Dwaine E. Dunning Part 5: Making Melody in the Heart

Dwaine E. Dunning: Making melody in the heart aides us in becoming filled with God's Spirit Answer to Dwaine E. Dunning: Music is not an operative worship word in the entire Bible. Music was borrowed from the pagans.

Romans 14 defines the religion of the sectarian groups in Rome. In addition to dietary practices they were all addicted to theuse of pagan music. All of the BURDEN LADING terms identify the 'spiritual anxiety created by religious rituals.' This always used arousal singing and instruments to LIFT UP people which created an emotional and spiritual burden.

In Romans 15 Paul defines the SYNAGOGUE or EKKLESIA which was a "school of the Bible" and had no rhetorical speakers, lords, singers or even songs. He outlawed the SELF PLEASING which created a burden for the weak and infirm and prevented the Words of Jesus Christ to be heard. The word PLEASE connects to the singing called burdens or epiodes which intended to enchant. That is why John in revelation 18 identifies the singers, musicians and all "religious teknokrats" as performing SORCERY.

Read what Thomas Aquinas and most early church writers said about singing versus teaching.
Non-Instrumental Position Must Be Destroyed: Introduction
Instrumental Music Will Untie the Gordian Knot #2
1ST-CENTURY INFLUENCES on Instrumental Music? #3
See Was Instrumental Music Only For Israel #4
Ray Downen challenging the WORSHIP word. #6 Paul's word for the ONE ANOTHER assembling themselves is a form of the word SYNAGOGUE. The synagogue was a school of the Bible and never had a praise service. Paul's unique "in the spirit" worship word is to GIVE HEED to God in Christ by reading and giving heed to His words which are Spirit and Life.

Making Melody in the Heart #5

Subject: A Lengthy Axe-grinding Session (5)
Date: Fri, 3 Aug 2001 11:33:55 -0500
From: "Ray Downen Joplin MO 64802-1065" <outreach@sofnet.com>
To: <"Worshipers"@sofnet.com>, "(GroupD)"@sofnet.com,
"(GroupDJ)" <(outreach@sofnet.com)>

<< This is the fifth essay (of six) in the new booklet with writings of Dwaine E. Dunning. You can send for it. I need your mailing address to mail it to you. $4. >>

"*MAKING MELODY* IN THE HEART"

Not Checked but here are some good points we need to make:

Music and "praise rituals" were always to Keep the gods from failing.
You should particularly note that MELODY did not imply "instruments" even before the time of Paul.
Instrumental Melody or Music was always from Satan.
Twanging of the Bow String and Arrow "made melody" in the the literal heart.
Literal Sacrifices Replaced with the Fruit of the Lips
Instrumental Music was the Way they Tried to Defeat Jesus

Judas Bag at right on flutecase: Dionysus, New Wineskin Symbol:
Dealing With Doctrinal Issues: Romans 14-15 and Instrumental Music. 10/20/01 Intro added

Rubel Shelly: Today's Sermon Today 10/14/01 10/20/01: John used "Philosopher's Sifters" to explain Jesus?
The Bible is a product of Narrative Theologians with their personal agendas?

Sermon Part Two: Jesus made, drank wine? This is the slander of the Jews "anxious" to mar the holy image of Lord Jesus Christ.

Absolutely, 100% wrong. One of the oldest superstitions known to mankind is that the ritual of singing "brings us into the presence of God" or "calls the gods into our body." The problem with trying to "make the spirit come" as the cry of "musical praise teams" as Charmer, magician, sorcerer, necromancer is:

"May it not happen, may it not come to pass, although you craftily conceal it, that the one should take the other's place, deluding, mocking, deceiving, and presenting the appearance of the deity invoked."

"If the magi, who are so much akin to soothsayers, relate, in their incantations,
pretended gods steal in frequently instead of those invoked; that some of these, moreover, are spirits of grosser substance, who pretend that they are gods, and delude the ignorant by their lies and deceit." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 479).

"Magic is a species of crude science, for the underlying hypothesis is that there are forces in the world which can be utilized on certain conditions, incantations, magical acts, drugs, etc." (Int. Std. Bible Ency., Magic, p. 1963).

