NorthWest
College of The Bible - Instrumental Music in Worship: Review
ALL "musical" words and names of instruments in the Bible point to innocent children (female) games, literal warfare, prostitutes, sodomites or to Satan as the originator of music to bleed off worship due only to God. The other exception is the "noise" made at the temple dedicated to the slaughter of tens of thousands of innocent animals as TYPES of their rejected GOD to support a den of thieves and a house of merchandise.
Psallo speaks of "music" only in the sense that warriors shot forth literal arrows to grind-up the heart of an enemy. Singing in the external sense had much the same meaning in that people SHOT FORTH hymns or psalms. The SOP Jesus hand-fed to Judas is derived from the same "grinding into powder" concept.
The nation of Israel worshipped with instrumental music, caused the people to hunger and thirst for the Word and they went into captivity and death. Amos defines this and predicts that the songs actually IN the temples would be turned into howlings.
The nation of Judah never worshipped as a "congregation" by singing with instrumental accompaniment.
The Synagogue which existed as the "Qahal" in the wilderness had instruments and loud rejoicing OUTLAWED and it "never had a praise service."
Paul defined worship in the Christ-defined new PLACE of the human heart as it gives heed (His almost-unique worship word) to "that which is written" (Rom 15), the Spirit (Eph 5) which is the Word of Christ (John 6:63) or the WORD of Christ in Colossians 3.
The purpose was to glorify God or Teach or Admonish one another using THE BIBLICAL TEXT.
The PSALLO argument-- powerful enough to sow discord and become musically sectarian-- is based on blindness to the Biblical and literary record.
"There is no other tradition" says a modern, liberal scholar to the fact that music AS worship derives from demon worship. That is why the "music" words connect intimately to sorcery, enchantment and a homosexual priesthood as "ministers" to the homosexual "gods" and "goddesses" and "prphetesses." Chanting which was never modern "singing" got its greatest impulse from the monastry. The "team" singing using ORGANUM or "after the organ" was imported from france after the pope's "Babylonian captivity" with castrated boys used in the Sistine Chapel because instruments could not be played in the Pope's mass which was the only important "worship" in imitation of the Jew's "national" worship of the temple-state.
Remember that David was king. He, along with the "commanders of the army" assigned the surplus Warrior Musicians to the future CIVIL Temple which along with its worship was "like the nations around them." When animals were sacrificed at the temple as the king's shrinee, the warriors performed the civil ceremony in service (hard bondage) to the priests as they slaughtered tens of thousands of innocent animals as a substitute for God'd direct reign. Paul commanded that this poetic material be used to TEACH and ADMONISH one another: it was not to perform "worship" rituals which would be insanely superstitious after Jesus died once for all times. The Britannica notes the style of material which had its initial use by the KING and the COMMANDERS of the army to insite or to enrage soldiers into battle and to turn the enemy cowards.
General characteristics of the Epic
An epic may deal with such various subjects as myths, heroic legends, histories, edifying religious tales, animal stories, or philosophical or moral theories.
Epic poetry has been used by peoples all over the world and in different ages to transmit their traditions from one generation to another, without the aid of writing.
These traditions frequently consist of legendary narratives about the glorious deeds of their national heroes.
Thus scholars have often identified "epic" with a certain kind of heroic oral poetry, which comes into existence in so-called heroic ages.
Such ages have been experienced by many nations, usually at a stage of development in which they have had to struggle for a national identity. This effort, combined with such other conditions as an adequate material culture and a sufficiently productive economy, tend to produce a society dominated by a powerful and warlike nobility, constantly occupied with martial activities, whose individual members seek, above all, everlasting fame for themselves and for their lineages.
The main function of poetry in heroic-age society appears to be to stir the spirit of the warriors
to heroic actions by praising their exploits and those of their illustrious ancestors,
by assuring a long and glorious recollection of their fame, and by supplying them with models of ideal heroic behaviour. One of the favorite pastimes of the nobility in heroic ages in different times and places has been to gather in banquet halls to hear heroic songs, in praise of famous deeds sung by professional singers as well as by the warriors themselves.Heroic songs also were often sung before a battle, and such recitations had tremendous effect on the morale of the combatants. Among the Fulani (Fulbe) people in The Sudan, for instance, whose epic poetry has been recorded, a nobleman customarily set out in quest of adventures accompanied by a singer (mabo), who also served as his shield bearer.
As such they were described by the phrase 'sons of Mahol,' a Hebrew term closely related to (the Greek), used of a semi-circular area in which the Greek chorus danced, and meaning 'members of the orchestral guild.'
"With the later days of Solomon came a resurgence of Canaanite idolatry, and when the kingdom began to function as two separate units, the breach between the religious life of the north and south was accentuated." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 335-6, see p. 411).
The singer was thus the witness of the heroic deeds of his lord, which he celebrated in an epic poem called baudi.
This is why Paul's absolute DIRECT COMMAND which cannot be accidentially misinterpreted was to TEACH "that which is written" in Romans 15 or the "Spirit" in Ephesians 5 which Jesus defined as His Words and the Word of Christ in Colossians 3.
Because psallo or melody as a WARFARE and not a musical word, Paul absolutely insisted that both the odeing and melody be IN THE HEART as the new PLACE which is the only place God seeks our worship. Our own spirit or mind is like the Most Holy Place or the "closet" because you CANNOT worship with loud sounds and bright lights.
Odeing was the means of the pagan religionists to LIFT you up through mental excitement. Paul outlawed this in Romans 15 when he said that Christ did not PLEASURE Himself and we CANNOT pleasure ourselves and carry out the synagoguing or teaching role as the only way to glorify God.
