Al Maxey: Miriam as Musical Worship Leader

Apparently the Cuba Avenue elders approve of spending their preachercating funds on INVENTING new RACA words to pour on the heads of anyone who will not CEASE teaching what the Bible universally teaches. It always associates music with Satan, prostitutes and Lucifer the harp-playing prostitute.  Perseus may have hacked some of these links for the literate.

UPDATED 8.15.14   WE HAVE ADDED PART TWO TO DEFINE MIRIAM AS A PROPHETESS BUT NOT PROPHET.

-WORSHIP ANDROGYNY THE PAGAN SEXUAL IDEAL PETER JONES

Gender Inclusive and Egalitarian  Churches of Christ  Everyone prays that EVERYONE be in peace and quietness. Men cannot bring on WRATH or ORGY which includes all of the performing or hypocritic performances: rhetoric, singing, playing, acting.  Women cannot teach OVER men because the authorized pattern is to PREACH the Word by READING the Word and mutually confessing it.  The PURPOSE all inclusives miss and violate is that so that "everyone can be saved and come to a knowledge of the truth." That truth is the elders teaching that which has been taught.

Gal328 Gender Justice in Church of Christ
        D'Esta Love Pepperdine Board of Directors for Gal328.org
        -Mike Cope Women Worship Leaders

Doug Hurley Your Sons and Daughters shall Prophesy at ACU
See Ken Cukrowski Women in Ministry at ACU
See Ken Cukrowski claiming that the old and new testaments authorizes women prophets.
Jeff Walling Women in Ministry

Russ Adcox Women in Ministry
Carroll D. Osburn Women and Change Agenda

Wiley Clarkson one of Ken Cukrowski's disciples
John Mark Hicks Women in the Assembly: Prophesying
Rubel Shelly Homosexuals and Women justice
1. Rubel Shelly Women in God's Service

2. Rubel Shelly: Women in God's Service: Jesus Life and Service
Al Maxey Miriam as Musical Worship Minister


Patternism in Churches of Christ: A Template for Sin Royce Ogle

Jay Guin etal at ONEINJESUS.
Rubel Shelly one of the early ANTI-patternists who wants to ADD more pieces
A Spirit for the Rest of Us: Tim Woodruff 

 

Al Maxey and Cuba Avenue yearning to ESCAPE with the women and play the SISTRUM which was NOT a musical instruments?  We jump ahead to show that the ONLY motive of Al seems to be to to malign those who reject INSTRUMENTS or MACHINES for doing HARD WORK when Jesus invited to REST from all of the noise and noise MAKERS.  Here are a few of the accusations if you REJECT instruments and those who cannot help from lying about all of the "musical" events in the bible.

Not even civil society tolerated what "worship" centers love:
Plat. Laws 936c There shall be no beggar in our State; and if anyone attempts to beg, and to collect a livelihood by ceaseless [making Poieo meter, hymns] prayers, the market-stewards shall expel him from the market, and the Board of city-stewards from the city, and from any other district he shall be driven across the border by the country-stewards, to the end that the land may be wholly purged of such a creature. If a slave, male or female, do any injury to another man's goods,
So, whatever one can scrape up from the muddy streams, the use of music in worship was the absolute mark of females or male performers.  We have added a study of Titus who set down those men Paul had selected as fitted to do really hard, no holds-bared battle againsth the religion of Crete devoted to Apollo (Abaddon, Apollyon) and the Mother Goddes worship. This was always musical and always perverted as in the CROOKED GENERATION of skolion musicians.

See Titus 1 where Paul absolutely dismisses any rhetorician, singer, instrument player, dancer or actor. The way to DEFEAT the evil religionists is to follow the pattern of sound words. It so absolute that no one can be trusted to sermonize or versify the Bible that the direct command is to PREACH by READING the text. Besides, this was always the many thing to do and you would never find a band of straight males who would promote any kind of music when Jesus comes to be our SOLE Teacher when we teach that which has been taught.

Thinking that he has found authority for INSTRUMENTAL worship:
Al Maxey: As John saw the throne room of heaven, he beheld the twenty-four elders (which most scholars believe represent the 12 tribes and the 12 apostles, which in turn represent the redeemed of both covenants), and "they each one had a harp" [Rev. 5:8]. Time and again in this vision of the redeemed before God's throne, we behold these victorious saints in possession of "harps of God" as they worship their King.

Strangely, this revelatory fact has greatly troubled, and, yes, even angered, some men and women who are numbered among the ultra-conservative, highly legalistic and patternistic factions and sects of Christendom.

That is really a very bad twist: No literate disciple of Christ FAILS to understand the meaning of things that SOUND like harps in ZION among the dead virgins.  They understand that the other angel's message to the LIVING was to PREACH THE GOSPELSPEAK in the not-musical passages means PREACH. The content is "that which is written." The word SPEAK means PREACH--like all of tham wurds--is specificially defined as OPPOSITE of poetry and OPPOSITE of MUSIC. Al Maxey WILL NOT let the Rock and Roll band do the "F" performance while HE is preaching I betcha.

As a matter of facts all of these SOUNDS are defined as the FRIGHTENING sounds of pagan religious theater and the CULT OF THE dead.  John's messages is that for the BELIEVING who have DIED these sounds do not drive PANIC which defines all of the arousal singing and instrument terms. In fact, a musical instrument is defined as a "machine for doing hard work." It is used mostly of creating panic in warfare and the "shock and awe" of religious rituals.  It should be self evident since music is so works-intensive that those who do NOT make music are doing less WORKS than those who DO make music.

It should trouble Al that what John saw on earth was the mother of harlots (Revelation 17) using the "lusted after fruits" or rhetoricians, singers and instrument players whom he called SORCERERS. I
Which is CONTRASTED with Cuba Avenue as:
Grace-centered, Christ-focused awareness
Anyone who is Christ-focused will CAST OUT the musical minstrels LIKE DUNG. They will take the PSALLO cord and DRIVE OUT those taking up tithes.  They will CONSIGN the pipe players, singers and dancers to the Agora or MARKETPLACE. That is where all of the pagan temples using music, slick speakers, homosexuals [Catamites were allowed ONLY if they were PROFESSIONALS], sellers of young boys and sellers of radishes.

Al is reading from the Christian Church books when He cannot find any evidence against musical instruments.  This is to much of a FLOODING of information but we can only look at a few.  How is it that this writer along with all church theologians see the PROPHETS inspired by the Spirit OF Christ universally associating INSTRUMENTS with the "Worship of the Heavenly Host" of the unauthorized king, kingdom, animal sacrifices and the temple, and All cannot find a SINGLE instance?

SKIPPING THE HARPS OF ZION (not Jerusalem).  You can read some rough notes on the harps of God (not David) but you should understand that the message to the LIVING is to PREACH THE GOSPEL.  Further, John in Revelation 18 associates the literal harps with SORCERY of the operatives of the Mother of Harlots (Rev 17).  Further, John associated JERUSALEM with SODOM. 
Hear the word of the Lord, ye rulers of Sodom; give ear unto the law of our God, ye people of Gomorrah. Isaiah 1:10

Isa 1:11 To what purpose is the multitude of your sacrifices unto me? saith the Lord:
.......... I am full of the burnt offerings of rams,
.......... and the fat of fed beasts;
.......... and I delight not in the blood of bullocks, or of lambs, or of he goats.

