O.E.Payne.Worship.Wars.with.Singers.and.Lyre.Players

Aulus Gellus George P. Slade, whose tract on the meaning of this Greek verb was published thirty years ago,  [1869]. O.E.Payne repeated the list of psallo passages. This book was used in one of the continuing attacks against anyone who would "escape hell" by BEGINNING to "unity" by imposing what they called "Instruemental worship.

That attack began exactly 100 years later and the only real authority is to say that the word PSALLO demands that instruments be used.  ALL of the proof from historical writers proves the EVIL meaning of the word and why Paul commanded that we SPEAK the Word with ODE and PSALLO in the heart or silent.

O. E. Payne Aulus Gellus: Flutes-Harps to steal your property:

NACC.Transitioning.Jeff.Walling.to.Instrumental
Jeff Walling is asked "what does it take to make this change."  Jeff notes that after 15 syears the "leaders" reached this discision to change Syle and Purpose with lots of difficulty "but do you think I am going to tell these people"

Jeff Walling  Eight Points of Antiism: how to rob your temple.

Jeff Walling: Where the TENSION [DISCORD] level is zooming, as those who would call themselves part of the cutting edge,. you know there's like lots of people out in our brotherhood who would like to take a cutting edge to the cutting edge. Do you understand what I'm talkin about here? I mean we've got the most sacred of cows being trodded through butcher shops all over this country in churches of Christ  How do I be cutting edge, and new WAVE avant garde (vanguard), and progressive,

without losing my job? and making everyone else in the congregation really irritated with me...
I have to wonder if you're at a place in your ministry where you don't have to go to the church of Christ either.

O. E. Payne: Instrumental Music is Scriptural

Page 134-5138 A. D. Aulus Gellius (Noctes Atticce, XIX., Ch. 9, 3). In Gellius we have a writer broadly familiar with the language and literature of both the Greeks and the Romans. The term ''Classics'' is applied figuratively by Gellius to writers of the highest rank, and this mode of designation has since been very generally adopted. Originally the term was bestowed on the highest of the six classes into which Servius Tullius divided the population. Hence Gellius' choice of the word to denote the chief rank. His work, here quoted , was written in a country house in Greece, near Athens:

''He asked that they be shown . .. most skillful persons of either sex,
        to SING with the voice, and to PLAY on the lyre [psaUerent]. ' '

Had the hand of God guided the hand of Gellius
        to so formulate these words as to leave no room for doubt,
I can conceive of no change that would have made them more direct and con
vincing. Imagine Gellius saying:
        "To sing with [134]  the voice and to sing !"
        Yet the opposition commends the learning of the Revisers for following a like course."

O. E. Payne and others are following Gellius about how to perform erotic music to "cast people out of their own synagogue".

PSALLO means to strike or smite something with the fingers and NOT the plectrum or "pick."  The Septuagint translators used the PSAO type words because the AUDIBLE PSALLO speaks of vile people

Gel. 19.9 When there was an end of eating and drinking, and the time came for conversation, Julianus asked that
        the singers AND lyre-players be produced,
        the most skilful of both sexes, whom he knew that the young man had at hand.

And when the boys and girls were brought in,
        they sang in a most charming way several odes of Anacreon and Sappho [Lesbian Poet],
        as well as some erotic elegies of more recent poets that were sweet and graceful. But we were especially pleased with some delightful verses of Anacreon, written in his old age, which I noted down, in order that sometimes the toil and worry of this task of mine might find relief in the sweetness of poetical compositions:

