, not even their scholarly source would agree with them.  Tom Burgess has tried to refute Kurfess with poor results.  The troubling part of O.E.Payne and Tom Burgess collection of proof texts is that all of the older males PLUCKING were seducing young men for the "act" of sodomy.

1903 --Stark vs. Warlick debate centered around the word psallo.
1908 --Briney vs. Otey


1914 --Payne answers Kurfees book with his own.  Payne argues that instrumental music is included in the Greek word psallo as baptism by immersion is included in the Greek word baptizo.

Whatever you prove about Psallo, Paul insist that it be of the KIND which is in the heart.

The man who was dying blessed me; I made the widow's heart sing. Jb.29:13

So my heart laments for Moab like a flute;
it laments like a flute
for the men of Kir Hareseth.    
        The wealth they acquired is gone. Je.48:36

My heart laments for Moab like a harp,
my inmost being
for Kir Hareseth. Is.16:11

And my spirit hath rejoiced in God my Saviour.Lu.1:47

Therefore did my heart rejoice, and my tongue was glad; moreover also my flesh shall rest in hope: Ac.2:26

In that hour Jesus rejoiced in spirit, and said, I thank thee, O Father, Lord of heaven and earth, that thou hast hid these things from the wise and prudent, and hast revealed them unto babes: even so, Father; for so it seemed good in thy sight. Lu.10:21

There is NO connection between psallo (melody) and music. Because psallo is PRIMARILY a shooting with an arrow to hit the literal heart, and because "hymns" impact the heart or feelings, "shooting out hymns" was a metaphor and you "twang" the heart strings.

The bowstring touch'd her breast, so strong she drew;
Whizzing in air the fatal arrow flew.
At once the twanging bow and sounding dart 
The traitor heard, and felt the point within his heart.
Thy scarlet-tinctured foot? or from my bow
The lyre of Phoebus [Apollo, Apollyon] to thy notes attuned
Will not protect thee; farther stretch thy wings;
 
Go, wanton, skim along the Delian lake,
Or wilt thou steep thy melody in blood.
 
Look, what strange bird comes onwards; wouldst thou fix
Beneath the battlements thy straw-built nest?
 
My singing bow shall drive thee hence; begone,
Or to the banks of Alpheus, gulfy stream, grace
Or to the Isthmian grove; there hatch thy young;
Plautus, Curculio CAPPADOX My spleen is killing me, my reins are in torment, my lungs are being torn asunder, my liver is being tortured, my heart-strings are giving way, all my intestines are in pain.

Hecuba Alas! a dreadful trial is near, it seems, [230] full of mourning, rich in tears. Yes, I too escaped death where death had been my due, and Zeus did not destroy me but is still preserving my life, that I may witness in my misery fresh sorrows surpassing all before. But if the bond may ask the free of things that do not GRIEVE them or WRENCH their heart-strings, you ought to speak in answer to my questions and I ought to hear what you have to say.

When there was only one instrumental church in Nashville (as I remember it) they ORGANIZED A Unity Organization. The began by sending out copies of Payne's book to all of the preachers of the Church of Christ with a note to return it to the new society which consisted apparently of one congregation: I have one of those copies with the request for return.  Payn does not prove that PSALLO ever meang more than "a noise made by plucking."  It includes ONLY THE FINGERS and excludes a plectron or PICK. So, at best you could not even associate psallo with a flute, trumpet, organ, piano or guitar picked.  The word is firstly a WARFARE word denoting Apollo as the "father of twanging bows to send a singing arrow into your literal heart, the father of musical harmony, the father of homosexual worship, the father of thieves and liars.  He is the Apollyon in Revelation.

The second major use is the polluted red rope used to drive and MARK those who loitered in the marketplace around the singing boys and girls INTO the ekklesia for verbal instruction only. Therefore, the PSALLO word MARKS anyone who went into the ekklesia as a bad person who could not participate.

Psallo at not time or place ever meant to "play a harp."  You have to define WHAT is to be plucked: it miight be the hairs of the young boy used as "minister" for the older male.  You have to say play or pluck THEN say what is to be played or plucked--WITH YOUR BARE FINGERS ONLY.


Lynn Anderson etal:   1923 --Boswell vs. Hardeman
 
The effort to seduce a few preachers with the Payne book TRAPPED the instrumentalists into a debate they did not want.  They picked the BEST of the crop but one immediately feels pity for Boswell when Hardeman begins to quote REAL scholarship.

See some notes on Psallo from the debate

Psallo NEVER had any musical connection: it simply means to pluck something with your fingers but never with a plectrum: no piano, organ, flute or drum because you cannot PLUCK them with your fingers to make a SOUND.  One PLUCKS bow strings in the first instance. One stretches the polluted rope to MARK those who dallied around the singing boys and girls and were late going to the ekklesia for vocal instruction only. One can pluck a lyre or you can pluck one's hair and you can shoot out hymns.

Lynn Anderson etal: J.S. Lamar—1880’s--was amazed that some of the leaders could have been so petty and trivial in their concerns, as if Christ had died to prevent the formation of societies and to keep organs out of churches. 

We MIGHT say that leaders were petty and admittedly mercinary when they IMPOSED instruments which were rejected by ALL of the groups which swarmed into the Church of Christ.
"To Lamar goes the credit for phrasing the 'guilt clause' which became a cardinal refrain of the organ apologists. The organ was in the churches to stay. The next move was to fasten 'guilt' upon any person or church who would commit one of the 'seven deadly sins' by dividing the church over the organ."

Rejecting the Law of Expedience by the Instrumentalists, John T. Lewis has the following to say:


But the moment we abandon this we will be at sea, without compass or rudder and our ship will be driven by the merciless blasts of the headwinds of sectarianism in the d rect on of the port of Rome; and in this state of case we may well haul down our colors and seek recognition in "courts ecclesiastic." We will need the sympathy of such courts, then. It is no matter of astonishment that, when the foregoing principle was enunciated, such a thoughtful man as Andrew Munro should make the following statement: "If we adopt that as a basis, then there is an end of infant baptism." I beg leave to make the following respectful suggestion to Brother J. S. Lamar:

"If we adhere to that as a basis, then there is an end of instrumental we must adhere to that, or else the "reformation is a failure." This brings us to the main point had in view in the preceding essays. That singing as worship is a divine appointment, is abundantly clear, from the following Scriptures: "What is it, then? I will pray with the spirit, and I will pray with the understanding also. I will sing with the spirit, and I will sing with the understanding also." (1 Cot. 14: 15.) "And be not drunk with wine, wherein is excess; but be filled with the spirit; speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord." (Eph. 5: 18, 19.) "By him therefore let us offer the sacrifice of praise music in the worship.   

