Does PSALLO Authorize Musical InstrumentsThe PSALLO in Ephesians 5 is never Musical Melody. Paul commands SPEAK the Biblical text for our LEARNING.
The Jews notated the Biblical Text. These were not tuneful notes but for emphasis. The "overseer" in the Synagogue made certain that the Scriptures were PREACHED by being READ without any personal inflections of the reader. All of Scripture can be sung to a one or two note melody if it is devided into syllables. ALL of Scripture and informed scholarship proves that the Biblical Text was sung in UNISON.
After decades after Rubel Shelly promoted Instrumental Music at Woodmont Hills church.
RUBEL SHELLY WOODMONT HILLS: PLANTING THE SEED ABOUT 1988
Romans 15:6 was used to prove that sowing discord with instruments. Unity often trumps God's Word, Logos or Regultative Principle which EXCLUDES rhetoric, singing or playing instruments which would DESPISE or BLASPHEME by keeping Jesus the only Teacher SILENT.
Rom. 15:6 That ye may with ONE MIND and one MOUTH
glorify GOD, [Theos]
even the Father
of our LORD [Kurios] Jesus Christ.
[The ONLY Lord-God made the Man Jesus to be both Lord and Christ thirty years after He was born in the FLESH.]
PAUL OUTLAWED THE GREEK ARESKOS OR GREEK PLACEO which meant SELF PLEASURE using all of the rhetorical, musical or scenic arts and crafts which created Spiritual Excitement or the LADED BURDEN.
Reading Ability and all Historical Scholars understood that this commanded UNISON speaking of "that which is written for our LEARNING."
Paul commanded that we SPEAK the Biblical Text. Most of Scripture can be "sung" to a 1, 2 or 3 note MELODY. The "notes" in Hebrew denote EMPHASIS and not pitch.
ALL false teachers say and may READ
1. that Paul commanded SINGING the Psalms, hymns and spiritual song
2A. Sing and make HARMONY with the voice.
2B. Sing and make Harmony WITH flutes, guitars, banjos, voodoo drums.
The gradualism path to apostasy by Rubel Shelly and planted professors called Jubilee "for the atonement."
1. Singing recomposed psalms to a simple melody permitted by John Calvin.
2. Alexander Campbell's book of NON SCRIPTURE songs without notes.
3. Confiscating and adding four part harmony to that song book.
4. Group singing with loud and perfected harmony.
5. Adding Worship Teams as Clergy performers singing Instrumental-based praise songs.
6. Using occasional instruments to "teach our youth to leave our movement."
7. After a decade or more of removing the faithful claiming that A SPIRIT led them to go instrumental.
8. Jude said they had no choice: he says they are FOREORDAINED.
9. John calls them SORCERERS.
PERFORMING NON BIBLICAL TEXT IS ANTI-LOGOS OR ANTI-GOD AND CHRIST.
ONE MIND WOULD OUTLAW A CLERGY VERSUS LAITY AND DEMAND UNISON.
g3661 homothumadon, hom-oth-oo-mad-on´; adverb from a compound of the base of 3674 and 2372;
unanimously: — with one accord (mind).
g2372 homoios at the same place or time: — together.
ONE MOUTH OS only as far as his tongue, only so as to talk, , to begin to speak
Job 33:2 Behold, now I have opened my MOUTH, my tongue hath SPOKEN in my mouth.
Exodus 19.8 All the people answered together,
and said, "All that Yahweh has spoken we will do."
Moses reported the words of the people to Yahweh.
sĭmŭl at the same time, together, at once, simultaneously
1Cor. 1:10 Now I beseech you, brethren, by the name of our Lord Jesus Christ,
that ye all speak the same thing,
and that there be no divisions among you;
but that ye be perfectly joined together
in the SAME MIND and in the same judgment.
SPEAK THE WORD HAS NOT, CANNOT EVER MEAN TO SING THE WORD. MUCH LESS SING YOUR WORDS dīco , dicio, to say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor, verba facio, dicto, dictito, oro, inquam, concionor, pronuntio, praedico, recito, declamo, affirmo, assevero, contendo; also, nomino, voco, alloquor, designo, nuncupo; also, decerno
legō to say, speak, to say something, i. e. to speak to the point or purpose, all the truth,
all, the whole, all things as a unity
OPPOSITE Oligos of Number, few, or of Quantity, little the community,
Opposite SCHIZO or split into groups.
Skhis-ma , atos, to,
division of opinion, Ev Jo.9.16.
Skhis-ma Name of an orkh-ēstikos , “tetrametrō ekhrōnto dia to saturikēn kai -ōteran einai tēn poiēsin” Arist.Po.1449a23 ; o. metron ib.1460a1 ; “o. melos” Id.Fr.583 ; “II. pantomimic Luc.Salt.31
John 9:16 Therefore said some of the Pharisees, This man is not of God, because he keepeth not the sabbath day. Others said, How can a man that is a sinner do such miracles? And there was a division among them.
The BEAST or Therion means "A new form of songs and singing AND Satyric Drama.
Poieō 2. create, bring into existence, b. Math., make, produce, tomēn, skhēma, orthas gōnias, 4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn Hellēsi” Id.2.53; p. Phaidran, Saturous,
HISTORY PROVES SPEAKING IN UNISON: Cantillation where any Scripture can be broken into syllables and sung with just one note.MELOS is the only Greek MELODY word in the MUSICAL sense and that confirms all of Scripture and recorded History that the singing--even by the Castrated ACappella team was in UNISON with one, two or three notes and NEVER tuneful in the modern sense.
The Pope's castrated worship team was in the CAPEL but the form was UNISON singing.
Never in recorded history did PSALLO mean musical MELODY. The Spirit guiding the writers would have been smart enough (now refuted) to have used the Greek Word:
melos , eos, to,melē, ta, lyric poetry, choral songs,
Melos is Opposite Epic or Dramatic verse, [There is no lyric Bible material]
2. music to which a song is set, tune, Arist.Po.1450a14;
Melos is Opposite. rhuthmos,
Melos is Opposite metron, Pl.Grg. 502c; Karikon = worthless, funeral song, dirge,Plat. Gorg. 502c she is bent rather upon pleasure and the gratification of the spectators.Melos is Opposite --rhuthmos , Ion. rhusmos ho: (rheō):—A. any regular recurring motion [the LADED BURDEN]
Pray then, if we strip any kind of poetry of its melody, its rhythm and its meter, we get mere speeches as the residue, do we not?
Logos IV. inward debate of the soul, reflection, deliberation
Regulative and formative forces, derived from the intelligible and operative in the sensible universe,
VI. verbal expression or utterance, lego, lexis
-Lexis A.speech, OPPOSITE ôidê
-ôidê, 1.art of song 5. = eppsdê, spell, incantation
4. text of an author, OPPOSITE exegesis [Peter's private interpretation outlaws exegesis]Arist.En1142a26
2. Melos is Opposite ergmata, Pi.N.4.6; opp. ergon, Th.5.111; business, occupation
Like the Cretans
Krēt-ikos , ē, on, Cretan fashion so egeire . . , Mousa, K. “melos” Cratin.222; to K. (sc. metron) Heph.13.1; K. rhuthmos, rhuthmoi, D.H.Comp.25, Str.10.4.16.
Strab. 10.4.16 I mean the Pyrrhic dance, so that not even their sports were without a share in activities that were useful for warfare; and likewise that they should use in their songs the Cretic rhythms, which were very high pitched, and were invented by Thales, to whom they ascribe, not only their Paeans [paianas Apollōni Paiani”] and other local songs [ ōdas], but also many of their institutions; and that they should use military dress and shoes; and that arms should be to them the most valuable of gifts.
Thus our inferences as to the expression intended by music that has not come under European influence are unsafe, and the pleasure we take in such music is capricious. The effort of thinking away our harmonic preconceptions is probably the most violent piece of mental gymnastics in all artistic experience, and furnishes much excuse for a sceptical attitude as to the artistic value of preharmonic music, which has at all events never become even partially independent of poetry and dance.
THE COMMAND IS TO SPEAK THAT WHICH IS WRITTEN FOR OUR LEARNING
GOD PROVIDED NOTHING WHICH CAN BE SUNG.
NO ONE SUNG UNTIL CALVIN ALLOWED SOME PSALMS TO BE REWRITTEN TO A SIMPLE MELODY SUNG IN UNISON.
