Musical Worship - Ancient Commercial Prostitution

Isaiah said that Lucifer worked through the king of Babylon as his musical change agent.  The king of Tyre as Lucifer's change agent reveals that he was probably involved with homosexuality along with his musical worship. His song to the harp meant that he wanted to be remembered as a male. In Scripture, adultery or prostitution was literal but it stood for commercial exploitation of the "customers." However successful the Babylonians and Tyrians were at using music for their business interests, Isaiah warned that:

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. Is 14:11

How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations! Is 14:12

These kings, imitated by Israel, were not just fond of music. Nor were they skilled musicians who enjoyed the sound. Rather, they knew that music can manipulate others and force them to buy their services. There methods at the head of a Chemistry class would get them turned in to the local "farm." However, by selling themselves as the king-priests getting a message from the dead or from busy gods, they could peddle the most outrageous forms of mania as proof of their inspiration:

"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. 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, H.B., Gods and Men, p. 32-33).

The word "Lucifer" is derived from the Hebrew halal a common word for praise often with instruments. The viol is from an old water or wine skin.

Musical harmony as we know it was derived from the pipe organ and was called organum singing. Because instrumental music as worship was rejected, the church, especially among the celibate monks, developed choirs with harmonic music performed by young boys who looked, dressed and sang like women.

"From the very beginning, even during its Jewish phase, monasticism cultivated choral singing as an integral part of its observance. A later historographer of the church,

Eusebius, was aware of the musical predilections of the old ascetic sects in Judaism. In fact, he excerpted Philo's description of the ritual of the Alexandrian Therapeutes, which he likened to the Christian practices of his own time (4 centuries later): '

The men and women rise, each group forming a choir, and sing thanksgiving hymns to God the Redeemer' (Hist. II.17). (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

Instrumental playing violated the Sabbath. (Always did). Therefore, these were sectarian Jews who usually studied all day and frolicked all night. Early church groups were a product of strong monastic (meaning celibate?) influence:

"Philo of Alexandria had already emphasized the ethical qualities of music, spurning the 'effeminate' art of his Gentile surroundings. Similarly, early synagogue song intentionally foregoes artistic perfection, renounces the playing of instruments, and attaches itself entirely to 'the word'--the TEXT of the Bible" (Encyclopedia Judaica, 1971 ed., "Music")

For a good look at The Male Actor and Gender-Bending just Click.

We should understand that most ancient feasting and theater was religious in nature. Men began to usurp the musical methods of religious women because women could not be "clergy" in some circles. However, the "effect" is not there without the female form and style of singing. Thus, homosexuality gained an early edge in musical worship which was quite distinct from the masculine music at the places of watering:

"But perhaps we exaggerate the significance of the convention: was imitating a woman any different for an actor of Greek tragedy than imitating an epic hero? It seems valid to assume that the transformation of male to female was significant to the ancient Greeks because they took gender differences as a framing dichotomy through which to interpret the world. And while the categories slave/free and non-Greek/Greek provided similar axis, gender is especially prominent as an overt issue in the plays' plots. Thus, although it is doubtless contemporary interest that leads me to ask these questions, they are not inappropriate ones to pose.

Did Women Sing in the Thesmophoriazusae?

When we understand the practices of the Egyptian sectarian Jews we are not tempted to imitate them.

"The majority of Christian monks in Egypt and Palestine championed organized choral chant,

often in the face of a sternly opposed authority.

When all historical circumstances are taken into account, there can be no doubt that the tremendous expansion and refinement of Christian chant before Pope Gregory was due to the intensive and continuous musical activities of the monks... Soon after his (Augustine's) death, the regional - ethnic forces of Gentile Christianity caused the split in the liturgico-musical development of the Eastern and Western churches." (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

It was clear that the musical practices in Egypt, like the play at Mount Sinai, was derived from pagan sources. These practices have strong roots in the beginning and ending system of musical worship practices which began in Babylon and will end in spiritual "Babylon" not necessarily in Rome:

"Herodotus mentions that when in Egypt, he was astonished to hear the very same mournful but ravishing 'Song of Linus, sung by the Egyptians (although under another name)... Linus was the same god as the Bacchus of Greece, or Osiris of Egypt; for

Homer introduces a boy singing the song of Linus (this was soprano), while the vintage (new wine festival) is going on, and the Scholiast says that this song was sung in memory of Linus, who was torn in pieces by dogs... In some places in Egypt, for the song of Linus or Osiris, a peculiar melody seems to have been used. Savary says that, in the temple of Abydos, 'the priest repeated the seven vowels in the form of hymns, and that musicians were forbid to enter it.'

It has been noted that the ephod and other elements of the priestly clothing was first used by females. We will see later that Josephus (and Ezekiel) note that the Levites had no authority to dress in priestly (or choral) garb and enter where God met the priests. Similar to the Ishtar-Tammuz worship at the Jerusalem Temple condemned by Ezekiel, the worship came from Babylon:

"Now the name of Linus or Osiris, as the 'husband of his mother,' in Egypt, was Kamut. "When Gregory the great introduced into the church of Rome what are not called the Gregorian Chants, he got them from the Chaldean mysteries, which had long been established in Rome; for the Roman Catholic priest, Eustace, admits that these chants were largely composed of 'Lydian and Phrygian tunes.' Lydia and Phrygia being among the chief seats in later times of those mysteries of which the Egyptian mysteries were only a branch. Thes tunes were sacred--the music of the great god,

and in introducing them Gregory introduced the music of Kamut. And thus, to all appearance, has it come to pass, that the name of Osiris or Kamut, 'the husband of the mother,' is in every day use among ourselves as the name of the musical scale; for

what is the melody of Osiris, consisting of the 'seven vowels' formed into a hymn, but--the Gamut?" (Hislop, Alexander, The Two Babylons, p. 22, Loizeaux Brothers.)

