Rick Atchley: Justification for sowing discord at Richland Hills.  Part One review of "foundation."
Rick Atchley: Our prophecy in 2002.  Links to most of the Stoneite "proofs" for instrumental music contrary to Biblical and historical repudiation.

See the Review and Debate:

Rick delivered his load on Biblical Proof texts. I am sure that it is common to look up verses in the lexicon and write sermons. Unfortunate for most of us, we suffered CHILD ABUSE at the hands of those ignorant of the Old Testament which begins with Lucifer the 'singing and harp playing prostitute' in the Garden of Eden and ends with the Mother of Harlots in Revelation 17 whose "operatives" are rhetoricians, singers and musicians whom John calls SORCERERS. I will review parts of this but there is no CONTEXT which would prove Rick and all of the "musicals" terminally ignorant or terminally evil.

Serpent - Devil Worship and Instrumental Music

Revised 5.17.13 Neither ANTI-instrumental hermeneuts nor the ANTI-anti-instrumentalists deny the Biblical, historical and the Campbell teaching that Qahal, synagogue, ekklesia or Church of Christ (the Rock) is A School of Christ or A School of the Word of Christ.  Singing as an ACT (that legalism word) was first imposed in the year 373: that split the east from the west churches and history is filled with records of people imposing musicj. Music derived from mystery meant in all paganism including the sacrificial systems "making the lambs dumb before the slaughter."  Jesus identified the doctors of the law as "taking away the key to knowledge." He called the Scribes and Pharisees, hypocrites: in the Ezekiel 33 version marked for avoidance "self-speakers, singers and talented instrument players." The MARK in several Old Testament versions is "we will NOT speak that for which we take away the living of widows and honest workers:

The CENI is defined by the Spirit OF Christ in the Wilderness and in the Prophets and prophecies made more certain by Jesus.  The Apostles were eye-- and ear--witnesses of the risen Lord Who returned as The Holy Spirit (breath, wind) in the upper room. They mark as false teachers anyone who does not teach that PATTER of foundation:

Matthew 28:17 And when they saw him, they worshipped him: but some doubted.
Matthew 28:18 And Jesus came and spake unto them, saying,
        All power is given unto me in heaven and in earth.
Matthew 28:19 Go ye therefore,
        and teach all nations,
        baptizing them in the name of the Father, and of the Son, and of the Holy Ghost:
        Teaching them to observe all things whatsoever I have commanded you:
        and, lo, I am with you alway, even unto the end of the world. Amen. Matthew 28:20

Acts 15:21 For Moses
        of old time hath
        in every city them that preach him,
        being read in the synagogues every sabbath day.

Paul commanded that we SPEAK that which is written for our learning (Romans 15).  He also commanded that we fill up with SPIRIT (Word in Col 3:16) and Teach and Admonish with the Biblical material which includes "teaching psalms." This is in contrast to the drinking songs of the crooked race of the symposia where the goal was to become "fluted down with wine."

Both singing in the pagan sense and beating on "instruments of delusion" was worship IN THE FLESH which Paul rejects in Philippians 3 because it permitted the "conscision or dogs" to destroy the rest Jesus died to give us from the laded burdens of the arousal songs by Jews or Gentiles.

In contrast, if you use one mind and one mouth to speak that which is written for our learning you MUST keep the arousal singing and beating on instruments quiet and permit melody (or grace) to be IN the heart where grace means the divine influence of the GRACE which hath appeared teaching us to DENY the world's religions.


THE ONLY MEANING OF LITERAL WORSHIP:

Matt. 28:17 And when they saw him, they worshipped him: but somedoubted.

G4352 proskuneō pros-koo-neh'-o From G4314 and probably a derivative of G2965 (meaning to kiss,
like a dog licking his master’s hand); to fawn or crouch to, that is, (literally or figuratively)
prostrate oneself in homage (do reverence to, adore):—worship.
Proskun-eō obeisance to the gods or their images, fall down and worship, c. acc., Hdt.2.121
2.  esp. of the Oriental fashion of prostrating oneself before kings and superiors, abs., Hdt.1.119, 8.118: c Plat.
TRUTH: Rep. 398a 3. welcome respectfully, respect, “prosekunēsa sou ta grammata” That which is written ; ta hiera g. the Holy Scriptures2 Ep.Ti.3.15, J.Ap.1.10;

Ev.Jo.4.23,  But the hour cometh, and now is, when the true worshippers shall worship the Father in spirit and in TRUTH: for the Father seeketh such to worship him
2 Timothy 3.15  From infancy, you have known the sacred writings which are able to make you wise for salvation through faith, which is in Christ Jesus.
J. Ap. 1.10 There have been indeed some bad men, who have attempted to calumniate my history, and took it to be a kind of scholastic performance for the exercise of young men.  for, as I said, I have translated the Antiquities out of our sacred books
WORSHIP IS  ALSO IS USED FOR THE LYING WONDERS OF PSEUDO PERFORMERS BELIEVING THAT THEY ARE A GOD.
 
