Musical Worship - Musical Instruments - OutlineMusical Worship Outline: We all love music and it is a valuable part of our lives. The problem in worship is not that Christ issued a law of singing which excludes musical instruments. Rather, because "singing" was really speaking the Words of Christ one to another, playing instruments or backing up our "conversation" with a choir simply has no common sense role to play. If it is forced upon us over our own voices it is rude and ultimately destructive because God is trying to speak to us.
The following list is a tiny sample of the uses of instrumental music. All of them have pagan, legal or perverse connections.
First, grasp that "music" is not an operative "worship" word of a Spirit God. Jesus said that worship is "in spirit" or in the human heart and its resource is truth or the Word of God.
The Jewish "congregation" never worshiped God with "congregational singing and instrumental accompaniment.
There was no "praise service" in the Synagogue.
The church was not a pagan "worship center" but a synagogue or school. Therefore it had no praise service: Paul commanded "teaching" of the Word of Christ with singing and melody being in the heart.
The historical church say no place for music until it became a secular power.
The Pre Creation Background to Music
The Bible and other ancient literature tell the story of Lucifer who was a brilliant shining light of God. However, Satan (Lucifer, Devil, Dragon, Serpent) tried to ascend above God so that the angels would worship him.
For that sin he/she was cast out into the earth and brought it to ruin. As the king/queen of Tyre Lucifer is said to have been in the garden of Eden and had the unlawful power of the cymbal and flute (tabret and pipe).
With this powerful tool of mind control he was able to seduce Eve into eating of the Tree.
Ezekiel 31 says that the Assyrians were the "tallest tree in Eden." Therefore, the story of the king of Tyre and of Babylon treat the "serpent" as a musician who could enchant humans.
Isaiah 30 (LXX) shows who the Assyrians will be beaten down to the beat of musical instruments as punishment.
Ezekiel 33 shows how the musical/prostitute produces pleasure rather than awareness of God.
Furthermore, the words which define the "serpent" are based on the concept of brass musical instruments.
Jude says that God will come with ten thousand of His saints to execute judgment and The Book of Enoch which he quotes give the reason that real "trees" and all of God's creation obeyed His commandments. However, man was seduced by angelic beings by music and the arts attributed to Jubal, Jabal, Tubal Cain and Naamah to steal mankind's affection from God.
Satan's fall began with his jealousy over the creation of another world for Adam. Paradise is seen somewhat removed from earth.
The end of the ages has the same Tyre or Babylonian harlot system of musical worship when Jesus returns.
Cast out of the garden of Eden
As Satan was cast out of heaven and brought along his musical instruments, After Adam and Eve were cast out of the garden Satan used the youth such as Jubal, Jabal, Tubal-Cain and Naaman to seduce the holy Sethits into the Cainite worship.
The fallen angels were often associated by the ancients with the Sun, moon, stars and planets (wandering stars).
The Serpent as a Musical Enchanter
takes the sead away DevilSeed.html
A tune can induce emotions ranging from unabashed joy to deep sorrow and can drive listeners into states of patriotic fervor or religious frenzy
In the Apocalyptic literature Adam and Eve (one) and (two) were tempted by music after leaving the garden. This is much the same story recorded in the Books of Enoch which are quoted extensively in the New Testament. The same appeal to their human sense (if not actual music) led to the fall in the beginning. The Hebrew for "serpent" is connected to the hissing of bronze or brass musical instruments used by the soothsayers. Therefore, the "serpent" was an enchanter or musician in the beginning and will be so at the end (Revelation 18). See the Serpent Musician connection.
Where the Devil's Live
We are not bound to believe all of the traditions of men. However, ALL of the world's records show that the Devil taught music to the youth as a way to "pluck up the seed" as fast as it can be planted.
All of the musical words and instruments have a destructive or even Satanic background in the root words.
Furthermore, all pagans (the witch of Endor) believed that the gods lived inside of musical instruments. Therefore, when they were played -- usually by a beautiful girl -- the gods spoke from inside.
