Psalms, Hymns and Spiritual Songs

Teach ONE ANOTHER with Psalms, hymns and Spiritual songs is restricted to the inspired metrical material in the Bible so that WITH ONE VOICE we can GLORIFY GOD by speaking "that which is written." Click here to see Amos and a CHART of the temple to prove that

See Ephesians 5 on the command for an ASSEMBLY and the meaning of Psallo.

I take hymns to be but another name for the book of psalms; for the running title of that book may as well be, the book of hymns, as of psalms; and so it is rendered by Ainsworth, who also particularly calls the 145th psalm, an hymn of David: So the psalm which our Lord sung with his disciples, after the supper, is called an hymn, as the psalms of David in general, are called, by Philo the Jew, hymns, as they are also songs and hymns by Josephus.

By spiritual songs, may be meant the psalms of David, Asaph, etc. the titles of some of which, are, songs, as sometimes a psalm and song, a song and psalm, a song of degrees, and the like; together with all other scriptural songs, written by men inspired by God, and are called spiritual, because the author of them is the Spirit of God, the writers of them men moved and acted by the same Spirit; the subject matter of them spiritual, designed for spiritual edification, and opposed to all profane, loose and wanton songs.

These three words, psalms, hymns, and songs, titles of David’s psalms; and are, by the Septuagint, rendered by the Greek words the Apostle uses. I shall not trouble you with observing to you how these three are distinguished by learned men, one from another, but only observe, what has been remarked by others before me; that where asthe Apostle, in his exhortations to singing, directs to the titles of David’s psalms, it is highly reasonable to conclude, that it was his intention that we should sing them: Sermons and Tracts by John Gill; The New Testament Church and Public Worship; Sermon #54 A Discourse on Singing of Psalms as a Part of Divine Worship;

"Melody as tunefulness belongs to the nineteenth century" and "melody" was invented after about 1200 by monks and musicians who began adding the "ahhs and oohs" to the Psalms.

Singing as an ACT of worship did not exist in the synagogue and was outlawed for the "Qahal" or synagogue or church in the wilderness. Numbers 10:7 outlaws the ALARM which invovled blowing instruments and "making a joyful noise before the Lord." The assembly was for READING or hearing instructions and to REST which does not mean WORSHIP.

Singing iin a musical sense was not practiced in the early church and did not begin until about the year 400.

To SING using modern HARMONY rather than internal MELODY is a direct violation of direct commands of Paul. To sing, as Paul warned the Corinthians "out of our own spirit" is just speaking into the AIR.

DONKA D. MARKUS in Performing the Book observes

"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.

False teachers use Lucian of Samosata to prove that Paul's MELODY included instruments long after he wrote. We have shown that Lucian wrote of the ATTIC form of speaking which was "lisping and mincing" and was, in public, an appeal to the perverted. However, Lucian says that you cannot perform LYRIC poetry without a LYRE:

"indeed, they consider a speech a form of composition that ought not to be corrected. I would willingly ask them why they allow (if indeed they do allow) that history may be recited,
........ since it is written in the interests of truth and honesty, not for display?
........ Or why tragedy, when it requires a stage and actors, not an audience-hall?

Or lyric poetry, which requires not a reader, but a chorus and a harp-accompaniment? They will respond that in these instances recitation has been established by custom.
........ In fact, behind the criticisms of the epic recital often lie issues
........ about the performance of gender and social status.

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.
........ His testimony is important as it formulates general expectations about epic performance
........ while at the same time shows that
........ ........ epic can always slide into an effeminate mode of presentation.

Epic's social image as a genre that glorifies male heroism has to be consistent with its mode of performance.

For Dionysius Thrax, the voice pitched to perform elegy or lyric is inappropriate because of the incongruity it creates between the epic content and its performance.

Theatrical preaching does not escape the homosexual connection: this is why Paul clearly commanded SPEAKING and the resources THAT WHICH IS WRITTEN. To Timothy Paul commanded the PUBLIC READING of the Word with the singing and melody INTERNALIZED. Markus, in On Performing the Book quotes:

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

48 For the purposes of this discussion, I will only elaborate on the features that link Persius' epic recital
.......... to other genres of public performance: the theatrical performance and declamation.
.......... The recitatio in this passage is clearly a public event, bordering on prostitution.

The high chair evokes associations with Juvenal's Satire 3.135, where a prostitute displays her goods in public.

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

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

Persius continues with the audience and the emasculating effect of the public performance
........ on those who passively submit to the allurements of the recitator's virtuoso voice.
........ The sweet voice is an agent of titillation, arousing the audience,
........ evoking images of sexual gratification:

51 Indeed, this entire section of Persius' satire represents the recital as partaking in the infamous association of performance and effeminacy.