This is the God worshipped in the form of the bull Apis or golden calf with music at Mount Sinai.

This, along with much more, informs us of the worship at Mount Sinai where the Israelites, who "broke down the walls" and permitted a "mixed multitude" to contaminate the "congregation," rose up to play. This is defined as singing, dancing and playing musical instruments which often (remember David?) caused people to strip off their clothes (or mind) and worse.

This form of singing, to which Christian women were later admitted, was a clergy function. The method was altered to imitate the pipe organ by musical worship teams without bringing in the literal organ. The method was used because it was found to be commercially valuable in bringing in the mixed crowd (often for the big show).

The noise of the king of Tyre and Babylon as Satan's change agents along with his musical worship team is related to the multitudes gathered together to make music. It is from:

Hamah (h1993) haw-maw'; a prim. root [comp. 1949]; to make a loud sound (like Engl. "hum"); by impl. to be in great commotion or tumult, to rage, war, moan, clamor: - clamorous, concourse, cry aloud, be disquieted, loud, mourn, be moved, make a noise, rage, roar, sound, be troubled, make in tumult, tumultuous, be in an uproar.

Adonijah and all the guests who were with him heard it as they were finishing their feast. On hearing the sound of the trumpet, Joab asked, "What's the meaning of all the noise in the city?" 1K.1:41

Bombos, ho, booming, humming, Pl.Prt.316a, Arist.Resp.475a16; b. anemou kationtos its booming sound, Hld.5.27; of thunder, Epicur. Ep.2p.46U.; buzzing in the ears, Hp.Coac.189; rumbling in the intestines, Gal.7.241:--bombo , to, barbarism in Ar. Th.1176. (Onomatop.)

êchos , ho, later form of êchê, tettix or the locust, ringing in the ears,

And there shall be signs in the sun, and in the moon, and in the stars; and upon the earth distress of nations, with perplexity; the sea and the waves ROARING; Luke 21:25

Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour: 1Pe.5:8

tettix , i_gos (but i_kos Ar. and Theoc. acc. to Hdn.Gr. ap. Choerob. in Theod.1.292 H.), ho, cicala, Cicada plebeia or allied species, a winged insect fond of basking on trees, when the male makes a chirping or clicking noise by means of certain drums or 'tymbals' underneath the wings

bombeô, ( [bombos] ) make a booming noise; the stone flew humming through the air, hum, of bees, of mosquitoes, buzz, generally of sound, buzz in one's ears,

xouthopteros , on, with nimble (or perh. humming) wings,

xouthos, rustling, whirring wings, of the cricket, of the bee, either nimble, or humming

2. chirruping or trilling larynx of the nightingale,

teretisma, atos, to, a humming, twanging, phormingôn (harp) Diog. ap. D.L.6.104 (alluding to E.Fr.200), Luc.Nigr.15, AP7.612, cf. 11.352 (both Agath.); chirruping of cicadas, Hsch

II. metaph., a mere sound or twittering, teretismata ta eidê (the Platonic ideas) Arist.APo.83a33; ta sunêthê tauta t. the ordinary prattle

phorminx, ingos, hê, lyre, freq. in Hom., esp. as the instrument of Apollo, phormingos perikalleos hên ech' Apollôn Il.1.603 , cf. 24.63, Od.17.270, Hes.Sc.203; of Achilles, phrena terpomenon phormingi ligeiêi kalêi daidaleêi Il.9.186 ; with seven strings (after Terpander's time), heptaktupos, heptaglôssos, Pi.P.2.71, N.5.24; antipsallôn elephantodeton ph. Ar.Av.219 (anap.).

2. ph. achordos, metaph. for a bow, Arist.Rh.1413a1.

The king of Tyre was also the change agent of Satan:

At that time Tyre will be forgotten for seventy years, the span of a king's life. But at the end of these seventy years, it will happen to Tyre as in the song of the prostitute: Is.23:15NIV

Take up a harp, walk through the city, O prostitute forgotten; play the harp well, sing many a song, so that you will be remembered." Is 23:16

The king of Tyre got most of his traffic (attendance) by overpowering or appeasing the customer. He came "equipped with musical instruments" and female musicians. He, himself, is called "effeminate" because he "doted on these things." His female or effeminate musicians and singers were his designated overseers. They had the power to appease the customers so that they were sold damaged goods. If he couldn't slick you out of your money with his musical females, he calmed you down with his teams so that you could be murdered. The story of Wen Amon is a perfect story to prove this. The team leader or prince calms you down and pats you on the back while finding "a soft spot to stick the dagger." "Eat, drink and be merry for tomorrow you die."

"He went and told it to the prince. The prince began to weep at the evil words which they spoke to him. He sent out his letter-scribe to me and brought me two jars of wine and a ram. He sent to me, Tento, an Egyptian singer (feminine), who was with him, saying: 'Sing for him; let not his heart feel apprehension.' He sent to me, saying: 'Eat, drink, and let not they heart feel apprehension. Thou shalt hear all that I have to say unto thee in the morning." (Barton, George A., Archaeology and the Bible, p. 452)

As we approach what many think will be the final Jubilee we should be aware that the end-time churches of all forms will return to the religion of the great harlot, Babylon, where the musical worship overseers originally began. Whatever they used for building their false system would go with them into the grave:

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

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone (In Hebrew 'grinder' is a synonym for harlot, "that being her trade.") shall be heard no more at all in thee; Re 18:22

Kenneth Sublett

Musical Worship Index