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Lamech, Jubal, Jabal, Tubal-Cain, Naamah Babylonian Musical

The oldest song recorded in the Bible is believed to have been sung to instrumental music. It was self-composed (ignoring God) and it claimed superiority over God. In the ancient literature, Lamech was blind (so fittingly). He heard someone coming into his "space" and he took up his bow and ask a young lad to tell him where to shoot. As a result, he murdered his ancestor, Cain, but believed that someone would see his crime as more serious than Cain's.

Lipscomb: Follow Up to Re-Visioning: I Saw the Lord: The Vision of God in Isaiah at Lipscomb.

This is not a novel but a collection of comments and quotes showing that all people did and do believe that musical instruments are the homes of or the voices of the gods or demons: pipe organs are dedicated to prove it.

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Material on The Authority of Elders: Are elders Celestial Beings?
Problems caused by infiltrated Instrumental Music group trying to take away "the church house of widows."

Commentary on E-Mail to the Concerned Members Forum (from the cheap seats).

And Lamech said to his wives, Ada and Sella, Hear my voice, ye wives of Lamech, consider my words, because I have slain a man to my sorrow and a youth to my grief. Because vengeance has been exacted seven times on Cain's behalf, on Lamech's it shall be seventy times seven. Gen 4:23-24 LXX

Christian Chronicle Worship Forum Reviews: Dan Dozier --Jack Reese

Worship with music came from the pagan "gods." "There is no other tradition." What did Jude know (that we don't know) about the "Wandering Stars" and God coming with ten thousand of His host to execute Judgment?
Book of Jubilees Introduction
The Book of Jubilees (c. 155 B.C.)
First Book of Adam and Eve
Second Book of Adam and Eve
The Cave of Treasurers
The Sons of God and Daughters of Men
Introduction to Enoch
The First Book of Enoch Part A
The First Book of Enoch Part B
Jude Commentary on Enoch
Second Book of Enoch
Legends of the Fallen Angels
Legends of the Punishment of the Fallen Angels
Legends of the Jews - Cain
Apocalypse of Adam fix
Lilith from Hebrew Myths
Lilith or Naamah Demons and Music
Sophia-Zoe as the Beast-Instructor
Sophia-Zoe: Hypostasis of the Archons Snake Female principle
Recognitions of Clement on Idolatry
Hippolytus, musical sorcery
Alexander Hislop: The Great Red Dragon
Alexander Hislop: The Beast From The Earth

Babylonianism in the church is condemned because it uses human inventions as
power tools or instruments to control others for their own personal power and even "seeing Godliness as a means of financial gain."

A sword is a power instrument because it allows a man to extend his destructive power beyond the reach of his arm. This, of course, was considered magic and inventors of weapons were, at their death, honored and worshiped as dead heros.

A trumpet is a weapon because it can panic an army into cowardice and retreat. Just think of a line of men with bagpipes coming at you. An old wineskin is the mouthpiece of a "familiar spirit" because you can mumble into it and sell the amplified echo as the voice of the gods.

"From Greek mousike (techne) the art of the Muses. The music of the Greeks did not signify merely the harmony of sounds, but actually imbodied the idea of inner harmony of the spirit, the becoming at one with the spirit of the Muses, so that the soul responded in harmonic rhythm to the beat of universal harmony.

Music with the Greeks, therefore, included, besides vocal and instrumental music,

choral dancing, rhythmic motions, and various modes of harmony expressed in action, perhaps most particularly that part of education which we should now  classify as a striving for harmony in life combined with aesthetic,

in contrast with intellectual
and physical branches of study and development. It was culture of the essential person, the ego or soul,whereas the other two divisions care for and supply the needs of the mind and of the body.

Music, in all its various branches is represented as having been taught to man by his divine and divine-human ancestors, such as Isis-Osiris, Thoth, Edris (in the Koran), etc. It is one of the elements of the power known as mantrikasakti. Music was represented as one of four divisions of mathematics, the others being arithmetic, astronomy, and geometry.

The music of sound arouses in us a power which needs to be controlled, as it can carry us to heights from which we may fall. If regarded as a sensual indulgence, even though a refined one, its true import is not realized. (Theosophy)

Many gods were honored because they invented musical instruments or composed songs which, as magical incantations, extended the soothsayer's reach beyond their human grasp. These powers were from the "dead heros" or demons of the netherworld and the musical festivals honored the dead while keeping the ignorant hungering and thirsting for the Word:

Speaking of the religious ritual condemned by Amos and others 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).
The Battle of Baal and Yahm
  1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
  2. Aloud they [summon the assembly of the gods/ do cry to those near]. They invite
  3. the distant ones/ those far away, to the assembly of `El
  4. they summon/do cry: "`El remains seated
    [in his
    marzeah/banqueting hall/among his cult-guests (dM)] . . .
  5. The shame of the Eternal One/The shameful conduct of the usurper . . .
  6. O gods, (to) the house of your lord . . .
  7. [Who surely travels (S)/lest he go (D/G) quickly/the Runner will not walk (dM)] through the land, . . .
  8. 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).
---- "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 Romans believed that the talent of musicians was inspired by Pan and the Muses. Other figures are Hermes, Dionysus or Orphus, Jubal in the Bible and Genun in most of the ancient Enoch type stories.

See The World's Oldest Instrument Analyzed
You may deny the view of this scholar and do what all people do when they do not want to listen to the words and be disciplined by God: They scratch around to find a 'proof-text' to permit them to do what they intended to do from the beginning: shut down the in spirit and in truth worship which is the only kind Jesus accepts. He does not judge by what He sees you doing or hears what you are saying in as counterfeit worship (Isaiah 11:1-4).

Because God created mankind for a besides still waters or pastoral environment, the inventors of weapons and instruments (described by the same Hebrew word) had magical power. Therefore, they were also treated as gods. Because God is not manipulated with magic, the only use for these magical devices was to oppress or exert control over their less-endowed brethren. This led to the destruction of the world by water.

"Lamech" furnishes the first recorded instance of polygamy. It is very instructive to note that this 'father of polygamy' at once becomes the first blustering tyrant and a braggadocia; we are fully permitted to draw this conclusion from his so-called 'sword-play' (Gen 4:23f).

He does not put his trust in God, but in the weapons and implements invented by his sons,
rather these instruments, enhancing the physical and material powers of man are his God.

He glories in them and misconstrues the Divine kindness which insured to Cain freedom from the revenge of his fellow-men." (Int. Std. Bible Ency., p. 1823)

Weapons and musical instruments gave the Cainite family power to enslave the Sethite family. By improvizing and using technology to overcome others, the warriors-musicians treated the weapons and instruments as idols or gods. Later people made the instruments in the form of their idols and women wore tiny instruments as charms. Flutes were decorated with female sexual organs and string instruments still look like the female body.

After the flood, Lamech experienced his second incarnation as Ea, the patron god of music and other important knowledge. This magic was used by Nimrod and others to enslave all of the people in walled cities. The pretense was to protect them from wild animals. The fact is, however, that Nimrod was a hunter against God

Lamech's Musical - Magical Children

The secular history of the world believes that mankind began in an agrarian society. At first they were gatherers of plants and nuts and went out in search of small animals. This enabled the God-given mandate to "spread out into all the world." However, in time, women found that thrown-away seed reproduced and she could become a gardener. Men discovered that they could refuse to "go into all the world" by capturing and enslaving wild animals and become herdsmen. They could also keep the wild animals out of their "space" by building walls. The result was that mankind became very evil by refusing to follow the scheme of breaking up the party into groups of about 150 to be most effective and prevent spiritual incest. Growing churches, such as the Mormons, follow this practice.

However, when the rains failed, certain men and women "acquired" the reputation for being able to "drum up" a rain with a literal drum or harp or by lying on a stone and dreaming that God was causing rain. Clergy men demoted women from these tasks but retained the powerful effect of feminine magical incantations and musical instruments. In time they found that they could be paid for their magical incantations. Parkes claims that literal prostitution was the "second oldest profession."

