Speaking Psalms Hymns Spiritual Songs

The Christian Standard and Instrumental Music in Worship.
11.13.14 Merchants always sow discord for financial gain: Paul did not corrupt the word meaning selling learning at retail also meaning prostitution.

The Disciples of Christ--Christian Church was always a distinct denomination to which Churches of Christ (Christian Baptists in 1832) as independents were never "unioned".  In the mid 1800's most people could attend most assemblies and not be offended by the performance of rhetoric, singing, playing instruments and other attempts to make the invisible kingdom both visible, audible and costly.  The Christian Standard as a marketing organization went to divisive extremes trying to force Churches of Christ to "Join." That would mean the Sunday School Movement supplied by the Standard in which musical instruments were first imposed with an agenda. And buying ONLY their authorized song book and imposing teachers independent of the local elders.  There was no common grounds at the time other than men seeing godliness as a means of financial gain.

Christian Standard learning how Rick Atchley TRANSISTIONED Churches of Christ to Instrumental Music.


The Church of Christ continued John Calvin's Call for the Restoration of the Church of Christ:
Follow up question on the viewpoint of no command to sing...

What is the Greek word used in Acts 16:25 for "sang hymns"? Is that the singing we understand. If it is then Paul and Silas were singing and praying? And it had to have been out loud as "the prisoners were listening." I don't want to assume too much here but they are Apostles and "two or more were gathered." Wouldn't this event constitute a worship service with singing out loud as part of it?

See a complete history of how psallo has been used in history.  Never in recorded history did it have a musical connection: it means to pluck or smite something with your FINGERS but never with a PLEKTRON or guitar pick.  If you pluck a bow string you make it twang to send forth a singing arrow into the heart of the enemy.  If you pluck a hair it produces a painful experiense. IF you pluck the string of a STRINGED INSTRUMENTS it makes a sound but not music. If you want to pluck a harp and make music the Holy Spirit was smart enough to use the common compound words that Jimmy Jumpup would have known to use.

It might come as a surprise that the command is always to SPEAK that which is written for our learning (Romans 15). SPEAK in the LEGO or LOGOS sense is the OPPOSITE of ODE.  And ODE is defined as the opposite of LEXIS. You see, the object is not to make music which destroys learning but to TEACH and ADMONISH with the text.

Christ the ROCK outlawed vocal or instrumental rejoicing for the synagogue or church in the wilderness


Jesus died to destroy the laded burden and the burden laders. A burden in Hebrew and Greek is a form of singing intending to arouse
some "spiritual anxiety through religious rituals" (Jesus) or self-pleasure as "creating mental excitement." Both Latin and Greek define that as speaking, singing, playing, acting or anything that interferes with "using one mind and one mouth to speak that which is written for our learning." [Romans 15].  The Word of LOGOS is the Regulative Principle or Governing Principle and Speak means Speak: that is opposite to rhetoric, poetry or music.

Jesus said that many (most) are called or invited but few (almost none) are chosen: the chosen are those who diligently seek Him. So don't be surprised that Jesus said the kingdom does not come with observation meaning Religious Services.  Those Of Faith or Of Truth are baptized or "washed with water INTO THE WORD" or into the School of Christ.  We adults do not allow musical performers when Jesus now tasked as the Holy Spirit or the Mind of God presumes to be the only "performer" when the elders "teach that which has been taught" and silences those who oppose that Document.

If you look carefully the comand is to SPEAK the Biblical Psalms, hymns and spiritual songs which were composed as "teaching psalms" with no meter or melody possible. Jesus and the Apostles SPOKE A hymn and went out once in a yearly cycle: hymns are prayers:

Plat. Laws 657c
Clinias
Such would evidently be the case, judging from what you now say.

Athenian May we confidently describe the correct method in music and play, in connection with choristry, in some such terms as this:
        we rejoice whenever we think we are prospering,
        and, conversely, whenever we rejoice we think we are prospering? Is not that so?

Clinias Yes, that is so.

Athenian Moreover, when in this state of joy we are unable to keep still.

Clinias True.

Humnos , ho, A. hymn, ode, in praise of gods or heroes (“kai ti ēn eidos ōdēs eukhai pros theous, onoma de humnoi epekalounto Pl.Lg.700b;

Plat. Laws 700b
one class of song was that of prayers to the gods, which bore the name of “hymns”
Paul's corrupting the Word is selling learning at retail defined as prostitution: the Greek Civil society agreed:
1 i.e., solemn chants sung to the “cithara” or lyre. “Dithyrambs” were choral odes to Dionysus; “paeans” were mostly hymns of praise to Apollo. [Abaddon, Apollyon: the name of the SERVICE of the Levites or soothsayers] Plat. Laws 936c There shall be no beggar in our State; and if anyone attempts to beg, and to collect a livelihood by ceaseless [making Poieo meter, hymns] prayers, the market-stewards shall expel him from the market, and the Board of city-stewards from the city, and from any other district he shall be driven across the border by the country-stewards, to the end that the land may be wholly purged of such a creature. If a slave, male or female, do any injury to another man's goods,

-Epikheir-eō , (kheir) A. put one's hand to, “hoi men deipnō epekheireon”
III.  attempt to prove, argue dialectically, Pl.Tht.205a, Hermog.Inv.3.4; “peri tinos” Arist.Top.101a30; ek tinos from a topic, ib.115a26 ; “es ti” D.L.4.28 ; “e. hoti..” Arist.Top.128b26 : abs., Id.APr.66a34 ; “logikōteron estin epikheirein hōde”
Gignomai  to be engaged in . Ergon, Occupation. , hoi en poiēsei ginomenoi in poetry, Id.2.82; etc.; g. epi tini fall into or be in one's power, X.An.3.1.13, etc.; “epi sumphorais g.” D.21.58 
Poi-ēsis , eōs, , melos , eos, to, A. fabrication, creation, production,
2. of Poetry, tōn dithurambōn p., tēs tragōdias, tōn epōn, Pherecr.145.10, Pl.Grg.502a, 502b, R. 394c: abs., art of poetry, “hoi en p. genomenoi” Hdt.2.82, cf. Ar.Ra.868, etc.; “houtōs . . atalaipōrōs p. diekeito” Id.Fr.254; hoi akroi tēs p. hekateras, i.e. tragedy and comedy, Pl.Tht.152e; “ōdai kai allē p.” Id.Phdr.245a; p. psilē ē en ōdē ib.278c.
b. poetic composition, poem, “es poiēsin eseneikasthai” Hdt.2.23, cf. Th.1.10, etc.; “peri hōn Homēros tēn p. pepoiēken” Pl.Ion531d: pl., Id.Lg.829e.

