NorthWest College of The Bible - Instrumental Music in Worship: Review

Rev 12.31.13 THIS PAPER WILL HELP YOU FLEE BABYLON whose Mother of Harlots (Revelation 17) uses "lusted after fruits" (Same as in Isaiah 8) as self-speakers, singers, instrument players and ALL religious craftsmen who were called PARASITES.

See David Young Minister North Boulevard Church of Christ in Murfreesboro, Tennessee

Consistent with the hostile attack from about 1890 to the present, David Young blasphemes the Holy Spirit OF Christ who defined a Church of Christ (the Rock) and in the Prophets radically condemning musical machines as having the power of sorcery or soothsaying (Miriam and the Levites).
Just our Tradition or Traditional 20 Times
Style or Styles 16 Times
Method or Methods 9 Times
Customs 2
A NEW Language 7 Times
Just our Heritage 2
Freedom 22 Times--is something WE give YOU.
Just our Opinions 11 Times

Pharisee 2
Continuity with the Past 2
Judgment 8

LINKS TO A FEW STEPS TO THE LAKE OF FIRE; FIXED LINKS 12.30

"RELIGION" REPLACING "SCHOOL OF CHRIST" AND: WORSHIP ANDROGYNY THE PAGAN SEXUAL IDEAL

BUT, DAVID YOUNG AND THE ELDERS SAY------

THE COMMAND IS TO SPEAK: THERE IS NO COMMAND TO SING AS PERFORMANCE

HOW RECORDED HISTORY NOTES THAT SINGING AS AN ACT WAS IMPOSED AFTER CONSTANTINE AND WAS DIVISIVE

THE COMMAND: SPEAK THAT WHICH IS WRITTEN.  NOTHING WRITTEN BY THE SPIRIT IS METRICAL OR TUNEFUL

ISAIAH 8  WHEN EMMANUEL COMES TO YOUR SCHOOL OF CHRIST YOU WILL NOT--CANNOT--PEEP AND MUTTER

CHRIST'S PURPOSE DRIVEN CHURCH DOES NOT BOAST ABOUT ITSELF.

ISAIAH 14  CHRIST'S WARNING OF THE SINGING AND HARP-PLAYING PROSTIITUTES CAST INTO "HELL"

A HUNDRED YEARS OF ATTACKS AGAINST CHURCHES OF CHRIST WHICH WILL NEVER IMPOSE INSTRUMENTAL IDOLATRY.

PROOF THAT ALL INSTRUMENTALISTS ATTACKS ARE BASED ON LIES OR IGNORANCE.

NUMBERS 11 THE REST OF THE STORY ABOUT MUTTERING AND MURMURING:  Violates Christ's outlawing vocal or instrument rejoicing or speaing your own words in Numbers 10

DAVID YOUNG STILL SAYS THAT ALL THINGS ARE LAWFUL?

THE "LEADERSHIP" IS PURPOSE-DRIVEN TO SOW MASSIVE DISCORD WHICH GOD HATES.

ELDERS AND DEACONS ARE THE ONLY VOCATIONAL "STAFF" IN A CHURCH OF CHRIST

The role of PREACHER as SENT Evangelist

ISAIAH 8: THOSE WHO DON'T PREACH THAT WHICH HAS BEEN PROVIDED ARE MARKED AS BEING WITHOUT LIGHT.

THE MARKS OF THE FINAL SHAKING AND THE END-TIME SHAKER.

The MARKS of the BEASTS (Zoe) and the INSECTS-PARASITES (LOCUSTS or musical worship teams)
 
THE FIREY DESTINY OF THOSE WHO SOW MUSICAL OR RHETORICAL DISCORD
The cause of Restoration Movement division was INSTRUMENTAL MUSIC. The price for restoration of unity, which many are willing to pay, is to accept the use or affirm the correctness of musical worship. That is, unity must be restored by non-musical churches confessing that adding musical instruments was not divisive but was following the will of God. See how Psalm 137 identifies ALL praise songs as warrior songs. After all, David the king and the commanders of the army regulated the Levitical Warrior Musicians.

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.

Uses of the epic 3 of 15

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
And a similar Serpent Worship

To that end, Charles Daily wrote, and we review respectfully,

A SCRIPTURAL ANALYSIS OF INSTRUMENTAL MUSIC IN WORSHIP
By Charles Dailey
presented at
Unity Forum X
November 7, 1991
Northwest College of the Bible
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.

> 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!

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

  1. Miriam was a prophetess
  2. She sang to the accompaniment of cymbals (not according to the text)
  3. Therefore, we can sing with instruments
  4. 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 korubanti˘ntes: 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).

See how Judith gets a HEAD.

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).

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).

That Miriam might be the prototypical insubordinate prophesyers informing Paul's statement about "law" click here.

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).

See the Jewish War Rules from the Dead Sea Scrolls.

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.) z mirah 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 believe that Apollo directs all this, he says, some believing that the god himself assumes a bodily form, others that he transmits to human beings a knowledge of his own will.

[12] A little further on, when discussing who the Delphians were, he says that in olden times certain Parnassians who were called indigenous inhabited Parnassus; and that at this time Apollo, visiting the land, civilized the people by introducing cultivated fruits and cultured modes of life; and that when he set out from Athens to Delphi he went by the road which the Athenians now take when they conduct the Pythias; and that when he arrived at the land of the Panopaeans he destroyed Tityus, a violent and lawless man who ruled there; and that the Parnassians joined him and informed him of another cruel man named Python and known as the Dragon,

and that when Apollo shot at him with his arrows the Parnassians shouted "Hie Paean" to encourage him

(the origin, Ephorus adds, of the singing of the Paean
which has been handed down as a
custom for armies just before the clash of battle);

and that the tent of Python was burnt by the Delphians at that time, just as they still burn it to this day in remembrance of what took place at that time.

But what could be more mythical than Apollo shooting with arrows and punishing Tityuses and Pythons, and travelling from Athens to Delphi and visiting the whole earth?

Charles Dailey: To keep us from concluding that prophetesses always made the music and the prophets always did the forthtelling, we include 1 Samuel 10:5 where the prophet Samuel told Saul:

After that you will go to Gibeah of God, where there is a Philistine outpost. As you approach the town, you will meet a procession of prophets coming down from the high place with lyres, tambourines, flutes and harps being played before them, and they will be prophesying. (1 Samuel 10:5 NIV)

The high place was often a grove of trees on top of a hill. The asherah pole (church steeple) and the cross are symbolic trees. In church architecture the podium and pulpit area is dubbed the HIGH PLACE. Therefore, music is often performed to bring about the presence of God. Therefore, the HIGH PLACE is symbolic of the cult centered of the pagan priests and prophets bot male and female. BOWING to Baal was more than just a curtsey.

They were not PROPHETS except in the sense of "make self a prophet." Their "prophesying" was singing, dancing, playing instruments and doing what we would call "speaking in tongues." However, fools willing to be fooled would pay for their services. As in most religious "crafts" they were devoted to sexuality and homosexuality. This along with the music, wine or drugs caused them to, in Paul's words, go insane.

THE HORNED GOD

In each culture, the Horned God is associated with woods, wild animals, and hunting. He is often also associated with sexuality or male virility. As a symbol of sexuality, the Horned God represents one of the most elemental forces in Nature, and is therefore complementary to female fertility deities known collectively as the Great Mother A goddess, a female deity, contrasts with male deities, known as "gods". A great many cultures have their own goddesses, sometimes alone, but more often as part of a larger pantheon that includes both of the conventional genders and in some cases even hermaphroditic deities. The Goddess can provide a female version of or analogue to God; sometimes, the relationship is more rooted in monism, as opposed to a straight-cut monotheism or polytheism, and the Goddess and God are seen as part of one transcendental monad.

He is sometimes portrayed with an erect phallus

The Penis (plural penises or penes) or phallus is the male copulatory organ, and, in mammals, the male organ of urination. It is homologous to the female clitoris, as it develops from the same embryonic structure. The penis is capable of erection for use in copulation. The phallus is itself a symbol of the power to create life, a power exercised only in concert with the Great Mother, who is the nurturer of life. Another symbol of his sexual prowess and virility is the occasional presence of cloven hoofs or the hindquarters of a goat

But the God has a darker side, as well. Another name for the Horned God is The Hunter. The Great God is a symbol not only of the giving of life, but the taking of life too, in what is seen as a great and eternal cycle of birth, death, and rebirth.

When the elders FIRED God and demanded a king like the nations God knew that it was so that they could WORSHIP LIKE THE NATIONS but He warned that the captivity and death penalty imposed because of the musical idolatry at Mount Sinai would be carried out. The KINGS would be the very agents CHOSEN by god to lead them into captivity and death. One of the prophecies was that the king would take the TITHE, the girls for his own uses and the young boys to go before his chariots with INSTRUMENTS OF CHARIOTS. These were musical.

See how the PROPHET of the high places were giving Saul what Martin Luther called the MARK OF BAAL or the ensign of Baal. From other history we know that these were the same as Jezebel's prophets who MARKED themselves with violence as they played instruments.

Then, the MARKS given to Saul are not proof texts for Christan synagogue. In fact, they are the universal MARK of a perverted, destructive eldership and priesthood.

The "prophets" were prophesiers from the Philistine High Place. God sent them along with the destruction of their crops as MARKS that they had rejected Him and they, in turn, were rejected.:

The next day an evil spirit from God came forcefully upon Saul. He was prophesying in his house, while David was playing the harp, as he usually did. Saul had a spear in his hand 1 Sam 18:10

"He prophesied in the midst of the house. He was beside himself; made prayers, supplications, and incoherent imprecations: 'God preserve my life,' 'Destroy my enemies,' or such like prayers, might frequently escape from him in his agitated state. The Arabic intimates that he was actually possessed by an evil spirit, and that through it he uttered a sort of demoniacal predictions." (Clark, 1 Sam 18, p. 270).

"In ancient times, says Justin, kings used a spear instead of a diadem: And as spears were the emblems of supreme power, hence they were reputed as attributes of the Divinity, and were worshipped as representatives of the gods." (Adam Clark, 1 Sam. 18, p. 270)

All such music induced prophesying was demonic because the music dissociated the rational brain and drove them insane. In Corinth Paul used the word meaning MAD which defines the mantic, musical prophesiers.

No "procession of prophets or preachers could go into the Holy Place as a carnal type of the body or church of Christ with lyres, tambourines, flutes and harps. Tambourines speak of clanging brass and the same word translates "play the flute, pollute or prostitute or TAKE YOUR INHERITANCE by trimming your vine."

When they TRY it "in church" it is proof of restored Canaanite Baalism which meant sexual perversion.

Music alwas means to "strike something with the fingers" or to abrade, or to grind to bits, or to take your inheritance. This word for music is also identical to to a word meaning "to trim a vine or prune." or "to make the hair stand up, to tremble."

Lord, when thou wentest out of Seir, when thou marchedst out of the field of Edom, the earth trembled, and the heavens dropped, the clouds also dropped water. Judges 5:4

This was celebrating God's destructive wrath. Remember that Moses recognized three forms of music: (1) the panic of going into war, (2) the celebration of victory and (3) the sound of singing of idolatry.

Charles Dailey: Here we have prophets prophesying in procession.

They were either preaching to each other as they walked along and trying to hear over the sound of the instruments or they were singing praises to God accompanied with instruments of music. The second choice is more reasonable. So now our description of prophesying has broadened to include both men and women using both voices and instruments to praise God. These prophets were probably vocational prophets - that was their full time employment.

God pronounces WOE on professional prophets. Remember that Amos went to Israel to warn of their CALF worship with INSTRUMENTAL MUSIC which was identical to their musical idolatry at Mount Sinai. He QUALIFIED his mission for God by declaring that he was NOT a professional. The prophet as preacher is the WORLD'S OLDEST PROFESSIONAL:

"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Of Gods and Men, H. Bamford Parkes, p. 30).

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence

any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,

and many tribes supposed lunatics and sexual deviants to be divinely possessed.

When Saul was "turned into another man" the word means PERVERTED.