It partakes in the deconstruction of traditionally held values of male excellence. Persius manipulates terms used also in Seneca the Elder's moralizing discourse in regard to the decline and emasculation of declamation as practiced in the rhetorical schools.

Arnobius defining heresies:
42. Was it for this He sent souls, that some should infest the highways and roads, others ensnare the unwary, forge  false wills, prepare poisoned draughts; that they should break open houses by night, tamper with slaves, steal and drive away, not act uprightly, and betray their trust perfidiously; that they should strike out delicate dainties for the palate; that in cooking fowls they should know how to catch the fat as it drips; that they should make cracknels and sausages,  force-meats, tit-bits, Lucanian sausages, with these a sow's udder and iced puddings?

Was it for this He sent souls, that beings of a sacred and august race should here practise singing and piping ;

that they should swell out their cheeks in blowing the flute ;
that they should
take the lead in singing impure songs, and raising the loud din of the castanets, 309 by which another crowd of souls should be led in their wantonness to abandon themselves to clumsy motions,

to dance and sing, form rings of dancers, and finally, raising their haunches and hips, float along with a tremulous motion of the loins?

Was it for this He sent souls, that in men they should become impure,

in women harlots,
players on the triangle 310 and psaltery ; that they should prostitute their bodies for hire, should abandon themselves to the lust of all, 311 ready in the brothels, to be met with in the stews, [fornicibus] ready to submit to anything, prepared to do violence to their mouth even? 

309 Scabilla were a kind of rattles or castanets moved by the feet.

310 Sambuca, not corresponding to the modern triangle, but a stringed instrument of that shape. Its notes were shrill and disagreeable, and those who played on it of indifferent character.

311 So the ms. and first four edd., reading virilitatem sui populo publicarent . Meursius emended utilitatem -"made common the use," etc.; and Orelli, from the margin of Ursinus, vilitatem -"their vileness."

God through Ezekiel identifies this beautiful singing and playing instruments as the people's wanting to see Jehovah as they saw ALL gods and goddesses: as sexual or homosexual partners. The music was the MARK.

For I will lay the land most desolate, and the pomp of her strength shall cease; and the mountains of Israel shall be desolate, that none shall pass through. Ezek 33:28

Then shall they know that I am the Lord, when I have laid the land most desolate because of all their abominations which they have committed. Ezek 33:29

See how the Abominable Branch was the "song with instruments opposed to Christ the True Branch. Then turn on some EYES and EARS:

Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and

speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Ezek 33:30

And they come unto thee as the people cometh,

and they sit before thee as my people,
and they hear thy words,
........but they will not do them:

for with their mouth they shew much love [erotic],
........but their heart goeth after their covetousness. Ezek 33:31

And, lo, thou art unto them as a very lovely song
........of one that hath a pleasant voice,
........and can play well on an instrument:
for they hear thy words,
........but they do them not. Ezek 33:32

And when this cometh to pass, (lo, it will come,) then shall they know that a prophet hath been among them. Ezek 33:33

The Septuagint (LXX) version is identified as the text from which Jesus quoted. It was translated from Hebrew into Greek 100 to 200 years before the time of Christ. And, to the extent it has been preserved, represents the meaning that Greek speaking people of the time would understand. It is significant that in all of the "musical" passages the destructive meaning of the Hebrew words shines through in the LXX.

Psalms, hymns and spiritual songs were ALL the inspired text of the Bible along with the maskil or "parable" songs.

Greek Strong's Number
Greek Septuagint Word
Times Used

3-9, 11-15, 19-25, 29-31, 38-41, 43-44, 46-51, 62-68, 73, 75-77, 79-85, 87-88, 92, 94, 98-101, 108-110, 139-141, 143


32, 42, 44-45, 52-55, 74, 78, 88- 89, 142

Eumnos or Hymn
With stringed instruments
With stringed instruments

6, 54-55, 61, 67, 76

Ode or Song

4, 18, 30, 39, 45, 48, 65-68, 75-76, 83, 87-88, 91-93, 95-96, 108, 120-134

In the Septuagint (LXX) or Greek translation Psalms, hymns and spiritual songs were forms of the Book of Psalms. The "musical" passage in Romans 15 shows how people with diverse musical backgrounds (Dionysics and Orphics) could meet together as a school of the Bible. The commanded resource was "that which is written." In Ephesians it is the Spirit or Word of Christ (John 6:63) and in Colossians it is "the Word of Christ." Since the Spirit of Christ inspired the entire Bible, all of the "speaking" resource is the inspired text.

Review of: The Coming Evangelical Crisis. John H. Armstrong, general editor. Chicago: Moody Press, 1996.