The very meaning of HERESY is connected with LIFTING another up by the pleasure of ODEING in order to carry them away for their own USES. This odeing in the temples of the pagans was connected with the same word meaning to "lift them up to cut their throat."
See our collection of resources about DEVIL WORSHIP
To that end, Charles Daily wrote, and we review respectfully,
presented at Unity Forum X
November 7, 1991
This article is in RED print and our review notes are in BLACK. Other references are in BLUE. This article from Northwest College of the Bible reveals scholarship because it is aware that prophesying in the Bible is often singing, dancing and playing musical instruments. Our belief is that such prophesying is condemned and is a symbol of Isaiah's prophecy that "women and children" will rule over them. Furthermore, the article is a brief, concise look at the texts used to prove that God commanded instrumental music and did not denounce it in the New Covenant worship. Because the article was presented in open forum as a call for unity we respectfully submit the following notes without any urge to collect you in any movement larger than your local congregation. Instrumental music in worship is not supported by the Bible.
> David Faust at FHU Number One. David uses the standard fare for the NACC bent on sowing discord under the ploy of UNITING something which never existes. When churches of Christ denies that it was part of the Disciples, the Christian church was still a decade in the future before secting out of the Disciples. David repeats the common proof text while ignoring the story line. The first article will deal with the fact that God PROMISED David a Tabernacle but Solomon built Him a House but God does not live in houses. The loud music when the Tabernacle fell and the Ark was put away caused God's glory to be manifested: this meant HANDS OFF, you will never ever come into the reach of my Word and my Grace under the Mercy Seat. Of course those sowing discord have God engaging in a virtual orgy.
Number Two deals with the regular use The songs of Accent and of Psalm 87 as prophecy that God prophesied instruments in the church. This is supposedly validated by Hebrews 12. Fact is, the going in processional hymns points to Isaiah 30 where God promises that all of those nations seduced from His Word by wind, string and percussion instruments will be driven into Topheth as a type of Hell to the beat of these same instruments.
> Victor Knowles 2003 Pepperdine DANCING AT ARM'S LENGTH----wrong! A partial review of continuing effort to take captive "a cappella" churches. See Charles Dailey who is their MUSIC spokesman. It is a fact that "musical worship" is pagan "prophesying" but not IN CHURCH. Part One...Part Two more on Miriam....Part Three the meaning of "bowing to Baal" or musical prophesying.> Together for Greater Ministry Impact '04: The latest gasp at a UNITY FORUM under the auspices of COMMERCIALISM. Pro-Instrumental preachers called in to speak for "a cappella" churches of Christ. Goal to build 5500 instrumental churches.
The Article From Northwest College of the Bible Begins
Charles Dailey: It was Leo Tolstoy that said "Music is the shorthand of emotion." This forum gives us a good testing grounds for his statement!
That is true: all music words and names of instruments identify enchantment or sorcery.
That is why John in Revelation 17 identifies the Mother of Harlots and
in Chapter 18 identifies the singers and musicians as sorcerers.
Music unfairly strokes the pleasure centers and stirs up the
emotions. In fact. music shuts down the rational or spiritual
mind.
Paul said that it was the shorthand of language: just speaking in tongues. See 1 Corinthians 13-14. See Chapter 13. Chapter 14 and the worship of the god - goddess of the air.
Charles Dailey: As I approached this subject, I sought for a non-technical approach, one that each listener here could share with others. I wanted an approach that would not be a battle among language experts. When I examined the assignment, A Scriptural Analysis of Music in Worship,
I determined to have little to do with language experts and historians for today's presentation. These useful fields of expertise need to be subservient to the written Word, but our faith cannot rest in encyclopedias and lexicons.
We need a non-technical approach to facilitate our sharing of this viewpoint with non-technical people in our congregations.
Truth demands being technical. It will be noted that Charles Dailey will actually make a technical analysis to:
Authorize singing with instruments based upon the fact that
- Miriam was a prophetess
- She sang to the accompaniment of cymbals (not according to the text)
- Therefore, we can sing with instruments
- This is shared as facts to facilitate (manipulate) teaching those who don't know better.
If this works then people will not "dig deeper" to understand the message or the context. This is consistent with the refusal to allow musical churches to even hear the rich, but negative, treatment of music in the Old Testament. One wise man declares that "it would be divisive" to allow the congregation to understand why music was rejected for 1800 years!
Paul made it pretty simple when, in Romans 15, he defined a SYNAGOGUE or school of the Bible which would allow the diverse background of MUSICAL Dionysiacs who were the meat eaters and wind drinkers, along with the MUSICAL Orphics who drank no wine and ate only vegetables or in some cases were "bean eaters."
He said that they way to GLORIFY GOD would be to unite with ONE MIND and ONE VOICE in "that which is written." This, of course, was by Christ the Spirit (1 Peter 1:11).
He made it clear to the Ephesians when he said "don't get drunk with wine." The Greek resources define the word METHUO as "getting piped" or "fluted down with wine." As now you cannot peddle wine without music. The word also meant "getting drunk on arrogance."
Only then could they SPEAK which is radically different from SINGING or Odeing in the external sense. This word violates the specific command in Romans 15 not to PLEASURE themselves by getting excited or rousing the anxiety level. External ODEING is a secular, usually polluted and polluting activity. That is why Paul said SING in the heart.
Melody is Psalo which is NOT a musical word: it speaks of Apollo (Abaddon or Apollyon) making his bowstring TWANG to send a SINGING arrow into the literal yeart: he also shot "love arrows." Therefore, Paul said make MELODY in the heart or in Colossians 3 he said "with GRACE in the heart."
SPEAKING a poetic, inspired, "that which is written," song has both melody and grace as components WITHOUT making music. Paul DID NOT SAY "make music."
