Psalm 150

Psalm 150: MUSIC for a LIKE THE NATION'S Temple State Not a pattern for worship. You are faced with a common use of musical instruments as an allegory for the "instruments" or 'harps" of God which He created so that we can speak to him. Or, you must accept the fact that music in the Old Testament is an endorsement for pagan worship.

Psalm is really Halal 150: since David was a warrior many of the poems are warrior's chants or intended as instrumental prophesying:
prŏphēta and prŏphētes , ae, m., = prophētēs, I. a foreteller, soothsayer, prophet (post-class.; cf. “vates): prophetas in Adrasto Julius nominat antistites fanorum oraculorumque interpretes,Fest. p. 229 Müll. (Trag. Rel. p. 194 Rib.): “prophetae quidam, deorum majestate completi, effantur ceteris, quae divino beneficio soli vident, App. de Mundo, p. 56, 29: sacerdotes Aegyptiorum, quos prophetas vocant,Macr. S. 7, 13, 9: “Aegyptius, propheta primarius,App. M. 2, p. 127, 3.—Of the Jewish prophets, Lact. 1, 4, 1; 4, 11, 1; 7, 24, 9; Vulg. Luc. 1, 70.
The PRAISE word is "halal" in Hebrew h1984.Short.gif

It has the same meaning as h1985 and verifies that God turned Israel over to worship the starry host and sentenced them back to Babylon.

H1985 hillêl hil-layl' From H1984 ; praising (namely God); Hillel, an Israelite:—Hillel.

Ancient Faiths embodied in Ancient Names Thomas Inman

The Latin in Psalm 150 is:

Canto Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; rare in Cic.).
III. In the language of religion, as v. n. or a., to use enchantments, charms, incantations, to enchant, to charm, Cato, R. R. 160, 1; Varr. R. R. 1, 2, 27: “frigidus in pratis cantando rumpitur anguis,Verg. E. 8, 71: “cantata Luna,exorcised by magic, Prop. 4 (5), 5, 13.falx,Ov. H. 6, 84: “
id. M. 7, 98: “ignis,Sil. 1, 430: “tum quoque cantato densetur carmine caelum,an incantation, Ov. M. 14, 369.—
B.To call forth, produce by charms:et chelydris [fetid serpent] cantare soporem,Sil. 8, 498: “cantata umbra,Luc. 6, 767.
2. As subst.
a. frīgĭdum , i, n., the cold: obaequalitas ferventis ac frigidi, Apul. Dog. Plat. 1, p. 11, 24.—Plur.: “frigida (opp. calida),Ov. M. 1, 19.—
B. In partic., cold, chilled, of a dead person, or one stiffened with fright
Sŏpor ,
1. cum suavi devinxit membra sopore Somnus,Lucr. 4, 453; 4, 765;
2. Pregn., the sleep of death, death: “in soporem conlocastis nudos,Plaut. Am. 1, 1, 148; 1, 1, 150: “aeternus,Lucr. 3, 466: “perpetuus,Hor. C. 1, 24, 5.—
II. Transf.
A. Stupefaction , lethargy, stupor: neque dormire excitatus, neque vigilare ebrius poterat, sed semisomno sopore ... jactabatur, Cael. ap. Quint. 4, 2, 124: “temulento sopore profligatus,id. ib. § 123. —

See Augustine on Psalm 149: You are faced with seeing these instruments as allegorical in worship BECAUSE they were literal in shedding blood, OR you are faced with David commanding you to worship just like the nation's worship to which God had ABANDONED them because of the musical idolatry at Mount Sinai.

Most of the historical scholars understood the Psalms as poetic language and did not fall into the trap of having trees clapping their hands. First, we should look at the definitions of PRAISE and see that this is, consistent with many Psalms, BOAST songs intended to cause panic. In effect, the two silver trumpets were to signal war or celebrate peace along with the TRIUMPH which was playing loud instruments and 'making a joyful noise before the Lord.' Remember how Gideon used this PANIC device to create confusion and cowardice?


"What I am warning against is the other end of the spectrum, music that hurts, enrages and triggers fight or flight brain reactions, resulting in physiological changes that can be harmful. As Naomi Orr once stated, "Military drums play music designed to make your feet take you where your head never would-Music is almost as dangerous as gunpowder-". If we look at history, as far back as organized warfare can be seen, there has been attempts to enrage soldiers into battle by beating drums first slowly (consistent with heart beat) and then more quickly as troops enter battle. The sound of the drums is low frequency and is as high intensity as the instrument would allow at the time. Music and Endorphins

Tavah (h8427) taw-vaw'; a prim. root; to mark out, i. e. (prim.) scratch or (def.) imprint: - scrabble, set [a mark]. 

Eze.9:4 And the Lord said unto him, Go through the midst of the city, through the midst of Jerusalem, and set a mark upon the foreheads of the men that
sigh and that cry for all the abominations that be done in the midst thereof.

Anach (h584) aw-nakh'; a prim. root; to sigh: - groan, mourn, sigh. 
Just made it up, PECK. David was a WARRIOR king to REPLACE God's rule. PRAISE was WARFARE as indeed the same Hebrew word means MUSICAL INSTRUMENT and WEAPON OF WARFARE. The Levitial singer/musicians were WARRIORS under the king and commanders of the ARMY to make PANIC and MAYHEM and NEVER worship. WARFARE is still the MARK.

ALL musical terms and names of instruments point to SATAN, warfare, prostitution and sodomy as MARKS of all pagan legalistic rituals. Bible says that Lucifer used wind, string and percussion instruments to wholly seduce Eve in the Garden so that "Cain was OF that wicked one" and CAIN (a musical mark) was the FATHER of the Lamech (Ea in Babylon) the source of polygamy, murder, music without authority, and the enchanting and war skills to STEAL YOUR SHEEP. The Law was added because of the MUSICAL IDOLATRY at Mount Sinai and the end-time Babylon Whore will go back into hell with her MUSES.

PRAISE SINGING is one of the most ancient, pagan, superstitious and ignorant RITUALS known to mankind. God cannot PUNISH a mad man and THIS is the meaning most often of PRAISE. The praise singer or ENCOMIAST is the OLDEST PROFESSION. The prophesier knew that he could control the "spirits" using SOUNDS because he could frighten the tiger with it. The "prophesier" was always EMOTIONALLY and SEXUALLY abnormal because everyone knew that you made SEED SPROUT by the maypole ceremony where people "fertilized" the newly-planted fields. The AGENTS of the gods kept FERTILITY going and homosexual union driven by music and wine were CLAIMED to "bind the spirit and flesh together."


Yadah (h3034) yaw-daw'; a prim. root; used only as denom. from 3027; lit. to use (i. e. hold out) the hand; physically to throw (a stone, an arrow) at or away; espec. to revere or worship (with extended hands); intens. to bemoan (by wringing the hands): - cast (out), (make) confess (- ion), praise, shoot, (give) thank (-ful, -s, -sgiving).

In many Psalms the PRAISE word identifies BOASTING out of MORTAL FEAR trying to keep BELIAR or the enemy at bay:

Halal (h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

PRAISE is a sign of MORTAL FEAR shown in loud BOASTING to try to intimidate the ENEMY. Sometimes PRAISE is just mortal fear PLAYING INSANE like a coward:

And David laid up these words in his heart, and was sore afraid of Achish the king of Gath. 1 Sam 21:12

And he changed his behaviour before them, and feigned himself mad in their hands, and scrabbled on the doors of the gate, and let his spittle fall down upon his beard. 1 Samuel 21:13

Then said Achish unto his servants, Lo, ye see the man is mad: wherefore then have ye brought him to me? 1 Sam 21:14

Have I need of mad men, that ye have brought this fellow to play the mad man in my presence? shall this fellow come into my house? 1 Sam 21:15

This MAD is:

Shaga (h7696( shaw-gah'; a prim. root; to rave through insanity: - (be, play the) mad (man).