Isa 1:12 When ye come to appear before me,
.......... who hath required this at your hand, to tread my courts

For this Agar is mount Sinai in Arabia,
.......... and answereth to Jerusalem which now is,
.......... and is in bondage with her children. Galatians 4:25

The service of the singers and instrument players is called HARD BONDAGE.

And their dead bodies shall lie in the street of the great city,
.......... which spiritually is called Sodom and Egypt,
.......... where also our Lord was crucified. Revelation 11:8

In his reflections about HOLDING the harps of God Al etal MISSED the point that NO ONE played the harps: the SOUNDS were LIKE harps and even THUNDER. Why doesn't Al begin promoting--as they did in the Greek religious theater--thunder machines?  Maybe he DID grasp that 1 Corinthians 13 speaks of the THUNDER MACHINES of witchcraft, theater of warfare.
Musical Instruments USED for Legalistic Pagan Works
Strabo who wrote TRUE GEOGRAPHY: And Paul was History Literate
Also resembling these rites are the Cotytian and the Bendideian rites practiced among the Thracians [origin of impure Threskia] , among whom the Orphic rites had their beginning. Now the Cotys who is worshipped among the Edonians,
..........and also the
instruments used in her rites, are mentioned by Aeschylus; for he says,
..........O adorable Cotys among the Edonians, and ye who hold mountain-ranging instruments;

And he mentions immediately afterwards the attendants of Dionysus:
..........one, holding in his hands the bombyces (reed flute),
..........toilsome WORK the turner's chisel, fills full the fingered melody, the call that brings on frenzy,

while another causes to resound the bronze-bound cotylae. (cupped cymbals or vases) 
"and again,
stringed [psalmos or twitched] instruments raise their shrill cry, [Alalazo: raise the war-cry]
and frightful mimickers from some place unseen bellow like bulls,
and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound.

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 alalazon 1 Ep.Cor.13.1

The Musical Sowers of Discord were hatched by mother Wimber of the Vineyard. This was ditto headed as New Wineskins. The thesis is that worship should be a SPIRITUAL DRUNK and God is the 'holy bartender.'  Lucado and Shelly say that the Spirit was God's song writer and dance master.  Click to see the meaning of the NEW WINESKINS.

This also points to the Musical Minstrels whom Jesus CAST OUT like DUNG.
All missed the point that the Biblical and HISTORICAL practice of churches including those which flooded into Restoration churches REPUDIATED instruments based on DIRECT COMMANDS, APPROVED EXAMPLES and UNIVERSAL PRACTICES. Therefore, one is a SECTARIAN when they ADD SOMETHING not absolutely necessary. Churches of Christ continued NOT doing what they had NEVER done as a group which always existed.  They did not SOW DIVISION by REMOVING instruments from peaceable instrumental churches. Therefore, they CANNOT be sectarian.  Al Maxey and Cuba Avenue defends the SECTARIANS.

A musical instrument is an ORGANON which means a "machine for doing hard work" or for producing the shock and awe of PANIC as the reason pagans adopted MACHINES. Therefore, Al Maxey and Cuba Avenue are the LEGALISTS.
The Curse of the Law of Moses was IMPOSED because of Musical Idolatry at Mount Sinai.  They were doing LEGALISTIC WORK learned in Egypt which came form their old Babylon:

The Last Days 2 Tim 3: 1 THIS know also, that in the last days perilous times shall come
G5467 chalepos khal-ep-os' Perhaps from G5465 through the idea of reducing the strength; difficult, that is, dangerous, or (by implication) furious:--fierce, perilous.
G5465 chalaō khal-ah'-o From the base of G5490 ; to lower (as into a void):--let down, strike.


Chalaô
 toxa to unstring the bow, to loosen or undo things drawn tightly together, become slack or loose, be indulgent, remit, to grow slack, [orge= Panos orgai panic fears (i. e. terrors sent by Pan), orgas wrath at or because of the rites. I.orgies, i. e. secret rites, secret worship, practised by the initiated alone, of the secret worship of Demeter at Eleusis,  --but, most commonly, of the rites of Bacchus,

Prob. from * ergô erdô, rhezô, in the sense of performing sacred rites, sacra facere.]


Musical Instruments DEFINED as LEGALISTIC MACHINES:

Organon ,to, ( [ERGON, erdô] ) I. an implement, instrument, engine of any kind (mostly post-Aug.), Col. 3, 13, 12.--Of military or architectonic engines (whereas machina denotes one of a larger size and more complicated construction)
Ergon  [Ergô] I.work, 1. in Il. mostly of deeds of war, polemęďaerga, 3.a hard piece of work, a hard task, Il.: also, a shocking deed or act,

Armageddon is doing POLEMIC WARFARE!
A. instrument, implement, tool, for making or doing a thing
3.musical instrument,  al.; met'ôidęs kai tinôn organôn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2
The use of music was the PATTERNISM of Lucifer as the "singing and harp playing prostitute" in the garden of Eden and the Mother of Harlots (Rev 17) who USES instruments and USES false speakers, singers and instrument players (Rev 18). John identifies them as SORCERERS as does ALL of the arousal singing and instrument terms. All religious PERFORMANCE is defined by Jesus as Hypocrites. Therefore, Al Maxey and Cuba Avenue are the only PATTERNISTS.

Both in the BEGINNING in Genesis and the ENDING in Revelation all of the PERFORMERS were called PROSTITUTES even as Peter calls those who corrupt the word as PROSTITUTES because they "sell learning at Retail." Therefore, Al Maxey and Cuba Avenue are promoting the Babylon Whore religion.

Al Maxey has an agenda to silence anyone who would continue to claim that the use of musical instruments in an attempt to worship a Spirit God in the PLACE of our spirit is sinful and a latter day SECTARIAN SOWING OF DISCORD.  A musical instrument is defined as a "machine for doing hard work" or for "producing shock and awe" which was mostly connected to WARFARE or to professional people Jesus identified as HYPOCRITES including "slick speakers, singers and musicians" producing a RELIGIOUS EXPERIENCE to fleece the simpletons.  Lucian of Samosata the music pushers twist noted:

He now formed great designs, which he imparted to a Byzantine chronicler of the strolling competitive order, a man of still worse character than himself, called, I believe, Cocconas.

The pair went about living on occult pretensions, shearing 'fat-heads,' as they describe ordinary people in the native Magian lingo. Among these they got hold of a rich Macedonian woman; her youth was past, but not her desire for admiration; they got sufficient supplies out of her, and accompanied her from Bithynia to Macedonia. She came from Pella, which had been a flourishing place under the Macedonian kingdom, but has now a poor and much reduced population.

Alexander
, on the other hand, preferred his native place, urging very truly that an enterprise like theirs required congenial soil to give it a start, in the shape of 'fat-heads' and simpletons; that was a fair description, he said, of the Paphlagonians beyond Abonutichus;

they were mostly superstitious and well-to-do; one had only to go there with someone to play the flute, the tambourine, or the cymbals, set the proverbial mantic sieve a-spinning, and there they would all be gaping as if he were a god from heaven.