"As Payton himself points out, Paul's commands in Colossians and Ephesians refer to the 150 Psalms in the Bible, labelled alternatively in the Septuagint as psalms, hymns, or spiritual songs (p. 191).

The psalter is therefore the divine songbook for worship,
to the
exclusion of man-made compositions.
This is the
sola scriptura principle applied to church singing.

If you don't sing where the Bible sings then you cannot speak where the Bible speaks.

"Payton himself acknowledges that there are certain styles of music which are inappropriate for Christian worship. What he fails to see is that all songs apart from the psalter are not appropriate for worship services, simply because God has ordained the psalter as the sufficient songbook for the church. Other Christian songs may be appropriate in other venues, but they do not belong in a worship service where they will displace the canonical hymnody of the psalter."

Church music was largely a product of monastic Jews and Christians. Therefore, it is logical that:

"The Prelate loveth carnal and curious singing to the ear, more than the spiritual melody of the gospel,

and therefore would have antiphony and organs in the cathedral kirks,
upon no greater reason than
other shadows of the law of Moses; or lesser instruments, as lutes, citherns and pipes be used in other kirks." (Giradeau, p. 68, quoting Calderwood). See article about the Presbyterians Giradeau and Dabney

Among the Hittites and most other ancients a poem or song was the personal property of the composer. Composers and musicians were believed to be inspired by an indwelling spirit. However, when the old women among the Hittites died their songs were put in the catalogs or the inspired "hymnal" or BIBLE of inspired incantations. Others could then sing the songs of say, Fanny Crosby or Twila Paris. However, the understanding which CANNOT be repudiated is that singing the songs meant that you WORSHIPED THE COMPOSER as a now goddess or demon.

You worship whatever or whomever you PAY ATTENTION TO. Therefore, God made your brain so that it CANNOT serve both Lord Jesus Christ and inspired Psalms, Hymns and Spiritual songs and Fanny. If you choose to WORSHIP Fanny then you have deliberately chosen to repudiate the songs and sermons inspired by the Spirit of Christ (1 Peter 1:11):

"We see, therefore, that the arts also are consecrated to the services of the beings who dwell in the names of their founders; taints of idolatry whose inventors have got a place among the gods for their discoveries. Nay, as regards the arts, we ought to have gone further back,

and barred all further argument by the position that the demons, predetermining in their own interests from the first, among other evils of idolatry, the pollutions of the public shows,

with the object of drawing man away from his Lord and binding him to their own service, carried out their purpose by bestowing on him the artistic gifts which the shows require'." (Tertullian, de Spectaculis, Ante-Nicene, III, p. 84).

In a religious sense the practice was commanded by Paul: Speak to one another means PREACH to one another in the external sense:

"in music, intoned liturgical recitation of scriptural texts, guided by signs originally devised as textual accents, punctuations, and indications of emphasis.. first intended to clarify the reading of the texts

Ritual music was at first only cantillation, i.e., recitative chanting, of the prose books of the Bible

Later the prayers and biblical poetry were chanted, presumably in a modal system similar to the ragas of Hindu music or the maqamat of Arab music, i.e., melodies with improvisations. Jewish Liturgical Music

See Islamic Worship

Cantillation is also used in Islamic religious services in the recitation of the Qur'an and in the muezzin's call to prayer, or adhan.

Neither it nor the cantillation of the Qur'an are considered to be music, however, and music as such is forbidden in religious services.

At Mount Sinai as Smith notes below:

"...employment of music in religious services, though idolatrous,

By clearly commanding SPEAKING to one another and by connecting the MUSIC word to secular singing, dancing, clapping and playing instruments, Paul OUTLAWED modern forms of SINGING and OUTLAWED human songs or else why did Jesus Teach and inspire the New Testament?

"Psallo is best translated by chant, not sing. The Greeks sharply distinguish chanting (psalmodia) from singling (tragoudi). The first is a sacred activity; the second, a secular 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 (singing) is related to the earthly realm,
> the second (chanting or as Paul commanded SPEAKING) 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.)

Paul did not remotely define modern forms of musical harmony or melody because it did not exist:

"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.)