Giant frame drums were used in the temples of ancient Sumer, and Mesopotamian objects from about 3000 BC depict frame drums and small cylindrical drums played horizontally and vertically. Early Egyptian artifacts (c. 4000 BC) show a drum with skins stretched by a network of thongs.

Frame drums were played in the ancient Middle East (chiefly by women), Greece, and Rome and reached medieval Europe through Islamic culture. Their shape varies (round, octagonal, square, etc.), they may have one or two heads, and they may have attached jingles or snares.

Possibly of different origin are the frame drums used in the magico-religious ceremonies of shamans (a priest or priestess who uses magic for the purpose of curing the sick, divining the hidden, and controlling events) in Central Asia, the Arctic regions, and North America. Double-headed frame drums with enclosed pellets (found in India and Tibet) are known as rattle drums.

Britannica Members

The refusal to "go and be a blessing" was repeated in every generation as men destroyed the tribal organization, selected a king, built a temple and all of the resources went to maintaining "buildings and grounds" and even a "standing army" if God didn't stop you. The devices, weapons or instruments are treated in a negative sense because musical instruments gave Jubal the power to destroy the rational mind and enslave others. The invention of metal tools and weapons gave men like Tubal-Cain the power to defeat and enslave others. He was the magician who discovered that brass made a better trumpet because it produced the "hissing sound" of the serpent (See the serpent in the garden). By capturing "all of the cattle on a thousand hills" which belonged to God, Jabal found that he didn't have to depend on or serve other people. The result of these new technologies gave mankind the power to "ascend" above God and ignore His will.

Naamah was the daughter of Lamech and is considered the "mother" of divination--

"Jubal... exercised himself in music; and invented the psaltery and the harp. But Tubal... exeeded all men in strength, and was very expert and famous in martial performances. He procured what tended to the pleasures of the body by that method; and first of all invented the art of making brass... Naamah was so skilful in matters of divine revelation, that he (Lamech) knew he was to be punished for Cain's murder of his brother." (Josephus, Ant., Adam and Eve).

"From this Jubal, not improbagbly, came Jobel, the trumpet of Jobel or jubilee; that large and loud musical instrument used in proclaiming the liberty at the year of Jubilee." (Josephus, p. 27)

Making a flute from brass and then playing it are both called by the church Fathers work. God ordained singing His Words but playing an instrument to enhance the singing was the work of human hands.

This musical device was approved to be used much like a church bell: it could be used to call the assembly or to begin a battle. However, God outlawed it (Nu 10) when the congregation was called into assembly for instructions. The use of such music in "church" would permit the musicians to "triumph over" the congregation. In truth, if the pastor can usurp the authority of the elders and bring instrumental triumph music into church, he can then control the assembly with music.

Background to Demon and Angel worship

Don't we often just "look for cures" and skip all of the "old details" and peek at the last chapter to see how the story ends? Then we are tempted to toss the Bible aside because we know it all. But do we? Perhaps the last chapter's meaning depends upon how the story began. If the book told you how to drive to California would you want to miss just one turn: This describes the Bible. Like the Jesus (Jehovah-Saves) it reveals, it is not cut up into little morality plays of the week. Paul said that--

"they, being ignorant of Gods righteousness, and going about to establish their own righteousness, have not submitted themselves unto the righteousness of God" (Ro 10:3).

The Corinthians were falling into charismatic paganism because they were ignorant of the idolatry at Mount Sinai (1Co 10:1). Could that be the problem which Paul solves by demanding "melody in the heart?" A few verses in Colossians is one the Book's "last chapters." We might miss the whole story by not returning to the beginning.

The story begins long before the flood, perhaps even in the garden of Eden. Didn't Christ say that the mysteries were hidden in parables "from the foundation of the world?" Remember that Satan set himself up as God's "spokesman" to be worshiped rather than to serve as intended. His agents followed him and became the knowing ones or the ancient gnostics. Throughout the Old Testament there was mortal combat between the God Who created all things "all alone, by myself, with no other god with me" and Satan who found willing agents in the serpent worshippers of Babylon

The God of Genesis

God is pure (holy) Spirit which is defined as Mind. He empowers mankind to right living and social justice through His spoken and written Word. Worship is giving back to God by telling others that which He has given to us. However,

"The necromancer or soothsayer gained their power through magical incantations. The sound of brass, pipe or string imitated the music of the seven heavenly spheres.

As a result, the gods were forced to give material and sensual blessings." Enuma Elish III.101; IV. 1-26, 91 and other Near Eastern Manuscripts.

Back there somewhere in the Bible, we might have read that hidden clue to the "mystery." Our Author (and Finisher) revealed the Children of Cain--to the careful and caring reader--as the enchanters, witches, soothsayers, musicians who (for a price, always for a price) could get their true father, Satan, to speak to you right out of the harp, flute, or old wineskin or familiar spirit made into his "radio receiver."

Perphaps, the only pure gnostics still practicing their religion live in Iraq where Babylonian religion began, right off the Ark. They are Mandaeans who tell the story of God breathing a soul into Adam, a less-than-human being who couldn't find a wife among the animals. The soul picked to indwell Adam, was Hiwel Ziwa and she was disgusted with him and demanded terms. She, like the women in Amos, wanted conditions to be like that of heaven:

"Hiwel Ziwa returned and told them (the House of Life) and brought back a letter. It would not open, but spoke, and promised that the House of Life would give all that the Soul had asked. So the Soul (Nishimta) entered the body of Adam and he stood erect and talked, and

Hiwel Ziwa taught him reading and writing, how to marry, how to bury the dead, how to slaughter a sheep, and all knowledge. Ruha saw this, and she wished that she might have her race, her people, and her portion.

She came to Adam son of Adam, and killed a sheep, and took its skin and made a drum, and of its bones she made a flute, and she and her children the Seven (planets) played and sang and danced.

Ruha went to Adam son of Adam and said to him, 'Come, amuse yourself with us!' and he went. Liwet (Venus) made herself like a beautiful woman, and Adam son of Adam took her and became the father of children.

Ruha, too, disguised herself as Hawa, and went to Adam, and Adam went into the water with her (i.e. performed purifications after cohabitation). When they reproached him afterwards, saying, 'Did you not see how big she was in the water?',

he replied that he had known nothing, for she employed sorcery.

In the Ginza Rba: "In the name of the Great First Other Worldly Life! From far-off worlds of light that are above all works may there be healing, victory, soundness, speech and a hearing, joy of heart and forgiving of sins for me, Adam-Yuhana son of Mahnus through the strength of Yawar-Ziwa (Zoe) and Simat-Hiia!

Lucifer is Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

See Mandaean Oral Traditions

In the Britannica Online it is noted of wind instruments:

"For NONLITERATE peoples, music often serves purposes other than entertainment or aesthetic enjoyment. Certain wind instruments are closely associated with the supernatural, and their sounds connote powerful magic. Australian Aborigines, for instance, identify the sound of a bull-roarer with the voices of supernatural beings; for the Plains Indians, the same sound signifies an awesome natural phenomenon, such as thunder. Wind instruments are often among a group's most important ritual objects, and in some cultures they are specially venerated. The Kamairua Indians of the Amazon rain forest keep their giant flutes (three to four feet long), wherein SPIRITS are believed to DWELL, in a special shrine where they are worshiped. The flutes and drums of New Guinea are similarly housed and worshiped.

"Not only the shapes but also the sounds of primitive instruments are often rich in symbolism. The sound of the flute, for example, is widely associated with love magic. Among the tribes of the northeast and Great Plains of North America, young men played the flute to serenade young women; in New Guinea,

flutes and flute music are connected with rites of sexual initiation.

In some cultures, instrument symbolism is highly developed. For the Tucano Indians of Colombia, instrument sounds constitute a symbolic taxonomy comprising three levels: whistling, vibration, and percussion.