Professional priests or prophets were always false. Click Here to see what some of the Restoration Movement writers not of Northwest College of the Bible thought.

"This is the first mention in the OT of a band of prophets. These were men who went about in companies and were able by means of music and dancing to work themselves up into a convulsive and ecstatic frenzy (2 Ki. 3:1-10).

Their abnormality was believed to be caused by the invasive influence of the spirit of god. The word prophesied here does not mean either foretelling the future or preaching after the manner of the later prophets, but engaging in the ritual dance of the prophetic guild (19:18-24). Their behavior was commonly regarded as a form of madness (2 Ki. 9:11; Jer. 29:26)" (The Int. Bible Ency., I Sam. p. 932).

It was prophesied that these people would attack Jesus with their mocking which was like speaking in tongues and with the Levitical Warrior Musicians. When people reject the WORD of God His WRATH is defined as making the pretenders into BUFFOONS. That is a strong deluder who himself has first been deluded. These "prophets" were musical fools sent to fool the fools:
Fool also called JESTER, a comic entertainer whose madness or imbecility, real or pretended, made him a source of amusement and gave him license to abuse and poke fun at even the most exalted of his patrons. Professional fools flourished from the days of the Egyptian pharaohs until well into the 18th century, finding a place in societies as diverse as that of the Aztecs of Mexico and the courts of medieval Europe.

Often deformed, dwarfed, or crippled, fools may have been kept for luck as well as for amusement, in the belief that deformity can avert the evil eye and that abusive raillery can transfer ill luck from the abused to the abuser. Fool figures played a part in the religious rituals of India and pre-Christian Europe, and, in some societies, such as that of Ireland in the 7th century BC, they were regarded as being inspired with poetic and prophetic powers.

The raillery of the fool and his frequent ritual association with a mock king suggest that he may have originated as a sacrificial scapegoat substituted for a royal victim.

See how Nadab and Abihu brought on the scapegoat or an offering to Satan. This will point out that God is still a CONSUMING FIRE to those who refuse to come before God with reverence and Godly fear. Below, 1588 woodcut of a Jester. See also how the Stoneites adopted the similar practices of the Shouting Methodists as "an act of worship." The fact that most Baptists refused to join the Restoraton Movement is based on this irrational "worship."

Fools were attached to courts, private households, taverns, and even brothels.

Solomon had his CONCUBINES which word is also translated MUSICAL INSTRUMENTS. The musicians in the king's court wore SOFT CLOTHING.

A resemblance between the sacrificial garments of ancient ritual and the costume of a household jester in the Middle Ages--coxcomb, eared hood, bells, and bauble, with a motley coat--has been noted.

In most early societies, moreover, men evolved techniques for deliberaly inducing the abnormal forms of consciousness in which they supposed themselves to achieve union with divine power, sometimes by the use of drugs and other physiological stimuli, sometimes by hypnotic dances and music. The wild utterances to which they gave vent on such occasions were regarded as the words of a god and were interpreted as divine commands or predictions of future events." (Parkes, p. 32-33).

This was "speaking in tongues" as a sign that the "nations" were taking control.

This, along with the destruction of the wheat crop and Samuel's prophesy that the kings would destroy them, were God's judgmental "sign to unbelievers." These were not good prophets. Remember that under the Judges, people did what was right in their own eyes and they followed Canaanite Baalism. The sold their services at a Philistine "high place" a place of pagan worship. Rather than being Instrumental music in worship in an approved sense:

Hupokritŕs , ou, ho, one who answers:

I. interpreter or expounder [Peter outlawed private interpretation or further expounding] one who plays a part on the stage, actor, of an orator, poikilos hu. kai perittos (of Dem.) Phld.Rh.1.197 S.; one who delivers, recites, declaimer, rhaps˘idoi; rhapsodist Metaphor, pretender, dissembler, hypocrite

Greek word with similar definition:

Hydraula, one who plays on the waterorgan

Hudraulis hydraulic organ, invented by Ctesibius

Regularly used with:

Pharisaios 1 a Pharisee, Separatist (from pharash, to distinguish), one of a sect who separated themselves from other Jews as affecting superior holiness.

Rhaps˘idia recitation of Epic poetry, portion of an Epic poem fit for recitation at one time, contemptuously, rigmarole

There has never been any exception to the absolute rule that:

"Like most primitive peoples, the Israelites had always believed in inspiration, interpreting any disturbance of normal consciousness and self-control as due to spiritual agencies. During their early history, as can be seen from stories in the books of Judges and Samuel,

not only the rhapsodic utterances of priests and poets but
also the
babblings of maniacs were attributed to a divine spirit.

Prophecy gradually became professionalized, and the schools of prophets,
who had developed techniques for the
deliberate inducement of states of derangement

by means of music and dances and of alcohol and possibly other drugs,
earned money by helping peasants to find lost articles, performing miraculous cures, and advising kings about the will of Jehovah.

They can still get jobs in churches organized after CIRCE, the holy whore of John's Revelation.

"This tradition seems to have been stronger in the northern kingdom, where the orgiastic fertility cults were more deeply rooted; its rulers apparently mantained large bodies of hired ecstatics to encourage their subjects with suitably propitious oracles on the eve of a war or some other moral crisis.

"Among more sophisticated persons it was recognized that many of the prophets were merely lunatics and that their utterances were misleading; but the popular assumption of divine guidance was not readily abandoned." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 106, Knopf)

In the earlier representations, Cassandra is naked; and in the later she is sometimes fully dressed but more often naked or scantily clad. Two explanations of this nudity have been given: Furtwńngler's, that the significance is 'erotic'; and Robert's, that this is the ritual nudity of a prophetess'. Furtwńngler's explanation is certainly to be preferred: the intention of Ajax was to ravish: which by no means implies that in the epic or to the artist he was able to carry out his intention.

It was common knowledge that you cannot recite LYRIC poetry without a LYRE. However, it was also known that when you ceased to READ even epic poetry the trip into prostitution and homosexuality was INDICATED:

DONKA D. MARKUS Performing the Book notes and perhaps explains why Paul outlawed performance preaching or "musical" performance of the Psalms. He DID say speak, teach, admonish.

"We shut ourselves up and write something grand--sometimes in verse, sometimes in prose--something that will take a vast amount of breath to pant out. This stuff you will some day read aloud to the public, combed, with a new toga, all in white, even with a birthday sardonyx gem on your finger; you shall read from a high chair having first lubricated your throat with a delicate wash, with an effeminate leer in your eye.

[That's why women now pick the preacher]

"Bramble's fine analysis of the sexual and homosexual overtones in this passage does not require amplification. For the purposes of this discussion, I will only elaborate on the features that link Persius' epic recital

to other genres of public performance: the theatrical performance and declamation.
The
recitatio in this passage is clearly a public event, bordering on prostitution. The high chair [bema, high place or pulpit in churches] evokes associations with Juvenal's Satire 3.135, where a prostitute displays her goods in public.

"The audience does not consist of the select few, but of the common public (populo). The voice betrays features of effeminacy similar to those of actors, who were also often represented as effeminate.

Jesus would not CALL an assembly of the POLIS or masses who are a hindrance making the gait STRAIT.

"Signs of effeminacy appear in the preliminary vocal modulation of the recitator (liquido cum plasmate guttur mobile conlueris) and in his entire comportment and body language (patranti fractus ocello).

"Persius continues with the audience and the emasculating effect of the public performance

on those who passively submit to the allurements of the recitator's virtuoso voice.
The sweet voice is an
agent of titillation, arousing the audience, evoking images of sexual gratification:

Cassandra

And now, no more shall my prophecy peer forth from behind a veil like a new-wedded bride; but it will rush upon me clear as a fresh wind blowing against the sun's uprising so as to dash against its rays, like a wave, a woe far mightier than mine.

No more by riddles will I instruct you. And bear me witness, as, running close behind, I scent the track of crimes done long ago.

For from this roof never departs a choir chanting in unison, but singing no harmonious tune; for it tells not of good. And so, gorged on human blood, so as to be the more emboldened, a revel-rout of kindred Furies haunts the house, hard to be drive away.

Lodged within its halls they chant their chant, the primal sin; and, each in turn, they spurn with loathing a brother's bed, for they bitterly spurn the one who defiled it. Have I missed the mark, or,

like a true archer, do I strike my quarry? Or am I prophet of lies, a door-to-door babbler? Bear witness upon your oath that I know the deeds of sin, ancient in story, of this house.

For of this sort are they which creep into houses, and lead captive silly women laden with sins, led away with divers lusts, 2 Tim 3:6

Ever learning, and never able to come to the knowledge of the truth. 2 Tim 3:7

This was God's sign that they had rejected Him and true inspiration for what they would do as they established the kingdom with a human king and charismatic prophesiers but they were not honoring God in congregational Instrumental music in worship.

Charles Dailey: By the time of David, prophesying with the use of instruments was definitely a vocational specialty. 1 Chronicles 25:1

David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. (1 Chronicles 25:1 NIV)

That is a fact but God had no job description for a vocational prophesier.

Writing of Wen Amun as a fist-person witness to the "singing and harp playing prostitute" of Tyre:

"Lastly, the way one of the noble youths became frenzied and prophesied, is quite parallel to the way in which Saul 'stripped off his clothes and prophesied... and lay down naked all that day and all that night' (1 Sam. 19:24). The heed which Zakar-Baal gave to this youth shows that at Gebal, as in Israel, such ecstatic or frenzied utterances were thought to be of divine origin.

Later in Israel this sort of prophecy became a kind of profession, or trade. The members of these prophetic guilds were called "sons of the prophets.'

The great literaty prophets of Israel had nothing to do with them. Amos is careful to say that he is not a 'son of a prophet' (Amos 7:14)."

"We know that Canaanite prophets were organized in guilds centered on the larger sanctuaries, as, for example, 'the prophets of Baal four hundred and fifty, and the prophets of the Asherah four hundred,' with whom Elijah had memorable dealings on Mount Carmel (1 Kings 18).

Similarly, Israelite cultic prophets were to be found in and around the sanctuaries, roving about in rowdy troops, working themselves up into frenzies by dancing and music, and uttering semi-coherent oracles which the credulous accepted as divinely inspired." (Heaton, E. W., Everyday Life in the Old Testament, p. 221, Scribners)

Remember that when David prophesied with his harps he got excited with the servant women, stripped off naked and as he confessed to Michal, made himself VILE. You should note that David was not a priest, Levite or musical leader but the KING.

David, [secular king] together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1 Chron 25:1NIV

They were not WORSHIP MINISTERS but their service was only remotely "worship" which means to fall on your face.

Abodah (h5656) ab-o-daw'; or abowdah ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought

Abad (h5647) aw-bad'; a prim. root; to work (in any sense); by impl. to serve, till, (caus.) enslave, etc.: - * be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labour (-ing man), bring to pass, (cause to, make to) serve (-ing, self), (be, become) servant (-s), do (use) service, till (-er), transgress [from margin], (set a) work, be wrought, worshipper.

This term has other relatives:

Abad(h6) aw-bad'; a prim. root; prop. to wander away, i. e. lose oneself; by impl. to perish (caus. destroy): - break, destroy (- uction), / not escape, fail, lose, (cause to, make) perish, spend, * and surely, take, be undone, * utterly, be void of, have no way to flee.

Abaddown (h11) ab-ad-done'; intens. from 6; abstr. a perishing; concr. Hades: - destruction.

That is why the end-time Abaddon is Apollo or Apollyon the destroyer who USES the muses or "locusts" or musicians of Revelation 18:22.

This is why they were WARRIOR LEVITES and not effeminate singy-clappy types:

Asaph is: Acaph (h622) aw-saf'; a prim. root; to gather for any purpose; hence to receive, take away, i. e. remove (destroy, leave behind, put up, restore, etc.): - assemble, bring, consume, destroy, fetch, gather (in, together, up again), * generally, get (him), lose, put all together, receive, recover [another from leprosy], (be) rereward, * surely, take (away, into, up), * utterly, withdraw.