IRONICALLY, proskunoimenanautonhōshieronkaithaumastonkaihēdun, Pl.R.398a: of Lying Wonders

Thaum-astos , Ion. thōm- , ē, on, th. lokhos gunaikōn, “thaumaston poieis, hos .II. admirable, excellent
of the Furies, A.Eu.46; Aeschylus, Eumenides 34
III. to be worshipped, “oudeis m' areskei nukti thaumastos theōnE.Hipp.106.
Nux 3. in Comparisons, of anything dark and direful, nukti eoikōs like night, of Apollo[Abaddon, Apollyon]
 in his wrath, Il.1.47, cf. 12.463, Od.11.606
III. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224.
Plato. Republic [398a] who was capable by his cunning of assuming every kind of shape and imitating all things should arrive in our city, bringing with himself the poems which he wished to exhibit, we should fall down and worship him as a holy and wondrous and delightful creature, but should say to him that there is no man of that kind among us in our city, nor is it lawful for such a man to arise among us, and we should send him away to another city, after pouring myrrh down over his head and crowning him with fillets of wool, 
Commentary Epideik-nu_mi -nuō 2. . more freq. in Med., show off or display for oneself or what is one's own, mousikan orthan e. give a specimen of his art. of a rhetorician lecturing, Id.Phdr.235a; “polla kai kalaId.Grg.447a; of epideictic orators, Arist.Rh.1391b26; of a musician, Ael.VH9.36: c. part., e. “hupertheōnPl.Lg.648d.
The idea suggested by proskunoimen and hieron, that the poet is a sort of theos or theios [god or goddess] anēr, is now elaborated with ironical politeness. The images of the gods were anointed, and crowned with garlands, not only on great occasions (cf. Cic. Verr. IV 77), but also at other times, according to Proclus, who remarks on this passage muron autēs (sc. tēs poiētikēs) ...Apropos of the present passage, Dio Chrysostom and other ancient writers cited by Ast refer to the anointing of swallows by Greek women: kai keleuei mala eirōnikōs (so Ast: MSS eirēnikōs) stepsantas auton eriō kai murō katakheantas aphienai par' allous: touto de hai gunaikes epi tōn khelidon ōn poiousi (Dio Chr. Or. 53 p. 276 ed. Reiske). To this custom Ast supposes that Plato is alluding, the poets being as it were faithless and garrulous swallows (cf. khelidonōn mouseia), as well as to the Pythagorean precept ‘not to admit swallows into the house’

Mouseios , on, Aeol. Moisaios , a, on, (Mousa)
A. of or belonging to the Muses, “hedraE.Ba.410 (lyr.); Moisaion harma the car of Poesy, Pi.I.8 (7).67; lithos M. a monument of song, Id.N.8.47II. musical, “keladosAP9.372.
Eur. Ba. 410 Chorus
Would that I could go to Cyprus, the island of Aphrodite, where the Loves, who soothe [405] mortals' hearts, dwell, and to Paphos, fertilized without rain by the streams of a foreign river flowing with a hundred mouths. Lead me there, Bromius, Bromius, god of joy who leads the Bacchae, [410] to Pieria, beautiful seat of the Muses, the holy slope of Olympus. There are the Graces, there is Desire; there it is [415] lawful for the Bacchae to celebrate their rites.

Pind. I. 8 Even when he was dead songs did not forsake him; beside his pyre and tomb the Muses of Helicon stood, and poured over him the many-voiced dirge. It proved to be the will of the immortals [60] to make a noble man, even when dead, a theme for the hymns of goddesses; and even now this brings up a subject for words, and the Muses' chariot rushes forward to shout praises in memory of Nicocles the boxer. Honor him, who won the garland of wild Dorian celery in the Isthmian valley; since [65] he too was once victorious over all that lived around him, battering them with his inescapable hands. He is not dishonored by the offspring of his father's distinguished brother. Therefore let another young man weave for Cleandros a garland of tender myrtle in honor of the pancratium, since the contest of Alcathous and the young men of Epidaurus welcomed him before in his success. A good man may praise him, [70] for he did not restrain his youth, keeping it hidden in his pocket1and ignorant of fine deeds.

1 Reading kolpō (Theiler, Slater) or kolpou (Young) rather than keia.

Pind. N. 8 [40] Excellence grows among skillful and just men up to the liquid air, as a tree shoots up fed by fresh dew. The uses of friends are of all kinds; those in times of toil are the highest, yet delight also seeks to set a trustworthy pledge before the eyes. Megas, to bring your soul back to life again [45] is not possible for me. Empty hopes end in vain; but it is easy to set up, for your fatherland and for the Chariads, a monument of the Muses in honor of the twice illustrious feet of two men. I rejoice in letting fly a boast suitable to such a deed; and with incantations a man [50] makes hardship painless. Truly, the song of victory existed long ago, even before the quarrel arose between Adrastus and the race of Cadmus.

Mouseion , to/,
A. shrine of the Muses, seat or haunt of the Muses, Aeschin. 1.10: hence,
2. home of music or poetry, mouseia thrēnēmasi xunōda choirs chiming in with dirges, E.Hel.174 (lyr.); aēdonōn m. choir of nightingales, Id.Fr.88; parodied “khelidonōn mouseiaAr.Ra. 93; “to Numphōn nama te kai m. logōnPl.Phdr.278b (but mouseia logōn, hoion diplasiologia ktl. gallery of tropes, ib.267b): generally, school of art or letters, to tēs Hellados m., of Athens, Ath.5.187d, cf. Plu.2.736d; to tēs phuseōs m., a phrase of Alcidamas censured by Arist. Rh.1406a25.
IV. Mouseia, ta , festival of the Muses, Paus.9.31.2: sg., Ath.14.629a; “ta M. thusai
THE END OF THE ROAD FOR MUSICAL DISCORDERS WITH OR WITHOUT MACHINES

Revelation 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying, Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all.
Revelation 18:22 And the voice of harpers, and musicians [Muses], and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee;
Revelation 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.
Revelation 21:8 But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.
Revelation 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.