The whistling of a flute connotes sexual invitation,

while vibration, represented by such instruments as the indigenous clarinet and the bull-roarer, symbolizes a warning or threat.

Percussive sounds produced by drums and various rattles symbolize the uniting of male and female. "wind instrument" Encyclopædia Britannica Online.

Musical instruments are often made of "animals which died of themselves." As such, they were polluted and unfit for use in worship. Their use was considered to pollute God Himself as they blew foul breath out of the old goat skin. It is fitting, therefore, that all musical terms in the Old Testament are derived from things which pollute.

For instance, Paul, in First Corinthians 13 called musical instruments "lifeless instruments" because, contrary to belief, their "gods" did not live in them. He compared speaking in tongues to the instruments of warfare used for fun and games rather than to give clear understanding. This would have violated Numbers 10:7 where musical rejoicing or making merry was outlawed for the congregational assembly. Then, Paul used the same Greek word to say that his "weapons" or "instruments" were not carnal but spiritual. The spiritual "harp" is the voice God gave humanity as their only instrument of praise or weapon of evangelism.


North Africa

Drumming tradition in the Muslim north centres on smaller, portable drums, such as frame, goblet, and small kettledrums. Frame drums are made in a number of forms: circular with single membrane, square, even diamond-shaped (ancient Egypt had circular, square, and rectangular ones). Although the human voice is the preponderant instrument in Islamic religious music, the frame drum plays an important role as vocal accompaniment. It also lends rhythm for dancing and is the basic percussion instrument of Muslim art-music ensembles.

In Morocco groups of women may sing to the accompaniment of a frame drum supplied with jingles, a spike fiddle (one in which the handle traverses the body and emerges at the lower end to form a spike), small cymbals, and a pair of kettledrums, each playing her own instrument.


West Africans reconstructed their native drums in the New World, preponderantly as cult instruments. Small sets of two or, more often, three drums of graded sizes form an integral part of Afro-American rituals and, in the Caribbean, also of voodoo dances.

Only the skins of sacrificial animals may be used for membranes among Afro-Bahians in Brazil, who baptize their new drums, preferably with "holy" water obtained from a Roman Catholic church.

Drums in Haiti are sacred objects and may even represent the deity itself: as such they receive libations. One type of bongo drum--there exist at least four of these--has been adopted by Western rhythm bands, as has the conga.

Marrying and giving in marriage

Ishtar or Inaana, whom we meet in the Bible along with Tammuz (Eze 8) chants a hymn in an ancient text thanking Ea fore the me which were like gifts of the Spirit:

Inanna , standing before her father, Acknowledged the me Enki (or Ea, patron god of music and gnosis) had given her by chanting about dozens of gifts from Ea. Some of them are:

He gave me the high priesthood.
He gave me the dagger and sword.
He gave me the resounding musical instrument
He gave me the art of song.
He gave me the craft of the copper worker.

Because God's secrets were "hidden from the foundation of the world" in parables, we can read Genesis a hundred times for a hundred years with our eyes closed and ears plugged. Cain, Jubal, Tubal-Cain and Naamah were "Satan's team" to destroy that world or age so that God recreated it with the flood. All of these names connect musical attacks against others with the magical practices made clear in the witches or soothsayers of Babylonian religion.

Music was often used "to call the gods to their temples." This is illustrated by the prophets of Asherah and Baal who tried to "arouse" their gods to defeat the God of Elijah. However, God is in His holy temple (His people), He has taught and our task is to come before Him in reverence to hear what He has to say. The Jews worshipped Molech to the beat of a drum. And they made idols (even flutes and harps) and by plucking or blowing they pretended that the noise was the gods coming into the instruments to teach.

There are several early versions or commentaries on Genesis based on its meaning at that time. One early writer described the beginning of the second thousand years after creation--

"The handicraftsmen of sin, and the disciples of Satan, appeared, for he was their teacher,
and he
entered in and dwelt in them, and he poured into them the spirit (mental disposition-not himself) of the operation of error, through which the fall of the children of Seth was to take place. The Cave

The "gods" lived inside musical instrument

In many places in the world the demons or spirits of dead ancestors lived inside of the musical instruments:

"Music, like the word, also may have symbolic meaning. The basic elements out of which musical symbolism is built are sounds, tones, melodies, harmonies,

and the various musical instruments,
among which is the human voice.

Sound effects can have a numinous (spiritual) character and may be used to bring about contact with the realm of the holy.

A specific tone may call one to an awareness of the holy, make the holy present, and produce an experience of the holy.

This may be done by means of drums, gongs, bells, or other instruments. The ritual instruments can, through their shape or the materials from which they are made, have symbolic meaning. The Uitoto in Colombia, for example,

believe that all the souls of their ancestors are contained in the ritual drums. (See liturgical music BM members.)

Of the Transmission of the Art of Playing the Harp, that is to say of Music and Singing and Dancing.

"Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.

"Yobal made reed instruments, and harps, and flutes, and whistles,

and the devils went and dwelt inside them.
When men blew into the pipes,
the devils sang inside them,
and sent out sounds from inside them. (Note: the "familiar spirit" of the Witch of Endor was an old "lifeless instrument" made of an old water or wineskin).

Tobalkin made cymbals, and sistra, and tambourines (or drums). And lasciviousness and fornication increased among the children of Cain, and they had nothing to occupy them except fornication--now they had no obligation [to pay] tribute, and they had neither prince nor governor--

and eating, and drinking, and lasciviousness, and drunkenness,
and dancing and
singing to instruments of music,
and the wanton
sportings of the devils, (Israel: "rose up to play" and so did David in moving the ark from God's tabernacle to his)

and the laughter which affordeth pleasure to the devils,
and the sounds of the furious lust of men neighing after women.
And Satan, finding [his] opportunity in this work of error, rejoiced greatly, because

thereby he could compel the sons of Seth to come down from that holy mountain. There they had been made to occupy the place of that army [of angels] that fell [with Satan], there they were beloved by God, there they were held in honour by the angels, and were called "sons of God," even as the blessed David saith in the psalm, "I have said , Ye are gods, and all of you sons of the Most High." Ps. 82:6 (In Rev 18 the craftsmen and musicians will go with Babylon the great whore into hell).

The history of music as instruments or weapons to "move into the presence of the gods" or to "call the gods into their assemblies" is not complimentary: it is always effeminate and it is always symbolic of people who are illiterate. At least four times in the Old Testament, instrumental music is connected to the clear statement: "Depart from us we do not want to hear any more from God." These are Job 21:7-14; Isa 5:11-13; Amos 5:21-24; 6:1-7; 8:10-13; Ezkiel 33:30-32

"For nonliterate peoples, music often serves purposes other than entertainment or aesthetic enjoyment. Certain wind instruments are closely associated with the supernatural, and their sounds connote powerful magic.

Australian Aborigines, for instance, identify the sound of a bull-roarer with the voices of supernatural beings; for the Plains Indians, the same sound signifies an awesome natural phenomenon, such as thunder.

Wind instruments are often among a group's most important ritual objects, and in some cultures they are specially venerated. The Kamairua Indians of the Amazon rain forest keep their giant flutes (three to four feet long),

wherein spirits are believed to dwell,

in a special shrine where they are worshiped. The flutes and drums of New Guinea are similarly housed and worshiped. "wind instrument" Members of Encyclopædia Britannica Online.

Habakkuk warned of making idols of things believed to speak for God:

What profiteth the graven image that the maker thereof hath graven it; the molten image, and a teacher of lies, that the maker of his work trusteth therein, to make dumb idols? Hab 2:18

Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it. Hab 2: 19

But the Lord is in his holy temple: let all the earth keep silence before him. Hab 2: 20

Plato Symposium 215c

"For I say that he is likest to the Silenus-figures that sit in the statuaries' shops; those, I mean, which our craftsmen make with pipes or flutes in their hands:

when their two halves are pulled open, they are found to contain images of gods.
And I further suggest that he resembles the
satyr Marsyas.