With Hayden's reply to Grubbs, W. K. Pendleton, editor of the Harbinger, closes the discussion, or rather called off Brother Hayden and turns Brother J. S. Lamar loose on Brother Grubbs.
Lynn Anderson etal:   As Leroy Garrett says, “Our sin has been in violating the principles of our own heritage: making an opinion or a preferred method a test of fellowship.”

Allen, Richard C. and Hughes, Richard T.  Discovering Our Roots.  ACU Press, 1988.
p. 3  “This call back to the source of our religion--the Scriptures--was a powerful and much-needed call.  It was, and still is, the genius of the movement in which we stand.”

“While claiming to reject all human traditions, we have created and perpetuated traditions all the more entrenched for being unrecognized.  Rather than escaping tradition, we who are the heirs of Barton Stone, Alexander Campbell, and David Lipscomb simply have failed to recognize the traditions at work in our midst.
 

 
Hughes says with a slanted view:
We were wrong in objecting to the introduction of Missionary Societies and instrumental music in the worship of the church. "(T)he origins of the instrumental music debate appear to lie in a struggle over social class..." (P. 57).

That's a lie: none of the denominations had approved of instruments and the repudiation had been almost universal down through history. The presbyterians had a rich body of literatature using Biblb and miniman common decency to reject entertainmant.

We splintered away from the real Camp-Stone Restoration Movement.

That's a lie: there was never any "unity" between the Church of Christ and the Disciples of Christ. Any effort to work together on projects or meet together ended when they began to introduce instruments into the debate in 1851 and into the church in 1859. Scholars of the Church of Christ rejected both the society and the organ.  In 1906 the Church of Christ refused to be counted in the missionary and organ party which was a fully-developed denomination. The Christian churches began to SPLINTER out from 1927 to 1971.

"The authentic followers of Campbell, therefore eventually shifted their commitments from the restoration of the ancient church to the unity of all Christians, separate and apart from any concern with primitive Christianity" (p. 7).

That's a lie: And separate and apart from the Bible as the basis of faith and practices: Campbell refuted the use of instruments and refused to preach until the organist was silenced in denominational buildings.

We emerged as a separate denominational body in 1906.
"In 1906 the first federal religious census lists 'Churches of Christ' as a new denomination whose most visible characteristic was their adamant refusal to use instrumental music in their worship" (p. 57).

Again that's a lie: the Church of Christ had from the time of the introduction of the organ refused to fellowship the ORGANS even when they were friendly with the instrumentalists. The Church of Christ never JOINED the Disciples of Christ denomination and they therefore could not have separated from them.  ADAMANT is pejorative but it fits the universal practice of the Bible and most of church history.

The Church of Christ never SPLINTERED and never divided over instruments: a few buildings were stolen from under a tiny few.

Because The Church of Christ as Methodists, Presbyterians and Baptists had NEVER used instruments and ALL "adamantly refuse to BOW" it continued with what it believed and knew from HISTORY for 1850 years. Hughes seems pouty-mouth that the Church of Christ REFUSED to bow. That means that it was NOT part of the deliberate sowing of Discord. These are not scolars in any sense of the word.

Both of these gentlemen get their history from historians and not from the original resources now available for the 6th grade without a Phd.


Lynn Anderson etal: VI.  “Safety” [i.e. cowardice]

In the 1860’s, Benjamin Franklin wrote “There is not a saint who cannot without any violation of conscience worship without it [instruments]. . . We can remain on safe ground. . .”
Ben Franklin

We can NOT worship, and maintain a good conscience, with the organ.
We are certain that we can worship acceptably
without the organ.  

This was not cowardice but the statement of a fact and principle: We cannot worship with YOU if you add the organ.  On the other hand, you can worship without the organ. A logical conclusion is that you are willing to add something NOT REQUIRED and sow discord and this is the definition of heresy or a sect.

The friends of the organ do not doubt this. They entertain not one doubt that they can worship acceptably without it. Here is something that is safe. There is no doubt or uncertainty about it. There is no one that has the least doubt that we can worship acceptably without the organ.  

No one ever REJECTED instruments on the basis of fright but on sound Biblical, historical, moral and mental-health grounds. The musical sectarians can be save to NOT use instruments.

This is not just being CAUTIOUS without much conviction but SAFE GROUND is what the Campbells tried to establish: a community meeting where ALL can gather to carry out the ONLY role of the church whatever one's private musical practices.

We are perfectly aware that it is calling down on us the disfavor of many or the rich, the influential and popular; and that, on account of it, we are cut off from many amiable people, and can not meet and worship with them.

We are perfectly aware that it is against our temporal interests. We have not been, and are not, blind to all this, but have it before us, and have considered it carefully, and made up our mind to take all the consequences, and bear with meekness and patience whatever shall come.

We do not court these consequences, nor desire them, but we see no way to avoid them, and maintain what we solemnly believe to be [422] right. We, then, cheerfully accept the situation, and take the consequences, rather than give up the fullest, strongest and most settled conviction of our inmost soul.

Here, then, is safe ground, and here we can all meet and worship acceptably, in harmony and without any doubt. 

1. Those who use the organ, instead of showing indifference about it, push it into the worship, against the [429]  will and conscience of many good brethren, and compel them to worship with it, submit to it, or not worship with them.

This is an utter repudiation, in that which "speaks louder than words," of all professions of indifference. No man can think they look on it as a matter of indifference while they, with such persistence and determination, press it into the worship.

Many of them show more zeal in this than they ever did to spread the gospel, or build up the kingdom of God. The profession of indifference is without foundation, only as they wish those opposed to it to be indifferent enough to submit meekly, and let them bring it in. Their indifference never leads them to think of leaving it off for the sake of peace.

2. They violate the law of God in bringing a dumb instrument into the worship, that can not teach, admonish, sing, praise God, or give thanks, but confuses the worshipers, so that they can not teach, admonish, or sing to edification, as commanded in Scripture; or, in other words, it prevents doing precisely what the Lord commanded. To this no Christian, with due consideration, can submit.

3. Instead of devout worship, in song, teaching and admonishing one another, the whole affair is turned into a musical entertainment, an attraction, for the people of the world, and professors of religion, who have lost their taste, or never had one, for pure, devout and spiritual worship, in spirit and in truth, with the spirit and understanding. This is turning the worship of God into an entertainment, an amusement, an attraction for the people of the world, and others who have no spiritual relish. It is a perversion of the divine worship, and defeating the very thing commanded to be done. Can he be guiltless who does this? [430]
Lynn Anderson etal: In 1902, David Lipscomb wrote “All may worship without the organ.  This is safe ground.”  