Devil Worship - Serpent Worship: All ancient traditions have instrumental music supplied by Satan to attack every body sensor to keep the Word of God from penetrating into the mind.  John refused to baptize that generation of vipers: that points directly to the fact that the Cainites or Kenites were the dupes of the Roman government and most Israelites had bled because they refused to be "initiated" into music and sexuality in the Holy Places.  Cain is derived from a musical note or mark and the lance-as in striking fast.  His descendants are defined in the Bible: Jubal "handled" instruments WITHOUT AUTHORITY.  And the Babylonian tablets define this like of the evil Lamech and assuredly Moses was warning the people AFTER they had been turned over to worship the heavenly stars (Acts 7). The fatal crime was musical idolatry of a trinity at Mount sinai.

Jesus clearly MARKED the sons of the Devil because "they speak on their own" and from their father. Rick and all sowers of discord have lied about every presumed-musical term in the Bible and all of church history.  I will let you decide what Jesus Christ called him.

Peter said that we should save ourselves FROM that crooked generation: the skolios generation were the same perverted "new wineskinners" who sang and played songs in competition.  Acts 2 has posted notes to prove WHO ARE THE PERVERSE AND CROOKED RACE OF PEOPLE.

Revelation 17 identifies the Mother of Harlots (Zoe, Eve, Circe, Inanna) and in Revelation 18 identifies the singers, musicians and all religious teknokrats as SORCERERS: that meant that the candles or seven spirits of God had ALREADY been removed.

THERE IS NO TRUTH IN ANY OF THE DEFENSES OF MUSIC AS WORSHIP. The message to Daniel was BOW OR BURN. The message is still much the same if in a more cautious way. We will look at the defense of "musical prophesying" in these links to see tha the connection between music AS worship and ancient demon worship.

A. Ralph Johnson in Instrumental Music, Sacred or Sinful.

1. Tom Burgess in Documents on Instrumental Music reviewed. Psallo and Instrumental Music: Proofs do not prove anything but the "music-homosexuality" connection.

See more on Strabo's definition of the worship of Apollo or Abaddon or Apollyon: his MUSES are the locusts or musical performers in the book of revelation.

2. Tom Burgess More Review of Plutarch: if Psallo authorizes "church music" it authorizes a homosexual gathering.

3. Tom Burgess on Moralia confirms the "Music-Heresy-Perversion" connection which has no historical exception. 10/20/04

4. Tom Burgess on John Chrysostom: are the anti-instrumentalists ignorant rurals? 10/21/04 What about Paul and Martin Luther and John Calvin and Zwingli and--everyone who believed the Bible as authority.

5. Tom Burgess on Kurfees versus Thayer and Grimm: Quotes from: G. C. Brewer, A Medley on the Music Question, Gospel Advocate, Nashville 1948. Burgess uses the same Krewson arguments. LATEST 11/06/05

Charles Daily Northwest College of the Bible Part One ..... Part One A .....Part Two ....

Musical and Charismatic all relate to the worship word, THRESKIA. This was invented by Orpheus and other "Greek god." This speaks of ANY ritual claimed to move you into God's presence. The musical produced effects create endorphins which cause the effectsof FIGHT, FLIGHT or SEXUALITY.

The Naga Serpent appears in many languages. It is defined in the Bible by several terms. For instance, the Nachash is the serpent as a musical enchanter. At the same time, Paul said that Eve was wholly seduced in the sense that a wife is sexually active before the marriage. Cain is called "of the Evil one" and this leads to the conclusion that Cain was the son of Satan while Abel was the son of Adam: maternal twins.

ASLAN: the Lion of the Tribe of Judah? 5/17/33
But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die. Gen 3:3

Naga (h5060) naw-gah'; a prim. root; prop. to touch, i. e. lay the hand upon (for any purpose; euphem., to lie with a woman); by impl. to reach (fig. to arrive, acquire); violently, to strike (punish, defeat, destroy, etc.): - beat, (* be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.

Nagan (h5059) naw-gan'; a prim. root; prop. to thrum, i. e. beat a tune with the fingers; espec. to play on a stringed instrument; hence (gen.) to make music: - player on instruments, sing to the stringed instruments, melody, ministrel, play (-er, -ing..

Speaking directly to the "mantic" behaviour of music and speaking in tongues in Corinth, it is noted from the Classical writers that:

"The spirits were thought to speak in murmurings or piping sounds (Isa 8:19), which could be imitated by the medium (witch of Endor or ventriloquist)...Most spiritual and popular was the interpretation of dreams.

It also was the case that mediums intentionally would convert themselves into a semi-waking trance. In this way the suitable mediums attained to a certain kind of clarvoyance, found among various peoples.