We repeat the historical fact before we get tempted to restore the Holy Whore Worship ministry:

"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)

"not before David's time do professional musicians appear in the Bible. From where did they come? Considering the apparent connection of professional musicians with the institution of Monarcy, we must bear in mind that in the neighboring countries, Egypt and Assyria, the professional musician was an old and familiar figure. It seems that the midrash alludes to an ancient tradition when it relates that King Solomon's Egyptian wife, daughter of the Pharaoh, carried in her dowry a thousand foreign instruments. Yet an instrument is of no use without a musician able to play it.

Hence, we may assume that the systematic import and subsequent training of professional musicians took place in the era of David and Solomon." (Int Dict of the Bible, Music, p. 457).

"The trained musicians which eventually appear around the time of David and Solomon mark a distinctive change in the history of Jewish music. Before this time much of the music was made by women." (Zondervan Pict., Music p. 313).

Jeduthun was using the harp in thanking and praising the LORD. The instrument was a part of the process.

Jeduthun means to worship BY RINGING YOUR HANDS. Not a pretty picture Charles Dailey wants to paint you into.

The obvious clue is that the musical Levites (demoted in Ezekiel's idealized temple as noted by Josephus) were creatures of the king and commanders of the army. God had predicted this.

Jeduthun's name is from Yadah (h3034) yaw-daw'; a prim. root; used only as denom. from 3027; lit. to use (i. e. hold out) the hand; phys. to throw (a stone, an arrow) at or away; espec. to revere or worship (with extended hands); intens. to bemoan (by wringing the hands): - cast (out), (make) confess (- ion), praise, shoot, (give) thank (-ful, -s, -sgiving).

Yad (h3027) yawd; a prim. word; a hand (the open one [indicating power, means, direction, etc.], in distinction from 3709, the closed one)

Jeduthan was to "triumph" over the people with music to force them to fall on their face while the king and clergy "worshiped" in the like the nations sense of animal sacrifices.

NAME of Judas would not triumph over Jesus (Psalm 410:.

Yehuwdah (h3063) yeh-hoo-daw'; from 3034; celebrated; Jehudah (or Judah), the name of five Isr.; also of the tribe descended from the first and of its territory: - Judah.

Yadah (h3034) yaw-daw'; a prim. root; used only as denom. from 3027; lit. to use (i. e. hold out) the hand; phys. to throw (a stone, an arrow) at or away; espec. to revere or worship (with extended hands); intens. to bemoan (by wringing the hands): - cast (out), (make) confess (- ion), praise, shoot, (give) thank (-ful, -s, -sgiving).

Yad (h3027) yawd; a prim. word; a hand the open one [indicating power, means, direction, etc.], in distinction from 3709, the closed one).. presumptuously, service

Jeduthan was a creature of the civil state. Therefore, his praise was a form of self-boasting to overpower the "congregation" to, for instance, force the building of the unwanted and unneeded temple:

Halal (h1984) 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.

Because these men help fulfill God's prophecy that the kings would destroy the nation, they were associated with Canaanite roots and the names of their musical guilds are Canaanite. They were civil men usurping true spiritual worship. It comes as no surprise, therefore, that Lucifer gets his "name" from this word for "praise"-

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

The king of Tyre and the king of Babylon as Lucifer's change agents exercised their control with feminine or effeminate music to shut down the rational mind so that the inheritance could be taken (zamar). The story of Wen Amun in Phonecia is a prime example. Of the king of Babylon, God predicted that:

Thy pomp is brought down to the grave, and the noise of thy viols: the worm is spread under thee, and the worms cover thee. Isa 14:11 (The worm that dieth not and is still in the ground at Topheth where the tabrets were played)

How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken (prostrate in worship of Babylon) the nations! Isa 14:12

When Israel sinned with Instrumental music in worship (play) of Apis at Mount Sinai, God burdened the Levites with the responsibility to keep the people away from the Synagogue as the symbol of God's presence.

They were intended to be the slave-drivers (often of Israelites) such as in building the temple and enforcing the worship at the temple which was really civil or state worship and not that of the "congregation." These were men who, like Lucifer, stood over the people and shined with all of the talent in the world. His men were the musical worship facilitators to force or seduce or merchandise true, spiritual worship:

Nacach (h5329) naw-tsakh'; a prim. root; prop. to glitter from afar, i. e. to be eminent (as a superintendent, espec. of the Temple services and its music); also (as denom. from 5331), to be permanent: - excel, chief musician (singer), oversee (-r), set forward.

The "version Jesus read" or the Septuagint warned that those:

"who excel (applaud) in the sound of musical instruments; they have regarded them as abiding, not as fleeting pleasure." Amos 6:6 LXX

Ezekiel (ch 40) and Josephus claim that this burden was removed after the Captivity and Return.

This is the "burden" Jesus came to lift. Northwest College of the Bible and other musical disciples really do reinpose these burdens.

Charles Dailey: Now we move to the New Testament documents. There was an aged prophetess in the Temple at Jerusalem named Anna. What was her responsibility in the Temple if she were not a singer? She had inspired insight and spoke of the future of the baby Jesus. Albert Barnes says of her in his commentary on Luke,

Why Anna is called a prophetess is not known. It might be because she had been the wife of a prophet, or because she was employed in celebrating the praises of God (1 Chronicles 25:1,2,4; 1 Samuel 10:5), or because she herself had foretold future events, being inspired.

In Luke 2:34 Simon had prophesied of Jesus who had been brought to the temple. This was the prophecy that He was the Messiah who would fulfill the terms of the fall and rising of a new order but would be killed by the sword. No one SANG in a musical sense in church.

Notice how this external teaching and internal singing was carried out among the Jews.

O give thanks unto the Lord; call upon his name:
        make known his deeds among the people. Psalm 105:1
 
Sing to the LORD, for he has done glorious things;
        let this be known to all the world. Isaiah 12:5
 
Psallo is best translated by chant,
        not sing.
The Greeks sharply distinguish chanting (psalmodia)
        from singing (tragoudi).
The first is a sacred activity;
        the second, a secular one. In English, unfortunately,
        the distinction is not sharp.. Constantine Cavarnos

Remember Hannah who was continually before the Lord:

Now Hannah, she spake in her heart; only her lips moved, but her voice was not heard: therefore Eli thought she had been drunken. 1Sam 1:13

A prophet can be a foreteller. Anna didn't sing, dance or play musical instruments. She didn't prophesy. Rather, she gave thanks which means "to respond in praise." She did this by telling everyone who was on the look out for the coming Messiah. That is, she taught the message revealed by Simon. Again, we believe that the Northwest College of the Bible is wrong about Instrumental music in worship..

Charles Dailey: Barnes raises the possibility that Anna was employed in praising God at the Temple. Whether with or without melody, she certainly prophesied with a great background of instrumentation as we will see in a few moments. In Peter's watershed sermon on Pentecost, he quotes Joel as saying,

In the last days, God says, I will pour out my Spirit on all people. Your sons and daughters will prophesy, your young men will see visions, your old men will dream dreams. (Acts 2:17 NIV)

When Mary brought Jesus to the temple they could not be in the temple but in the court yard. Women were not to go into the inner court where all of the animal slaughter with loud noise took place:

Hieron (g2411) hee-er-on'; neut of 2413; a sacred place, i.e. the entire precincts (whereas 3485 denotes the central sanctuary itself) of the Temple (at Jerus. or elsewhere): - temple.

God reveal to Simeon who had been promised life until he saw the Lord's Christ. He was led by the Spirit to the temple where Joseph and Mary had brought Jesus. He revealed Jesus and blessed Him. After this PROPHECY:

And there was one Anna, a prophetess, the daughter of Phanuel, of the tribe of Aser: she was of a great age, and had lived with an husband seven years from her virginity; Luke 2:36

And she was a widow of about fourscore and four years, which departed not from the temple, but served God with fastings and prayers night and day. Luke 2:37

We know how she served. With the Levitical males who uniquely were the singers, the service was HARD BONDAGE. Anna served with fastings and prayers night and day. We are not to suppose that she LIVED in the temple quarters.

She knew that Jesus was to be the Messiah and said so: she did not sing, dance or play instruments:

And she coming in that instant gave thanks likewise unto the Lord, and spake of him to all them that looked for redemption in Jerusalem. Luke 2:38

And when they had performed all things according to the law of the Lord, they returned into Galilee, to their own city Nazareth. Luke 2:39

By acknowledging Simeon's revelation as a prophet, Anna also gave thanks. In that sense of repeating the story of God she was a prophetess in the FORTH telling sense. She was not a PROPHET or God might have used her. We doubt that she was a charismatic singing and musician looking for customers.

Albert Barnes, a Presbyterian, would be violently opposed to Instrumental music in worship as, indeed, many presbyterians are today. Among some of the things he wrote:

"There was no deficiency in the amount of offerings. It was admitted that they complied in this respect with the requirements of the law; and that they offered an abundance of sacrifices, so numerous as to be called a multitude, a vast number.

"Hypocrites abound in outward religious observances in proportion to their neglect of the spiritual requirements of God's word." (Barnes, Isa., P. 66).

"Doubtless they sounded harmoniously in their own ears; but it reached no further. Their melody, like much Church-music, was for itself, and ended in itself. 'Let Christian chanters learn hence, not to set the whole devotion of Psalmody in a good voice,

subtelty of modulation and rapid intonation, quavering like birds, to tickle the ears of the curious,
take them off to themselves and away from prayer, lest they hear from God."
(Barnes, Albert, Amos, p. 300)

"they employed on their light, enervating unmeaning music, and if they were in earnest enough, justified their inventions by the example of David... The word can mean no other than devise.

He introduced into the Temple-service the use of the stringed instruments, the kinnor, (the lyre) and the nebel (the harp) in addition to the cymbals.

Whence these, in contrast to the trumpets, are called the instruments of David." (Barnes, Albert, Amos, p. 308

"An artificial, effeminate music which should relax the soul, frittering the melody, and displacing the power and majesty of divine harmony by tricks of art, and giddy, thoughtless, heartless, souless versifying would be meet company." (Barnes, Albert, Amos, p. 303).

Perhaps the Northwest College of the Bible doesn't really want to use Barnes as an authority because he, like most Presbyterians of the time, opposed a musical substitute for "in spirit and in truth" worship.

Charles Dailey: Defining the word prophet with the limited definitions of forthteller and foreteller has caused many of us puzzlement over the daughters prophesying. It seems to be in conflict with the practices recorded in Acts and a later clear statement from Paul.

The limited definition really doesn't fit King David too well either in Acts 2:30 where he is called a prophet.

However when we add the musical element to the description, David becomes a chief prophet in his own right, giving us many inspired Psalms. He is not a psalmist and a prophet, he is a songwriting and singing prophet. (Psalms 101:1)

"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;
it was instrumental in
exorcisms and magic healing." (Interpreters Dictionary of the Bible, p. 473, Abingdon).

See the Jewish War Rules from the Dead Sea Scrolls.

The Jewish clergy as "musical children" did play their pipes and tried to force John and Jesus into their dance of ecstasy in violation of God's will:

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7

The truimph-over alarm, suitable to tribal movements, panicing the enemy or national rejoicing where no word from God was expected is:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears with sound, i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout for joy, sound an alarm, triumph.

By this I know that thou favourest me, because mine enemy (Judas) doth not triumph over me. Ps.41:11

And David was clothed with a robe of fine linen, and all the Levites that bare the ark, and the singers, and Chenaniah the master of the song (h4853) with the singers: David also had upon him an ephod of linen. 1Chr.15:27

Thus all Israel brought up the ark of the covenant of the Lord with shouting, and with sound of the cornet, and with trumpets, and with cymbals, making a noise with psalteries and harps. 1 Chr 15:28

This ark moving was a civil-religious affair and had nothing to do with "congregational worship." The "master of song" was:

Sar (h8269) sar; from 8323; a head person (of any rank or class): - captain (that had rule), chief (captain), general, governor, keeper, lord, ([-task-]) master, prince (-ipal), ruler, steward.

David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1 Chr 25:1

We don't have KINGS SET OVER US and we don't bear away the Ark because we have sinned so grieveously that we are AFRAID of the avenging angels. God might then give us the ALTERNATIVE altar at a Jebusite High Place to offer ADDITIONAL sacrifices.