> In the Enoch Books quoted by Jude, God's coming with ten thousand of His saints (as He did at Mount Sinai) was to judge the primary sin of 1) like the Pharisees, wanting to silence God's laws so that they could promote their own, 2) a less-clear story of Satan's teaching mixed-sex choirs and instrumental music to seduce people and 3) He is coming for abortionists.
There is a large body of literature. The story is inherent in the "serpent" symbol of the musical Assyrians or Babylonians and the story of Lamech's children whose names relate them to soothsaying, enchanting or the mind-control illustrated in the Babylonian system of Nimrod and Marduk. It is also inherent in all of the musical terms (largely Greek) which have roots indicating destruction or perversion of thought and body. Here are some of the documents.
> The instruments Invented by Jubal (said by the Apocalyptic writer to be from Satan see Ez 28:13). His "handling" of instruments proves that he did it "without authority." Lamech (Ea) and his children are summarized under Genun in ancient accounts.
> The boast music of Lamech (Gen 4:23f) (who became Ea, the Babylonian patron god of music). Inanna (Ishtar) Got Ea drunk and stole the MEs. These included the gift of the eldership, the gift of music and the gift of sexual perversion.
> The promotion of herding, tools and weapons, and music by Lamech's sons. Naamah was believed th be the "mother" of divination which often used music. The record of Josephus may reveal a contemporary version of Genesis.
> Secular tradition that Noah signalled the flood with the rattle. He actually closed down Satan's rational mind so he could not find the ark under construction. The tradition is also that he beat on a plank to get the attention but the people just listened and laughed.
> The story of the people "just off the ark" is well documented in ancient tablets and histories. Recognitions of Clement explains how the musical idolatry developed. While we are not bound to believe this material, a modern liberal scholar explaing the pagan worship in Israel condemned by Amos says that "instruments were supplied by demons: there is no other tradition." Therefore, we are not able to "plug in" any connection between musical instruments and any spiritual value.
> Necessary part of "Ascending-Descending" worship at the towers of Babel. Clergy was priests, soothsayers, musicians and prostitutes. Nimrod organized the second "musical worship team" for the towers.
> The Tower of Babel was based on the seven heavenly spheres which demanded music in ascending and descending to meet or attack their god. The Gates of Hell
> The young gods (Ea & Marduk) defeated the older gods/goddesses with music. Babylonian stories which parallels part of the Bible show that music was a vital part of their divination and necromancy.
Inanna, got Ea (Lamech) the patron god of music drunk and stole the ME which were control devices. These included the "power of the eldership, the power over instrumental music and the knowledge of sexual perversion."
> The condemnation by Job as he associates music with ignorance and denounces astrology among the adults who played music like children while rejecting the Word (Job 21)
do an article
> The music of Laban as he "deceived" Jacob in a "giving in marriage" party so that he couldn't recognize which girl he was sleeping with. Laban tried to deceive him again with a musical "going away party" to cheat him out of cattle, wives and children. This "marrying and giving in marriage" is a common theme in the Bible and in ancient commentary. Gen 31:25f
> God did not rescue Israel because they were good but because they were worse than the Egyptians and therefore brought their abominations along with them.
> The prophets say that Israel didn't worship Yahweh in Egypt (Eze 20). From contemporary and later records we know that the Egyptians worshipped the same Apis Israel worshipped in the wilderness. This involved musical play.
> The judgment song (reciting) of Moses and the playing-dancing of Miriam (Exod. 15:20). The Song of Moses and the Revelation Connection.
> The idolatry at Mount Sinai with music (the word play) (Exo 32:6f) God also came with ten thousand saints at this time.
> As a result of the musical idolatry at Mount Sinai, Israel lost The Book of the Covenant and God "turned them over to worship the starry host." This worship was conducted by Israel and recorded in Amos 5 and 6 and by Judah at Jerusalem as they worshiped Ishtar, Tammuz and Mollech.