Because there is NO ROLE for the MANY of whom Paul said "if they will not eat" or the MANY Peter said "corrupeted the word" meaning "selling at retail" and therefore ADULTERERS, music is the only Sorcery Machine Al and other false teachers have to keep FLEECING the Fat heads and simpletons.

The Bible defines this universal HUCKSTERISM:

And will ye pollute me among my people for handfuls of barley and for pieces of bread,
to slay the souls that should not die, and to save the souls alive that should not live, by your lying to my people that hear your lies? Eze 13:19

Pollute is from the Hebrew word:

Chalal (h2490) khaw-lal' to wound, to dissolve; figurative 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): defile, eat as common things, gather the grape thereof, take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute

Wherefore thus saith the Lord God; Behold, I am against your pillows (clothing to conceal), wherewith ye there hunt the souls to make them fly (lift up), and I will tear them from your arms, and will let the souls go, even the souls that ye hunt to make them fly. Eze 13:20

Therefore, Al Maxey is DEFENDING that which was ALWAYS the practice of women or homosexuals and are THEREFORE supporting the rise of the Mother of Harlots.

NEXT, IS THERE CONFESSION TO BEING AGENTS OF THE MOTHER OF HARLOTS naturally hostile to  ULTRA-CONSERVATIVES trying to prevent the Lucifer Principle from being challenged. I don't know why Aldous Huxley would be called in to TRUMP what all Bible studens have always know when Huxley is about to MARK the musicators as bad characters PRODUCING other bad characters.
FURTHER PROOF: IS THIS A CONFESSION?  Al Maxey quotes

After silence, that which comes nearest
to expressing the inexpressible is music.
Aldous Huxley {1894-1963}

First, God commanded SILENCE when God is in His Holy Temple (Hab 2:19-20). The Holy Place was silent except for prayer: there was ABSOLUTE silence in the Most Holy place (our spirit) where we worship God IN the PLACE of our spirit and IN TRUTH which Al and Cuba Avenue do not spread.

Paul said the converted Jews worshipped IN the Spirit as opposed to IN the Flesh.That was BECAUSE the DOGS would be outside. They were the cynics whose style of singing (howling as in praise singing) identified them as homosexuals SEEKING a mate.
Second, how dare anyone accuse God of sending Himself as WORD and not being as competent as Al in EXPRESSING His Mind or Spirit. Al gets unlawful pay for EXPRESSING what he apparently thinks God CANNOT express. I heard a preacher make that very statement: BUT, for a PRICE he would speak FOR God.

Third, the most ancient writers always knew that POETRY and MUSIC was second or third REMOVES from the truth. The Bible is NOT metrical in the TUNEFUL SENSE. Therefore, you cannot MUSICATE the word of God without adding, subtracting or changing the WORDS. Music expresses ONLY EMOTIONS and SHUTS DOWN the rational (spiritual) brain so that you CANNOT make informed choices. That is why John etal called it SORCERER.  Rubel Shelly dittoing the feminists re IMAGING the chrcuh seeks to Re-Vision the church in a FEMINIST FORM:
Lynn Anderson: Sounds right to me, Mr. Huxley! Something like this can happen to faith as well.

The rational, informational, and linear-sequential worlds of productivity tend to dominate in our lives these days.Consequently, the rest of our worlds suffer neglect, and we are losing touch with much of what it means to believe.
Of course, all of history and modern psychology knows that when you move from DIALOG in words to IMAGES and sights and sounds you have SLIPPED into the effeminate mode. Karen Armstrong in A History of God said that the Israelites were so effeminate as defined by Amos that they were UNABLE to engage in dialog with God.
The rest of the story told by Huxley includes just this:

"Abused as we abuse it at present, dramatic art (performance preaching) is in no sense cathartic;
it is merely a form of emotional masturbation.
It is the rarest thing to find a player who has not had his character affected for the worse
by the practice of his profession.
Nobody can make a habit of self-exhibition,
nobody can exploit his personality
for the sake of exercising a kind of hypnotic power over others,
and remain untouched by the process.
From Source
Karen Armnstrong, in A History of God notes that ritual and symbol of image is femine while devotion to the WORD if masculine. Defining a periodic, David-like, loss of contact with God and fearfulness that the universe would collapse unless they held an Aztec-like Jubilee, she observes:

"A new type of piety developed alongside the rationalism of the Enlightenment, which is often called 'the religion of the heart.' Although it was centered in the heart rather than the head, it shared many of the same preoccupations as Deism.

It urged men and women to abandon external proofs and authorities
and discover the God who was within the heart and capacity of everybody. (Armstrong. p. 315)

"History notes that when religion swings from repression to permissiveness,
........... those with mental disorders lose their emotional footing and
........... react by flaunting the violation of previous religious views.

Plato whom the MUSICATORS are trying to NEUTER proved that acting and music was both PRODUCED by effeminancy and PRODUCED gender-bleed in the performers. Men like Niceta etal prove that when you move from SPEAK (what Jesus example and Paul commanded) or SAY to SING it is both a MARK and a PRODUCER of effeminancy.

The dangers of music service.' De utilitate hymnorum
At the beginning of his sermon 'De utilitate hymnorum' Niceta of Remesiana notes, 'that there are some among us, and some in the Eastern provinces too, who hold that there is something superfluous, not to say, suspicious,
about the singing of hymns and psalms during divine service.' What, we might ask, was the basis for this suspicion of music?

Many Christians mistrusted secular musicians. Jerome paints an image of the singer as a deadly siren:

Jerome here accepts the Roman stereotype of the performer as prostitute: hired musicians were not only potential sexual objects, but were already prostituting their musical skills to gain profit.

History records that singing as a ritual was first introduced about the year 373.  That proves that it was an innovation.

While this conception of the musician might lead a pagan observer to warn the rich providers of banquets against employing hired entertainers, as lowering the dining-room to become another marketplace, Jerome looks at the situation from the viewpoint of a Christian virgin, and sees the performer as threatening, a corrupted and corrupting influence.

Al and Cuba Avenue missed that Jesus used the PSALLO cord and drove the money changers out of the Temple. These "changing tables" belonged to the agora or marketplace.

Jesus CAST out the musical minstrels meaning LIKE DUNG because they belonged under the control of master of "flute-girls and dung heaps."

Jesus identified the pipers, singers and dancers as belonging to the MARKTEPLACE along with pagan temples, singers, players, dancers, Sodomites and sellers of radishes and young boys.

None of the Restoration churces used instruments and the Reformers had repudiated them.
Therefore, Al Maxey's Christian church friends are the DEFACTO MUSICAL SECTARIANS.

Because Al Maxey appeals to Huxley and huxely identifying the performing arts AS EMOTIONAL MASTURBATION and SORCERY or WITCHCRAFT, I do see how Al Maxey can escape coming under John's identifying of the Mother of Harlots using speakers, singers and instrument players as SEXUAL SORCERERS.

That would make any literate student look at the HARPS and see that NO ONE PLAYS harps and therefore, Al places himself with the DEAD VIRGINS as opposed to those to who the second angel sent a message for those STILL LIVING TO preach the gospel. Maybe Al is dead why still living.