The days of visitation are come, the days of recompence are come; Israel shall know it: the prophet is a fool, the spiritual man is mad, for the multitude of thine iniquity, and the great hatred. Hos 9:7

The watchman of Ephraim was with my God: but the prophet is a snare of a fowler in all his ways, and hatred in the house of his God. Hos 9:8

They have deeply corrupted themselves, as in the days of Gibeah: therefore he will remember their iniquity, he will visit their sins. Hos 9:9

I found Israel like grapes in the wilderness; I saw your fathers as the firstripe in the fig tree at her first time: but they went to Baal-peor, and separated themselves unto that shame; and their abominations were according as they loved. Hos 9:10


The word Lucifer is the same as ZOE and is the MARK of deep corruption. Watch out for the PRAISE SINGERS they have scorpion stingers in their tails.

This is the actual meaning of LUCIFER.

Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

And the same basic meaning which shows the threat to defeat you with music.

Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Remember that Lucifer was cast as profain out of heaven and ended up in the garden of Eden as the musical enchanter or serent:

By the multitude of thy merchandise they have filled the midst of thee with violence, and thou hast sinned: therefore I will cast thee as profane out of the mountain of God: and I will destroy thee, O covering cherub, from the midst of the stones of fire. Eze.28:16

In another world or dimension:

Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. Ezek 28:13

> O daughter of Babylon, who art to be destroyed; happy shall he be, that rewardeth thee as thou hast served us. Psa 137:8 Click to see notes on Psalm 137

Happy shall he be, that taketh and dasheth thy little ones (babies) against the stones. Psa 137:9

Naphac (h5310) naw-fats'; a prim. root; to dash to pieces, or scatter: - be beaten in sunder, break (in pieces), broken, dash (in pieces), cause to be discharged, dispersed, be overspread, scatter.

> Let the high praises of God be in their mouth, and a twoedged sword in their hand; Psa 149:6

To execute vengeance upon the heathen, and punishments upon the people; Psa 149:7

"The Shofar is the ritual instrument of the ancient and modern Hebrews, the only Hebrew cultural instrument to have survived until now. Of martial origin, the shofar was a priestly instrument in Biblical times. According to the Mishna, two different forms of shofar were used in the Temple: one made of ibex horn, its bell ornamented with gold, was sounded at New Year and during the Yovel Days; one made of ram's horn, with silver ornamentation, was sounded on fast days. We learn from the Mishna and the Talmud that

in the Hellenistic period no improvements or modifications that might affect the tone were permitted: no gold-plating of its interior, no plugging of holes, no alteration of its length (the minimum permissible length of a ritually approved horn was 3 handbreadths); the shofar tone was to be preserved unaltered.

See Photos HERE and listen to the SOUND: not MUSIC, praise singers!


Shachah (h7812) shaw-khaw'; a prim. root; to depress, i. e. prostrate (espec. reflex. in homage to royalty or God): - bow (self) down, crouch, fall down (flat), humbly beseech, do (make) obeisance, do reverence, make to stoop, worship.

Of Messiah:

All the ends of the world shall remember and turn unto the Lord: and all the kindreds of the nations shall worship before thee. Ps.22:27

These are POEMS and POEMS TEND TO BE POETIC! But, maybe it fits! They did BURN BABIES to the beat of musical instruments at TOPHETH (hell) which had once been Solomon's MUSIC GROVE.

They also linked instrumental music as worship to drunkeness because it closed down the rational mind and induced a form of pleasant madness.

"In all of these early cultures the social functions of music were essentially the same since their climate, geographic location, cultural pace, and mutual influences produced many more social similarities than differences.

The primary function of music was apparently religious, ranging from heightening the effect of "magic" to ennobling liturgies.

The other musical occasions depicted in both pictures and written accounts were equally functional:

stirring incitements to military zeal,
soothing accompaniments to communal or solitary labour,
heightening aids to dramatic spectacles, and
enlivening backgrounds to social gatherings that involved either singing or dancing or both.

In every case musical sounds were an adjunct either to bodily movement (dance, march, game, or work) or to song.

Many centuries were to pass before pleasure in euphonious sound became an end in itself. Ancient Greece (Britannica Members)

The temple and worship "like the nations" was permitted only when Israel's elders fired God and demanded a nation and worship "like the nations." The prophets and Stephen make it clear that whatever you can see as "worship" after the beginning of the Monarchy was a return to their prayed-for Babylonian or Egyptian musical idolatry.

"Despite the differences between the Mosaic and the Egyptian cults, it can hardly be denied that Egyptian influence on Jewish musical practices were quite significant. They would stand to reason because of the high quality of egyptian cultic music.

The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).

The trumpet blown for decampment, at the gathering of the people and on different cultic occasions, especially during sacrifices (2 Chron. 30:21; 35:15; Num 10:2), was the signaling instrument of the Egyptian army.

The sistrum, according to 2 Sam 6:5, was used by the Israelites and bore the name mena'aneim. It was the same as the Egyptian kemkem which was employed in the cult of Isis.

The solemnity celebrated on the occasion of the transferring of the Ark to Sion, as well as the dances of the daughters of Israel at the annual feast of the Lord of Shiloh (Judg 21:21), were similar in thier musical embellishments to Egyptian customs in the liturgy and at parades.

As Herodotus reports, women sang the praises of Osiris while likenesses of the gods were born about and, during the festival of Diana at Bubastis,

choirs of men and women sang and danced to the beating of drums and the playing of flutes." (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 65)

Most of the Israelites and Jews never abandoned this idolatry of trying to "carry along" or "lift up" their God. The worship of Osiris (Dionysus) at Mount Sinai and the Worship in Israel were identical:

So the next day they rose early and offered burnt offerings, and brought peace offerings;
Woe to you who are complacent in Zion, and to you who feel secure on Mount Samaria" (Amos 6:1). (The complacent do not fully observe God's Law).
and the people sat down to eat and drink, and rose up to play (Exod 32:6). (Play includes musical instruments)
Woe to those who sing idle songs to the viol and who improvise upon instruments like David" (Amos 6:1a, 5)
But he said, 'It is not the sound of the cry of triumph, nor is it the sound of the cry of defeat; but the sound of singing I hear (Exod. 32:18)
they drink wine in bowls (and their singing was part of the pagan Marzeach- a feast with and for dead ancestors. See also Isaiah 5)
They have quickly turned aside from the way which I commanded them. They have made for themselves a molten calf, and worshiped it (Exod. 32:8a).
You also carried along Sikkuth your king and Kiyyun, your images, the star of your gods which you made for yourselves (Amos 5:26)
Now then let Me alone, that My anger may burn against them, that I may destroy them; and I will make of you a great nation (Exod. 32:10)
Therefore, they will now go into exile at the head of the exiles (Amos 6:7a)

Music was ONLY ADDED for sacrifices when God turned Israel over to allow the kings to lead them into destructin. Their PRAYER was to worship like the nations. God granted their prayer but warned that they would not get away with it.

David was a KING and the WARRIOR LEVITICAL MUSICIANS under the king and commanders of the army were ADDED to the trumpets as warning during animal sacrifices. The "music" during sacrifices warned that if you as a COMMON Jew were in the temple at the time you would be killed.

All of the "instrumental" instrument Psalms have very negative meanings: If you remember Gideon, the purpose was to PRAISE to drive the enemy into panic and turn them into cowards. The twanging of tens of thousands of bowstrings were seen as "zithers" and you plucked them to PSALLO your enemy into a mental breakdown. You yelled that "my god can whip your god." And if you remember, the people including David, believed that Jehovah was in the BOX.

The Levitical "service" was HARD BONDAGE and they made noise and not music. The word is ABAD which is a friend of abaddown. This is the Abaddon worship in the Greek world because THAT is what God had abandoned them to. They were in the COURTS and never in the Holy Place as a carnal type of the body of Christ or the Assembly on earth. No SINGER or MUSICIAN could ever enter into the Holy Place even to clean out the garbage. Their service was a type of the SLAUGHTER of Lord Jesus Christ. And, as prophesied in Psalm 41, led by Judas the Jews would again try to MOCK JESUS with music.

And when he had consulted with the people, he appointed singers unto the Lord, and that should praise the beauty of holiness,

as they went out before the army,
and to say,
Praise the Lord; for his mercy endureth for ever. 2 Chronicles 20:21

And when they began to sing and to praise,

Sing is:

Rinnah (h7440) rin-naw'; from 7442; prop. a creaking (or shrill sound), i. e. shout (of joy or grief): - cry, gladness, joy, proclamation, rejoicing, shouting, sing (-ing), triumph.