But, he was NOT just being "cautious" as implied.  The Church of Christ made no such cowardly decision: they said that the INSTRUMENTAL SECTARIANS could be safe and NOT deliberately sow discord.  Excluding the organ from the Church of Christ was never based on "cowardice" but on Bible and historical and cultural literacy. Shame! Shame! Shame!

Instruments of Music in the Service of God
By David Lipscomb
Gospel Advocate, Vol. XLIII, No. 44 (October 31, 1901), 696.
It seems there cannot be a doubt but that the use of instrumental music in connection with the worship of God, whether used as a part of the worship or as an attractive accompaniment
    is unauthorized by God and violates the oft-repeated prohibition to add nothing to, take nothing from, the commandments of the Lord. 

It destroys the difference between the clean and the unclean, the holy and the unholy, counts the blood of the Son of God unclean, and tramples under foot the authority of the Son of God.  A Christian loyal and true to the Lord Jesus Christ cannot do this, nor in any way countenance the setting aside the order of God by adding to or taking from his appointments, even in the smallest matters, as washing of hands, while forbearance and love should be exercised in showing them the error of the way. 

When the church determines to introduce a service not required by God, he who believes it wrong is compelled to refuse in any way to countenance or affiliate with the wrong. 

To do so is to commit a double sin.  It is to sin against God and their own consciences and to encourage by example others to violate their consciences and the law of God; it is to lower the standard of regard for right. 

It is generally insisted that the peace of the congregation should not be disturbed by as small a matter as the use of instruments.  The test of a congregation of Christ is: It recognizes God as the only Lawgiver.  It serves God alone.  When it consciously changes the smallest appointment of God, it dethrones God as the only Lawmaker and ceases to be a church of God
So it is a false foundation to claim that people are lacking grace and are cowards when people speak of SAFE GROUNDS.

Probably a lot of people were at wits end by seeing their church family destroyed and their property turned over to others.  You don't HAVE to have instruments. You can be SAFE without them, but one thing God hates with a terminal passion: those who would sow discord among brothers. Can there BE any redemption?

Lynn Anderson etal: This concern over “safety” is disturbing for several reasons:

1.  It nullifies the cross’ saving grace.  It implies that we are saved by what we do - by being right.  This may be the root problem, of which the issue of instrumental music is only a symptom.
 
Again, it is not OUR safety we are concerned about: we are absolutely sure that instruments are the mark of telling Jesus Christ to "shut your face."  It is certain that Psalm 41 prophesied that Judas woudl attack Jesus in a musical sense and that the mocking of Jesus meant that the Levitical musicians drove Jesus to the cross as the fulfilled sign of fulfilled prophesy.

Yes, we are saved by what we do: when we have "obeyed from the heart that form of doctrine" only then does Paul in Romans 6 says BEING THEN free from sin.

It is a fact that Psalm 41 prophesied that Judas would try and fail to triumph over Jesus: this is what is outlawed for the synagogue and means "vocal and instrumental rejoicing." The Levites however musically mocked Jesus right up to the cross because they had identified Him as Beliar or Beel-zebul: the dung god.
Titus 2:11 For the grace of God that bringeth salvation hath appeared to all men,

Titus 2:12 Teaching us that,
        denying meaning to contradict, reject, refute
        ungodliness
means irreverent, impious: that will get you burned Heb 12. 
        and worldly lusts
, "A longing for that which is FORBIDDEN." Don't ring a bell?

we should
        live soberly
, Sound mind: music deranges the mind.
        righteously
, innocent giving NO offense.
        and godly
, devout or reverent without which you get burned.
        in this present world
;
Lynn Anderson etal:  2.  It implies a God who is watching, trying to catch us doing something wrong, putting ‘trick questions’ on the test.  Our God is a loving Father who earnestly desires relationship with us.
 
No, it is a fact that music and especially PRAISE SINGING was the oldest professionand was intended to make SURE that the gods did not fail AGAIN.  Music INSISTS that everyone had better be watching the singers, clappers and instrument players if they want to be led into the presence of God.

Because all musical terms speak of vile people trying to dominate,  and because God removed Grace because of musical idolatry at Mount Sinai we are DOGMATICALLY CERTAIN that God is watching but Paul said that we MUST worship God in reverence and Godly fear, because God IS STILL a consuming fire. We do NOT call down "holy fire" because we are cowards but because we are rational, spiritual or left-brained people who CANNOT be seduced by the Siren's Song.

Any interest in the Bible and its background should make people AFRAID that they are THE fallen angels sent to LIGHT THE FIRES, but they have an agenda.
Incentor, o-ris,one who sets the tune or begins to sing, a precentor, singer   
I. Lit.: carminis,  [1] incentore [2] canam [3] Phoebo [4] Musisque [5] magistris,  
II. Trop., an [A] inciter, exciter: [B] igneus [C] turbarum, : 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 )

Rev 8:10 And the third angel sounded, and there fell a great star from heaven, burning as it were a lamp, and it fell upon the third part of the rivers, and upon the fountains of waters;

G2985 lampas lam-pas' From G2989 
G2989 lampō lam'-po A primary verb; to beam, that is, radiate brilliancy (literally or figuratively): give light, shine.
Lampas lights used in Bacchic ceremonies Id.Ra.340 , or in festal processions, phainete, faggot, luchnis, helios identified with Apollo, Abaddon or Apollyon of the book of Revelation. 4. meteor,

Eos is used of the Musae who were the musical arbitrator. They are life or phôs, Êôs the goddess of dawn, Latin aurora.

2. day, katêïen es dusin ê. Musae; mesatê ê (arbitrator).

lucĭfer, fe(ra, fe(rum, adj. [lux-fero] , light-bringing: itaque ut apud Graecos Dianam, eamque Luciferam, sic apud nostros Junonem (Juno)
A. The morning-star, the planet Venus: stella Lucifer
B. The fabled son of Aurora [Eos] and Cephalus

Eôs

2. day, Il.1.493, al., Od.19.192, Theoc.12.1, Call.Aet.1.1.1; ê. de moi estin hêde duôdekatê, hote. . Il.21.80 ; katêïen es dusin ê. Musae.110; mesatê ê (arbitrator). Orph.A.649.
3. Life
II. pr. n., Êôs the goddess of dawn, Il. 11.1, Hes.Th.372,378, e

Thespian

E. Thespias , a(dis, adj. f., Thespian: Musae (a muse, one of the nine Muses, as dwelling on Mount Helicon), Ov. M. 5, 310 ; also called, absol., Thespiades, Varr. L. L. 7, § 20 Müll.; Cic. Verr. 2, 4, 2, § 4; Plin. 36, 5, 4, § 39.

