Musical Instruments from Satan to Worship Him?Please Point me to the article where Satan Invented Musical Instruments
I am studying the music question.
I think I read somewhere on your site, an article that states that "Satan invented Musical instruments".
If so, Would you direct me there again.
"Slightly less familiar are the Devil's musical exploits. He not only loves singing but is master of the violin, of which instrument of evil he is reputedly the inventor. By the same token he can give mastery of the violin, bartering infernal skill for the pupil's soul.
These legends are related to the larger belief in the supernatural origin of musical skill and individual songs." (Botkin, B. A., A Treasury of American Folklore, Crown Publishers, p. 718; Cf. The Devil and the Fiddle, Herbert Halpert, Hoosier Folklore Bulletin, Vol II (Dec., 1943).
The American Restoration Movement had TWO STREAMS. The first was the STONE movement. This was a movement which depended on a direct MOVEMENT of the 'holy spirit' as proven by some form of hysterical breakdown. This was a STUDIED and CALCULATED form of huge gathering using all of the MACHINERY of the arousals or awakenings which are much like witchcraft or Devil worship. That part of the MUSICAL or charismatic revivalists still appeal to the charismatic PROPHESIERS as authority for prophets in the modern "worship" assembly. A major authority is:
Charles Daily Northwest College of the Bible Part One appeals to charismatic PROPHESIERS as authority for music in public worship. Part One shows NO EXCEPTION: "prophesying" by the POETIC WOMEN was "the Law" to which Paul appealed to show that women should be SILENT meaning SEDENTARY. "Men" would not be caught dead if they knew the meaning of MUSICAL WORSHIP PERFORMANCE. Part Two. Charismatic prophetesses (Paul would say MAD) Part Three the Temple "Musicians" Any singer or instrument player who stumbled into the Holy Place as a "non functioning" type of the body or church of Christ would be executed: even if he intended to clean out the garbage. People keep skinning their knees looking for AUTHORITY for musical sectarianism: it does not exist. All such performance "worship" is THRESKIA or CHARISMATIC which makes a sexual appeal to people which ABSOLUTELY shuts down worship in the NEW PLACE of the human spirit.
Charles Daily's appeal to CHARISMATIC PROPHETESSES FUELS THE SECOND HOSTILE TAKEOVER BY MUSICAL SECTARIANS--Cheaper than buying mega churches. Don't pay them, too.
While the denominational background of this revivalist background consisted by Presbyterians who could not GET THE SIGN that they had been predestinated to be saved. They therefore lived in mortal feat. Barton W. Stone sought to produce these SIGNS by studying a successful Methodist. The revivals at Caneridge, in Kentucky, consisted of all of the ingredients to "wind up the minds" of those not Biblically literate. The outcome was quite identical to Devil Worship in ancient and fairly modern Iraqu. These, too, consider themselves as Christians but their practices are clearly devil worship. Not doubting the STONE MOVMENT'S manipulators, the outcome is clearly not a CHRISTIAN movement.
See Layard's description of Devil worship. This will link you to a collection on SERPENT WORSHIP and DEVIL WORSHIP.
Click for our Cane Ridge Collection to see whether you want to be identified as part of the STONE MOVEMENT.
And our Serpent Worship Index.
Modern efforts to drag non-musical church back into the stream can be seen here:
> Victor Knowles 2003 Pepperdine DANCING AT ARM'S LENGTH----wrong! A partial review of continuing effort to take captive "a cappella" churches.
> Together for Greater Ministry Impact '04: The latest gasp at a UNITY FORUM under the auspices of COMMERCIALISM. Pro-Instrumental preachers called in to speak for "a cappella" churches of Christ. Goal to build 5500 instrumental churches.
Here are some links. Whether you believe these old 'sermons' or not, they were written by people who used the original languages and agree about 100% that music was given by Satan to keep the people from listening to the Word of God. That is the message throughout the Bible and in your own congregation.
Therefore, in the total absence of any commands to make music "as worship" we have to decide whether the big I have more authority than the totality of recorded history.
I try not to make decisions for others but just collect the information which many steadfastly refuse to have in their minds. For one bit of evidence in favor of mechanical devices for worship, there are hundreds against it. Worship is "in spirit" or in mind where we meet God Who is pure or Holy Spirit. Any external "nerve stroking" by worship facilitators destroys the "in spirit" worship. However sincere people may be in believing that they have the talent to lead you into a "worship experience" they are consciously or "unconsciously" filling the anti-Christ role.
Christianity has never, will never, can never be a popular religion. There can be no appeal to the flesh which can ever be classed as worship. Paul insisted that we "present" our bodies as a living sacrifice. That does not mean help old ladies across the street; it means that for worship to take place, our bodies must be burned up, consumed on the altar so that we can offer spiritual worship. That isn't possible with a band playing or a choir singing for us or to us. As I understand the goal of the Devil, it is to do anything which will distract people from God and His Word.
Whatever we decide to do as "worship" with the works of men's hands, lack of love for the truth causes God to hide His Word from us.
And then shall that Wicked be revealed, whom the Lord shall consume with the spirit of his mouth, and shall destroy with the brightness of his coming: 2 Thess. 2:8Even him, whose coming is after the working of Satan with all power and signs and lying wonders, 2 Thess. 2:9Delusions always come with deluders:
And with all deceivableness of unrighteousness in them that perish; because they received not the love of the truth, that they might be saved. 2 Thess. 2:10
And for this cause God shall send them strong delusion (tramps, erratic teachers, roving stars), that they should believe a lie: 2 Thess. 2:11Plane (g4106) plan'-ay; fem. of 4108 (as abstr.); obj. fraudulence; subj. a straying from orthodoxy or piety: - deceit, to deceive, delusion, error.
Planos (g4108) plan'-os; of uncert. affin.; roving (as a tramp), i.e. (by impl.) an impostor or misleader: - deceiver, seducing.That they all might be damned who believed not the truth, but had pleasure in unrighteousness. 2 Thess. 2:12False wonders or Teras or omen
The Greek: Teratourg-eô , A. WORK wonders, pseudôsti Sch.Pi.I.7(6).13.