Ranan (h7442) raw-nan'; a prim. root; prop. to creak (or emit a stridulous sound), i. e. to shout (usually for joy): - aloud for joy, cry out, be joyful, (greatly, make to) rejoice, (cause to) shout (for joy), (cause to) sing (aloud, for joy, out), triumph.

Ranah (h7439) raw-naw'; a prim. root; to whiz: - rattle.

The quiver rattleth against him, the glittering spear and the shield Jb.39:23

Tehillah (h8416) teh-hil-law'; from 1984; laudation; spec. (concr.) a hymn: - praise.

the Lord set ambushments against the children of Ammon, Moab, and mount Seir, which were come against Judah; and they were smitten. 2 Chronicles 20:22


Arab (h693) aw-rab'; a prim. root; to lurk: - (lie in) ambush (- ment), lay (lie in) wait.

Smitten is:

Nagaph (h5062) naw-gaf'; a prim. root; to push, gore, defeat, stub (the toe), inflict (a disease): - beat, dash, hurt, plague, slay, smite (down), strike, stumble, * surely, put to the worse.

Nega (h5061) neh'-gah; from 5060; a blow (fig. infliction); also (by impl.) a spot (concr. a leprous person or dress): - plague, sore, stricken, stripe, stroke, wound.

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.

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. Ge.3:3

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..

For the children of Ammon and Moab stood up against the inhabitants of mount Seir, utterly to slay and destroy them:

and when they had made an end of the inhabitants of Seir, every one helped to destroy another. 2 Chronicles 20:23

And when Judah came toward the watch tower in the wilderness, they looked unto the multitude, and,

behold, they were dead bodies fallen to the earth, and none escaped. 2 Chronicles 20:24

And when Jehoshaphat and his people came to take away the spoil of them, they found among them in abundance both riches with the dead bodies, and precious jewels,

which they stripped off for themselves, more than they could carry away: and they were three days in gathering of the spoil, it was so much. 2 Chronicles 20:25

Setting Ambush: The description of the trumpets.

[The Rule of the Trumpets: the trumpets] of alarm for all their service for the [ . . . ] for their commissioned men, 17[by tens of thousands and thousands and hundreds and fifties] and tens. Upon the t[rumpets . . . ]

[ . . . ] )8[ . . . ] 19[ . . . which ] 20 [,, . they shall write . . . the trumpets of Col. 3 the battle formations, and the trumpets for assembling them when the gates of the war are opened so that the infantry might advance, the trumpets for the signal of the slain, the trumpets of 2 the ambush, the trumpets of pursuit when the enemy is defeated, and the trumpets of reassembly when the battle returns.

On the trumpets of ambush they shall write, 9 "Mysteries of God to wipe out wickedness."

But if they establish an ambush for a battle formation, the three ambushing formations shall [stay at a dist]ance and not ris[e up . . . ] '3 [ . . . ] the battle.

When they [h]ear the trumpets of alarm, the [infantry]men [shall begin to bring do]wn the guilty casualties. Then the ambush shall rise up from its place and also order its [battle form]ations [ . . . 3

David was never the Worship leader: in fact, his PSALMING was often UPON HIS BED and IN HIS HEART.

Psalm 150 is not a command for congregational worship. Some of the named instruments were NEVER USED in the temple. Some of them are related to the prostitute which was the primary purpose of music other than by children in their play. ALL musical terms and instruments are derived from evil or even Satanic meanings.

PSALMS were not used for CONGREGATONAL SINGING WITH INSTRUMENTAL ACCOMPANIMENT. The non- Civil Israelites SYNAGOGUED from the beginning. The synagogue is the Qahal which in the Greek Version is translated ekklesia. The Qahal was for INSTRUCTION and making music and noise was never permitted.

When incidental Jews were present at the temple, the loud instruments were their signal that they MUST be outside of the gates during animal sacrifices.

David was a Warrior King: not a WORSHIP LEADER or the definer of worship. The Levitical Warrior musicians were under the KING and the COMMANDERS OF THE ARMY. All of the INSTRUMENTAL psalms are WARRIOR CHANTS to ridicule the enemy and drive them into panic. You know, like in church.

The Psalms are a Poetic History of the Jews. Their use was NOT public worship. The Sacrificial System was for the MONARCHY to which Israel had been abandoned when the ELDERS demanded a king LIKE THE NATIONS so that they could WORSHIP LIKE THE NATIONS. That was a CAPTIVITY AND DEATH SENTENCE.

The "civilian" Israelites NEVER "worshipped" with congregational singing and instrumental accompaniment. They assembled for READING or REHEARSING the Word as a form of the SYNAGOGUE Stephen called "the church in the wilderness." The definition of the Qahal FORBIDS instruments and loud rejoicing which was a MARK of the ALARM or warfare.

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

Sing Only

Flutes- pipe

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


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

Ps. 150. 5




Playing the flute was always symbolic of obscenity.

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

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


"Some of the psalms express a tribalistic hatred of foreign powers; even the beautiful laments of the exiles 'by the waters of Babylon,' for example, concludes with the assurance that the daughter of Babylon will be destroyed. 'Happy shall he be, that taketh and dasheth the little ones against the stones.'

"But in nearly a third of the collection the 'enemies' whose death the psalmist so confidently prays for and anticipates are not Gentile nations,

but individual Jews who do not share the religious conviction of the Hasidim (later Pharisees).

In the words of Psalm 58, 'the righteous shall rejoice when he seeth the vengeance: he shall wash his feet in the blood of the wicked. So that a man shall say, Verily there is reward for the righteous: verily he is a God that judgeth in the earth." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 134, Knopf)

The MESSIAH or the Spiritual David would bring PEACE and end the sacrificial system for which singers and instrumentalists were RESERVED as the MILITARY component and only in Jerusalem.



Totally agreeing with this all musical terms in the Old Testament have dark, destructive meanings associated with prostitution, warfare or the like the nations worship.

It is also a fact that under the Monarchy with its kings, God turned Israel over to a secular society because they wanted to worship like the nations.

You say, "We want to be like the nations, like the peoples of the world, who serve wood and stone." But what you have in mind will never happen. Ezek 20:32NIV

God had turned Israel over TO WORSHIP THE STARRY HOST because of their MUSICAL IDOLATRY at Mount Sinai. When they FIRED God and demanded a king like the nations God told them that the kings would make them into SLAVES and lead them into captivity and death.

> Ecclesiasticus 48

1. Then the prophet Elijah arose like a fire, and his word burned like a torch.
2. He brought a famine upon them, and by his zeal he made them few in number.
. By the word of the Lord he shut up the heavens, and also three times brought down fire.
4. How glorious you were, O Elijah, in your wondrous deeds! And who has the right to boast which you have?
5. You who raised a corpse from death and from Hades, by the word of the Most High;
6. who brought kings down to destruction, and famous men from their beds;
7. who heard rebuke at Sinai and judgments of vengeance at Horeb;
8. who anointed kings to inflict retribution,

and prophets to succeed you.

> O Israel, thou hast destroyed thyself; but in me is thine help. Hosea 13:9

I will be thy king: where is any other that may save thee in all thy cities? and thy judges of whom thou saidst, Give me a king and princes? Hosea 13:10

I gave thee a king in mine anger, and took him away in my wrath. Hosea 13:11

This "paradigm" is repeated many times in the Old and New Covenants. Since God permitted the kings to CARRY OUT HIS SENTENCE by "worshiping like the nations" we must understand that the temple under the Monarchy was A LIKE THE NATIONS temple and ritual.

This validates many scholars who note that David added musical worship to go along with the temple state rituals added when Israel fired God in order to worship like the nations.