MELODY IS NOT HARMONY
HARMONY EXCLUDED MORE THAN ONE SUNG IN UNISON: MAGADIZING WAS CHILDREN AND WOMEN SPEAKING ONE OCTIVE ABOVE THE MELODY.
"Although the music of ancient Greece consisted entirely of melodies sung in unison or, in the case of voices of unequal range, at the octave, the term harmony occurs frequently in the writings on music at the time "Harmony was simply a scale type." Britannica
"When children sing the ditty found throughout Europe, "It's raining, it's pouring" (g-g-e-a-g-e), they sing a melody that uses a scale of three tones; two intervals are used, a wide one (minor third) and a narrow one (major second).
Ancient Greek Music If they were familiar with the ancient Greek culture, attempts to reconstruct the music would not result in monotonous recitations, based on stereotyped assumptions that Greek music consisted entirely of melodies sung in unison, and that there was no polyphony or complex arrangements. In my view, this music, being the product of a highly sophisticated culture, which encouraged free thinking and creativity and thus created masterpieces in all fields of artistic expression, could not be an exception.
Hilary (A.D.. 355) says:
"In the songs of Zion, both old and young, men and women, bore a part; their psalmody was the joint act of the whole assembly in unison." Chrysostom says: "It was the ancient custom, as it is still the custom with us, for all to come together and unitedly join in singing. The young and old, rich and poor, male and female bond and free all join in the song." Jerome says: "Go where you will, the plowman at his plow sings his joyful hallelujahs, the busy mower regales himself with his psalms, and the vinedresser is singing one of the psalms of David."
53. Service to God is praise of him. It must be free and voluntary, at table, in the chamber, cellar, garret, in house or field, in all places, with all persons, at all times. Whosoever teaches otherwise is no less guilty of falsehood than the Pope and the devil himself.
As a further consequence it is necessarily impossible for divine service to exist.
Even if all the choristers were one chorister, all the priests one priest,
all the monks one monk, all the churches one church,
all the bells one bell; in brief if all the foolish services offered to God in the institutions,
churches and cloisters were a hundred thousand times greater and more numerous than they are,
what does God care for such carnivals and juggling?
54. Therefore, God complains most of the Jews in the second chapter of Micah,Michah.2.Instrumental.Music.Replaces.Gods.Word
because they silenced his praise, while at the same time,
they piped, blared and moaned like we do.
True divine service of praise cannot be established with revenues,
nor be circumscribed by laws and statutes.
High and low festivals have nothing to do with it.
It emanates from the Gospel, and certainly is as often rendered by a poor,
rustic servant as by a great bishop. 
Speak or LEXIS is the Opposite of ODE or Sing..
SPIRIT has the only result of producing WORDS
If you are filled with SPIRIT or the Word of Christ in colossians 3, you SPEAK only "that which is written for our LEARNING.
Paul's command was to SPEAK the Biblical Text. Both ODE and PSALLO are in the HEART meaning silent. That is because the Latin Psallo commands singing and dancing and playing instruments. Psallo as PLUCKING used by instrumentalists speak of an older male such as Alexander the Great plucking his lyre to seduce a young man whose hairs had been plucked. There is no exception.
A Christian is a Disciple is a Student of what Jesus commanded to be taught meaning the Prophecies concerning Him. Musical instruments were the weapons of producing KOMA or Sorcery
Paul never said sing and make melody in the heart: He said ODE and PSALLO in the heart meaning SILENT because the word ODE was connected Sorcery:
“Strong’s #5331, pharmakeia, from pharmakon, a drug, which in the Gr. writers is used both for a curative or medicinal drug, and also as a poisonous one. Pharmakeia means the occult, sorcery, witchcraft, illicit pharmaceuticals, trance, magical incantation with drugs (Gal. 5:20; Rev. 9:21; 18:23; Sept.: Ex. 7:22; Is. 47:9, 12). (pp. 1437, 1438)This is self-evident because:
Psallō in the heart is to be silent because the SPEAKING in tongues includes "playing on a musical instrument." No one can interpret the message of a mechanical instrument and therefore has no place in a School of Christ.
1Cor. 14:28 But if there be no interpreter, let him keep SILENCE in the church;
and let him speak to himself, and to God.
MAKING MELODY OUT LOUD WHILE SPEAKING THE WORD would be the mark of the effeminate or the CONCISION who were the male prostitutes or Catamites whom Paul silenced in Philippians 3:2 by keeping WORSHIP IN THE SPIRIT in contrast to IN THE FLESH. Religious musicians were always homosexual so that it is very rare that a male is found playing and singing.
Vocal Psallo NOT Scripture Psallō IN THE HEART. The Key factor in the Christian Assembly is that both male and female remain silent "so that we might all come to a knowledge of THE TRUTH or the Word of God.
Religious Music was performed by WOMEN or EFFEMINATE Males. They both thought that their condition and public persona proved that they spoke for the "gods." Paul then rebuffs all mediators in song and sermon but the READER because:
1Tim. 2:5 For there is one God,
and one mediator between God and men,
the MAN Christ Jesus;
Paul prevents and outbreak of WRATH or an ORGY
Evil Psallo I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, 2 canituri,” SING and cantare marked as SORCERY. saltare et cantare; Cic. Catil. 2.10.23 Suet. Tit. 3
In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting. There is a persistent association between theatrics, bad rhetoric and effeminacy.
Rhetoric was forever at pains to disentangle itself from unwanted associations with female deception and histrionic art, because it was viewed as the art of socially weak women and slaves,and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups.
However, from the examples that I have just used, it is evident, I believe, which art of music I consider appropriate in the training of the orator and to what extent.
Nevertheless, I think that I need to be more explicit in stating that the music which I prescribe is not the modern music which has been emasculated by the lascivious melodies of the effeminate stage and has to no small extent destroyed the amount of manly vigor that we still possessed.
I refer rather to the music of old with which people used to sing the praises of brave men and which the brave themselves used to sing.
But this fact does not justify degeneration into sing-song or the effeminate modulations now in vogue. There is an excellent saying on this point attributed to Gaius Caesar while he was still a boy:
"If you are singing, you sing badly; if you are reading, you sing."
ēlĕgans I. In the ante-class. period in a bad sense, luxurious, effeminate, fastidious, nice: elegans homo non dicebatur cum laude
“mulier (Phryne—with formosa),”
mŭlĭer , II. [select] Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,” Plaut. Bacch. 4, 8, 4.
Cic. Catil. 2.10.23 In these bands are all the gamblers, all the adulterers, all the unclean and shameless citizens.
These boys, so witty and delicate,
have learnt not only to love and to be loved,
not only to sing and to dance,
but also to brandish daggers and to administer poisons;
and unless they are driven out, unless they die, even should Catiline die, I warn you that the school of Catiline would exist in the republic.
But what do those wretches want? Are they going to take their wives with them to the camp? how can they do without them, especially in these nights? and how will they endure the Apennines, and these frosts, and this snow? unless they think that they will bear the winter more easily because they have been in the habit of dancing naked at their feasts. O war much to be dreaded, when Catiline is going to have his bodyguard of prostitutes!
Suet. Tit. 3 While yet a boy, he was remarkable for his noble endowments both of body and mind; and as he advanced in years, they became still more conspicuous.
He had a fine person, combining an equal mixture of majesty and grace;
was very strong, though not tall, and somewhat corpulent.
Gifted with an excellent memory, and a capacity for all the arts of peace and war; he was a perfect master of the use of arms and riding; very ready in the Latin and Greek tongues, both in verse and prose; and such was the facility he possessed in both,
that he would harangue and VERSIFY extempore.
Nor was he unacquainted with MUSIC,
but could both SING and PLAY upon the HARP sweetly and scientifically.
I have likewise been informed by many persons,
that he was remarkably quick in writing short-hand,
would in merriment and jest engage with his secretaries
in the imitation of any hand-writing he saw, and often say, "
that he was admirably qualified for forgery."
căno , cĕcĭni, cantum (ancient I.imp. cante = canite, “once canituri,” Vulg. Apoc. 8, 13), 3, v. n. and a. [cf. kanassō, kanakhē, konabos; Germ. Hahn; Engl. chanticleer; kuknos, ciconice; Sanscr. kōkas = DUCK; A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite
ka^na^kh-ē , Dor. -Kha, hē, (kanassō) Od.6.82; odontōn men k. pele gnashing of teeth, Il.19.365, Hes.Sc.164:Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate;
k. aulōn sound of flutes, Pi.P.10.39 (pl.), B.2.12, cf. S.Tr.642 (lyr.); ofthelyre, h.Ap.185.
ka^na^kh-eō , a Verb expressing various sounds, kanakhēse de KhalkosA .rang, clashed, Od.19.469; kanakhousi pēgai plash, Cratin.186; kanakhōn holophōnos alektōr crowing, ., k. melos to let a song ring loud, A.R.4.907.