> The Second Song of Judgment recited by Moses. When sung it became a witness against Israel (Deut. 32)
> Trumpets and "shouting for joy" were outlawed for the congregational assembly (Nu 10:7) which were for instruction. This was not for worship but was a war chant. Instrumental Music as Worship Forbidden By the Law of Moses
> The self-boast song of Deborah as she ruled over but chided failed male leadership (Jud 5:1f).
> Jephthah's daughter played her way into being a human sacrifice (Judg 11:34)
> The Firing of God and Demand for a King to Worship Like the Nations
> Music as the signal that Saul would replace God's rule (1 Sam. 10:1-8). The "prophesiers" were musical performers from the Philistine high place.
> The judgment of Saul to drive away an evil spirit (1 Sam 16:16)
> What began as soothing turned Saul into a madman. This is supported by modern science and Paul's condemnation of external melody.
> To cause prophesying (raving) as a sign against condemned Saul (1 Sam 18:10)
> Stimulated Saul to try to murder David (1 Sam 19:9)
> The congregational Removal of the Ark to David's altar and David's tabernacle with play (1 Chron. 13:3-14)
> The second move of the Ark only by religious and civic leaders without calling the congregation. (2 Sam. 6:2; 1 Chron. 13:5-6)
- > In Second Kings prophesying with a harp was to bring on judgment against the king and force him to destroy that which he fought for. 2 Kings 3: Elisha Prophesying with a Harpist.
- The Establishment of the Temple State.
> Musical Levites under the command of the army ( 1 Chr 25:1)
> David changed the Law of Moses into a "like the nations" worship because that is what they requested and what God permitted.
This was a civil system and the people's congregation was not allowed to participate.
"The book of Psalms contain new doctrine after the Law of Moses. And after the writing of Moses, it is the second book of doctrine... (David) first gave to the Hebrews a new style of psalmody, by which he abrogates the ordinances established by Moses with respect to sacrifices, and introduces the new hymn and a new style of jubilant praise in the worship of God; and throughout his whole ministry he teaches very many other things that went beyond the law of Moses." (Fragment of Commentary by Hippolytus, bishop of Rome, Ante-Nicene, V, p. 170)
> Musical Levites driving the Slaves to build the temple (2 Chron. 34:12-13). Parallel stories of the magical power of orphic music to move stones and build temples (Thebes) were later understood as music to dull the senses of the slaves.
> Placing the Ark into the Temple (1 Chron. 15:16, 19, 28; 2 Sam. 6).
> Dedication of the first Temple. When the Levites played, the priests could not serve but people worshipped outside and God heard from heaven. (2 Chron. 5:13;7:4-7; 1 Ki. 8:62, 63)
> When King Asa put down Idolatry with his heart but not in fact (2 Chron. 15:8-19)
> Cleansing of the Temple in order to stop God's punishment (2 Chron. 29). People, places and things were cleansed and rededicated without music while only the burning of the sacrifice was signalled with music. Hezekiah reached all the way back to David for the prescription. 2 Chronicles 29:25, King Hezekiah's Reform, Worship Authority
> The Coronation of Joash with sound of judgment against Athaliah (2 Chron. 23, 2 Ki 11)
> All of the negative psalms "To the director of Music."
> All but one (33) of he judgmental psalms adopted to be "sung to the harp."
The blue text below indicates psalms which are from a person seemingly lost and often calling down God's judgment upon the enemy -- often personal enemies. The bold black text shows that these are redundant. For instance, Psalm 33 includes both the psaltery and timbrel are used. The timbrel was not allowed in the temple. Other colors indicate a processionals, new moons, symbolic, vengeance, arousal or awakening the harp, fear of being cast off, historical warning, prophetic.
Ps. 150. 5
Playing the flute was always symbolic of obscenity.
Play the flute, pollute and prostitute come from the same Hebrew word.
It is bound up in the hissing or whistling sound of the serpent in the garden as a symbol of Babylonian soothsaying and enchanting.
