Psalm 150

Totally agreeing with this all musical terms in the Old Testament have dark, destructive meanings associated with prostitution, warfare or the like the nations worship.

It is also a fact that under the Monarchy with its kings, God turned Israel over to a secular society because they wanted to worship like the nations.

You say, "We want to be like the nations, like the peoples of the world, who serve wood and stone." But what you have in mind will never happen. Ezek 20:32NIV

God had turned Israel over TO WORSHIP THE STARRY HOST because of their MUSICAL IDOLATRY at Mount Sinai. When they FIRED God and demanded a king like the nations God told them that the kings would make them into SLAVES and lead them into captivity and death.

> Ecclesiasticus 48

1. Then the prophet Elijah arose like a fire, and his word burned like a torch.
2. He brought a famine upon them, and by his zeal he made them few in number.
3. By the word of the Lord he shut up the heavens, and also three times brought down fire.
4. How glorious you were, O Elijah, in your wondrous deeds! And who has the right to boast which you have?
5. You who raised a corpse from death and from Hades, by the word of the Most High;
6. who brought kings down to destruction, and famous men from their beds;
7. who heard rebuke at Sinai and judgments of vengeance at Horeb;
8. who anointed kings to inflict retribution,

and prophets to succeed you.

> O Israel, thou hast destroyed thyself; but in me is thine help. Hosea 13:9

I will be thy king: where is any other that may save thee in all thy cities? and thy judges of whom thou saidst, Give me a king and princes? Hosea 13:10

I gave thee a king in mine anger, and took him away in my wrath. Hosea 13:11

This "paradigm" is repeated many times in the Old and New Covenants. Since God permitted the kings to CARRY OUT HIS SENTENCE by "worshiping like the nations" we must understand that the temple under the Monarchy was A LIKE THE NATIONS temple and ritual.

This validates many scholars who note that David added musical worship to go along with the temple state rituals added when Israel fired God in order to worship like the nations.

"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)

The truly greak kings always sought to restore the worship commanded by God through Moses. This musical worship would have been private devotion and:

"The absence of instrumental music from the services of the tabernacle continued not only during the wandering of the Israelites in the desert, but after their entrance into the promised land, throughout the protracted period of the Judges, the reign of Saul, and a part of David's. This is a noteworthy fact.

Although David was a lover of instrumental music, and himself a performer upon the harp,

it was not until some time after his reign had begun that this order of things was changed." (Girardeau, George, Instrumental Music, p. 29).

In the face of overwhelming evidence we must conclude that God commanded musical worship which, in all of history's evidence, was destructive.

PRAISE WAS A FORM OF MAKING A FOOL OF YOURSELVES TO PANIC THE ENEMY:

Halal (g1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

The history proves that this kind of praise began with LUCIFER who came equipped with string, wind and percussion instruments. Therefore,

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

Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Hebrew Dictionary linked to Strong Numbers Chalal (h2490) an instructor/ of distance/space, start, commence; to redeem, to desecrate, make void, to create a cavity, vacuum, hollow, an empty space; a hollow/vacuum as a means to trap or bring together, nature; a vault, to make hollow: to wound, pierce, define, violate, make vulgar, wounded, slain, dead, the action of resisting: to break, disregard; violating instruction, to arrange/ an order of instruction; to assign, to pipe, play pipes

The Temple music which was called NOISE was NEVER in the Holy Place as a carnal type of the body of Christ or the church of Christ.

The Levites were musically mocking the TYPE of Christ in animal sacrifices: Psalm 41 prophesied that under the leadership of Judas they would LITERALLY try to Mock Him. In the Dead Sea Scroll translation we see this vividly prophesied.

Not in Jerusalem or in the most VILE pagan temple did the WORSHIPERS doing music get into the Holy Places. The EXCEPTION is called THE ABOMINATION OF DESOLATION when the Zeus- Dionysus worshipers actually went into and made sacrifices in the Holy Places. See First Maccabees to see how Judaism when Jesus came was under the influence of pagan, homosexual gods.