This approaches the condition of an ecstatically aroused pseudo-prophet.. In Greece, too, oracles were pronounced by the Phythian prophetess who by vapors and the like was aroused to a practice of the mantic art. (Int Std Bible Ency, p. 2466)

If therefore the whole church be come together into one place, and all speak with tongues, and there come in those that are unlearned, or unbelievers, will they not say that ye are mad? 1Co.14:23

Mainomai (g3105) mah'ee-nom-ahee; mid. from a prim. mao, (to long for; through the idea of insensate craving); to rave as a "maniac": - be beside self (mad)

But he said, I am not mad, most noble Festus; but speak forth the words of truth and soberness. Ac.26:25

mainomai [from Root !man]

I. to rage, be furious, Hom.; ho maneis the madman, Soph.: to be mad with wine, Od.:--of Bacchic frenzy, Il., Soph.; hupo tou theou m. to be driven mad by the god, Hdt.; to mainesthai madness, Soph.; plein ê mainomai more than madness, Ar.:--c. acc. cogn., memênôs ou smikran noson mad with no slight disease, Aesch.

Paul warned about Bacchic frenzy or Dionysus perverted worship to the Ephesians. Click to see below

Mantikos

I. of or for a soothsayer or his art, prophetic, oracular, Trag.
2. hê
mantikê technê, manteia, the faculty of divination, prophecy, Soph.; so, hê mantikê alone, Hdt., Plat.
II. of persons, like a prophet, oracular, Plat.:--adv. -kôs, Ar.

"In certain ancient Israelite prophetic groups, music was used to achieve the ecstatic state, in which the participants, in their accompanying dancing, were believed to have been seized by the hand of Yahweh, the God of Israel, as in the case of Saul, the 11th-century-bc king of Israel.

The Pythia (priestess of Apollo who is Apollyon) of the Greek oracle at Delphi often went into an ecstatic state during which she uttered sounds revealed to her by the python (the snake, the symbol of resurrection), after drinking water from a certain spring.

Her "words" were then interpreted by a priest to help a suppliant find a way to avoid calamities, especially death. In primitive religions, ecstasy was a technique highly developed by shamans, religious personages with healing and psychic-transformation powers, in their "soul," or "spirit," flights. (See Delphic oracle.) "ecstasy" Encyclopedia Britannica Online. Or Click Here is you have membership.

The drug, Ecstasy or "E" produces the same effects as Music.

Chapter XI.-How Great are the Benefits Conferred on Man Through the Advent of madness.

Contemplate a little, if agreeable to you, the divine beneficence.

The first man, when in Paradise, sported free, because he was the child of God;
but when he
succumbed to pleasure (for the serpent allegorically signifies pleasure crawling on its belly, earthly wickedness nourished for fuel to the flames), was as a child seduced by lusts, and grew old in disobedience; and by disobeying his Father, dishonoured God.

Such was the influence of pleasure. Man, that had been free by reason of simplicity, was found fettered to sins. The Lord then wished to release him from his bonds, and clothing Himself with flesh-O divine mystery!-vanquished the serpent, and enslaved the tyrant death; and, most marvellous of all, man that had been deceived by pleasure, and bound fast by corruption, had his hands unloosed, and was set free.

The serpents, however, of the magicians-(that is,) the gods of destruction-withstood the power of Moses in Egypt, but the rod of Moses reduced them all to subjection and slew them.

This universal serpent is, he says, the wise discourse of Eve.

[Eve, or ZOE, the Mediatrix, was honored because the serpent taught her feminine knowledge]

This, he says, is the mystery of Edem, this the river of Edem;
........ this the mark that was set upon Cain,
........ that any one who findeth him might not kill him. This, he says, is Cain, [Gen. iv. 15] whose sacrifice [Gen. iv. 5. ]
the god of this world
did not accept.

The ACU Agenda: Serve in Prophetic roles, Channelers and Facilitators the method of subverting the 'hierarchial" views of Jesus and Paul is "Feminist hermeneutics stands over against patriarchal hermeneutics" its goal achieved "by small, often unnoticed acts of SUBVERSION. Numerous such incremental changes, like EROSION, will eventually bring down the FORTRESS " ( WOMEN IN THE CHURCH: Reclaiming the Ideal p. 32).

If you get nothing else please grasp that not among the Jews nor in the most vile pagan temples did the musicians enter into the Holy Places. Among the Jews, the Holy Place is a carnal type of the spiritual body of Christ. No Levitical musician could enter into this type of the church of Christ even to clean out the garbage.

The temple musicians in a "religious sense" (grouped with prostitutes in pagan religions) were in the court making a loud mocking noise during the sacrifice and burning of animals.

In fulfilment of the prophetic type, it was prophesied in Psalm 41 and fulfilled in the Dead Sea Scroll translation that Judas and the military musicians would attempt to turn Jesus into a coward. Click for some examples.


See Rick Atchley on INSTRUMENTAL MUSICapplauded by Restoration Forum of Christian Church. See that MUSIC connects to Satan and PERVERTED religion: "There is no other tradition."

Background to "Look To The Hills Leadership and Worship Conference." This is not a direct command worthy of sowing discord to introduce Feminist-Gnostic worship. Rather, the verse is a Question: "Shall I look to the Hills or Mountain Gods?? The answer is, "No, I will look to the CREATOR of the hills for my salvation." This is a coded invitation to end-times pagan ritualizing but NOT to worship.