"Some of the psalms express a tribalistic hatred of foreign powers; even the beautiful laments of the exiles 'by the waters of Babylon,' for example, concludes with the assurance that the daughter of Babylon will be destroyed. 'Happy shall he be, that taketh and dasheth the little ones against the stones.'
"But in nearly a third of the collection the 'enemies' whose death the psalmist so confidently prays for and anticipates are not Gentile nations, but indivitual Jews who do not share the religious conviction of the Hasidim (Pharisees). In the words of Psalm 58, 'the righteous shall rejoice when he seeth the vengeance: he shall wash his feet in the blood of the wicked. So that a man shall say, Verily there is reward for the righteous: verily he is a God that judgeth in the earth." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 134, Knopf)
Psalm 41 Fulfilled in DSS: Musical Mocking the Unforgivable Sin?
Psalm 81: Did God Command Instrumental Music for Worship
Augustine Psalm 106
Psalm 137: We hung up our harps. Did Jesus Sing This
Psalm 149, Psalm 150, Musical Praise
> Connected with condemned religious festivals while ignoring the Word (Isa 5:12). Symbolic of rejecting the pastoral worship for the affluent worship (Amos 5-6).
See Amos 5
> Lucifer as King of Babylon would be cast into Sheol with the noise of his harps (Isa 14:11).
> Symbolized judgment upon lost Moab (Isa 16:11)
- Ezekiel 28 ORIGEN on The Tyre Whore
> Associated with Wilderness idolatry and the marzeah (Amos 5, 6, Acts 7)
> When defeated and restored, the Tyre harp was still part of the "song of the prostitute" (Isa 23:15)
> Assyria was destroyed to the beat of the tambourine and harp (Isa 30:32). The LXX in 30:29 asks if they must always go up to Jerusalem in musical processions. What follows concerning Assyria is a clear proof of the worship of Molech at Topheth with the toph or tambourines or drums.
> Lucifer as King of Tyre came equipped with musical instruments (Ezek. 28:13 KJV etc.).
- Ezekiel Trumpet Playing Watchmen At the High Places
- Ezekiel Feminine Musical Worship Teams Watch Persons on the Wall
- Ezekiel 8: Lamenting for Tammuz (Ishtar) Worship at the Temple
- Ezekiel 13 and Women Prophetesses Condemned
- Ezekiel 28 ORIGEN The Tyre Whore
- Ezekiel 33 The Harlot Musical Prophetess
> Symbols that people would not listen to the Word of God (Ezek. 33:32) because they treated Him like a prostitute.
> Laying of the foundation of the Second Temple with division and 16 year delay (Ezra 3:10)
> Mounting and rededication of the walls of Jerusalem by the civil-clergy leadership (Neh. 12:27).
> Dedication of the Second Temple to which God's Glory never returned (Ezra 6)
> Omitted when the Levites were demoted to ministers in the Idealized Temple (Ezek 40f)
- > Habakkuk Habakkuk: Jubilee - Seeker Service
> Jonathan and his men ambushed the "marrying and giving in marriage" procession moving "to the sound of drums and instruments of music." (1 Macc 9:38f). Naturally, their "on-guard watchmen" were fooled.
- First Maccabees
- Following the Gentiles in Building a Gymnasium
- The Desolating Altar
- Purifying The Temple
- Maccabees, First Marrying and Giving in Marriage
- Ecclesiasticus or Sirach
> In the "Gospel of Thomas" a Hebrew girl who serenaded Thomas with instruments grew ashamed of herself because she understood that good Hebrew girls did not do that.
> Rededication after Antiochus Epiphanes desecrated temple (1 Macc. 4:53-58). Instrumental music among the Jews was to panic the enemy. The rededication included the tearing down of the pagan "churches" and even killing the idolaters. This was not "worship."
> Josephus shows that the musical Levites had no authority for music in the temple as musical worship teams. The king permitted them clergy robes and musical offices to "make a name for himself."