Charles Dailey: This area of concern -- music in worship -- has been visited by many before us. We may cover some new ground today and, to that extent, add to the body of literature that already exists on the subject.
Gaining Scriptural authority for the introduction and sectariazation of the church by instrumental music by deriving a new definition of the word prophet or prophesy needs further treatment from the text, context and those authorities rejected here.
A prophet speaks from God as a message is breathed into him. (From the Spirit of Christ 1 Pe 1:11; Rev 19:10)
In addition, a prophet or prophetess is one who repeats this message without addition or subtraction.
A prophetess or prophesying in the First Corinthian context is the gibberish accompanied by clanging brass and tinkling cymbals sold to customers as a message from the "gods." The Witch of Endor used an old wineskin or "echo chamber" as an instrument to fool the fools.
Charles Dailey: We will be using the New International Version translation (of Course). There is no special advantage or disadvantage from using it with reference to the subject at hand. It's use makes easier listening and we need that advantage after lunch!
But there is some advantage from the NIV but it all disappears in the Septuagint (the one Jesus used). The Septuagint treats almost all "musical" passages in a very negative light as demanded by the definition of the Hebrew and Greek words associated with all instruments and musical terms.
On the other hand, the NIV is spring-loaded by using the word MUSIC where it does not exist.
Charles Dailey: Scriptural analysis should include the total range of Scripture. We will bear in mind that the New Testament calls the Old Testament Scriptures many times and that our use of the Old Testament is well within the assigned topic.
But all non-Catholic (Church of england, Anglican, Methodists, Disciples) agree that the Old Testament does not define Christian worship.
Contrary to the NO DISPENSATIONAL DISTINCTIONS all of the major writers in history teaches the idea that authority for faith and practice in the Christian system of faith must be derived from the New Testament. See our notes to that effect in our review of Milton Jones here. See our proof about Commands, Examples and some inferences denied by the 'high church" view of the Christian church.
Charles Dailey: We are going to consider a line of inquiry on the subject of mechanical instruments of music in the church that deserves closer attention, then consider the momentum of Israel's worship and conclude with a discussion of the two covenants and their application to our subject.
We have covered the idea of prophets and prophesying in connection with "singing" on dozens of our pages. The idea of "prophesying" in a singing and instrumental sense is treated by the Classical writers and by Paul in First Corinthians 5 in connection with "out of assembly, uncovered prophesying" by the women and by the "perceived madness" among the Corinthian women as they sang in tongues. The witness is absolute that this is a secular activity even at Jerusalem which was established as a "like the nations" temple-state so that they could "worship like the nations."
If you are studying for the ministry you need to understand the Classical background to Paul's writings to know that prophesying was the key fatality of the Corinthian church.
I. THE DIVINE MANDATE FOR PROPHETS
Charles Dailey: One brother has suggested that we examine the noun prophet and the verb to prophesy as they apply to the issue at hand. God has dealt with man and revealed Himself to us through prophets. The word first occurs in Genesis 20:7 where God, identifying Abraham, said to King Abimelech of Gerar in a dream,
Abraham's role is defined by the word:
Nabi (h5030) naw-bee'; from 5012; a prophet or (gen.) inspired man.: - prophecy, that prophesy, prophet.
Because Abraham was a prophet or had the ability to be heard by God we might note that there is not a hint that Abraham or any of those associated with him ever received any instructions about "singing" (secular) as a way to speak (religious) to the pieple. As a "man of faith" he did not attempt to "break through" to God with musical instruments which, in the society God had driven him away from, instruments were powerful "homes of the gods" and used in manipulating the people at Ur up and down the steps of the Tower of Babel "church." The LIV notes that Abraham could pray for him "for he is a prophet."
You should keep in mind that in Galatians, Paul does not define Christianity as an outgrowth of the Law of the Monarchy which introduced instruments into the civil temple, but with the promise of the Spirit made to Abraham. Therefore, if there is any authorty it must be found before musical idolatry caused the loss of the oral (Abrahamic-like) covenant at Mount Sinai and the imposition of the Law "because of transgression." The entire Law period, especially under the Monarchy, is a model of a nation estranged from God and "worshiping like the nations." This is why the "people's congregation" was kept away from the rituals.
You may click here to understand the musical worship in Babylonia from which God rescued Abraham and therefore the entire Hebrew nation. Until, that is, Israel again fell away and demanded a king after which the Jerusalem rituals were "like the nations" because that is what God allowed by His permissive will to "teach them the futility of the idolatry of nationhood."
Abraham was a godly or inspired man but his task was not to predict, preach or sing with instruments. His relationship with God gave Abraham the right to pray and be heard. Miriam answered or repeated what Moses had heard from God. Only in the faithful repeating of the once-revealed Word of God can one "prophesy" in the assembly. Deborah was the "general of the army" and not the worship leader. Huldah was a "prophetess" in that she faithfully preserved the writings of the Law as more "librarian" than preacher. She could repeat the law when it had been so distorted by the priests that the king thought it untrustworthy.
By analogy, the King of Kings would insist that we ignore the "songs and sermons" and dig out the almost-unused Bible as the only authority available to a modern "prophet."
Hannah, too, had that right: "she prayed and her lips moved but there was no sound." Anna, too, was a prophetess because she reminded everyone of Messiah which she had learned from Scripture.
Alexander Hislop defines the worship of Babylonia dominated after the flood by Nimrod. Nimrod dominated in part with a team of female musicians.
A later use was by Laban as he first seduced Jacob into marrying the wrong woman with "wine, women, tabrets and harps" which proved that it was a secular party. Then when God told Jacob to "escape" from the Babylonian-like environment, Laban again wanted to deceive him:
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? Genesis 31:27
Laban would have sent him away empty handed just as he seduced him to marry the wrong woman. But Rachel took his "gods" with her.