Al's sleep must be disturbed by those conservative churches which use the CENI principle which Al does not know is articulated in the Bible, church fathers and all founders of denominations.  He uses a very creative list of RACA words (Shelly probably has more) as WEAPONS to attach ANTI-instrumental churches of Christ.  In addition to NOT using instruments they offend Al Maxey and a host of other deliberate discorders by CONTINUING to teach what the Bible and most of recorded history has always taught.  The other FREEDOM FACT OF FAITH Al etal want to silence is that USING instruments in the attempt to worship God who is SPIRIT and church which is SCHOOL OF THE BIBLE (only) is the 6,000 year old claim that it is the MARK or CAUSE of sin.

It only takes a drop of Arsenic in your KoolAid to silence you: to wit, quoting the BOAST song of Moses post Red Sea as a CENI to authorize instrumental MUSIC in the ekklesia or synagogue when as church in the wilderness it was OUTLAWED.  I will post some of the HOST of background to repudiate Al, Rick and all of those dedicated to turning you BACK to worship the Starry Host.  I can post on and on to show that literate scholars DEFINED this as a MARK of not obeying God's Word.

FIRST, you should be Prophet-wise and even Psalm-wise and understand that God's JUSTICE would have left Israel in Egypt to self-destruct. In many ways they were worse than the Egyptians and they brought their DUNGY Abominations with them and NEVER changed.  What Al does not understand is that Amos condemned the nation of Israel but also Judah. They were continuing the musical idolatry of Mount Sinai to which God ABANDONED them.

Secondly, the Red Sea is a repeat of the TYPE of creation and the flood where God REcreated things in which were VAIN and EMPTY such as the nation of Israel.  I will post rough notes on Jeremiah 4 to which I will transfuse from time to time:

For readers, the WHOLE sequence is restated in Amos for the WOMEN LED, (cows of Bashan) people who STOLE from the poor in order to have their religious festivals making the SAME error which David did when he planned to use the surplus Levitical Warrior Musicians to give glory to the EARTHLY MONARCHY which God imposed as a curse.
Al Maxey and Cuba Avenue: The people of Israel had been delivered. For hundreds of years they had languished under the cruel oppression of their Egyptian taskmasters. The Lord God heard their cry for help, and He raised up a deliverer in the form of Moses. The sea divided before them, and they walked through on dry ground, as they journeyed away from Egypt. The sea closed up again upon the army of Pharaoh as they pursued the people of Israel.

Then in a moment of spiritual clarity (one which, sadly, would all too quickly fade) they perceived with awe the power of God displayed in their deliverance, and they sang a song to the Lord, which is recorded for us in Exodus 15:1-18.

This song of redemption was accompanied by dancing and the sound of instruments.
"And Miriam the prophetess, Aaron's sister, took the timbrel in her hand,
and all the women went OUT after her with timbrels and with dancing.

And Miriam said, 'Sing to the Lord, for He has triumphed gloriously'" [vs. 20-21]. There was great rejoicing and celebration that day as they sang, played and danced before the Lord.
Oh my, where do we start when people lift proof text out of context and do not know the STORY LINE but intend to brand with RACA WORDS those who will not bow when he pipes and who take the LIBERTY of continuing to repudiate musical "worship."

First, this was a BOAST SONG to which David and the Commanders of the Army later attached instruments. It intended to send a MESSAGE to any people standing in their way that OUR GOD destroyed the Egyptians and THEREFORE OUR God will destroy you also.  That was not proof of spiritual worship and gratefulness but of PRIDE. 

Second, all scholars note that while Moses SPAKE the Song, Miriam took probably the Sistrum and LED THE WOMEN out which meant to ESCAPE.  The sistrum and the "answering" or responsisve singing was a form of browbeating and not worship.

"In the first place, it will be noticed from the account of the triumphant rejoicing on the shore of the Red Sea that the men sang only: 'Then sang Moses and the children of Israel this song unto the Lord, and SPAKE saying.'" (Girardeau, George, p. 33)

Masculine is SPEAK or SAY (as in Speak one to another). Feminine or effeminate is to SANG and CLANG: no recorded exception to the rule, Al.

"In the second place, it was Miriam and the women who used instruments of music on the occasion: 'And Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went after her with timbrels and with dances." (Girardeau, p. 33).

Of course a tabret or sistrum is NOT a musical instrument and it gave its name for TOPHETH or HELL.

Thirdly, the sistrum was a RATTLE and not a musical instrument. It did not even make a SINGLE note.  It was to establish a BEAT. Therefore, Al Maxey is obligated to go out and DANCE with the women and do the RESPONSIVE chanting which is defined as BROW BEATING.

Therefore, after condemning their MUSICAL WORSHIP which STARVED the people for lack of the word (Amos 8 Songs, Instruments) God continued with the PATTERN

Even when their enemies drive them into captivity, from there I will command the sword to kill them. I will not let them out of my sight; they will experience disaster, not prosperity." Amos 9:4

The sovereign Lord who leads armies will do this.
..........He touches the earth and it dissolves; all who live on it mourn.
......... The whole earth rises like the River Nile,
..........and then grows calm like the Nile in Egypt. Amos 9:5

"You Israelites are just like the Ethiopians in my sight," says the Lord.
.........."Certainly I brought Israel up from the land of Egypt,
..........but I also brought the Philistines from Caphtor and the Arameans from Kir. Amos 9:7

Look, the sovereign Lord is watching the sinful nation, and I will
destroy it from the face of the earth.
..........But I will not completely destroy the family of Jacob," says the Lord. Amos 9:8

We know that most of the ISRAELITE nation was sent on to captivity and death IMPOSED because of musical idolatry at Mount Sinai."

Now, that we understand that this was NOT a musical worship service, we can look at another passage to see that the SINGING was a MARK of people NOT intending to obey the Word of God but to crush their enemies using "God" as a weapon when He had promised to drive out the enemy with wasps or hornets
Psalm 106:6 We have sinned with our fathers, we have committed iniquity, we have done wickedly.
Psalm 106:7 Our fathers understood not thy wonders in Egypt;
..........they remembered not the multitude of thy mercies;
..........but provoked him at the sea, even at the Red sea.
Psalm 106:8 Nevertheless he saved them for his names sake,
..........that he might make his mighty power to be known.

Psalm 106:9 He rebuked the Red sea also, and it was dried up:
..........so he led them through the depths,
..........AS through the wilderness.
Psalm 106:10
And he saved them from the hand of him that hated them,
..........and redeemed them from the hand of the enemy.
Psalm 106:11
And the waters covered their enemies:
..........there was not one of them left.

Psalm 106:12 Then believed they his words;
...........................they sang his praise.
Psalm 106:13 They soon forgat his works; they waited not for his counsel: 
Psalm 106:14 But lusted exceedingly in the wilderness, and tempted God in the desert.
Psalm 106:15 And he gave them their request;
...........................but sent leanness into their soul.
Now, there is no endorsement of singing with instruments as WORSHIP offered to God. We have shown that this was a boast song and the women, as in David's Return from War, most often stimulated the returning males.  If a General leads three million people into a new land and SPEAKS a TRIUMPH OVER or victory speech, AND a women leads the other women to DANCE to the beat of a RATTLE, that does not constitute worship for individuals.  Furthermore, the Bible is filled with PROOF that whatever happened when God brought them out of Egypt was DESTRUCTIVE and proved--like all musical ritualism--that they would NOT obey His Laws.