HYMNS are a special type of the Psalms in the BOOK of Psalms. If you can compose your own hymns for "worship" then you can compose your own gospel plan of salvation:

Negiynah (h5058) neg-ee-naw'; or nÿgynath neg- ee- nath'; from 5059; prop. instrumental music; by impl. a stringed instrument; by extens. a poem set to music; spec. an epigram: - stringed instrument, musick, Neginoth [plur.], song

But, we state the ABSOLUTE LAW that the descriptions of SONGS means that they are METRICAL and can be sung to the RESTRICTED tones produced by, say, a three-stringed harp. The words NEVER include a mechanical instrument UNLESS that instrument is defined:

I remembered God, and was troubled (moan): I complained, and my spirit was overwhelmed. Selah. Ps.77:3
........ Thou holdest mine eyes waking: I am so troubled
........ that I cannot speak. Psa 77:4

I call (Mention, burn incense) to remembrance my song (h5058) in the night:
........ I commune with mine own heart:
........ and my spirit made diligent search. Psalm 77:6

The Holy Spirit is the Mind of Christ and has a name: Jesus THE Annointed. A third member of the "god family" does not live in your carnal body but in your mind or Spirit. God DOESN'T NEED TO GROAN for lack of words. By looking at many Old Testament passages we can grasp that one of the purposes of TEACHING the songs which we know are inspired we can have OUR spirit filled with the spirit or mind of Christ. Then, we OUR self runs out of words we can "groan out" a hymn:

Complained is:

Siyach (h7878) see'-akh; a prim. root; to ponder, i. e. (by impl.) converse (with oneself, and hence aloud) or (trans.) utter: - commune, complain, declare, meditate, muse, pray, speak, talk (with).

The WARRIOR and therefore SACRIFICIAL singers were under the KING and the COMMANDERS of the army. As believers, the church has a NEW CAPTAIN or "archegos."

And the prophecy was that Jesus would SPEAK His word:

For it became him, for whom are all things, and by whom are all things, in bringing many sons unto glory, to make the captain of their salvation perfect through sufferings. Heb 2:10

For both he that sanctifieth and they who are sanctified are all of one: for which cause he is not ashamed to call them brethren, Heb 2:11

Saying, I will declare thy name unto my brethren, in the midst of the church will I sing praise unto thee. Heb 2:12

Lord Jesus Christ can ONLY be our SONG LEADER if we sing HIS Psalms, Hymns and Spiritual songs inspired by the Spirit of Christ (1 Peter 1:11, Revelation 19:10).

Declare is:

Apaggello (g518) ap-ang-el'-lo; from 575 and the base of 32; to announce: - bring word (again), declare, report, shew (again), tell.

Sing is not Ala Honky Tonk in the New Style Worship but:

Apalgeo (g524) ap-alg-eh'-o; from 575 and algeo, (to smart); to grieve out, i.e. become apathetic: - be past feeling

Agreeing with David that the Words of God are given to those who simply DO NOT HAVE ANY words by which to speak to God any more than they have their own WATER to cleanse them of sin.

This means that anyone trying to APPROACH God in the Most Holy Place as the only place of worship with singing THEIR OWN BIBLE, clapping or playing instruments are BLASPHEMING the Spirit by publically professing that CHRIST'S WORDS HAVE NO VALUE.

This is why Jesus Christ as our ONLY team Leader or Captain is never seen singing, clapping, dancing or playing instruments: in fact even in the HIGHEST spiritual effort of healing or raising the dead, Jesus cast out the Musical Mourning Team "more or less violently."

Humneo (g5214) hoom-neh'-o; from 5215; to hymn, i.e. sing a religious ode; by impl. to celebrate (God) in song: - sing an hymn (praise unto).

I'll betcha that Paul and Silas were not Jumping at the Savoy when they sang inspired hymns:

Who, having received such a charge, thrust them into the inner prison, and made their feet fast in the stocks. Acts 16:24

And at midnight Paul and Silas prayed, and sang praises unto God: and the prisoners heard them. Acts 16:25

The Psalmist notes that we sing Psalms UNTO HIM as we talk about HIS wondrous works:

Sing unto him, sing psalms unto him:
........ talk ye of all his wondrous works. Ps.105:2

Hymns are inspired:

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

Hymn (Greek - HUMNOS) means singing a praise to God.

"Philo uses humnos regularly for the OT Psalms."

When Jesus kept Passover He would have spoken with the cantillation:

And when they had sung an hymn, they went out into the mount of Olives. Matthew 26:30

Humneo (g5214) hoom-neh'-o; from 5215; to hymn, i.e. sing a religious ode; by impl. to celebrate (God) in song: - sing an hymn (praise unto).

Humnos (g5215) hoom'-nos; appar. from a simpler (obsol.) form of hudeo, (to celebrate; prob. akin to 103; comp. ); a "hymn" or religious ode (one of the Psalms): - hymn

In Mark the word SUNG is the word HYMN:

And when they had sung an hymn, they went out into the mount of Olives. Mark 14:26

"According to Rabbinic sources, Psalms 113-118 form the Hallel, the Hymns of Praise, which were to be sung at the three great Festivals of Passover, Pentecost, and Tabernacles, as well as at the Festival of the Dedication and at the New Moons. At a domestic celebration of the Passover, Psalms 113 and 114 would be sung before the meal, and Psalms 115--118 after it, when the fourth cup had been filled. Psalm 118, at least, was probably the hymn sung by Jesus and His disciples in the upper room at their Passover supper (Matt. 26:30; Mk. 14:26)."