"...an immediate relation is seen by some Biblical scholars between music and magic. It cannot be denied that this relationship is assumed in the myths and legends of the religious systems surrounding Judaism. Nor can it be denied that music and magic are linked in religious systems of primitive cultures everywhere. Furthermore,...

the influence of the Greek Philosophical system still has overtones in much of today's thinking regarding musical values. In one way or another the Church, especially the Roman Catholic and in less systematic ways, much of Protestantism, has adopted this philosophy... which... seems to suggest that music has somewhat intrinsic powers to change behavior" (Zondervan Pict., Music P. 312).

The Catholic Encyclopedia knows the source of "music as worship":

"We need not shrink from admitting that candles, like incense and lustral water, were commonly employed in pagan worship and in the rites paid to the dead. But the Church from a very early period took them into her service, just as she adopted many other things indifferent in themselves, which seemed proper to enhance the splendour of religious ceremonial.

We must not forget that most of these adjuncts to worship, like music, lights, perfumes, ablutions, floral decorations, canopies, fans, screens, bells, vestments, etc.

were not identified with any idolatrous cult in particular;
they were common to almost all cults."

Israel established a "like the nation's worship" system because that is what God "turned them over to" after the musical idolatry at Mount Sinai. The fall was complete when Israel's elders fired God and demanded that they were ready to form a "like the nations" kingdom along with pagan systems of worship. God then completed the sentence pronounced at Mount Sinai.

"In ancient Mesopotamia its main purpose appears to have been the enhancement of what was seen as beneficial. With the sole exception of wisdom literature,
........ the core genres are panegyric in nature (i.e.,
........ ........ they praise something or someone),
........ ........ and the magical power and use of praise
........ ........ is to instill, call up, or activate the virtues presented in the praise.

"That praise is of the essence of hymns, for instance, is shown by the fact that over and over again the encomiast, the official praiser, (See Kantor, Precenter, Worship Leader) whose task it was to sing these hymns, closed with the standing phrase: "O [the name of a deity or human hero], thy praise is sweet." The same phrase is common also at the end of myths and epics, two further praise genres that also belonged in the repertoire of the encomiast.

"They praise not only in description but also in narrative,
........ by recounting acts of valour done by the hero,
........ thus sustaining and enhancing his power to do such deeds,
........ according to the magical view.

Praise as organized ritual has always demanded "praise teams" but it repudiates God's power by insisting that--

"The Praise Team leads the congregation into the presence of the Lord with exciting praise and worship. The Word says that God inhabits the praises of His people and we are a people desiring to be inhabited!

Praise plows the ground for the seed to be planted when the Word is taught (Hosea 10:11). The team unites together as the Levites did in the Old Testament to bring praise and glory to God."

Praise and Worship plows the ground to make it ready for planting. A good worship team does the plowing and the pastor (and others) plant the seed. Without the plowing, the seed might fall on the stony ground and not take root!
Yes, the Holy Spirit still is welcome and still comes whether you are participating or not.

Christian, spiritual worship is directly opposed to the superstition that music is magic and the words are not important.

However, that you cannot "overflow" until you have been filled. So, the command is to fill up with the Spirit which is the Word of Christ (John 6:63). Then, you are ready to "speak and teach one another." As a result, one sings and makes melody in the heart (not harmony in the heart.)

> And be not drunk with wine, wherein is excess; but be filled with the Spirit; Eph 5:18
........ Speaking to yourselves in psalms and hymns and spiritual songs,
........ singing and making melody in your heart to the Lord; Eph 5:19

"Apollo [Apollyon] at Delphi had to pay for the guilt of slaying the powers of the underworld which have their own rights. Then there are the methods of introduction through psychological means. Intoxication is brought about by a change of light and darkness, by ascetic fasting, by incense, sounds, music, etc." (Tillich, Paul, A History of Christian Thought, Touchstone, p. 14).

........ teaching and admonishing one another in psalms and hymns and spiritual songs
........ singing with grace in your hearts to the Lord. Col 3:16

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

The word PSALLO has no base meaning of to make music. The word simply means to PLUCK. By plucking things like bow strings you make it TWANG and by twanging you SHOOT the arrow which SINGS or whizzes through the air to PSAO or abrade the literal heart.