Now, as to your likeness, Socrates, to these in figure, I do not suppose even you yourself will dispute it; but I have next to tell you that you are like them in every other respect. You are a fleering fellow, eh? If you will not confess it, I have witnesses at hand. Are you not a piper?

Why, yes, and a far more marvellous one than the satyr.
His lips indeed had power to
entrance mankind by means of instruments;

a thing still possible today for anyone who can pipe his tunes:
for the music of
Olympus' flute belonged, I may tell you, to Marsyas his teacher.


"legendary Greek figure of Anatolian origin. According to the usual Greek version, Marsyas found the oboe that the goddess Athena had invented and, after becoming skilled in playing it, challenged Apollo to a contest with his lyre. When King Midas of Phrygia, who had been appointed judge, declared in favour of Marsyas, Apollo punished Midas by changing his ears into ass's ears. In another version the Muses were the judges, and they awarded the victory to Apollo, who tied Marsyas to a tree and flayed him. In Rome a statue of Marsyas, a favourite art subject, stood in the Forum; this was imitated by Roman colonies and came to be considered a symbol of autonomy."

So that if anyone, whether a fine flute-player or paltry flute-girl, can but flute his tunes, they have no equal for exciting a ravishment,

and will indicate (prophesy) by the divinity that is in them who are apt recipients of the deities and their sanctifications.

You differ from him in one point only--that you produce the same effect with simple prose unaided by instruments. For example, when we hear any other person-- quite an excellent orator, perhaps--pronouncing one of the usual discourses, no one, I venture to say, cares a jot; but so soon as we hear you, or your discourses in the mouth of another,--though such person be ever so poor a speaker, and whether the hearer be a woman or a man or a youngster--we are all astounded and entranced. As for myself, gentlemen, were it not that I might appear to be absolutely tipsy, I would have affirmed on oath all the strange effects I personally have felt from his words, and still feel even now. For when I hear him

Seemingly literate people claim that music and instruments have the power to move the paying audience into the presence of God. We can only assume that they are under the spell Scripture often speaks of where ears are deaf and eyes are blind because people are looking in the mirror at themselves or at a "talented musical worship team" and, as a result, cannot comprehend.

The other alternative is that they have lost faith but still have a huge debt to pay for the building and grounds and obscene salaries for a pyramidal structures of "ministers" eating up the resources of widows and orphans. However,

"Again, if you prefer to test the presence of God by the agreeable effects on the hearing, and not sight, or smell, or taste,

harps get their strings and pipes their bones from animals; and
become musical by being dried, and rubbed, and twisted. (This quote can be found by looking up the word "melody" in the ancient literature).

So the pleasures of music, which you hold to have come from the divine kingdom,

are obtained from the refuse of dead animals, and that, too, when they are dried by time, and lessened by rubbing, and stretched by twisting.

Such rough treatment, according to you, drives the divine substance from living objects; even cooking them, you say, does this. Why then are boiled thistles not unwholesome? Is it because God, or part of God, leaves them when they are cooked? ST.AUGUSTIN: ON THE MORALS OF THE MANICHAEANS, Ch 16,46

Speaking directly to the "mantic" behaviour of music and speaking in tongues in Corinth, it is noted from the Classical writers that:

"The spirits were thought to speak in murmurings or piping sounds (Isa 8:19), which could be imitated by the medium (witch or 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)

However, God knows what is happening even in modern churches where the witches are better dressed and more "talented." Nonetheless, they claim to "move you into the presence of God" and to "provide a platform upon which God lands." Therefore, these people are daughters (or strange sons) of the ancient witches of Endor and the Babylonian whores who used music to attract the "seekers."

And when they shall say unto you, Seek unto them that have familiar spirits, and unto wizards that peep (coo or chirp), and that mutter: should not a people seek unto their God? for the living to the dead? Isaiah 8:19

Mutter gave rise to the musical term:

Higgayown (h1902) hig-gaw-yone'; intens. from 1897; a murmuring sound, i. e. a musical notation (prob. similar to the modern affettuoso to indicate solemnity of movement); by impl. a machination: - device, Higgaion, meditation, solemn sound.

Upon an instrument of ten strings, and upon the psaltery; upon the harp with a solemn sound. Psalms 92:3

The lips of those that rose up against me, and their device against me all the day. Lam.3:62

The "familiar spirit or owb was a "wineskin" or "water skin" into which the witch muttered and sold you the echo as the actual voice of the gods. The meaning is almost identical to the nebel or the sounding brass of First Corinthians thirteen.

Perhaps prophetic of Messiah: Hyms (1QH) from the Dead Sea Scrolls, Chapter 9 reads in part:

They have overtaken me in a narrow pass 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.

Strabo Geography 10.3.16

Of the rites of Dionysus condemned by Paul in First Corinthians using the "weapons" of warfare or even the metallic chisel to help with the clangs and booms to bring down the gods:

"And he mentions immediately afterwards the attendants of Dionysus: one, holding in his hands the bombyces, toilsome work of the turner's chisel,

fills full the fingered melody, the call that brings on frenzy,
while another causes to
resound the bronze-bound cotylae.

"and again, stringed instruments raise their shrill cry, and frightful mimickers from some place unseen bellow like bulls, and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound.

Satan came into the musical instruments as well as the people so that the musical instruments were often the idol itself:

And when he played on them, Satan came into them, so that from among them were heard beautiful and sweet sounds, that ravished (raped or enchanted) the heart. -- Second Adam and Eve 20:3

The new "pastor person" hired as facilitator of worship should have the power "to facilitate group worship experiences which will help bring worshipers into the presence of God."

This sounds so familiar to the student of history's thought about music where "paid teacher" was thought obscene:

"For such are the begging priests of Cybele. Hence Antisthenes replies appropriately to their request for alms: --

Do not maintain the mother of the gods,
For the gods maintain her."

Again, the same writer of comedy, expressing his dissatisfaction with the common usages, tries to expose the impious arrogance of the prevailing error in the drama of the Priestess, sagely declaring: --

'If a man drags the Deity
Whither he will by the sound of cymbals,
He that does this is greater than the Deity;
But these are the instruments of audacity and
means of living Invented by men.
(Clement, Exhortation to the Heathen, Ante-Nicene, II, p. 193).

Most cultures are believed to have spread out from the "fertile cresent." In Israel, the "bulls" errected in Samaria are believed to be pedestals upon which the "gods landed" or "rested." This is identical to the claim of modern music which is believed to have magic to overpower God and the "audience."

It is not strange therefore that:

"In Annam the exorcizer, in the act of banning the demons of sickness from a private house, strums a lute and jingles a chain of copper bells attached to his big toe, while his assistants accompany him on stringed instruments and drums. However, the chime of the bells is understood by the hearers

to proceed from the neck of an animal on which a deity is galloping to the aid of the principal performer."

(In Burma) "sweet and sonorous music" is used to "announce to the guardian spirits that the praises of Buddha have been chanted; hence at the conclusion of his devotions the worshipper proclaims the discharge of his pious duty by three strokes on a bell."

"Perhaps in Europe also the ringing of church bells, the sound of which has endeared itself to so many pious hearts by its own intrinsic sweetness and its tender associations, was practiced to banish demons from the house of prayer before it came to be regarded as a simple means of summoning worshippers to their devotions in the holy place." (Frazer, James George, Folk-Lore in the Old Testament, p. 430-432, Macmillian, p. 4301, 1923)

This is also in agreement with the old Egyptian trumpets which in Egypt had been used to panic the enemy and lead the army into battle. After Israel performed musical worship to Osiris in the image of Apis the golden bull image, God banished musical "rejoicing" from the congregational assembly and restricted the two silver trumpets to signalling purposes.