Our Hohenwald Church Topical Research




Speaking of the religious ritual condemned by Amos and others we note that:

"The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria...

The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35)

"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37).

"Amos may have referred to sacred vessels at the marzeah to underscore its sacrilegious nature. At the same time, he may be emphasizing their unusually large capacity, in order to condemn the inordinate drinking that was an integral part of the marzeah." (King, p. 42, 43).

"The effect of this demoralizing religion upon Hebrew society was seen in the corruption of justice, in wanton and luxurious living, and in the decay of social unity." (Living Bible Ency., p. 87).

The rising up to play with musical idolatry at Mount Sinai. The Agapae began as a pagan festival. Early Christians adapted the Love Feast as a way for the PROSPEROUS to feed the DESTITUTE before they went to work. However, it was abandoned because it was impossible to bear the name of a pagan feast withoug the healthy "clouds without rain" beginning to ride on the POOR.

The Battle of Baal and Yahm
Aloud they [summon the assembly of the gods/ do cry to those near]. They invite
the distant ones/ those far away, to the assembly of `El
they summon/do cry: "`El remains seated
[in his marzeah/banqueting hall/among his cult-guests (dM)] . . .
The shame of the Eternal One/The shameful conduct of the usurper . . .
O gods, (to) the house of your lord . . .
[Who surely travels (S)/lest he go (D/G) quickly/the Runner will not walk (dM)] through the land, . . .
who goes in the dust (of) destruction/a mess of mud on the ground . . .

Comments: Smith believes lines 7-8 should be interpreted "Either literally, as `El walking through the underworld,

or an allusion to `El being "dead drunk," or both metaphorical,
and ironic, as the marzeah serves as the setting
for feasts for the dead and for the living mourning the dead (p. 145).

"With the wine-drinking (which is the literal meaning of the Hebrew for feasting), went music and dancing." (Heaton, E. W., Everyday Life in Old Testament times, Scribners, p. 93)

"Worship was form more than substance; consequently, conduct in the marketplace was totally unaffected by worship in the holy place. Amos spoke from the conviction that social justice is an integral part of the Mosaic covenant, which regulates relations not only between God and people, but also among people." (King, p. 44).

"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans. In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51).

When Paul warned the Ephesians "Don't get drunk with wine" the word is METHUEO. Note that the word fluteIST or PsalmODIA was translated into the Latin it included the word PARASITE.

Methuôn kai katauloumenos (Drinking and overpowering with the flute.)

Kat-auleô , charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tina Alciphr.2.1: metaph., se . . -êsô phobôi 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,

Katauleô

I. to play upon the flute to, tinos Plat.:--Pass., of persons, to have it played to one, id=Plat.:--Pass. to resound with flute-playing, Plut.
 
II. c. acc. pers. to overpower by flute-playing:--generally, to overpower, strike dumb, Eur.
 
II. in Pass., [ton monochordon kanona] parechein tais aisthêsesi . . katauloumenon SUBDUED by a flute accompaniment, Ptol.Harm.2.12: metaph., to be PIPED down, RIDICULED, gelômenoi kai -oumenoi Anon. ap. Suid., cf. Porph.Chr.34.
 
I. to play upon the flute to, tinos Plat.:--Pass., of persons, to have it played to one, id=Plat.:--Pass. to resound with flute-playing, Plut.
II. c. acc. pers. to overpower by flute-playing:--generally, to overpower, strike dumb, Eur.
Methuô [methu] [only in pres. and imperf.; the fut. and aor. act. belong to methuskô]
 
I. to be drunken with wine, Od., etc.; m. hupo tou oinou  Under your Wine
II. metaph. of things, boeiê methuousa aloiphêi an ox-hide soaked in oil, Il.
2. of persons, to be drunken or intoxicated with passion, pride, etc., Xen., Plat.
Katapsallô ,
    2. Pass., to be buried to the sound of music, Procop.Pers.2.23.
    3. metaph., katapsalletai . . hodêmiourgosis drummed out, Porph.Chr.34.
Phobos , ho, ( [phebomai] ) A.panic flight, the usual sense in Hom 2.Phobos personified, as son of Ares, Il.13.299; Deimoste Ph. te11.37 , cf. 4.440, 15.119, Hes.Th.934, A.Th.45; worshipped at Selinus, Apollo
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Only those not driven mad (manomai) by wine which DEMANDED the flute player to totally pipe down the person, could they SPEAK to one another with THAT WHICH IS WRITTEN and leave the SINGING and PLAYING in the heart.

In the book of Revelation the WINE was not just intoxicants. Rather, the Muses resurrected as LOCUSTS lulled the people to sleep with music and instruments.

With: "methuôn kai katauloumenos drinking wine to the strains of the flute

With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication. Re.17:2

Methuo (g3184) meth-oo'-o; from another form of 3178; to drink to intoxication, i.e. get drunk: - drink well, make (be) drunk (-en).