The bow and lyre often meant the same thing: the musical bow may have been invented before the killing bow. One twangs the bow and celebrates by twanging a lyre. One shoots a real arrow or a LOVE ARROW or one SHOOTS out a hymn. That is the only musical connection.

SINGING and PLAYING are two different actions: there is no word which includes both. The word NAGAN or ZAMAR can mean "to make melody" but most often means to PLAY or TOUCH. One can sing and nagan at the same time so NAGAN is not defined as singing AND playing, but the word is used at the same time one sings.

However, while SONG can be done to the accompaniment of an instrument, SONG does not include an instrument. Where the Greek Psalmos or the English Song are define with accompaniment, the FIRST INSTRUMENT OF CHOICE is always the human voice.

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

However, in actual usage:
And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isa 23:15

How do you sing as a prostitute?
Take an harp, go about the city, thou harlot that hast been forgotten;
make sweet melody,
sing many songs,
that thou mayest be remembered. Isa 23:16

The Hebrew word is NOT defined as but is USED in several applications.  For those who have been regenerated God sends the mysteries in the names of people.  Notice that all musical terms have that bad smell.

Zimrah (h2172) zim-raw'; from 2167; a musical piece or song to be accompanied by an instrument: - melody, psalm.

Zamar (h2167) zaw-mar'; a prim. root [perh. ident. with 2167 through the idea of striking with the fingers]; prop. to touch the strings or parts of a musical instrument, i. e. play upon it; to make music, accompanied by the voice; hence to celebrate in song and music: - give praise, sing forth praises, psalms.

Num 25:14 Now the name of the Israelite that was slain, even that was slain with the Midianitish woman, was Zimri, the son of Salu, a prince of a chief house among the Simeonites.

H2174 zimrıy zim-ree' From H2167 ; musical; Zimri, the name of five Israelites, and of an Arabian tribe:--Zimri.

Num 25:15 And the name of the Midianitish woman that was slain was Cozbi [False], the daughter of Zur; he was head over a people, and of a chief house in Midian.

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."

When Moses was [455] aroused to perceive the evil, the plots of their enemies had been so successful that not only were the Israelites participating in the licentious worship at Mount Peor, but the heathen rites were coming to be observed in the camp of Israel. The aged leader was filled with indignation, and the wrath of God was kindled.

Their iniquitous practices did that for Israel which all the enchantments of Balaam could not do--they separated them from God
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). Resource Ernest L. Martin,

That these word are used IN CONNECTION with playing and singing DOES NOT define them as both. For instance:

Take thou away from me the noise of thy [1] songs;
............for I will not hear the [2] melody of thy [3] viols. Amos 5:23

Praise the Lord with harp:
sing unto him
............ with the psaltery
............ and an instrument of ten strings. Ps.33:2

Let them praise his name in the dance:
............ let them sing praises unto him
............ with the timbrel and harp. Ps.149:3

Many of the fathers, speaking of religious song, make no mention of instruments; others, like Clement of Alexandria and Chrysostom, refer to them only to denounce them. Clement says:

"Only one instrument do we use,
............ viz. the word of peace wherewith we honor God,
............ no longer the old psaltery, trumpet, drum, and flute."

Chrysostom exclaims: "David formerly sang in psalms, also we sing today with him;
............ he had a lyre with lifeless strings,
............ the church has a lyre with living strings.
............ Our tongues are the strings of the lyre,
............ with a different tone, indeed, but with a more accordant piety."

Ambrose expresses his scorn for those who would play the lyre and psaltery
instead of singing hymns and psalms;
........ and St. Augustine adjures believers not to turn their hearts to theatrical instruments.
........ The religious guides of the early Christians felt that there would be an incongruity,
........ and even profanity,
........ ........ in the use of the sensuous nerve-exciting effects
........ ........ of instrumental sound in their mystical, spiritual worship.

Paul OUTLAWED the sensuous nerve-excitying effects:

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

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

Their high, religious and moral enthusiasm needed no aid from external stimulus; the pure vocal utterance was the more proper expression of their faith. (Edward Dickinson, Music in the History of the Western Church, p. 54,55)

The N.T. speaks of praising God by singing, but further it says not...Paul speaks more than once in his epistles to the Corinthians of instruments of music, but not as being used in religion.

He described them as necessary to war, but not to worship; and speaks of them in a language of degradation, as`things without life, giving sound....'