Musical Instruments Without Authority

We can't look at all of the not-so-hidden clues right now. However, our study would have no meaning unless we looked at some words. When Jubal handled the wind instruments without authority the Hebrew word is:

Taphas (h8610) taw-fas'; to manipulate, i. e. seize; chiefly to capture, wield; to overlay; fig. to use without authority: catch, handle (Overlay means whitewash, or hide something).

Jubal was the father or ab, pronounced awb. He was the "Abi-" of all who handle wind instruments without authority and chant, "Lord, Lord" or some other word over and over when "much speaking" isn't even heard. Jesus spoke of the "prophesiers" and "Lord, Lord" sayers who claimed power over demons. He told them, like the musical mourners, "Get lost, I don't even know who you are."

The plot thickens: The witch of Endor used the instrument of her father or ab. It comes as no surprise that her musical tool or weapon was the:

Owb (h178) obe; from the same as ab apparently through the idea of prattling a father's name; a mumble, i. e. a water-skin from its hollow sound; hence a necromancer or ventriloquist, as from a jar: - bottle (wineskin), familiar spirit.

Now, look at word the Bible used for the harp or psaltery. It's "father" word is:

Nebel (h5035) neh'-bel; from 5034 (to wilt, disgrace, despise); a skinbag for liquids (from collapsing when empty).. also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

The psaltery, like all musical terms connected with attempting to control God or His people, has very dark roots:

Nabel (h5034) naw-bale'; to wilt; to fall away, figurative: to be foolish or wicked; to despise, disgrace: dishonour, lightly esteem, fade away, fall down, do foolishly, make vile, wither..

The musical prophets worked themselves or their paying customers into a frenzy by creating excitement, now known to produce endorphins or a morphine-like drug. Magical sounds from hollow wineskins or stretched strings were considered to have power over the gods. The result was "an exciting worship" service on "Sunday" but the drug backlask before Sunday night meant that the worship did more harm than good.

When David "praised with the harp" the word halal has a similar meaning. The people who cried "Lord, Lord" and claimed to prophesy and cast out demons were the soothsayers who would not triumph over Jesus with their wind instrumens which were the "resounding boom" associated with the "clanging cymbals" of Jubal.

Perhaps the old bottle or wineskin still had wine or some other drug which helped find the god. Other accounts show that the best work was done by organizing mixed choirs as worship teams to excite the Sethites off God's holy mountain. The method was to use talent, beauty, sex and their own praise songs which ignored God's Word. Warning about magical music soothsaying, Paul wrote:

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

This was the same sound created by the musical mourners trying magic on the dead girl. Jesus tossed them out "on their ear"--

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

When the musical mourners just laughed and joked, to do His healing work, Jesus "ejected, cast out, expelled, or plucked out the musicians, 'more or less violently'." (Strong's Dictionary)

Jubal The Father of Instrumental Music

Jubal was the father of those who handled (without authority) musical instruments for the purpose of controlling those who were destroyed by the flood. In early Apocalyptic literature which represented the opinion of early Jews and was supported by other ancient writings, Genun seems to be the second incarnation of all of the sons of Lamech, along with Naamah whom Joshepus identified as the mother of enchanters. One account shows how the Holy Sethites came down from God's Holy Mountain. It should be noted that Genun in this account is a generic name used to describe the Biblical work of Jubal, Jabal, Tubal-Cain and Naaman:

Now the reason for which the children of Jared went down from the Holy mountain, is this, that we will now reveal unto you (Second Adam and Eve, 19:9).

After Cain had gone down to the land of dark soil, and his children had multiplied therein, there was one of them, whose name was Genun, son of Lamech the blind who slew Cain. Second Adam and Eve 20:1

But as to this Genun (Jubal), Satan came into him in his childhood; and he made sundry trumpets and horns, and string instruments, cymbals and psalteries, and lyres and harps, and flutes; and he played on them at all times and at ever hour. -- Second Adam and Eve 20:2

The First Musical Worship Team

Next, the writer described perhaps the first "musical worship team"--

And when he played on them, Satan came into them, so that from among them were heard beautiful and sweet sounds, that ravished (raped or enchanted) the heart. -- Second Adam and Eve 20:3

Then he gathered companies upon companies to play on them; and when they played, it pleased well the children of Cain, who inflamed themselves with sin among themselves, and burnt as with fire; while Satan inflamed their hearts, one with another, and increased lust among them. -- Second Adam and Eve 20:4

Satan also taught Genun to bring strong drink out of corn; and this Genun used to bring together companies upon companies in drink-houses; and brought into their hands all manner of fruits and flowers; and they drank together Second Adam and Eve 20:5

Thus did Genun multiply sin exceedingly; he also acted with pride and taught the children of Cain to commit all manner of the grossest wickedness, which they knew not; and put them up to manifold doings which they knew not before. Second Adam and Eve 20:6

Then Satan, when he saw that they yielded to Genun and hearkened to him in every thing he told them, rejoiced greatly, increased Genun's understanding, until he took iron and with it made weapons of war. Second Adam and Eve 20:7

Then when they were drunk, hatred and murder increased among them; one man used violence against another to teach him evil, taking his children and defiling them before him. Second Adam and Eve 20:8

The fallen Sethites understood that Satan had seduced them with beautiful instrumental music which blinded them to the Word of God. When they fell, they were desperate to return to the none musical mountain but there was (and is) no way to leave the musical group. So, you just have to join them--

And when men saw they were overcome, and saw others that were not overpowered, those who were beaten came to Genun, took refuge with him, and he made them his confederates. Second Adam and Eve 20:9

Of Cain, Clement wrote:

For he was a murderer and a liar, and with his sins was not willing to be at peace with respect to the government. Moreover, those who came forth by succession from him were the first adulterers. And there were psalteries, and harps, and forgers of instruments of war.

Wherefore also the prophecy of his descendants being full of adulterers and of psalteries, secretly by means of pleasures excites to wars. (The Clementine Homilies, Homily III, Chapt XXV, Ante Nicene Fathers, Vol 8, p. 243).

In the Bible, Moses wrote

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

Jubal was the "father" or instructors of all of those who handle musical instruments. To handle is

Taphas (h8610) taw-fas'; to manipulate, i. e. seize; chiefly to capture, wield; spec. to overlay; fig. to use unwarrantably: - catch, handle, (lay, take) hold (on, over), stop, surely, surprise, take. overlay.

And she caught him by his garment, saying, Lie with me: and he left his garment in her hand, and fled, and got him out. Ge.39:12

Unwarranted means groundless, without authority, unfounded or uncalled-for. Jubal had no authority for his use of musical instruments to control or seduce others.

Related words support the idea that musical instruments for religious purposes was "the effeminate art." The magical articles of clothing put together by women were believed to be able to capture the souls of men. Of course, they were the agents of Satan and had the seductive power to put the magic in their "fish nets."

Taphah (h8608) taw-faf'; to drum, i. e. Play on the tambourine: - taber, play with timbrels.
........ Taphar (h8609) taw-far'; women that sew together to perform magic.

Likewise, thou son of man, set thy face against the daughters of thy people, which prophesy out of their own heart; and prophesy thou against them, Eze 13:17

And say, Thus saith the Lord God; Woe to the women that sew pillows to all armholes, and make kerchiefs upon the head of every stature to hunt souls Will ye hunt the souls of my people, and will ye save the souls alive that come unto you? Eze.13:18

You have profaned me among my people for a few handfuls of barley and scraps of bread. By lying to my people, who listen to lies, you have killed those who should not have died and have spared those who should not live. Eze 13:19

To prophesy in this sense was to sing while playing musical instruments. Therefore, when they profaned God they pointed their flutes at Him while they composed the message out of their own none inspired mind. Profane is:

Chalal (h2490) khaw-lal'; to wound, to dissolve; fig. to profane (a person, place or thing), to denom. (from 2485) to play (the flute): eat as common things, gather the grape thereof, take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Topheth or tabret is from this word meaning "unauthorized instruments" to bring on "prophesying."