Charles Dailey: Now return the man's wife, for he is a prophet, and he will pray for you and you will live. But if you do not return her, you may be sure that you and all yours will die. (Genesis 20:7 NIV)
Please note that Abraham was a PROPHET meant that HE WILL PRAY FOR YOU. A prophet speaks God's Will and has the "spirit" of God in his heart and he heard God's Word. He was "justified by faith" because he obeyed God's laws and commandments. Abraham was not a writing or revealing prophet. Neither was he a prophesier in the musical or "lord, lord saying" sense.
Charles Dailey: Abraham is the first prophet so named. In the days of Moses, Aaron his brother, is to be in the role of prophet to Moses rather than God. Exodus 6:29 ff.
Now when the LORD spoke to Moses in Egypt, he said to him, "I am the LORD. Tell Pharaoh king of Egypt everything I tell you." But Moses said to the LORD "Since I speak with faltering (uncircumcised) lips, why would Pharaoh listen to me?" Then the LORD said to Moses, "See, I have made you like God to Pharaoh, and your brother Aaron will be your prophet." (Exodus 7 NIV)
The definition here is apparently that of a spokesperson because Moses had just objected that he was unskilled in speech. The definition implied here is that of a forthteller.
And that means that prophets as spokesmen for God are not MUSICIANS other than when they are singing the BURDENS which sometimes begin "Woe" as in Amos 5f and Isaiah 5.
Thou shalt speak all that I command thee: and Aaron thy brother shall speak unto Pharaoh, that he send the children of Israel out of his land. Exodus 7:2
Dabar (g1696) daw-bar'; a prim. root; perh. prop. to arrange; but used fig. (of words) to speak; rarely (in a destructive sense) to subdue: - answer, appoint, bid, command, commune, declare, destroy, give, name, promise, pronounce, rehearse, say, speak, be spokesman, subdue, talk, teach, tell, think, use [entreaties], utter, * well, * work.
As a "prophet" Abraham could speak to God; as a "prophet" Aaron had no independant opinions to utter or mutter. Moses and Jesus Who was a "Prophet like Moses" spoke only what He heard from the Father (source) and Paul insisted that our "preaching one to another" be the The Word of Christ or Spirit.
Neither Moses, Jesus, Paul or we have any independant voice or else we are not "prophesying in church." Singing human compositions and playing instruments is in many Old Testament references the antithesis of being a "prophet" in the true sense.
To do otherwise means that we claim superiority over Moses, Jesus and consequently God.
The visions of your prophets were false and worthless; they did not expose your sin to ward off your captivity. The oracles they gave you were false and misleading. Lam 2:14
All who pass your way clap their hands at you; they scoff and shake their heads at the Daughter of Jerusalem (Sodom Rev 11:8): "Is this the city that was called the perfection of beauty, the joy of the whole earth?" Lam. 2:15
therefore I am going to give you to the people of the East (see the nature of those who have captured you) as a possession. They will set up their camps and pitch their tents among you; they will eat your fruit and drink your milk. Ezek 25:4
I will turn Rabbah into a pasture for camels and Ammon into a resting place for sheep. Then you will know that I am the LORD. Ezek 25:5
For this is what the Sovereign LORD says: Because you have clapped your hands and stamped your feet, rejoicing with all the malice of your heart against the land of Israel, Ezek 25:6
Therefore I will stretch out mine hand upon thee, and will deliver thee for a spoil to the heathen; and I will cut thee off from the people, and I will cause thee to perish out of the countries: I will destroy thee; and thou shalt know that I am the Lord. Eze. 25:7
This is what the Sovereign LORD says: 'Because Moab and Seir said, "Look, the house of Judah has become like all the other nations," Ezekiel 25:8
When the people cried "Lord, Lord" they were doing a form of PROPHESYING which was madness induced very powerfully by MUSIC. Jesus said of them I DON'T EVEN KNOW YOUR NAME. The ancients believed that what Paul calls MADNESS in Corinth was a proof that the "gods" or a literal spirit was inside of your body. If a David did the spinning dance until "he made himself vile" then the view was that God cannot punish the insane. That is the most common understanding of the word PRAISE in the Old Testament.
Plato: Apology of Socrates and Crito crito,17.2 speaking directly to the charismatic prophesying being practiced by the women in Corinth:
hoi korubantiôntes: here a species of madness seems to be indicated,
under the influence of which men
- imagined that they heard the flutes
- that were used in Corybantian revels.
- and the song of the bacchanals in Eur. Bacch. 123-127,
- Corybantes, wearing helms three-rimmed,
- Stretched skins to make my drum's full round;
- Then they, in hollowed caves, lithe-limbed,
- With drums, and, with the flute's shrill sound
- Full Phrygian, bacchic ditties hymned.
This is Paul's meaning of "clanging brass and tinkling cymbals" which, in church, was equated to speaking in tongues.
See how Huldah the prophetess.
Charles Dailey: Next we will examine another kind of prophet that will expand our Biblical definition. While Aaron has been called a prophet of Moses, Miriam is called a prophetess, a female prophet, in Exodus 15:20:
Then Miriam the prophetess, Aaron's sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: "Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea." (Exodus 15:20 NIV)
Miriam's instruction to perhaps thousands of women that followed her was to sing and they all had tambourines. The word sing here must have meant to sing accompanied by the tambourines. She did not tell them to sing and play. Her definition of sing was not vocal only.
It is a fact that sing or song means that the writing is metrical or poetic. This means that it CAN be sung with an instrument. However, psalmos in Greek and song in english proves that "the first INSTRUMENT of choice" is the human voice.