1Cor. 13:1 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.
La^l-eō, Mark of the Locusts II. chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, III. of musical sounds, “aulō [flute] laleō” Theoc.20.29; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echo, magadin lalein sound the magadis, [double flute]
Of the locust and Plato calls them hoi Mousōn prophētai, The Muses were Apollon's Musical Worship Team or Sorcerers.
-kat-auleô , A. charm by flute-playing, metaphor I will flute to you on a ghastly flute, E.HF871 (troch.):--Pass., of persons, methuôn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros chelônidos psophon to be played to on the flute with lyre accompaniment,
II. in Pass., [ton monochordon kanona] parechein tais aisthêsesi . . katauloumenon subdued by a flute accompaniment, to be piped down, ridiculed, gelômenoi
2. make a place sound with flute-playing, resound with flute-playing, nêsos katêuleito Plu.Ant.56
she was skilled in Greek and Roman literature;
she could sing, play, and dance, * with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. Whether she was more prodigal of her money or her reputation, it would have been difficult to decide. Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation. She had frequently, before this period, forfeited her word, forsworn debts, been privy to murder, and hurried into the utmost excesses by her extravagance and poverty. But her abilities were by no means despicable; she could compose verses, jest, and join in conversation either modest, tender, or licentious. In a word, she was distinguished4 by much refinement of wit, and much grace of expression.
* Sing, play, and dance] “Psallere, saltare.” As psallo signifies both to play on a musical instrument, and to sing to it while playing, I have thought it necessary to give both senses in the translation.
This is a recent research into the Latin uses of the word "Psallo." In its PRIMARY use in the Greek and Latin Texts. 7.16.14
SPEAK "that which is written for our Learning"
ODE and PSALLO IN the heart. Meaning Keep it Silent
BECAUSE: LEXIS or LOGOS is the OPPOSITE of ODE which means to enchant.
Psallo is a word often connected to Apollo, Abaddon or Apollyon. He carried his bow and made the string "twang" to send forth a sinning arrow into the literal heart of enemies. He also carried the Lyre which he "plucked" intending to send forth a Love Arrow into his male of female frieds.
Abaddon or Apollyon has been unleased from the pit and is the leader of the LOCUSTS which we understand to be the MUSES as his musical worship team. The muses are known in the literature as dirty adulteresses who become SHEPHERDESSES at Apollo's Worship Center at Delphi and Corinth.
Psallo is USED primarily as:
psallō pluck, pull, twitch,ps. etheiranpluck the hair: esp. of the bow-string, toxōn kheri psallousi neurastwangthem, E.Ba.784; “kenon kroton” Lyc.1453; ek keraos ps. belossend a shaft twanging from the bow,
When used of musicalinstruments Psallo means play or pluck II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron:
Jesus said MY WORDS are SPIRIT and LIFE. As the antithesis to the "spirit" as a person or people
Ventus , B. personified as deities, the winds: te, Apollo sancte, omnipotens Neptune, invoco; Vosque adeo, Venti! Turpil. ap. Cic. Tusc. 4, 34, 73 Lucr. 5, 1230 (1228); cf. Ov. H. 17 (18), 37.—The Spirit OF God is the BREATH of God and not a "people."
Spīrĭtus The air: imber et ignis, The BREATH of a god, inspiration: “ spiritum Phoebus [Apollo, Abaddon, Apollyon] mihi, Phoebus artem Carminis Carmen , dedit, poetic spirit or inspiration,
Mark 6.7 He called to himself the twelve, and began to send them out two by two; and he gave them authority over the unclean spirits.
Hor. C. 1, 7, 23;Q. Horatius Flaccus, Odes (ed. John Conington)Let others Rhodes or Mytilene sing,
Or Ephesus, or Corinth, set between
Two seas, or [Baccho] Thebes, or [Apollo] Delphi, for its king
Each famous, or Thessalian Tempe green;
There are who make chaste Pallas' virgin tower
The daily burden of unending song,
And search for wreaths the olive's rifled bower:
The praise of Juno sounds from many a tongue,
Telling of Argos' steeds, Mycenae's gold.
Luke 8:2 and certain women who had been healed of evil spirits and infirmities: Mary who was called Magdalene, from whom seven demons had gone out;
Psallo marks as Lawless those who used a "guitar pick", beat on a drum or blew a flute.
The Phrase: psallere saltare elegantius,ē-lēgo , āvi, 1, v. a., I.to convey away (from the family) by bequest, to bequeath away,The Phrase: “cantare et psallere jucunde,”
pulso I. Lucr. 4, 931), to push, strike, beat (cf.: tundo, ferio, pello).
Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” (harp) Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62.
A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet:
C. To drive away, remove, put out of the way
Psalmus , = psalmos,
I. In gen., to play [psalmus] upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25,
Elego I. to convey away (from the family) by bequest, to bequeath away,
Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature; she could sing, play, and dance, with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity.
jūcundus (jōcundus ), a, um, adj. jocus, I. pleasant, agreeable, delightful, pleasing (syn.: gratus, blandus; “class.): est mihi jucunda in malis et grata in dolore vestra erga me voluntas, “verba ad audiendumThe Graces as Muses were "blue-eyed blond musical prostitutes." They were Abaddon-Apollyon's Praise Team.
mălus , evil, wicked, injurious, destructive, mischievous, hurtful : carmen, i. e. an incantation, Leg. XII. Tab. ap. Plin. 28, 2, 4, § 17: “abi in malam rem,” go and be hanged! burdensome, plagis
“male tibi esse malo quam molliter,” I would rather you should be unfortunate than effeminate, Sen. Ep. 82, 1: “cantare et psallere,” Suet. Tit. 3:
The Phrase: gratus, blandus; The New Hermeneutics or the Kairos Time
"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.
Grātus or kharis religion beloved, dear, acceptable, pleasing, agreeable “Herophile Phoebo grata and: “superis deorum gratus (Mercurius) et imis, “carmina,” id. C. 1, 15, 14; 3, 11, 23: “artes,” id. ib. 4, 13, 22: “error mentis, favorite, darling: deserving or procuring thanks Grata testudo Jovis,” [G1361 Diotrephes]Grata or GRACE in the sense of the Graces and Muses who were musicians under Apollo or Abaddon at Delphi where the Phythian serpent was worshipped. Other forms are:
testūdo Hermes made the first lute or lyre from a tortoise-shell while still in his crib. He is a type of Jubal. 1. Of any stringed instrument of music of an arched shape, a lyre, lute, cithern
Mercŭrĭus , ii, m., = Hermēs, as a herald, the god of dexterity; in speaking, of eloquence; the bestower of prosperity; the god of traders and thieves; the presider over roads, and conductor of departed souls to the Lower World:
Mercury or Hermes (Kairos) while still in his cradle scouped out a turtle and made the first lyre: the turtle should be graceful that it would be worshipped even today for its contribution Diotrephes
He gave this harp to Apollo, Abaddon or Apollyon who is YOUR musical worship leader even today.
G1361 Diotrephes dee-ot-ref-ace' From the alternate of G2203 and G5142; Jove nourished; Diotrephes, an opponent of Christianity: From:.
Trepho (g5142) tref'-o; a prim. verb (prop. threpho, but perh. strength. from the base of 5157 through the idea of convolution); prop. to stiffen, i.e. fatten (by impl. to cherish [with food, etc.], pamper, rear): - bring up, feed, nourish trephô similar words mean that the was RAISED UP by Zeus.Hor. Ars 395 Orpheus, the priest and interpreter of the gods, deterred the savage race of men from slaughters and inhuman diet; hence said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion
“Pythia cantica” Hor. Ars 414, songs like the hymns which were sung in honor of Apollo, by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing.
khairō1. c. dat. rei, rejoice at, take pleasure in a thing, “nikē”Il.7.312; “phēmē” Od.2.35; “dōrō” Hes.Op.358; “molpa [sing and dance], hē, (melpō)A.dance or rhythmic movement with song, 2. more freq. song, suriggos ekhōnthe note, klagg-ē
Everett Ferguson Congregational Singing in Early Church
As "doctors of the Law take away the key to knowledge" Everett Ferguson quotes a lot of Scripture and church history but misses the rest of the story not part of his thesis.