Melos
, eos, to, B. esp. musical member, phrase: hence, song, strain,
esp. of lyric poetry, “to Arkhilokhou m.” Pi.O.9.1; en melei poieein to write in lyric strain, Hdt.5.95, cf. 2.135; “en melei ē tini allō metrō” Pl.R.607d, cf. D.H. Comp.11; “Admētou m.” Cratin.236; melē, ta, lyric poetry, choral songs, opp. Epic or Dramatic verse, Pl.R.379a, 607a, al.; [m. ek triōn sugkeimenon, logou te kai harmonias kai rhuthmou ib.398d.
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” Thgn.761; “aulōn pamphōnon m
Sullegō , “ammōdē en kustei” ; s. monōdias, melē, compose, or rather compile, scrape together, Ar.Ra.849,1297, cf. Ach.398; “rhēmata kai logous” D. 18.308;
Sukhē , , (eukhomai) A. prayer or vow, once in Hom. (cf. eukhos, eukhōlē)“, epēn eukhēsi lisē” Od.10.526, cf. Hes.Th.419, Thgn.341, Hdt.1.31, etc.; “theos euphrōn eiē . . eukhais” Pi.O.4.15; “eukhas anaskhein tini” S.El.636; eukhēn epitelesai, L

2. wish or aspiration, opp. reality, eukhais homoia legein to build 'castles in the air', Pl. R.499c, cf. 540d; eu. dokē einai ho logosib.450d; kata tēn tōn paidōn eu. like a boy's wish, Id.Sph.249d; eukhēs axia things to be wished, but not expected, Isoc.4.182; politeia kat' eukhēn ginomenē the ideal state, Arist.Pol.1295a29, cf. 1288b23; zēn kat' eukhēn ib. 1260b29.
EVERYTHING used to perform the RITUAL of singing in the modern institution is the WORKS OF HUMAN HANDS. If you make it, compose it, sing it, play it or act it God will burn it up.

THAT SHOULD MAKE CHURCH LESS OF A LADED BURDEN: as singing was introduced to pacify the people called out into long and often assemblies, all of the MUSIC content intends to AFFIRM the authority of the Alpha Male in all paganism. Making or composing or performing is necessary: almost no one would get out of bed to watch and hear a self-speak sermon spoken for which Jesus authorized no Role and certainly no Dole.

ALL musical performance when the Assembly is a School (only) of the Word (only) of Christ (only) in the prophets and apostles is the MARK of unleashed Abaddon, Apollyon and the Muses (Locusts code).

John callse the musical performers (Muses) and instrument players SORCERERS who HAD deceived the whole world before being cast into prison.

Jesus called the Scribes and Pharisees, hypocrites: in the Exekiel 33 version by the Spirit OF Christ names self-speakers, singers and instrument players.  They were the identifying mark of those who SOLD their own words to people who had no interest in the Words of Christ.  That is why the locusts or muses take them captive and drive out the Word-centered disciples: disciples don't go to "worship services" but to school.

The BEAST in Revelation is defined as "A New Style of Music or Drama" or the Satyric Drama which meant the Devils "Acts." Fittingly no one saw singing as an ACT until the year 373 and that split the east from the west.

Both ODE and PSALLO had very destructive and evil meaning in pagan worship.  They are the MARK of Apollo, Abaddon or Apollyon being unleashed with the Locusts who are the MUSES who once deceived the whole world and were cast into the netherworld until about now when the 6 "Days" have ended.

All mechanical sounds of wind, string or percussion instruments Marked people intending to take you captive and to hurt you: music like the runner's high kicks in to try to HEAL the hurt imposed by evil people NEEDING you to feed their face: sacrificial instrument players was the meaning of the word PARASITE.

Therefore, Paul's direct command was:

To SPEAK that which is written for our learning. You know, Disciples of Christ go to a School of Christ.
Howlever, as antithesis Ode and Psallo in the heart. Paul said that singing out of your own spirit would be singing into the air. Therefore, singing and making melody is EXCLUDED from the outward task where we all understand that the command is to TEACH the Word of Christ in the prophets and apostles.

Only God can explain how people subvert the word so that:

Speaking to yourselves in Psalms, hymns and spiritual songs becomes
Singing to the congregation with self-composed ditties and making melody WITH a musical instruments.

And ODE is spoken unless it is set to music:

Mouso-ō
, A. furnish with power of song, hosa phusis memousōke,
2. to be set to music, “ta di' ōdēs . . mousōthenta kroumata” ; to be filled with melody, “memousōtai ta peri tēn thalattan hup' ōdēs tōn petrōn” Philostr.Her.10.7.  “kitharizein pros tēn ōde.”

Therefore, and ODE cannot include music as cannot a Psalm unless you define it.
Plat. Laws 722d yet it is only recently that we have begun, as it seems, to utter laws, and what went before was all simply preludes to laws. What is my object in saying this?
        It is to explain that all utterances and vocal expressions
        have preludes and tunings-up (as one might call them),
        which provide a kind of artistic preparation which assists towards
        the further development of the subject. Indeed, we have examples before us of preludes,
        admirably elaborated,
The command is to SPEAK the ODES
-lexis , eōs, h(, (legō B) A. speech, OPPOSITE. ōdē, Pl.Lg.816d; l. ē praxis speech or action, Id.R.396c; ho tropos tēs l. ib.400d; ta lexei dēloumena orders given by word of mouth,

lĕgo (a). To read out, read aloud, recite (esp. freq. in post-Aug. authors): “convocatis auditoribus volumen legere, etc.
Saying is legō3  5. l. ti to say something, i. e. to speak to the point or purpose, to explain more fully,
9. to boast of, tell of, Xen.: to recite what is written, labe to biblion

ōdē  is the opposite of -lexis

It is one thing to speak psalms, hymns and spiritual songs to one another but quite another for a person or group to sell their bodies to perform in a liturgical sense. The Scribes and Pharisees whom Jesus called hypocrites and in the Ezekiel 33 example by  Christ they are rhetoricians, singers and instrument players.  Long Prayers are also making Long Hymns which you fabricate yourself.