canerent voce et qui psallerent.
Psallo does not define A lyre-players.  Gellius used a different word.
psal-tikos , ē, on, A.of or for harp playing, ps. organon a stringed instrument, Ath.14.634f (of the magadis; andra psaltikēn agathon a good harpist
Ath. 14.35 And when, after this, Aemilianus said,—But, my good friend [hetaire] Masurius, I myself, often, being a lover of music,
erast-ēs  paidōn eager for children, Id.Supp.1088 ;
turn my thoughts to the instrument which is called the magadis, and cannot decide whether I am to think that it was a species of flute or some kind of harp. For that sweetest of poets, Anacreon, says somewhere or other—
I hold my magadis and sing,
      Striking [psallō] loud the twentieth string,
      O Leucaspis, as the rapid hour
      Leads you to youth's and beauty's flower.
But Ion of Chios, in his Omphale, speaks of it as if it were a species of flute, in the following words—
And let the Lydian flute, the magadis,
Breathe its sweet sounds, and lead the tuneful song.
And Aristarchus the grammarian, (a man whom Panætius the Rhodian philosopher used to call the Prophet, because he [p. 1013] could so easily divine the meanings of poem ,)
        when explaining this verse,
        affirms that the magadis was a kind of flute:
        though Aristoxenus does not say so either in his treatise
        on the Flute-players or in that on Flutes and other Musical Instruments;
nor does Archestratus either,—and he also wrote two books on Flute-players; nor has Pyrrhander said so in his work on Flute-players; nor Phillis the Delian, —for he also wrote a treatise on Flute-players and so did Euphranor. But Tryphon, in the second book of his essay on Names, speaks thus—“The flute called magadis.”

And in another place he says—"The magadis gives a shrill and deep tone at the same time, as Anaxandrides intimates in his Man fighting in heavy Armour, were we find the line—
I will speak to you like a magadis,
In soft and powerful sounds at the same time.
And, my dear Masurius, there is no one else except you who can solve this difficulty for me.
Ath. 14.36 And Masurius replied—Didymus the gramarian, in his work entitled Interpretations of the Plays of Ion different from the Interpretations of others, says, my good friend Aemilianus, that by the term magadis aulos he understands the instrument which is also called kithariotērios; which is mentioned by Aristoxenus in the first book of his treatise on the Boring of Flutes; for there he says that there are five kinds of flutes; the parthenius, the pædicus, the citharisterius, the perfect, and the superperfect. And he says that Ion has omitted the conjunction te improperly, so that we are to understand by magadis aulos the flute which accompanies the magadis; for the magadis is a stringed (psaltikon) instrument, as Anacreon tells us, and it was invented by the Lydians, on which account Ion, in his Omphale, calls the Lydian women psaltriai, as playing [ma^ga^d-izō] on stringed instruments,
psal-tria , , A.female harper, Pl.Prt. 347d, Ion Trag.22, Arist.Ath.50.2, Men.319.4, Plu.Caes.10,
ma^ga^d-izō , A. play the magadis, II. of a choir, sing a succession of notes in octaves, “m. en dia pasōn sumphōnia

sumphōn-ia , ōdē harmonian, A. [two voices] concord or unison of sound,  homologia
3. harmonious union of many voices or sounds, concert, hoi tōn s. logoi
opp. diaphōnia,
in the following lines—
But come, ye Lydian psaltriai, and singing [aoido]
Your ancient [stored[  hymns, [humnōn] do honour to this stranger.
Honor this stranger Koimao lull, put to sleep, also, soothe, assuage
of the sleep of death,
But Theophilus the comic poet, in his Neoptolemus, calls playing [on the magadis magadizein, saying—
It may be that a worthless son may sing
His father or his mother on the magadis (magadizein),
[p. 1014] Sitting upon the wheel; but none of us
Shall ever play such music now as theirs.
And Euphorion, in his treatise on the Isthmian Games, says, that the magadis is an ancient instrument, but that in latter times it was altered, and had the name also changed to that of the sambuca. And, that this instrument was very much used at Mitylene, so that one of the Muses was represented by an old statuary, whose name was Lesbothemis, as holding one in her hand. But Menæchmus, in his treatise on Artists, says that the pēktis, which he calls identical with the magadis, was invented by Sappho [Lesbian]. And Aristoxenus says that the magadis and the pectis were both played with the fingers without any plectrum; on which account