Hêlios II. as pr. n., Helios, the sun-god, Od.8.271, identified with Apollo,
2. Hêliou astêr, of the planet Saturn,
[Lucifer, Zoe, daughters of Eve]
If God is watching us we want to be CERTAIN that we are not presuming to HELP keep Him from failure. God was watching when Israel rose up to play in musical idolatry: it was such a terminal sin that He turned them over to worship the stars: that which people are so anxious to impose again and again fall from grace.

"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." 

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,

and many tribes supposed lunatics and sexual deviants to be divinely possessed.  (Parkes, Henry Bamford, On Gods and Men, p. 30).

"In ancient Mesopotamia its main purpose appears to have been the enhancement of what was seen as beneficial. With the sole exception of wisdom literature,

the core genres are panegyric in nature (i.e.,
they praise something or someone),
and the
magical power and use of praise
is to
instill, call up, or activate the virtues presented in the praise.

"That praise is of the essence of hymns, for instance, is shown by the fact that over and over again the encomiast, the official praiser, (See Kantor, Precenter, Worship Leader) whose task it was to sing these hymns,

closed with the standing phrase: "O [the name of a deity or human hero], thy praise is sweet." The same phrase is common also at the end of myths and epics, two further praise genres that also belonged in the repertoire of the encomiast.

"They praise not only in description but also in narrative,
by recounting acts of valour done by the hero,

thus sustaining and enhancing his power to do such deeds,
according to the magical view.

dialekt-os , hê, discourse, conversation,  discussion, debate, argument
IV. style, panêgurikê, poiêtikê d., D.H.Comp.23,21: esp. poetical diction
panêgurikos
1. fit for a public festival, ho logos ho p., or ho p. alone, a panegyric, eulogy, Isocr., Arist. 2. ostentatious, pompous 
Lynn Anderson etal: 3.  If  “safety” is the goal,  isn’t it “safer” to go with the overwhelming abundance of scripture that supports instruments, rather than the silence of a portion of the text?
 
Safety is contrasted to recklessness: no there is not a jot or tittle which does not associate instruments with Lucifer the singing and harp playing prostitute, to making war, to sacrificial exorcism, to seducing customers and "flute-player" meaning prostitute and especially if MALE the mark of the Sodomite.

Because we KNOW that all of the proof-texts are fabricated out of thin smoke, ignores the context and isignorant of the story line.

Nothing in the Old Testament has any jot or tittle to say about the Christian Discipline. The Law was a curse imposed BECAUSE of musical idolatry. This writer has read none of the context or story line and therefore is flying blind into your save house.

But, again, the SAFE GROUND is a community assembly where everyone (Romans 14) could attend although the Roman sects were all highly addicted to music to make the gods appear.  By rejecting doubtful disputations which are self-centered and argumentative, everyone can sit down and listen to the elders "teach that which HAS BEEN taught and we can "sing that which is written" witn one MIND and one MOUTH.

Unfortunately, the writer has locked onto those "proof text" from the sacrificial system which God IMPOSED on Israel as He gave them kings in His anger to carry out the captivity and death sentence imposed BECAUSE of musical idolatry at Mount Sinai.

It is recklessly unsafe when we MISS all of those universal associations between instruments and Lucifer, warriors, exorcists in sacrificial systems, prostitutes and Sodomites.
We see where we are being navigated but it will not work: there is not any thing in the Old Testament which does not use musical instruments as MARKS of those who HAVE fallen from grace or are causing others to fall from Grace.  God says many times that He HATES the noise of instruments and animal slaugher: others have the burden to prove that God REALLY loved them: That is why Jesus said that doctors of the Law take away the key to knowledge.

But, God says that he HATES the sound of INSTRUMENTS which were the MARKS that the elders had used wine, women and instruments to STARVE the people for loss of the Word of God.  Isaiah 5 records the whole story.  It is not possible to read GOD'S STORY and conclude that He loves music when each and every instance has an evil connotation. Only if you take snippets out of a story by someone allergic to flowers can you assume that he WANTS you to bring flowers into his sanitary HOUSE.  In fact, none of the musical performers could even come CLOSE to the holy things and never went INTO the type of the church: they would be executed. If God would kill anyone who went into the type of the Church of Christ with a musical instrument then HOW are you going to prove that in the REAL body of Christ you can escape damnation.

Lynn Anderson etal VII.  “Anti-ism”

Example of development of an “anti-ism”, taken from Tom Burgess:
1.  There is neither Scriptural authority nor precedent for Christians to build or buy church buildings.
 
Then be our guest and give the money to the poor so that it won't get diverted.  However, this is like the "God didn't command toilet tissue" argument because the music defender knows that this is not an issue and has no bearing on the issue. When the Spirit OF Christ authorized the synagogue or church in the wilderness he authorized a place to assemble:

SYNAGOGUE Jewish Encyclopedia, literally " assemblage," is the term employed to denote either a congregation of Jews, i.e. a local circle accustomed to meet together for worship and religious instruction, or the building in which the congregation met. The germ of the synagogue, that is, of religious assemblages dissociated from the ancient ritual of the altar, may be found in the circle of the prophets and their disciples (see especially Isa. viii. 16 seq.);

Isaiah 8:16 Bind up the testimony, seal the law among my disciples.
Isa 8:20 To the law and to the testimony: 
        if they speak not according to this word, 
        it is because there is no light in them.

the school (beth hammidrash) trained scholars, but the synagogue, where the law was read every Sabbath (Acts xv. 21), was the means of popular instruction. Such synagogues existed in all parts of Judaea in the time of Ps. Ixxiv. 8 (probably a psalm of the Persian period); in Acts xv. 21 it appears that they had existed for many generations " in every city." This held good not only for Palestine, but for the Dispersion; in post-Talmudic times the rule was that a synagogue must be built wherever there were ten Jews.

After Ezra the synagogue began to be more organized.
Because the historic practice and the bylaws of most churches outlawed machines to help us worship--and pay them too--the addition of instruments is ANTI--the common practice. As such, that is the meaning of sectarian.

Writers from the NACC have stopped using non-instrumental for anyone but those who affirm that they were correct after all to sow discord. For those who will not shut their mouth but keep teaching what the Bible teaches they have coined the
ANTI-instrumental term. That means according to Dwayne E. Dunning you can take an axe to their roots. This has become that violent when people boast about infiltrating and navigating a happy church to where 'WE GONNA TAKE 'EM."