Churches and theologians have probably spend more time trying to justify the use of music in the assemblies of Christ than teaching the lost. That is because the lust of the eyes and ears looks in vain for the use of any kind of "music" in connection with God's people from Genesis to Revelation. To the contrary, the Word asssociates musical instruments with Lucifer, warriors threatening the enemy, unauthorized sacrificial exorcism, prostitutes and Sodomites.
LEAVEN from ACU requested Teresa D. Welch, an instrumentalist to review Danny Corbitt's Missing More than Music. Teresa does not endorse the ANTI-instrumentalists rehash as well as they might have hoped. Danny says that Paul and Silas sang hymns because they would not have their musical instruments with them. I have worked on the HYMN word from Greek and Latin text and found that there was two VENUES of performing hymns.
In the Bible sense a Hymn is a prayer from recorded Scripture.
When Hymns are SUNG the literature adds a word for SING and HYMN
When Hymns are accompanied with instruments they most often identify Dionysus or Apollo (Abaddon, Apollyon) as the "gods" being praised.
See the two major PSALLO words which are never DEFINED. Instead, I will show how the words are used having several meanings. If we twang a bowstring to send forth a singing arrow into a literal heart then PSALLO would obligate the instrumentalists because there is very little about twanging a HARP string and then the examples are ugly or even forbidden.
Lynn Anderson The Beginning of Musical Idolatry
Danny Corbitt and Matt Dabbs Psallo ripening issues
Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma
John T. Willis 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality. People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.
Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma
Quick Added Notes 4.06.13
These represented all of the pagan sects in Rome such as those of Dionysus and Orpheus. Both could be pointed out on the days when types of foods were available or prepared in the marketplace or the pagan temples in the Agora: in Athens it was quite separated from the Ekklesia for word-only discussions. The men who translated the Septuagint or LXX were aware that the PSALLO-based words pointed to making war or making strang love in the marketplace. Any lawful citizen able to attend the assembly was swept up by slaves using a red, polluted rope and driven to the ekklesia for instruction only.
A gang of slaves, called Scythians, carrying ropes dipped in red ochre (miltos, hence Miltiades, i.e. the Red-Haired) would travel through the city on the days the Ecclesia was to meet, and would lash those citizens not in attendance with their ropes. With garments thus stained, shamed citizens could legally carry out no business until they visited the meeting grounds of the Ecclesia on the hill called the Pnyx.-psallō , fut. so miltokharēs skhoinos psallomenē a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, AP6.103 (Phil.):
-Phurô I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, to be doomed to have one's hair defiled with earth, II. metaph. to mingle together, confuse, bioton ek pephurmenou kai thēriōdous diestathmēsato from a confused and savage state, E.Supp. 201.
Agora a^g, as, Ion. agorē , ēs, hē, (ageirō):— 2. market-place,2Corinthians 2:14 Now thanks be unto God, which always causeth us to triumph in Christ,
III. business of the agora:1. public speaking, gift of speaking, mostly in pl., eskh' agoraōn withheld him from speaking, generally, provisions, supplies,
Agoraios b. agoraios, hē, market-day, IGRom.4.1381 (Lydia). (The distn. agoraios vulgar, agoraios public speaker, drawn by Ammon., etc., is prob. fictitious.)
Agorazō a^g, fut. asō Ar.Lys.633,
Men. 828:—frequent the “agora, hai gunaikes a. kai kapēleuousi” Hdt.2.35, 4.164, cf. Arist.Ph.196a5, Com.Adesp.710; occupy the market-place, Th.6.51.
and maketh manifest the savour of HIS knowledge by us in every place.
2Corinthians 2:15 For we are unto God a sweet savour of Christ, in them that are saved, and in them that perish:
2Corinthians 2:16 To the one we are the savour of death unto death;
and to the other the savour of life unto life. And who is sufficient for these things?
2Corinthians 2:17 For we are not as many,
polus great, mighty, “megas kai pollos egeneo” Hdt.7.14, cf. E.Hipp.1; ho p. sophistēs, stratēgoswhich corrupt the word of God:
stra^tēg-os 5. an officer who had the custody of the Temple at Jerusalem, “ho s. tou hierou” Ev.Luc. 22.52, Act.Ap.4.1, J.BJ6.5.3.
but as of sincerity, but as of God,
in the sight of God
speak we in Christ.
ka^pēl-euō , A. to be a retail-dealer, drive a petty trade, Hdt.1.155, 2.35, Isoc.2.1The Psallo based words MARK a church, Kirke, or Circe: it is the mark of marketimereligion. You remember that Jesus cast the pipers inducing singing or lamenting or dancing into the MARKETPLACE along with all of the other merchandisers: there SHALL NOT--CANNOT be a Canaanite or Trader in the House of God
2. metaph., k. ta prēgmata, of Darius, Hdt.3.89; k. ta mathēmata sell learning by retail, hawk it about, Pl. Prt.313d; “k. ton logon tou theou” 2 Ep.Cor.2.17; adultery
Zech 14:21 Yea, every pot in Jerusalem and in Judah shall be holiness unto the Lord of hosts: and all they that sacrifice shall come and take of them, and seethe therein:
and in that day there shall be no more the Canaanite in the house of the Lord of hosts.
Kennaniy (h3669) ken-ah-an-ee'; patrial from 3667; a Kenaanite or inhabitant of Kenaan; by impl. a pedlar (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker.
H3667 kena‛an ken-ah'-an From H3665 ; humiliated; Kenaan, a son of Ham; also the country inhabited by him:—Canaan, merchant, traffick.
Mercātor , ōris, m. id.,I. Lit.: “venalicii mercatoresque,” Cic. Or. 70, 232: “multi ad eos mercatores ventitant,” Caes. B. G. 4, 3. —II.Transf.A. A dealer, speculator: “non consules, sed mercatores provinciarum,” Cic. post Red. in Sen. 4, 10.—Rarely of a petty dealer: “vilis sacci mercator olentis,” Juv. 14, 269.—B.A buyer, purchaser: “signorum,” Cic. Verr. 1, 20, 60: “veneni,” Juv. 13, 154.
The word CHURCH does not define the Ekklesia:
kuklos of the circle which hunters draw round their game,
3 place of assembly, of the “agora, hieros k.” Il.18.504; “ho k. tou Zēnos tōgoraiou”
b. crowd of people standing round, ring or circle of people,
Eur. Hipp. 953 Continue then your confident boasting, take up a diet of greens and play the showman with your food, make Orpheus your lord and engage in mystic rites, holding the vaporings of many books in honor.2  For you have been found out. To all I give the warning: avoid men like this. For they make you their prey with their high-holy-sounding words while they contrive deeds of shame.The Dionysus worshipers are those who do "evil things in the dark." Paul silenced them and everything which did not contribute to PEACE AND EDIFICATION which in this case is ONLY Education by "using one mind and one mouth to speak that which is written for our learning" (Romans 15). Disciples are students or learners and musical performances and speaking in tongues are identified by the same word for SPEAK.
2 Theseus compares Hippolytus to the Orphics, an ascetic religious sect that ate a vegetarian diet and had a reputation for hypocrisy.
Bakkh-euō , A. celebrate the mysteries of Bacchus, Hdt.4.79.
Eur. IT 1243 Lovely is the son of Leto,  whom she, the Delian, once bore in the fruitful valleys, golden-haired, skilled at the lyre; and also the one who glories in her well-aimed arrows.  For the mother, leaving the famous birth-place, brought him from the ridges of the sea to the heights of Parnassus, with its gushing waters, which celebrate the revels for Dionysus.
The only role of the Ekklesia or synagogue is to teach "that which is written for our learing." In romans 15 the method is to "use one mind and one mouth." The "tongue" of this mouth is defined as the opposite of the tongue of a wind instrument.
There is no singing in the tuneful sense in the Bible related to spiritual people. In This paper David makes it certain that the Psalms are NARRATED to teach the unaltered Word of God for the purpose of INSTRUCTION.