In Hebrew the word PSALM means PRAISES. Therefore, Paul and Silas HYMNED PSALMS:

And at midnight Paul and Silas prayed, and sang praises unto God: and the prisoners heard them. Acts 16:25

Jesus hymned exactly what Paul commanded:

Speaking to yourselves in psalms and hymns and spiritual songs,
........ singing and making melody in your heart to the Lord; Ep.5:19

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 with grace in your hearts to the Lord. Col.3:16

The total Biblical testimony is that HYMNS were from the book of PRAISES or Psalms (in Greek).

Therefore is my spirit overwhelmed within me; my heart within me is desolate. Ps.143:4

I remember the days of old; I meditate (ponder) on all thy works; I muse on the work of thy hands. Psa 143:5

Muse means: I speak to myself.

I stretch forth my hands unto thee: my soul thirsteth after thee, as a thirsty land. Selah. Psa 143:6

Hear me speedily, O Lord: my spirit faileth: hide not thy face from me, lest I be like unto them that go down into the pit. Psa 143:7

Everyone recognizes SPIRITUAL SONGS as inspired by God.

Therefore, Psalms or praises, hymns and spiritual songs are ONLY the Bible as resource.

The Theological Dictionary of the New Testament notes that:

"In the NT there is still no precise differentiation between ode, psalmos, and humnos. e.g., in Col.3:16 or Eph.5:19, in contrast to a later time, 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.

(Our note: 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."'

"b. The ode is inspired. This is shown by the epithet pneumatikos, though it does indicate more generally its religious character. . . . With the inspiration of 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 but only 50 of them are mizmors which can be sung  and in Rom. 15: sing is psallo.

Conclusion: Psalms Hymns and Spiritual songs are all the inspired Biblical material: none are metrical in a tunful sense so "singing" was rhythmic. This is made absolutely certain when Paul commanded "that which is written" in Romans 15 as the way to "glorify God WITH ONE VOICE." Using choirs or teams to SING is not a RELIGIOUS activity but a purely secular or carnal activity.

Why did we APOSTASIZE and disobey so many direct commands?

"The large displacement of the Psalter by other matter of praise in the Protestant Churches during the last one hundred years has been due, not so much to the lack of appreciation of the Psalms, as to the commercial enterprise of music publishers." (Int Std Bible Ency., Psalms, p. 2494B).

The blue text below indicates psalms which are from a person seemingly lost and often calling down God's judgment upon the enemy -- often personal enemies. The bold black text shows that these are redundant. For instance, Psalm 33 includes both the psaltery. The timbrel was not allowed in the temple. Other colors indicate a processionals, new moons, symbolic, vengeance, arousal or awakening the harp, fear of being cast off, historical warning, prophetic.

Sing Only

Flutes- pipe

Ps. 137:2
Ps. 81.2
Ps. 98:6
Ps. 149.3
Ps. 150.4


Ps. 47.5
Ps 81.3
Ps. 98:6
Ps 150.3

Ps. 150. 5




Playing the flute was always symbolic of obscenity.

Play the flute, pollute and prostitute come from the same Hebrew word.

It is bound up in the hissing or whistling sound of the serpent in the garden as a symbol of Babylonian soothsaying and enchanting.


It becomes clear that the INSTRUMENTAL PSALMS are not related to SPIRITUAL WORSHIP. It is equally true that the Bible makes clear and church scholarship confirms that if you want to RESTORE what Paul commanded, the singing modern sentimential poems is as far off base as it is possible to get. It is not teaching but MUSIC and MUSIC throughout the Bible says to God: "We will not listen to YOUR words." It is proven by practice and that is not debatable.

Finally, one of the "singing" passages to show that the singing is probably also silent or in the HEART in Ephesians and Colossians.

The VEGETARIAN influence in Romans 14 was those with ORPHIC backgrounds. They were highly ADDICTED to singing and instrumental music to awaken the gods or bring themselves into his presence. The meat-eating and wine-drinking influence was the Dionysiacs who plagued Jerusalem at the time of Christ. They, too, were highly addicted to the presumed supernatural influence of singing and playing instruments fortified with wine from the new wineskin of Dionysus, the god of wine.