Furthermore, it is a fact that SONG or SINGING which intends to include an instrument ALWAYS uses the word SING and adds the NAME of the instrument. Of the king of Tyre as Lucifer personified, Isaiah wrote for God:
And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isaiah 23:15
The SONG OF THE HARLOT as the basic meaning of singing with instruments is:
Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody,
sing many songs, that thou mayest be remembered. Isaiah 23:16
Charles Dailey: If Moses is taking up the flow of the narrative that was interrupted by the great inspired song of victory beginning in Exodus 15:1, then he is saying to us in verses 19 and 20 that his sister Miriam was a prophetess and wrote the song.
We call it the SONG OF MOSES and not the song of Miriam! Remember?
When Moses delivered the "songs" they were warnings against Israel as much as Egypt: that is why the MASCULINE method is to SPEAK or RECITE. God wrote the song and it may have been older. He gave it to Moses and he recited it. Miriam took the response line and led the women to ESCAPE into an egyptian form of pagan dance. This set the stage for THE LAW which Paul speaks about women exercising authentia or erotic authority.
When Miriam claimed to speak for God He smacked her with a dose of leprosy!
Miriam was a prophetess in the following sense:
First, Miriam was not involved in Instrumental music in worship. She was:
Nebiyah (h5031) neb-ee-yaw'; fem. of 5030; a prophetess or (gen.) inspired woman; by implication a poetess; by association of prophet's wife: - prophetess.
Notice that Moses recited (did not sing four part harmony) the song so that it could be heard and understood:
For the horse of Pharaoh went in with his chariots and with his horsemen into the sea, and the Lord brought again the waters of the sea upon them; but the children of Israel went on dry land in the midst of the sea. Ex 15:19
Then we see that Miriam was a prophetess only because of her poetic skills. She took the prose words of Moses and put a few words of the song them to the sound of the tabrets (from Topheth) and led the women out (to escape):
And Miriam answered them, Sing ye to the Lord, for he hath triumphed gloriously; the horse and his rider hath he thrown into the sea. Ex 15:21
This is not Instrumental music in worship which, because of earlier musical rituals (play) at Mount Sinai, God outlawed the alarm or triumph over "making a joyful noise" for the assembly. Miriam and the women and female children did what no MALE would do because they would sick the gender police on him.
There might have been a million women and they didn't all go out. Rather, in the second song it is clear that only the leaders were called together to learn the song so that they could return and teach it to their tribes. You cannot learn with a million tambourines which is NOT a musical thing.
The Book of the Law was God's response to Israel's rejection of The Book of the Covenant -- a Covenant of grace. In the second law, God said, in effect, "Don't do that when I am trying to speak." (Num 10:7). When Miriam claimed to be a revealing prophet, God smacked her on the head with leprosy!
When Miriam and those she musically led went out, the Hebrew word can be used for destructive "going to and fro":
Yaca (h3318) yaw-tsaw'; break out, bring forth (out, up), carry out, come (abroad, out, threat, without), be condemned, departure, draw forth, in the end, escape.. go to and fro.
This word can just mean "come out." However, it is often used of separating the good from the bad:
Cast out the scorner (mocking interpretation or antiphons), and contention shall go out; yea, strife and reproach shall cease. Pr.22:10
(Note: responsive singing was often mocking like a child who repeats your words as soon as they get out of your mouth. They did that to Jesus a "Prophet like Moses.") This Instrumental music in worship was, when used against Jesus, just mocking.
Take away the dross from the silver, and there shall come forth a vessel for the finer. Pr.25:4
Go not forth hastily to strive, lest thou know not what to do in the end thereof, when thy neighbour hath put thee to shame. Pr.25:8
Rejoice not thou, whole Palestina, because the rod of him that smote thee is broken: for out of the serpents root shall come forth a cockatrice, and his fruit shall be a fiery flying serpent. Is.14:29
A similar word, shuwt, is used of those whose musical feasts prevented hearing the Word of God:
And I will turn your feasts into mourning, and all your songs into lamentation; and I will bring up sackcloth upon all loins, and baldness upon every head; and I will make it as the mourning of an only son, and the end thereof as a bitter day. Am 8:10
Behold, the days come, saith the Lord God, that I will send a famine in the land, not a famine of bread, nor a thirst for water, but of hearing the words of the Lord: Am 8:11
And they shall wander from sea to sea, and from the north even to the east, they shall run to and fro to seek the word of the Lord, and shall not find it. Am 8:12
Scholars agree that Instrumental music in worship was connected with idolatry which was leading the people to honor someone other than God:
"In the first place, it will be noticed from the account of the triumphant rejoicing on the shore of the Red Sea that the men sang only: 'Then sang Moses and the children of Israel this song unto the Lord, and spake saying.'" (Girardeau, George, p. 33)
"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's, Music, p. 589).
Miriam was not immediately condemned for repeating what had already been revealed by Moses. Later, when she claimed to be a prophetess in the inspired sense, God judged her.
"In the second place, it was Miriam and the women who used instruments of music on the occasion: 'And Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went after her with timbrels and with dances." (Girardeau, p. 33).
In the third place, we repeat, this was not Instrumental music in worship.
In a similar event:
Of Judith it is said: "All the Israelite women came running to see her; they sang her praises, and some of them performed a dance in her honor...Then at the head of all the people, she led the women in the dance;
and the men of Israel, in full armour and with garlands on their heads, followed them singing hymns" (Judith 14:12-13).
Fourth "Maccabees" shows that these musical processions can get you killed. Therefore, we do not believe that the views of Northwest College of the Bible on Instrumental music in worship are Biblical.
Charles Dailey: We learn here that Miriam was a prophetess whether she wrote the song or not, that she led a very large group in singing using timbrels or a tambourine. Our job description of a prophet or prophetess needs to expand to include this case. God's spokesperson may be a forthteller like Aaron was for Moses or may be an inspired musical person, using their vocal and instrumental skills to praise God before others.