Pindar Odes:  In which of the local glories of the past, divinely blessed Thebe, did you most delight your spirit? Was it when you raised to eminence the one seated beside Demeter of the clashing bronze cymbals, flowing-haired  Dionysus? Or when you received, as a snow-shower of gold in the middle of the night, the greatest of the gods then begin the victory [Nike: TRIUMPH OVER] procession with a sweet-singing hymn for Strepsiades; for he is the victor in the pancratium at the Isthmus, both awesome in his strength and handsome to look at; and he treats excellence as no worse a possession than beauty.  He is made radiant by the violet-haired Muses, and he has given a share in his flowering garland to his uncle and namesakeThe-ama , Ion. theêma , atos, to, ( [theaomai] )A. sight, spectacle, Semon.7.67, A.Pr.306, E.Supp.783, Ar.Av.1716, etc.; ei tis orchoit' eu, theam' ên Pl.Com.130 ; Opposite mathêma, of a sight which gives pleasure, theamata kai akroamata hêdista parecheis X.Smp.2.2 , cf. 7.5; orchêseis kai theamata
X.Smp.2.2 Xenophon, Symposium II. When the tables had been removed and the guests had poured a libation and sung a hymn, there entered a man from Syracuse, to give them an evening's merriment. He had with him a fine flute-girl, a dancing-girl--one of those skilled in acrobatic tricks,--and a very handsome boy, who was expert at playing the cither and at dancing; the Syracusan made money by exhibiting their performances as a spectacle.  They now played for the assemblage, the flute-girl on the flute, the boy on the cither; and it was agreed that both furnished capital amusement. Thereupon Socrates remarked: “On my word, Callias, you are giving us a perfect dinner; for not only have you set before us a feast that is above criticism, but you are also offering us very delightful sights and sounds.”  “Suppose we go further,” said Callias, “and have some one bring us some perfume, so that we may dine in the midst of pleasant odours, also.” “No, indeed!” replied Socrates
“What use will you make of them?” the other asked.Thema is OPPOSITE to Learning.
“I will dance, by Zeus.”
Math-êma , atos, to, ( [mathein] )
A. that which is learnt, lesson 2. learning, knowledge
Isocrates Panthenaicus: 12. Now in fact, so far from scorning the education which was handed down by our ancestors, I even commend that which has been set up in our own day--I mean geometry, astronomy, and the so-called eristic dialogues,2 which our young men delight in more than they should, although among the older men not one would not declare them insufferable.  Nevertheless, I urge those who are inclined towards these disciplines to work hard and apply themselves to all of them, saying that even if this learning can accomplish no other good, at any rate it keeps the young out of many other things which are harmful. Nay, I hold that for those who are at this age no more helpful or fitting occupation can be found than the pursuit of these studies;Spectācŭlum I. a show, sight, spectacle, A. Lit., in the theatre, circus, etc., a public sight or show, a stageplay, spectacle,
C. A wonder, miracle: spectacula septem, the seven wonders of the world: in septem spectaculis nominari, Vitr. 2, 8, 11 : numerari inter septem omnium terrarum spectacula, Gell. 10, 18, 4 .
2. (Post-Aug.) Of the schools of rhetoric, as scenes for the display of eloquence: at nunc adulescentuli deducuntur in scaenas scholasticorum, qui rhetores vocantur, Tac. Or. 35 ; cf. Plin Ep. 7, 17, 9.--
2. Outward show, parade, pretext: scaena rei totius haec: Pompeius, tamquam Caesarem non impugnet, etc., Cael. ap. Cic. Fam. 8, 11, 3; cf.: ne quid scaenae deesset, Petr. 117, 10 ; Suet. Calig. 15: scaenam ultro criminis parat, Tac. A. 14, 7 fin.
Jude was quoting from the book of Enoch:
13 Raging waves of the sea, foaming out their own shame; wandering stars, to whom is reserved the blackness of darkness for ever.
14 And Enoch also, the seventh from Adam, prophesied of these, saying, Behold, the Lord cometh with ten thousands of his saints,
Enoch defines these as a band of men or angels banded together with their beautiful daughters:
Enoch 7:1 It happened after the sons of men had multiplied in those days, that daughters were born to them, elegant and beautiful.
Enoch 7: 2 And when the angels, (3) the sons of heaven, beheld them, they became enamoured of them, saying to each other, Come, let us select for ourselves wives from the progeny of men, and let us beget children.
(3) An Aramaic text reads "Watchers" here (J.T. Milik, Aramaic Fragments of Qumran Cave 4 [Oxford: Clarendon Press, 1976], p. 167).
Enoch 7: 3 Then their leader Samyaza said to them; I fear that you may perhaps be indisposed to the performance of this enterprise;
Enoch 7: 4 And that I alone shall suffer for so grievous a crime.
Enoch 7: 5 But they answered him and said; We all swear;
Enoch 7: 6 And bind ourselves by mutual execrations,
that we will not change our intention, but execute our projected undertaking.
It has been rumored that a band of men exist today who have bound themselves to change times, seasons and laws.
Enoch 7: 7 Then they swore all together, and all bound themselves by mutual execrations. Their whole number was two hundred, who descended upon Ardis, (4) which is the top of mount Armon. (Hermon)
(4) Upon Ardis. Or, "in the days of Jared" (R.H. Charles, ed. and trans., The Book of Enoch [Oxford: Clarendon Press, 1893], p. 63).
Whatever reveals this lack of love for the Word is the "agent of Satan" at work. Even Peter momentarily fell under his spell. I cannot grasp how people who make up their own songs for others to admire can love the truth revealed in God's songs.
The word "serpent" in the Bible is the beginning message about musical devices to hide the Word of God from His creatures.
However, let me make it clear: I don't believe in any of the images of the devil as a grotesque man-beast. Inside, he is hideous but outside he is an angel of light. He is old, gray headed and his words flow like liquid gold. He is young, charismatic. To be effective he will "be as much like you as possible." He will help you tear down your old beliefs even if they are from God and tell you that he has a brand new system which will meet all of your needs. Even if you would help hang Jesus on the cross you will love him/her. In ancient tradition, Satan could appear as a tall and handsome male; to Adam and Seth he appeared as a beautiful woman with lots of music.
You see, Lucifer is called a prostitute, either female or bisexual. The "queen" wants to be remembered as "a king."
Then end-time "Babylonian Whore" religion began in the garden of Eden and there is no point in understanding the present culture of manipulated "worship" rituals without understanding the "father" of such worship. Or should we say "mother" because Lucifer is neuter-ambivalent.
In ancient Mesopotamia, the very earliest association of music and the demons or "gods" is in the story of Ea and his daughter, Inanna:
Ea(Akkadian), Sumerian Enki, Mesopotamian god of water and a member of the triad of deities completed by Anu (Sumerian An) and Bel (Enlil). From a local deity worshiped in the city of Eridu, Ea the "patron god of music" evolved into a major god, Lord of Apsu (also spelled Abzu), the fresh waters beneath the earth (although Enki means literally "lord of the earth"). In the Sumerian myth, "Enki and the World Order," Enki is said to have fixed national boundaries and assigned gods their roles. According to another Sumerian myth Enki is the creator, having devised men as slaves to the gods. In his original form, as Enki, he was associated with semen and amniotic fluid, and therefore with fertility. He was commonly represented as a half-goat, half-fish creature, from which the modern astrological figure for Capricorn is derived. He is also identified with Oannes. He sometimes the head of a ram and the body of a fish.The story of Inanna, like Ishtar the mother/bride of Tammuz worshiped by the women in the Jerusalem temple, has her getting Ea drunk and forced him to give her the ME which were supernatual gifts. Perverted sexuality and instrumental music were two prized gifts:
- He gave me the art of lovemaking.