The history of the church during the first three centuries affords many instances of primitive Christians engaging in singing, but no mention, (that I recollect) is made of instruments.

(If my memory does not deceive me) it originated in the dark ages of popery, when almost every other superstition was introduced. At present, it is most used where the least regard is paid to primitive simplicity. (Andrew Fuller, Complete works of Andrew Fuller, Vol 3, p. 520)

Charles Spurgeon (Baptist, 1834-1892): David appears to have had a peculiarly tender remembrance of the singing of the pilgrims, and assuredly it is the most delightful part of worship and that which comes nearest to the adoration of heaven.

"Praise the Lord with the harp. Israel was at school, and used childish things to help her to learn; but in these days when Jesus gives us spiritual food, one can make melody without strings and pipes. We do not need them. They would hinder rather than help our praise. Sing unto him. This is the and best music. No instrument like the human voice.

What a degradation to supplant the intelligent song of the whole congregation by the theatrical prettiness of a quartet, bellows, and pipes. We might as well pray by machinery as praise by it. (Charles )

The word Psallo and all of its cousins are not musical words: The speak of the musical bow of Psallo which sent out a "singing" arrow to psao you heart as Jesus shreded the SOP for Jesus.

Liddell Scott Psallô (psao)
I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps. to twang the bow-string, Eur.; belos ek keraos ps. to send a shaft twanging from the bow, Anth.; so, schoinos miltophurês psallomenê

Miltophurês 1 [phurô] daubed with red, Anth.

In fact this definition SEPARATES the singing, dancing, playing and selling radishes and young boys and FORCED them to attend the ekklesia which was for EDIFICATION or EDUCATION ONLY.  Psallo then is a LITERAL RED MARK which outlaws music in the ekklesia or church of Christ.

Miltoô 1 2 [miltos] to paint red:--Pass. to paint oneself red or be painted red, Hdt.; schoinion memiltômenon the rope covered with red chalk with which they swept loiterers out of the Agora to the Pnyx, Ar.

Phurô
I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, dakrusin heimat' ephuron they wetted, sullied their garments with tears, Il.; also c. gen., cheilea phursô haimatos Od.:--Pass., dakrusi pephurmenê id=Il.; haimati oikos ephurthê Aesch.

2. of dry things, konei phurousa kara Eur.; gaiai pephursesthai koman to be doomed to have one's hair defiled with earth, Pind.

II. metaph. to mingle together, confuse, ephuron eikê panta they mixed all things up together, did all at random, Aesch., etc.:--Pass. to be mixed up, ek pephurmenou kai thêriôdous from a confused and savage state, Eur. [Theirodous is the MARK OF THE BEAST]

Thêriôdês [eidos]

Beluo-sus (bell- ), a, um, adj. [id.] , abounding in beasts or monsters: Oceanus, _ast; Hor. C. 4, 14, 47; so Avien. Ora Marit. 204.

II. of men, beast-like, wild, savage, brutal, Lat. bellui_nus, Eur., Plat., etc.:-- to th. the animal nature, Eur.
2. in Pass. also to mix with others, have dealings with him, Plat.

 

Mito-omai , Med., A. ply the woof in weaving, AP6.285 (Nicarch.): metaph., phthongon mitôsasthai let one's voice sound like a string, 

2. in Pass. also to mix with others, have dealings with him, Plat.

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

We know of no such use: the chalk line is
Stathm-ê A.carpenter's line or rule,

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

That SPECIFICIALLY OUTLAWS guitar picks (plectrons), organs, trumpets, drums etal.

2. later, to sing to a harp,

However, there is no record of Psallo having that meaning: Psallo never means more than play.

SING NTest.

Tom Burgess will try to make this last statement mean the same thing:

Later, sing to a harp, (comma)
Therefore to sing to a harp in the NTest.

However, Thayer separates these with a semicolon. Furthermore, the Latin "Psallo" separates the meaning between:

I. In general, to play upon a stringed instrument; esp.,
II. In particular, in ecclesiastical Latin, to sing the Psalms of David

We will show that if you don't grasp that you implicate yourself with sexual and homosexual activities into which the clergy tried to induct Jesus while they PIPED.

