1 Corinthians 14:7
1 Corinthians 14:7. The NIV has TUNE rather than SOUND:
Harmony makes something other than melody: Melody as tunefulness belongs to the 19th century.
1 Corinthians 14:7. The NIV has TUNE rather than SOUND:
"Therefore as S. Augustine saith, that variety of Translations is profitable for the finding out of the sense of the Scriptures: [S. Aug. 2. De doctr. Christian. cap. 14.]
They that are wise, had rather have their judgments at liberty in differ differences of readings, than to be captivated to one, when it may be the other."
We take their advice and compare various versions. However, it is clear that publishing commentaries and calling them versions has always been a problem. Fortunately, Bible Dictionaries inform us of the common meanings of words based on the whole bible and on ancient Greek documents. We have noted that the Septuagint (LXX) version most of the time translates "musical" passages based on the fact that musical terms and the names of instruments have very destructive roots. The LXX also identifies EVE as the Greek ZOE. Therefore, we should understand that the modern views of Gnosticism depends on the loss of this information in many versions.
We are confident that no level of "scholarship" can find any MUSICAL concept in the TEACHING task Paul commanded for the church assembly as it "glorifies God with one voice" using "that which is written."
The players of instruments to facilitate animal sacrifices during the Monarchy and temple period are not called "musicians." Their commission was from "the king and commanders of the army." Their "service" was hard bondage as a form of ABBADON:
Abaddown (h11) ab-ad-done'; intens. from 6; abstr. a perishing; concr. Hades: - destruction.
And they MADE NOISE and did not PLAY TUNES as we know it.
Modern versions such as the NIV often give authority for instrumental music in worship when music or tunefulness is not part of the message.
For instance, in the KJV 1 Corinthians 14:7 is compared with the NIV
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? 1 Cor 14:6
14:7 in the KJV and NIV is compared:
And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds,
Even in the case of lifeless things that make sounds, such as the flute or harp,
how shall it be known what is piped or harped? 1 Corinthians 14:7
how will anyone know what tune is being played unless there is a distinction in the notes? 1 Corinthians 14:7 NIV
While the priests might blow 120 shofars all carefully tuned to one note, the unison blowing of that was sound and not a tune or music.
The word for music is SUMPHONIA and there is nothing in this passage which speaks of either "tunefulness" or of "music."
Paul is comparing speaking in tongues to the unsure sounds used in warfare: if you signal retreat and the army charges ahead into the jaws of defeat then the bugler is speaking in tongues:
For if the trumpet give an uncertain sound, who shall prepare himself to the battle? 1 Corinthians 14:8
The "sound" is not a tune but a series of say three notes. When they piped to get Jesus to dance it was not music but a beat to alter His mind.
The enemy of the Jews was BELIAR or Belial. Remember that the clergy accused Jesus with being Beelzebub.
Because Psalm 41 prophesied that Judas would attempt to TRIUMPH OVER Jesus we should grasp that this means to "play loud instruments and make a joyful noise before the Lord." This was to panic the enemy (Jesus) to melt His heart and turn Him into a coward or pervert. The signals Paul spoke of were not "playing tunes" but were signals of warfare:
The final battle the second engagement. (The Dead Sea Scrolls)
"When [Belial] prepares himself to assist the Sons of Darkness, and the slain among the infantry begin to fall by God's mysteries and to test by these mysteries all those appointed for battle, the priests shall blow the trumpets of assembly so that another battle line might go forth as a battle reserve, and they shall take up position between the battle lines.
For those employed in battle they shall blow a signal to return. Then the Chief Priest shall approach and stand before the battle line, and shall encourage their heart by [the wondrous might of God and] fortify their hands for His battle.
And he shall say in response: ["Blessed is God, for] He tests the he[ar]t of His people in the crucible. And not [ . . . ] have your slain [ . . . ]. For you have obeyed from of old the mysteries of God.
The Essense used the NADAB AND ABIHU PATTERNISM and continued:
[Now as for you, take courage and stand in the gap, do not fear when God strengthens . . . ] land He shall appoint their retribution with burning [ . . . ] those tested by the crucible. He shall sharpen the implements of war, and they shall not become blunt until [all the nations off wickedness [come to an end].
But, as for you,
remember the judgment [of Nadab and Abi]hu, the sons of Aaron, by whose judgment God showed Himself holy before [all the people.
But Eleazar] and Ithamar He preserved for Himself for an eternal covenant [of priesthood].
By single tones unity was communicated to the army but did not make music. Zithers or harps were also weapons of warfare: in the Dead Sea Scrolls they "sounded my censure on the zithers."
The "sounds" means to utter a clear sound in proclaiming or speaking.
But was rebuked for his iniquity: the dumb ass speaking with mans voice forbad the madness of the prophet. 2 Pe.2:16
In speaking of our battles (polemic) against the principalities and powers in high places Paul said that our weapons are not carnal instruments or lifeless instruments.