> The Synagogue always existed for the common people although it is normally translated as just "assembly." There was no praise service in the Synagogue which Jesus endorsed and no instrumental music.
- Alfred Edersheim
> The Dead Sea Scrolls always allegorize musical instruments which were reserved for signaling in warfare as defined in Numbers 10 and which were outlawed for the assembly (Numbers 10:7)
> The Dead Sea Scrolls translate Psalm 41 to show that the clergy warriors would "stand in the gap" to "triumph over" Jesus with musical instruments of panic.
> Mocking of Jesus with music. Mocking of Jesus With Music: The Unforgivable Sin?
> Stephen confirmed Amos' condemnation of self-celebration as rejection of God (Acts 7:39f) (Rejection of the pastoral (tabernacle) for the affluent city life (Temple). By understanding their "rising up to play" we hear Stephen connecting music to the idolatry at Mount Sinai. And the temple continued as a "like the nation's" temple so that the Jews could "worship like the nations."
> Jesus refused to attend the first day of the Feast of Tabernacles devoted to music and other performance, put the musical mourning team out while healing the girl, refused mouth religion over mind (spirit), condemned Pharisees as "musical, game playing children," described vain worship, did not worship musically in the temple, did not prescribe musical or any form of ritual worship. His example and teaching outlawed clergy-leaders and giving or praying as public acts of devotion. He warned of people involved in "marrying and giving in marriage" which has negative connotations in the Apocrypha.
- > Jesus Jesus Removed the Burden Laders
> Jesus cast out the "musical mouring team" more or less violently before He could do His healing work.
> The Jews mocked and momentarily "triumphed over" Jesus. This means that they attacked Him with musical mocking trying to panic Him after they identified him as Beelzebub or Beliar.
> Paul's totally negative statements throughout his letters connected with failure to prescribe, approve or infer music. Warning of Corinth not to be idolaters by calling them back to the wilderness, musical idolatry and to many other prophetic warnings. The Ephesian/Colossian parallel shows the singing with their own "spirit" often induced by wine with speak, teaching, admonishing with the Word of Christ.
Paul's warning in Romans 14 is based on the Orphic Vegetarian sect and the Dionysic meat eating and wine drinking sect. Both relied heavily upon instrumental music. Paul defined speaking or teaching the Word of Christ "with one voice" as the way to satisfy both groups which brought pagan musical baggage with them.
- Romans 15:9, Ro 15:9 - Worship in Spirit - Worship in Truth - Singing to the Gentiles
- Background to Corinth's musical worship and speaking in tongues
- Women in the Corinthian Worship
- 1 Corinthians 13:1 - Tongues of Angels - Speaking in Tongues - Gongs and Cymbals
- 1 Corinthians 14:2, 19: Speaking to god and to the air
- 1 Corinthians 14: Why Women Worship Leaders Were Silenced
- Ephesians 5:19, Psallo, Psalms, Making Melody, Musical Instruments
- Hebrews 2:12 - Psalm 22 -Musical Praise in the Congregation
> The harps of Revelation are symbolic of those who are dead and at ease with no human responsiblity. However, the message to the living was to "preach the gospel." The living bring harps to the dead are never pictured playing them.
> Revelation 18 repeats the warning of Isaiah and Ezekiel that Babylon would be the end-time model of churches built around commerce and instrumental music. The same seduction of Eve away from God's Word and subsequent connection between the "serpent" and the enchanting musician continues in the end-time Babylon Harlot worship.
> Total lack of any music for 100 to 200 years. (reciting psalms is not singing in our terms)
> Almost universal condemnation by church fathers.
> First used by men teaching error, not used by Jews and by Greek Orthodox.
> Total rejection by all but Lutheran churches.
> Organs imposed on churches by the civil government for after-hours concerts in buildings confiscated from Catholics and owned by the civil-commercial interests who knew how to gather a crowd.
> Catholic Encyclopedia shows that complex harmony was added by secular composers and minstrels. It is only in the sixteenth century that music as we know it today was permitted in the church but then not in the presence of the pope.