"The book of Psalms contain new doctrine after the Law of Moses. And after the writing of Moses, it is the second book of doctrine... (David) first gave to the Hebrews a new style of psalmody, by which he abrogates the ordinances established by Moses with respect to sacrifices, and introduces the new hymn and a new style of jubilant praise in the worship of God; and throughout his whole ministry he teaches very many other things that went beyond the law of Moses." (Fragment of Commentary by Hippolytus, bishop of Rome, Ante-Nicene, V, p. 170)

The truly greak kings always sought to restore the worship commanded by God through Moses. This musical worship would have been private devotion and:

"The absence of instrumental music from the services of the tabernacle continued not only during the wandering of the Israelites in the desert, but after their entrance into the promised land, throughout the protracted period of the Judges, the reign of Saul, and a part of David's. This is a noteworthy fact.

Although David was a lover of instrumental music, and himself a performer upon the harp,

it was not until some time after his reign had begun that this order of things was changed." (Girardeau, George, Instrumental Music, p. 29).

In the face of overwhelming evidence we must conclude that God commanded musical worship which, in all of history's evidence, was destructive.


Halal (g1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

The history proves that this kind of praise began with LUCIFER who came equipped with string, wind and percussion instruments. Therefore,

Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Hebrew Dictionary linked to Strong Numbers Chalal (h2490) an instructor/ of distance/space, start, commence; to redeem, to desecrate, make void, to create a cavity, vacuum, hollow, an empty space; a hollow/vacuum as a means to trap or bring together, nature; a vault, to make hollow: to wound, pierce, define, violate, make vulgar, wounded, slain, dead, the action of resisting: to break, disregard; violating instruction, to arrange/ an order of instruction; to assign, to pipe, play pipes

The Temple music which was called NOISE was NEVER in the Holy Place as a carnal type of the body of Christ or the church of Christ.

The Levites were musically mocking the TYPE of Christ in animal sacrifices: Psalm 41 prophesied that under the leadership of Judas they would LITERALLY try to Mock Him. In the Dead Sea Scroll translation we see this vividly prophesied.

Not in Jerusalem or in the most VILE pagan temple did the WORSHIPERS doing music get into the Holy Places. The EXCEPTION is called THE ABOMINATION OF DESOLATION when the Zeus- Dionysus worshipers actually went into and made sacrifices in the Holy Places. See First Maccabees to see how Judaism when Jesus came was under the influence of pagan, homosexual gods.

Or we can conclude that the Law was given because of transgression to govern a people who had rejected God and to provide ceremonial preservation of the human body so that they would not be physically destroyed.

The "congregation" or the individual worshiped God "in spirit and in truth." This was through speaking to God in prayer and listening to Him through His Word.

David and the earthly kingdom was the result of man providing for himself.

When God came in the flesh the physical, visible kingdom of animal sacrifices ceased in the one-time offering of Christ. Not only must the Old Covenant sacrifice be seen as a symbolic type but to keep from falling into the trap of God commending what humans understand to be evil, the music of the Kingdom must be allegorized.

On the Psalms. The Argument Prefixed by Hippolytus, Bishop of Rome, to His Exposition of the Psalms.

The book of Psalms contains new doctrine after the law of Moses.

And after the writing of Moses, it is the second book of doctrine.
Now, after the death of Moses and Joshua, and after the judges, arose David,
who was deemed
worthy of bearing the name of father of the Saviour himself;

and he first gave to the Hebrews a new style of psalmody, by which he abrogates the ordinances established by Moses

with respect to sacrifices, and introduces the new hymn and a new style of jubilant praise in the worship of God;

and throughout his whole ministry he teaches very many other things that went beyond the law of Moses.

Music For the Earthly Kingdom

Under the Judges, when Israel followed the will of God they were secure and won battles. However, when they sinned they understood that their oppression was a result of God's judgment.

Therefore, Israel's first motive for "firing" God was to have a king like that of the nations so that they could win military victories like the nations without the need to keep themselves pure.

"the testimonies of neighboring civilizations are of little value, as they concern chiefly the music of courts or temples, which in Sumer, Babylon, and Canaan was then in the hands of professional priests-musicians. We have only a few remarks of Herodotus about Egyptian practices,

which were similar to those of ancient Hebrew popular singing. He refers to the 'lament for Linos,' also to women's chants in procession of the cult of Osiris and the Diana of Bubastis. In Phonicia and Syria almost all popular music reflected the worship of Ishtar, the goddess of fertility." (Interpreters Dictionary of the Bible, p. 461, Abingdon). (See Ezekiel 8:14 in connection with the worship of Tammuz in the temple by Jewish women)

In the fighting of wars it was legal to blow the trumpets:

"The trumpets were assigned a number of complicated signals, which implied their ability of blowing legato, staccato, and trills, and tonguing, all in unison, not 'simultaneously,' but 'as with one mouth.' Moreover, these apocalyptical trumpets bear different names: trumpets of assembly, of battle, of the slain, of ambush, etc.

In generally, they were used to terrorize the enemy into panic (Judges 7:19-20). This function was, for all practical purposes, identical with that of the trumpets of Revelation.

[If you are doing this in church you are Lucifer's agent trying to BLEED OFF worship to yourself. Your music actually HURTS by inducind a drug high and people are literally afraid that a wimpy kid blowing on the end of a pipe is SACRED.]

In the temple the signals of the trumpet introduced every ceremony and every sacrifice." (International Dictionary of the Bible, p. 472-3, Abingdon).

"The instruments were used as worship to God and to give glory and elat to the earthly kingdom. They were tolerated by God as were many other things during this period, that he did not approve.

The establishment of the kingdom itself was an act of rebellion against God" (David Lipscomb, Queries and Answers, pp. 226, 227, and Gospel Advocate, 1899, pp. 376, 377).

How did the other nations worship?

Chapter VII.-Sacrificial Orgies.

"But they did not cease to worship images by reason of the evil intelligence of the magicians, who found excuses for them, which had power to constrain them to the foolish worship. For, establishing this things by magical ceremonies, they assigned them feasts from sacrifices, libations, flutes, and shoutings,

by means of which senseless men, being deceived, and their kingdom being taken from them, yet did not desist from the worship that they had taken up with. To such an extent

did they prefer error, on account of its pleasantness, before truth.

They also howl after their sacrificial surfeit, their soul from the depth, as it were by dreams, forwarning them of the punishment that is to befall such deeds of theirs. (The Clemetine Homilies, Homily IX, Chapt VII, Ante Nicene Fathers, Vol 8, p. 276).

Lucian of Samosata: Alexander the Oracle Monger

By the time his beard had come, the Tyanean was dead, and he found himself in straits;
for the
personal attractions which might once have been a resource were diminished.

He now formed great designs, which he imparted to a Byzantine chronicler of the strolling competitive order, a man of still worse character than himself, called, I believe, Cocconas.

The pair went about living on occult pretensions, shearing 'fat-heads,' as they describe ordinary people in the native Magian lingo.

Among these they got hold of a rich Macedonian woman; her youth was past, but not her desire for admiration;
got sufficient supplies out of her, and accompanied her from Bithynia to Macedonia.

Alexander, on the other hand, preferred his native place, urging very truly that an enterprise like theirs required congenial soil to give it a start,

in the shape of 'fat-heads' and simpletons; that was a fair description, he said, of the Paphlagonians beyond Abonutichus;

they were mostly superstitious and well-to-do; one had only to go there with someone to play the flute, the tambourine, or the cymbals, set the proverbial mantic sieve a-spinning, and there they would all be gaping as if he were a god from heaven.

Chapter XIII.-Origin of Idolatry. After the flood:

"But when all these things were done, men turned again to impiety; (The writer means, that insult is offered to that name which belongs to God alone by giving it to others, and thus placing it in a position which is unjust to it) and on this account a law was given by God to instruct them in the manner of living. But in process of time, the worship of God and righteousness were corrupted by the unbelieving and the wicked, as we shall show more fully by and by.

Moreover, perverse and erratic religions were introduced, to which the greater part of men gave themselves up,

by occasion of holidays and solemnities, instituting drinkings and banquets, following pipes, and flutes, and harps, and diverse kinds of musical instruments, and indulging themselves in all kinds of drunkenness and luxury.

Hence every kind of error took rise; hence they invented groves and altars, fillets and victims, and after drunkenness they were agitated as if with mad emotions.