The Direct commands, examples and necessary inferences since church is a school for disciples is that the Word of God is spoken clearly and never musically.The key word used to justify what has already taken place is the Greek "psallo." Psallyohas no musical connection but was used by the Hebrew scholars translating the Septuagint (LXX). In the Greek world the only "musical" concept derived from Apollo's (Abaddon, Apollyon's) bow which twanged to send forth "singing" arrows into the literal heart. His lyre was used to send forth "love arrows." Making the heart strings sing or "shooting forth hymns" derives from its warfare and perverted application in pagan religions.
Hebrew singing or rhymic prose had no fixed meter: "Since in all languages a sentence changes its meaning by mere intonations without adding or removing nounds, verbs or particles, the Syrian scholars who laid the fundament of correct language discovered a way by devising accents... and since these accents are a form of musical modulation, there is no possibliity of learning them except by hearing and through tradition from the master's tongue or the pupils hear. It follows from Bar Hebraeus' statement that the main concern was to secure an unadulterated and unadulterable version of the text This required (a) correct vocalization and (b) correct intonation. (p.87) " Nor is there a constant number of feet in a verse. Hebrew poetry is poetic p;rose. "Hebrew prosedy differes fundamentlly from classical prosody. No poem is written according to a repeating meter scheme.
Classical verse is mechanical; Hebrew verse is dynamic (p 89. Music in Ancient Western Orient Curt Sachs
The word Law or nomos defines a legal form of performance dedicated most often to Apollo (Abaddon, Apollyon)
The godly Jews who rested on the Prophets (by Christ) understood:
To the law and to the testimony:
if they speak not according to this word,
it is because there is no light in them. Isa 8:20
The translators of the LXX clearly understood that it was because of musical idolatry at Mount Sinai that God had turned them over to worship the starry host. When the elders demanded a King like the nations God knew that they wanted to worship like the nations. He warned them and abandoned them.
The influence of the Catholic church restores a priesthood and of course what they call "Levitical singers."
The Qahal, synagogue or Church of Christ was ordained in the wilderness to Rest, read and rehearse the Word. This quarantined the godly people from the always Sun or heavenly body worship among the canaanites and Jews.
LACKING ANY BIBLICAL COMMAND, EXAMPLE OR REMOTE INFERENCE OF INSTRUMENTS IN THE EKKLESIA OR SYNAGOGUE, PSALLO IS THE LAST RESORT.
Although it simply means to strike or smite a string with your fingers, in the Bible it is always translated to SING. If an instrument is intended it is named.
The Hebrew Scholars who translated the LXX or Septuagint used 'psallo' words because they understood that the only true psalms or mizmor EXCLUDED instruments unless they identify a function of the God-abandoned sacrificial system. Then ONLY Levites were permitted to make noise but never close to any holy thing and never IN the Holy Place which pictured the Ekklesia or Synagogue when those who accepted the blood sacrifice Chirst and were baptized in the 7-foot deep laver could enter into the Holy Place.
Most of the other Psalms are historical and are useful for SPEAKING in order to TEACH and admonish. Many of the other types of songs were used (remember Gideon) to threaten the enemy. Halal or praise means to make yourself vile: because the Israelites had been turned over to worship the starry host without God's Theocratic rule, the noise was a threat to rob, sodomize and the murder the enemy. Music was ALWAYS from tribal times to validate the superiority of the Alpha Male aka pulpit pastor of mega churches.
FIRST LOOK AT THE INTERMEDIATE LEXICON AS SUMMARY.
You will note that a different word is used for SINGING in the Old and New Testament:
In Psalm 41 it was prophesied that Judas would not be able to triumph over Messiah: that act is excluded from the synagogue and excludes "vocal or instrumental rejoicing" including elevated forms of speech. The Judas bag was always attached to a flute case for carrying the mouth pieces of wind instruments. At the last supper Jesus had ground the SOP for him as the mark that Satan had entered him.
psallō psaō I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps. to twang the bow-string, Eur.; belos ek keraos ps. to send a shaft twanging from the bow, Anth.; so, skhoinos miltophurēs psallomenē a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, id=Anth.II. to play a stringed instrument with the fingers, not with the plectron, Hdt., Ar., Plat.2. later, to sing to a harp, sing, NTest.
Psaō [a_, but always contracted],A. “psē” S.Tr.678, inf. psēn （peri-) Ar.Eq.909: impf. contr. 3sg. prob. apepsē (v. apopsaō): fut. psēsō （apo-) Id.Lys.1035: aor. “epsēsa” Hippon.12 Diehl, A.R.3.831, (kat-, peri-) Pl.Phd.89b, Ar.Pl.730:—Med., freq. in compos. with apo:— Pass., aor. epsēthēn （sun-) LXX Je.31(48).33 (v.l. -psēsth-）; epsēsthēn （an-) BGU530.17 (i A. D.): pf. epsēsmai （par-) Poll.4.152. Later authors sts. use the contr. by a_ instead of ē, inf. “ana-psan” Dsc.4.64:— rub, wipe, “tis omphalētomos se . . epsēse kapelousen;” Hippon. l. c.; polish, PHolm.3.19; rub smooth, “austaleas d' epsēse parēidas” A.R. l. c.; of solderers, PLond.3.1177.285 (ii A. D.).
Psallo by itself just means to PULL with your fingers and NEVER with a plectrum.
In a GODLY sense as used in the Bible it is always translated as to sing. While Apollo (the Psallo message) plucked his lyre to shoot forth love arrows, the godly people used it for the "shooting" word in "shooting forth hymns."
"And so the lyre-player [psaltees] not rudely nor inelegantly put the curb on Phillip when he tried to dispute with him about the way to strike [psalles] the lyre [psalteerion]. -Moralia, p. 67F.
Again, Phrynichus says in The Phoenician Women, '
With plucking [psalmoisin]
of the strings they sing [aeidontes]
their lays in answering strains." -The Deiphnosphists, XIV. 635, Translated by Gulick, Vol. 6, p. 427.
The Greek word psallo simply means to pluck. It was first used to pluck a bow string or a harp string or the excess hair on a male prostitute. When you suddenly let go the meaning includes to hurt or grind the enemy into a fine powder.
With no authority for Musical Instruments as tools of worship, the Greek word PSALLO is used to show that God actually commanded musical worship. This is not true.
Summary: An inspired passage from the Bible written as prose was not written so that it could be accompanied with a mechanical instrument.
However, an inspired passage written in a poetic form can be "spoken in the heart", spoken out loud, sung, or played with a mechanical accompaniment.
By saying "song" we mean that we can use it to meditate, speak, sing or sing with an instrument.By this definition we do not demand that either be done.
Therefore, when Paul told the early Christians to speak the psalms one to another he knew that a psalm could be chanted by a group while prose is not usually suitable. The psalms which he commaned are from the Greek noun form:
Psalmos (g5568) psal-mos'; from 5567; a set piece of music, i.e. a sacred ode (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 at the definition from Strong's even though scholarship denies that it included instruments at the time:
- A sacred (inspired) ode
- Accompanied by the
- or other Instrument
"Music, like the word, also may have symbolic meaning. The basic elements out of which musical symbolism is built are sounds, tones, melodies, harmonies,
- and the various musical instruments,
- among which is the human voice.
Sound effects can have a numinous (spiritual) character and may be used to bring about contact with the realm of the holy. A specific tone may call one to an awareness of the holy, make the holy present, and produce an experience of the holy.
This may be done by means of drums, gongs, bells, or other instruments.
The ritual instruments can, through their shape or the materials from which they are made, have symbolic meaning. The Uitoto in Colombia, for example, believe that all
the souls of their ancestors are contained in the ritual drums. (See liturgical music BM members.)
Strabo, Geography [10.3.9] But I must now investigate how it comes about that so many names have been used of one and the same thing, and the theological element contained in their history.
Now this is common both to the Greeks and to the barbarians, to perform their sacred rites in connection with the relaxation of a festival, these rites being performed sometimes with religious frenzy, sometimes without it; sometimes with music, sometimes not; and sometimes in secret, sometimes openly.
And it is in accordance with the dictates of nature that this should be so, for, in the first place, the relaxation draws the mind away from human occupations and turns the real mind towards that which is divine; and,
secondly, the religious frenzy seems to afford a kind of divine inspiration and to be very like that of the soothsayer; and,
thirdly, the secrecy with which the sacred rites are concealed induces reverence for the divine, since it imitates the nature of the divine, which is to avoid being perceived by our human senses; and,
fourthly, music, which includes dancing as well as rhythm and melody, at the same time, by the delight it affords and by its artistic beauty,
brings us in touch with the divine, and this for the following reason;
for although it has been well said that human beings then act most like the gods when they are doing good to others,
yet one might better say, when they are happy; and such happiness consists of rejoicing, celebrating festivals, pursuing philosophy, and engaging in music; for,
if music is perverted when musicians turn their art to sensual delights at symposiums and in orchestric and scenic performances and the like,
we should not lay the blame upon music itself, but should rather examine the nature of our system of education, since this is based on music.