 
Ezekiel among others notes that
Ezek 20:6 In the day that I lifted up mine hand unto them,
..........to bring them forth of the land of Egypt
..........into a land that I had espied for them, flowing with milk and honey,
..........which is the glory of all lands:
Then said I unto them,
..........
Cast ye away every man the abominations (filthy spectacle=dung) of his eyes,
..........
and defile (similar to h2490 below) not yourselves
..........
with the idols of Egypt: I am the Lord your God. Ezekiel 20:7
Abominations are:

Shiqquwc (h8251) shik-koots'; or shiqquc shik-koots'; from 8262; disgusting, i. e. filthy; espec. idolatrous or (concr.) an idol: - abominable filth (idol, -ation), detestable (thing)

1 Ki 11:7 Then Solomon built a high place for Chemosh the detestable idol of Moab, on the mountain which is east of Jerusalem, and for Molech the detestable idol of the sons of Ammon.

Nahum 3:6And I will cast abominable filth upon thee, and make thee vile, and will set thee as a gazingstock.

The idols speak of a  ROUND thing: galal, roll, wallow, dung balls.  The dung ball was a an image of the SUN whose worship God would abandon them to.  They later ATE the sacrifices offered to Baal-Peor. The earlier worshiper had defecated and rubbed dung on the nose of the idol. The Israelites just came along and AT it.

Remembering that Jesus CAST OUT the Musical Minstrels like dung: dung in Greek is Kopros. Is that because the Jews worshipped Khephri? Jesus cast out the Musical Minstrels like dung.

Khepri. The creator sun-god at dawn is represented by a scarab (dung) beetle pushing the sun disc upwards from the underworld. The Ancient Egyptians would have noticed the dung beetles busily rolling their balls of dirt across the ground. The beetles would lay their eggs in the dung balls, and emerge from inside them, apparently spontaneously, so it was quite logical for the Egyptians to use the beetles to symbolise Khepri "he who is coming into being", self created of his own accord without undergoing the natural cycle of reproduction. Khepri, in the form of a gigantic scarab, would roll the sun like a huge ball across the sky, then roll it down through the underworld to the eastern horizon. Each morning Khepri would renew the sun so that it could give life to all the world. As a deity closely associated with resurrection, Khepri was believed to be swallowed by Nut the sky goddess every evening, where he would pass through her body to be reborn in the morning.

Lucifico , a-re, v. a. [lux-facio] , to make bright, to brighten: lucificare
Phôteinos hęlios  (identified with Apollo or Apollyon and
Dionysus)
2. Hęliou astęr, of the planet Saturn, kantharos hę. dung-beetle

But they rebelled against me, and would not hearken unto me:
.......... they did not every man cast away the abominations of their eyes,
.......... neither did they forsake the idols of Egypt: then I said,
.......... I will pour out my fury upon them, to accomplish my anger against them
..... .....in the midst of the land of Egypt. Ezekiel 20: 8

But I wrought for my names sake, that it should not be polluted before the heathen, among whom they were,
..........in whose sight I made myself known unto them,
..........in bringing them forth out of the land of Egypt. Ezekiel 20: 9

Ellen G. White was smart enought to understand that the vile paganism used as authority for Christian worship were in fact a direct repudiation of the same music they yearn to impose:

At Balaam's suggestion, a grand festival in honor of their gods was appointed by the king of Moab, and it was secretly arranged that Balaam should induce the Israelites to attend. He was regarded by them as a prophet of God, and hence had little difficulty in accomplishing his purpose.

Great numbers of the people joined him in witnessing the festivities.
They
ventured upon the forbidden ground, and were entangled in the snare of Satan.

Beguiled with music and dancing, and allured by the beauty of heathen vestals, they cast off their fealty to Jehovah.

As they united in mirth and feasting, indulgence in wine beclouded their senses and broke down the barriers of self-control. Passion had full sway; and having defiled their consciences by lewdness, they were persuaded to bow down to idols.

They offered sacrifice upon heathen altars and participated in the most degrading rites.
It was not long before the poison had spread, like a deadly infection, through the camp of Israel.

Those who would have conquered their enemies in battle were overcome by the wiles of heathen women. The people seemed to be infatuated. The rulers and the leading men were among the first to transgress, and so many of the people were guilty that the apostasy became national.

"Israel joined himself unto Baalpeor."

The sistrum was a IDOL used by the prophetess of Hathor
Polluted is:

Chalal (h2490) khaw-lal'; as an "opening wedge" denom. (from 2485) to play (the flute)/: ... take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

This is used of Lucifer CAST AS PROFANE out of heaven. Jesus used a similar word to CAST OUT AS PROFANE the Musical Minstrels. The word means like casting forth DUNG.

They were still in Egyptian territory when the SINGING was proof that they would not listen to God.  However, rather than leave them there

Ezek 20:9 But I wrought for my names sake,
.......... that it should not be polluted before the heathen,
.......... among whom they were, in whose sight
.......... I made myself known unto them,
.......... in bringing them forth out of the land of Egypt.

Ezek 20:10 Wherefore I caused them to go forth out of the land of Egypt,
..........and brought them into the wilderness.
Once they came to Mount Sinai they SPENT their lust in musical idolatry and POLLUTED the REST God gave them.

Because I have called, and ye refused; I have stretched out my hand, and no man regarded; Proverbs 1:24

But ye have set at nought all my counsel, and would none of my reproof: Proverbs 1:25
I also will
laugh at your calamity; I will mock when your fear cometh; Proverbs 1:26

Laugh: Sachaq (h7832) saw-khak'; a prim. root; and can mean: to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.

Of the rising up to play at Mount Sinai as Mocking God:

"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).

Mock is: Leag (h3932) law-ag'; a prim. root; to deride; by impl. (as if imitating a foreigner) to speak unintelligibly: - have in derision, laugh (to scorn), mock (on), stammering.

I will be back with more to prove that Al Maxey using the Victory or Triumph Over song as the CENI is legalistic, patternistic and clearly THE cause of most SECTARIANIZING in the Restoration Movement and among Baptists, Presbyterians and others.

There are many other primaly PROPHETIC condemnations of what happed IMMEDIATELY after God saved Israel by GRACE when justice would have left them to self-destruct in Egypt.   If you want to jump ahead to read some of the HIDDEN stuff under the heading of MIRIAM you can click here.

REVIEW PART TWO: was Miriam a PROPHET speaking for God or an Egyptian INTERPRETER for the gods?

The ekklesia or synagogue is a SCHOOL OF THE BIBLE.  Whatever is written is written for our LEARNING.  If we do not treat the word with integrityGod will send strong delusions to TAKE CAPTIVE false teachers and MARK them to be avoided.  Grabbing isolated NEGATIVE teacing events and giving them a SECOND INCARNATION as an APPROVED EXAMPLE even when common sense wold exclude music when Jesus is our SOLE Teacher, is--like the Moses-Miriam event--the MARK of people who will NOT obey or even HEAR the word of God because of a SELF cloud of pride and hate.