By this means power was given to the demons to enter into minds of this sort, so that they seemed to lead insane dances and to rave like Bacchanalians; hence were invented the gnashing of teeth,

and bellowing from the depth of their bowels; hence a terrible countenance and a fierce aspect in men, so that he whom drunkenness had subverted and a demon had instigated,

was believed by the deceived and the erring to be filled with the Deity. (Recognitions of Clement, Book IV, Chapt XII, Ante Nicene Fathers, Vol 8, p. 137)

And Chaldea shall be a spoil: all that spoil her shall be satisfied, saith the Lord. Je 50:10

Because ye were glad, because ye rejoiced, O ye destroyers of mine heritage, because ye are grown fat as the heifer at grass, and bellow as bulls; Jer 50:11

That he no longer should live the rest of his time in the flesh to the lusts of men, but to the will of God. 1 Peter 4:2

For the time past of our life may suffice us to have wrought the will of the Gentiles, when we walked in lasciviousness, lusts, excess of wine, revellings, banquetings, and abominable idolatries: 1 Peter 4:3

Komos (g2970) ko'-mos; from 2749; a carousal (as if a letting loose): - revelling, rioting.

Cahal (h6670) tsaw-hal'; a prim. root; to gleam, i. e. (fig.) be cheerful; by transf. to sound clear (of various animal or human expressions): - bellow, cry aloud (out), lift up, neigh, rejoice, make to shine, shout.

How Does this fit with the Psalms?

Being inspired does not mean that God approves everything faithfully recorded. God tells the good, the bad and the ugly. The Psalms are a poetic (and therefore symbolic) record of the history of Israel recorded in the prose accounts.

Because God prophesied that the king would lead rebelious israel into destruction, it is not strange that David who was chosen to lead the nation who had rejected God's Theocratic rule was always lost when he could not sense God's approval. David's praise, therefore, has him making himself vile and repulsive.

It is easy to forget that David as the King or the other Psalm writers were not the prophets who were the critics of the priestly and civil governing class of David and other kings. David was not a priest. Therefore, while some of the psalms speak of private devotion they are not "direct commands" for either Jewish or Christian worship.

The Instruments of Psalm 150

The Britannica notes that:

"Music, like the word, also may have symbolic meaning. The basic elements out of which musical symbolism is built are sounds, tones, melodies, harmonies,

and the various musical instruments,
among which is the human voice.

Sound effects can have a numinous (spiritual) character and may be used to bring about contact with the realm of the holy. A specific tone may call one to an awareness of the holy, make the holy present, and produce an experience of the holy. This may be done by means of drums, gongs, bells, or other instruments. The ritual instruments can, through their shape or the materials from which they are made, have symbolic meaning. The Uitoto in Colombia, for example, believe that all the souls of their ancestors are contained in the ritual drums. (See liturgical music BM members.) Or click her

Most ancient people believed that the "gods" or "demons" lived inside their musical instruments, sounding planks and poles. The oldest harp ever discovered came from Ur and it was in the form of a bull. When they struck (abraded or "wounded") the strings, the message was assumed to come from the gods or demons living inside. The Witch of Endor used a hollow-sounding, old wineskin to get the musically-echoing sound which she usually sold as a voice from the gods.

Clement of Alexandria notes that:

And this deathless strain,-the support of the whole and the harmony of all,-reaching from the centre to the circumference, and from the extremities to the central part, has harmonized this universal frame of things,

not according to the Thracian (Barbarian) music, which is like that invented by Jubal,
but according to the paternal counsel of God, which fired the zeal of David.

And He who is of David, and yet before him, the Word of God,
despising the lyre and harp, which are but lifeless instruments,

<>and having tuned by the Holy Spirit the universe, and especially man,-who, composed of body and soul, is a universe in miniature, makes melody to God on this instrument of many tones; and to this instrument-I mean man-he sings accordant:

"For thou art my harp, and pipe, and temple. -a harp for harmony-a pipe by reason of the Spirit-a temple by reason of the word; so that the first may sound, the second breathe, the third contain the Lord.

Thackery: But whilst he was talking about his dinner, and his mutton, and his landlord, and his business, I felt a great interest about Mr. M. in private life--about his wife, lodgings, earnings, and general history, and I dare say was forming a picture of those in my mind-- wife cooking the mutton: children waiting for it; Merryman in his plain clothes, and so forth; during which contemplation the joke was uttered and laughed at, and Mr. M., resuming his professional duties, was tumbling over head and heels. Do not suppose I am going, sicut est mos, to indulge in moralities about buffoons, paint, motley, and mountebanking. Nay, Prime Ministers rehearse their jokes; Opposition leaders prepare and polish them; Tabernacle preachers must arrange them in their minds before they utter them. All I mean is, that I would like to know any one of these performers thoroughly, and out of his uniform: that preacher, and why in his travels this and that point struck him; wherein lies his power of pathos, humor, eloquence;--that Minister of State, and what moves him, and how his private heart is working;--I would only say that, at a certain time of life certain things cease to interest: but about Some things when we cease to care, what will be the use of life, sight, hearing? Poems are written, and we cease to admire. Lady Jones invites us, and we yawn; she ceases to invite us, and we are resigned. The last time I saw a ballet at the opera--oh! it is many years ago--I fell asleep in the stalls, wagging my head in insane dreams, and I hope affording amusement to the company, while the feet of five hundred nymphs were cutting flicflacs on the stage at a few paces' distance. Ah, I remember a different state of things! Credite posteri. To see those nymphs--gracious powers, how beautiful they were! That leering, painted, shrivelled, thin-armed, thick-ankled old thing, cutting dreary capers, coming thumping down on her board out of time--that an opera-dancer? Pooh! My dear Walter, the great difference between My time and yours, who will enter life some two or three years hence, is that, now, the dancing women and singing women are ludicrously old, out of time, and out of tune; the paint is so visible, and the dinge and wrinkles of their wretched old cotton stockings, that I am surprised how anybody can like to look at them. And as for laughing at Me for falling asleep, I can't understand a man of sense doing otherwise. In My time, a la bonne heure. In the reign of George IV., I give you my honor, all the dancers at the opera were as beautiful as Houris. Even in William IV.'s time, when I think of Duvernay prancing in as the Bayadere,--I say it was a vision of loveliness such as mortal eyes can't see now-a-days. How well I remember the tune to which she used to appear! Kaled used to say to the Sultan, "My lord, a troop of those dancing and singing gurls called Bayaderes approaches," and, to the clash of cymbals, and the thumping of my heart, in she used to dance! There has never been anything like it--never. There never will be--I laugh to scorn old people who tell me about your Noblet, your Montessu, your Vestris, your Parisot--pshaw, the senile twaddlers! And the impudence of the young men, with their music and their dancers of today! I tell you the women are dreary old creatures. I tell you one air in an opera is just like another, and they send all rational creatures to sleep. Ah, Ronzi de Begnis, thou lovely one! Ah, Caradoni, thou smiling angel! Ah, Malibran! Nay, I will come to modern times, and acknowledge that Lablache was a very good singer thirty years ago (though Porto was the boy for me): and then we had Ambrogetti, and Curioni, and Donzelli, a rising young singer.

Of the pipe or organ mention in Psalm 150: When the Temple was destroyed ALL instruments were outlawed but the Shofar BECAUSE it was NOT a musical instrument. You cannot get to THIS side of the cross without BAPTISM and that is why "christianism" is predominately Jewish (with Voodoo music thrown in)

Edersheim makes it clear that the pipe was played only in the procession to Jerusalem from the far cities.

Isaiah 30 compares the Assyrians procession to the "place of burning" [click{ with the Timbrels and harps. In the LXX or Septuagint version, God asks, "Must you always go in procession to the temple with music." This was a common practice when they marched to the Temple and then to Topheth which was the place where innocent children were burned in the red-hot arms of Molech as they played loud instruments to drown out the evil sounds of sacrificed children and to help the priest get a message from the idol. Assyria includes Jerusalem, Egypt, Sodom or (Jerusalem which is Egypt and Sodom in the book of Revelation). All will find themselves being marched off to some kind of hell to the beat of musical instruments.

Brian has Locked himself at the Lip with some very bad characters: Psalm 150 MISUNDERSTOOD cannot trump 100% of the rest of the world's literature which associates MUSIC with bad people.