Miriam means "bitter waters." Miriam of the royal household was a prophetess of HATHOR the female of Apis the golden calf. Otherwise she would not have had the sistrum.
"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephthah's daughter, and the women hailing the young hero David have become almost archetypes of female musicians.
"Characteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating.
This is the scene known to the entire Near East, and not
"even the severe rule of Islam could wholly suppress this age-old practice." (Int Dict of the Bible, Music, p. 457).
The spirit OF Christ spoke through the PROPHETS to univerally condemn music as the MARK and CAUSE of rejecting the Word.
Otherwise, to prophesy meant to MAKE SELF a prophets in a singing, dancing and musical sense.
Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et chorisMoses will afflict Miriam with leprosy when she claims to speak for God. The first meaning of prophet in the PAGAN sense meant a charismatic, musical performer. All dramatic performance is INTERPRETATION which is, according to Paul, just speaking in tongues.
Prophe-ta I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, Aegyptius, propheta primarius
John in Revelation 18 as well as ALL definitions of arusal singing and instruments calls it SORCERY used to DECEIVE the whole world. The Iraelite NATION was DECEIVED here and later by usurping women.
A. one who speaks for a god and interprets his will to man
But of the Jewish prophets PROVE that Miriam was a propheteSS and not a PROPHET.
--Of the Jewish prophets, Vulg. Luc. 1, 70.
Luke 1:70 As he spake by the mouth of his holy prophets, which have been since the world began:
Luke 1:71 That we should be saved from our enemies, and from the hand of all that hate us;
Luke 1:72 To perform the mercy promised to our fathers, and to remember his holy convenant;
Luke 1:73 The oath which he sware to our father Abraham,
MIRIAM, LIKE ALL POETS AND MUSICIANS, INTERPRETED FOR GOD without authority.
The INTERPRETER also idenfifies Miriam as claiming to be a MEDIATOR and the word points to the pagan "gods" known in Egypt as well as Greece.BUT GOD CONFIRMED THAT MIRIAM WAS NOT A REVEALING PROPHET.
Interpretes
I. An agent between two parties, a broker, factor, negotiator, divūm, the messenger of the gods, i. e. Mercury,
II. An explainer, expounder, translator, interpreter (syn. internuntius) portentorum, a soothsayer,
AGAIN, MIRIAM SPOKE FOR THE SAME "GODS" WORSHIPPED AT MOUNT SINAI: She was the prophetic model of the fall from Grace at Mount Sinai throught musical idolatry. God then TURNED THEM OVER to worship the same starry howt as in Babylon or Egypt:Num 12:2 And they said, Hath the LORD indeed spoken only by Moses? hath he not spoken also by us? And the LORD heard it.
Num 12:6 And he said, Hear now my words: If there be a prophet among you, I the LORD will make myself known unto him in a vision, and will speak unto him in a dream.
Num 12:7 My servant Moses is not so, who is faithful in all mine house.
Num 12:8 With him will I speak mouth to mouth, even apparently, and not in dark speeches; and the similitude of the LORD shall he behold: wherefore then were ye not afraid to speak against my servant Moses?
Num 12:9 And the anger of the LORD was kindled against them; and he departed.
Num 12:10 And the cloud departed from off the tabernacle; and, behold, Miriam became leprous, white as snow: and Aaron looked upon Miriam, and, behold, she was leprous.
Deut 24:9 Remember what the LORD thy God did unto Miriam by the way, after that ye were come forth out of Egypt.
Prophêt-ês , A.one who speaks for a god and interprets his will to man, Dios p. interpreter, expounder of the will of Zeus, of Bakchou, of Orpheus, [Dionusou] p., of the Bacchae, ; esp. of the Delphic Apollo,
- And now the expected time of birth was near,
- when in the middle of the night she seemed
- to see the goddess Isis, standing by
- her bed, in company of serious spirit forms;
- Isis had crescent horns upon her forehead,
- and a bright garland made of golden grain
- encircled her fair brow. It was a crown
- of regal beauty: and beside her stood
- the dog Anubis, and Bubastis, there
- the sacred, dappled Apis, and the God
- of silence with pressed finger on his lips;
- the sacred rattles were there, and Osiris, known
- the constant object of his worshippers' desire,
- and there the Egyptian serpent whose quick sting
- gives long-enduring sleep. She seemed to see
- them all, and even to hear the goddess say
- to her, "O Telethusa, one of my
- remembered worshippers, forget your grief;
- your husband's orders need not be obeyed;
- and when Lucina has delivered you,
- save and bring up your child, if either boy
- or girl. I am the goddess who brings help
- to all who call upon me; and you shall
- never complain of me--that you adored
- a thankless deity." So she advised
- by vision the sad mother, and left her.
Johannes Quasten. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41 He uses many of the church Fathers and Classical resources we also rely upon:
"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit.
He found it significant that, on the whole, only women and effeminate men fell into this folly.
Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did.
Similar opinions may be found in the writings of Philo. On one occasion he spoke of the Jewish "Feast of Fasting," used by the Greeks for the Day of Atonement:
"Now, many a man from the false religions, which are not ashamed of criticising what is noble, will ask: how can there be a feast without carousing and overeating, without the pleasant company of hosts and guests, without quantities of unmixed wine, without richly set tables and highly stacked provisions of everything that pertains to a banquet, without pageantry and jokes,
bantering and merry-making to the accompaniment of flutes and citharas, the sound of drums and cymbals
and other effeminate and frivolous music of every king,enkindling unbridled lusts with the help of the sense of hearing. For in and through the same [pleasures] those persons openly seek their joy, for what true joy is their they do not know.