For all nations have drunk of the wine of the wrath of her fornication, and the kings of the earth have committed fornication with her, and the merchants of the earth are waxed rich through the abundance of her delicacies. Re.18:3
 
Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her. Rev 18:20

Babylon is the prostitute religion of performance preaching and music:

And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying, Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all. Rev 18:21
 
And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev 18:22

When Samson has to serve as a GRINDER in the king's house, he did not grind barley. The grinders were concubines and prostitutes serving the king who could afford them:

And the light of a candle (Truth, the Word, Amos 5) shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. Rev 18:23

Singers, performers

Trugôidos , ho, ( [trux, ôidê] ) prop. must-singer or lees-singer, = kômôidos, Ar.V.650 (anap.), 1537; v. trugôidia.
# kômôidos 1 [v. kômôidia] a comedian, i. e.,1. a comic actor
# 2. a comic poet,

Pharmakos

I. a poisoner, sorcerer, magician, NTest.II. one who is sacrificed as an atonement for others, a scape-goat, Ar.; and, since worthless fellows were reserved for this fate, pharmakos became a general name of reproach

Sophis-tês , ou, ho, master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, meletan sophistais prosbalon Pi.I.5(4).28 , cf. Cratin.2; of musicians, sophistês . . parapaiôn chelun A.Fr.314 , cf. Eup.447, Pl.Com. 140; sophistêi Thrêiki (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with mod

Sophos
I. properly, skilled in any
handicraft or art, cunning in his craft, Theogn., etc; of a charioteer, Pind.; of poets and musicians, id=Pind.; of a soothsayer, Soph., etc.

2. clever in matters of common life, wise, prudent, shrewd, s. andres Thessaloi shrewd fellows, the Thessalians! Hdt.; polla sophos Aesch.; meizô sophian sophos Plat., etc.; tôn sophôn kreissô better than all craft, Soph.; sophon [esti] c. inf., Eur.

Plato, The Sophist

THEAETETUS, according to our present argument, as it seems, the art of hunting which is appropriative, subduing, catches animals alive, which are tame beasts, men, and privately, paid in the money changer's trade, teaches mere opinions, and has become a hunt of rich and distinguished youth, must be called, as our present argument concludes, sophistry.

Or: "the part of appropriative, coercive, hunting art which
hunts animals, land animals, tame animals, man, privately, for pay, is paid in cash, claims to give education, and is a hunt after rich and promising youths, must--so our present argument concludes---be called sophistry
.

Playto, Cratylus says

Soc. All of them sprang either from the love of a God for a mortal woman, or of a mortal man for a Goddess; think of the word in the old Attic, and you will see better that the name heros is only a slight alteration of Eros, from whom the heroes sprang: either this is the meaning, or, if not this, then they must have been skilful as rhetoricians and dialecticians, and able to put the question (erotan), for eirein is equivalent to legein.

And therefore, as I was saying, in the Attic dialect the heroes turn out to be rhetoricians and questioners. All this is easy enough; the noble breed of heroes are a tribe of sophists and rhetors. But can you tell me why men are called anthropoi?- that is more difficult.

Henry George Liddell, Robert Scott, A Greek-English Lexicon

Huperlian, Adv. beyond measure, exceedingly, sophos Eust.1396.42; to hu. Id.1184.18 ; hoi hu. apostoloi the 'super-Apostles', 2 Ep.Cor. 11.5, 12.11.

Ophis a serpent, snake, Izl., Hdt., Trag.:--metaph., ptênon ophin, of an arrow, Aesch. [The first syll. is sometimes made long, when it was pronounced (and perh. ought to be written) opphis, v. ocheô.]
 
And Apollo played upon the lyre (kitharisai) and the Muses upon their flutes (aulesai), and the rest of the gods spoke them fair and gave the pair their aid in the celebration of the wedding DIODORUS SICULUS (DIOD. SIC.) V.49
 
For it is through the Muses and far-shooting Apollo that [95] there are singers and harpers upon the earth; but princes are of Zeus, and happy is he whom the Muses love: sweet flows speech from his mouth. For although a man has sorrow and grief in his newly-troubled soul and lives in dread because his heart is distressed,yet, when a singer, [100] the servant of the Muses, chants the glorious deeds of men of old and the blessed gods who inhabit Olympus,at once he  forgets his heaviness and remembers not his sorrows at all; but the gifts of the goddesses soon turn him away from these. Hesoid
Aeschylus, Eumenides
Enters from the inner sanctuary.
Apollo

Out, I order you! Go away from this house at once, leave my prophetic sanctuary, [180] so that you may not be struck by a winged glistening snake1 shot forth from a golden bow-string, and painfully release black foam, vomiting the clots of blood you have drained from mortals. [185] It is not right for you to approach this house; no, your place is where the punishments are beheading, gouging out of eyes, cutting of throats, and where young men's virility is ruined by destruction of seed; where there is mutilation and stoning, and where those who are impaled beneath their spine moan long and piteously. [190] Do you hear what sort of feast is your delight? You are detested by the gods for it. The whole fashion of your form sets it forth. Creatures like you should live in the den of a blood-drinking lion, and not inflict pollution on all near you in this oracular shrine. [195] Be gone, you goats without a herdsman! No god loves such a flock.