Plato in Cratylus defines:

Her. What do you think of doxa (opinion), and that class of words?
Soc. Doxa is either derived from dioxis (pursuit),
and expresses the march of the soul
........ in the pursuit of knowledge,
........ or from the shooting of a bow (toxon);

the latter is more likely, and is confirmed by oiesis (thinking), which is only oisis (moving),
........ and implies the movement of the soul to the essential nature of each thing-

just as boule (counsel) has to do with shooting (bole);
........ and boulesthai (to wish) combines the notion of aiming and deliberating-
........ all these words seem to follow doxa, and all involve the idea of shooting,
........ just as aboulia, absence of counsel, on the other hand, is a mishap,
........ or missing, or mistaking of the mark, or aim, or proposal, or object.

Toxon [tunchanô]

I. a bow because the ancient bow was of two pieces of horn joined by the pêchus in the middle; toxa titainein or helkein to draw the bow, Il.:--as the bow was specially the Oriental weapon, toxou rhuma meant the Persians, opp. to lonchês ischus (the Greek spearmen)

II. in pl. also, bow and arrows, Hom., Hdt., etc.
III. metaph., toxa hêliou its rays, Eur. [Sun, Apollo, Lucifer, Zoe etc.]

As we believe in the virtues of a horseshoe,
........ they believed that the twanging of a bowstring
........ will frighten ghosts and evil spirits from the house.
........ ........ Not musical but a sharp strongly nasal tone of voice.

Fragment 10, Aristotle, de mundo 5, 396b20

Things taken together are wholes and not wholes, something is being brought together and brought apart, which is in tune and out of tune;
........ out of all things there comes a unity, and out of a unity all things.
........ The BOW is called STRIFE, but its WORK is DEATH

Fragment 54, Hippolytus Ref IX, 9,5

An unapparent harmony is stronger than an apparent one.

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

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

The Britannica notes that:

"As noted above, melody and harmony were synonymous in classical Greek theory; the term harmony referred
........ not to notes sounded simultaneously,
........ but to the succession of notes, or the scale,
........ ........ out of which melody was formed.

The word melody throughout history would inform NO ONE to play instruments and sing four- part harmony. It simply outlaws complex singing because the goal is to TEACH. Those who adopt music have abandoned TEACHING the Word "as it has been taught."

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

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

Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Rom 15: 5
That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ. Rom 15:6

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

"Although the music of ancient Greece consisted entirely of melodies sung in unison or, in the case of voices of unequal range, at the octave, the term harmony occurs frequently in the writings on music at the time. Source "Harmony was simply a scale type."

"When children sing the ditty found throughout Europe, "It's raining, it's pouring" (g-g-e-a-g-e), they sing a melody that uses a scale of three tones; two intervals are used, a wide one (minor third) and a narrow one (major second).

Here is what some writers understood of melody without an instrument. Melody is simply a series of single-toned notes. You can "write" the melody and ever sing it. You can "sing" the melody and never play it. When you make the melody in the heart you are not "playing a melody" externally.

The Pearl-Seven Hymns on The Faith

Hymn I. Ephraim Syrus

1. On a certain day a pearl did I take up, my brethren; I saw in it mysteries pertaining to the Kingdom; semblances and types of the Majesty; it became a fountain, and I drank out of it mysteries of the Son.

I put it, my brethren, upon the palm of my hand, that I might examine it: I went to look at it on one side, and it proved faces on all sides. I found out that the Son was incomprehensible, since He is wholly Light.

In its brightness I beheld the Bright One Who cannot be clouded, and in its pureness a great mystery, even the Body of our Lord which is well-refined: in its undividedness I saw the Truth which is undivided.

It was so that I saw there its pure conception,-the Church, and the Son within her. The cloud was the likeness of her that bare Him, and her type the heaven, since there shone forth from her His gracious Shining.

I saw therein His trophies, and His victories, and His crowns. I saw His helpful and overflowing graces, and His hidden things with His revealed things.

2. It was greater to me than the ark, for I was astonied thereat: I saw therein folds without shadow to them because it was a daughter of light, types vocal without tongues, utterances of mysteries without lips, a silent harp that without voice gave out melodies.

The trumpet falters and the thunder mutters; be not thou daring then; leave things hidden, take things revealed. Thou hast seen in the clear sky a second shower; the clefts of thine ears, as from the clouds, they are filled with interpretations.