- He gave me the art of kissing the phallus.
- He gave me the art of prostitution.
- He gave me the resounding musical instrument.
- He gave me the art of song.
- He gave me the art of the elder.
- He gave me the kindling of strife
Ea, the male, had reason to lament allowing himself to fall under the wineskin and giving up power to women which could never be recovered.
Mesopotamian amphibious being who taught mankind wisdom. Oannes, as described by the Babylonian priest Berosus, had the form of a fish but with the head of a man under his fish's head and under his fish's tail the feet of a man. In the daytime he came up to the seashore of the Persian Gulf and instructed mankind in writing, the arts, and the sciences. Oannes was probably the emissary of Ea, god of the freshwater deep and of wisdom.
The 'fish' is an old and very suggestive symbol in the Mystery-language, as is also 'water.' Ea or Hea was the god of the sea and Wisdom, and the sea serpent was one of his emblems, his priests being 'serpents' or Initiates. Thus one sees why Occultism places Oannes and the other Annedoti in the group of those ancient 'adepts' who were called 'marine' or 'water dragons' -- Nagas.
If you want to see the modern imitation look at the Pope's hat the next time you see him:Oannes was a deity called Dagon. Even though he was hideous to view the Babylonians readily listened to what he taught during the day after which he descended back into the deep. Further to the west, Pharos in northern Egypt was said to be the home of 'the Old Man of the Sea' a shape-shifting amphibious deity known as Proteus, son of Oceanus and renowned among the ancient Greeks as an oracle.
Bull Or Demon WorshipAfter God gave israel The Book of the Covenant, they fell into the musical idolatry of bull worship. As a result, God gave them The Book of the Law and pronounced His conditional sentence on them right there. For some background you may want to read about the
Inanna also wanted the Bull of Heaven but He needs more water than you have.
ORIGIN OF THE BULL OF HEAVEN
Anu created this monster to kill Gilgamesh at the request of Ishtar. It had the bad habit of throwing spit and "Bull excrement" in the battle with Gilgamesh and Enkidu. Showing no mercy, Enkidu and Gilgamesh kill it and offer it to the sun or Shamash.
BULL WORSHIP at Mount Sinai
The bull has been worshiped as a symbol of fertility. He may be white as seen in the Egyptian Apis, who in legend is Osiris "incarnate" This was the worship by the Israelites at Mount Sinai where the golden calf was worshipped with singing, dancing, instruments and sex.
The sacred bulls did not necessarily represent male animals,
but were mystically considered to be hermaphrodite or even sexless:
thus the Egyptian bull, Apis, was a hermaphrodite to show his magical character. Gender confusion was always a primary ingredient to the priesthood which H. Bamford Parkes identifies as the world's oldest profession.
DEMON OR Daemon
On addition to the public and official cult of the "twelve great gods" and their subordinate divinities, the Assyrians had a more sacred and secret religion, a religion of mystery and magic and sorcery. The antiquity and importance of this secret religion,
with its magic and incantations of the good spirits or evil demons, may be gathered from the fact that by order of King Assurbanipal his scribes made several copies of a great magical work [praise song book] according to a pattern which had been preserved from a remote antiquity in the priestly school of Erech in Chaldea. This work consisted of three books, the first of which is entirely consecrated to
incantations (chanting a powerful song),
conjurations (to summon a god), and
imprecations (A curse) against the evil spirits.
A demon is called ecimmu, or maskimmu. One special class of these spirits was the sedu, or divine bull, which is represented in the well-known figure of a man-headed bull so common on the Assyrian monuments. This name, it may be remarked, is probably the source of the Hebrew word for demon. The Assyrian sedu, it is true, was more commonly a beneficent or tutelary (guardian) spirit. (Catholic Encyclopedia)
Kobdas magic drum used for trance induction and divination by the Lapp shaman, or noiade. The drum consisted of a wooden frame, ring, or bowl over which a membrane of reindeer hide was stretched. The hide was usually covered with figures of deities, tutelary spirits of the noiade, and otherworld localities, painted on with the juice of alder bark. Metal trinkets, pieces of bone, teeth, or claws might be strung on the underside of the drum or around its outer edges. When used for divination, the kobdas was beaten with a T- or Y-shaped hammer made of reindeer antler, which caused a triangular piece of bone or metal called an arpa to move along the surface of the drum. The arpa might be in the shape of a brass ring or even a frog representing the tutelary spirit of the noiade that went out to discover the things he wanted to know. From the movements of the arpa, the noiade divined the nature of illness and the location of lost or stolen objects. The use of the drum was limited to the Lapps, Voguls, and Ostyaks among the Finno-Ugric peoples, but similar divinatory practices with the aid of a sieve were known among the Finns and other Balto-Finnic groups.
A Sumerian Musician playing an eleven-stringed lyre which is decorated with a bull's head. The bull was the "demon" worshiped in many ancient religions and especially by Israel at Mount Sinai where they lost The Book of The Covenant and were given The Book of The Law "because of transgression."
"It (demon) is used in the Septuagint, Deut. 32:17, to translate the Hebrew word which seems, originally, to have meant a supernatural being inferior to the gods proper, applied among the Assyrians to the bull deities which guarded the entrances to temples and palaces." (Vincent, p. 244)For I was an hungered, and ye gave me no meat: I was thirsty, and ye gave me no drink; I was a stranger, and ye took me not in; naked, and ye clothed me not; sick, and ye visited me not: I was in prison, and ye came not unto me.I made your ears that ye might hear the Scriptures;
and ye prepared them for the songs of demons, and lyres, and jesting.
I made your eyes that you might see the light of my commandments, and keep them; and ye called in fornication and wantonness, and opened them to all other manner of uncleanness.
I prepared your mouth for the utterance of adoration, and praise, and psalms, and spiritual odes,
and for the exercise of continuous reading;
and ye fitted it to railing, and swearing, and blasphemies, while ye sat and spoke evil of your neighbours.
I made your hands that ye might stretch them forth in prayers and supplications, and ye put them forth to robberies, and murders, and the killing of each other. I ordained your feet to walk in the preparation of the Gospel of peace, both in the churches and the houses of my saints; and ye taught them to run to adulteries, and fornications, and theatres, and dancings, and elevations.135
Lenski wrote of 1 Cor 10--
"It is a great mistake to imagine that back of their idolatry and their idol sacrifices there is nothing but an empty vacuity. True enough, as 8:4 makes plain, the gods of the idols have no existence whatever; no being by the name of Jupiter exists, and this is true with respect to all other gods.