Or we can conclude that the Law was given because of transgression to govern a people who had rejected God and to provide ceremonial preservation of the human body so that they would not be physically destroyed.

The "congregation" or the individual worshiped God "in spirit and in truth." This was through speaking to God in prayer and listening to Him through His Word.

David and the earthly kingdom was the result of man providing for himself.

When God came in the flesh the physical, visible kingdom of animal sacrifices ceased in the one-time offering of Christ. Not only must the Old Covenant sacrifice be seen as a symbolic type but to keep from falling into the trap of God commending what humans understand to be evil, the music of the Kingdom must be allegorized.

On the Psalms. The Argument Prefixed by Hippolytus, Bishop of Rome, to His Exposition of the Psalms.

The book of Psalms contains new doctrine after the law of Moses.

And after the writing of Moses, it is the second book of doctrine.
Now, after the death of Moses and Joshua, and after the judges, arose David,
who was deemed worthy of bearing the name of father of the Saviour himself;

and he 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.

Music For the Earthly Kingdom

Under the Judges, when Israel followed the will of God they were secure and won battles. However, when they sinned they understood that their oppression was a result of God's judgment.

Therefore, Israel's first motive for "firing" God was to have a king like that of the nations so that they could win military victories like the nations without the need to keep themselves pure.

"the testimonies of neighboring civilizations are of little value, as they concern chiefly the music of courts or temples, which in Sumer, Babylon, and Canaan was then in the hands of professional priests-musicians. We have only a few remarks of Herodotus about Egyptian practices,

which were similar to those of ancient Hebrew popular singing. He refers to the 'lament for Linos,' also to women's chants in procession of the cult of Osiris and the Diana of Bubastis. In Phonicia and Syria almost all popular music reflected the worship of Ishtar, the goddess of fertility." (Interpreters Dictionary of the Bible, p. 461, Abingdon). (See Ezekiel 8:14 in connection with the worship of Tammuz in the temple by Jewish women)

In the fighting of wars it was legal to blow the trumpets:

"The trumpets were assigned a number of complicated signals, which implied their ability of blowing legato, staccato, and trills, and tonguing, all in unison, not 'simultaneously,' but 'as with one mouth.' Moreover, these apocalyptical trumpets bear different names: trumpets of assembly, of battle, of the slain, of ambush, etc.

In generally, they were used to terrorize the enemy into panic (Judges 7:19-20). This function was, for all practical purposes, identical with that of the trumpets of Revelation.

[If you are doing this in church you are Lucifer's agent trying to BLEED OFF worship to yourself. Your music actually HURTS by inducind a drug high and people are literally afraid that a wimpy kid blowing on the end of a pipe is SACRED.]

In the temple the signals of the trumpet introduced every ceremony and every sacrifice." (International Dictionary of the Bible, p. 472-3, Abingdon).

"The instruments were used as worship to God and to give glory and elat to the earthly kingdom. They were tolerated by God as were many other things during this period, that he did not approve.

The establishment of the kingdom itself was an act of rebellion against God" (David Lipscomb, Queries and Answers, pp. 226, 227, and Gospel Advocate, 1899, pp. 376, 377).

How did the other nations worship?

Chapter VII.-Sacrificial Orgies.

"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).

Lucian of Samosata: Alexander the Oracle Monger

By the time his beard had come, the Tyanean was dead, and he found himself in straits;
for the personal attractions which might once have been a resource were diminished.

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

The pair went about living on occult pretensions, shearing 'fat-heads,' as they describe ordinary people in the native Magian lingo.

Among these they got hold of a rich Macedonian woman; her youth was past, but not her desire for admiration;
they got sufficient supplies out of her, and accompanied her from Bithynia to Macedonia.

Alexander, on the other hand, preferred his native place, urging very truly that an enterprise like theirs required congenial soil to give it a start,

in the shape of 'fat-heads' and simpletons; that was a fair description, he said, of the Paphlagonians beyond Abonutichus;

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

Chapter XIII.-Origin of Idolatry. After the flood:

"But when all these things were done, men turned again to impiety; (The writer means, that insult is offered to that name which belongs to God alone by giving it to others, and thus placing it in a position which is unjust to it) and on this account a law was given by God to instruct them in the manner of living. But in 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 themselves up,

by occasion of holidays and solemnities, instituting drinkings 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.