The outbreak of musical idolatry at Mount Sinai involved playing instruments and playing with one another. A PROPHETESS in Egypt or the Musical Prophetess is defined by the LOCUSTS under Apollyon or Abaddon the Leader of the Muses or musical worship team.

Paul did not corrupt the Word which means selling learning at wholesale which is defined as prostitution. Paul in Romans 1 told us exactly what happened which led to religious sexuality and homosexuality.

"While she may have been called a prophetess because she was a wife of a prophet it is more likely that she had been a prophetess in Egypt which meant that she was a priestess with intercessory authority. Miriam and a band of trained women went out in a mind-altering song and dance with instruments common to Egypt but not common to Israel. This has been interpreted as not just a "victorious" dance but a well-established cultic activity of a priestess with unquestioned authority - which she even tried out on God.

"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.

"Music and drugs were co-consiprators in religious ecstasy. They may have used some product of the sycamore fig which both intoxicated and induced an altered state of consciousness. The ergo of barley was well known. "On the other hand, other sources, specifically relating to the customs of the East, refer to the dance as a slow, grave, and solemn gesture, generally accompanied with singing and the sound of the timbrel! Anton Marks

"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).

Sacred Sexuality: As Jupiter was representatives of the male potency, so Juno and Venus were representatives of the female attribute ... If Asher, the conspicuous feature of the male Creator, is supplied with types and representative figures of him self, so the female feature is furnished with substitutes and typical imagery of herself.Sexual.Sistrum.Fig.5.gifFig. 5 is one of these, and is technically known as the sistrum of Isis. It is the virgin's symbol. The bars across the fenestrum, or opening, are bent so they cannot be taken out, and indicate that the door is closed. It signifies that the mother is still virgo intacta--a truly immaculate female--if the truth can be strained to so denominate a mother. The pure virginity of the Celestial Mother was a tenet of faith for 2,000 years before the accepted Virgin Mary now adored was born. We p. 27

might infer that Solomon was acquainted with the figure of the sistrum, when he said, "A garden inclosed is my spouse, a spring shut up, a fountain sealed" (Song of Sol. iv, 12). The sistrum, we are told, was only used in the worship of Isis, to drive away Typhon (evil).

while the Yoni was represented by Io, Isis, Astarte, Juno, Venus, Diana, Artemis, Aphrodite, Hera, Rhea, Cybele, Ceres, Eve,

David and the Levites "prophesied with instruments." When David got too rowdy he stripped off the STOLLA and then the EPHOD: all priests must be male but perform the roll of women.

Ephod.Vulva.gif"The Egyptian cross is seen repeatedly figured on Egyptian bass-reliefs as held in the hand. Worn as a part of the dress it is called the priest's pallium. It combines  the cross and yoni--the triad and unit--with the prelate's head passed  through the latter. The robe or surplice is a telltale portion of  phallic and yonijic worship. It is common at the present time in all but the most democratic churches in this country. The surplice is a figment of woman's dress; it can be traced back to the Egyptians, Assyrians, Phśnicians, and others, who worshiped Isis, Astarte."
 
The PATTERNISTIC proof text to authorize a female musical worship minister. This is so profound that anyone who does not read it the same way is inflicted with hate crime:
Ex 15:20 And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances.

Here is what Miriam really did:
Yaca
(h3318) yaw-tsaw'; a prim. root; to go (causat. bring) out, in a great variety of applications, lit. and fig... break out, ..be condemned, departure), draw forth, escape, exact, fail, fall (out), fetch forth (out), get away.. lead out, pluck out, proceed, pull out,

And Cain went out from the presence of the Lord, and dwelt in the land of Nod, on the east of Eden.Ge.4:16
And I said unto them, Whosoever hath any gold, let them break it off. So they gave it me: then I cast it into the fire, and there came out this calf. Ex.32:24
There is one come out of thee, that imagineth evil against the Lord, a wicked counsellor. Na.1:11
Then shall the Lord go forth, and fight against those nations, as when he fought in the day of battle. Zec.14:3

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
Image of Bast:
Ovid, art of love
And hast thy walks around Canope's walls,
Who Memphis visit'st, and the Pharian tower,
Assist Corinna with thy friendly powers.
Thee by thy silver Sistra I conjure,
A life so precious by thy aid secure;
So mayst thou with Osiris still find grace:
By Anubis's venerable face,
I pray thee, so may still thy rights divine
Flourish, and serpents round thy offerings twine
May Apis with his horns the pomp attend, [re: golden calf]
And be to thee, as thou'rt to her, a friend.
Look down, oh Isis! on the teeming fair,

1 Samuel 18:[6]  It happened as they came, when David returned from the slaughter of the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet king Saul, with tambourines, with joy, and with instruments of music. [7]  The women sang one to another [h6030 Anah] as they played, and said, Saul has slain his thousands, David his ten thousands. [8]  Saul was very angry

"was a typical woman's instrument... Although it occurs in the Psalter and in religious hymns (Exod. 15; Jer. 31:4), it was not permitted in the temple. Its functions in the bible was restricted to secular or religious frolicking, cultic dances, or processions (e.g., II Sam. 6:5; I Chr. 13:8; Ps. 68:25-26). Its absence in the temple ritual was possibly due to its strong female symbolism, which always accompanied the tambourine, and which made its use so popular at all fertility rites." (The Int. Std. Bible Dict., p. 474).
Ovid: book 9, Metamorphoses
the sacred rattles were there, and Osiris, known
the constant object of his worshipers' desire,
and there the Egyptian serpent whose quick sting
gives long-enduring sleep. She seemed to see
them all, and even to hear the goddess say
to her, "O Telethusa, one of my
remembered worshipers, forget your grief;
your husband's orders need not be obeyed;
and when Lucina has delivered you,
save and bring up your child, if either boy
or girl. I am the goddess who brings help
to all who call upon me; and you shall
never complain of me--that you adored
a thankless deity." So she advised
by vision the sad mother, and left her.

"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

"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.

See Ezekiel explaining.

There are many forms of the word PROPHET, but God will PROVE that she does not speak for Him.  The Latin used of Miriam is also used once to speak of Jesus Christ which LEAPFROGS all of the Period of Wandering and Law and goes back to to the covenant made with Abraham.  The rising up to PLAY at Mount Sinai in musicial idolatry cause God to REMOVE this Abrahamic Covenant of Grace and IMPOSE The Book of The Law of Moses to legislate for the lawless.

The spirit OF Christ spoke through the PROPHETS to univerally condemn music as the MARK and CAUSE of rejecting the Word. Otherwise, to prophesy meant to MAKE SELF a prophets in a singing, dancing and musical sense.

-Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et choris
God will afflict Miriam with leprosy when she claims to speak for God.  The first meaning of prophet in the PAGAN sense meant a charismatic, musical performer.  All dramatic performance is INTERPRETATION which is, according to Paul, just speaking in tongues.
-Prophe-ta  I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call out] Aegyptius, propheta primarius

PHRASE
:
Aegyptius, propheta primarius
1.  Aegyptius,
2.  Prophetai
3.  Primarius I. one of the first, of the first rank, chief, principal, excellent, remarkable,
primarius parasitus,

Plaut 2.1.73   PERIPLECOMENUS  You are a simpleton. For, if you lay anything out on a bad wife and upon an enemy, that is an expense; that which is laid out on a deserving guest and a friend is gain; as that, which is expended upon sacred rites, is a profit to the wise man. By the blessing of the Gods, I have enough, with which to receive you with hospitality in my house. Eat, drink, indulge your tastes with me, and surfeit yourself with enjoyments; my house is at your service, myself likewise do I wish to be at your service. For, through the blessing of the Gods, I may say that, by reason of my wealth, I could have married a dowered wife of the best family; but I don't choose to introduce an everlasting female barker at me into my house.

PLEUSICLES  Why don't you choose? For 'tis a delightful thing to be the father of children [liberos]
PERIPLECOMENUS  Troth, 'tis very much sweeter by far to be free [liberum] yourself. For a good wife, if it is possible for her to be married anywhere on earth, where can I find her? But am I to take one home who is never to say this to me, "Buy me some wool, my dear, with which a soft and warm cloak may be made, and good winter under-clothes, that you mayn't catch cold this winter-weather;" such an expression as this you can never hear from a wife, but, before the cocks crow, she awakes me from my sleep, and says, "Give me some money, my dear, with which to make my mother a present on the Calend , give me some money to make preserves; give me something to give on the Quinquatrus to the sorceress [prae-cantrix] to the woman who interprets the dreams, to the prophetess, and to the female diviner; besides, 'tis impossible for me, in civility, not to fee the expiating woman; for long has the mattress-maker been grumbling, because she has received nothing; besides, the midwife found fault with me, that too little had been sent for her. What! arn't you going to send something to the nurse that brings up the young slaves? It's a shame if nothing's sent her; with what a brow she does look at me." These and many other expenses of the women like to these frighten me from a wife, to be uttering speeches to me like to this.

Tympanotriba , ae, m., = tumpanotribęs,
I. a taborer, a timbrel-player, a term of reproach for a soft, effeminate person (alluding to the priests of Cybele), Plaut. Truc. 2, 7, 49; cf. tympanum.

T. Maccius Plautus, Truculentus, or The Churl
STRATOPHANES (to PHRONESIUM.) What say you? Why have you dared to say that you love another man?
PHRONESIUM I chose to.
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, a fellow not worth a nutshell

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

Părăsītus , 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
    -Comically, of a whip: ne ulmos parasitos faciat, that he will make his elm-twigs stick to me like parasites, i. e. give me a sound flogging, he tutelar deity of parasites was Hercules,
Plaut. Curc. 2, 3, 79.

Remember the CODE Diotrephes: Name means begotten or BELOVED of Jove who is the "old man" who thrusts in the reaping hook (meaning a musical instrument) about now.

Notes from 2 Maccabees defining the Abomination of Desolation
The tensions which led to the Jewish revolt were exacerbated when the Jewish high priest, a Hellenist himself, offered a sacrifice to Heracles (Hercules) who was a Greek symbol of homosexuality.

John in Revelation 18 as well as ALL definitions of arusal singing and instruments calls it SORCERY used to DECEIVE the whole world.  The Iraelite NATION was DECEIVED here and later by usurping women.

But of the Jewish prophets once to PROVE that Miriam was a propheteSS and not a PROPHET.

And his father Zacharias was filled with the Holy Ghost, and prophesied, saying, Luke 1: 67
Blessed be the
Lord God of Israel; for he hath visited and redeemed his people, Luke 1: 68
And hath
raised up an horn of salvation for us in the house of his servant David; Luke 1: 69
As he spake by the mouth of his
holy prophets, which have been since the world began: Luke 1: 70

How? Searching what, or what manner of time the Spirit of Christ which was in them did signify, when it testified beforehand the sufferings of Christ, and the glory that should follow. 1 Pet 1:11

That we should be
(1)
saved from our enemies, and
(2)
from the hand of all that hate us (Satan); Luke 1: 71
Matt 12:33 Either make the tree good, and his fruit good; or else make the tree corrupt, and his fruit corrupt: for the tree is known by his fruit.
Matt 12:34 O generation of vipers, how can ye, being evil, speak good things? for out of the abundance of the heart the mouth speaketh.
Matt 12:35 A good man out of the good treasure of the heart bringeth forth good things: and an evil man out of the evil treasure bringeth forth evil things.
Matt 12:36 But I say unto you, That every idle word that men shall speak, they shall give account thereof in the day of judgment.
    G2190 echthros ekh-thros' From a primary word ἔχθω echthō (to hate); hateful
    (passively odious, or actively hostile); usually as a noun, an adversary (especially Satan):—enemy, foe.

    G2191 echidna ekh'-id-nah Of uncertain origin; an adder or other poisonous snake (literally or figuratively):—viper.
(3) To perform the mercy promised to our fathers, and
(4)
to remember his holy convenant; Luke 1: 72
        The
oath which he sware to our father Abraham, Luke 1: 73
(5) That he would grant unto us, that we being delivered out of the hand of our enemies might serve him without fear, Luke 1:74
(6) In holiness and righteousness before him, all the days of our life.  Luke 1:75
(7) And thou, child, shalt be called the prophet of the Highest:
      for thou shalt go before the face of the Lord to prepare his ways;
Luke 1:76
(8) To give knowledge of salvation unto his people
(9)
by
the remission of their sins, Lu.1:77
Gal. 3:21 Is the law then against the promises of God? God forbid: for if there had been a law given which could have given life, verily righteousness should have been by the law.
Gal. 3:22 But the scripture hath concluded all under sin, that the promise by faith of Jesus Christ might be given to them that believe.
Gal. 3:23 But before faith came, we were kept under the law, shut up unto the faith which should afterwards be revealed.
Gal. 3:24 Wherefore the law was our schoolmaster to bring us unto Christ, that we might be justified by faith.
Gal. 3:25 But after that faith is come, we are no longer under a schoolmaster.
Gal. 3:26 For ye are all the children of God by faith in Christ Jesus.
Gal. 3:27 For as many of you as have been baptized into Christ have put on 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.
MIRIAM, LIKE ALL POETS AND MUSICIANS, INTERPRETED FOR GOD without authority.
The INTERPRETER also idenfifies Miriam as claiming to be a MEDIATOR and the word points to the pagan "gods" known in Egypt as well as Greece.

ORACULORUMQUE INTERPRETES
Orācŭlum
2. Esp. (eccl. Lat.), the mercy-seat, the place in the tabernacle in which the presence of God was manifest
C. An oracular saying, oracle pronounced by a man. OF DELPHI AND APOLLO.

Greek:
Mantis diviner, seer, prophet Pythian priestess, 3. Adj., toude manteôs chorou [round dance] of this prophetic band, dub. in S.Fr.113. II. a kind of grasshopper, the praying mantis, Mantis religiosa, obscure speech.

The musical grasshopper or Lucusts is John's word to define the Muses unleashed by Apollyon for the end time final attempt at seduction. II. the ode sung at one of these festive processions,

Here are the sophists who have been ELEMINATED in the church.  Sophis-teia, opposite to sophia, mantikę, of Balaam, ib.609; title of work by Hermagoras of Amphipolis, Stoic.1.102: acc. to Poll.4.50, a barbarism.