Not even the Jews used more than about 1/3 of the Psalms in any form of singing. Because they are the poetic interpretation of the prose historical record, they are not any more suitable to use in worship than say, the Song of Solomon. We wouldn't sing about destroying little babies even if we prayed God for it. This does not reduce their inspiration but it reduces their application in the Christian System. The Jews in the synagogue never used Instrumental music in worship.

However, if we obeyed Paul, we might "speak" to one another to "teach and admonish" by using these Psalms to perform the collective task he commands in Ephesians 5 and Colossians 3. This was to teach outwardly and sing inwardly and not to just sing idle words and chant to the harp.

After noting that the Psalms and Chronicles were the primary interest of the Hasidics (who became the Pharisees)

"But it must be added that the main theme of the entire book, repeated in all but a dozen of its hundred and fifty chapters, is the certainty that God will reward the righteous who obey the law, and the rewards expected by the psalmist

usually include the promise of destruction for his enemies.

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 individual 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)

You must remember that God ordained Israel to be a blessing to the other nations. They should have gone into all the world and told them about God and His law. Instead, after rejecting the rule of God they concentrated on building a kingdom like the nations so that they could worship like the nations.

Their total failure is God's testimony to their effort. The Psalms are poetic records of the prose history. We would not think of using the prose version as songs because, while inspired and therefore record the history of the Jews, they show their low level of spirituality.

Charles Dailey: Our expanded definition of a prophet helps with another problem passage in Acts 21:9. Listen to Luke as he narrates:

Leaving the next day, we reached Caesarea and stayed at the house of Philip the evangelist, one of the Seven. He had four unmarried daughters who prophesied. After we had been there a number of days, a prophet named Agabus came down from Judea. Coming over to us, he took Paul's belt, tied his own hands and feet with it and said, "The Holy Spirit says, ' In this way the Jews of Jerusalem will bind the owner of this belt and will hand him over to the Gentiles.'" (Acts 21 NIV)

The limited definition of a prophet as one who forthtells or foretells leaves an unanswered question in this event. If the evangelist Philip had four daughters prophesying the future, why did God send a man from Jerusalem to Caesarea to foretell the binding of Paul? A reasonable answer is that the ladies were singers and inspired songwriters, not preachers and proclaimers. Historically, prophetesses were connected with inspired musical praise to God.

The sign would be prophesying and dreaming. However, these people were MARKS of the time and were universally more like soothsayers or musical performers than prophesying prophets.

"Singing served as a means of inducing ecstatic prophecy (speaking in tongues).

Thus the essential relationship between music and prophecy can be clearly seen.
This relationship also explains why the expression for "
making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67.

The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

We have no record of anything they sang or preached. They definitely were not authority for women prophets speaking for God. His sending Agabus is not accidental. Rather, it is to show that the prophesied prophesying, like the dreaming, was not a God-ordained ministry of revelation.

Joel prophesies some pretty bitter things against Israel. Philip was a spirit filled person. This agrees with the message of God to Miriam: when He wants something to be known He sends His own man. Click more on these daughters. This is exactly what Paul told the Corinthians: "if you are inspired to sing or speak in tongues you will know that you are not inspired to reveal: God has sent me to you and I will continue to reveal His Word to you."

"The Greeks sought the god's approval for any important decisions they had to make. They often went to the temple of Apollo at Delphi, where a priestess sat over a gas fissure in the volcanic rocks and

muttered unintelligible words of prophecy.
Other priests
interpreted her words, which were supposed to come from Apollo himself.

But the oracle usually gave people vague instructions that could mean almost anything--so that, no matter what happened, the priests could say she was right." (Sumrall, Lester, p. 75, Where was God when Pagan Religions Began, Thomas Nelson.)

Jesus then sent a true revealing prophet to Philip to prove that the prophesying youth was Joel's prophecy of doom to the Jews and not to reveal His will.

Strabo Geography [10.3.10] And on this account Plato, and even before his time the Pythagoreians, called philosophy music; and

they say that the universe is constituted in accordance with harmony,
assuming that every form of music is the work of the gods.
And in this sense, also, the
Muses are goddesses,
and
Apollo is leader of the Muses,
and
poetry as a whole is laudatory of the gods.

Now most of the Greeks assigned to Dionysus, Apollo, Hecate, the Muses (9 women team), and above all to Demeter, everything of an orgiastic or Bacchic or choral nature, as well as the mystic element in initiations; and they give the name "Iacchus" not only to Dionysus but also to the leader-in-chief of the mysteries, who is the genius of Demeter.

And branch-bearing, choral dancing, and initiations are common elements in the worship of these gods. As for the Muses and Apollo,

the Muses (female pastors) preside over the choruses,
whereas
Apollo presides both over these and the rites of divination.

But all educated men, and especially the musicians, are ministers of the Muses;

and both these and those who have to do with divination are ministers of Apollo;

and the initiated and torch-bearers and hierophants, of Demeter; and the Sileni and Satyri and Bacchae, and also the Lenae and Thyiae and Mimallones and Na´des and Nymphae and the beings called Tityri, of Dionysus.

If it is a fact that they were musical prophesiers then Jesus had a word for "lord, lord" sayers who were musical prophesiers. Philip's daughters never wrote anything, never sang anything we know of and as far as we know never attended the assembly which is strangly silent about children in attendance.

Charles Dailey: Another vexing verse is 1 Corinthians 11:5 where Paul says,

And every woman who prays or prophesies with her head uncovered dishonors her head -- it is just as though her head were shaved. (1 Corinthians 11:5 NIV)

First, it is common knowledge that this was what he defined as MADNESS in chapter 14:

> "Peckham 1987:84-87: the association of Astarte with the dying god, Eshmun, may well be related to child sacrifice, as Peckham; Robertson 1982:329. Given the parallel to Genesis 22, the tradition of Kronos sacrificing his only son as a part of the Phoenician cult looks to be related to the thriving business of infant sacrifice in Phoenician culture.

The mourning ritual connected with Astarte in KAI 37 and elsewhere, and the tradition of "raising the god" (mqm 'lm), identified as Astarte's bridegroom in KAI 44:2, in Phoenician epigraphs (c.f. the Eqron epigraph, lmqm, in the seventh c., where other indications of Phoenician influence are present), suggest the importance of the cycle through the underworld in this cult

Peckham, J. B. 1987 Phoenicia and the Religion of Israel: The Epigraphic Evidence. Pp. 79-99 in Ancient Israelite Religion. Essays in Honor of Frank Moore Cross, ed. P. D. Miller, P. D. Hanson and S. D. McBride.Philadelphia: Fortress.

"We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'arousers,' sang (every morning?) this verse from Ps 44:23: "Awake, O Lord! Why do you sleep? Rouse yourself! Do not reject us forever."

"The Hithpa'el of nb', in the ancient texts, refers to ecstasy and delirium rather than to the emission of a 'prophecy'." (de Vaux, Roland, The Bible and the Ancient Near East, p. 243 Doubleday

The Talmud tells us that John Hyrcanus suppressed the practice because it recalled too readily a pagan custom." (de Vaux, p. 247).

> "Maniac inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed or glaring eyes-- have no place in the self-controlling dignity of Christian inspiration. Even Jewish prophets, in the paroxysm of emotion, might lie naked on the ground and rave (1 Sam. xix. 24); but the genuine inspiration in Christian ages never obliterates the self-consciousness or overpowers the reason. It abhors the hysteria and stimulation and frenzy which have sometimes disgraced revivalism and filled lunatic asylums." (Pulpit Commentary, 1 Cor., p. 460).

> "The religious ecstasy induced by music expressed itself either in an outburst of emotions, thus giving rise to religious catharsis, or in a transfer to the state of prophecy. In this way music became an important factor in divination. In the mysteries of the Magna Mater this relationship between music and divination is particularyl clear.

Through the din of tambourines, cymbals and flutes
the
ecstatic worshiper of the goddess prophesied the future to those present.

"From time immorial music had been especially valued in the service of prophecy. Pliny the Elder gives us a report of the cult of Apis:

"In Egypt an ox is honored in place of the god. He is called Apis and he lives in isolation. If he ever goes among the people he stalks along while the lictors make way for him and throngs of boys accompany him, singing songs in his honor. He appears to understand what is happening and seems to wish to be adored. The throngs [of boys] sudddenly become inspired and prophesy the future. (Pliny, Natural History)

Consequently Apollo (Abaddon, Apollyon) was god of prophets and musicians and Pan was god of medicine, music and divination.

"Here singing served as a means of inducing ecstatic prophecy (speaking in tongues).

Thus the essential relationship between music and prophecy can be clearly seen.

This relationship also explains why the expression for "making music" and "prophesying" was often identical in the ancient tongues. origen contra celsum 8.67.

The Hebrew word Naba signifies not only "to prophesy" but also "to make music." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 39)

Next, let's get your attention: Paul hasn't started on the disorders WHEN YOU GATHER yet. Until he gets to verse 17 he is discussing the OUT OFASSEMBLY practices of both men and women. All of this hair and prophesying pointed to the pagan, perverted Dionysus prophesying with music and more. For instance, the rituals connected to drinking wine or "getting fluted down with wine" as with most playing of instruments related to a form of ritual warfare: the loosing flute player got skinned alive by Apollo. Other punishments were inflicted and were all connected to homosexual "rituals" which demanded wine to get down and dirty. Remember that even when males, the homosexual worshipers and "ministers" were often emasculated and dressed as women. Johannes Quasten notes that:

"In cultic action music was used in preparation for prophecy. Julius Firmicus Maternus refers to this fact in his remarks on an African cult.

With the air full of flute music,
the priests would put on
women's clothing and
then
call on the goddess so that,
filled with a wicked spirit
, they might predict the future to foolish men.

Bacchae or Bacchantes By Euripides

PENTHEUS: How bold our Bacchanal is growing! a very master in this wordy strife!
DIONYSUS: Tell me what I am to suffer; what is the grievous doom thou wilt inflict upon me?
PENTHEUS: First will I shear off thy dainty tresses.
DIONYSUS: My locks are sacred; for the god I let them grow.

They say there came a stranger hither, a trickster and a sorcerer, from Lydia's land, with golden hair and perfumed locks, the flush of wine upon his face, and in his eyes each grace that Aphrodite gives; by day and night he lingers in our maidens' company

on the plea of teaching Bacchic mysteries.

Here is something on Echion:

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

And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 1 Corinthians 13:2

Once let me catch him within these walls, and I will put an end to his thyrsus-beating and his waving of his tresses, for I will cut his head from his body.

Doth not even nature itself teach you, that, if a man have long hair, it is a shame unto him? 1 Cor 11:14

One who falls into the charismatic prophesying would first loosen and then shake her hair violently. This was an expression of freedom:

For this cause ought the woman to have power on her head because of the angels. 1Co.11:10

"Anon in their midst thy mother uprose and cried aloud to wake them from their sleep, when she heard the lowing of my horned kine. And up they started to their feet, brushing from their eyes sleep's quickening dew, a wondrous sight of grace and modesty, young and old and maidens yet unwed.

First o'er their shoulders they let stream their hair; then all did gird their fawn-skins up, who hitherto had left the fastenings loose, girdling the dappled hides with snakes that licked their cheeks.

We liked his speech, and placed ourselves in hidden ambush among the leafy thickets; they at the appointed time began to wave the thyrsus for their Bacchic rites, calling on Iacchus (Iacchus or Bacchus, honored by all, deviser of our festal song and dance - (worship facilitator), the Bromian god, the son of Zeus, in united chorus, and the whole mount and the wild creatures re-echoed their cry; all nature stirred as they rushed on.

Already, look you! the presumption of these Bacchantes is upon us, swift as fire, a sad disgrace in the eyes of all Hellas. No time for hesitation now! away to the Electra gate! order a muster of all my men-at-arms, of those that mount fleet steeds, of all who brandish light bucklers,

of archers too that make the bowstring twang; for I will march against the Bacchanals.
By Heaven this passes all, if we are to be thus
treated by women.