And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it. Isa 30:32

"Its (pipe = to love passionately) was apparently a secular instrument and is never listed in the temple orchestra;

only in Ps. 150:4 it is mentioned in a religious (but not ritual) function.

Its ethos (ethical character) was not blameless at all, ase we see from Genesis Rabbah 50: 'The angels said to Lot: 'There are players of the pipe (organ) in the country, hence it ought to be destroyed.'" Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes (temple dancers), emphasizes the erotic element which already the Hebrew name suggests." (Interpreters Dictionary of the Bible, p. 460, Abingdon).

Give Brian credit: no PhDuh quite willing to lie, cheat and steal the church houses of widows have ANY better authority for music. Without exception the USE of musicians and musicians points to a gender problem in "misleaders" and what "church" has become in fulfilment of the VISIBLE kingdom being the Babylon Whore whose singers and musicians are said to be sorceries intentional (a changeling word). That is the Driven Purpose of these churches. The word WOLVES used by Paul as something which elders might be more afflicted with (as shepherds) than regular people is being fulfilled before your eyes and ears if you have not fled Babylon.

The pipe was invented and promoted by Jubal and not God. The view of scholars who knew the original languages claim that SATAN came into Jubal (Genun) just as Satan came into Judas whose "Judas bag" contained the "mouthpieces of wind instruments."

And his brothers name was Jubal: he was the father of all such as handle the harp and organ. Genesis 4:21

Handle means to manipulate, capture to use without authority (h8610).

Taphas (h8610) taw-fas'; a prim. root; to manipulate, i. e. seize; chiefly to capture, wield; spec. to overlay; fig. to use unwarrantably: - catch, handle, (lay, take) hold (on, over), stop, * surely, surprise, take.

Uwgab (h5748) oo-gawb'; or uggab oog-gawb'; from 5689 in the orig. sense of breathing; a reed-instrument of music: - organ

Jeremiah 4 repeats the VOID AND EMPTY pattern of the creation, the flood and the Red Sea. It also fits the pattern of Lucifer personified as the king of Babylon, Tyre and the end time church.

And Aholah played the harlot when she was mine; and she doted on her lovers, on the Assyrians her neighbours, Eze.23:5

And when thou art spoiled, what wilt thou do? Though thou clothest thyself with crimson, though thou deckest thee with ornaments of gold, though thou rentest thy face with painting, in vain shalt thou make thyself fair; thy lovers will despise thee, they will seek thy life. Jer 4:30

Praise him with the timbrel and dance: praise him with stringed instruments and organs. Ps.150:4

The ORGAN is associated with the fertility cults by Job:

Wherefore do the wicked live, become old, yea, are mighty in power? Job 21:7
Their seed is established in their sight with them, and their offspring before their eyes. Job 21:8
Their houses are safe from fear, neither is the rod of God upon them. Job 21:9
Their bull gendereth, and faileth not; their cow calveth, and casteth not her calf. Job 21:10
They send forth their little ones like a flock, and their children dance. Job 21:11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21:12
They spend their days in wealth, and in a moment go down to the grave. Job 21:13

Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Job 21:14

What is the Almighty, that we should serve him? and what profit should we have, if we pray unto him? Job 21:15

Job used the pipe to describe the children who sang, played and danced showing that they didn't want to hear from God (Job 21). Job also used the organ in a figurative sense of his mouring and weeping.

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

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

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

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

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

And they come unto thee as the people cometh,

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

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

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

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

The love song is:

Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.


The Psaltery in Hebrew was, like most instruments, made in the human form often the female with the body parts:

Nebel (h5035) neh'-bel; from 5034; a skin- bag for liquids (from collapsing when empty); hence a vase (as similar in shape when full); also a lyre (as having a body of like form): - bottle, pitcher, psaltery, vessel, viol

Nabel (h5034) naw-bale'; to wilt; generally to fall away, fail, faint; figurative: to be foolish or morally wicked; to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, surely, make vile, wither..

"Therefore at that time, when all the people heard the sound of the cornet, flute, harp, sackbut, psaltery, and all kinds of musick, all the people, the nations, and the languages, fell down and worshipped the golden image that Nebuchadnezzar the king had set up. Da.3:7

"The psaltery (psalterion, saltere, sauterie, Psalterium, Psalter, salterio) is an ancient intstrument seen in many forms. Early versions were simply a wooden board with gut strings stretched between pegs. The strings were plucked with fingers or by plectra (the name might have derived from the Greek psallein meaning plucked with fingers).

"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp. Source

Remember that David "made himself vile" by performing music with the slave girls and then stripping off his clothes. This was motivated by an unnatural fear of God and "God cannot punish a mad man."

This has the same meaning as the empty wineskin or waterskin which echoed the voice of the witch's own voice as ventriloquism.

Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.

This device, including musical instruments, were believed or at least sold as the home of the departed spirits who were not gods. People consulted the idols and interpreted the "speaking in tongues" as a message to the customer:

And when they shall say unto you, Seek unto them that have familiar spirits, and unto wizards that peep, and that mutter: should not a people seek unto their God? for the living to the dead? Isaiah 8:19

And the spirit of Egypt shall fail in the midst thereof; and I will destroy the counsel thereof: and they shall seek to the idols, and to the charmers, and to them that have familiar spirits, and to the wizards (knowing ones). Isaiah 19:3

And thou shalt be brought down, and shalt speak out of the ground, and thy speech shall be low out of the dust, and thy voice shall be, as of one that hath a familiar spirit, out of the ground, and thy speech shall whisper out of the dust. Isaiah 29:4

A similar device was condemned by Paul to the Corinthians who used the "sounding brass" where "sounding" is the hollow echo. The old wineskin had become more sophisticated among the Greeks who used huge bronze vases to terrorize the enemy in warfare or to "hear the voice of angels" which came from the familiar spirit.

Chalkos (g5475) khal-kos'; perh. from 5465 through the idea of hollowing out as a vessel (this metal being chiefly used for that purpose); copper (the substance, or some implement or coin made of it): - brass, money.

This was from the "underworld" or the chasm below from which even the witch of Endor got her message probably by stretching the skin over a hole in the ground.

THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. 1 Corinthians 13:1

Strabo Geography 10.3.16

Of the rites of Dionysus condemned by Paul in First Corinthians using the "weapons" of warfare or even the metallic chisel to help with the clangs and booms to bring down the gods:

"And he mentions immediately afterwards the attendants of Dionysus:
one, holding in his hands the bombyces,
toilsome work of the turner's chisel,
fills full the FINGERED
melody, the call that brings on frenzy,
while another causes to
resound the bronze-bound cotylae.

"and again, stringed instruments raise their shrill cry, and frightful mimickers from some place unseen bellow like bulls, and the semblance of drums, as of subterranean thunder, rolls along, a terrifying sound.

The Greeks added MUSIC and sacrifice in the holy place in Jerusalem along with the GYMNASIUM. The gymn was for training but it was also for completing the MASCULINE JOURNEY. Remember, that the Jews tried to PIPE to get Jesus into the Dionysus, homosexual SINGING and DANCING.

The worship in the temple was for Zeus and or Dionysus. Second Maccabees makes this clear for us to show that the ABOMINATION OF DESOLATION is what modern theatrical performers are trying to restore in the churches.

The Harp

Of the king of Babylon as a type of Lucifer who went into the grave to rest on a bed of maggots? Well, he has been found along with his harps (viols) and harpists:

"The girl (buried alive) harpists' skeleton hands were still resting on the
harp strings--or where the harp strings once had been. And the instruments themselves suggested in form the body of a bull, with its beautiful golden bull's head bearing a rich lapis-lazuli beard. For this was a mythological bull: the divine lunar bull whose song of destiny had summoned these two willing companies--first of the buried king, then of his lady--to rebirth through death. And we know the name of the god of whom this bull was the animal vehicle (mount). It was the great Near Eastern legendary, god-king and universal savior Tammuz (worshiped by the women in Jerusalem, Ezekiel 8),

the dates of whose annual death-and-resurrection festival are now assigned in our own mythic and ritual calendar, by the Synagogue to Passover, and by the Church to Good Friday and Easter." (Campbell, Joseph, Myths to Live By, p. 62-63)

Kinnowr (h3658) kin-nore'; from an unused root mean. to twang; a harp: - harp.