You can hold SCHOOL OF THE BIBLE inside of a house but you CANNOT hold school of the Bible with a band of noisy children making music. I never heard of a SECTARIAN division over meeting in a HOUSE.  You probably won't deliberately drive away half of the owners if you decide to build a "school house."  If this writer or Tom Burgess objects to getting in out of the rain then they have a point.

The direct command was for the synagogue or church in the wilderness which had HOUSES: who needs a law to get in out of the snow?  Jesus attended HOUSE meetings and affirmed the Synagogue but outlawed taking up collections to the sound of the trumpet, performance praying which was preaching and even STANDING up to preach.
Psa. 74:8 They said in their hearts, Let us destroy them together: they have burned up all the synagogues of God in the land.

4999. naw-aw´; from 4998; a home; figuratively, a habitation, house, pasture, pleasant place.

Psa. 83:12 Who said, Let us take to ourselves the houseS of God in possession.
Lynn Anderson etal: 2.  God gave instructions regarding the building of houses for religious worship in the Old Testament, but left such instruction out of the New Testament.

But, the temple was not a "house of worship." Because it was a national temple after God turned them over to worship the starry host, it was a "house" or dwelling place of the "god."  People did not enter into the holy places and the common people could not come near. Not even the Levitical Warrior Musicians could come near the holy things without getting executed.


The Christian culture was not HOUSE BOUND
: they went to the forum or Agora for food and most meals were at public kitchens. The baths were public.  Many toilets were public. The gossip was public: one went to the marketplace.  Paul taught in the amphitheater of Tyrannus because "that's where the people were." If you lived in a village it was probably at a crossroads and news was carried on these "star" routes. Fairs were set up to buy and sell and CHURCH was almost certainly carried on at these cross-roads places.  These fair towns was where the cathedrals were built only because of the opportunity to collect people.  Otherwise, people did not go beyond the neighborhood where house church could be conducted: why would ten people withing walking distance build a "church house?"

Since there was no church in Cenchrea, Phoebe probably met in Corinth but ministered at Cenchrea. She met and facilitated transportation OUT of Greece unless they wanted to settle. In may cultures a house is still where you go to sleep but without TV you were outside.  They MIGHT consider a Church House as totally incompatible with their understanding of church as "a school of the Bible." You went to the ekklesia for verbal instruction. You held Bible class in a community and decently went on: if a preacher stayed more than a few days they got him a job or a ticket on the next donkey out of town. There were no parasites like modern "pyramidal ministry systems" because they would be put in jail.


Fact is that God did not tell them to build a house for worship: Solomon thought that God was in the Temple but then God is not WORSHIPPED in houses built by human hands. The only worship is in the human spirit while the BODY is protected from snow.

The people NEVER worshipped IN the Temple.

A house does not diminish the ability to be a SCHOOL OF THE BIBLE: music absolutely destroys it.
Click if you believe the false teachers that the synagogue was not directly commanded as a Time-Place-Agenda assembly
Lynn Anderson etal: 3.  History reveals that Christians in Apostolic times did not build special church buildings.
 
Jesus endorsed the synagogue which was both an asembly (for education only) and a house.


As a matter of fact, the driven purpose was not build permanent houses: the direct command for ALL evangelists is to GO, preach the gospel and then move on.  Others spread the gospel from hosue to house because you can NEVER sprad the gospel in a mega-cathedral.  The poor priests who called themselves The Church of Christ organized SCHOOLS and hospitals because you cannot DO CHURCH WORK in a building.  However, for those who fleece the people to build mega-temples it just doesn't matter much, does it?

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.
Lynn Anderson etal: 6.  The New Testament commands Christians to build up a spiritual house (the church) and not a material house.  Since the New Testament specifies the kind of house that is to be built up, those who build up a material house are building up another kind of house; therefore, it’s an addition and not an aid.

Paul EXCLUDED self-pleasure which includes music and all of the hypocritic arts which have only entertainment value.  He commanded that the use one MIND and one MOUTH to edify or educate. That is the COMMANDED way to BUILD UP THE BODY. Here is where those who destroy COMFORT ZONES violate Romans 14 where Paul defines the Roman sectarians all of whom afflicted the weak with music to fleece them:

Rom 14:1 HIM that is weak in the faith receive ye, but not to doubtful disputations.

Astheneo (g770) as-then-eh'-o; from 772; to be feeble (in any sense): - be diseased, impotent folk (man), (be) sick, (be, be made) weak.

Acts 24:12 And they neither found me in the temple disputing with any man, neither raising up the people, neither in the synagogues, nor in the city:

Rom 14:19 Let us therefore follow after the things
........... which make for peace, and 
........... things wherewith one may edify another. 

Those people Anderson calls cowards are really quoting Romans 14:19. We KNOW that we can have peace without adding adding "machines for doing hard work and making war" but we know that YOU destroy the peace if you insist on adding instruments which have their fundamental beginning in MAKING WAR.

Only after the Discomforters have been silenced can you begin to edify or build the HOUSE. 

Cycle One
Cycle Two
WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves. Romans 15:1 And again he saith, Rejoice, ye Gentiles, with his people. Romans 15:10
Romans 15:2 Let every one of us please his neighbour for his good to edification.

For even Christ pleased not himself; but, as it is written, The reproaches of them that reproached thee fell on me. Romans 15:3

And again, Praise the Lord, all ye Gentiles; and laud him, all ye people. Romans 15:11
For whatsoever things were written aforetime were written for our learning (teaching), that we through patience and comfort of the scriptures might have hope. Romans 15:4 And again, Esaias saith, There shall be a root of Jesse, and he that shall rise to reign over the Gentiles; in him shall the Gentiles trust. Romans 15:12
Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Romans 15:5
Now the God of hope fill you (not with wine but) with all joy and peace in believing, that ye may abound in hope, through the power of the Holy Ghost. Romans 15:13
That ye may with one mind and one mouth glorify (tell of His works) God, even the Father of our Lord Jesus Christ. Romans 15:6
And I myself also am persuaded of you, my brethren, that ye also are full of goodness, filled with all knowledge, able also to admonish one another. Romans 15:14
Now I say that Jesus Christ was a minister (deacon) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8 Nevertheless, brethren, I have written the more boldly unto you in some sort, as putting you in mind, because of the grace that is given to me of God. Romans 15:15
And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will
(2) that the offering (bloodless sacrifice) up of the Gentiles might be acceptable, being sanctified by the Holy Ghost. Romans 15:16
(1) confess to thee among the Gentiles, and
(1) That I should be the minister of Jesus Christ to the Gentiles,
(2) sing unto thy name. Romans 15:9 ministering the gospel of God, that the offering up of the Gentiles might be acceptable, being sanctified by the Holy Ghost.