But something does exist, something that is far more terrible than these pseudo-gods, namely an entire kingdom of darkness which is hostile to God, a host of demons or fallen angels who are ruled by the greatest of their number, namely Satan, Eph. 2:3; 6:12. (Lenski)
Put on the whole armour of God, that ye may be able to stand against the wiles of the devil. Eph 6:11
For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. Eph 6: 12
Wherefore take unto you the whole armour of God, that ye may be able to withstand in the evil day, and having done all, to stand. Eph 6: 13
Of the king of Tyre as the image of Lucifer, God said and Ezekiel wrote:
Son of man, take up a lamentation upon the king of Tyrus, and say unto him, Thus saith the Lord God; Thou sealest up the sum, full of wisdom, and perfect in beauty. Ezekiel 28:12
Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold:
the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. Ezekiel 28:13
And of the king of Babylon:All your pomp has been brought down to the grave, along with the noise of your harps; maggots are spread out beneath you and worms cover you. Isaiah 14:11
Of the image to the left Joseph Campbell wrote: "The girl harpists' skeleton hands were still resting on the harp strings--or where the harp strings once had been. And the instruments themselves suggested in form the body of a bull, with its beautiful golden bull's head (engravings) bearing a rich lapis-lazuli beard (settings). For this was a mythological bull: the divine lunar bull whose song of destiny had summoned these two willing companies--
first of the buried king, then of his lady--to rebirth through death. And we know the name of the god of whom this bull was the animal vehicle. It was the great Near Eastern legendary, god-king and universal savior Tammuz, (See Ezekiel 8:14)
the dates of whose annual death-and-resurrection festival are now assigned in our own mythic and ritual calendar, by the Synagogue to Passover, and by the Church to Good Friday and Easter." (Campbell, Joseph, Myths to Live By, p. 62-63)"We gain some knowledge of music in ancient Sumer from the harps or lyres found in the tombs. The animal heads used for ornamentation include a bearded bull, a cow, and a stag. Each of two statuettes from represented a goat standing in front of a bush from which it appears to be eating leaves." ( Pfeiffer, Charles F., Between the Testaments, Baker Book House, p. 547).
"The spirits were thought to speak in murmurings or piping sounds (Isa 8:19), which could be imitated by the medium (ventriloquist)...Most spiritual and popular was the interpretation of dreams. It also was the case that mediums intentionally would convert themselves into a semi-waking trance. In this way the suitable mediums attained to a certain kind of clarvoyance, found among various peoples. This approaches the condition of an ecstatically aroused pseudo-prophet..
In Greece, too, oracles were pronounced by the Phythian prophetess who by vapors and the like was aroused to a practice of the mantic art. (Int Std Bible Ency, p. 2466)
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?1Co.14:23
Mainomai (g3105) mah'ee-nom-ahee; mid. from a prim. mao , (to long for; through the idea of insensate craving); to rave as a "maniac": - be beside self (mad)
For these nations, which thou shalt possess, hearkened unto observers of times, and unto diviners: but as for thee, the Lord thy God hath not suffered thee so to do. Deut 18:14
Observers of times are:
Anan (h6049) aw-nan'; a prim. root; to cover; used only as denom. from 6051, to cloud over; fig. to act covertly, i. e. practise magic: - * bring, enchanter, Meonemin, observe (-r of) times, soothsayer, sorcerer.
But draw near hither, ye sons of the sorceress, the seed of the adulterer and the whore. Is.57:3
The mourning ritual connected with Astarte in KAI 37 and elsewhere, and the tradition of "raising the god" (mqm 'lm), identified as Astarte's bridegroom in KAI 44:2, in Phoenician epigraphs (c.f. the Eqron epigraph, lmqm, in the seventh c., where other indications of Phoenician influence are present), suggest the importance of the cycle through the underworld in this cult
Peckham, J. B. 1987 Phoenicia and the Religion of Israel: The Epigraphic Evidence. Pp. 79-99 in Ancient Israelite Religion. Essays in Honor of Frank Moore Cross, ed. P. D. Miller, P. D. Hanson and S. D. McBride.Philadelphia: Fortress.
And Paul warned the Corinthians:If even lifeless instruments, such as the flute or the harp, do not give distinct notes, how will any one know what is played? 1Co.14:
The weapons we fight with are not the weapons of the world. On the contrary, they have divine power to demolish strongholds. 2Co.10:4
The word translates eithe "lifeless instruments" or "carnal weapons."
Lockyear also notes the connection between the "settings" and "engravings" of the harp showing it to be the actual idol as the image of a ram&emdash;
"Egyptian and Assyro-Bablonian monuments depict the sounding board of a harp decorated with mosaic or inlaid ivory work and a ram's-head ornament at the end, with a figure in front engaged in beating time with his hands." (Lockyear, All the Trades of the Bible, p. 147).
"Slightly less familiar are the Devil's musical exploits. He not only loves singing but is master of the violin, of which instrument of evil he is reputedly the inventor. By the same token he can give mastery of the violin, bartering infernal skill for the pupil's soul. These legends are related to the larger belief in the supernatural origin of musical skill and individual songs." (Botkin, B. A., A Treasury of American Folklore, Crown Publishers, p. 718; Cf. The Devil and the Fiddle).
The story of Genun as the composite of Jubal, Jabal, Tubal-Cain and Naamah (Inanna?) Satan came into him in his youth and taught him how to invent musical instruments and organize mixed-sex choirs for the explicit purpose of seducing the holy Sethites.
 The corruptness of the times, and especially the depravity of Cain's stock, appears in the fact that Lamech, as well as all the men in the generation of the deluge, married two wives,
one with the purpose of rearing children,
the other in order to pursue carnal indulgences,
for which reason the latter was rendered sterile by artificial means. As the men of the time were intent upon pleasure rather than desirous of doing their duty to the human race, they gave all their love and attention to the barren women, while their other wives spent their days like widows, joyless and in gloom.
The two wives of Lamech, Adah and Zillah, bore him each two children, Adah two sons, Jabal and Jubal, and Zillah a son, Tubal-cain, and a daughter, Naamah.
Jabal was the first among men to erect temples to idols, and
Jubal invented the music sung and played therein.
Tubal-cain was rightly named, for he completed the work of his ancestor Cain. Cain committed murder, and Tubal-cain, the first who knew how to sharpen iron and copper, furnished the instruments used in wars and combats.