This harp or kinnowr is mentioned also in Psalm 150 and used by the king. Laban understood that it was really useful for getting the enemy so drunk that he didn't know which bride he had married. And again, old Laban knew that he could "take away knowledge" with a musical going-away party:

Wherefore didst thou flee away secretly, and steal away from me; and didst not tell me, that I might have sent thee away with mirth, and with songs, with tabret, and with harp? Ge.31:27

The prophets as God's spokesmen against the kings and priests had another view:

And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:
........... but they regard not the work of the Lord,
........... neither consider the operation of his hands. Isa 5:12

Wherefore my bowels shall sound like an harp for Moab,
........... and mine inward parts for Kir-haresh Isaiah 16:11

Take an harp, go about the city, thou harlot that hast been forgotten;
...........make sweet melody,
...........sing many songs,
...........that thou mayest be remembered. Isa 23:16

The mirth of tabrets ceaseth, the noise of them that rejoice endeth, the joy of the harp ceaseth. Isa 24:8

And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it. Isa 30:32

And I will cause the
........... noise of thy songs to cease; and the
........... sound of thy harps shall be no more heard. Eze.26:13

The ships of Tarshish did sing of thee in thy market: and thou wast replenished,
........... and made very glorious in the midst of the seas. Eze.27:25

And of the timbrel (related to Topheth, the 'king's music grove' and hell itself).

The timbrel "was a typical women's instrument. It is mentioned seventimes in the OT; thus it must have been very popular. Although it occurs in the Psalter and in religious hymns (Exod 15; Jer. 31:4),

it was not permitted in the temple. Its function in the Bible was restricted to secular or religious frolicking, cultic dances, or processions (e. g., II Sam. 6:5; 1I Chr. 13:4; Ps. 68:25). Its absence in the temple ritual was possible due to the strong female symbolism, which always accompanied the tambourine, and which made its use so popular at all fertility rites." (Interpreters Dictionary of the Bible, p. 474, Abingdon).

Speaking Further of Miriam's instrument it is said that it--

"This membranophone, translated in the AV as 'timbrel' and 'tabret,' was not permitted in the Temple, although it was mentioned in the Psalter and in religious hymns" (Ps 150:4; Jer. 31:4) Harrison, Into to OT, p. 988).

See the Babylonian story of Job and instruments such as the ORGAN.

And of the shofar:

"Only in Ps 150:3 is it (shophar) mentioned with most of the other really musical instruments. Hence, we must conclude that the function of the shophar was to make noise--be it of earthly or of eschatological character--but not to make music.

After the destruction of the temple and the general banishment of all instrumental music,

the shophar alone survived, just because it was not a musical instrument." (Interpreters Dictionary of the Bible, p. 473, Abingdon).

Instrumental noises were part of the like the nations Monarchy or Kingdom period. Aside from private use, this "music" was only connected to animal sacrifices and at or around the temple.

After Jesus, all sacrifices are completed and it may be legalistic to try to, like David, search for the "lost God."

Augustine translates this as poetry or symbolic language.

2. "Praise the Lord with harp:" praise the Lord,
........... presenting unto Him your bodies a living sacrifice.

"Sing unto Him with the psaltery for ten strings" (ver. 2):
........... let your members be servants to the love of God, and of your neighbour,
........... in which are kept both the three and the seven commandments.

3. "Sing unto Him a new song:" sing unto Him a song of the grace of faith. "Sing skillfully unto Him with jubilation" (ver. 3):
........... sing skillfully unto Him with rejoicing. (See Colossians 3:16 where paul uses grace rather than melody)

4. "For the Word of the Lord is right:" for the Word of the Lord is right, to make you that which of yourselves ye cannot be. "And all His works are done in faith" (ver. 4): lest any think that by the merit of works he hath arrived at faith, when in faith are done all the works which God Himself loveth.

Paul restricted Christian "singing" to the Word of Christ (Colossians 3) or His Spirit (Ephesians 5) which is in His Word (John 6:63). Augustin and all of the church Fathers agree. In another Psalm:

Augustine's comments on Psalm 150:

"Praise Him on the well-sounding cymbals, praise Him on cymbals of jubilation" (ver. 5). Cymbals touch one another in order to sound, and therefore are by some compared to our lips. But I think it better to understand that God is in a manner praised on the cymbal, when each is honoured by his neighbour, not by himself, and then honouring one another, they give praise to God.

But lest any should under stand such cymbals as sound without life, therefore I think he added, "on cymbals of jubilation." For "jubilation" that is, unspeakable praise, proceedeth not, save from life.

Nor do I think that I should pass over what musicians say,
that there are three kinds of sounds, by
voice, by breath, by striking:
voice, uttered by throat and windpipe, when man singeth without any instrument;
breath, as by pipe, or anything of that sort:
striking, as by harp, or anything of that kind. None then of these kinds is omitted here: for there is

voice in the choir, breath in the trumpet, striking in the harp,
mind, spirit, body, but by similitudes, not in the proper sense of the words.

When then he proposed, "Praise God in His saints," to whom said he this, save to themselves? And in whom are they to praise God, save in themselves? For ye, saith he, are "His saints;" ye are "His strength," but that which He wrought in you; ye are "His mighty works, and the multitude of His greatness," which He hath wrought and set forth in you.

Ye are "trumpet, psaltery, harp, timbrel, choir, strings, and organ, cymbals of jubilation sounding well"

because sounding in harmony. All these are ye: let nought that is vile, nought that is transitory, nought that is ludicrous, be here thought of. And since to savour of the flesh is death, "let every spirit praise the Lord" (ver. 6).

Psalm 144

"O God, I will sing a new song to thee: I will play to thee on a psaltery of ten strings. Psalm 144:9LXX

Poems Tend To Be Poetic

Odes of Solomon:

"As the hand moves over the harp, and the strings speak, so speaks in my members the Spirit of the Lord, and I speak by His love. For it destroys what is foreign, and everything that is bitter." Ode 6:1-3

In the language of Paul, when Solomon's "plucked prophet" teaches the Word of the Lord a spirit of unity is produced. Later, the writer prays to God and asks:

Teach me the Psalms of thy truth,
........... that I may bring forth fruit in thee:

And open to me the harp of thy Holy Spirit,
........... that with all its notes I may praise thee, O Lord." Ode 14:7-8

I poured out praise to the Lord, for I am His: and
........... I will speak His Holy song,
........... for my heart is with Him.

For His harp is in my hands, and the Odes of His rest shall not be silent.
........... will cry unto him from my whole heart:
........... I will praise and exalt Him with all my members." Ode 26:1-4

"A new psalm with song in gladness of heart,
........... the fruit of the lips with the
........... ........... well-tuned instrument of the tongue,
........... the first fruits of the lips
........... ........... from a pious and righteous heart" Psalms of Solomon, 15:3

Justin Martyr

"For neither by nature nor by human conception is it possible for men to know things so great and divine, but by the gift which then descended from above upon the holy men,

who had no need of rhetorical art, nor of uttering anything in a contentious or quarrelsome manner,

but to present themselves pure to the energy of the Divine Spirit, in order that the divine plectrum itself, descending from heaven,

and using righteous men as an instrument like a harp or lyre,
might reveal to us the knowledge of things divine and heavenly." (Justin's Horatory Address to the Greeks, Chapt. VIII)

Augustine understands the symbols of poetry to mean: "What doest thou among them with thy pastoral scrip with five stones in it? Say it to me in another form: that same law which thou hast signified by five stones, signify in some other way also. "I will sing a new song unto Thee, O God" (ver. 9). "A new song" is of grace; "a new song" is of the new man; "a new song" is of the New Testament. But lest thou shouldest think that grace departeth from the law, whereas rather by grace the law is fulfilled,

"upon a psaltery of ten strings will I sing unto Thee."
........... Upon the law of ten commandments:

therein may I sing to Thee; therein may I rejoice to Thee;
therein may "I sing to Thee a new song;"
........... for, "Love is the fulfilling of the law."

But they who have not love may carry the psaltery,

sing they cannot.
Contradiction cannot make my psaltery to be silent.