For
I will not dare to speak of any of those things which Christ hath not wrought by me, to make the Gentiles obedient, by word and deed. Rom 15:18

Through mighty signs and wonders, by the power of the Spirit of God; so that from Jerusalem, and round about unto Illyricum, I have fully preached the gospel of Christ. Rom 15:19

The churches would still be meeting in authorized synagogues if the Jews had not chased us out.  Jerusalem was filled with synagogues and some were quite extensive buildings. Jesus met with them to stand up to read  and then decently sit down: must have had CHAIRS ;-)

Lynn Anderson etal:   VIII.  Gifts

1 Pet 4:10  “Each one should use whatever gift he has received to serve others, faithfully administering God's grace in its various forms.” NIV


I haven't found rhetorician or singer or musician as a GIFT from God. All known evidence says that it was Lucifer the singing and harp playing prostitute who brought wind, string and percussion instruments when she/he was "cast as profane out of heaven." The very meaning of a hypocrite defined by Jesus pointing to Isaiah and Ezekiel was a "speaker, singer and instrument player."  

Here is where you are prohibited from using self-composed erotic-praise hymns and changing SPEAK to SING:

If any man SPEAK
        let him speak as the oracles of God; 

Paul told the Romans, Ephesians and Colossians to SPEAK "that which is written."

He commanded the elders to teach that which HAD BEEN taught: God does not NEED any talent that would make him in need of US and would make our worship LEGALISTIC. 

if any man MINISTER
        let him do it as of the ability which God giveth:

that God in all things may be glorified through Jesus Christ, to whom be praise and dominion for ever and ever. Amen. 1 Pet. 4:11

Now you have a direct command NOT to speak your own words or make up songs which history knows intends to deceive.

Minister is: 

Diakoneo (g1247) dee-ak-on-eh'-o; from 1249; to be an attendant, i.e. wait upon (menially or as a host, friend or [fig.] teacher); techn. to act as a Chr. deacon: - (ad-) minister (unto), serve, use the office of a deacon.

But let none of you suffer as a murderer, or as a thief, or as an evil doer, or as a busybody in other mens matters. 1 Pet. 4:15

Busybody is:

Periergos (g4021) per-ee'-er-gos; from 4012 and 2041; working all around, i.e. officious (meddlesome, neut. plur. magic): - busybody, curious arts.

Many of them also which used curious arts brought their books together, and burned them before all men: and they counted the price of them, and found it fifty thousand pieces of silver. Ac.19:19

This sounds like a Family Life Minister to make sure you have some WORK to do on Friday night and to use up all of your SURPLUS money and then be nosey to make sure that everyone is DISCIPLED like all good cults.    

Periergos, on, taking needless trouble, 2. officious, meddlesome, 3. curious, superstitious, hierourgiai, curious arts, magic, Act.Ap.19.19.
Hierourgia religious service, worship, sacrifice, Hdt. [from hierourgos]
Aphair-eo , Ion. apaireô what Paul outlaws for the synagogue in Revelation 15
Canto 
I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm, cantata Luna, exorcised by magic, of instruments, to sound, resound

Magicus,
belonging to magic, magic, magical. superstitiones, vanitates, that were invoked by incantations: linguae= skilled in incantations, cantus, magicae resonant ubi Memnone chordae, mysterious 
II. Pass., overwrought, elaborate, odmê (perfume) Hp.Praec.10; phorêmata, of language or style, exorcheisthai  

That is why the "music" by the Levites under the curse of the sacrificial system performed EXORCISM sounds never called music.

That is why especially women who usurp and lead the "boys" into making music are identified as witches or sorcerers (Rev 18).  The Familiar Spirit of the Witch of Endor was a hollow sounding "wine skin" identical to the nebel (harp) or the sounding bronze in 1 Cor. 13.

Cicero 2X.[21] There is a fourth class, various, promiscuous and turbulent [destroying your comfort zone]; who indeed are now overwhelmed; who will never recover themselves

There is a last class, last not only in number but in the sort of men and in their way of life; the especial body-guard of Catiline, of his levying; yes, the friends of his embraces and of his bosom; whom you see with carefully combed hair, glossy, beardless, or with well-trimmed beards; with tunics with sleeves, or reaching to the ankles; clothed with veils, not with robes; all the industry of whose life, all the labour of whose watchfulness, is expended in suppers lasting till daybreak.
Exorcheisthai exorcheomai 1 Dep. I. to dance away, hop off, Dem.II. c. acc. rei, to dance out, i. e. to let out, betray secretsrhuthmos I. measured motion, time, whether in sound or motion

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 [Wandering Stars]

With the improvement of the arts of music and dancing, the distinction of spectators and performers arose; it became more a matter of art to sing and dance in the chorus;

paid performers were employed; and at last the duties of this branch of worship devolved upon one person, selected by the State to be their representative, who defrayed all the expenses which were incurred on the different occasions.

Canto C. Transf., of instruments, to sound, resound: 2. Of an actor, to represent a part, to act, cantata Luna, exorcised by magicB. To call forth, produce by charms
III. In the lang. of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant,
Pindar, Nemean Odes 7. [20] And I expect that the story of Odysseus came to exceed his experiences, through the sweet songs of Homer, [22] since there is a certain solemnity in his lieswinged artfulness, and poetic skill deceives, seducing us with stories, and the heart of the mass of men is blind and
Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..
The form of diction should be neither metrical nor without rhythm.
 If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

Wouldn't God send them to a church which believed that musical entertainment is acceptable? Would He really send someone knowing that it would sow discord and drive people out?

The week still has 168 hours and the world is filled with public places to do musical performances.  I think this is a bit of a pressure point which has no connection to the clear Biblical connection with performers and bad people.  Why FORCE yourself and your preferences onto others who will be overwhelmingly offended even if they do not break and run for their lives.  The meaning of CHURCH is to consider the weak or infirm which includes a large percentage on anti-depressants just to be able to make it through even "a capella" music. Music was always known to abrade or grind one into bits: the word PSALLO is derived from a word meaning to "grind one into a fine powder." The same base word for SOP.  All of history knows that the "thrill" produced by music and especially harmony produces the "dog barks at midnight" and the "water drips" which are there but not audible. Nevertheless, any comples music does emotional and even physical harm to people.