Click for: The Twanging Bowstring is the background to external melody or the Greek PSALLO in Paul's writings.

Let no man beguile you of your reward in a voluntary humility and worshipping of angels, intruding into those things which he hath not seen, vainly puffed up by his fleshly mind, Col2:18

"It is a great mistake to imagine that back of their idolatry and their idol sacrifices there is nothing but an empty vacuity. True enough, as 1 Cor 8:4 makes plain, the gods of the idols have no existence whatever; no being by the name of Jupiter exists, and this is true with respect to all other gods. But something does exist, something that is far more terrible than these pseudo-gods, namely an entire kingdom of darkness which is hostile to God, a host of demons or fallen angels who are ruled by the greatest of their number, namely Satan, Eph. 2:3; 6:12. (Lenski)

Habakkuk 2:19-20 warns to be SILENT when in God's presence because the LIFELESS idols which were often musical instruments COULD NOT SPEAK:

"Now therefore, since you do not yet understand how great darkness of ignorance surrounds you, sometime I wish to explain to you whence the worship of idols began in this world. And by idols, I mean those lifeless images which you worship, whether made of wood, or earthenware, or stone, or brass, or any other metals: of these the beginning was in this wise.

Certain angels having left the course of their proper order, began to favour the vices of men, and in some measure to lend unworthy aid to their lust,

in order that by these means they might indulge their own pleasures the more; and then, that they might not seem to be inclined of their own accord to unworthy services, taught men that demons could, by certain arts--that is, by magical invocations--be made to obey men; and so, as from a furnace and workshop of wickedness, they filled the whole world with the smoke of impiety, the light of piety being withdrawn." (Reognitions of Clement, Book IV, Chapt XXVI, Ante Nicene Fathers, Vol 8, p. 140)

If Paul is going to command that women play musical instruments in the assembly then Paul is going to contradict himself and is not therefore inspired.

ANYONE WHO PROMOTES USING WOMEN IN WORSHIP AND SUPPORTS THEIR "PROPHESYING" WOULD BE ACCUSED BY PAUL OF PROMOTING A PROSTITUTE AND HOMOSEXUAL "WORSHIP."

It is elementary that Paul was contrasting the musical, uncovered (I am available) prophesing outside the assembly with when the church comes together. Remember that Numbers 10:7 would prohibit musical rejoicing during this time:

"An issue has been made of the point that Paul speaks of a woman as prophesying as though it were a matter of course that she should prophesy just as she also prays, and just as the man, too, prays and prophesies. Paul is said to contradict himself when he forbids the women to prophesy in 14:34-36.

The matter becomes clear when we observe that from 11:17 onward until the end of chapter 14 Paul deals with the gatherings of the congregation for public worship and with regulations pertaining to public assemblies.

The transition is decidedly marked: 'that ye come together,' i.e., for public worship, v. 17; 'when ye come together in the church' (ekklpsia, no article), v. 18; and again: 'when ye assemble together,' i.e., for public worship, v. 20) In these public assemblies Paul forbids the women, not only to prophesy, but to speak at all, 14:34-36 and assigns the reason for this prohibition just as he does in 1 Tim. 2:11." (Lenski, 1 Cor. p. 437).

YOU CANNOT LET MALES "PERFORM" WITHOUT UNLEASING SEXUAL POWER: YOU CANNOT 'USE' WOMEN IN A NON-SEDENTARY RITUAL WITHOUT VIOLATING PAUL'S DIRECT COMMAND WHICH CANNOT BE MISUNDERSTOOD.

To look at how Paul is misused as authority Click Here.

Charles Dailey: What is the lady doing prophesying? Was she preaching? The broader description of prophetess has her as a singer of inspired songs.

We have to believe that she is a pagn PROPHESIER just out of paganism which abounded in Corinth. The women were the ones who got drunk on vapors, drugs, wine or music and "spoke in tongues" or gibberish. True tongues is speaking a real dialect.

6, 7. insania: the theia mania( Plat. Phaedr. 245) of 'the lunatic, the lover, and the poet.' videor: sc. mihi. Cf. 2. 1.21; 'I seem through consecrated walks to rove, I hear soft music die along the grove:| Led by the sound, I roam from shade to shade| By godlike poets venerable made' (Pope, Windsor Forest, 267-270). pios . . . lucos :mous˘n napai (Plato, Ion, 534 A). Cf. 1.1.30. n.

Secondly, a sequently reading of chapter 11 proves that she is NOT part of the "assembly."

Thirdly, if she is singing our of her OWN SPIRIT then Paul tells her to "sit down and shut up."

That is because it wasl almost uniquely the women who COULD fall into chrismatic ecstasy. Males, we are told sang and played instruments only if drunk or perverted.

Charles Dailey: Prophets abounded in the early church. The church is built on the foundation of the Apostles and Prophets. The Old Testament prophet may have been a music man or a combination man like Habakkuk who is called a prophet and yet he writes his prophecy in chapter three to music and the musical instructions are in the text.

The church is built on Christ and the confession that He is the Son of God or God made visible to us.

The Prophets prophesied and the Apostles LAID the foundation: they were NOT the foundation. Paul would PROPHESY in church only if he had some NEW REVELATION. Other than reading or speaking "that which has been taught" the claim of NEW PROPHETS repudiates the Word of God.

Paul gave Charles a way to MARK this false teaching. Let ONE person "prophesy" by singing, swaying and playing instruments at ONE TIME. She must both SING and she must PLAY. Psallo repudiated anything but harp strings and PLECTRUMS. Therefore, she might PLUCK a string made of hair and sing.

In additon, SHE must prophesy or pray so that SHE CAN interpret OR she must have a team member who can interpret. To be prophecy it must be BIBLICAL DOCTRINE. No itsy-bitsy erotic praise songs.

If you let A DUET sing and pluck with their fingers then you LOSE Paul as a proof text.

If you let a quartet sing then Paul says that you are "speaking in tongues" or making war.

If she PRETENDS that God is speaking DIRECTLY to and through her then she is a false prophetess and you MUST STONE HER.

Many passages, like all of the Psalms were written in the form of Hebrew poetry. Only much later were they set to music with musical notation which we do not begin to understand. Habakkuk was delivering God's judgment which is often given musically as in Isaiah 5. Josephus records his warning against once again permitting the Levites to put on their linen robes and sing as worship.

The ancient pagans, and Jews, believed that the demons or Satan lived inside musical instruments. When they struck the strings Satan gave them a musical message. He taught them something which permitted them to ignore the Word of God. Therefore, Habakkuk warned:

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

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

Charles Dailey: If we take the view that instruments are forbidden, we must demonstrate a narrower description of the prophet than that used by the inspired writers of the Old Testament. Where is our authority for a new and narrower definition? None appears to exist. Jesus said, "The Scriptures cannot be broken."

Unless the theatrical and musical performers ARE PROPHETS then they are forbidden to speak. Those who were not prophets should be silent in the church.

God did not authorize instruments in the Old Testament. For instance, when Amos "prophesied" he condemned instruments because they were both a sign and symptom that they would not hear the Words of God. Most of the prophets speaking and writing for God condemned the priestly religion of the temple with music.

Now, brethren, if I come unto you speaking with tongues, what shall I profit you, except I shall speak to you either by revelation, or by knowledge, or by prophesying, or by doctrine? 1Co.14:6

By definition those who spoke out of their OWN spirit were speaking in tongues or prophesying. You cannot sing poetry, we are told, without implicating or facilitating sexual and homosexual thoughts which was a vital part of prophesying. This is why Paul NEVER says SING in the external sesnse: he always says SPEAK. Now, you cannot speak or sing at the same time. Therefore, if there was an inspired prophet Paul insists that they SPEAK which eleminates SING or MAKE MUSIC.

So likewise ye, except ye utter by the tongue words easy to be understood, how shall it be known what is spoken? for ye shall speak into the air. 1 Co.14:9

I thank my God, I speak with tongues more than ye all: 1 Co.14:18

Yet in the church I had rather speak five words with my understanding, that by my voice I might teach others also, than ten thousand words in an unknown tongue. 1Co.14:19

Let the prophets speak two or three, and let the other judge. 1Co.14:29

I just don't see how you get SING out of that. You absolutely CANNOT sing AND speak at the same time.

Paul identified the elders as the pastor-teachers of a congregation. The absolute DIRECT COMMAND was that they must "teach that which has been taught." To do otherwise permits the DOGS and SORCERERS to get into the process.

If Charle's prophetesses prophesy some Voodoo-inspired hymn [the blue book] then she is VIOLATING Paul's approved example. If she does not REVEAL something NEW to the church she is a false prophetess: let her be stoned. That applies to preachers as well.

"Among these pupils is found to much greater extent than among the teachers a certain ecstatic [charismatic, insane] feature. They arouse their feelings through music and induce a frantic condition which also affects others in the same way, in which state they 'prophesy' and, throwing off their garments, fall to the ground. In later times too we find traces of such ecstatic phenomena. Thus e.g. in Zech 13:6; 1 Ki. 20:37-38,

the 'wounds' on the breast or on the forehead recall the self-mutilation of the priests of Baal (1 Ki. 18:28). The deeds, suggestive of what the dervishes of our own day do, probably were phenomena quite similar to the action of the prophets of the surrounding tribes" (Int Std Bible Ency., Prophecy, p. 2462) *

The narrow definition came when Zechariah who prophesied of Messiah wrote:

IN that day there shall be a fountain opened to the house of David and to the inhabitants of Jerusalem for sin and for uncleanness. Zec 13:1

And it shall come to pass in that day, saith the Lord of hosts, that I will cut off the names of the idols out of the land, and they shall no more be remembered: and also I will cause the prophets and the unclean spirit to pass out of the land. Zec 13:2

And it shall come to pass, that when any shall yet prophesy, then his father and his mother that begat him shall say unto him, Thou shalt not live; for thou speakest lies in the name of the Lord: and his father and his mother that begat him shall thrust him through when he prophesieth. Zec 13:3

And it shall come to pass in that day, that the prophets shall be ashamed every one of his vision, when he hath prophesied; neither shall they wear a rough garment to deceive: Zec 13:4

But he shall say, I am no prophet, I am an husbandman; for man taught me to keep cattle from my youth. Zech 13:5

And one shall say unto him, What are these wounds in thine hands? Then he shall answer, Those with which I was wounded in the house of my friends. Zech 13:6

Arnobius, Against Heresies asked:

"Do they recall to memory those lamentations with which the tower-bearing Mother, along with the weeping Acdestis, wailing aloud, followed the boy?

"Or if the things which we say are not so, declare, say yourselves--

those effeminate and delicate men whom we see among you in

the sacred rites of this deity--what business, what care, what concern have they there; and

why do they like mourners wound their arms and breasts, and act as those dolefully circumstanced." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 496).

We shall pass by the wild Bacchanalia also, which are named in Greek Omophagia, in which

with seeming frenzy and the loss of senses you twine snakes about you; and ,

to show yourselves full of the divinity and majesty of the god, tear in peaces with gory mouths the flesh of loudly-bleating goats." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 496).

"If any one perchance thinks that we are speaking calumnies, let him take the books of the Thracian soothsayer (Orpheus the inventor of musical soothsaying), which you speak of as of divine antiquity; and he will find that we are neither cunningly inventing anything,

nor seeking means to bring the holiness of the gods into ridicule, and doing so: for we shall bring forward the very verses which the son of Calliope uttered in the Greek,

and published abroad in his songs to the human race through out all all ages." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 499).

The wounds in the hands show that these were the same musical prophesiers who did battle with God and Elijah and bowed to Baal.

Naba (h5012) naw-baw'; a prim. root; to prophesy, i. e. speak (or sing) by inspiration (in prediction or simple discourse): - prophesy (- ing), make self of prophet.

Anyone who says "the Lord says" when the Lord HAS NOT said has made himself into a prophet.