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 deceived and 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; Jer 50:11

That he no longer should live the rest of his time in the flesh to the lusts of men, but to the will of God. 1 Peter 4:2

For the time past of our life may suffice us to have wrought the will of the Gentiles, when we walked in lasciviousness, lusts, excess of wine, revellings, banquetings, and abominable idolatries: 1 Peter 4:3

Komos (g2970) ko'-mos; from 2749; a carousal (as if a letting loose): - revelling, rioting.

Cahal (h6670) tsaw-hal'; a prim. root; to gleam, i. e. (fig.) be cheerful; by transf. to sound clear (of various animal or human expressions): - bellow, cry aloud (out), lift up, neigh, rejoice, make to shine, shout.

How Does this fit with the Psalms?

Being inspired does not mean that God approves everything faithfully recorded. God tells the good, the bad and the ugly. The Psalms are a poetic (and therefore symbolic) record of the history of Israel recorded in the prose accounts.

Because God prophesied that the king would lead rebelious israel into destruction, it is not strange that David who was chosen to lead the nation who had rejected God's Theocratic rule was always lost when he could not sense God's approval. David's praise, therefore, has him making himself vile and repulsive.

It is easy to forget that David as the King or the other Psalm writers were not the prophets who were the critics of the priestly and civil governing class of David and other kings. David was not a priest. Therefore, while some of the psalms speak of private devotion they are not "direct commands" for either Jewish or Christian worship.

The Instruments of Psalm 150

The Britannica notes that:

"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.) Or click her

Most ancient people believed that the "gods" or "demons" lived inside their musical instruments, sounding planks and poles. The oldest harp ever discovered came from Ur and it was in the form of a bull. When they struck (abraded or "wounded") the strings, the message was assumed to come from the gods or demons living inside. The Witch of Endor used a hollow-sounding, old wineskin to get the musically-echoing sound which she usually sold as a voice from the gods.

Clement of Alexandria notes that:

And this deathless strain,-the support of the whole and the harmony of all,-reaching from the centre to the circumference, and from the extremities to the central part, has harmonized this universal frame of things,

not according to the Thracian (Barbarian) music, which is like that invented by Jubal,
but according to the paternal counsel of God, which fired the zeal of David.

And He who is of David, and yet before him, the Word of God,
despising the lyre and harp, which are but lifeless instruments,

<>and having tuned by the Holy Spirit the universe, and especially man,-who, composed of body and soul, is a universe in miniature, makes melody to God on this instrument of many tones; and to this instrument-I mean man-he sings accordant:

"For thou art my harp, and pipe, and temple. -a harp for harmony-a pipe by reason of the Spirit-a temple by reason of the word; so that the first may sound, the second breathe, the third contain the Lord.