Mantikę,Mania [mainomai] ) madness, sphodra hędonę katechousa  
II.
enthusiasm, inspired frenzy, m. Dionusou para E.Ba.305 ; apo Mousôn katokôchę te kai m. Pl.Phdr. 245a ; theia m.,
OPPOSITE sôphrosunę anthrôpinę meaning having control over the sensual desires, temperate, self-controlled, moderate, chaste, sober,
Logos. The ACT of speaking is logik-os , ę, on, ( [logos] ) the organs of speech
A. of or for
speaking or speech, logikę, hę, speech,
OPPOSITE to mousikę
The phrase: Mousôn katokôchę  Mousa I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.:--in pl. arts, accomplishments, Ar., Plat.

Defined as the Hypocrite arts above.
Melôid-ia , hę, singing, chanting, E.Rh.923, etc II. chant, choral song, melôidias poiętęs Pl.Lg.935e , cf. 812d; lullaby, ib.790e: generally, music, Phld.Mus.p.12 K.
The phrase: Mousôn katokôchę  katokôchę 1 [attic for katochę] a being possessed, possession (i. e. inspiration),

God denied that Miriam had the authority to INTERPRET for him:
Interpretes
I. An agent between two parties, a broker, factor, negotiator, divūm, the messenger of the gods, i. e. Mercury,
II. An explainer, expounder, translator, interpreter (syn. internuntius) portentorum, a soothsayer,
BUT Moses DID NOT NEED an interpreter: the NEXT explainer or prophet AFTER Moses would be Jesus Christ. That excludes Miriam as a "face to face" speaker or TRANSLATOR for God.

It is a proven fact that singers and musicians have always considered themselves inspired and they seek a WAGE to interpret the Word of God and LEAD the "worshipers" into the presence of God. In the Apocrypha, the New Testament and the Greek literature we know that Hermes or Mercury is claimed to be the LOGOS or Word. Shelly says that John got the LOGOS idea from Greek philosophy.  However, the Hebrew word is DABAR which is the personified voice of God.

ALL poetry and singing is an INTERPRETATION usually several REMOVES from the truth. That is why Peter outlawed Al Maxey from doing PRIVATE INTERPRETATION meaning FURTHER EXPOUNDING.  Only by LEAVING the path of Jesus and returning to slavery can anyone PROVE that instruments were anything but MARKS of rank superstitionism, patternism and legalism.

MIRIAM WAS NOT A MUSICAL WORSHIP MINISTER UNLESS WE HAVE RETURNED TO SUPERSTITIOUS, LEGALISTIC PATTERNISM.

Furthermore, Miriam TRANSCENDED the Law and was the "prototypical female usurper" in Paul's mind (?).
Egressaeque I. inf. egredier, Plaut. Poen. 3, 4, 32),  (a). To step out, leave, b). To move out, march out, B. Trop. in speaking, to digress, depart, deviate, wander, B. Trop., to overstep, surpass, exceed 
Plautus Poen. 3, 4, 32)"AGORASTOCLES  It's time to be quiet, for the door makes a noise. I see the Procurer Lycus coming out of doors; come this way, pray!
"ADVOCATI  Why not? But, if you please, cover up our heads, that the Procurer mayn't know us, who have been his decoyers  into so great a calamity. (He throws the lappets of their garments over their heads.)

See more about women prophesiers:
And will ye
pollute me among my people for handfuls of barley and for pieces of bread, to slay the souls that should not die, and to save the souls alive that should not live, by your lying to my people that hear your lies? Eze 13:19

Pollute is from the Hebrew word:

Chalal (h2490) khaw-lal' to wound, to dissolve; figurative 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): defile, eat as common things, gather the grape thereof, take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute 

Wherefore thus saith the Lord God; Behold, I am against your pillows (clothing to suggest after hours free time), wherewith ye there hunt the souls to make them fly (lift up), and I will tear them from your arms, and will let the souls go, even the souls that ye hunt to make them fly. Eze 13:20

4 His decoyers: "Illices." "Illex" was a bird-call, quail-pipe, or decoy used by fowlers for catching birds.Transcendo or trans-scend.  I. Lit. (freq. and class.; cf.: supero,ransgredior).  to climb, pass, cross, or step over, to overstep, surmount.

We quoted PLENTY OF EVIDENCE that the Israelites brought their ABOMINATIONS with them from Egypt. Based on the actual WORDS used, the fact that God said that Miriam WAS NOT a PROPHET who spoke for Him and the DEFINITION of the Egyptian PROPHETESS, we can say with certainty that NO ONE should ever try to make Miriam (bitter and rebelious) into a Musical Worship Minister.

Furthermore, Miriams ANSWERING or INTERPRETING will be identified later by Moses as the PROOF of Idolatry which could be HEARD from a distance.
"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).

"We know that all of the Israelite 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 of God's grace, 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. Marks
Right! I know: this is just MY INTERPRETATION!  Let's concede that we are hallucinating.  It is left for Al Maxey, Rick Atchley, Max Lucado etal to be able to TRUMP any part of it before being able to define those who KNOW BETTER with collected RACA WORDS:
Strangely, this revelatory fact has greatly troubled, and, yes, even angered, some men and women who are numbered among the ultra-conservative, highly legalistic and patternistic factions and sects of Christendom.
WE WILL ADD MORE INFORMATION WHICH WILL DEFINE MIRIAM AS A PROPHETESS OF HATHOR AND HEAR GOD DENY THAT SHE SPOKE FOR HIM.

DISCIPLE of Christ might like to see the AMOS parallel as an example of God abandoning Irael to worship the starry hosts, including the LOSS OF WATER.

There shall not be found among you any one that maketh his son or his daughter to pass through the fire,
or that useth divination, or an observer of times, or an enchanter, or a witch, Deut 18: 10

Or a charmer, or a consulter with familiar spirits, or a wizard, or a necromancer. Deut 18: 11

For all that do these things are an abomination unto the Lord:
...........and because of these abominations
...........the Lord thy God doth drive them out from before thee. Deut 18: 12

The Lord thy God will raise up unto thee a Prophet from the midst of thee,
...........of thy brethren, like unto me;
...........unto him ye shall hearken; Deut 18:15

According to all that thou desiredst of the Lord thy God in Horeb in the day of the assembly,
...........saying, Let me not hear again the voice of the Lord my God,
...........neither let me see this great fire any more, that I die not. Deut 18:16
...........And the Lord said unto me, They have well spoken that which they have spoken. Deut 18:17

I will raise them up a Prophet from among their brethren,
...........like unto thee, and
...........will put my words in his mouth;
...........and he shall speak unto them all that I shall command him. Deut 18:18

And it shall come to pass,
...........that whosoever will not hearken unto my words which he shall speak in my name,
...........I will require it of him. Deut 18:19

But the prophet, which shall presume to speak a word in my name,
...........which I have not commanded him to speak,
...........or that shall speak in the name of other gods,
...........even that prophet shall die. Deut 18:20

Because truth totally failed (Isaiah 59:15

And he saw that there was no man,
and wondered that there was
no intercessor:
therefore
his arm (seed or strength) brought salvation unto him;
and his righteousness, it sustained him. Isaiah 59:16


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