The SOLUTION to truly enable temporary unity in diversity was to make "church" or the assymbly (a form of the word synagogue) into a SCHOOL OF THE BIBLE. This makes it absolutely certain that the only RESOURCE must be THAT WHICH IS WRITTEN or you would be right back into SOWING DISCORD among those with different "musical traditions." Furthermore, it is outrageous to think that you can GLORIFY a holy (wholly) Spirit God with the works or words of your own hand. Notice that Jesus as "Son" spoke only what He heard from the "Father." Therefore, if we are CHRIST-LIKE then we must BEAR the infirmities of the weak both of which were music addicts and forego speaking OUT OF OUR OWN SPIRIT as Paul noted in First Corinthians 14. Just follow the PATTERN of Jesus:

Cycle One

Cycle Two

WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves. Romans 15:1
And again he saith, Rejoice, ye Gentiles, with his people. Romans 15:10
Romans 15:2 Let every one of us please his neighbour for his good to edification. (education not entertainment)

For even Christ pleased not himself; but, as it is written, The reproaches of them that reproached thee fell on me. Romans 15:3

And again, Praise the Lord, all ye Gentiles; and laud him, all ye people. Romans 15:11

[Note: David sang to the Gentiles with his foot upon their necks as he shed the blood OF the Gentiles: Jesus would shed His bood FOR the Gentiles]

For whatsoever things were written aforetime were written for our learning (teaching), that we through patience and comfort of the scriptures might have hope. Romans 15:4
And again, Esaias saith, There shall be a root of Jesse, and he that shall rise to reign over the Gentiles; in him shall the Gentiles trust. Romans 15:12
Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Romans 15:5
Now the God of hope fill you with all joy and peace in believing, that ye may abound in hope, through the power of the Holy Ghost. Romans 15:13
That ye may with one mind (spirit) and one mouth glorify (tell of His works) God, even the Father of our Lord Jesus Christ. Romans 15:6
And I myself also am persuaded of you, my brethren, that ye also are full of goodness, filled with all knowledge, able also to admonish one another. Romans 15:14
Now I say that Jesus Christ was a minister (deacon) of the circumcision for the truth of God, to confirm the promises made unto the fathers: Romans 15:8
Nevertheless, brethren, I have written the more boldly unto you in some sort, as putting you in mind, because of the grace that is given to me of God. Romans 15:15
And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will
(2) that the offering (bloodless sacrifice) up of the Gentiles might be acceptable, being sanctified by the Holy Ghost. Romans 15:16
(1) confess to thee among the Gentiles, and
(1) That I should be the minister of Jesus Christ to the Gentiles,
(2) sing unto thy name. Romans 15:9
ministering the gospel of God,

By using GOD'S psalms, hymns and spiritual songs it is possible to escape the terminal sin including musical idolatry at Mount Sinai. And one can escape God's Wrath by REFUSING to HIDE God's Word by singing sentimental praise songs. Here was what most people sang before the great SINGING APOSTASY which was a product of the charismatic (witchcraft-like) awakening created by songs given their SPIRIT largely from voodoo as a spirit- arousing ritual:
Psalm 78
Words: The Scottish Psalter
Maschil of Asaph. (Parable)
   1  Attend, my people, to my law;
thereto give thou an ear;
words that from my mouth proceed
attentively do hear.
2 My mouth shall speak a
and sayings dark of old;
3 The same which we have heard and known,
and us our fathers told.
We also will them not conceal
from their posterity;
Them to the generation
to come declare will we:

The praises of the Lord our God,
and his almighty strength,
wondrous works that he hath done,
we will show forth at length.
His testimony and his law
in Isr'el he did place,
And charged our fathers it to show
to their succeeding race;

6 That so the race which was to come
might well them learn and know;
And sons unborn, who should arise,
might to their sons
them show:
7 That they might set their hope in God,
and suffer not to fall
His mighty works out of their
but keep his precepts all:
8 And might not, like their fathers, be
a stiff rebellious race;
A race not right in heart; with God
whose sp'rit not steadfast was.
9 The sons of Ephraim, who nor bows
nor other arms did lack,
When as the day of battle was,
they faintly turned back.
10 They brake God's cov'nant, and refused
in his commands to go;
11 His works and wonders they forgot,
which he to them did show.
12 Things marvelous he brought to pass;
their fathers them beheld
Within the land of Egypt done,
yea, ev'n in Zoan's field.
13 By him divided was the sea,
he caused them through to pass;
And made the waters so to stand,
as like an heap it was.
14 With cloud by day, with light of fire
all night, he did them guide.
15 In desert rocks he clave, and drink,
as from great depths, supplied.
16 He from the rock brought streams, like floods
made waters to run down.
Yet sinning more, in desert they
provoked the Highest One.

18 For in their heart they tempted God,
and, speaking with mistrust,
They greedily did meat require
to satisfy their
19 Against the Lord himself they spake,
and, murmuring, said thus,
A table in the wilderness

can God prepare for us?