Thackery: But whilst he was talking about his dinner, and his mutton, and his landlord, and his business, I felt a great interest about Mr. M. in private life--about his wife, lodgings, earnings, and general history, and I dare say was forming a picture of those in my mind-- wife cooking the mutton: children waiting for it; Merryman in his plain clothes, and so forth; during which contemplation the joke was uttered and laughed at, and Mr. M., resuming his professional duties, was tumbling over head and heels. Do not suppose I am going, sicut est mos, to indulge in moralities about buffoons, paint, motley, and mountebanking. Nay, Prime Ministers rehearse their jokes; Opposition leaders prepare and polish them; Tabernacle preachers must arrange them in their minds before they utter them. All I mean is, that I would like to know any one of these performers thoroughly, and out of his uniform: that preacher, and why in his travels this and that point struck him; wherein lies his power of pathos, humor, eloquence;--that Minister of State, and what moves him, and how his private heart is working;--I would only say that, at a certain time of life certain things cease to interest: but about Some things when we cease to care, what will be the use of life, sight, hearing? Poems are written, and we cease to admire. Lady Jones invites us, and we yawn; she ceases to invite us, and we are resigned. The last time I saw a ballet at the opera--oh! it is many years ago--I fell asleep in the stalls, wagging my head in insane dreams, and I hope affording amusement to the company, while the feet of five hundred nymphs were cutting flicflacs on the stage at a few paces' distance. Ah, I remember a different state of things! Credite posteri. To see those nymphs--gracious powers, how beautiful they were! That leering, painted, shrivelled, thin-armed, thick-ankled old thing, cutting dreary capers, coming thumping down on her board out of time--that an opera-dancer? Pooh! My dear Walter, the great difference between My time and yours, who will enter life some two or three years hence, is that, now, the dancing women and singing women are ludicrously old, out of time, and out of tune; the paint is so visible, and the dinge and wrinkles of their wretched old cotton stockings, that I am surprised how anybody can like to look at them. And as for laughing at Me for falling asleep, I can't understand a man of sense doing otherwise. In My time, a la bonne heure. In the reign of George IV., I give you my honor, all the dancers at the opera were as beautiful as Houris. Even in William IV.'s time, when I think of Duvernay prancing in as the Bayadere,--I say it was a vision of loveliness such as mortal eyes can't see now-a-days. How well I remember the tune to which she used to appear! Kaled used to say to the Sultan, "My lord, a troop of those dancing and singing gurls called Bayaderes approaches," and, to the clash of cymbals, and the thumping of my heart, in she used to dance! There has never been anything like it--never. There never will be--I laugh to scorn old people who tell me about your Noblet, your Montessu, your Vestris, your Parisot--pshaw, the senile twaddlers! And the impudence of the young men, with their music and their dancers of today! I tell you the women are dreary old creatures. I tell you one air in an opera is just like another, and they send all rational creatures to sleep. Ah, Ronzi de Begnis, thou lovely one! Ah, Caradoni, thou smiling angel! Ah, Malibran! Nay, I will come to modern times, and acknowledge that Lablache was a very good singer thirty years ago (though Porto was the boy for me): and then we had Ambrogetti, and Curioni, and Donzelli, a rising young singer.

Of the pipe or organ mention in Psalm 150: When the Temple was destroyed ALL instruments were outlawed but the Shofar BECAUSE it was NOT a musical instrument. You cannot get to THIS side of the cross without BAPTISM and that is why "christianism" is predominately Jewish (with Voodoo music thrown in)

Edersheim makes it clear that the pipe was played only in the procession to Jerusalem from the far cities.

Isaiah 30 compares the Assyrians procession to the "place of burning" [click{ with the Timbrels and harps. In the LXX or Septuagint version, God asks, "Must you always go in procession to the temple with music." This was a common practice when they marched to the Temple and then to Topheth which was the place where innocent children were burned in the red-hot arms of Molech as they played loud instruments to drown out the evil sounds of sacrificed children and to help the priest get a message from the idol. Assyria includes Jerusalem, Egypt, Sodom or (Jerusalem which is Egypt and Sodom in the book of Revelation). All will find themselves being marched off to some kind of hell to the beat of musical instruments.

Brian has Locked himself at the Lip with some very bad characters: Psalm 150 MISUNDERSTOOD cannot trump 100% of the rest of the world's literature which associates MUSIC with bad people.

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. Isa 30:32

"Its (pipe = to love passionately) 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 (ethical character) 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 (temple dancers), emphasizes the erotic element which already the Hebrew name suggests." (Interpreters Dictionary of the Bible, p. 460, Abingdon).

Give Brian credit: no PhDuh quite willing to lie, cheat and steal the church houses of widows have ANY better authority for music. Without exception the USE of musicians and musicians points to a gender problem in "misleaders" and what "church" has become in fulfilment of the VISIBLE kingdom being the Babylon Whore whose singers and musicians are said to be sorceries intentional (a changeling word). That is the Driven Purpose of these churches. The word WOLVES used by Paul as something which elders might be more afflicted with (as shepherds) than regular people is being fulfilled before your eyes and ears if you have not fled Babylon.