I can tell you that most of us hear male "churchy singing" as screechy-screamy and not as pleasant. The Hebrews performed in FALSETTO for effect. The Catholic church used falsetto singers until they discovered the A Capella meaning the Castratos and used them in the Sistine where instruments were unlawful.  History knows of this singing that "only females and the effeminate fall into it." It destroys the masculine role as feminist hermeneutics CLAINS to do with "small acts of treachery."


Lynn Anderson etal: I have shared my beliefs and desires.  Now let me share my intentions.  I trust your wisdom.  You are men of faith and integrity who listen carefully to the Spirit’s leading.  If you decide that any changes would be detrimental to the body at this time, I will respect that.  I will pour my energies into making a cappella worship magnified and praised to the fullest, and that every seeker would become a fully devoted follower and worshipper.
 
The name of The Holy Spirit is "Jesus Christ the Righteous." He HAS spoken and said "My words are Spirit and they are Life." Peter MARKED those who do not teach that which has been taught and validated by supernatural signs in a face-to-face encounter with God.  Therefore, the "spirit person" DOES NOT speak to people: it is simply people's own selfish desire.  Miriam was slapped with a dose of leprosy for claiming that God spoke to her and through her: God said that he reveales face to face or mouth to mouth and those who claim to hear voices are claiming to be God Incarnates

Until now, instruments have been allowed at Oak Hills as long as they are not a part of a regular ‘worship’ service. 
 
And THAT is how we navigate instruments in over the heads of the congregation and probably most of the elders who vote with their feet.  If history says anything, someone highly intentional set out to sow discord for their own selfish purposes.  Once used in "non worship" activities people are slowly manipulated into accepting something they began thinking wrong: the fact that their minds are changed for them does not make the evil into something good. You can make a sober person into a dead drunk by beginning to use small doses of alcohol: in fact, music is known as a highly addictive drug inducer.

In the book of Job defining the FERTILITY RITUALS of the Mother of Babylon's whores:
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
They
spend their days in wealth, and in a moment go down to the grave. Job 21:13

Isa 5:14 Therefore hell hath enlarged herself, and opened her mouth without measure: 
and their
glory, and their multitude, and their pomp, and he that rejoiceth, shall descend into it.

H7588 sh'ôn shaw-one' From H7582 ; uproar (as of rushing); by implication destruction: horrible, noise, pomp, rushing, tumult  

Hislop who notes how the clergy and music was imposed:  [Since the effort to impose instruments too about 25 years: yet with close to zero success and then by those who had banded together to "introduce a new style music."  

"Now if this was the case in Job's day, much more must it have been the case at the earlier period when the Mysteries were instituted. It was a matter, therefore, of necessity, if idolatry were to be brought in, and especially such foul idolatry as the Babylonian system contained in its bosom, that it should be done stealthily and in secret

* It will be seen by-and-by what cogent reason there was, in point of fact, for the profoundest secrecy in the matter. See Chapter II 

Even though introduced by the hand of power, it might have produced a revulsion, and violent attempts might have been made by the uncorrupted portion of mankind to put it down; and at all events,  if it had appeared at once in all its hideousness, it would have alarmed the consciences of men, and defeated the very object in view.

From the ingredients avowedly used, and from the nature of others not avowed, but certainly used, there can be no doubt that they were of an intoxicating nature;

and till the aspirants had come under their power,
till their understandings had been dimmed
,
and their passions excited
by the medicated draught,
they were not duly prepared
for what they were either to hear or to see

[289e] For not only do these speech-writers themselves, when I am in their company, impress me as prodigiously clever, Cleinias, but their art itself seems so exalted as to be almost inspired. However, this is not surprising; for it is a part of the sorcerer's art, 

[290a] and only slightly inferior to that.

The SORCERER'S art is the charming of snakes and tarantulas and SCORPIONS and other beasts and diseases, while the other is just the charming and soothing of JURIES, assemblies, crowds, and so forth. Or does it strike you differently? I asked. [The other being lyre-makers in regard to their lyres]

Pharmakon 3. enchanted potion, philtre: hence, charm, spell, [used with Epôidê,]

Epôidê, Ion. and poet. epaoidê , hê, A. song sung to or over: hence, enchantment, spell, epaoidêi d' haima..eschethon Od.19.457 , cf. Pi.P.4.217 ; ou pros iatrou sophou thrênein epôidas pros tomônti pêmati S.Aj. 582 oute pharmaka

And Plato informs those with a lust to change
"music and gymnastic (must) be preserved in their original form, and no innovation made. They must do their utmost to maintain them intact. And when anyone says that mankind must regard.
        The newest song which the singers have, (Odyssey)...
        they will be afraid that he may be praising, not some new songs, but a new kind of song;
        and this ought not to be praised, or conceived to be the meaning of the poet;
        for any musical innovation is full of danger in the whole State, and ought to be prohibited.  
"So Damon tells me, and I can quite believe him; he says that when modes of music change, the fundamental laws of the State always change with them..."  

"Then," I said, "our guardians must lay the foundations of their fortress in music?"
"Yes," I replied, in the form of amusement: and at first sight it always appears harmless'." 
(The Great Dialogs, Plato, Classic edition, p. 312)

DAMON "Rise, Lucifer, and, heralding the light,
bring in the genial day, while I make
moan
fooled
by vain passion for a faithless bride,
for Nysa, and with this my dying breath
call on the gods, though little it bestead--
the gods who heard her vows and heeded not.
'Begin, my
flute, with me Maenalian lays.'
One of the words in the beginning of stealing church houses of widows was PRAXIS: if we can get people in masses and let them EXPERIENCE a mass demonstration they will be hooked.

Hitler said it best:

"But the
community of the great demonstration not only strengthens the individual, it also unites and helps to create an esprit de corps. The man who is exposed to grave tribulations, as the first advocate of a new doctrine in his factory or workshop,

absolutely needs that strengthening which lies in the conviction of being a member and fighter in a great comprehensive body.

And he obtains an impression of this body for the first time in the mass demonstration. When from his little workshop or big factory, in which he feels very small,

he steps for the first time into a mass meeting and has thousands and thousands of people of the same opinions around him, when, as a SEEKER, (Als Suchender.' A Wagnerian phrase, which Hitler was apparently determined to use at all costs) he is swept away by three or four thousand others into the mighty effect of suggestive intoxication and enthusiasm,

Once we have imposed instruments on the Sabbath (Sabbazianism, Dionysus, new wineskin worship.) then WHY cannot we go all the way. Isn't the venom of deception just dripping?

Lynn Anderson etal: There are two dangerous problems with this. 
First, it implies a separation of worship from the rest of our lives. 
Secondly, it relegates instrumental praise to the arena of Saturday night entertainment
I would never want to lose our rich and unique a
cappella heritage. 