1 The arrow sped from Apollo's gold-wrought string is called a "winged glistening snake" because it stings like a serpent's bite. There is also a latent word-play: ophis "snake" suggests ios "snake's poison" which also means "arrow." ]  
Ophis a serpent, snake, Il., Hdt., Trag.:--metaph., ptênon ophin, of an arrow, Aesch. [The first syll. is sometimes made long, when it was pronounced (and perh. ought to be written) opphis, v. ocheô.
A.opheos E.Supp.703 , Ba.1026, 1331; Dor. and Ion. ophiosHes. Th.322 , Hdt.9.81, Arat.82:--serpent, aiolosIl.12.208 ; glaukôpapoikilonôtonophinPi.P.4.249 , cf.A.Ch.544, S.Ph.1328, Hdt.8.41, Pl.Phd.112d, R.358b, etc.; hopsuchros o. Theoc.15.58; equiv. to drakôn in Hes.Th.322, 825: metaph., ptênonargêstênophin, of an arrow, A.Eu.181.
Hesiod, Theogony
From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring and the altar of the almighty son of Cronos, [5] and, when they have washed their tender bodies in Permessus or in the Horse's Spring or Olmeius, make their fair, lovely dances upon highest Helicon and move with vigorous feet. Thence they arise and go abroad by night, [10] veiled in thick mist, and utter their song with lovely voice, praising Zeus the aegis-holder, and queenly Hera of Argos who walks on golden sandals, and the daughter of Zeus the aegis-holder bright-eyed Athena, and Phoebus Apollo, and Artemis who delights in arrows,

[820] But when Zeus had driven the Titans from heaven, huge Earth bore her youngest child Typhoeus of the love of Tartarus, by the aid of golden Aphrodite. Strength was with his hands in all that he did and the feet of the strong god were untiring. From his shoulders [825] grew a hundred heads of a snake, a fearful dragon, with dark, flickering tongues, and from under the brows of his eyes in his marvellous heads flashed fire, and fire burned from his heads as he glared.

And there were voices in all his dreadful heads [830] which uttered every kind of sound unspeakable; for at one time they made sounds such that the gods understood, but at another, the noise of a bull bellowing aloud in proud ungovernable fury; and at another, the sound of a lion, relentless of heart; and at another, sounds like whelps, wonderful to hear; [835] and again, at another, he would hiss, so that the high mountains re-echoed.

And truly a thing past help would have happened on that day, and he would have come to reign over mortals and immortals, had not the father of men and gods been quick to perceive it. But he thundered hard and mightily: and the earth around [840] resounded terribly and the wide heaven above, and the sea and Ocean's streams and the nether parts of the earth

Apollo is Satan: he is the Abaddon or Apollyon of the book of Revelation who LOOSES the LOCUSTS to sting with THEIR MARK. The locusts were the MUSES of Apollo who had, in the Legends of John's Patmos, offended the mother of the gods (Eve, Zoe, Mary) and been turned into locusts (musical performers) and sent into the underworld.

The MUSICIANS are the locusts who DRIVE AWAY those with the Mark of The Word of God: the SEAL or stamp given at baptism where we REQUEST A clear consience which is A holy spirit.

They then CAPTURE those with the mark of Apollo and TORTURE them with music until Jesus returns. Sure, music produces endorphins (morphine within) which have the effect of FIGHT, FLIGHT or SEXALITY. No one captured is going to ever get loose according to writings contemporaneous with the Bible.

All these things spake Jesus unto the multitude in parables; and without a parable spake he not unto them: Matthew 13:34

That it might be fulfilled which was spoken by the prophet, saying, I will open my mouth in parables; I will utter things which have been kept secret from the foundation of the world. Matthew 13:35


(Ouroboros from 1760 Tail-swallowing Serpent, symbol of time and eternity) Alexander Roob's The Hermetic Museum Alchemy & Mysticism, page 402)


The Egyptian Cobra is the "trumpet" image of Satan whose "hiss" is the magic of brass instruments with the power to paralyze the mind God created in humans. Jesus did say that the truth was hidden in parables "from the foundation of the world" to keep truth away from those who do not love truth.

This symbol is also called, "Ouroboros", but its meaning is deeper. "This snake, sometimes called the Ouroboros, is a symbol of Time, from which alone Wisdom (Sophia) springs. The snake encircles the two symbols of the extremes of created life (Zoe) -- the child and the death-symbol of the skull. Between them, the child and skull are intended to symbolize the 'beginning and then end'. As a whole, the emblem may be interpreted as meaning, 'In the end, is my beginning', or 'The End is Found in the Beginning', which is approximately what the Latin around the circle means." [ Magic Symbols, Ibid.] These two statements are speaking of the pagan belief in Reincarnation I also am offended by the fact that the Satanist views the entire created world as being surrounded and controlled by the serpent, as this second Ouroboros depicts. But, I guess the Bible states that Satan is the "Lord of this World", is the "Prince of the Power of the Air", and is generally in control of this wicked world until Jesus Christ returns. From

See the gods of the air in 1 Corinthians.

The International Standard Bible Encyclopedia Serpent Worship.