The pipe was invented and promoted by Jubal and not God. The view of scholars who knew the original languages claim that SATAN came into Jubal (Genun) just as Satan came into Judas whose "Judas bag" contained the "mouthpieces of wind instruments."

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

Handle means to manipulate, capture to use without authority (h8610).

Taphas (h8610) taw-fas'; a prim. root; 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.

Uwgab (h5748) oo-gawb'; or uggab oog-gawb'; from 5689 in the orig. sense of breathing; a reed-instrument of music: - organ

Jeremiah 4 repeats the VOID AND EMPTY pattern of the creation, the flood and the Red Sea. It also fits the pattern of Lucifer personified as the king of Babylon, Tyre and the end time church.

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

And when thou art spoiled, what wilt thou do? Though thou clothest thyself with crimson, though thou deckest thee with ornaments of gold, though thou rentest thy face with painting, in vain shalt thou make thyself fair; thy lovers will despise thee, they will seek thy life. Jer 4:30

Praise him with the timbrel and dance: praise him with stringed instruments and organs. Ps.150:4

The ORGAN is associated with the fertility cults by Job:

Wherefore do the wicked live, become old, yea, are mighty in power? Job 21:7
Their seed is established in their sight with them, and their offspring before their eyes. Job 21:8
Their houses are safe from fear, neither is the rod of God upon them. Job 21:9
Their bull gendereth, and faileth not; their cow calveth, and casteth not her calf. Job 21:10
They send forth their little ones like a flock, and their children dance. Job 21:11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21:12
They spend their days in wealth, and in a moment go down to the grave. Job 21:13

Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Job 21:14

What is the Almighty, that we should serve him? and what profit should we have, if we pray unto him? Job 21:15

Job used the pipe to describe the children who sang, played and danced showing that they didn't want to hear from God (Job 21). Job also used the organ in a figurative sense of his mouring and weeping.

For I will lay the land most desolate, and the pomp of her strength shall cease; and the mountains of Israel shall be desolate, that none shall pass through. Ezek 33:28

Then shall they know that I am the Lord, when I have laid the land most desolate because of all their abominations which they have committed. Ezek 33:29

See how the Abominable Branch was the "song with instruments opposed to Christ the True Branch. Then turn on some EYES and EARS:

Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and

speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Ezek 33:30

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. Ezek 33:31

And, lo, thou art unto them as a very lovely 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. Ezek 33:32

And when this cometh to pass, (lo, it will come,) then shall they know that a prophet hath been among them. Ezek 33:33

The love song is:

Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.

BRIAN CONFESSES: ANY MORE?

The Psaltery in Hebrew was, like most instruments, made in the human form often the female with the body parts:

Nebel (h5035) neh'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Nabel (h5034) naw-bale'; to wilt; generally to fall away, fail, faint; figurative: to be foolish or morally wicked; to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, surely, make vile, wither..

"Therefore at that time, when all the people heard the sound of the cornet, flute, harp, sackbut, psaltery, and all kinds of musick, all the people, the nations, and the languages, fell down and worshipped the golden image that Nebuchadnezzar the king had set up. Da.3:7

"The psaltery (psalterion, saltere, sauterie, Psalterium, Psalter, salterio) is an ancient intstrument seen in many forms. Early versions were simply a wooden board with gut strings stretched between pegs. The strings were plucked with fingers or by plectra (the name might have derived from the Greek psallein meaning plucked with fingers).

"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp. Source

Remember that David "made himself vile" by performing music with the slave girls and then stripping off his clothes. This was motivated by an unnatural fear of God and "God cannot punish a mad man."

This has the same meaning as the empty wineskin or waterskin which echoed the voice of the witch's own voice as ventriloquism.

Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.

This device, including musical instruments, were believed or at least sold as the home of the departed spirits who were not gods. People consulted the idols and interpreted the "speaking in tongues" as a message to