Women's singing was a vital part of all pagan worship. In very early times women became priestly singers of the gods in the temple.
"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (End of Quasten)
Paul will exclude this in First Corinthians 14.
The tabret "was a typical woman's instrument... Although it occurs in the Psalter and in religious hymns (Exod. 15; Jer. 31:4), it was not permitted in the temple. Its functions in the bible was restricted to secular or religious frolicking, cultic dances, or processions (e.g., II Sam. 6:5; I Chr. 13:8; Ps. 68:25-26). Its absence in the temple ritual was possibly due to its strong female symbolism, which always accompanied the tambourine, and which made its use so popular at all fertility rites." (The Int. Std. Bible Dict., p. 474).
"This membranophone, translated in the AV as 'timbrel' and 'tabret,' was not permitted in the Temple, although it was mentioned in the Psalter and in religious hymns." Harrison, Intro. to OT, p. 988).
Charles Dailey: A similar case is Deborah in Judges 4:4 where we learn that she had the dual roles of a prophetess and a judge in Israel. Her inspiration is clearly seen in the inspired song that she sang with Barak that occupies chapter five of Judges. Deborah, like Miriam before her, was inspired to write songs of praise to God. We will note that in Judges 5:3, she directs her song to the neighboring nations with these words...
Hear this, you kings! Listen, you rulers! I will sing to the LORD I will sing; I will make music to the LORD the God of Israel. (Judges 5:3 NIV)
Deborah sang a TAUNT song against the PRINCESES who had become PRINCESSES. This and other songs were sung "at the places of watering" or at the wells or oasis. Deborah was not a PRIEST and therefore could not be a WORSHIP LEADER. Only singers of the tribe of Levi made a great, crashing sound which was not music. You will notice that this, like most human songs, praised DEBORAH.
Hear this, you kings! Listen, you rulers! I will sing (strolling minstrel) to the LORD I will sing; I will make music to the LORD the God of Israel. (Judges 5:3 NIV)
See how Deborah was NOT a worship leader.
See Rubel Shelly's teachings about her.
Deborah and Jael
The pattern is almost universal: "Speak to yourselves with the Biblical text but the singing and melody is to the Lord."
To hear means to "hear intelligently, give attention, gather together." It means to "put the hand behind the ear so that you don't miss a jot or tittle."
And Moses said unto them, Stand still, and I will hear what the Lord will command concerning you. Nu.9:8
Movements promoted by Jubilee 98, the Seeker models of Willow Creek and new "The Family of God" seeks Musical Worship Facilitator to help "lead the worshipers into the presence of God." Moses, and my 94 year old mother at the age of twelve knew that you cannot listen to God and music at the same time.
Moses would not play a noise-making instrument while listening to God. Neither would Deborah because she knew the absolute law against loud musical rejoicing when the people are gathered for instructions:
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm (Joyful rejoicing with trumpets). Nu 10:7
"All the various usages of the shophar (Ram's horn trumpet) can be viewed under one category: that of a signaling instrument. It sounded all signals in war and peace; it announced the new moon, the beginning of the sabbath, the death of a notable;
it warned of approaching danger;
it heraled excommunication; [Rev 13:17 so that no one could buy or sell unless he had the mark, which is the name of the beast or the number of his name.]
it was instrumental in exorcisms and magic healing." (Interpreters Dictionary of the Bible, p. 473, Abingdon).
Deborah then chided the "princes" or males for not taking the lead. This was not a worship service! It was not a call for a multi-horsepower pipe organ which should be condemned if only for the damage to the ear drums and nerves. It was, as with most singing, "at the places of watering" and not in church.
Charles Dailey: The word translated music is the Hebrew word zamar. She is inspired to make music to Jehovah. This is the first occurrence of zamar in the Scriptures.
On that day Deborah and Barak son of Abinoam sang this song: Judges 5:1
Shiyr (h7891)sheer; or (the orig. form) 7788 (1 Sam. 18:6), shoor; a prim. root [rather ident. with 7788 through the idea of strolling minstrelsy]; to sing: - behold [by mistake for 7788], sing (-er, - ing man, -ing woman).
Shuwr (h7788) shoor; a prim. root; prop. to turn, i. e. travel about (as a harlot or a merchant): - go, sing. See also 7891.
And thou wentest to the king with ointment, and didst increase thy perfumes, and didst send thy messengers far off, and didst debase thyself even unto hell. Is.57:9
The ships of Tarshish did sing of thee in thy market: and thou wast replenished, and made very glorious in the midst of the seas. Eze.27:25
Hear, O ye kings; give ear, O ye princes; I, even I, will sing (h7891) unto the Lord; I will sing praise to the Lord God of Israel. Judges 5:3
Zamar (h2167) zaw-mar'; a prim. root [perh. ident. with 2168 through the idea of striking with the fingers]; prop. to touch the strings or parts of a musical instrument, i. e. play upon it; to make music, accompanied by the voice; hence to celebrate in song and music: - give praise, sing forth praises, psalms.
Thou shalt bring down the noise of strangers, as the heat in a dry place; even the heat with the shadow of a cloud: the branch of the terrible ones shall be brought low. Is.25:5
Zamiyr (h2158) zaw-meer'; or zamir zaw-meer'; and (fem.) zÿmirah zem-ee-raw'; from 2167; a song to be accompanied with instrumental music: - psalm (-ist), singing, song
From the uttermost part of the earth have we heard songs, even glory to the righteous. But I said, My leanness, my leanness, woe unto me the treacherous dealers have dealt treacherously; yea, the treacherous dealers have dealt very treacherously. Is.24:16
You will notice the universal understanding of words which can include instruments: people SING and if they sing in the zamar sense then the extra word is named. However, there is no evidence that Deborah used an instrument.