Naamah, "the lovely," earned her name from the sweet sounds which she drew from her cymbals when she called the worshippers to pay homage to idols.
(o) Many Sethites took celibate vows, following Enoch's example, and led the lives of anchorites. By way of contrast, the Cainites practised unbridled debauchery, each keeping at least two wives: the first to bear children, the second to gratify his lust. The child-bearer lived in poverty and neglect, as thougn a widow;
the other was forced to drink a potion that made her barren - after which, decked out like a harlot, she entertained her husband luxuriously.
(p) It was the Cainite's punishment to have a hundred daughters borne them for each son; and this led to such husband-hunger that their women began to raid houses and carry off men. One day it pleased them to seduce them Sethites, after daubing their faces with rouge and powder, their eyes with antimony, and the soles of their feet with scarlet, dyeing their hair, putting on golden earrings, golden anklets, bracelets, and many-colored garments.
In their ascent of the holy mountain, they twanged harps, blew trumpets, beat drums, sang, danced, clapped hands; then, having addressed the five hundred and twenty anchorites in cheerful voices,
each caught hold of her victim and seduced him. These Sethites, after once succumbing to the Cainite women's blandishments,
became more unclean than dogs, and utterly forgot God's laws.
(q) Even the "Sons of Judges" now corrupted the daughters of the poor. Whenever a bride was beautified for the bridegroom, one such would enter the nuptial chamber and enjoy her first.
Paul defined this process at Mount Sinai which is a pattern for all who reject the Word of God.
.....For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men, who hold the truth in unrighteousness; Rom 1:18
.....Because that which may be known of God is manifest in them; for God hath shewed it unto them. Rom 1:19
.....For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead; so that they are without excuse: Rom 1:20
.....Because that, when they knew God, they glorified him not as God, neither were thankful; but became vain in their imaginations, and their foolish heart was darkened. Rom 1:21
.....Professing themselves to be wise, they became fools, Rom 1:22
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
.....And changed the glory of the uncorruptible God into an image made like to corruptible man, and to birds, and fourfooted beasts, and creeping things. Rom 1:23
"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).
Wherefore God also gave them up to uncleanness, through the lusts of their own hearts, to dishonour their own bodies between themselves: Rom 1:24
Who changed the truth of God into a lie, and worshipped and served the creature more than the Creator, who is blessed for ever. Amen. Rom 1:25
For this cause God gave them up unto vile affections: for even their women did change the natural use into that which is against nature: Rom 1:26
Professor Robert Briffault's introductory words to his article titled "Sex in Religion" published in the book "Sex in Civilization" (Garden City Publishing Co.)."The elaborate mystic theology of Egypt was replete with sexual symbolism; hierodular [sacred] prostitution, ritual bestiality were among the observances of its cult. The religions of Babylonia, of Asia Minor, of the far-flung Semitic colonies, were notorious for the licentiousness of their rites: their priestesses were sacred prostitutes and prostitution was incumbent upon every woman.
To this common description of early religious beliefs, we have the incident of Aaron bringing out the bull for the Israelites to worship when Moses remained longer on Mount Sinai than the people thought. The people were getting edgy so Aaron made a festivity for them by fashioning the golden calf and told them to worship the calf in a sexual manner (Exodus 32:25-35). God was angry with Aaron and the people for this. But the people thought that by their sexual actions they were actually worshipping God in a proper way. Their worship was to "Baal-Peor" (Hebrew: "Lord of the Opening," that is, "Lord of the Vagina") (see Psalm 106:28,29 for this identification). The rebellious Israelites were making images (and setting up pillars) in honor of this pagan deity that demanded gross sexual actions as a part of the "nature rituals" by the worshippers. This was nothing strange to the Israelites because most Gentile religious activities involved a measure of sexual activity as a part of their liturgies and rituals.
"Where kithara playing and dancing and hand clapping find place, there is the beguiling of men, the corruption of women, the sorrow of angels and a feast for the devil... Today, to all appearances, they sing psalms as God ordained, and tomorrow they will eagerly dance as taught by Satan. Today they contradict Satan and tomorrow they follow him... Let it be far from you that today, as one loving Christ, you listen attentively to the reading of the divine Scripture, and tomorrow as a criminal and a hater of Christ you listen to lyre playing." (St. Ephraim, quoted by Green, p. 37-38).
"Among the Devil-worshippers of Modern Chaldea, the same festival is celebrated at this day, with rites probably almost the same, so far as circumstances will allow, as thousands of years ago, when in the same regions the worship of Tammuz (worshiped by the women in the Jerusalem Temple, Eze 8:14) was in all its glory.... As theTwilight faded,
the Fakirs, or lower orders of priests (Levites) dressed in brown garments of course cloth, closely fitting to their bodies, and wearing black turbans on their heads, issued from the tomb, each bearing a light in one hand, and a pot of oil, with a bundle of cotton wick in the other...
As the priests made their way through the crowd to perform their task (the people especially the children had their arms 'passed through the fire' for purification)... and as night advanced, those who had assembled--they must now have amounted to five thousand persons--lighted torches, which they carried with them as they wandered through the forest.
The effect was magical: the varied groups could be faintly distinguished through the darkness--men hurrying to and fro--women with their children seated on the house-tops--
and crowds gathering round the peddlars, who exposed their wares for sale in the court-yard.
Thousands of lights were reflected in the fountains and streams, glimmered amongest the foliage of the trees, and danced in the distance. As I was gazing on this extraordinary scene, the hum of human voices was suddenly hushed, and a strain, solemn and melancholy, arose from the valley. It resembled some majestic chant which years before I had listened to in the cathedral of a distant land. Music so pathetic and so sweet I never before heard in the East. The voices of the men and women were blended in harmony with the soft notes of many flutes.
At measured intervals the song was broken by the loud clash of cymbals and tambourines (selah?); and those who were within the precincts of the tomb then joined in the melody... The tambourines, which were struck simultaneously, only interrupted at intervals the song of the priests.
"As the time quickened they broke in more frequently. The chant gradually gave way to a lively melody, which increasing in measure, was finally lost in a confusion of sounds. The tambourines were beaten with extraordinary energy--the flutes poured forth a rapid flood of notes-- the voices were raised to the highest pitch--the men outside joined in the cry--whilst the women made the rocks resound with the shrill tahlehl.
"The musicians, giving way to the excitement, threw their instruments into the air, and strained their limbs into every contortion, until they fell exhausted to the ground. I never heard a more frightful yell than that which rose in the valley. It was midnight. I gazed with wonder upon the extraordinary scene around me. Thus were probably celebrated ages ago the mysterous rites of the Corybantes, when they met in some consecrated grove."