Topheth (h8611) to'-feth; from the base of 8608; a smiting, i. e. Figurative contempt: - tabret.
He hath
made me also a byword of the people; and aforetime I was as a tabret. Jb.17:6 (or he spat in my face)

This came to stand for hell itself the place where they burned children to the beat of musical instruments as they tried to get an oracle from Molech, the red-hot idol:

Tophtheh (h8613) tof-teh'; prob. a form of 8611; Tophteh, a place of cremation: Tophet.

By playing musical instruments the mothers were distracted from the cries of their burning babies and they also "kept the evil sounds from the ears of the priests" doing the burning.

The tabret or tambourine was connected to the musical power to panic the enemy into retreating without a fight. It was also the instrument of choice to drown out the death screams of little children being burned up in the red hot arms of Molech at the place which had been Solomon's "music grove." Because so many people tried to overpower others by bypassing the rational mind with music, God often uses it as a sign of the defeat of Satan's teams.<

In the Septuagint (LXX) Isaiah asks, "Must you always go in procession to the temple?" The musical processions was evidence that they were interested in their own pleasure. However, Isaiah continues to show, like Amos, that music was a sign that the enemy had already been defeated:

For through the voice of the Lord shall the Assyrian be beaten down, which smote with a rod. Is 30:31

And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it. Is 30:32

For Tophet is ordained of old; yea, for the king it is prepared; he hath made it deep and large: the pile thereof is fire and much wood; the breath of the Lord, like a stream of brimstone, doth kindle it. Is.30:33

The King of Babylon with his Harps

Modern proponents of this ancient worship want the congregation to exult. However, God had Isaiah write of the king as a type of Lucifer:

That thou shalt take up this proverb against the king of Babylon, and say, How hath the oppressor (see Taphas above) ceased! the golden city ceased! Is 14:4f

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. Is.14:11

In Revelation, chapter eighteen, when the Babylon church is destroyed, music and commerce which had sustained her would go with her into destruction.

The tabret was probably the instrument Laban used to help Jacob drink enough to get so drunk that he didn't know which sister he was sleeping with. When God ordered Jacob to leave, Laban wished devoutly that he coult have given Jacob a "musical going away party" to strip him of his well-earned wealth:

Wherefore didst thou flee away secretly, and steal away from me; and didst not tell me, that I might have sent thee away with mirth, and with songs, with tabret, and with harp? Ge.31:27 (By implication, without your doubly-earned property)

Toph (h8596) tofe; from 8608 contr.; a tambourine: - tabret, timbrel.

The organ Jubal taught others to handle was the:

Uwgab (h5748) oo-gawb'; from 5689 in the original sense of breathing; a reed-instrument of music: - organ
Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love sensually: - dote, lover.

And Aholah played the harlot when she was mine; and she doted on her lovers, on the Assyrians her neighbours, Eze.23:5

And they come unto thee as the people cometh, and they sit before thee as my people, and they hear thy words, but they will not do them: for with their mouth they shew much love, but their heart goeth after their covetousness. Ezekiel 33:31

And, lo, thou art unto them as a very lovely (h5690) song of one that hath a pleasant voice, and can play well on an instrument: for they hear thy words, but they do them not. Ezekiel 33:32

According to the Mishna (Arach. 2:3), the pipes sounded before the altar twelve days in the year:--at the slaying of the First Passover, the slaying of the Second Passover, the first feast-day of Passover, the first feast-day of the Feast of Weeks, and the eight days of the Feast of Tabernacles." (The Book of Life, Historical Digest, p. 258).

Job said of the organ players who were probably star worshippers

They take the timbrel and harp, and rejoice (make merry) at the sound of the organ. Jb.21:12
........ Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Jb 21:14

The sexual context of the organ is well documented throughout history:

"It (the pipe meaning to love passionatelyí) was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, ase we see from Genesis Rabbah 50:

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

The story of the various nations which ruled Babylonia is well documented in thousands of tablets. They record the same history covered by the Bible. However, they are highly exagerated because the goal was for Nimrod to establish a system of government around walled temple cities. The religion was a device of the civil government to control all people in a virtual slave state.

Musical Worship with Instruments After the Flood

The flood did not remove Satan's influence. Jubal seems to have been incarnated in Genun and Lamech as Ea, the patron god of music. Early church fathers agreed with the account from the Adam and Eve stories as well as the Bible which treats Jubal, Jabal, Tubal-Cain and Naamah as magicians, soothsayers or enchanters who had learned the magic of though control with music:

"But they did not cease to worship images by reason of the evil intelligence of the magicians, who found excuses for them, which had power to constrain them to the foolish worship. For, establishing this things by magical ceremonies, they assigned them feasts from sacrifices, libations, flutes, and shoutings,

by means of which senseless men, being deceived, and their kingdom being taken from them, yet did not desist from the worship that they had taken up with. To such an extent did they prefer error, on account of its pleasantness, before truth.

They also howl after their sacrificial surfeit, their soul from the depth, as it were by dreams, forwarning them of the punishment that is to befall such deeds of theirs. (The Clemetine Homilies, Homily IX, Chapt VII, Ante Nicene Fathers, Vol 8, p. 276).

The oldest harp was found in Ur. It was still in the hands of the girl musician whose harp went into sheol with her as she was burried alive with the dead king. The harp was really an idol of the bull.

"Jingling, banging, and rattling accompanied heathen cults, and the frenzying shawms of a dozen ecstatic cries intoxicated the masses. Amid this euphoric farewell feast of a dying civilization, the voices of nonconformists were emerging from places of Jewish and early Christian worship ... (Encyclopaedia Judaica, 1971 ed., s.v. "Music")

After the world was purified by water, the Babylonians ignored or corrupted the word preached by Noah and introduced instrumental music because it was more powerful in controlling others for the priest's own profit--

"Men turned again to impiety; and on this account a law was given by God to instruct them in the manner of living. But in the process of time, the worship of God and righteousness were corrupted by the unbelieving and the wicked, as we shall show more fully by and by.

"Moreover, perverse and erratic religions were introduced, to which the greater part of men gave themselvs up, by occasion of holidays and solemnities, instituting drinking and banquets,

following pipes, and flutes, and harps, and diverse kinds of musical instruments, and indulging themselves in all kinds of drunkenness and luxury. Hence every kind of error took rise; hence they invented groves and altars, fillets and victims, and after drunkenness they were agitated as if with mad emotions. (Groves were the Canaanite high places)

"By this means power was given to the demons to enter into minds of this sort, so that they seemed to lead insane dances and to rave like Bacchanalians; hence were invented the gnashing of teeth, and bellowing from the depth of their bowels; hence a terrible countenance and a fierce aspect in men, so that he whom drunkenness had subverted and a demon had instigated, was believed by the erring to be filled with the Deity. (Recognitions of Clement, Book IV, Chapt XII, Ante Nicene Fathers, Vol 8, p. 137)

And Chaldea shall be a spoil: all that spoil her shall be satisfied, saith the Lord. Je 50:10

Because ye were glad, because ye rejoiced, O ye destroyers of mine heritage, because ye are grown fat as the heifer at grass, and bellow as bulls; Je 50:11

Euripides attributes instruments to Rhea:

Anon shall the whole land be dancing, when Bromius leads his revellers to the hills, to the hills away! where wait him groups of maidens from loom and shuttle roused in frantic haste by Dionysus. O hidden cave of the Curetes! O hallowed haunts in Crete, that saw Zeus born,

where Corybantes with crested helms devised for me in their grotto the rounded timbrel of ox-hide (lifeless instrument),

mingling Bacchic minstrelsy with the shrill sweet accents of the Phrygian flute, a gift bestowed by them on mother Rhea, to add its crash of music to the Bacchantes' shouts of joy;

but frantic satyrs won it from the mother-goddess for their own, and added it to their dances in festivals, which gladden the heart of Dionysus, each third recurrent year. Oh! happy that votary, when from the hurrying revel-rout he sinks to earth, in his holy robe of fawnskin, chasing the goat to drink its blood, a banquet sweet of flesh uncooked, as he hastes to Phrygia's or to Libya's hills; while in the van the Bromian god exults with cries of Evoe (Eve). With milk and wine and streams of luscious honey flows the earth, and Syrian incense smokes.