20 Behold, he smote the rock, and thence
came streams and waters great;
But can he give his people bread?
and send them flesh to eat?
21 The Lord did hear, and waxed wroth;
so kindled was a flame

'Gainst Jacob, and 'gainst Israel
up indignation came.

22 For they believed not God, nor trust
in his salvation had;
23 Though clouds above he did command,
and heav'n's doors open made,
24 And manna rained on them, and gave
them corn of heav'n to eat.
25 Man angels' food did eat; to them
he to the full sent meat.
26 And in the heaven he did cause
an eastern wind (spirit) to blow;
And by his power he let out
the southern wind to go.
27 Then flesh as thick as dust he made
to rain down them among;
And feathered fowls, like as the sand
which li'th the shore along.
28 At his command amidst their camp
these show'rs of flesh down fell,
All round about the tabernacles
and tents where they did dwell.
29 So they did
eat abundantly,
and had of meat their
For he did give to them what was
heir own desire and will.
30 They from their
lust had not estranged
their heart and their desire;
But while the meat was in their mouths,
which they did so require,

31 God's wrath upon them came, and slew
the fattest of them all;
So that the choice of Israel,
o'erthrown by death, did fall.
32 Yet, notwithstanding of all this,
they sinned still the more;
And though he had great wonders wrought,
believed him not therefore:
33 Wherefore their days in vanity
he did consume and waste;
And by his wrath their wretched years
away in trouble past.
34 But when he slew them, then they did
to seek him show desire;
Yea, they returned, and after God
right early did enquire.
35 And that the Lord had
been their Rock,
they did remember then;
Ev'n that the
high almighty God
had their
Redeemer been.
36 Yet with their
mouth they flattered him,
and spake but feignedly;
And they unto the God of truth
with their false tongues did lie.
37 For though their words were good, their heart
with him was not sincere;
Unsteadfast and perfidious
they in his cov'nant were.

  38  But, full of pity, he forgave
their sin, them did not slay;
Nor stirred up all his wrath, but oft
his anger turned away.
39 For that they were but fading flesh
to mind he did recall;
A wind that passeth soon away,
and not returns at all.
40 How often did they him provoke
within the wilderness!
And in the desert did him grieve
with their rebelliousness!
41 Yea, turning back, they tempted God,
and limits set upon
Him, who in midst of Isr'el is
the only Holy One.
42 They did not call to mind his pow'r,
nor yet the day when he
Delivered them out of the hand
of their fierce enemy;
43 Nor how great signs in Egypt land
he openly had wrought;
What miracles in Zoan's field
his hand to pass had brought.
44 How lakes and rivers ev'ry where
he turned into blood;
So that nor man nor beast could drink
of standing lake or flood.
45 He brought among them swarms of flies,
which did them sore annoy;
And divers kinds of filthy frogs
he sent them to destroy.
46 He to the caterpillar gave
the fruits of all their soil;
Their labors he delivered up
unto the locusts' spoil.
47 Their vines with hail, their sycamores
he with the frost did blast:
48 Their beasts to hail he gave; their flocks
hot thunderbolts did waste.
49 Fierce burning wrath he on them cast,
and indignation strong,
And troubles sore, by sending forth
ill angels them among.
50 He to his wrath made way; their soul
from death he did not save;
But over to the pestilence
the lives of them he gave.
51 In Egypt land the first-born all
he smote down ev'ry where;
Among the tents of Ham, ev'n these
chief of their strength that were.
52 But his own people, like to sheep,
thence to go forth he made;
And he, amidst the wilderness,
them, as a flock, did lead.
53 And he them safely on did lead,
so that they did not fear;
Whereas their en'mies by the sea
quite overwhelmed were.
54 To borders of his sanctuary
the Lord his people led,
Ev'n to the mount which his right hand
for them had purchased.
55 The nations of Canaan,
by his almighty hand,
Before their face he did expel
out of their native land;
Which for inheritance to them
by line he did divide,
And made the tribes of Israel
within their tents abide.
56 Yet God most high they did provoke,
and tempted ever still;
And to observe his testimonies
did not incline their will:
57 But, like their fathers, turned back,
and dealt unfaithfully:
Aside they turned, like a bow
that shoots deceitfully.
58 For they to anger did provoke
him with their
places high;
And with their graven images
moved him to jealousy.
59 When God heard this, he waxed wroth,
and much loathed Isr'el then:
60 So
Shiloh's tent he left, the tent
which he had placed with men.
61 And he his strength delivered
into captivity;
He left his glory in the hand
of his proud enemy.
62 His people also he gave o'er
unto the sword's fierce rage:
So sore his wrath inflamed was
against his heritage.
63 The fire consumed their choice young men;
their maids no marriage had;
64 And when their priests fell by the sword,
their wives no mourning made.
65 But then the Lord arose, as one
that doth from sleep awake;
And like a giant that, by wine
refreshed, a shout doth make:
66 Upon his en'mies' hinder parts
he made his stroke to fall;
And so upon them he did put
a shame perpetual.
67 Moreover, he the
of Joseph did refuse
The mighty tribe of Ephraim
he would in no wise choose:
68 But he did choose
Jehudah's tribe
to be the rest above;
And of mount Zion he made choice,
which he so much did love.
69 And he his sanctuary built
like to a palace high,
Like to the earth which he did found
to perpetuity.
70 Of David, that his servant was,
he also choice did make,
And even from the folds of sheep
was pleasèd him to take:
71 From waiting on the ewes with young,
he brought him forth to feed
Israel, his inheritance,
his people, Jacob's seed.
72 So after the integrity
he of his heart them fed;
And by the good skill of his hands
them wisely governèd.
One might well suggest that not ONE of our children understand what really happened at Mount Sinai when the nation of Israel who had ATTRACTED a mixed multitude were defeated by the SEEKERS into restoring the MUSICAL IDOLATRY of the NATIONS.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the