AUGUSTINE: on the Morals of the Manichaeans riducules them for believing that the gods came out of brass and other things by rubbing or abrading (making melody with them). Augustin uses figurative language much like Paul's warning that our melody must never be external but in the heart:
Augustine on the Psalms noted that making melody external is a work which David always performed trying to find God whom he believed had become lost:
"Make melody unto the Lord upon the harp: on the harp and with the voice of a Psalm" (ver. 5). Praise Him not with the voice only; take up works, that ye may not only sing, but work also.
- He who singeth and worketh,
- maketh melody with psaltery and upon the harp.
Therefore, Augustine makes the harp figurative:
Now see what sort of instruments are next spoken of, in figure: "With ductile trumpets also, and the sound of the pipe of horn" (ver. 6). What are ductile trumpets, and pipes of horn?
Ductile trumpets are of brass: they are drawn out by hammering; if by hammering, by being beaten,
ye shall be ductile trumpets, drawn out unto the praise of God, if ye improve when in tribulation: tribulation is hammering, improvement is the being drawn out. Job was a ductile trumpet.
When one speaks to teach and admonish one another Paul outlaws the nerve-frazzling forms of instrumental pagan "singing" where external singing was always a secular act. The spiritual form of worship was to teach the inspired word with "melody" in the heart. In a parallel passage to the Colossians, the "melody" means with "grace" in the heart. When one speaks with a "lilting voice" they are speaking melodiously or gracefully - but not with an instrument.
Paul makes it clear that the "psalmos" which is to be sung is accompanied with the instrument of the "harp of God" or the fruit of the lips. The verb form "psallo" or the method of making the melody is in the heart gracefully.
If Paul had not made this distinction there would have been no difference between the carnal worship of the pagans and the "in spirit and in truth" worship which Jesus accetps. If he had not made the distinction there would have been no difference between the pagan singing in the Corinthians pagan temples with instruments and Christian speaking or chanting which is a Christian group activity.
We do not think anyone has ever claimed authority from Scriptures to use the organ in worship. They only claim it is not condemned. It is used as an assister in worship...Prayer, praise, thanksgiving and making melody in the heart (mind) unto the Lord are acts of worship ordained of God, but no authority do we find for the organ."
We cannot, therefore, have much confidence in modern efforts of musical churches to "evangelize" everyone into theatrical performance which can never be "worship in spirit and in truth." Only as a last resort, having abandoned the Bible, is "contending over words" used to force people into something they would never promote to the point of creating a sectarian division between God's people.
It should be noted that if "instruments" are inherent in the word psallo then each singer must have their own instrument or they cannot psallo. If all human experience is not adequate, it may help to summarize some of the evidence which denies that psallo gives the authority for instrumental worship. First, look at one of the examples:
Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; Ephesians 5:19
These are all the inspired text of the Bible and are therefore "Spirit" or the product of Jesus Christ as Spirit or Word.
Hymns "was that part of the Hallel consisting of Psalms 113-118; where the verb itself is rendered 'to sing praises' or 'praise' Acts 16:25; Heb 2:12. The Psalms are called, in general, 'hymns,' by Philo; Josephus calls them 'songs and hymns.'" Vine on Humneo
We can settle the issue quickly and you can move on. Psallo does not meant just "play the harp." If Psallo still meant to sing a song with musical accompaniment then Paul said:
Speaking (teaching, dialoguing) to yourselves in psalms and hymns and spiritual songs,
(singing) and (singing with instruments) in your heart to the Lord; Ephesians 5:19
Well, don't accuse the Holy Spirit of Christ with being confused!
Or is this typical parallelism which says:
Speaking to yourselves in psalms and hymns and spiritual songs,
Which just says in another parallel way:
singing and making melody in your heart to the Lord; Ephesians 5:19
The object was not what we call "worship" or God-directed, it was one-another directed to teach and admonish.
We will see that the "oding" was an act of the community and it cannot be done by one person to a group any more than speaking or dialog can be a team ministry.
From "filling up with the Spirit" or "the Word of Christ" in Colossians 3:16 the actions are:
be informed of the words of Christ (Spirit Eph 5:18; John 6:63),
speak those words one to another,
the result will be teaching and warning one another,
we will honor Christ by recycling His Words back to Him or else they are void (Isa 55)
and there will be unity which can come only through unison-type dialog and singing.
Looking at What Messiah Would bring to the World.
In Isaiah 11 Messiah would not be filled with a "little person" other than Himself. He was and is full Deity. Rather, Isaiah predicted that the Spirit which rested upon Him would be the mental disposition of God:
And the spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the Lord; Isaiah 11:2 and spirituality or "quick understanding" in the next verse.
This was the APPROVED PATTERN: The Spirit of Wisdom would rest on Jesus before He began to SPEAK in the synagogues and PREACH in all of the cities.
He left that Spirit in His Words. Later, Isaiah defines a process much like that defined by Paul in his "singing" passages.
As for me, this is my covenant with them, saith the Lord; My spirit that is upon thee, and
my words which I have put in thy mouth, shall not depart out of thy mouth, nor out of the mouth of thy seed,
nor out of the mouth of thy seeds seed, saith the Lord, from henceforth and for ever. Isaiah 59:21
Christ supplies all of our food stuffs for both body and soul. This form of presenting Christ's revelation is not new to Paul; it appears throughout the Word.
In Ephesians 4 and 5 Paul described the assembly of the pagans where wine, singing, instrumental music and dancing was used to create an artificial "spirit" so that they "prophesied." We would hear this as speaking in tongues. In chapter 4 and 5 Paul also shows that God pours out His wrath by the use of wrathful men who are identified by the modern form of out-of-your-mind charismatic preaching, shouting, hand waving and dancing across the stage. The Church Fathers identified as God inducing an effete principle, as with Saul, and this was supposed to cause people to just consider him mad.
Wherefore be ye not unwise (egotistical, ignorant, lacking understanding as in 1 Cor 14:20), but understanding what the will (what Jesus taught) of the Lord is. Ephesians 5:17
And be not drunk with wine, wherein is excess; but be filled with the Spirit; Ephesians 5:18
Speaking (speaking or dialoging) to yourselves in psalms and hymns and spiritual songs,
singing and making melody in your heart to the Lord; Ephesians 5:19
"Philo uses humnos regularly for the OT Psalms."
Even before the time of Paul there was often a clear distinction between the melody of the song and the musical instrument.
[1408a] for instance "having gone and having conversed with him," or, "having gone, I conversed with him."Also the practice of Antimachus is useful, that of describing a thing by the qualities it does not possess; thus, in speaking of the hill Teumessus,1 hesays,
There is a little windswept hill;
for in this way amplification may be carried on ad infinitum. This method may be applied to things good and bad, in whichever way it may be useful.
Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"
Under his shepherd care, in joy at his songs, were also spotted lynxes,  and there came, leaving the vale of Othrys, a pride of tawny lions, and the dappled fawn stepping beyond the tall fir-trees with its light foot 
- danced to your lyre-playing,
- rejoicing in your joyful melody.
Book 7[812d] Athenian
So, to attain this object, both the lyre-master and his pupil
must use the notes of the lyre, because of the distinctness of its strings, assigning to the notes of the song notes in tune with them;
but as to divergence of sound and variety in the notes of the harp,
when the strings sound the one tune
and the composer of the melody another,
or when there results a combination of low and high notes, of slow and quick time, of sharp and grave,
Kitharistes lyre player
Note 1 i.e. the notes (single) of the instrument must be in accord with those of the singer's voice [melody].
"The tune, as composed by the poet, is supposed to have comparatively few notes, to be in slowish time, and low down in the register;
whereas the complicated variation, which he is condemning, has many notes, is in quick time, and high up in the register." (England.)
But the only clue we have to the mental process by which in a preharmonic age different characteristics can be ascribed to scales identical in all but pitch,
is to be found in the limited compass of Greek musical sounds, corresponding as it does to the evident sensitiveness of the Greek ear to differences in VOCAL EFFORT.