"Now, the reader cannot fail to have observed that in this Yezidi festival, men, women, and children were 'purified' by coming in contact with the 'sacred element' of fire. (they also received a light from divinity). Therefore it was that 'children were made to pass through the fire of Moloch' (Jer. xxxii. 35), to purge them from original sin, and through this purgation many a helpless babe became a victim to the bloody divinity." (Hislop, Alexander, The Two Babylons, p. 119-120, Loizeaux Brothers) See Layard's Version
"The god is Moloch, the god of barbarity and blood. Moloch signifies 'king'; and Nimrod was the first after the flood that violated the patriarchal system, and set up as 'king' over his fellows. At first he was worshipped as the 'revealer of goodness and truth,' but by-and-by his worship was made to correspond with his dark and forbidding contenance and complexion. The name Moloch originally suggested nothing of cruelty or terror; but now the well-known rites associated with that name have made if for ages a synonym for all that is most revolting to the hearts, and amply justify the description of Milton:--
- First Moloch, horrid king, besmeared with blood
- Of human sacrifices, and parents' tears,
- Though, for the noise of drums and timbrels loud,
- Their children's cries unheard, that passed through fire
- To his grim idol.
"In almost every land the bloody worship prevalied (Greece, Rome, Egypt, Phoenicia, Assyria, Druids) Human wailings were the sweetest music in his ears; human tortures were believed to delight his heart (Hislop, Alexander, The Two Babylons, p. 150-151, Loizeaux Brothers)
I will not try to recaptulate all of the material I have collected about Lucifer as the father of instrumental music in worship; or instruments noted as "the devil's instruments." I will begin with the sad state in Israel who had reinstated the worship of the bull calf which sentenced Israel at the food of Mount Sinai.
Because God is pure or Holy Spirit and Jesus said that our worship must be in Spirit and in Truth, it simply is not possible to perform or listen and look at a musical ritual without putting all of our attention on the theatrical performers. Satan doesn't have to get the top grade worship so long as he can take our eyes and minds off Jesus and His Word. Musical "teams" clearly identify themselves as meadiators "leading the worshiper into the presence of God." The ancients warned that when you were seeking for a spirit experience, the wrong "spirit" often stole through. Traditions or myths do not have the weight of scholarly comment. Therefore, we note of the warning in Amos 5, 6 and 8.
- Speaking of the music condemned by Amos in chapters 5, 6 and 8. We note that:
- ---- "The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria... The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)
- ----"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37).
- ----"With the wine-drinking (which is the literal meaning of the Hebrew for feasting), went music and dancing." (Heaton, E. W., Everyday Life in Old Testament times, Scribners, p. 93)
- ----"Worship was form more than substance; consequently, conduct in the marketplace was totally unaffected by worship in the holy place. Amos spoke from the conviction that social justice is an integral part of the Mosaic covenant, which regulates relations not only between God and people, but also among people." (King, p. 44).
- ----"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans. In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51).
The Battle of Baal and Yahm
- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
- Aloud they [summon the assembly of the gods/ do cry to those near]. They invite
- the distant ones/ those far away, to the assembly of `El
- they summon/do cry: "`El remains seated
[in his marzeah/banqueting hall//among his cult-guests (dM)] . . .
- The shame of the Eternal One/The shameful conduct of the usurper . . .
- O gods, (to) the house of your lord . . .
- [Who surely travels (S)/lest he go (D/G) quickly/the Runner will not walk (dM)] through the land, . . .
- who goes in the dust (of) destruction/a mess of mud on the ground . . .
Comments: Smith believes lines 7-8 should be interpreted "Either literally, as `El walking through the underworld, or an allusion to `El being "dead drunk," or both metaphorical, and ironic, as the marzeah serves as the setting for feasts for the dead and for the living mourning the dead (p. 145).One collection of tidbits on the issue of Satan and music or the instruments as the actual idol can be found here:
This is probably the article you noticed. The article records many of the ancient stories about the children of Lamech (descendants of Cain) who were in world-wide tradition of the ancient world taught by Satan how to invent musical instruments and organize mixed-sex choirs as tools of seduction of the holy people. This is a random collection of historical data and is not written for grading.
The story of Genun tells about a Babylonian composite of Jubal, Jabal, Tubal-Cain and Naamah. All of these Biblical names have their roots in words realated to enchantments and soothsaying which often used musical devices or other charismatic practices. These documents were written in the early post-biblical period but the stories are much older. They give a good picture of what the ancient Jews believed.
An index where I am researching serpent worship is here;
All of the musical instruments and musical terms in the Bible have their roots in Hebrew and Greek words pointing directly to Satan who tried to usurp the role of God. In this he would stand between the worshipers and God and be the mediator and of course you cannot see God when musical performers are obscuring your view and removing rational power from your brain. The word "serpent" in Genesis is the first symbolic reference to music and speaking in tongues. This word has a history from all over the then known world.
The Deceptive Change of the Early Church.
All of the earliest information about Musical Instruments has it as the primary tool for worshiping Satan in his various "incarntations." Beginning with the Catholic Church in about A.D. 1250 and onward, they taught that instrumental music actually had the power to repel Satan. Thus, they were baptized to make them holy.
As music attracted the "gods" or "demons" which were the spirit of dead ancestors or heros such as inventors of musical instruments and weapons as well as composers of songs, it was also believed to repel or confuse the Devil especially the storm and lightening demons. The first traditional reference is to Noah banging on wood boards around the area to confuse Satan so that he could not prevent the building of the ark.
Lots of research here. I have thrown the article away but an article written by an online pastor noted that all musical instruments seem to come from the Devil. However, his thesis is that God saw how powerful they were and authorized them for the Jews and Christians.
In the face of librarys full of the negative implications of instrumental music as a mechanical means to worship a Spirit God, it may be a supernatural sign that in what may be the last days so many false teachers are leading or driving their flocks into musical worship and the equivalent called "praise services" which have no command, example, inference or remote hint from the Old or New Testament as a "congregational" worship event. Praise, like love, is not a group activity.
As opponents might say: "Nothing proves nothing" and that might be true. However, when challenged after churches are already broken asunder by music, the usual approach is to allude to the Psalms or the definition of the Greek word psallo as authority. The point is that anything which can even be misused to defend the divisive and carnal worship of a Spirit God with machines is drowned with a flood of contrary evidence which the musical pastors neither know nor care about.
Hi, I never expected such a rapid reply. Thank you very much. * * Another question ??? I can't seem to find the scripture(s) where Moses condemned the use of musical instruments in the worship to God. Can You help? Thanks again
Contrary to what seems by some to be authority for what really amounted to "a great crashing sound" by the Levites in the Temple animal sacrifices or for dedicatory, purification or "plague stopping ceremonies," God only clearly authorized two silver trumpets. Their use was restricted to the priests and were reserved for important signals. For instance, beginning or ending the march, going into battle to send signals or to alarm (panic or triumph over) the enemy or to rejoice over the enemy if Israel gained victory. This use is defined in Numbers 10.