employment of music in religious services, though idolatrous,
is more distinctly
marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

Jesus said that God will only SEEK the worship of those SEEKING Him through THE TRUTH in the Most Holy Place or the human SPIRIT. "In spirit" does not mean enraptured or "raped" but in the PLACE of the human mind

The primary WORSHIP word used by Paul means to GIVE HEED to Christ by giving attendance to the reading of HIS songs and sermons. End time "worship" will restore Jewish worship which was Egyptian (Babylonian, Canaanite) worship where "services" will be filled with IMAGES of sight and sound to deliberately destroy the human spirit's attempt to THINK or GIVE HEED to God. In imitation of the worship of the Egyptian triad of Osiris, Isis and Horus under the golden calf the naked music at Mount Sinai is repeated by non-sedentary (none silent) performing women who are uncovered in the sense that preside over women cannot escape exercising the AUTHORITY Paul warned against which is AUTHENTIA or power which is both "erotic and murderous."

Music was connected to the Egyptian Trinity at Mount Sinai. This was musical idolatry partially defined below:

"The worship of Isis, and common with her, was daily, and began before dawn.

On festivals the main service took the form of a drama of divine sacrifice, the passion of Osiris.

Priests carefully trained in mystic theology, liturgies, and symbolism, accompanied by attendants,
all clad in appropriate vestments,

came into the presence of the deities.

Osiris and or Seraphis, Isis, Horus, and others, the faithful being in front of the sanctuary. The first great sacred act consisted in the exposing to the view of the assembled congregation the sacred image of Isis. Before the image libations of holy Nile water were poured out, and the faithful were sprinkled with it.

The sacred fire (incense) was kindled, after which the high priest awakened the goddess in an address uttered in the sacred Egyptian language.

"A burnt offering was then presented,
accompanied by
singing and music; and finally the goddess was ceremoniously clothed, adorned, and adored.

The second service took place in the afternoon, which consisted chiefly of prayer and meditations before the images and symbols of the gods and which closed with music and antiphonal singing.

A third service, quite brief... left Isis unclothed in her quiet temple... The two great autumn and spring festivals featured the death and resurrection of Osiris... and it was expressed with all the symbolism, mystery, music, singing, ritual, and pagentry...

it was calculated to stimulate the deepest religious emotions, and fan the flames of ecstatic joy." (Fairservice, Walter A., Jr, The Ancient Kingdoms of the Nile, p. 171-172, Mentor).

John Calvin on Psalm 71:22. We are not, indeed... are banished out of the churches by the plain command of the Holy Spirit, when Paul, in 1 Corinthians 14:13, lays it down as an invariable rule, that we must praise God, and pray to him only in a known tongue. By the word of truth, the Psalmist means that the hope which he reposed in God was rewarded, when God preserved him in the midst of dangers.

[Note: Paul connects speaking in tongues and musical instruments which are only useful for signalling in warfare if you interpret the message before you sound it]

The promises of God, and his truth in performing them, are inseparably joined together.

Unless we depend upon the word of God, all the benefits which he confers upon us will be unsavoury or tasteless to us; nor will we ever be stirred up either to prayer or thanksgiving, if we are not previously illuminated by the Divine word.

So much the more revolting, then, is the folly of that diabolical man, Servetus, who teaches that the rule of praying is perverted as if we could have any access into the presence of God, until he first invited us by his own voice to come to him.

This is why Paul absolutely insisted that the assembly (synagogue) TEACH one another with Biblical Resources. To do otherwise is to HIDE THE TRUTH from our children and ourselves.

Musical Worship Index

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