Thus speaketh the Lord of hosts, the God of Israel, saying, Because thou hast sent letters in thy name unto all the people that are at Jerusalem, and to Zephaniah the son of Maaseiah the priest, and to all the priests, saying, Jer 29:25

The Lord hath made thee priest in the stead of Jehoiada the priest, that ye should be officers in the house of the Lord,

for every man that is mad, and maketh himself a prophet,
that thou
shouldest put him in prison, and in the stocks. Jeremiah 29:26

Now therefore why hast thou not reproved Jeremiah of Anathoth, which maketh himself a prophet to you? Jer 29:27

A person can prophesy all he wants: he or she can prophesy the end of the world and MAKE SELF A PROPHET but we are not bound to believe their prophecy. God caused the prophets to write His message and not depend on PROPHETESSES always identified as prostitutes:

Thus speaketh the Lord God of Israel, saying, Write thee all the words that I have spoken unto thee in a book. Jer 30:2

Charles Dailey says that: Jesus said, "The Scriptures cannot be broken."

If he called them gods, unto whom the word of God came, and the scripture cannot be broken; John 10:35

Say ye of him, whom the Father hath sanctified, and sent into the world, Thou Blasphemest; because I said, I am the Son of God? John 10:36

If I do not the works of my Father, believe me not. John 10:37

But if I do, though ye believe not me, believe the works: that ye may know, and believe, that the Father is in me, and I in him. John 10:38

We will believe these new prophetesses when they DO THE WORKS of the father: the Scriptures are certainly CRACKED.

For all the prophets and the law prophesied until John. Mt.11:13

If anyone preaches or sings claiming to have superior insight (meaning of a Pharisee) then after Jesus has taught and led the apostles into all truth prophesied by the prophets then the FOUNDATION has been laid. If they claim to reveal NEW DOCTRINE then their parents should do a Judas Sicarri on them.

Charles Dailey: We have expanded our definition of prophesying to include words and instrumentation. We have not appealed to the Old Testament for authority to use the instrument. We have used it to define the task of the prophet and we find prophets to be very active in the infant church.

We have not appealed to the Old Testament for authority to use the instrument.

We have used it to define the task of the prophet and we find prophets to be very active in the infant church.

Paul did not expand but understood that prophesying was always of two types: spoken and true or musical performed and always false.

To limit our understanding of the prophet to simply the root meaning of the word is like trying to describe the job of the preacher by saying that he only preaches, nothing else. None of us would agree.

D.R. Dungan in his famous text on Hermeneutics says,

"Language under one covenant may explain duties under another, in those features in which the two are alike. (Hermeneutics, page 109)

Remember, the only Scriptures Jewish Christians had for 20 years after Pentecost was Genesis to Malachi. When they read about prophets, what did they learn from the Scriptures?

However, Dungan continues:

The devotional Psalms may be used by the Christian, that we may understand the frame of mind that should characterize all who serve the God of heaven and earth.

He says that idolatry is outlawed under both covenants. Therefore, we can use Psalms to TEACH and ADMONISH one another but we may not go bash out the heads of Babylonian babies.

But Dungan also says:

"Paul connects the priesthood of christ with the throne of Christ. Thrones did not belong to the high priest under the law, but in THIS COVENANT our high priest is also a king.

"In Zech. vi. 12, 13, Christ as a righteous Branch, should sit and rule on His throne, and be a priest on His throne, and that the government, or counsel of peace, should be between them both.

Then Dungan says: there was a change in the atonement. Dungan, p. 124. He makes a long list of changes between the two COVENANTS. What kind of SPIRIT would just feed them tidbits. Paul does not do that: he simply teaches what the Bible teaches and whatever he needed in his evangelism.

In contrast to the righteous Branch, Isaiah has someting to say:

Zamiyr (h2158) 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. Isa 24:16

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. Isa 25:5

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..

They had the LIVING WORD and His apostle-prophets. Is THAT not enough! Peter seems to see recording his EYEWITNESS accounts so that we might HAVE A MEMORY of them. If we have latter-day prophetesses then why did people believe the Scriptures prior to the Apostasy Restoration Movement?

We know that this is not true: people at Pentecost heard the gospel preached and later Luke was able to collect the memories. Peter made sure that people had a MEMORY of what had happened. One of the features of any such large gathering was the professional Scribes. They recorded the events and even made copies: this is the way Heredotus, Lucian of Samosata and numerous people made a living. I would bet that many people who returned to their homes had some kind of documents. When they learned about PROPHETS they looked to the writing prophets who were violently opposed to the priestly classes. Many of the prophets speak God's eloquent condemnation of instrumental music as a MARK of people who refused to listen to the Word of God.

As a radical conflict, liberals also freely admit that the Bible was originally written in small sections as the event occurred. Later, they were collected together. Indeed, some of the Books do not show a chronological record but like a diary which records the important events. John said that the world would not hold the books containing all that Jesus did.

They also knew about PROPHESIERS who were like modern preachers who attended the "prophet's workshops" and even stole prophesies from one another. The women--especially--were gifted at "making souls fly."

Click to read about the holy whores.

Click to see how they made souls fly.

Charles Dailey: Our next inquiry concerns the difficulty every preacher has experienced in trying to change something that is -- especially with those past 30 years of age. We will discuss momentum.

No one gave Charles Dailey any authority to CHANGE anything. Innovation is defined as the MARK God put on the Israelites. That MARK was innovating in musical idolatry. You simply cannot be a Christian and think about improvising and innovating. If something in your church gets OUT OF DATE then cut it off before it kills you.

II. LANGUAGE THAT REINFORCES THE MOMENTUM VIEWPOINT.

As we enter this next phase of our investigation, it is important that we consider the time dimension of our hermeneutics. The New Testament is not a document hammered out over a period of several months by men who understood all of God's truth the day after Pentecost in AD 30. Jesus promised that they would be led into all of the truth, there would be an unfolding of truth.

hermŕneia interpretation, explanation, in Music, expression, translation

The validity of this can be seen in the case of Peter. On Pentecost he preached that the Gospel was for all "that the Lord should call." Yet it took the direct intervention of God to get Peter into the house of Cornelius. Even then, he did not become the great champion of the Gentile Christians.

There was no UNFOLDING of the WORD of God: only Peter. We simply do not know what happened during the early years of the church. Secular history of nations from Britian to China had early Christian churches and the recorded belief that one of the Apostles founded the church. Peter speaks to the church at Babylon. We know that this was an important trade "star terminal" even though the city had declined. Can you prove that Peter had not spent some time in BABYLON? The 'history' concerning Rome is tradition even if strong tradition. But, I couldn't prove that Peter had not been there. The particular preaching to Cornelius seems to have been for the benefit of hesitant Jews.

What we know is that people from all over the world were in Jerusalem and heard the gospel message. They had the Old Testament and all they needed was for Peter to say: "This is that." They returned to their homes, preached the gospel to others and did not depend upon the apostles for the limited amount of knowledge required to return and set up churches. History proves that they took none of the Saducees instrumental music back to their own lands.

There was no unfolding of that which had not been originally preached. Jesus had commanded Peter and the apostles to preach to everyone and it is clear that the commands of Jesus--undoubtedly written down in short sections as they learned it. Peter learned nothing new about MUSIC as a form of worship. He saw the final record--which we have--as a MARK by which we can stop the mouth of LATTER DAY PROPHETS:

Wherefore I will not be negligent to put you always in remembrance of these things, though ye know them, and be established in the present truth. 2 Pet 1:12

Yea, I think it meet, as long as I am in this tabernacle, to stir you up by putting you in remembrance; 2 Pet 1:13

Knowing that shortly I must put off this my tabernacle, even as our Lord Jesus Christ hath shewed me. 2 Pet 1:14

Moreover I will endeavour that ye may be able after my decease to have these things alway in remembrance. 2 Pet 1:15

For we have not followed cunningly devised fables, when we made known unto you the power and coming of our Lord Jesus Christ, but were eyewitnesses of his majesty. 2 Pet 1:16

For he received from God the Father honour and glory, when there came such a voice to him from the excellent glory, This is my beloved Son, in whom I am well pleased. 2 Pet 1:17

And this voice which came from heaven we heard, when we were with him in the holy mount. 2 Pet 1:18

We have also a more sure word of prophecy; whereunto ye do well that ye take heed, as unto a light that shineth in a dark place, until the day dawn, and the day star arise in your hearts: 2 Pet 1:19

Knowing this first, that no prophecy of the scripture is of any private interpretation. 2 Pet 1:20

For the prophecy came not in old time by the will of man: but holy men of God spake as they were moved by the Holy Ghost. 2 Pet 1:21

Private interpretation is further expounding: if latter day prophets begin to see music as PROPHESYING in the revealing sense then Peter was wrong.

Peter might remember that Jesus cast out the musical minstrels using a word meaning "as one ejects dung." In Athens, for instance, the flute-players were always prostitutes. They were under the same city official who regulated cemetaries and dung heaps.

Remember that the so-called deacons were appointed to allow the apostles to be free to teach and pray while the large body was in Jerusalem. From the record of Philip and Stephen we understand that they were evangelists. Evangelists always "go" and do not "sit." From Paul's record we understand that many of those who "went" were those who returned to their own cities and provinces so that churches were established. New truth unfolded "in the fullness of time" and we cannot gain authority for instrumental music by blaming the apostles.

Charles Dailey: New truth unfolded slowly. The core of the new message was the death and resurrection of Christ. That is the dominant theme of all eighteen sermons recorded in part or in whole in Acts. Those who accepted Jesus as the Messiah and identified with Him by reenacting his death, burial and resurrection became a part of the church.

We believe that TRUTH is the Words of Christ whic is SPIRIT and LIFE. It does not unfold but is breathed forth by Christ the Spirit.

The direct command of Jesus was that the preaching evangelists or apostles must MAKE DISCIPLES by baptizing them and then by further teaching. These DISCIPLES were called CHRISTIANS. Therefore, if the apostles and churches just taught the CORE GOSPEL then they did teach what JESUS himself taught. As soon as disciples were made at baptism they were added to the church. The church means a synagogue or a school of the Bible. How could they hold SYNAGOGUE if all they had was the verbal CORE GOSPEL?

This is called chronological snobbery: assuming that anyone over 30 cannot grasp truth and are therefore out of date. God ordained ELDERS and not YOUNGERS to be the elders as the ONLY authorized pastor-teachers of a congregation. With the mental ability acquired by rapidly memorizing their lesson and much of the Old Testament, men like the Apostles would be guided into all truth and lesser people could remember a whole sermon. The Song of Moses was RECITED by Moses and Aaron and the listening elders could return to their tribes and TEACH THE WHOLE song and RECITE it.

Edersheim understands the common view that music was a priestly duty during animal sacrifices at the Temple and in Jerusalem. They also thought that any public performance outside of the sanctuary, as on the day of Pentecost, was proof of drunkeness.

Edersheim discusses the Synagogues

Edersheim informs us about the Temple Music

Charles Dailey: Our question is, "Did the church of the first century sing while using, or accompanied by, a mechanical instrument."

If they did then no historian prior to Charles Dailey knows about it. SINGING was not even a practice in churches for a century or two and that was singing human compositions. We have records that they sang or chanted PSALMS sometimes up to three hours. Within the life time of John we know that scholars repudiated music even in the secular world.

If they did and instruments are so vital that people can deliberately sow discord over it then the apostles were not guided into all truth and Scripture does not supply everything necessary for life and godliness. The fact is that Paul told them to do what was CONTRARY to singing with instruments: SPEAK, TEACH, ADMONISH.

That was clearly understood until the 19th century because melody had no notion of tunefulness.

Charles Dailey: My answer to this is that they would not have known about any other kind of singing. Much of their singing historically was accompanied and they did not even possess a word to describe singing that was unaccompanied.

The word ODIA means to SING and does not include an instrument. Psalmos is metrical but does not INCLUDE an instrument unless named. Paul did not say PLAY but PSALLO in the HEART or mind or spirit where God seeks our worship.

Paul told them to SPEAK the which strips odia of its EXCITEMENT quality. You cannot SPEAK and SING externally at the same time. If Paul had wanted them to sing psalms and PLAY in accompaniment (single note plucks and not music) he would have used the word psalmODIA. Paul and the Spirit had a message and neither are stupid.