Plato Republic True, he said.

And therefore when any one of these pantomimic gentlemen, who are so clever that they can imitate anything, comes to us, and makes a proposal to exhibit himself and his poetry,

we will fall down and worship him as a sweet and holy and wonderful being;
but we must also inform him that in our State
such as he are not permitted to exist; the law will not allow them.
        And so when we have anointed him with myrrh, and set a garland of wool upon his head, we shall send him away to another city. For we mean to employ for our souls' health the rougher and severer poet or story-teller, who will imitate the style of the virtuous only, and will follow those models which we prescribed at first when we began the education of our soldiers.They "hymned"" which has various meanings: here it means "reciting a form of the Law" and means to recite hymns which were types in the BOOK of Psalms.  Like all such words it is without singing unless indicated, never means with a lyre and with a flute only when intending to create anxiety.
When Jesus and the apostles "hymned" the word is DICO or speak.  There is no word which INCLUDES a musical instrument unless one commands to [1] hymn [2] WITH a named [3] instrument. Any simple simon would know how to command group singing WITH a musical instrument.  To try to force the Spirit to give us aid and comfort for sowing discord and stopping the teaching-admonishing pattern would seem to be blasphemy. Jeremiah 23 has Christ defining saying something that God did not say is blasphemy.

Question:
Additionally, I Cor. 14:26 regarding orderly worship alludes to, and some versions actually use the word "sing" in part of what occurs when the church meets together. Is it too much of a stretch doctrinally to infer some idea or possible command of singing from these passages from example and direct inference? I know nothing of the Greek here. I don't want to bind a command to sing if there really isn't one, but want to look further at your position of singing not being required by God for the worship.

Paul equated speaking out of one's own spirit to playing a musical instrument: he warned that those who did not have a REVELATION (not likely) or have something of doctrinal information to teach to be silent and SPEAK to God.   There was nothing metrical (metron, measure) given to Jesus by the spirit or breath of God: proof is that when the people wanted to "sing" in a tuneful sense after the Reformation, Psalms (only) had to be radically rewritten so they could be set to a simple meter.  These were sung in unison in the beginning.


We have a historical record of the first introduction of singing (other than speaking psalms) as an ACT of liturgy in 373 long after Constantine began paying pagan priests to become clergy often without baptism.



  1. Hymnody developed systematically, however, only after the emperor Constantine legalized Christianity (AD 313); and it flourished earliest in Syria, where the practice was possibly taken over from the singing by Gnostics and Manichaeans of hymns imitating the psalms. The Byzantine Church adopted the practice; in its liturgy, hymns maintain a much more prominent place than in the Latin liturgy; and Byzantine hymnody developed complex types such as the kanon and kontakion (qq.v.; see also Byzantine chant). Saint Ephraem--a 4th-century Mesopotamian deacon, poet, and hymnist--has been called the "father of Christian hymnody." Britannica Online
  2. In the West, St. Hilary of Poitiers composed a book of hymn texts in about 360. Not much later St. Ambrose of Milan instituted the congregational singing of psalms and hymns, partly as a counter to the hymns of the Arians, who were in doctrinal conflict with orthodox Christianity. In poetic form (iambic octosyllables in four-line stanzas), these early hymns--apparently sung to simple, possibly folk melodies--derive from Christian Latin poetry of the period.
  3. By the late Middle Ages trained choirs had supplanted the congregation in the singing of hymns. Although new, often more ornate melodies were composed and many earlier melodies were elaborated, one syllable of text per note was usual. Some polyphonic hymn settings were used, usually in alternation with plainchants, and were particularly important in organ music
  4. Congregational singing in the liturgy was re-established only during the Reformation, by the Lutheran Church in Germany.
    The early chorale (q.v.), or German hymn melody,
    was unharmonized and sung unaccompanied,
  5. although harmonized versions, used by varying combinations of choir, organ, and congregation, appeared later. 
Swiss, and later, French, English, and Scottish Calvinism promoted the singing of metrical translations of the psalter (see psalmody), austerely set for unaccompanied unison singing. English and Scottish Protestantism admitted only the singing of psalms. English metrical psalms were set to tunes adapted from the French and Genevan psalters. These were fairly complex melodies written on French metres. The English psalter used only a few metres, and the custom of singing each psalm to its “proper” tune was soon replaced by the use of a few common tunes. The common metre 8, 6, 8, 6 (the numbers give the number of syllables in each line), a form of English ballad metre, remains the archetypal English hymn metre.
Kenneth Latourette, A History of Christianity, p. 760).

"In Gnostic circles religious poetry arose to compete with the Old Testament Psalms. Some Catholics therefore distrusted the composition of hymns after this pattern, on the ground that they might smack of heresy. Yet from at least the second century hymns were written by the orthodox which, like their Gnostic counterparts, employed the forms of Greek poetry...

Until near the end of the fourth century, in the services of the Catholic Church
only the Old Testament Psalms and
the
hymns or canticles from the New Testament were sung:

the other hymns were for personal family, or private use.
Gradually there were prepared versical paraphrases of the Psalms, hymns
with lines of equal length, and hymns which were acrostic." (Latourette, Christianity. p. 207)

Still no melody (a series of single notes) and no harmony: the Greek Sumphonia (music) means sounding together: the unison speaking of that which is written for our learning in Romans 15

From Ephraim the Syrian and Aphrahat the Persian Sage

To Ephraim pertains the high and unique distinction of having originated-or at least given its living impulse to-
a
new departure in sacred literature; and that, not for his own country merely, but for Christendom.

From him came, if not the first idea, at all events the first successful example,
        of making song an essential constituent of public worship,
        and an exponent of theological teaching;
                and from him it spread and prevailed through
                the
Eastern Churches, and affected even those of the West.

To the Hymns, on which chiefly his fame rests, the Syriac ritual in all its forms owes much of its strength and richness; and to them is largely due the place which Hymnody holds throughout the Church everywhere.

And hence it has come to pass that, in the Church everywhere, he stands as the representative Syrian Father, as the fixed epithet appended to his name attests-" Ephraim the Syrian,"-the one Syrian known and reverenced in all Christendom.

From a few lines of Proba's work can be seen the problems with this approach: little of what was created could justifiably be placed alongside the great works of the past, and since that was an implicit target the failure to meet it was embarrassing;

more pressingly, such Christianisations did not appeal to the highly educated, who preferred to read the imitated originals, and did not appeal to Christians who would not otherwise have read the originals, who needed something written to their own culture and not to that of a past elite.