"Traces of this superstition are thought by certain critics to be discoverable in the religion of Israel. Stade mentions that W. R. Smith supposed the serpent to be the totem of the house of David (Geschichte, I, 465). H. P. Smith says: "We know of a Serpent's Stone near Jerusalem, which was the site of a sanctuary (1 Kings 1:9), and this sanctuary was dedicated to Yahweh" (Hist of Old Testament, 239, 240). Special reliance is placed on the narrative of the brazen serpent, which Hezekiah is recorded to have destroyed as leading to idolatry, (2 Kings 18:4). "In that case," says H. P. Smith, "we must treat the Nehushtan as a veritable idol of the house of Israel, which had been worshipped in the temple from the time of its erection. Serpent worship is so widespread that we should be surprised not to find traces of it in Israel" (ut supra). In the same line, see G. B. Gray, Nu, 275-76. The fancifulness of these deductions is obvious. See NEHUSHTAN. James Orr

The following is a brief look at the overwhelming evidence which associates the worship of the devil or the serpent with music. Based on the Hebrew words and many ancient traditions the serpent is symbolic of the Babylonian "sacred prostitute" religion which will continue until the end (Revelation 18).

Question About The Devil's Musical Instruments

To Steal Worship God For Himself?

The Serpent

Naga The Serpent Musician

Apocolyptic Literature:

Book of Jubilees Introduction
The Book of Jubilees (c. 155 B.C.)
First Book of Adam and Eve
Second Book of Adam and Eve
The Cave of Treasurers
The Sons of God and Daughters of Men
Introduction to Enoch
The First Book of Enoch Part A
The First Book of Enoch Part B
Jude Commentary on Enoch
Jude/Enoch and Homer
Second Book of Enoch
How Satan Taught Genun (Jubal) Music and Choirs
The Devils Live Inside of Musical Instruments
Apocalypse of Adam
Apocalypse of Moses
 
Lilith from Hebrew Myths
Lilith or Naamah Demons and Music

Apocrypha

Bell and the Dragon

Babylonian Documents

Lugalbanda in the mountain cave
Nimrod's Babylon Worship Team
Enuma Elish and Sounding the Coil of Chaos New 11/10/2K

Inanna is Ishtar who along with Tammuz was worshiped in the Jerusalem Temple.

See Inanna stealing the ME or powers from Ea, the patron god of music and Lamech's second incarnation. This is the lady who had the powers of the GATES OF HELL.

However, she curses the temples she helps build.

Ea is the half man- half serpent reproduced in the Pope's hat.

Classical Writers

Clanging Gongs and Mother Worship

Church Fathers

Recognitions of Clement on Idolatry Book IV
Clementine Homily VIII Fallen Angels and Demons
Clementine Homily IX How Demons get control of men
Hippolytus, musical sorcery
Refutation of all Heresy
Tertullian and the Fall of Women

Frazer, James George

Frazer, George Satan's Bells
Diabolic Agency in Storms and Baptized Bells
Franklin's Lightening Rod and Magical Bells

Gnosticism

Sophia-Zoe as the Beast-Instructor
Sophia-Zoe The Origin of The World
Hypostasis of the Archons Sophia-Zoe: Snake Female principle
RHEA - SATURN: Orphic Instrumental Music

Hislop, Alexander, The Two Babylons Background to the "horn" of Nimrod and its connection to his musical worship team which followed him. The Serpent works in human agents.

Alexander Hislop The Sign of the Cross 5.6
Alexander Hislop The Great Red Dragon 7.1
Alexander Hislop The Name of the Beast 7.5
 
Nimrod's Musicl Worship Team

Jewish Traditions

Legends of the Punishment of the Fallen Angels
Legends of the Jews - Descendants of Cain The origin of musical worship and symbols of the trinity.
Legends of the Jews - The Fall of the Angels On Mount Hermon Those who oppress mankind and take their property are the spirits of the fallen angels.
Legends of the Jews Punishment of the Angels
 
Lilith from Hebrew Myths
Lilith or Naamah Demons and Music

Judas

Music and The Triumphant Beast
Psalm 41 etc. in The Dead Sea Scrolls

Gnosticism

Pistis Sophia - Zoe - The Beast and Mary Worship
Gnosticism Catholic Encyclopedia
Hypostasis of the Archons

Islam

Islamic worship Iblis (Shaytaan)

Layard, The Two Ninevehs

Layard Devil worship

Medieval

Lucifer's sin was bestowing the gifts of heaven such as music to mankind. This was to pre-empt God, create the false sense of salvation and get the worship for himself. The appeal to the harps of revelation are an attempt to use what Satan revealed while the message to those on the earth is: "preach the gospel."

Codex Junius Genesis (A & B)
Codex Junius 11 - Christ and Satan

Church Fathers

Hippolytus V Refution of Heresies Satan Worship

Adam Clark

The word Nagash or Serpent in Genesis 3

Worship with music came from the pagan "gods." "There is no other tradition." What did Jude know (that we don't know) about the "Wandering Stars" and God coming with ten thousand of His host to execute Judgment? Music is not evil but science and common sense knows that you cannot "give attendance to the reading of the Word" and watch the theatrical performance at the same time. However, traditionalism makes it hard to get out of the music trap once you have been seduced: that is the meaning of the following collection of connecting music as worship uniquely to Satan.

Kenneth Sublett.

Instrumental Music as Worship

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Contents: book of Jubilees, book of Adam and Eve, Book of Enoch, instrumental music in worship, Legends of the Jews, Enoch, Lilith, Naamah, Sophia, Zoe, Clement, recognitions, Alexander Campbell, devil, nagash, lachash, speaking in tongues, satan, nimrod, lamech, lucifer, naga, nagash, nagan, jubal, genun, layard devil worship, naga the serpent, legends of the Jews, Hippolytus and satan worship, hohenwald, restoration movement

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