        Pindar, in his Scolium addressed to Hiero, having named the magadis,
        calls it a responsive harping (psalmon antiphthoggon),
        because its music is accompanied in all its keys by two kinds of singers,
        namely, men and boys. And Phrynichus, in his Phœnician Women, has said—
Singing responsive songs on tuneful harps.

psal-mos , ho, A.twitching or twanging with the fingers, psalmoi toxōn
later, song sung to the harp, psalm, LXX 2 Ki.23.1 , Ep.Eph.5.19; “biblos psalmōnEv.Luc.20.42.
krekō , A.weave, “istonSapph.90; “peplousE.El.542. 2. strike a stringed instrument with the plectron, “magadin
And Sophocles, in his Mysians, says—
There sounded too the Phrygian triangle, [ t. psaltēria]
With oft-repeated notes; to which responded [anti-spastos ]
The well-struck strings of the soft Lydian pectis.
Ath. Deipnosophists  14 [37.] [635] But some people raise a question how, as the magadis did not exist in the time of Anacreon (for instruments with many strings were never seen till after his time), Anacreon can possibly mention it, as he does when he says—
I hold my magadis and sing,
Striking [psallō] loud the twentieth string,
Leucaspis.
And as every one of these is executed on seven strings, he says that it was very nearly correct of Anacreon to speak of twenty strings, as he only omits one for the sake of speaking in round numbers. But Poseidonius is ignorant that the magadis is an ancient instrument, though Pindarus says plainly enough that Terpander invented the barbitos to correspond to, and answer the pectis in use among the Lydians-
      The sweet responsive lyre
      Which long ago the Lesbian bard,
      Terpander, did invent, sweet ornament
      To the luxurious Lydian feasts, when he
      Heard the high-toned pectis.
[38.] [636] However, Diogenes the tragic poet represents the pectis as differing from the magadis; for in his Semele he says-
      And now I hear the turban-wearing women,
      Votaries of the Asiatic Cybele,
      The wealthy Phrygians' daughters, loudly sounding
      With drums, and bull-roarers, and brazen-clashing
      Cymbals, their hands each striking in concert,
      Pour forth a wise and healing hymn to the gods.
      Likewise the Lydian and the Bactrian maids
      Who dwell beside the Halys, loudly worship
      The Tmolian goddess Artemis, who loves
      The laurel shade of the thick leafy grove,
      Striking the clear three-cornered pectis, and
      Raising responsive tunes upon the magadis,
      While flutes in Persian manner neatly joined
      Accompany the chorus.
First of all, Greeks, the comrades brave of Pelops,
Sang o'er their wine, in Phrygian melody,
The praises of the mighty Mountain Mother;
        But others, striking the shrill strings of the lyre,
        Gave forth a Lydian hymn."
But we must not admit,” says Polybius of Megalopolis, "that music, as Ephorus asserts, was introduced among men for the purposes of fraud and trickery. Nor must we think that the ancient Cretans and Lacedæmonians used flutes and songs at random to excite their military ardour, instead of trumpets. Nor are we to imagine that the earliest Arcadians had no reason whatever for doing so, when they introduced music into every department of their management of the republic; so that, though the nation in every other respect was most austere in its manner of life,
God is not ignorant, as supposed, there are compound words for every kind of instruments.
anti-psallō ,
A.play a stringed instrument in accompaniment of song, “a. elegois phormiggaAr.Av.218.