This kind of imitation had its brief flourishing at the time of the emperor Julian, who forbade Christians to teach pagan works, but had no lasting effect.

In the Greek-speaking world the hymns that became a part of the Church's ritual were in rhythmic prose like that of their Eastern models; in the West Latin hymnody had to catch up with changes in the spoken language, where syllables were no longer divided by quantity, and stress had become decisive.

Arius, like Bardesan and Ephraem, used the genre of the theological song, music as propaganda. Besides the Thalia, Arius is said to have written and set to music songs for sailors, millers and travellers.73 Valentinus too had written psalms to spread his opinions.7

Augustine provides a vivid example of the way music was used to promote a theological cause in the acrostic song he wrote detailing the mistakes and wrongs of the Donatists.

As with many other Christian developments, it seems that heretics catalysed the emergence of the Christian hymn in the fourth-century.

That there really were significant new developments at this time is most easily seen later in the century, in the West. Augustine, among others, tells us about Ambrose's introduction of new musical practices from the East.

The Arian Justina, Valentinian's mother, was persecuting the orthodox congregation of Milan; 'The decision was taken to introduce hymns and psalms sung after the custom of the eastern Churches, to prevent the people from succumbing to depression and exhaustion.

From that time to this day the practice has been retained and many, indeed almost all your flocks, in other parts of the world have imitated it. It is clear that the new practices, introduced at Milan during a time of difficulty, were intended to appeal to the congregation, and that they were successful in doing so:

people sang 'with both heart and voice in a state of high enthusiasm' these characteristics had previously recommended similar practices to fringe groups: from an orthodox viewpoint, heretics, schismatics, and gnostics. (Kenneth Latourette, A History of Christianity, p. 760).

Singing in that eastern style still practiced by Jews and Muslims, as noted, were used as propoganda or to relived the long meetings by scattered people.  Where the people had the text they simply did not travel long distances to observe rituals to which Jesus said the Kingdom does not come.

Hastings Encyclopedia. There was also an early vigil from cockcrow to dawn kept by 'all monks and virgins,' and by some lay-folk also. Of course the devotions at the central holy place of Christendom were more generally attended than elsewhere and more elaborate in form, including already four daily services at least. But the account gives us clear insight into the way in which worship became more specialized and developed. And by a good deal of evidence from the last quarter of the century we can ' fix the period A.D. 350-375 as that of the introduction of daily public evening and morning prayers into the Eastern Church, followed a few years later by that of Milan.'1

The 'holy places' like the Jerusalem Temple was for the clergy and keeping the 'prayer chanel' open to God did not involve the congregation.  Therefore, when you hear about "singing" in early history this was something practiced by the later monks and nuns who were on duty 24/7 at the 'navel."

As regards forms of devotion dating from the 4th cent., neither the morning hymn (Gloria in exceltis) nor the evening one,1 tor instance, seems then to belong to public service. The former appears in varied contexts (e.g., after the Biblical Canticles or 'Odes' in the Codex Alex.); and in the Eastern Church it is part of the Daily Office (Lands), while in the Western it is in the Mass— whither most prized forms tended to gravitate. Once, however, both perhaps were part of the worship of an ascetic community. The evening  hymn, like another vesper hymn, ' Hail, gladdening light', referred to by St. Basil1 as already ancient, may originally have been a thanksgiving 'at the lighting of the lamps'
        either in the home or at an Agape,'
        passing later into use among ascetics,
        like the table-prayers of the Didache into de Virg. xii f.
        In this last the Gloria is part of the virgin's praise ' towards dawn.'*

Closely connected in feeling and ideas with the Gloria, and perhaps with its fellow vesper hymn (Te deeet laiu), is the best known Latin hymn, the Te Deum, now traced to Nicetas of Remesiana, who as living on the road between the East and West would naturally feel the influence of Greek models. Nicetas in his works ' On Vigils' and ' On the good of Psalmody' illustrates further the similarity of ideals of private and corporate devotional hours in East and West c. A.d. 400 ;4
        and he was one of the pioneers of the newer feeling
        which allowed hymns other than those in Scripture, the Psalter above all,
        to form part of corporate Christian worship,
        though the prejudice against this died hard.'
The authority of St. Ambrose, who himself wrote hymns for public worship, had no doubt great influence. The musical difficulty to their more general use was a real one.
        It was in monastic circles,
        then, that hymns proper took real root,
        and from their daily offices passed in the later Middle Ages
                into the Breviary of the ordinary clergy.
 
In First Corinthians Paul uses lots of irony: you ALL want to speak in tongues BUT you don't all have the ability. You all have a song in YOUR SPIRIT but paul does not command "singing" in a tuneful sense.  Singing meant to recite any poetic material or an address to God.  Singing meant "using the normal inflections of the human voice." "Melody as tunefulness belongs to the 19th century" says many musicologists (Britannica) and even now "melody" means a series of single tones.  Melody never meant harmony and has no connection. The Greek harmony meant speaking together and could include unison.  Since none of the Bible is metrical, none of it could or can be sung in the modern sense.  The object was always to Teach and Admonish or Comfort "with Scripture." I will look again at 1 Corinthians 14 but there are lots of cases of "synagogying" or assemblying with the saints and there is never any hint of "group singing."  We just don't do "music" when the command is to "use one mind and one mouth to teach that which is written for our learning" (Rom 15).


Thanks again and I eagerly and respectfully look forward to your response.


See They Sang a Hymn and Went out (pretty good pattern?)

Matthew 26.30  et hymno dicto exierunt in montem Oliveti
Hymnus , i, m., = humnos, I. a song of praise, a hymn: “hymnus cantus est cum laude Dei,” Aug. Enarr. in Psa. 148, 17; Ambros. Expos. Psa. 118, prol. § 3; Lucil. ap. Non. 330, 9; Prud. Cath. 37 praef.; 4, 75: “divinorum scriptor hymnorum,” Lact. 4, 8, 14; Vulg. Psa. 60 tit.; id. Matt. 26, 30.

Psalm 60 A teaching poem by David, when he fought with Aram Naharaim and with Aram Zobah, and Joab returned, and killed twelve thousand of Edom in the Valley of Salt.