It is clear that after Israel rejected the Theocratic rule of Yahweh, David changed the laws of Moses. He added musical worship teams along with the commanders of the now-idle army to make music primarily in connection with state animal sacrifices.

There are several references connecting music and the willow tree. For instance, they made some of the earliest flutes from willow branches. Orpheus, too, was connected to the willow tree. Furthermore, when the Jews were by the river or canal Chebar we are told that this river is connected to enchanting and necromancy. The Jews fully understood their idolatry and because they could not worship at the temple:

We hanged our harps upon the willows in the midst thereof. 137:2

From "Hebrew Myths" by Robert Graves and Raphael Patai, and other sources, we learn that Naamah has a rich tradition in the ancient literature. This sheds some light on the Jews hanging their harps on the Willow trees by the canal whose name speaks of magic or enchantment:

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

There she is a demoness dwelling in the trunk of a willow tree tended by the Goddess Inanna (Anath) on the banks of the Euphrates.

Popular Hebrew etymology seems to have derived 'Lilith' from 'layil,' 'night'; and she therefore often appears as a hairy night-monster, as she also does in Arabian folklore. Solomon suspected the Queen of Sheba of being Lilith, because she had hairy legs. His judgement on the two harlots is recorded in 1 Kings III:16. According to Isaiah XXXIV:14-15, Lilith dwells among the desolate ruins in the Edomite Desert where satyrs ("se'ir"), reems {2}, pelicans, owls {3}, jackals, ostriches, arrow-snakes and kites keep her company.

"Some say the God created man and woman in His own image on the Sixth Day, giving them charge over the world, but that Eve did not yet exist. Now, God had set Adam to name every beast, bird and other living thing. When they passed before him in pairs, male and female, Adam --being already like a twenty-year-old man-- felt jealous of their loves, and though he tried coupling with each female creature in turn, found no satisfaction in the act. He therefore cried: "Every creature but I has a proper mate!" and prayed God would remedy this injustice.

"From Adam's union with this demoness, and with another like her named Naamah, Tubal Cain's sister, sprang Asmodeus and innumerable demons that still plague mankind. Many generations later, Lilith and Naamah came to Solomon's judgement seat, disguised as harlots of Jerusalem. Lilith typifies the Anath-worshipping Canaanite women, who were permitted pre-nuptial promiscuity. Time after time the prophets denounced Israelite women for following Canaanite practices;

at first, apparently, with the priests' approval -- since their habit of dedicating to God the fees thus earned is expressly forbidden in Deuteronomy XXIII:18. Lilith's flight to the Red Sea recalls the ancient Hebrew view that water attracts demons. Tortured and rebellious demons" also found safe harbourage in Egypt. Thus Asmodeus, who had strangled Sarah's first six husbands, fled "to the uttermost parts of Egypt" (Tobit VIII:3), when Tobias burned the heart and liver of a fish on their wedding night.

From Adam's Helpmeets, Hebrew Myths: (c) God then formed Lilith, the first woman, just as He had formed Adam, except that he used filth and sediment instead of pure dust.

From Adam's union with this demoness, and with another like her named Naamah, Tubal Cain's sister,

sprang Asmodeus and innumerable demons that still plague mankind. Many generations later, Lilith and Naamah came to Solomon's judgement seat, disguised as harlots of Jerusalem. [Yalqut Reubeni ad. Gen. II. 21; IV. 8]

See the Punishment of the Fallen Angels

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. Legend of Cain

(Note: the king of Tyre as the harp-playing prostitute would, after her return from seventy years captivity, again take up the harp to attract the dollars to the collection plates. However, she would make her prostitution religious by dedicating it to the use of the Lord but to buy rich robes for the priests)

"Lilith's children are called 'lilim.' In the Targum Yerushalmi, the priestly blessing of Numbers VI:26 becomes: "The Lord bless thee in all thy doings, and preserve thee from the Lilim!" The fourth-century AD commentator Hieronymous identified Lilith with the Greek Lamia, a Libyan queen deserted by Zeus, whom his wife Hera robbed of her children. She took revenge by robbing other women of theirs.

'Naamah,' 'pleasant,' is explained as meaning that

'the demoness sang pleasant songs to idols.'
'Zmargad' suggests 'smaragdos,' the semi-precious

and may therefore be her submarine dwelling. A demon named Smaragos occurs in the Homeric Epigrams. From "Hebrew Myths" by Robert Graves and Raphael Patai

Lilith: female demon of Jewish folklore; her name and personality are derived from the class of Mesopotamian demons called lilû (feminine: lilitu). In rabbinic literature Lilith is variously depicted as the mother of Adam's demonic offspring following his separation from Eve or as his first wife, who left him because of their incompatibility. Three angels tried in vain to force her return; the evil she threatened, especially against children, was said to be counteracted by the wearing of an amulet bearing the names of the angels. A cult associated with Lilith survived among some Jews as late as the 7th century AD. (Britannica)

Tubal-Cain and Musical Worship as Oppression

In ancient accounts, Tubal-cain invented the musical sound of brass by first making hammers. These hammers were found to ring at a certain pitch. These were developed to the point that you could beat the hammer and play a tune. This practice still exists. The point is that Tubal-Cain's invention was not utilitarian but was to oppress others with magic religion of his siblings:

And Zillah, she also bare Tubal-cain, an instructor (one who hammers out) of every artificer in brass and iron (pierce with holes): and the sister of Tubal-cain was Naamah Ge 4:22 (The brass, instrument and the hissing sound of the serpent are connected)

Tubal-Cain is derived from two Hebrew words--

Yabal (h2986) yaw-bal'; to flow; to bring especially with pomp): - bring (forth), carry, lead (forth). (Related to running sores)

Qayin (h7013) kah'-yin; from 6969 in the orig. sense of fixity; a lance (as striking fast): - spear.

Quwn (h6969) koon; a prim. root; to strike a musical note, i. e. chant or wail at a funeral: - lament, mourning woman.

An artificer is a Koresh

Choresh (h2794) kho-rashe'; act. part. of 2790; a fabricator or mechanic: - artificer.

Cheresh (h2791) kheh'-resh; from 2790; magical craft; also silence: - cunning, secretly.
Charash (h2790) khaw-rash'; from the use of tools to fabricate. figurative: to devise in a bad sense; practise secretly.

An heart that deviseth wicked imaginations, feet that be swift in running to mischief, P r6:18

This was the beginning of Satanic attack. John shows how this Babylonian form of worship will come to an end using the same message as Genesis--

And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all. Re 18:14

Lust is concentrating or resting on:

Thumos (g2372) thoo-mos'; from 2380; passion (as if breathing hard): - fierceness, indignation, wrath

And the voice of harpers (lyre-singers), and musicians (the muses and minstrels), and of pipers (Jesus threw them out), and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone (hardship or burden. "grinders" were usually concubines prostitutes) shall be heard no more at all in thee; Re 18:22

The sound could be of three forms: articulate, bestial or artificial. Jesus said that the burden He came to remove was "anxiety from religious ritual." The musicians were religious musicians and the craftsmen were idol makers:

Technites (g5079) tekh-nee'-tace; from 5078; an artisan; fig. a founder (Creator): - builder, craftsman.

Wherefore if Demetrius, and the craftsmen which are with him, have a matter against any man, the law is open, and there are deputies: let them implead one another. Ac.19:38

Was Satan a Musical Instrument in the hands of a Musician?