psalmōd-ia , A. singing to the harp, Aristid.2.310J

Gellius Attic nights Book 1 11 1 The statement of the celebrated writer Thucydides,
        that the Lacedaemonians in battle used pipes and not trumpets,
        with a citation of his words on that subject; and the remark of Herodotus
        that king Alyattes had female lyre-players as part of his military equipment;
        and finally, some notes on the pipe used by Gracchus when addressing assemblies.
6 Tradition has it that the Cretans also commonly entered battle
        with the lyre playing before them and regulating their step.
7
 Furthermore, Alyattes, king of the land of Lydia,
        a man of barbaric manners and luxury,
        when he made war on the Milesians, as Herodotus tells us in his History,
        had in his army and his battle-array orchestras of pipe- and lyre-players,
        and even female flute-players, such as are the delight of wanton banqueters.
8
 Homer, however, says that the Achaeans entered battle,
        relying, not on the music of lyres and pipes,
        but on silent harmony and unanimity of spirit:

Heredotus1.html   This prince waged war with the Medes under Cyaxares, the grandson of Deioces, drove the Cimmerians out of Asia, conquered Smyrna, the Colophonian colony, and invaded Clazomenae. From this last contest he did not come off as he could have wished, but met with a sore defeat; still, however, in the course of his reign, he performed other actions very worthy of note, of which I will now proceed to give an account.
        Inheriting from his father a war with the Milesians,
        he pressed the siege against the city by attacking it in the following manner.
        When the harvest was ripe on the ground he marched his army into Milesia
        to the sound of pipes and harps, and flutes masculine and feminine.

The buildings that were scattered over the country he neither pulled down nor burnt, nor did he even tear away the doors, but left them standing as they were.

He cut down, however, and utterly destroyed all the trees and all the corn throughout the land, and then returned to his own dominions.

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.
 If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

"Philodemos 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. (Paul called it mad or insane) He found it significant that, on the whole, only women and effeminate men fell into this folly."

Aristot. Nic. Eth. 1175b.1

But things that are akin to things of different kinds must themselves differ in kind.
        [3] A still clearer proof may be drawn
        from the hindrance that activities
        receive from the pleasure derived from other activities.

For instance, persons fond of the flute
        cannot give their attention
to a philosophical discussion [The LOGOS or Regulative Principle]
        when they overhear someone playing the flute,
        because they enjoy music more than the activity in which they are engaged;
                therefore the pleasure afforded by the music of the flute
                impairs the activity of study.

Pi.N.7.81 Pindar, Nemean Odes 7
9] For he lives in a city that loves music, the city of the Aeacidae with their clashing spears;
        [10] and they very much want to foster a spirit familiar with contests.
         If someone is successful in his deeds, he casts a cause for sweet thoughts into the streams of the Muses.
         For those great acts of prowess dwell in deep darkness, if they lack songs,
        and we know of only one way to hold a mirror up to fine deeds
 
[15] if, by the grace of Mnemosyne with her splendid headdress, one finds a recompense for toils in glorious song.
         [17] Skillful men know the wind that will come on the day after tomorrow,
        and they do not suffer loss through the love of gain.
The rich man and the poor man alike travel together to the boundary of death.
[20] And I expect that the story of Odysseus came to exceed his experiences, through the sweet songs of Homer,
        [22] since there is a certain solemnity in his lies and winged artfulness,
        and poetic skill deceives, seducing us with stories, and the heart of the mass of men is blind.
 
Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly. On this spot it is fitting to sing with a gentle voice of the king of gods.
To plough the same ground three or four times [105] is poverty of thought, like babbling "Corinth of Zeus" to children.

.P.10.39 Pindar.Neaman 10. [31. [31] Once Perseus, the leader of his people,
        entered their homes and feasted among them,
        when he found them sacrificing glorious hecatombs of donkeys to the god. In the festivities of those people
[35] and in their praises Apollon rejoices most, and he laughs when he sees the erect arrogance of the beasts.
[37] The Muse is not absent from their customs;
        all around swirl the dances of girls, the lyres loud chords and the cries of flutes. [40] They wreathe their hair with golden laurel branches and revel joyfully.
No sickness or ruinous old age is mixed into that sacred race; without toil or battles [43] they live without fear of strict Nemesis


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Instrumental Music is Scriptural