(For the weapons of our warfare are not carnal, but mighty through God to the pulling down of strong holds;) 2 Co.10:4
Both the Hebrew and Greek uses the same word for both weapon and musical instrument because the instruments were sounded by the priests or Levites for battle.
"The organization of successive musical sounds in respect of pitch... without the aid of harmony which removes it into another category.
"Melody as 'tunefulness' belongs to the 19th century and depends on symmetries of harmony and rhythm which seldom occurs in music written before the 16th century...
By the beginning of the 20th century a melody was considered to be the surface line in a series of harmonies. Harmonic rationality and symmetrical rhythm thus combined to produce a tuneful melody that helped to generate the sonata form." (Britannica, Melody, 1965) (A sonata is: "a major work, a symphony or concert music.)
Apollo (Abaddon or Apollyon) is the father of warfare and musical harmony.
"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] suddenly become inspired and prophesy the future. (Pliny, Natural History)
Consequently Apollo was god of prophets and musicians and Pan was god of medicine, music and divination.
We should note that prophesying or foretelling the future does no mean that one is inspired. People prophesy the end of the world often but they are false prophets.
Prophesying by the false prophesiers (saying Lord, Lord) always involved some method of deranging the mind. Music was a very powerful device to convince the paying customer that the prophetess was telling the truth.
Origen Book VI, Chapter XLI. identifying the "rising up to play"
In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysus, an Egyptian musician,
the latter told him, with respect to magic arts,
that it was only over the uneducated and men of corrupt morals that they had any power,
while on philosophers they were unable to produce any effect, because they were careful to observe a healthy manner of life."
as in the Thessalian dialect, for all the Thessalians call him Aplos; also he is Ballon (always shooting), because he is a master archer who never misses; or again, the name may refer to his musical attributes, and then, as in akolouthos, and akoitis, and in many other words the a is supposed to mean "together,"
so the meaning of the name Apollo will be "moving together," whether in the poles of heaven as they are called,
or in the harmony of song, which is termed concord,
because he moves all together by an harmonious power, as astronomers and musicians ingeniously declare.
And he is the God who presides over harmony, and makes all things move together, both among Gods and among men. And as in the words akolouthos and akoitis the a is substituted for an o, so the name Apollon is equivalent to omopolon; only the second l is added
in order to avoid the ill-omened sound of destruction (apolon).
Modern musical seeker forms of religion have no problem "baptizing" the S.U.N. god to define the S.O.N. God. This is validated because as a result of the musical idolatry at Mount Sinai, God turned Israel over to worship the starry host. Since "narrative theology" can see the Exodus event as a "Pattern for Christian worship and community" we should not be surprised to see elements of S.U.N. worship adapted or COLORED as "Christian." Therefore, the false God is defined in terms of Apollo:
Now the suspicion of this destructive power still haunts the minds of some who do not consider the true value of the name, which, as I was saying just now, has reference to all the powers of the God, who is the single one, the everdarting, the purifier, the mover together (aplous, aei Ballon, apolouon, omopolon).
The name of the Muses and of music would seem to be derived from their making philosophical enquiries (mosthai)
Again, we should not the almost universal ancient connection between music and sexuality or perverted sexuality. These were the powers of the Babylonian version of Eve and Lucifer: musical attributes, and then, as in akolouthos, and akoitis, and in many other words the a is supposed to mean "together," Know ye not that the unrighteous shall not inherit the kingdom of God? Be not deceived: neither fornicators, nor idolaters, nor adulterers, nor effeminate, nor abusers of themselves with mankind, 1 Cor 6:9
Arsenokoites (g733) ar-sen-ok-oy'-tace; from 730 and 2845; a sodomite: - abuser of (that defile) self with mankind.
For whoremongers, for them that defile themselves with mankind, for menstealers, for liars, for perjured persons, and if there be any other thing that is contrary to sound doctrine; 1Ti.1:10
Koite (g2845) koy'-tay; from 2749; a couch; by extens. cohabitation; by impl. the male sperm: - bed, chambering, * conceive.
Making external melody is a WORK OF HUMAN HANDS and makes something entirely different from simple singing. Therefore, Paul left no doubt that "Christian music" was speaking the revealed Word of Christ with the melody internal in the sense of meditating to allow it to teach and correct the spirit.
Music is from the Greek word:
Sumponia (g4858) soom-fo-nee'-ah; from 4859; unison of sound ("symphony"), i.e. a concert of instruments (harmonious note): - music.)
Music has a place only in secular parties and is often defined in Greek literature as "singing and dancing."
Music also defines the worship of the end-time Babylonian Harlot religion. Musicians are minstrels who lead the worship of the seven muses. Therefore, the NIV on 1 Corinthians 14:7 shows bias toward instrumental music or "tunefulness" when paul explicitly puts the "singing and melody" in the heart.
We will look at the similar idea in Ephesians 5 where the NIV has them "making music."