And as that manna which alone filled the people, in the place of pleasant meats, with its pleasantnesses, so does this pearl fill me in the place of books, and the reading thereof, and the explanations thereof.

4. "Searching is mingled with thanksgiving, and whether of the two will prevail? The incense of praise riseth along with the fume of disputation from the tongue, and unto which shall we hearken? Prayer and prying [come] from one mouth,3 and which shall we listen to?

Aristotle, Rhetoric" Melody Deceives:

Here one makes melody to embellish the truth:

"The following rules contribute to loftiness of style. Use of the description instead of the name of a thing; for instance, do not say "circle," but "a plane figure, all the points of which are equidistant from the center."

"Use metaphors and epithets by way of illustration, taking care, however, to avoid what is too poetical. Use the plural for the singular, after the manner of the poets, who, although there is only one harbor, say

to Achaean harbors,

and,

Here are the many-leaved folds of the tablet.

And in describing this as external melody:

"for instance "having gone and having conversed with him," or, "having gone, I conversed with him."Also the practice of Antimachus is useful,
........ that of describing a thing by the qualities it does not possess;
........ thus, in speaking of the hill Teumessus, hesays,

There is a little windswept hill;

"for in this way amplification may be carried on ad infinitum. This method may be applied to things good and bad, in whichever way it may be useful.

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

So, long before Paul, "melody" did not demand an instrument" any more than a modern "song" demands instruments. Or, you can make melody with one instrument without including all instruments.

Then all the people together made haste and fell to the ground upon their faces to worship their Lord, the Almighty, God Most High. Ecclesiasticus 50: 17.

And the singers praised him with their voices in sweet and full-toned melody. Ecclesiasticus 50: 18.

Of David before the Warrior Levites were assigned under the king and commanders of the army:

In all that he did he gave thanks to the Holy One, the Most High, with ascriptions of glory;
........ he sang praise with all his heart, and he loved his Maker. Ecclesiasticus 40: 8.

He placed singers before the altar, to make sweet melody with their voices. Ecclesiasticus 40: 9.

He gave beauty to the feasts, and arranged their times throughout the year, while they praised God's holy name, and the sanctuary resounded from early morning. Ecclesiasticus 40: 10.

Wine and music gladden the heart, but the love of wisdom is better than both. Sirach 40:20.

The flute and the harp make pleasant melody,
but a pleasant voice is better than both. Sirach 40 21.

...for they employ epithets from negations, a course which is approved in proportional metaphors, as for instance, to say that the sound of the trumpet is a melody without the lyre.

We know that the trumpet was not a musical instrument in the Wilderness but it was given to "make a sound." However, if you blow the trumpet and make a sound you can abrade people and make them feel the "emotionnal power."

"Appropriate style also makes the fact appear credible; for the mind of the hearer
........ is imposed upon under the impression that the speaker is speaking the truth,

because, in such circumstances, his feelings are the same, so that he thinks (even if it is not the case as the speaker puts it) that things are as he represents them;
........ and the hearer always sympathizes with one who speaks emotionally,
........ even though he really says nothing.

This is why speakers often confound their hearers by mere noise. It is true that all "songs" can also be "played" if you are not interested in the words or message but are interested in the stroking of the nerves.

"If then anyone uses the language appropriate to each habit, he will represent the character; for the uneducated man will not say the same things in the same way as the educated. But the hearers also are impressed in a certain way by a device employed ad nauseam by writers of speeches:

"Who does not know?" "Everybody knows"; for the hearer agrees,
"because he is ashamed to appear not to share what is a matter of common knowledge.

Aristophanes, Birds (of singing)

Happy indeed is the race of winged birds who need no cloak in winter! Neither do I fear the relentless rays of the fiery dog-days; when the divine grasshopper, intoxicated with the sunlight, as noon is burning the ground, is breaking out into shrill melody;

Aristophanes, Frog

But onward now and nobly extol
The Saving goddess,
as you chant the melody,
she who claims to save our land as the seasons pass
even against Thorycion's will.

Euripides, Bacchae

Some of them were crowning again the worn thyrsos,
making it leafy with ivy, while some,
like colts freed from the painted yoke,
were singing a Bacchic melody to one another.