We know for a fact that the common Jews never sang congregationally with instrumental accompaniment. We know for a fact that the common people attended the Synagogues and repudiated the den of thieves and house of merchandise called the temple. We know for a fact that there was NO SINGING or praise service in the synagogue. Common sense: it was a SCHOOL of the Bible and the READ the Bible. We know that no synagogue is recorded to have an instrument until a.d. 1815 when they SOWED DISCORD.

The word Psalmos is a SONG pure and simple WITHOUT an instrument just like SINGING a song does not mean that one CANNOT sing without an instrument. In all of the Bible and Greek resources, IF an instrument is intended to ACCOMPANY the song THEN that instrument is ALWAYS named.

Psallo had already been so redefined because all forms of musical terms imply the crushing, abrading, panic, prune the vine (zamar) or take your inheritance, play the flute, prostitute or pollute (h2485-h2490). Jesus used a root word to define sop. In the Christian system, the melody was therefore "in the heart."

Psalmos (g5568) psal-mos'; from 5567;

a set piece of music,
i.e. a sacred ode

[and THEN parenthetically] (accompanied with the voice, harp or other instrument; a "psalm"); collect. the book of the Psalms: - psalm. Comp. 5603 (an ode).

Proponents of musical rituals insist that a "psalmos" necessarily includes a mechanical instrument. However, look again the definition from Strong's even though scholarship denies that it included instruments at the time:

A sacred (inspired) ode
Accompanied by the
Voice
Harp
or other Instrument

Paul picked "speaking" one to another to "teach and admonish" because if he knew any of the Old Testament he knew Numbers 10:7 which outlawed instruments and making a joyful noise in the collected assembly.

See Also

Furthermore, the Greek resources might use PSALLO to define plucking a bow string or a harp string ONLY WITH THE FINGER, but the recorded Classics and church fathers never use PSALLO to mean both sing and play an instrument.

Furthermore, Paul had a large range of words to use if he wanted instruments INCLUDED. For instance, psalmODIA would tell the person to SING a psalm WITH an instrument or ACCOMPANIED with an instrument. A lyreIST would identify both acts but the ODIA and IST endings are equated to similar words meaning PARASITES.

Charles Dailey: Imagine with me, if you will, that you are a Jewish person who lived in Capernaum in AD 30. You did not have your own copy of the Hebrew Scriptures because you could not have read it without special training. You spoke Aramaic. You attended the synagogue weekly and you heard there the Hebrew Scriptures read by one who could Targum into the Aramaic language.

You assuredly DID NOT hear singing even without instruments: Edershiem makes it clear along with others that "there was no praise service in the synagogues."

Secondly, the synagogue was a SCHOOL OF THE BIBLE. If you have a good memory trained by SPEAKING to one another then a copy of the Bible is not needed. Anyway, they couldn't carry it away. However, the synagogues were usually open and anyone could go and be instructed.

By AD 30 the synagogue school for boys at age five years was MANDATORY. They learned languages, writing and the Scriptures. They SPOKE them one to another to MEMORIZE them. Girls would have been trained in some of the same skills needed for managing a household or, very common, a business. History is complete with young boys or men and girls totally engaged with the armies and traffic which constantly moved: they bought, sold, transported goods and more.

A fellow around Capernaum, like Jesus, may have used the Septuagint (LXX) a complete Old Testament written in Koine or the common language of the marketplace for the entire fertile crescent and beyond. Pentecost was the Incarnate God of the universe saying: "Hebrew or Aramaic or scholarly language is not the Holy Ghost language. See, I speak in all of the languages." Jesus would tell the world that the clergy "took away the key to knowledge."

Charles Dailey: You also regularly attended the feasts in Jerusalem. Those feasts were Passover, Pentecost and Tabernacles, words defined for us in the Law, just as prophet has been defined in the Law. Your wife may have attended with you. If you had sons over the age of twelve or thirteen they also were required to attend because at thirteen a man became of age as far as his responsibility to the Law, the Torah, was concerned. So this spring you are going to go up to Pentecost as the Law required and your heart desired.

No common Jewish people ever engaged in "congregational singing with instrumental accompaniment." The three yearly festivals were not the weekly "church services." Those below or above DRAFT age were not required to assemble. Therefore, the ANTI-BIBLICAL musicians would deprive the people of literacy as well as the demand to assemble to REST on the Sabbath to hear the word READ. The Sabbath was not a day of worship other than giving heed to God's Word. That is what Paul taught.

The people out in the communities with at least ten men worshipped in the synagogue and they already knew that there was no instrumental music and no true singing. Like our early churches, the priests and Levites were like modern Methodist Circuit Preachers. They had not MUSICAL BANDS when they went out.

Certainly no self composed sentimental poetry was used This was left to the elders and other competers at the Feast of Tabernacles which had degraded into a fertility festival -- like those often held today. Click for the history. They were classified with "a sodomite, an effeminate person, a magician, an enchanter, an astrologer, a diviner, an user of magic verses, a juggler, a mountebank, one that makes amulets, a charmer, a soothsayer, a fortune-teller, an observer of palmistry."

The disciples of Charles Daily COULD NOT be a member of the church of Christ which defined the nature of playing musical instruments. We are concerned only in that he and his make a cottage industry out of classifying ANTI-instrumentalists as less than intelligent humans.

The "congregation" worshiped on the Sabbath by prayer and reading the Word: they did not travel to Jerusalem to listen to the musical worship team or to any other city. Their worship was "in spirit and in truth" as they read and meditated on the Word of God.

We can supply historical letters warning young girls in strange cities not to associate with 'guitar players' and to SING the psalms in their private quarters. Everyone sang. The Apostolic Constitutions in the second century calling itself the church of Christ would not allow an instrument player to be a member of the church. If one belonging to the theatre

Charles Dailey: On the way up you traveled from Galilee with one of the pilgrim bands that made their way to Jerusalem. You did this for fellowship and to protect yourself and your family from bands of robbers that plied their trade along the Jordan River. You sang as you walked. You sang the songs that are labeled in today's Bible the "Songs of Degrees," or the "Songs of the Ascents," because they were probably sung by the Jewish pilgrims since the times of David. These are Psalms 120 through 134.

Did all of the singers have a HARP? Well, you cannot SING without a harp! God through Isaiah had something brutal to say to those who went in processionals to Jerusalem. In the version which Jesus read:

Behold, the name of the Lord cometh from far, burning with his anger, and the burden thereof is heavy: his lips are full of indignation, and his tongue as a devouring fire: Isa 30:27

And his breath, as an overflowing stream, shall reach to the midst of the neck, to sift the nations with the sieve of vanity: and there shall be a bridle in the jaws of the people, causing them to err. Isa 30:28

Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX

and the Lord shall make his glorious voice to be heard and the wrath of his arm, to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX

And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums and with harp. Isaiah 30:32 LXX

For thou shalt be required before thy time: has it been prepared for thee also to reign? nay, God has prepared for thee a deep trench, wood piled fire and much wood: the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX

For Tophet is ordained of old; yea, for the king it is prepared; he hath made it deep and large: the pile thereof is fire and much wood;

the breath (divine inspiration, spirit) of the Lord, like a stream of brimstone, doth kindle it. 30:33KJV

And it shall come to pass in that day that the Lord shall give thee rest from thy sorrow and vexation, and from thy hard serviture wherein thou didst serve them. Isaiah 14:3LXX

And thou shalt take up this lamentation against the king of Babylon, How has the extortioner ceased, and the taskmaster ceased Isaiah 14:4 LXX

All your pomp has been brought down to the grave (Sheol or hell), along with the noise of your harps; maggots are spread out beneath you and worms cover you. Isaiah 14:11NIV

How you have fallen from heaven, O morning star, son of the dawn! You have been cast down to the earth, you who once laid low the nations! Isaiah 14:12

You said in your heart, "I will ascend to heaven; I will raise my throne above the stars of God; I will sit enthroned on the mount of assembly, on the utmost heights of the sacred mountain. Isaiah 14:13

The ascending descending began at the Towers of Babylon with MUSIC.

These are teaching psalms. Can't find an instrument defined in any of these psalms.

"The Holy Spirit, uttering His voice by Amos, pronounces the rich to be wretched on account of their luxury: 'Those that drink strained wine, and recline on an ivory couch,' he says; and what else similar he adds by way of reproach. Especial regard is to be paid to decency (as the myth represents Athene, whoever she was, out of regard to it, giving up the pleasure of the flute because of the unseemliness of the sight). (Clement, p. 245). We are also told that Christians gave up music because it had no educational connection and indeed dulled the intellect.

When, after the normal Passover Supper, a fifth cup was used, they sang Psalm 137 which had Jesus say: "There we hung up the harp on the willow" because the willow was an almost universal symbol of where the pagan gods played their music. Therefore,

"Let the pipe be resigned to the shepherds, and the flute to the superstitious who are engrossed in idolatry. For, in truth, such instruments are to be banished from the temperate banquets, being more suitable to beasts than men, and the more irrational portion of mankind." (Clement, Instructor, Eerdmans, p. 248).

You may have carried with you a flute or some other instrument. You can take a bamboo shaft, drill some holes in it and you will have a four note instrument that will do quite well for playing a simple tune. It seems like Isaiah is pointing this direction when he records in Isaiah 30:29:

It may be helpful (usually is) to look at the entire context. God is passing judgment upon Assyria as He did Babylon. Babylon would go into sheol along with her harps with which she had oppressed Israel. In the same way, God would offer up Assyria in the figurative hands of Molech. This would remind Israel of their great processions to Jerusalem to the "king's music groves" which had become Topheth, named after tabret, a symbol of destruction in hell itself.

Paul explained speaking in tongues by quoting Isaiah 28. Connected to his condemnation was speaking, praying or speaking out of their own spirit.

This treatment of instrumental music is consistent in the LXX and, therefore, when Amos condemned Israel for imitating David's musical practices on a daily worship basis, he said of them--

"who excel (applaud) in the sound of musical instruments; they have regarded them as abiding, not as fleeting pleasure." Amos 6:6 LXX

"The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria... The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35).

"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37

"The ritual observances at the Hebrew and at the a Canaanite sanctuary were so similar that to the mass of the people Jehovah worship and Baal worship were not separated by any well-marked line... A sacrifice was a public ceremony of a township or clan... Then the crowds streamed into the sanctuary from all sides, dressed in their gayest attire, marching joyfully to the sound of music, and bearing with them not only the victims appointed for sacrifice, but store of bread and wine set forth the feast... Universal hilarity prevailed." (Gurney, O.R., Some Aspects of Hittite Religion, Oxford University Press, 1977, p. 37).

The Battle of Baal and Yahm
  1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
  2. Aloud they [summon the assembly of the gods/ do cry to those near]. They invite
  3. the distant ones/ those far away, to the assembly of `El
  4. they summon/do cry: "`El remains seated
    [in his
    marzeah/banqueting hall//among his cult-guests (dM)] . . .
  5. The shame of the Eternal One/The shameful conduct of the usurper . . .
  6. O gods, (to) the house of your lord . . .
  7. [Who surely travels (S)/lest he go (D/G) quickly/the Runner will not walk (dM)] through the land, . . .
  8. who goes in the dust (of) destruction/a mess of mud on the ground . . .

    Comments: Smith believes lines 7-8 should be interpreted "Either literally, as `El walking through the underworld, or an allusion to `El being "dead drunk,"
    or both metaphorical, and ironic, as the
    marzeah serves
    as the setting for
    feasts for the dead and for the living mourning the dead (p. 145).  

    Charles Dailey: Just a little flute, but they used it as Isaiah indicated. The instruments were common in Old Testament times and as we get to the time of Christ we learn that the children used them in playing.

      We played the flute for you, and you did not dance; we sang a dirge, and you did not mourn. (Matthew 11:17 NIV)

    This was said about the generation that did not like John the Baptist because he was not a party attender and they did not like Jesus because he was a man who was involved with society. So you can see from that incidental statement that instruments of music were common. Singing with instrumental accompaniment was a way of national life. It had been going on as a part of the religious life for centuries.