Specificially, the 'alarm' which includes blowing the trumpets and loud rejoicing was forbidden when the assembly of the congregation (or leadership) was called. This call would be for instructing the people. Therefore, one did not want to "alarm" or "triumph over" the congregation but to use them like "church bells."
Numbers 10:7 forbids the "alarm" when calling the assembly.
And when they shall blow with them, all the assembly shall assemble themselves to thee at the door of the tabernacle of the congregation. Numbers 10:3
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Numbers 10:7
The Alarm was:
Ruwah (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. 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.
The Israelites understood this and NEVER had what we call "a praise service" or instruments in the synagogue or "church in the wilderness" or until A.D. 1825 in a liberal, German synagogue. Instruments were added--but a gentile had to play the organ--the assembly was DISCORDED and the courts had to settle the issue.
When the alarm was blown the assembly normally moved out with great joy, noise and undoubtedly chatting and singing, bleating of sheep and rumbling of carts.
When the assembly was called nothing should be done which would excite the crowd into making noise because, like Sunday morning, it would be difficult to again get order so that the words of God could be heard.
It would be tragic if some of the Israelites gathered for a musical performance just as the enemy (or the Lord) was coming just over the hill.
This assembly or gathering is defined by Moses as the "worship" which existed for the general population and which formed the basis of the Synagogue. Alfred Edersheim noted that:"It has already been pointed out, that the main object of the synagogue was the teaching of the people.
The benediction was performed by
"lineal descendants of the house of Aaron.
There was no service of "praise" in the synagogues.
[And thus we find none in a true church]
This was accomplished accomplished by the reading of the law.
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. Ex 32:1
Aaron made them a golden calf and said that this golden calf was the "god" who brought them out of Egypt. They rose up to play which was to sing, dance and play musical instruments. As a result, God gave the Book of the Law to govern the people.
However, He instituted the assembly or synagogue for teaching the Word of God. It had no other purpose: it was not a pagan worship center but a school.
Gather is: Qahal (h6950) kaw-hal'; a prim. root; to convoke: - assemble (selves) (together), gather (selves) together).
But when the congregation is to be gathered (synagogued_ together, ye shall blow, but ye shall not sound an alarm. Numbers 10:7
An alarm was a way to defeat the Word of God or the enemy:
Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. 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.
Therefore, the non-idolatrous assembly had not musical disorder:
When all Israel is come to appear before the Lord thy God in the place which he shall choose, thou shalt read this law before all Israel in their hearing. Deut 31:11
Gather the people together, men, and women, and children, and thy stranger that is within thy gates,
that they may hear, and
that they may learn, and
fear the Lord your God, and
observe to do all the words of this law: Deut 31:12
And that their children, which have not known any thing, may hear, and learn to fear the Lord your God, as long as ye live in the land whither ye go over Jordan to possess it. Deut 31:13
This simply would not be possible if the "worship" was turned over the theatrical performance.
God then gave Moses a song and commanded:
Now therefore write ye this song for you, and teach it the children of Israel: put it in their mouths, that this song may be a witness for me against the children of Israel. Deut 31:19
For when I shall have brought them into the land which I sware unto their fathers, that floweth with milk and honey; and they shall have eaten and filled themselves, and waxen fat; then will they turn unto other gods, and serve them, and provoke me, and break my covenant. Deut 31:20
Moses therefore wrote this song the same day, and taught it the children of Israel. Deut 31:22
And Moses spake in the ears of all the congregation of Israel the words of this song, until they were ended. Deut 31:30KJV
And Moses recited the words of this song from beginning to end in the hearing of the whole assembly of Israel: Deut 31:30NIV
Then Moses recorded the song in chapter 32. Paul used the same word in Greek in Ephesians 5:19 where the command is "teach" and not "sing." From God through Moses we know that songs are from God and they are useful only for teaching and admonishing one another.
If Moses had involved the congregation (church) in musical rejoicing, it would have been proof that he was disobeying God and was deliberately hiding God's Word from the people. There were times for everyone to blow their trumpets or shophars and have a grand, rejoicing party. However, this did not, even under the Law of Moses, answer to the demand that worship be in the heart.
This word "alarm" or "triumph over" is used in Psalms 41 where it is noted that Judas will not "triumph over Jesus." Amazingly, the Judas bag into which he as the thief put the money is defined as "a bag or case for carrying the mouthpieces of wind instruments." This word is made up of two parts: "speaking in tongues" and "of the world." In the Greek world there is some written material as well as lots of vases illustrating the fact that the "bag" was always attached to a "flute case." This ritual was called the Komos enough like kosmos because it was a ritual with flutes and harps.
Remember also that Jesus condemned the Jews
But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Matthew 11:16
And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Matthew 11:17
The Greek words Jesus used point directly to the musical worship of Dionysus, the god of wine. Usually only women got involved but getting Jesus involved would mark Him as effeminate and therefore discredit Him as being Yahweh -- the totally masculine God. The, and some of us, will leave nothing undone to conspire to silence the Incarnate God of the universe like the military Levitical "musicians".
"The priests shall blow the trumpets of massacre, and the Levites and all the blowers of the ram's horn shall sound a battle alarm,
and the foot soldiers shall stretch out their hands against the host...
and at the sound of the alarm they shall begin to bring down the slain.
All the people shall cease their clamor,
but the priests shall continue to blow the trumpets of massacre." - War Scroll
"And on the banner of the ten they shall write, "Songs of joy for God on the ten-stringed harp," and the name of the chief of the ten and the names of the nine men in his command."
The enemy was always "beliar." Therefore, the clergy went into battle against God Himself. After being defeated there was a harp or lyre signal for joy. And they were happy when:
They have overtaken me in a narrow pass (gap) without escape
........ And there is no rest for me in my trial.
They sound my censure upon a harp
........ and their murmuring and storming upon a zither." Ps.41:11
Here is what they were doing to the Lord you mock with music:
My strength has gone from my body
........ and my heart runs out like water;
my flesh is dissolved (melted) like wax
........ and the strength of my loins is turned to fear.
My arm is torn from its socket
........ and I can lift my hand no more;
My foot is held by fetters
........ and my knees slide like water;
........ I can no longer walk.
While the musical warriors violate God's direct command, they would loose in the end and the Lord will wind:
I will groan with the zither of lamentation
........ in all grief-stricken mourning and bitter complaint
until iniquity and wickedness are consumed
........ and the disease-bringing scourge is no more.