We have only to observe the compass of the Greek scale to see that in the MOST ESTEEMED modes it is much more the compass of SPEAKING 'than of singing voices.
Modern singing is normally at a much higher pitch than that of the speaking voice, but there is no natural reason, outside the peculiar nature of modern music, why this should be so.
It is highly probable that all modern singing would strike a classical Greek ear as an OUTCRY; and in any case such variations of pitch as are inconsiderable in modern singing are extremely emphatic in the speaking voice,
so that they might well make all the difference to an ear unaccustomed to organized sound beyond the speaking compass.
Again, much that Aristoxenus and other ancient authorities say of the character of the modes (or keys) tends to confirm the view that that character depends upon the position of the mese or keynote within the general compass. Thus Aristotle (Politics, v. (viii.) 7, 1342 b. 20)
states that certain low-pitched modes suit the voices of old men,
and thus we may conjecture that even the position of tones and semitones might in the Dorian and Phrygian modes bring the bolder portion of the scale in all three genera into the best regions of the average young voice,
while the Ionian and Lydian might lead the voice to dwell more upon semitones and enharmonic intervals, and so account for the heroic character of the former and the SENSUAL character of the latter (Plato, Republic, 398 to 400).
 There is a statue of Pronomus, a very great favorite with the people for his playing on the flute. For a time flute-players had three forms of the flute. On one they played Dorian music; for Phrygian melodies flutes of a different pattern were made; what is called the Lydian mode was played on flutes of a third kind. It was Pronomus who
- first devised a flute
- equally suited for every kind of melody,
- and was the first to play on the same instrument music so vastly different in form
Did the fire begin at the top, and spread to the rest -- his head, his face, his phiale, his kithara, his foot-length tunic? Citizens, I direct my soul to the form of the god, and my mind sets his likeness before my eyes, his face so gentle, his stone neck so soft, his girdle across his chest that holds his tunic in place, so that some of it is drawn taut, other parts allowed to billow out. Did not the whole composition soothe the spirit to rest?
- For he seemed like one singing a melody,
- (PLUS) and one could hear him strumming, so they say, at noon-tide.
Ah, blessed ears that did so! For his song was in praise of our country. And I see him as if pouring a libation from his golden bowl . . . and as the fire spreads it destroys first the Apollo, almost touching as he does the roof, then the other statues,
the Muses fair, the portraits of the Founders, the sparkling stones, the graceful columns.
We noted that the Greek demands speaking to one another in a liturgical sense, while the pagans used singing, instrumental and dancing groups to perform for the paying audience. This was a violation of the Christian principle of a "one another" ministry.
The Theologial Dictionary of the New Testament notes that:
when ode (canticum) came to be used only for biblical songs (apart from the Psalms) used in liturgy.
From the NT passages we may gather the following elements in the concept or the Christian ode as also confirmed from other sources.
(Sing in Ephesians 5:19 is Ode (g5603) o-day'; from 103; a chant or "ode" the gen. term for any words sung)
"a. Odai are the cultic songs of the community. They are not sung by the individual, but by the community gathered for worship...
Of a piece with this is the anonymity or the early authors, as also the attachment to OT tradition. Only in the 2nd century are the authors sometimes mentioned. In the Didascalia, 2, p..5.29, we can still read: 'It thou desirest hymns, thou hast the Psalms of David."'
(5) And He says by another: "Depart from me; the sound of thine hymns, and the psalms of thy musical instruments, I will not hear."
"b. The ode is inspired. This is shown by the epithet pneumatikos, though it does indicate more generally its religious character. . . . With the inspiration or hymns is linked their improvisation, e.g., in I C. 14:26 (cr. Acts 4:24); Tert. adv. Marc., 5,b; Apolog. 39,18." (Note: and condemned, we might add).
In Acts 1:20 psalmos is the book of Psalms and in Rom. 15: sing is psallo.
- "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
The Head must be in charge as the only performer (See the above table):
Let the word of Christ dwell in you richly in all wisdom;
teaching and admonishing one another in psalms and hymns and spiritual songs,
singing (no instruments included) with grace (divine influence) in your hearts to the Lord. Colossians 3:16
And whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and the Father by him. Colossians 3:17
Paul is not confused about pagan singing to enthuse or exhilarate but connectes it to external teaching of God's Word and internal singing to God:
- 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
The Definitions Used in the New Testament
Words are defined by how they are used in the Bible. If one sings a psalm with the accompaniment of a harp then the person is singing with a harp. By analogy, if one is eating "wine" from the cluster and it is obviously not intoxicating. It it bubbles in the vat and exhilarates and then intoxicates then this wine is intoxicating. The same is true of psallo.
"The very oldest of these psalms, a number of which point to David as their author,
are not liturgical congregational hymns,
but were originally individual prayer-songs, which emanated from personal experience,
but were, in later times, employed for congregational use..." Int Std Bible Ency., The Religion of Israel.
We might add that the preamble such as: "Upon the harp" or "To the tune of Lilly of the Valley" were added to the simple poems after death because they were the personal property of the composer, just as American Indian chants belong to them alone.
We have no evidence of congregational singing with instrumental accompaniment as worship in the Bible. The clergy performed the music in the Temple before the priests while the "congregation" even outside of the walls fell and "worshipped" when they heard the trumpet blast.
The common people were put outside the gates or "outside the camps" where they met God while the temple, sacrificial or civil-state rituals were taking place.
Zodhiates': Lexical Aids To The New Testament, pg. 1769 "...Actually a touching, and then a touching of the harp or other stringed instruments with the finger or with the plectrum; later known as the instrument itself, and finally it became known
as the song sung (Note: this says that psallo was assigned to the song which they sang with the instrument. Therefore, if you want to add secular melody you need to specify the instrument. Paul did: he called it the heart and not the harp)
with the musical accompaniment.
This latest state of its meaning, 'psalm,' was adopted in the Septuagint.
"In all probability the psalms of Ephesians 5:19; Colossians 3:16 are the inspired psalms of the Hebrew Canon. The word certainly designates these on all other occasions when it occurs in the New Testament, with the one possible exception of I Corinthians 14:26..." (Our Note: this would agree with the idea that in Corinth they were singing the self-composed songs of paganism which didn't need both mind and spirit engaged.)
It should also be noted that the Septuagint also takes a dim view of most musical passages while other versions can be distorted to see God giving approval. For instance in the Septuagint or LXX:
You strum away on your harps like David and improvise on musical instruments. Amos 6:5 NIV
"who excel in the sound of musical instruments;
they have regarded them as abiding, not as fleeting pleasure." Amos 6:5 LXX
Without knowing that Amos was condemning the marzeah which was a festival with and for the dead ancestor or god we might see him condemning the idleness and not the music. However, Jesus read the LXX and would have known that Amos was condemning religious festivals which had no abiding value. At the same time they neglected the Scriptures. This symbol of music and an idle disregard of the Word are common themes in the notes which follow. Jesus would call the "vain worship" at best because they invented and improvized and it was, therefore, by the rules of men.
Justin's Dialog with Trypho the Jew translates this passage--
- Who applaud at the sound of the musical instruments;
- they reckon them as stable, and not as fleeting.
- Who drink wine in bowls, and anoint themselves with the chief ointments,
- but they are not grieved for the affliction of Joseph.
Christ came that we might "anoint" ourselves with His words so that we might teach or educate and grieve or admonish one another with the melody (grinding to bits) left in the human heart.
Music, here, is used as a metaphor for those who anoint themselves with wine, music, and effeminate perfume because they see their external body as the lasting part and neglect the spirit or mind.
Vincent's: Word Studies Of The New Testament, Vol. III, pg. 269-270 "...The noun psalm (Eph. 5:19; Col. 3:16; I Cor. 14:26), which is etymologically akin to this verb (psallo in I Cor. 14:15 DEM), is used in the New Testament of a religious song in general, having the character of an Old Testament psalm...
"Some think that the verb has here its original signification of singing with an instrument. This is its dominant sense in the Septuagint, and both Basil and Gregory of Nyssa define a psalm as implying instrumental accompaniment...
"But neither Basil nor Ambrose nor Chrysostom, in their panegyrics upon music, mention instrumental music, and Basil expressly condemns it. Bingham dismisses the matter summarily, and cites Justin Martyr as saying expressly that instrumental music was not used in the Christian Church. The verb is used here in the general sense of singing praise."