There is no SINGING TUNEFULLY involved in hymning:

Dīcoto say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,
Ontōs , Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs a^, Dor. ala_thēs , es, (lēthō,
I. Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
Opposite Epos A. vαcas 'word', 'hymn', cf. eipon): 1. song or lay accompanied by music,8.91,17.519.     5. celebrate, of poets, “Aiantos bian
3. of oracles, true, unerring, “alathea mantiōn thōkon” Pi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthai” Hdt. 1.14
logos Opposite pathos (what happened to me), poetry, music
Acts 7:38 This is he, that was in the church in the wilderness with the angel which spake to him in the mount Sina, and with our fathers: who received the lively oracles to give unto us:
Romans 3:2 Much every way: chiefly, because that unto them were committed the oracles of God.
Hebrews 5:12 For when for the time ye ought to be teachers, ye have need that one teach you again which be the first principles of the oracles of God; and are become such as have need of milk, and not of strong meat.
1Peter 4:11 If any man speak, let him speak as the oracles of God; if any man minister, let him do it as of the ability which God giveth: that God in all things may be glorified through Jesus Christ, to whom be praise and dominion for ever and ever. Amen.
Luke 2.34 and Simeon blessed them, and said to Mary, his mother, "Behold, this child is set for the falling and the rising of many in Israel, and for a sign which is spoken against.

When Dico is translated SING it never speaks of tunefulness:

Dīco, 4. To describe, relate, sing, celebrate in writing (mostly poet.): “tibi dicere laudes,” Tib. 1, 3, 31; so, “laudes Phoebi [Apollo, Abaddon, Apollyon] et Dianae,” Hor. C. S. 76: “Dianam,

Laudo, I. to praise, laud, commend, extol, eulogize, approve
1. To pronounce a funeral oration over a person:
3. To praise, compliment, i. e. dismiss with a compliment, leave,
        to adduce, name, quote, cite a person as any thing: sermo
Sermo , ōnis, m. 2. sero, qs. serta, conserta oratio, Of prose as opposed to poetry
b. of verses in a conversational style, To Inculcate
II. Transf., a manner of speaking, mode of expression, language, style, diction, etc. (cf. lingua):
Acts 16.25 Kata de to mesonuktion Paulos kai Silas proseukhomenoi humnoun ton theon, epēkroōnto de autōn hoi desmioi:

proseukhomai , fut.
A. “-xomai” A.Ag.317offer prayers or vows, “theois” A. l.c., cf. E.Hipp.116, al., etc.; “ hēliō” Pl.Smp.220d; “theō p. sōtērian hēmin didonai” Id.Criti.106a, cf. X.Cyr.2.1.1.
2. c. acc., p. ton theon address him in prayer, Ar.Pl.958, cf. E.Tr.887.
3. abs., offer prayers, worship, Hdt.1.48, A.Pr.937, S.Ant.1337, etc.; p. glōssē, pneumati, noi, 1 Ep.Cor.14.14,15.
II. c. acc. rei, pray for a thing, “nikēn polemou” X.HG3.2.22: c.inf., “helkein to bedu p.” Philyll.20; zēsai proseukhou pray for life, Epigr.Gr.1040.11 (Adada): folld. by tou c. inf., Ep.Jac.5.17; p. hina . ., peri tinōn hopōs, Ev.Matt.24.20, Act.Ap. 8.15.

humn-eō , Ep. humneiō Hes.Op.2; Ep.3pl.
A. “humneusin” h.Ap.190; fem. part. “humneusa” Hes. Th.11; Aeol. inf. umnēn to be restored for humnein in Alc.5.2; Lacon. 1pl. subj. “humniōmes” Ar.Lys.1305 (lyr.): Aeol. 3pl. impf. “umnēn” Sapph. Supp.20c.6: fut. “humnēsō” Pi.Parth.2.11: (humnos):
*I. with acc. of person or thing sung of, sing of, first in Hes.Th.11,33, freq. in h.Hom. (h.Ap.178, al.), Lyr. (Sapph. l.c., Alc. l.c., Pi.N.10.2, al., B.10.13, al.), and Trag. (E.IT367, etc.; “thrēnois . . s' humnēsomen” Id.Rh. 976): also in Prose, celebrate in a hymn, commemorate, “Ōpin” Hdt. 4.35; “tas toutōn aretas” Lys.2.2, cf. B.5.33; [“Palamēdē humnousin hōs . . apollutai” X.Mem.4.2.33, etc.; “ton theon” Act.Ap.16.25; of the hymn itself, “oute . . me tis humnos humnēsen” S.Ant.815 (lyr.): c. dupl. acc., ha tēn polin humnēsa the points wherein I praised our city, Th. 2.42:—Pass., to be celebrated in hymns, of gods, OGI56.66 (Canopus, iii B.C.), Paus.9.23.3, etc.; also Argeioi . . ta polla panta humneatai (Ion. for -ēntai) are everywhere praised, Hdt.5.67; “humnēthēsetai polis” E.Ion1590; “ humnoumenē khrusē platanos” famous, X.HG7.1.38; “hai humnoumenai philiai” Arist.EN1171a15; “sophia en exodois humneitai” LXX Pr. 1.20: impers., humneito d' aiskhrōs foul songs were sung, Com.Adesp. 1203.5.
2. descant upon, in song or speech, “en katērephei stegē . . humnēseis kaka” S.El.382; tan eman humneusai (Dor. for -ousai apistosunan ever singing of my want of faith, E.Med.423 (lyr.):— Pass., “Eteokleēs an . . humnoito . . phroimiois polurrothois” A.Th.7.
3. c. acc. cogn., sing, asma, humnon, Heraclit.15, A.Ag.1191: c. dupl. acc., “paiana . . humnousi . . ton Aatous gonon” E.HF688 (lyr.), cf. SIG711 L12 (Delph., ii B.C.).
II. tell over and over again, harp upon, repeat, recite, Pl.Prt.317a, R.549e, Tht.174e, etc.; hōs . . Id.R.364a; humnousi to gēras hosōn kakōn aition esti] ib.329b; ton nomon humnein recite the form of the law, Id.Lg.871a:—Pass., ho d' eipe pros me bai', aei d' humnoumena (Sch. ta poluthrulēta) S.Aj.292.
2. in pass. sense, phēmai . . humnēsousi peri ta ōta will ring in their ears, Pl.R.463d. [On the quantity, v. humnos.]