This was the common life of the marketplace: the AGORA. This is the place where you peddled dates, cloth, songs, sermons, musical performances and used children as the CHORUS LEADERS to seduce people into the prostitutes and Sodomites.

No, it didn't say that John and Jesus refused to "get hip" or "join the musical worship team." Jesus explained that John didn't wear SOFT clothing. This speaks directly of the CATAMITE or the king's male, sodomite prostitute. The Jews anticipated that Dionysus would be the MESSIAH just as he had been worshipped along with father Zeus (you know how preachers say Je zeus). All such "prophesying" types were known to have a side business just as did the minstrels and blacksmiths who would fix about anything.

We know that these were fertility rituals of effeminancy trying to "rule over" or "triumph over" the masculine Word of God:

As for my people, children are their oppressors, and women rule over them. O my people, they which lead thee cause thee to err, and destroy the way of thy paths. Isa 3:12

The Jewish clergy was trying to oppress Jesus and the Hebrew word is:

Nagas (h5065) naw-gas'; a prim. root; to drive (an animal, a workman, a debtor, an army); by impl. to tax, harass, tyrannize: - distress, driver, exact (-or), oppress (-or), * raiser of taxes, taskmaster.

Nagash (h5066) naw-gash'; a prim. root; to be or come (causat. bring) near (for any purpose); euphem. to lie with a woman; as an enemy, to attack; religious to worship

That thou shalt take up this proverb against the king of Babylon, and say, How hath the oppressor ceased! the golden city ceased! Is.14:4

Thy pomp is brought down to the grave, and the noise of thy viols: the worm (maggots) is spread under thee, and the worms cover thee. Isa 14:11

In Ezekiel 8 we will see the women lamenting for Tammuz. This is always connected to Ishtar. Therefore, the music of Jerusalem was the music of Babylon:

"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." (Interpreter's Dictionary of the Bible, p. 461, Abingdon).

Speaking of Apollo or Abaddon or Apollyon using the Team of 9 Muses:

"So, also, certain others of these ecstatics become entheast or inspired when they hear cymbals, drums, or some choral chant; as for example, those who are engaged in the Korybantic Rites, those who are possessed at the Sabazian festivals, and those who are celebrating the Rites of the Divine Mother (ZOE). Others, also, are inspired when drinking water, like the priest of the Klarian Apollo at Kolophon; others when sitting over cavities in the earth, [probably sniffing methane]

like the women who deliver oracles at Delphi; others when affected by vapor from the water, like the prophetesses at BranchidŠ; and others when standing in indented marks like those who have been filled from an imperceptible inflowing of the divine plerome.

Others who understand themselves in other respects become inspired through the Fancy: some taking darkness as accessory, others employing certain potions, and others depending on singing and magic figures. Some are affected by means of water, others by gazing on a wall, others by the hypethral air, and others by the sun or in some other of the heavenly luminaries. Some have likewise established the technique of searching the future by means of entrails, birds, and stars. Iamblichus

See how the women took over the temple to worship Tammuz. Ezekiel pays special attention to the figures drawn on the walls as the men bowed to the sun in the east. This involved inanna or ishtar who was the Babylon "holy whore" who learned how to seduce and destroy with music.

Similar to the Greek Rhea or Zoe

The ChaldŠan Oracles of Zoroaster

The Egyptian Pantheon had an Elder and a Younger Horus-- a God-- son of Osiris and Isis. Taylor suggests that He refers to Kronos, Time, or Chronos, as the later Platonists wrote the name. Kronos, or Saturnus (Chaldee 666), of the Romans, was son of Uranos and Gaia, husband of Rhea, lather of Zeus.

Rhea, the Fountain and River of the Blessed Intellectuals, having first received the powers of all things in Her Ineffable Bosom, pours forth perpetual Generation upon all things. - Proc. in Crat. T

98. The Oracles delivered by the Gods celebrate the essential fountain of every Soul; the Empyrean, the Ethereal and the Material. This fountain they separate from (Zoogonothea) the vivifying Goddess (Rhea, Zoe, Lucifer), from whom (suspending the whole of Fate) they make two series or orders; the one animastic, or belonging to the Soul, and the other belonging to Fate. They assert that the Soul is derived from the animastic series, but that sometimes it becometh subservient to Fate, when passing into an irrational condition of being (prophesying),: it becometh subject to Fate instead of to Providence.

- Proclus de Providentia apud Fabricium in Biblioth. GrŠca., vol.8, 486. Z. or T.

Proclus (Theol. Plat. Taylor's ed., i.267) says that according to Orpheus,

'This Goddess (RHEA, Zoe), when considered as united to Saturn [Chaldee number 666] by the most exalted part of her essence, is called Rhea; but considered as producing Jupiter, and together with Jupiter unfolding the total and partial orders of the Gods [i.e., the powers of the Sensible World], she is called Ceres.' This is a very important distinction to bear in mind.

Now Rhea, as Ceres, in Hymn XIV, is called 'brass-sounding' and 'drum-beating'. This has reference to the mystical results of certain sounds and rhythm, part and parcel of what the Hindus call MantravidyÔ. I remember reading a curious old French book in the BibliothŔque de la Ville of Clermont-Ferrand, one of the books confiscated from the Minime Monastery of the same town, at the time of the Revolution. This work dealt with the magical properties of music, and described for what especial purposes the various instruments of music were used in the Temple-service of the Jews.

Now Iamblichus (De Mysteriis, III.ix) goes into the matter of the so-called Corybantic and Bacchic 'frenzies' produced by musical instruments in the Mysteries of Ceres and Bacchus; and in his Life of Pythagoras (xxv) he, further, tells us that:

'The whole Pythagoric school went through a course of musical training, both in harmony and touch, whereby, by means of appropriate chants, they beneficially converted the dispositions of the soul to contrary emotions.

For, before they retired to rest, they purified their minds of the [mental, says Quintilian] confusion and noises of the day, by certain songs and peculiar chants, and so prepared for themselves peaceful repose with either few or pleasant dreams. And again, when they rose from sleep, they freed themselves from drowsiness by songs of another character.

And sometimes by means of melodies without words they cured certain affections and diseases, and this they said was the real means of "charming".

And it is most probable that the word "charm" (epode) came into general use from them. It was thus, then, that Pythagoras established a most salutary system of

regenerating the morals by means of "music"
[MantravidyÔ].' (Op. cit. Kiessling's text, pp. 245, 246; see also Taylor, Iamblichus on the Mysteries, 2nd ed., pp. 130, 131, n.)

Music and Mantras, therefore, were used by the Orphics

to attract, or call down, the influence of the Mother of the Gods, (Rhea Zoe Eve, Mary)
who at the same time was the 'Store-house of
Life', of Divine Nature. Thus Proclus in his Commentary on Euclid (ii) tells us that 'the Pole of the World is called by the Pythagoreans the Seal (MARK) of Rhea' (Myst. Hymns, p. 63).

Now the pole is the conductor of the vital and magnetic forces of the earth-envelope, and is, therefore, appropriately called by this name, as being the seal and signature of the vital forces of Divine Nature,

whereby all diseases can be healed and all states of the soul vitalized.

Click Here to see how the gods lived in and spoke through musical instruments.

Jesus came to silence the musical children who were trying to oppress with the choral dance of Dionysus. He said that the Jewish clergy "took away the key to knowledge." They also laded them with burdens of ceremonial legalism. This is why He said:

Come unto me all ye that labor and are heavy laden, and I will give you rest. Mt.11:28

Phortizo (g5412) for-tid'-zo; from 5414; to load up (prop. as aa vessel or animal), i.e. (fig.) to overburden with ceremony (or spiritual anxiety): - lade, be heavy laden.

The rest Jesus delivered was to shut down the rabbi and doctor of the law:

Anapauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain); by impl. to refresh: - take ease, refresh, (give, take) rest.

Theoretically, it was unlawful for the tyrants of the temple to enslave the citizens of Israel and force them to build the temple with musical overseers or "excellers." Therefore, when it was demanded that the apostles pay the temple tax, Jesus provided it from "unearned income" and said that the sons of the king are exempt or free. Furthermore, Jesus refused to dance to the musical children trying to bring Him under their bondage.

Psalm 41 prophesied that Judas, whose bag carried "the mouthpieces of wind instruments," would not triumph over (blow his triumph trumpet) over Jesus when He came to teach (see Num 10:7). However, the Jewish clergy as "musical children" did play their pipes and tried to force John and Jesus into their dance of ecstasy.

But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. Nu 10:7

The alarm, suitable to tribal movements, panicing the enemy or national rejoicing where no word from God was expected is:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears with sound, i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout for joy, sound an alarm, triumph.

By this I know that thou favourest me, because mine enemy (Judas) doth not triumph over me. Ps.41:11

Triumph over in Greek is:

Thriambeuo (h2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - cause to triumph over.  

This choral dance would prove that Jesus might be a pagan god and therefore gender-confused just as we can be certain that musicians in the threskia form of worship were homosexual priests worshiping homosexual gods and goddesses:

"We know the Gnostics used sexual practices to bind the flesh and the divine together (Rev. 2:20). In most ancient pagan religions the act of procreation was a mystery;

they thought fornication and in some instances homosexuality linked them to the world of the gods.

Apparently, this sexual aspect of Gnosticism was incorporated with Jezebel's teaching which Jesus condemned (Rev. 3:20). The apostle Peter was aware of this problem." (Trombley, Who Says Women Cannot Teach, p. 176).

Of course, this would have disqualifed Jesus as the Incarnate God of the universe and made Him at least be dionysus whom they had worshipped in the temple. When they triumphed over it would involve singing the lament and dancing in the chorus as the children played their pipes or wind instruments. This would mark Jesus as just one of the "girls."

"A fourth-century BC hymn in honor of dionysus contains the invocation: 'Come to us, King Dithyramb, Bacchus, god of the holy chant.'" Dithurambos, Dithyramb "comes to be used of a Dionysiac song which possessed some infectious quality that led his votaries to take it up as a ritual chant. Later it became the subject for competition at Dionysiac festivals, and with its formalization it lost any spontaneity it may have possessed originally." "At the beginning of the fifth century BC tragedy formed part of the Great Dionysia, the Spring festival of dionysus Eluethereus. Three poets completed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross.

The MUSIC-SEXUAL-OR HOMOSEXUAL connection is total.

The cross was initially just a long pole. To hang one on it had symbolic meaning in addition to being an instrument of death. It seemed like fun to actually insert the spike or pole into your body and leave you to die. The cross piece caused the criminal to lift his hands to the power of the state. Without too much stretch, we can say that Jesus was sacrificed on the phallic symbol of a pagan system because He refused to dance to the clergy's tune learned from the ecumenical services with pagan Greeks. In fourth Maccabees (non-canonical) men were literally stretched like an "X" on a large drum frame. There, they had their bones pulled out of joint and they were beaten to death with the "baton" as their stretched skin made the "drum head."

This was what the clergy tried, and many charismatics still try, to get Jesus involved in:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Mt 11:16

And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt 11:17

Then began he to upbraid the cities wherein most of his mighty works were done, because they repented not: Mt 11:20

THIS IS APPROVING TWO EXAMPLES IDENTIFYING THE CLERGY AS WORSHIPERS OF DIONYSUS WHICH WAS STILL PART OF THE ABOMINATION OF DESOLATION IN THE TEMPLE.

That might be acceptable if it did not attempt to make non-Dionysiacs as ignorant rurals.

In Ezekiel 33 they would treat Ezekiel as they treated God. They would come to him and treat him like one who sang beautiful, sensuous songs and played musical instruments well but they would not listen to the real message and repent. Now, they wanted Jesus to sing to the god of wine and dance in the female chorus. This would prove that He was not the true Messiah. Jesus didn't fall for it.

Jerusalem was the spiritual "sodom" which, with the hope that Jesus and Join would join in and that John was "soft" shows that homosexuality had a strong grip on the clergy.

Their bodies will lie in the street of the great city, which is figuratively called Sodom and Egypt, where also their Lord was crucified. Re.11:8

 

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