Our heritage is one of those "affect images." If you can convince people that not using machine worship or performers is just some virus you caught from your ignorant ancestors. Pretty shabby since there is no historical period they can find which does NOT repudiate letting the entertainers invade the quiet school of the Bible. All of the groups which flowed into the American Restoration Movement rejected instruments and even the Catholics had never engaged in "congregational singing with instrumental accompaniment."
ONE --- "Introduce the idea as a way to reach an agreed upon goal."
TWO ---
"Introduce the idea as an addition, not a replacement."
FIVE --- "Sow seeds of creative discontent."
This is the boiling the frog trick! The assembly is called ekklesia or synagogue or school of the Bible. Paul's ONLY worship words means to give heed to the Words of God. Paul writes how he conducted the assemblies and gave a direct command to Timothy:
1Tim. 4:13 Till I come, give attendance to [public] reading, to exhortation, to doctrine.
That's it: singing as an ACT of worship was not forced in and sowed discord until about the year 373.  Furthermore, Jesus said that worship is in the PLACE of the human spirit as opposed to the PLACES of temples.  The ACT is IN TRUTH which means to be taught by the Words of Christ.

Paul said that they worshipped IN THE SPIRIT as opposed to IN THE FLESH because outside there were the DOGS or cynics: they were Catamites who identified a partner by their 'old style praise singing.'  There is no literary exception to the RULE that religious music involved prostitutes or homosexuals.

John was IN THE SPIRIT on the Lord's Day and that is the only PLACE where God accepts your worship.

The Change-Agentry system is to slowly introduce things as "additions" and never as changes. Everyone knows that the intention is to make the whole ritual into a musical idol worship.

John identified the Mother of Harlots who used "lusted after fruits" as slick speakers, singers and instrument players. John called the sorcerers who HAD deceived the whole world.

Then I contended with the nobles of Judah, and said unto them, What evil thing is this that ye do, and profane the sabbath day? Neh 13:17

Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Did not your fathers thus, and did not our God bring all this evil upon us, and upon this city? yet ye bring more wrath upon Israel by profaning the sabbath. Neh 13:18

Lynn Anderson etal: I hope that the main diet of our Sunday a.m. assemblies remains a cappella.  Freedom for the occasional instruments would be appropriate, for example with a solo or with a piano or guitar underlining a prayer
 
Why would you make noise during prayer when you know that you force the brain into a dither trying to keep track of both events.  Isn't this part of the gradualism: if we cannot get our total way we will compromise by forcing you to endure something you consider sinful and destructive. In time, additional changes will be made and the goal will be to replace both the pracher and the elders as the Biblical deacons have already been fired.

Conflict resolution intends to force you to meet the others and let them get half of their way. However, the historic church has considered music as "worship" evil because it is a way to bypass the logical (spiritual) nature and seduce by appealing to the emotions.  

I don't think you have to be too smart to see this is a playground trick to get your marbles, one at a time. Everyone knows that even while promisign little bits of instrumental music off in a corner the DRIVEN PURPOSE is to confiscate the entire "worship" service to bleed off worship from God to the performers.


Lynn Anderson etal: Allowing Peak of the Week to be instrumental, at least part of the time, would offer some balance.  Currently, those who prefer only a cappella music have their tastes satisfied at both the Sunday and Wednesday services.  Those who delight in instruments are passed off to the left-over ‘off’ times.  
 
No, not an inch: the Bible defines music as sinful and derived from Satan called the singing and harp playing prostitute in the garden of Eden.  If the congregation was founded as a church of Christ and people's wealth has been collected, those intending to divert the funds to another purpose are criminals and will be punished.  The historic and universal view is that MUSICAL INSTRUMENTS in the face of a Holy God come to be our Teacher is in many Biblical examples seen as beyond redemption.

Minimum ethics would force a divisive person to leave a church in peace and go find or found another church.  This is really a morality issue and it is not pretty.

Therefore, because the founding principle is that instrumental music is sinful on its face and beyond redemption as sowing deliberate discord, why should the church endure a SINFUL PRACTICE just part of the time. Especially when they know that the objective is to "go all the way" by as Carrol D. Osburn says "Feminists destroys patriarchal religion by small acts of treachery."  


Paul said that those who had TASTED the Word of God and then rejected it had done the unforgiveable sin.  The assembly is NOT about personal taste: that would put my lusts over the Word of God.

John says that the "lusted after fruits" used as slick speakers, singers and players of instruments are sorcerers who HAD DECEIVED THE WHOLE world: that points directly to Lucifer in the garden and riding on the backs of all kingly systems such as Trye and Babylon.  In Revelation 17 John calls her the Mother of Harlots.

SOME PEOPLE DO NOT KNOW ENOUGH TO BE FRIGHTENED. Odes of Solomon

ODE 37.

1 I stretched out my hands to my Lord: and to the Most High I raised my voice:
2 And I
spake with the lips of my heart; and He heard me when my voice reached Him:
3 His answer came to me and gave me the fruits of my labours;
4 And it gave me rest by the grace of the Lord. Hallelujah.

ODE 38.5 And I ran no risk, because I walked with Him;
6 And I did not make an error anything because
I obeyed the Truth.

7 For Error flees away from it and meets it not: but the Truth proceeds in the right path, and

8 What ever I did not know, it made clear to me, all the poisons of error, and the plagues of death which they think to be sweetness:

9 And I saw the destroyer of destruction, when the bride who is corrupted is adorned: 
        and the bridgegroom who corrupts and is corrupted;

10 And I asked the Truth, 'Who are these?'; and He said to me,
        'This is the
deceiver and the error:

11 And they are alike in the beloved and in his bride: 
        and they
lead astray and corrupt the whole world:

12 And they invite many to the banquet,
13 And give them to drink of the wine of their intoxication, and

remove their wisdom and knowledge,
and so they make them without intelligence;

14 And then they leave them; and then these go about like madmen corrupting: seeing that they are with out heart, nor do they seek for it.'

15 And I was made wise so as not to fall into the hands of the deceiver
        and I congratulated myself because the
Truth went with me,

The MARK is the Mother of Harlots using "lusted after fruits" as false speakers, singers and instrument players who John called SORCERERS. 

Isaiah 30 exlains he ONLY reason Topheth or hell was provided. The Marks of God driving them into hell is wind, string and percussion instruments.  Revelation 17 defines the Mother of Harlots, the FRUITS they lusted after and the rhetoricians, singers and instrument players as SORCERERS Rev 18.  They HAD dedeived the whole world and removed the CANDLES which will never be restored.

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