humnos , ho,
A. hymn, ode, in praise of gods or heroes (“kai ti ēn eidos ōdēs eukhai pros theous, onoma de humnoi epekalounto” Pl.Lg.700b; “humnous theois kai egkōmia tois agathois” Id.R.607a, cf. Arist.Po.1448b27), once in Hom., “aoidēs humnos” Od.8.429 (folld. by Demodocus' song of the Wooden Horse, 499 sqq.); “humnō nikēsanta pherein tripod'” Hes.Op.657; “andrōn te palaiōn ēde gunaikōn humnon aeidousin” h.Ap.161; freq. in Pi., humnos poluphatos, epikōmios, etc., O.1.8, N.8.50, al.; “Thērōnos Olumpionikan humnon” O.3.3; and in B., “huphanas humnon” 5.10, cf. 6.11, al.; humnoi theōn to or in honour of the gods, Pl.Lg.801d; “timōn thean humnoisin” E.Hipp.56; “tous khorous . . kai tous hu. theō poieite” D.21.51, cf. Pl.Smp.177a; humnoi Daueid psalms of David, LXX 2 Ch.7.6; “psalmoi kai hu. kai ōdai” Ep.Eph.5.19: in Trag. also of mournful songs, addressed to gods or heroes, “ton duskeladon hu. Erinuos” A.Th.868 (lyr.), cf. Pers.620, 625 (anap.), Ch.475 (lyr.); “hu. ex Erinuōn, desmios phrenōn, aphormiktos” Id.Eu.331 (lyr.), cf. 306; “en alurois kleontes humnois” E.Alc.447 (lyr.); hu. Haidou, of one whose songs are death, Phryn. Com.69 (lyr.).—On humnoi of various kinds v. Men.Rh.p.333 S.; “ho kuriōs hu. pros kitharan ēdeto hestōtōn” Procl.Chr.ap.Phot.Bibl.p.320 B., cf. Did. ap. EM777.9. [Most commonly u_, but only by position; u^ proved by euu^mnos (q.v.), “u^mnōdei” A.Ag.990 (lyr.), u^mnēsō E.Ba.72 (lyr.).]
Hes. WD 657 Then I crossed over to Chalcis, to the games of wise Amphidamas where the sons of the great-hearted hero proclaimed and appointed prizes. And there I boast that I gained the victory with a song and carried off a handled tripod which I dedicated to the Muses of Helicon, in the place where they first set me in the way of clear song. [660] Such is all my experience of many-pegged ships; nevertheless I will tell you the will of Zeus who holds the aegis; for the Muses have taught me to sing in marvellous song.

The phrase:  “On humnoi of various kinds   ho kuriōs hu. pros kitharan[ lyre] ēdeto [aeidō] hestōtōn” [take up

aeidō , hence of all kinds of vocal sounds, crow as cocks hoot as owls, Arat.1000; croak as frogs, Arist. Mir.835b3, Thphr.Sign.3.5, etc.; hoi tettiges khamothen asontai Stes. ap.Arist.Rh.1412a23:—of other sounds, twang, of the bow-string, Od.21.411; whistle, of the wind through a tree, Mosch.Fr.1.8; ring, of a stone when struck, Theoc.7.26:—prov., prin nenikēkenai adein 'to crow too soon' Theoc.8.6; a. pros aulonē luran sing to . . , Arist.Pr..918a23; “hup' aulois”

Note that when one SINGS TO a lyre it takes three words. In the same way, psallo just means to pluck or play and when a harp is to be plucked it is always named.

It would be an insult to Jesus Christ the Holy Spirit and to Paul to think that they did not have the words handy to command SING (instead of speak), and PLAY and A HARP.

II. Antithetical Parallelism--The thought of the first line is expressed by an antithesis in the second;
or is counterbalanced by a contrast in the second. This parallelism is very common in the Book of Proverbs:

(a) The tongue of the wise adorneth knowledge,
{but} The mouth of the fool blurteth out folly.

Prov., xv, 2.
(b) Soundness of heart is the life of the flesh,
{but} Envy is the rot of the bones.
--Proverbs 14:30.

The thoughts of the righteous are right,
But the counsels of the wicked are deceitful. Proverbs 12:5 (NKJV)


Thesis And walk in love, as Christ also hath loved us, and hath given himself for us an offering and a sacrifice to God for a sweetsmelling savour. Ephesians 5:2  But Antithesis But fornication, and all uncleanness, or covetousness, let it not be once named among you, as becometh saints; Ephesians 5:3

ThesisAnd have no fellowship with the unfruitful works of darkness, but rather reprove them. Ephesians 5:11
For it is a shame even to speak of those things which are done of them in secret. Ephesians 5:12
Antithesis But all things that are reproved are made manifest by the light: for whatsoever doth make manifest is light. Ephesians 5:13

Thesis: Ephesians 5:19 Speaking to yourselves
        in psalms and hymns and spiritual songs,
Antithesis: singing and making melody IN your heart to the Lord;

Thesis: Colossians 3:16 Let the word of Christ dwell in you richly in all wisdom;
        Teaching and admonishing one another
         in psalms and hymns and spiritual songs,
Antithesis: singing with grace IN your hearts to the Lord
Ephesians 5:20 Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ;

Greek:
Eph 5 19
lalountes heautois psalmois kai humnois kai ōdais pneumatikais, adontes kai psallontes kardia humōn [your] kuriō,
heautou reflex. Pron. of 3rd pers., of himself, herself, itself, etc.; first in Alc.78, Hdt., and Att. (Hom. has heo autou, hoi autō, he auton): auto eph' heauto (v.l. -tou) itself by itself, absolutely, of themselves, himself,

Greek kardia humōn kuriō,

ho ,   I. not only with common Appellats., Adjs., and Parts., to specify them as present to sense or mind,
4. with infs., which thereby become Substs., to eirgein prevention, Pl.Grg.505b ; to phronein good sense, S.Ant.1348(anap.), etc.: when the subject is expressed it is put between the Art.and the inf., to theous einai the existence of gods,
5. in neut. before any word or expression which itself is made the object of thought, to anthrōpos the word or notion man ; to legō the word legō ; to mēden agan the sentiment

Pneuma^t-ikos  III. of spirit, spiritual, interpol. in Plu.2.129c; Opposite. sarkikos, psukhikos, Ep.Rom.15.27, 1 Ep.Cor.2.13, etc. Adv. -kōs ib.14.
Rom 15[27] Yes, it has been their good pleasure, and they are their debtors. For if the Gentiles have been made partakers of their spiritual things, they owe it to them also to serve them in fleshly things.