CONEYBEARE AND HOWSON: "Throughout the whole passage there is a contrast implied between the Heathen and the Christian practice, q.d. When you meet, let your enjoyment consist, not in fulness of wine, but fulness of the Spirit; let your songs be, not the drinking-songs of heathen feasts, but psalms and hymns; and their accompaniment, not the music of the lyre, but the melody of the heart; while you sing them to the praise. not of Bacchus or Venus, but of the Lord Jesus Christ." (P.775, n. 5.)
Ephesians 5:19 enjoins: (1) Speaking TO ONE ANOTHER in psalms and hymns and spiritual songs; (2) singing (adontes) and making melody (psallontes, psalming) with your heart TO THE LORD. (One is done with voice and lips, the other with the heart.)
Playing and singing or praising was a warrior's practice.
The bow, bow string and arrow "twangs." When, you hear this it is not "music" but you look down to see where the arrow "made melody right into your bleeding heart."
- As wretched as my case doth seeme, yet have I left me mo
- Than thou for all thy happinesse canst of thine owne account.
- Even after all these corses yet I still doe thee surmount.
- Upon the ende of these same wordes the twanging of the string
- In letting of the Arrow flie was clearly heard: which thing
- Made every one save Niobe afraide. Hir heart was so
- With sorrowe hardned, that she grew more bolde. Hir daughters tho
- Were standing all with mourning weede and hanging haire before
- Their brothers coffins. One of them in pulling from the sore
- An Arrow sticking in his heart, sanke downe upon hir brother
PSALLO: From psao, to rub, to wipe; to handle, to touch (Thayer): Liddell and Scott.- I. To touch sharply, to pluck, pull. twitch;
- to twang the bow-string;
- to send a shaft twanging from the bow;
- so, schoinos miltophures psallomene a carpenter's red line,
- which is twitched and then let suddenly go, so as to leave a mark. II.
To play a stringed instrument with the fingers, not with the plectron.
Later, to sing to the harp,
The connection is that the BOW was a musical type instrument which SHOT OUT ARROWS. It is a fact that they also spoke of SHOOTING OUT HYMNS. Therefore, there is NO musical content in Psallo and that is why Paul said "keep it in your mind."
Psallo CANNOT include an instrument because the Greek word psalmODIA meant to sing with a harp. A harpIST or fluteIST defines other words and the musical performers claimed to be sorcerers but were known as parasites.
THAYER: Shows that psalms, hymns and spiritual songs are not necessarily different:
(Sym. humnos, psalmos, ode: ode is the generic term;
psal. and hum. are specific,
the former designating a song which took its general character from the O.T. 'Psalms' (although not restricted to them, see 1 Cor.14:15,26), the latter a song of praise. (Note: these were also songs of ecstasy sung with the mind disengaged)
"While the leading idea of psalm is a musical accompaniment,
and that If hum. praise to God, ode is the general word for song, whether accompanied or unaccompanied, whether of praise or on any other subject.
Thus it was quite possible for the same song to be at once psalmos, humnos and ode (Bp. Lightft. on Col-3:16). See Trench, Syn, Syn. sec. lxxviii.)
Thayer: a. To pluck off, pull out: the hair. b. To cause to vibrate by touching, to twang; spec. to touch or strike the chord, to touch the strings of a musical instrument, to play the harp, etc.;
The idea is not to "make music" because Psallo is restricted to touching or yanking ONLY with the fingers.
Sept. for zamar and much oftener for nagan; to sing to the music of the harp; (Condemned: see below)
In the N.T. to sing a hymn, to celebrate the praise of God in song, Jas.5:13; Eph.5:13; Rom.15:9; 1 Cor.14:15 .
Evolution of Psallo: 1. From psao, to rub, to wipe; to handle, to touch. 2. To touch sharply. 3. To pluck off, or pull out, as the hair. 4. To pull, twitch, as a carpenter's line. 5. To twang the bow-string. 6. To send an arrow twanging from the bow. 7. To twang the strings of a musical instrument. 8. To play the harp or other stringed instrument with the fingers. 9. To sing to the accompaniment of the harp or other stringed instrument.
10. To sing (whether accompanied or not,
and in Christian context it was not in New Testament times and for some centuries later).
11. Currently used of chanting
This word is derived from the word yavw (psao), which in ancient Greek originally meant to rub, to wipe; to handle, touch (Thayer references Aeschylus, d. 456 BC). .. later in "Classical Greek", "psallo" meant to pluck off, to cause to vibrate by touching, to twang (ref. to Euripades, d. 406 BC), or to touch, to strike the chord, to twang the strings (ref. Aristotle, d. 322 BC), to play on a stringed instrument, to play the harp (ref. Aristotle again, Aratus, 270 BC, and Plutarch*, d. AD 120). * Other writers of Classical Greek contemporary with the N.T. age also used the word in reference to the playing of an instrument (Strabo, Josephus, Lucian),
but scholars universally recognize a clear distinction between the "Classical Greek" of these and other writers,
and the "Koine Greek" in which the N.T. is written.
Thus Thayer makes a distinction between the Classical Greek usage of "psallo," and the Koine use of the word and says, "In the N.T. to sing a hymn, to celebrate the praises of God in song."
. . . and for the Gentiles to glorify God for His mercy; as it is written, "Therefore
- I will give praise to Thee among the Gentiles,
- And I will sing to Thy name."
"Psallo is best translated by chant, not sing. The Greeks sharply distinguish
chanting (psalmodia) from singling (tragoudi).
The first is a sacred (chanting or speaking) activity; the second, a secular (singing) one.
"In English, unfortunately, the distinction is not sharp, and the word singing is frequently employed to refer to the sacred activity of chanting.
A Greek would never,
- never say tragoudo (I sing),
- instead of psallo;
the two terms have connotations and associations which are worlds apart --
- the first is related to the earthly realm,
- the second to the heavenly."
(Letter to James D. Bales of Harding University, September 22, 1959, from Constantine Cavarnos, of the Institute for Byzantine and Modern Greek Studies, 113 Gilbert Road, Belmont 78, Massachusetts.)
"Your letter to the St. Anthony Guild concerning the Greek word psallo has been referred to me, an editor of the new English Catholic version of the Old Testament. You ask the question:
'Does the use of mechanical instruments of music inhere in the Greek word Psallo as used in the New Testament?'
The answer is no.
The meaning of this word in the New Testament usage is simply 'I sing a sacred hymn in honor of God."' (Letter to Dr. James D. Bales from Father Stephen Hartdegen, C.P.M., Holy Name College, Franciscan House of Studies, 14th & Shepherd Streets, NE, Washington 17, DC)
Arndt and Gingrich on Psallo: "Abs sing/praise Js.5:13, M-M."
"Continually I stand amazed at the scholarship in the Arndt-Gingrich lexicon. It is my understanding that under the direction of Dr. Gingrich you are now revising that lexicon. On the word psallo, since Thayer, Green, Abbott-Smith, etc., limit the New Testament meaning to sing praises, I would appreciate the reasoning that brought Doctors Arndt and Gingrich to insert "to the accompaniment of the harp" in relationship to Romans 15:19; Ephesians 5:19; and 1 Corinthians 14:15. Further, why is the phrase excluded in relationship to James 5:13. (Hugo McCord to Dr. Frederick W. Danker)
Response: It was so kind of you to take the time to make your inquiry regarding the word psallo. I see by comparison with Bauer's first edition that the editors of A.-G. have incorporated the
- obvious Old Testament meaning
- into the metaphorical usage of the New Testament.
Bauer did not make this mistake, and we will be sure to correct it in the revision. I doubt whether the archaeologists can establish the use of the harp in early Christian services.
The revision of the Arndt/Gingrich lexicon gives this definition of psallo: . . . This process continued until
- psallo in Modern Greek means 'sing' exclusively . . .
- with no reference to instrumental accompaniment . . .
Moulton and Milligan: "Psallo, 'play on a harp,' but in the NT, as in Jas-5:13 = "sing a hymn."
We are forced to contend over words when words are used to force God to say what He never said but rather refuted throughout the Bible's reference to music.
Don't get personal: this is not about what you are allowed to do. That is not my job. It is about honestly handling the Words of Christ the Spirit. If we mishandle the word psallo then our conclusions will be wrong and the division always created over music between "internal" thinkers and "external" thinkers will never end.
Click for more details. We will see that all Bible properly read and all of the external witnesses prove that worship singing was without instruments.
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