Tubal-Cain, artificer in brass really defines Satan's method of deceit. Jubal made weapons and instruments which are defined by the same word. Brass points us directly to the serpent--

Nechosheth (h5178) nekh-o'-sheth; for 5154 (meaning copper or brass see 5175) ; copper; hence, something made of that metal, i. e. coin, a fetter; fig. base (as compared with gold or silver): - brasen, brass, chain, copper, fetter (of brass), filthiness, steel. (Source of the bronze serpent)

Nachuwsh (h5153) naw-khoosh'; appar. pass. part. of 5172 (perh. in the sense of ringing, i. e. bell-metal; or from the red color of the throat of a serpent [5175 as denominative: when hissing

Nachash (h5172) naw-khash'; to hiss, i. e. whisper a magic spell; gen. to prognosticate: divine, enchanter, use enchantment.

Nachash (h5175) naw-khawsh'; from 5172; a snake from its hiss: - serpent.

NOW the serpent was more subtile (cunning, slick or naked--crafty) than any beast of the field which the Lord God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden? Ge.3:1

Satan taught Jubal how to invent instruments and organize choirs. These were used to call the holy people down into the dark valley of Cain. Continuing until last weeks musical worship, people have believed that the clangs of brass and the booms of drums could both attract the good spirit and repell the evil spirit. As usual, superstition might have mixed up the powers so that Lucifer as an angel fools religion into making the sounds so that he traps the souls rather than being chased away:

"Lucifer and the powers of the air hovering around it... try in vain to tear down the cross and to silence the importunate clangour of the bells... baffled demons leave the Cathedral unharmed and... through the gloom the Archangel Michael with drawn sword is seen flaming in gold and crimson on the panes of the lighted windows, while, as they recede into the distance, they are pursued in their flight by the pealing music of the organ and the voices of the choir chanting." (Frazer, James George, Folk-Lore in the Old Testament, Macmillian, p. 419, 1923)

"It has been widespread to use bells in magical or religious rites, and how general has been the belief that their tinkle has power to banish demons. sometimes the sound of bells is supposed, not so much to repel evil spirits, as to attract the attention of good or guardian spirits, but on the whole the attractive force of these musical instruments in primitive ritual is fare less conspicious than the repulsive.

The use of bells for the purpose of attraction rather than of repulsion may correspond to that more advanced stage of religious consciousness when the fear of evil is outweighed by trust in the good, when the desire of pious hearts is not so much to flee from the Devil as to draw near to God.

This helps explain "the Jewish custom from which we started, whether it be that the priest in his violet robe, as he crossed the threshold of the sanctuary, was believed to repel the assaults of demons or to attract the attention of the deity by the chime and jingle of the golden bells." (Frazer, James George, Folk-Lore in the Old Testament, Macmillian, p. 439, 1923)

This should not seem strange: remember that God gave Israel the clergy after they had rejected His covenant of Grace at Mount Sinai. Everything the national religious establishment did was to remind people that they were sinners.

IN that day the Lord with his sore and great and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and he shall slay the dragon that is in the sea. Is.27:1

Bariyach (h1281) baw-ree'-akh; from 1272; a fugitive, i. e. the serpent as fleeing, and the constellation by that name: - crooked, noble, piercing

AUGUSTIN: on the Morals of the Manichaeans riducules them for believing that the gods came out of brass and other things by rubbing or abrading (making melody with them). Augustin uses figurative langues much like Paul's warning that our melody must never be external but in the heart:

"Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5). Praise Him not with the voice only; take up works, that ye may not only sing, but work also. He who singeth and worketh,

maketh melody with psaltery and upon the harp.

Now see what sort of instruments are next spoken of, in figure: "With ductile trumpets also, and the sound of the pipe of horn" (ver. 6). What are ductile trumpets, and pipes of horn?

Ductile trumpets are of brass: they are drawn out by hammering; if by hammering, by being beaten, ye shall be ductile trumpets, drawn out unto the praise of God, if ye improve when in tribulation: tribulation is hammering

Aristotle on Politics 1339b

"And we may consider the conception that we have about the gods:

Zeus does not sing and harp to the poets himself.
professional musicians we speak of as vulgar people, and indeed
we think it
not manly to perform music, except when drunk or for fun.

In Sibylline Oracles, a song reads--"They do not pour blood on altars in libations of sacrifices:

No drum sounds 

no cymbal

No flute of many holes 

which has a sound that damages the heart

No pipe 

which bears the imitation of the crooked serpent

No savage-sounding trumpet 

herald of wars

None who are drunk 

in lawless revels or dances 

No sound of the lyre 

no evil-working devices

The people burned their children in the arms of a red-hot idol and played loud music while the child screamed. The priests "interpreted" this sound of slaughter as an oracal from Molech (who represented all pagan gods.)

Habakkuk understood what the Jews were doing even if we don't--

Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it. Hab 2:19

But the Lord is in his holy temple: let all the earth keep silence (hold the tongue) before him. Hab 2:20

We noted above that it was commonly believed that the gods lived inside the musical instruments. The instruments, therefore, were the idols who were instructed to come alive and teach over the flock.

"Instrumental music was forbidden by the orthodox in the formative stages of Islam. As for vocal music, its place was largely taken by a sophisticated and artistic form of the recitation of the Qur'an known as tajwid.

"Nevertheless, the Muslim princely courts generously patronized and cultivated music. Arab music was influenced by Persian and Greek music. Al-Farabi, a 10th-century philosopher, is credited with having constructed a musical instrument called the arghanun (organ). In India, Amir Khosrow, a 14th-century poet and mystic, produced a synthesis of Indian and Persian music and influenced the development of later Indian music.

"Among the religious circles, the Sufis introduced both vocal and instrumental music as part of their spiritual practices. The sama', as this music was called, was opposed by the orthodox at the beginning, but the Sufis persisted in this practice, which slowly won general recognition. The great Sufi poet Jalal ad-Din ar-Rumi (died 1273)--revered equally by the orthodox and the Sufis--

heard the divine voice in his stringed musical instrument when he said
head, its veins (strings) and its skin are all dry and dead;
whence comes to me the voice of the

Britannica Members

"Again, if you prefer to test the presence of God by the agreeable effects on the hearing, and not sight, or smell, or taste,

harps get their strings and pipes their bones from animals; and these become musical by being dried, and rubbed, and twisted.

So the pleasures of music, which you hold to have come from the divine kingdom,
are obtained from the
refuse of dead animals, and that, too, when they are dried by time, and lessened by rubbing, and stretched by twisting.

Such rough treatment, according to you, drives the divine substance from living objects; even cooking them, you say, does this. Why then are boiled thistles not unwholesome? Is it because God, or part of God, leaves them when they are cooked? ST.AUGUSTIN: ON THE MORALS OF THE MANICHAEANS, Ch 16,46

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

For the weapons of our warfare are not carnal, but mighty through God to the pulling down of strong holds; 2 Corinthians 10:4

The Greek word for "weapon" can also be translated as "instrument." The equivalent Hebrew word is regularly translated as both musical instrument and weapon. Indeed, the magic of music in battle could be much more powerful in creating cowardice in the enemy than in killing them with a sword.

"Music, like the word, also may have symbolic meaning. The basic elements out of which musical symbolism is built are sounds, tones, melodies, harmonies,

and the various musical instruments,
........among which is the human voice.

Sound effects can have a numinous (spiritual) character and
........ may be used to bring about contact with the realm of the holy.

A specific tone may call one to an awareness of the holy, make the holy present, and produce an experience of the holy. This may be done by means of drums, gongs, bells, or other instruments.

The ritual instruments can, through their shape or the materials from which they are made, have symbolic meaning. The Uitoto in Colombia, for example, believe that all the souls of their ancestors are contained in the ritual drums. (See liturgical music.)

Kenneth Sublett

Musical Worship Index 2

Serpent and Devil Worship




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