Charles Dailey is probably reading from the NIV which reads WITH notes:
Hear this, you kings! Listen, you rulers!
I will sing to [a] the LORD, [Note: a3 Or sing 'of' God]
I will sing; I will make music to [b] the LORD, [Note b3 Or 'with song I will praise' ]the God of Israel. Judges 5:3
The Levites told the official representatives (the people's congregation was not there) to fall on their face which was the MEANING of WORSHIP as hard bondage. This was also the message of the BABYLON religion:
Zemar (h2170) zem-awr'; from a root corresp. to 2167; instrumental music: - musick.
That at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Da.3:5
If you count the instruments named you will see the number 666.
The golden image was a non-functional pillar so popular coming out of the Jubilee. Even supporting buildings the pillars were often phallic symbols. To Bow to Baal had a perverse meaning.
Zamar (h2168) zaw-mar'; a prim. root [comp. 2167, 5568, 6785]; to trim (a vine): - prune.
Most instrument names are derived from a destructive act. For instance.
Chalal (h2490) khaw-lal'; 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): gather the grape thereof, take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.
Zamar - Psallo
Zamar or melody in Hebrew is claimed to demand instrumental music as Paul, in Romans 15:9 quotes Psalm 18:49. However, we have shown that this was never "congregational singing" but is used by Paul to show that preaching the gospel to the Gentiles is the way Christ now sings to the Gentiles.
Scholars show that zamar admits but does not demand instruments
Charles Dailey: Brown, Driver and Briggs - make music in praise to God, 1) of singing to God, 2) of playing musical instruments.
Gesenius - 1) to sing, 2) to play on a musical instrument (or to sing so accompanied), 3) to dance.
Harris, Archer and Waltke - sing, sing praise, make music.
Girdlestone - to sing praise to God.
Wilson - to sing in set composition of words and music; to sing praises, psalms.
Pick - to sound, sing praises.
Zodhiates - to play; to make music; to sing, sing praises; to celebrate.
Since zamar primarily means "to sing," the fact that this word in Ps 18:49 was translated as psallo in Rom 15:9 only strengthens the case that psallo means "to sing."
The word needs a modifier to designate the instrument. The Bible consistent with the Greek resources for the New Testament never uses the idea of making melody without naming the instrument. A psalm simply meant that it was metrical. However, Paul knew that the word PsalmODIA meant to sing AND play in an external sense. In the Hebrew.
Zamar (h2167) zaw-mar'; a prim. root [perh. ident. with 2168 through the idea of striking with the fingers]; prop. to touch the strings or parts of a musical instrument, i. e. play upon it; to make music, accompanied by the voice; hence to celebrate in song and music: - give praise, sing forth praises, psalms.
This word is defined by how it is actually used in the text. This is true because we have no first century dictionary. Most often it is used of simple praise. When an instrument is used it is defined by name. James certainly was not including pruning the vine or dancing when he said:
Let them praise his name in the dance: let them sing praises unto him with the timbrel and harp. Ps.149:3
This same word is used by Isaiah to mean "prune the vine." This is followed by a sound condemnation of instrumental music in their religious festivals because it took away the key to knowledge of the Word of God:
And I will lay it waste: it shall not be pruned, nor digged; but there shall come up briers and thorns: I will also command the clouds that they rain no rain upon it. Is.5:6
And (they have) the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the Lord, neither consider the operation of his hands. Is 5:12
Therefore my people are gone into captivity, because they have no knowledge: and their honourable men are famished, and their multitude dried up with thirst. Is 5:13
Playing the flute or polluting or prostitution is from halal (h2490) because the flute is polluted or pierced and the music "takes one's inheritance" like pruning the vine.
The word for external melody in Hebrew has an ugly association:
And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isa 23:15
Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Is 23:16
Because the king was fearful of being called effeminate or a prostitute because "he doted on music," the word remembered means: "Be remembered as a male." In another instance, God demanded:
Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols. Am.5:23
Zimrah (h2172) zim-raw'; from 2167; a musical piece or song to be accompanied by an instrument: - melody, psalm.
Zamar (h2167) zaw-mar'; through the idea of striking with the fingers]; prop. to touch the strings or parts of a musical instrument, i. e. play upon it; to make music, accompanied by the voice..
As with psallo, the plucking or Hebrew pruning concept has no meaning unless you define WHAT is to be plucked or pruned. The antlered animal or HORNED animal was the symbol of fertility or fruitfulness. It should come as no surprise that the ancients played, sanged and performed imitative magic through sexual intercourse with the AGENT of the gods seeking more lambs or children. In the identical way the rationale for modern musical worship is always to "save more souls" or to attract more contributors. The "horns" of the BEAST in Revelation representing Satan are defined as musical instruments.
The "beast" in Revelation is defined as PAN. He is the half goat man with horns or antlers. His "horns" are defined as musical instruments. They are the "aids" which assists each "little horn" to rise up to the mountains:
Pan had a positive side that was portrayed as the laughing, lusty lover and musician; this side of Pan was called "pangenitor" the all-begetter. But like all the Gods of Nature He had a shadow side as well. In this form He is called "panphage" the all-devourer and as such He was perceived as a dangerous protector of the Wilderness. The word "panic" itself derives from Pan; for in this form He could cause sudden irrational wild fear. This dark side of Pan and his rampant sexuality were looked on with such horror and disgust by the Medieval Christian Church that some of their images of the devil were given the horns, hooves and ithyphallic appearance of the Greek God. Nevertheless, images of Pan in His European guise of Robin Goodfellow continued to be the focus of joyous rural celebrations well into the 16th century CE.
As Apollo [Abaddon or Apollyon] he is the FAR SHOOTER. Strabo says:
Men be