1 Corinthians [13] Which things also we speak,
        not in words which man's wisdom teaches,
        but which the Holy Spirit teaches,
        comparing spiritual things with spiritual things.

God HIDES Himself from the wise or Sophist:

Sophia A. cleverness or skill in handicraft and art, of the Telchines, Pi.O.7.53;
in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, divination
Latin:
Ephesians 5.19  loquentes vobismet ipsis in psalmis et hymnis et canticis spiritalibus cantantes et psallentes in cordibus vestris Domino

THESIS: External: Speak the Word of God
Latin: lŏquor to speak, talk, say (in the lang. of common life, in the tone of conversation.
A. To speak, declare, show, indicate or express clearly:
ANTI-THESIS: Singing and melody is antithetical to the pagan worship services: 
in (eis,, denotes either rest or motion within or into a place or thing; opp. to ex; “alii in corde [heart], alii in cereb
The cerebral cortex is a sheet of neural tissue that is outermost to the cerebrum of the mammalian brain. It plays a key role in memory, attention, perceptual awareness, thought, language, and consciousness.
Suet. Claud. 15 fin.—Of that which is thought of as existing in the mind, memory, character, etc.: “in animo esse,” Cic. Fam. 14, 11: “in animo habere,” id. Rosc. Am. 18, 52: “lex est ratio insita in natura,” id. Leg. 1, 6, 18: “in memoria sedere,” id. de Or. 2, 28, 122; cf.: —So freq. of a person's qualities of mind or character:
“So freq., of qualities or states of mind: summa in sollicitudine
3. So of that which is thought of as entering into the mind, memory, etc. (cf. I. A. 2. fin.): “in memoriam reducere,” Cic. Inv 1, 52, 98: “in animum inducere,” Liv. 27, 9:
A student reads or listens and then meditates IN the heart or spirit
Jer 15:16 Thy words were found,
        and I did eat them; and
        thy word was unto me 

        the joy and rejoicing of mine heart

        for I am called by thy name

        O Lord God of hosts. [Jehovah]

Eph. 5:19 Speaking to yourselves in psalms and hymns and spiritual songs,

singing and making melody in your heart to the Lord;

Eph. 5:20 Giving thanks always for all things unto God and the Father

in the name of our Lord Jesus [Jehovah--Saves] Christ;
Giving heed or attendance to the Word was Paul's only worship words.

Philippians 4:8 Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things.

1Tim. 4:13 Till I come, give attendance to reading, to exhortation, to doctrine.
1Tim. 4:14 Neglect not the gift that is in thee,
        which was given thee by prophecy, [teaching]
        with the laying on of the hands of the presbytery.

1Tim. 4:15 Meditate upon these things;
        give thyself wholly to them; that thy profiting may appear to all.
Meletaτ
I. to care for, attend to a thing, c. gen., Hes.
II. c. acc. rei, to attend to, study, Hdt., Soph.; m. doxan to study, court reputation, Thuc.

Meletao is TO MEDITATE and is not the similar word melē which defines musical melody. The word PSALLO never defines  musical melody but the abrading or grinding or masticating the Word which one SPEAKS.
1Tim. 4:16 Take heed unto thyself, and unto the doctrine; continue in them:
        for in doing this thou shalt both save thyself, and them that hear thee.
PAUL AND SILAS WERE IN PRISON PRAYING TO GOD AND SPEAKING THE HYMNS THEY KNEW FROM THE BOOK OF PSALMS.
Epika^leō ,
A. summon a god to a sacrifice or as witness to an oath, etc., invoke, “theon” Hdt.2.39, 3.8, al.; “epi de kaleson Artemin” Ar.Lys. 1280, cf. Act.Ap.7.59, etc.; e. theon tini invoke a god over one, to be gracious to him, Hdt.1.199; or, watch over his good faith, Id.3.65:— Med.,Id.1.87, al., X.HG2.3.55, al.; “epikalesamenos ton theon” OGI194.18 (Egypt, i B.C.).
b. . pray for, “pro kairou ton thanaton” PLond.5.1676.24 (vi A.D.).
2. . invite, “gerontas epi pleonas kalesantes” Od. 7.189:—Med., Hdt.1.187, al.
II. . Med., call in as a helper or ally, “epikaleisthai tina summakhon” Id.8.64, cf. Th.1.101: c.inf., Hdt. 1.87; “e. tous kekmēkotas genesthai” Th.3.59; “e. ek Thessaliēs epikouriēn” Hdt.5.63.
2. . call in as witness, “marturas e. tinas” Antipho 1.30, cf. Pl.Lg.664c: c.inf., “e. theous . . kathoran ta gignomena” X.HG2.3.55: with neut. Adj., tauta e. Hdt.9.62.
b. . appeal to, sunesin “kai paideian” D.18.127 (hence, = Lat.appello, provoco, Plu.Marc.2; ton “dēmon apo tōn dikastōn” Id.TG16; “Kaisara” Act.Ap.25.11).
3. . call before one, summon, of the Ephors, Hdt.5.39.
4. . challenge, ib.1.
III. . call by surname, “Diōn hon epekaloun Khrusostomon” Eun. VSp.454 B.:—more freq. Pass., to be called by surname, epeklēthēsan “Kekropidai” Hdt.8.44; to be nicknamed, “Aristodēmon ton mikron epikaloumenon” X.Mem.1.4.2, cf. HG2.3.31; also “to onoma epikeklētai soi” LXX De.28.10; epiklēthēsetai en autois to onomamou ib.Ge.48.16.
IV. . bring as an accusation against, “tini ti” Th.1.139, 4.133, cf. Isoc.12.9; e. tini, c. inf., accuse one of doing, Th.2.27, cf. Antipho 3.1.1; e. tēn “apostasin hoti . . epoiēsanto” Th.3.36; “e. tini panta hosa ēdikēto” D.C. 37.6; taut' epikaleis; is this your charge? Ar.Pax663; e. arkhaiotēta objecting to its obsoleteness, Pl.Lg.657b: abs., epikaleitō let him bring his action, SIG45.17 (Halic., v B.C.); ho epikalōn the plaintiff, PHal.1.216 (iii B.C.):—Pass., ta epikaleumena khrēmata the money imputed to him, i.e. which he was charged with having, Hdt.2.118 (but ta epikaloumena the sums claimed, PPetr.2p.108 (iii B.C.), and so in Act. leian e.ib.3p.185); “peri daneiou” PGrenf.2.31.15 (ii B.C.).
2. . c. dat. pers. only, epikalein tini quarrel, dispute with, “allēlois” Pl.Lg.766e.