> Late addition after liberal scholars took control from the elders.
> Universal division and inability to fellowship most musical attempts at "performance worship."
> No evidence of good results after scooping up bad results. Music's value as a teaching aid debunked by modern research and the fact that college professors would be drummed out of their tenure if they attempted to teach Physics using a choir with music.
> Clear proof that music works by inducing endorphins or morphine-like drugs. These creates the spiritual anxiety Jesus came to destroy. Any form theatrical performance sets up a tension which makes us suffer until the conflict is resolved and we feel better because we have suffered. "Drama works because we know that it isn't true."
Function Scriptural references Parties Gen 31:27 farewell party for Jacob: intended to steal Jacob's property
home-coming party for prodigal son Luke 15:25 Celebration of heros Judg. 11:34 Welcome of Jephthah caused human sacrifice. welcome of David with destructive flattery. I Sam. 18:6 King's dedication Judg. 7:18-20; 1 Kings 1:39-40; 2 Chron. 13:14; 2 Chron. 20:28 Harem and courts "for my own pleasure." 2 Sam. 19:35; Eccl. 2:8 Banquet and feasts Isa. 5:12; Isa. 27:8-9 Occupational Num. 21:17; Judg. 9:27; Isa. 16:10; Jer. 31:4-5, 7; 48:33 Dirges 2 Sam. 1:17-18; 2 Chron. 35:25; Matt. 9:23 Magic incantations prostitution Exod. 28:35; Josh. 6:4-20; 1 Sam. 16:6 ff; 2 Kings 3:15
Stated another way, instrumental music was for:
Noise to accompany work, worship, merrymaking and military activities (Gen. 31:27; Exod. 32:17, 18; Num. 27:17; Judg. 11:34, 35; Isa. 16:10; Jer. 48:33)
Specific acts such as the collapse of the walls of Jericho (Josh. 6:4-20), inauguration of kings (1 Ki. 1:39, 40; 2 Ki. 11:14; 2 Chron. 13:14; 20:28), instrumental music for the court (2 Sam. 19:35; Eccl. 2:8), instrumental music for feasting (Isa. 5:12; 24:8-9), instrumental music to stimulate prophetic gifts (2 Ki. 3:15), instrumental music for soothing of personality disturbances (1 Sam. 16:14-23). Rarely is there any connection between instrumental music worship except to signal the beginning and ending of sacrifices. Even then, worship as ritual was something carried out by the priests and was not a "congregational" act.
There is a strong connection between instrumental music and military victory: Lamech, the first musician and polygamist, praising himself to his wives for traditionally murdering Cain and the boy who aimed the arrow of blind Lamech, Miriam celebrating the destruction of the Egyptians (Exod. 15:1-21; Deborah and Barak mutually praising one another for military victory (Jud. 5:11-30); women dancing and playing to flatter David and insult and provoke Saul (1 Sam. 18:6, 7); and Jephtha's daughter danced with timbrels as he returned from battle (Judges 11:34) and brought on human sacrifice
All of the instrumental music of "praise God with the harp" except perhaps psalm 33 are to call down God's vengeance or try to arouse or awaken Him to sooth the musician. These were never for "congregational singing with instrumental accompaniment."
Vocal and instrumental music as an attempt to control the gods and congregations is traced to Babylon and perhaps beyond to the garden of Eden. It was against the Law of God (Nu 10:7) as a means of rejoicing when assembled for instruction. This is because loud instrumental music was reserved to warn Israel of the approaching enemy who was often just outside the walls which had been broken down.
Musical Worship With Instruments - Negative? Almost 100% - and it still divides the church as we speak.
Question About The Devil's Musical Instruments
Frazer, James George
Hislop, Alexander, The Two Babylons Background to the "horn" of Nimrod and its connection to his musical worship team which followed him. The Serpent works in human agents.
Layard, The Two Ninevehs
Kenneth L. Sublett
Music Index Two
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