An evil disease, say they, cleaveth fast unto him:
and now that he lieth he shall rise up no more. Ps.41:8
Then will I play on the zither of deliverance
........ and harp of joy,
on the tabors of prayer and the pipe of praise
........ without end.
The Community beginning of their weeks
for Rule (1QS) reads in part much like Ephesians 5 and Colossians 3:
And at the the season of Jubilee.
All my life the engraved Precept shall be on my tongue
........ as the fruit of praise
........ and the portion of my lips.
I will sing with knowledge and all my music
shall be for the glory of God.
........ (My) lyre (and) my harp shall sound
........ for His holy order
........ and I will tune the pipe of my lips
........ to His right measure.
In fairness to David, the other instruments were used at Jerusalem where he was permitted by God to build an alter because he was mortally afraid of God and could not go to Gibeon to "inquire of God." The actual recorded events have gaps of hundreds of years and are related to animal sacrifices and for specific ceremonies. For instance, when Hezekiah and Nehemiah performed the "plague stopping" and later "temple dedication" they look all the way back to David for their example.
The "congregation" of the people were "outside the camp" or gates when these rituals took place and they, therefore, are never recorded as "singing congregationally with instrumental accompaniment."
The synagogue, too, honored the law by never having instruments and what they called "singing" we would identify as speaking or chanting with no harmony or "parts."
Hope this helps. I will add to this as other articles occur to me.
Hi again, Thanks for the info, however that did not answer my original question. I have read on several different Sites that "Moses condemned the use of musical instruments in worship to God." I would really like to have the scripture references. So far I can't find any? Did Moses actually condemn the use of musical instruments in worship to God? Chapter and verse?
Thanks for your patience.
We have already addressed this above.
It is important to understand that the Law period under the Kings of Israel and then Judah alone was not according to God's will. Therefore, whatever we see as "authority" for music in worship can never be more than what was primarily animal sacrific rituals or even "plague stopping." Much later, Paul re-connected Christianity to the time of Abraham and not Moses or David.
When Paul said that Abraham was justified by faith he understood the Scriptures which commended Abraham:
I will make your descendants as numerous as the stars in the sky and will give them all these lands, and through your offspring all nations on earth will be blessed, Genesis 26:4
because Abraham obeyed me and kept my requirements, my commands, my decrees and my laws." Genesis 26:5
And leaping over the whole Law period Paul reconfirmed that when Abraham was justified by faith that this meant obedience to whatever God had commanded him which called for faith:
Circumcision is nothing and uncircumcision is nothing. Keeping God's commands is what counts. 1Co.7:19
For in Christ Jesus neither circumcision nor uncircumcision has any value.
The only thing that counts is faith expressing itself through love. Ga.5:6
From this parallel account, keeping God's commands means "faith expressing itself through love." None of this "earns" anything but without obedience one cannot please God because there is no faith.
When Moses was given the Law God said:
But you stay here with me so that I may give you all the commands, decrees and laws
you are to teach them to follow in the land I am giving them to possess." Deut 5:31
Notice that God said nothing about worship in a musical or rejoicing sense. Rather, consistent with the synagogue and the early church, the assembly was for edification or education.
So be careful to do what the LORD your God has commanded you; do not turn aside to the right or to the left. Deut 5:32
Walk in all the way that the LORD your God has commanded you, so that you may live and prosper and prolong your days in the land that you will possess. Deut 5:33
These are the commands, decrees and laws the LORD your God directed me to teach you to observe in the land that you are crossing the Jordan to possess, Deut 6:1
so that you, your children and their children after them may fear (reverence) the LORD your God as long as you live by keeping all his decrees and commands that I give you, and so that you may enjoy long life. Deut 6:2
Now, we have seen that when God commands something there is no faith nor value unless you obey Him. Paul confirms that this is the meaning of "faith."
If something relating to worship did not appear in the Law one should not dishonor God by adding it -- either to the left or right.
Finally, we will look at the only explicit command God ever gave about noise-making instruments.
As we have already noted, God commanded Moses to teach that the two silver trumpets be used only for sending signals such as panicing the enemy in battle or to call the assembly of all of the people or their representatives.
The only occasion for calling the general assembly was for instructions. They were authorized to blow the trumpet as a signal where the various blasts spoke in a "known tongue" and said: "Everyone assembly."
However, the alarm or trumpet with loud rejoicing was outlawed in Numbers 10:7 for the gathering of the congregation. This law was never violated until Israel "turned" away from God and His law and demanded a king like the nations so that they could worship like the nations.
"The altar was the table of Jehovah (Mal. 1:7), and the sacrifices were His feasts (Ex. 23); so the solemn music of the Levites corresponded to the melody by which the banquets of earthly monarches were accompanied." (Smith's Bible Dictionary, Music, p. 590).
However,not even David violated this law because he never called the collective assembly together and played instruments with loud rejoicing as "an act of worship." If we take our proof from David's basic honesty demands that we include slaughtering and burning animals because the Levitical music was intimately bound up with Jerusalem and the sacrificial system.
The one exception may be the first attempt to move the Ark of the Covenant to David's new tent. David called as many of the Israelites from all over the country who could attend. During the musical procession the Law was violated because apparently none of the "leaders" knew it. Uzzah was destroyed and David fell into mortal fear.
The next "congregation" consisted of the civil, city leaders along with clergy.
The Jews were so certain of that that in Babylonia or after the last destruction of the Temple, instrumental music ceased until the year A.D. 1815 in a liberal synagogue which had to hire Gentile musicians because playing instruments on the Seventh day Sabbath was unlawful.
And the result, like all introduction of instruments, was division.
When the like the nations temple worship was established the temple was both religious and civil capital. Therefore, the Levites as musicians were organized under the king and the commanders of the army and not the priests who were the only religious leaders.
Therefore, the law which was not to be altered both defined the nature of the two silver trumpets and forbad them for any assembly of the "people" for whatever purpose.
Now, I cannot produce a legalistic command which says: "I, Moses, forbid the playing of instruments during the worship." But then it would be legalistic to ask for such specifics tailored to our own thinking.
Because God never noted anything good which came out of instruments, and took great pains to associate music with the desire not to hear from Him, the spiritual mind can get the point.
Sorry folks, but the universal, overwhelming, earth-pervading history of instrumental music is that it is the product of Satan (the Devil) because even modern science knows that "it creates the most powerful tranquilizing drug known to mankind."
This is one of the most hidden mysteries of the arena between God's Holy Mountain and the dark valley of Satan and Jubal. The sad message, supported by history, is that "once you have fallen you cannot get up."
It and its Jubal-like promoters promise spiritual revival or power to "move into the presence of God."
However, we are still waiting for God to say "I like that" or that music produces some spiritual value.
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