ōdē , , contr. for aoidē,
A. song, lay, ode, h.Ap.20, h.Cer.494; in Trag. (exc. that A. uses only aoidē (q. v.)), of dirges, “pollas thrēnōn ōdas” S.El.88 (anap.); “oxutonous ō. thrēnēsei” Id.Aj.631 (lyr.); “ōda epikēdeios” E.Tr.514 (lyr.); but also of joyful songs, songs of praise, “kallinikos” Id.El.865 (lyr.); “iakkhos” Id.Cyc.69 (lyr.); “lupas polukhordois ō. pauein” Id.Med.197 (anap.); “ōdas husteroisi thēsete” Id.Supp.1225; “khairontes ōdēs . . melesin” Ar.Ra.244(lyr.); “humenaiois kai numphidioisi dekhesth' ō.” Id.Av.1729(lyr.): freq. in Pl., “ō. kitharōdikē” Lg.722d; “kitharizein pros tēn ō.” Alc.1.108a; ōdai kai allē poiēsis lyric poetry and . . , Phdr.245a; “en tais ōdais kai melesin” R.399c, cf. 398c; opp. lexis, Lg.816d; en ōdais kai muthois kai logois ib.664a; of poems such as those of Stesichorus on Helen, Isoc.10.64; of the various songs associated with particular employments or conditions, Clearch.37, cf. Eust.1164.10, 1236.60.
2. = epōdos, magic song, spell, Longus 2.7.
3. meton. for “khordē, Terpandros . . deka zeuxe Mousan en ōdais” Tim.Pers.238.
II. singing, Plu.Crass.33, etc.; of birds, Arist.HA613b24.

Note that when Odes and Melody are intended: “en tais ōdais kai melesin”. The word for MUSICAL MELODY is Melos and never Psallo in the texts. If paul had intended MUSICAL MELODY it would have NO rhythm or Harmony.

Melos , eos, to, B. esp. musical member, phrase: hence, song, strain, first in h.Hom.19.16 (pl.), of the nightingale (the Hom. word being molpē),
melē, ta, LYRIC poetry, choral songs, OPPOSITE. Epic or Dramatic verse, Pl.R.379a, 607a, al.; [m. ek triōn sugkeimenon ,[tied together] logou te kai harmonias kai rhuthmou ib.398d.
2. music to which a song is set, tune, Arist.Po.1450a14; OPPOSITE. rhuthmos, metron, Pl.Grg. 502c
Plat. Rep. 398d “have sufficient a understanding of this—that the song1 is composed of three things, the words, the tune, and the rhythm?” “Yes,” said he, “that much.” “And so far as it is words, it surely in no manner differs from words not sung in the requirement of conformity to the patterns and manner that we have prescribed?” “True,” he said. “And again, the music and the rhythm must follow the speech.2” “Of course.” “But we said we did not require dirges and lamentations in words.” “We do not.” “What, then,

1 The complete song includes words, rhythms, and “harmony,” that is, a pitch system of high and low notes. Harmony is also used technically of the peculiar Greek system of scales or modes. Cf. Monro, Modes of Ancient Greek Music.

2 The poets at first composed their own music to fit the words. When, with the further development of music, there arose the practice of distorting the words, as in a mere libretto, it provoked a storm of protest from conservatives in aesthetics and morals.

Plat. Rep. 3.398e are the dirge-like modes of music? Tell me, for you are a musician.” “The mixed Lydian,1” he said, “and the tense or higher Lydian, and similar modes.” “These, then,” said I, “we must do away with. For they are useless even to women2 who are to make the best of themselves, let alone to men.” “Assuredly.” “But again, drunkenness is a thing most unbefitting guardians, and so is softness and sloth.” “Yes.” “What, then, are the soft and convivial modes?” “There are certain Ionian and also Lydian modes

1 The modes of Greek music are known to the English reader only from Milton's allusions, his “Lap me in soft Lydian airs” and, P.L. i. 549 f., his “Anon they move/ in perfect phalanx to the Dorian mood/ Of flutes and soft recorders; such as rasied/ To highth of noblest temper heroes old.” The adaptation of particualr modes, harmonies, or scales to the expression of particular feelings is something that we are obliged to accept on faith. Plato's statements here were challenged by some later critics, but the majority believed that there was a connection between modes of music and modes of feeling, as Ruskin and many others have in our day. The hard-headed Epicureans and sceptics denied it, as well as the moral significance of music generally.

There is no lyric or metrical poetry in the Bible
Hymnos is WITHOUT the Lyre to accompany
aphormiktos , on,
A. without the lyre, of melancholy music, A.Eu.332 (lyr.).

alu^ros , on, A. without the lyre, unaccompanied by it, humnoi a., i.e. wild dirges (accompanied by flute, not lyre), E.Alc.447; “a. elegos” Hel. 185; melos Poet. ap. Arist.Rh.1408a7; Aidos moir' a., of death, S.OC 1223 (lyr.); a. phthoggoi sad talk, Alexis 162.6 (anap.); “a. mathēmata poiētōn” Pl.Lg.810b.
Latin
Acts 15 [25] media autem nocte Paulus et Silas adorantes laudabant Deum et audiebant eos qui in custodia erant
Laudo , āvi, ātum, 1, v. a. laus, I.  to praise, laud, commend, extol, eulogize, approve
3. To praise, compliment, i. e. dismiss with a compliment, leave, turn from (poet.): “laudato ingentia rura, Exiguum colito,” Verg. G. 2, 412: cf.: “probitas laudatur et alget,” Juv. 1, 74—
The Qahal, ekklesia, synagogue or Church of Christ (the  Rock) absolutely outlawed calling of the assembly with "vocal or instrumental rejoicing including self-speak of any kind."  Church is a School of the Word: it has no "programs" or "liturgy" but is the ANTITHESIS to all of the world's religionism which is self-invented in the legalistic believe that God needs our burnt animals or juvenile praise songs.

Yes, I know: you don't know any such group and that's ok: Jesus said that the kingdom is within and any person who says "we have it over here" don't ever believe it.


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