And gladness is taken away, and joy out of the plentiful field;
and in the vineyards there shall be no
neither shall there be
treaders shall tread out no wine in their presses;
I have made their
vintage shouting to cease. Isa 16:10

My heart laments for Moab like a harp,
inmost being for Kir Hareseth. Is.16:11

So my heart laments for Moab like a flute;
it laments like a flute for the men of Kir Hareseth.
The wealth they acquired is gone. Je.48:36

Let every thing that hath breath praise the Lord. Praise ye the Lord. Psalm 150:6

The Psalms are poems and tend to be poetic. If not then David and other writers are strongly recommending that our MUSICAL praise be during a literal attack on our political enemies which includes dashing out the heads of little babies:

I will also praise thee with the psaltery,
........... even thy TRUTH,
. ........... .......... O my God:
unto thee willI
........... with the harp,
........... ........... O thou Holy One of Israel. Psalm 71:22

My lips shall greatly rejoice
........... when I sing unto thee;
........... and my soul, which thou hast redeemed. Psalm 71: 23

My tongue also shall talk
........... of thy righteousness all the day long:
........... for they are confounded, for they are brought unto shame, that seek my hurt. Psalm 71: 24

I create the fruit of the lips; Peace, peace to him that is far off, and to him that is near, saith the Lord; and I will heal him. Isa 57:19

Take with you words, and turn to the Lord: say unto him, Take away all iniquity, and receive us graciously: so will we render the calves of our lips. Ho.14:2

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. 1 Peter 4:11

For the priests lips should keep knowledge, and they should seek the law at his mouth:

for he is the messenger of the Lord of hosts. Mal.2:7

By him therefore let us offer the sacrifice of praise to God continually,
........... that is, the fruit of our lips,
........... giving thanks to his name. Heb.13:15
...........Thanks is homologeo SPEAKING the same things

> Speaking to yourselves in psalms and hymns and spiritual songs,
...........singing and making melody in your heart to the Lord; Eph 5:19
........... always giving thanks to God the Father for everything,
........... in the name of our Lord Jesus Christ. Eph 5:20
........... Thanks is EuCHARISteo expressing gratitude

> Let the word of Christ dwell in you richly in all wisdom;
...........teaching and admonishing one another psalms and hymns and spiritual songs, .
singing with grace in your hearts to the Lord. Col 3:16
...........Grace is CHARIS or divine influence on the heart

O give thanks unto the Lord; call upon his name:
........... make known his deeds among the people. Psalm 105:1

Sing to the LORD, for he has done glorious things;
........... let this be known to all the world. Isaiah 12:5

..>> Therefore MELODY is in the heart is GRACE in the heart
...........And neither has to do with INSTRUMENTS of music.

Only things with BREATH can praise God:

The idols of the heathen are silver and gold,
........... the work of mens hands. Psalm135:15

They have mouths,
........... but they speak not;

eyes have they,
........... but they see not; Psalm135:16

They have ears,
........... but they hear not;
........... neither is there any breath in their mouths. Psalm135:17

Nothing man makes can PRAISE God:

Let every thing that hath breath
praise the Lord. Praise ye the Lord. Psalm 150:6

They that make them
........... are like unto them:
so is every one
........... that trusteth in them. Psalm135:18

And woe to those who try it:

Woe unto him that saith to the wood, Awake; to the dumb stone,
........... Arise, it shall teach Behold, it is laid over with gold and silver,
........... and there is no breath at all in the midst of it. Habakkuk 2:19
........... But the Lord is in his holy temple:
........... ........... let all the earth keep silence before him. Habakkuk 2:20

If thou turn away thy foot from the sabbath, from doing thy pleasure on my holy day; and call the sabbath a delight, the holy of the Lord, honourable; and shalt honour him, not doing thine own ways, nor finding thine own pleasure, nor speaking thine own words: Is.58:13

Nevertheless even the Psalmist may have held a superstitious view. Otherwise we are forced back to hearing the Psalmist equate his soul to his harp and lyre.

Awake, my soul!
........... Awake, harp and lyre!
........... I will awaken the dawn. Ps.57:8
Awake, harp and lyre!
........... I will awaken the dawn. Ps.108:2

This is similar to the Odes of Solomon above

And open to me the harp of thy Holy Spirit,
........... that with all its notes I may praise thee, O Lord." Ode 14:7-8

If you don't see this as symbolic then you are faced with David practicing pure pagan superstition:

"We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'arousers,' sang (every morning?) this verse from Ps 44:23: "Awake, O Lord! Why do you sleep? Rouse yourself! Do not reject us forever." The Talmud tells us that John Hyrcanus suppressed the practice because it recalled too readily a pagan custom." (Roland de Vaux, p. 247).

"A similar practice is attested in connection with the cult of Herakles-Melkart. According to Menander, as he is quoted by Josephus, the king Hiram, who was a contemporary of Solomon, rebuilt the temples of Tyre and, 'he was the first to celebrate the awakening of Heracles in the month of Peritius.'" (de Vaux, p. 247)

At that time Tyre will be forgotten for seventy years, the span of a king's life. But at the end of these seventy years, it will happen to Tyre as in the song of the prostitute: Is.23:15

"Take up a harp, walk through the city, O prostitute forgotten; play the harp well, sing many a song, so that you will be remembered." Is.23:16

At the end of seventy years, the LORD will deal with Tyre. She will return to her hire as a prostitute and will ply her trade with all the kingdoms on the face of the earth. Is.23:17

"In an inscription from Cyprus, in one from Rhodes and in several from around the district of Carthage, there are references to important personages who bear the title Mqm'lm which we can translate as 'arouser of the god.'" (de Vaux, Roland, The Bible and the Ancient Near East, Doubleday, p. 247).

The me'oreim term is associated with the "resounding gong" and the "clanging cymbal" of 1 Cor. 13-- me'onem "means to emit a hoarse nasal sound such as was customary in reciting the prescribed formula" or charm.

"Peckham 1987:84-87: the association of Astarte with the dying god, Eshmun, may well be related to child sacrifice, as Peckham; Robertson 1982:329. Given the parallel to Genesis 22, the tradition of Kronos sacrificing his only son as a part of the Phoenician cult looks to be related to the thriving business of infant sacrifice in Phoenician culture.

The mourning ritual connected with Astarte in KAI 37 and elsewhere, and the tradition of "raising the god" (mqm 'lm), identified as Astarte's bridegroom in KAI 44:2, in Phoenician epigraphs (c.f. the Eqron epigraph, lmqm, in the seventh c., where other indications of Phoenician influence are present), suggest the importance of the cycle through the underworld in this cult

Peckham, J. B. 1987 Phoenicia and the Religion of Israel: The Epigraphic Evidence. Pp. 79-99 in Ancient Israelite Religion. Essays in Honor of Frank Moore Cross, ed. P. D. Miller, P. D. Hanson and S. D. McBride.Philadelphia: Fortress.

Through the use of symbolic language, the Psalmist "awakens" us to see the spiritual nature in conflict with the outward and therefore superstitions religious practices.

But, isn't it clear that the Psalmist was speaking POETICALLY. Look again at the parallel:

I will also praise thee with the psaltery,
......... even thy truth,
.................... O my God:
unto thee will
..........I sing with the harp,
.....................O thou Holy One of Israel. Psalm 71:22

The "musical" or sounding instruments were under the control of "the king and Commanders of the Army." The temple in Jerusalem was a LIKE THE NATION'S temple and was therefore a secular or civil temple. The "people's congregation" was SHUT OUT of the temple when the instruments made a great crashing sound.

Psalm 41 prophesies that Judas and Satanic friends would attempt to silence Jesus with the music of warfar. This is defined in the Essene War Rule.

"The priests shall blow the trumpets of massacre, and
Levites and all the blowers of the ram's horn
........ shall sound a battle alarm,
........ and the foot soldiers shall stretch out their hands against the host...

and at the sound of the alarm
........ they shall begin to bring down the slain.

All the people shall cease their clamor,
........ but the priests shall continue
........ to blow the trumpets of massacre."  - War Scroll

Aeidô also includes: to take off, carry off, make away with, to kill, destroy, ruin, etc.
B. Trop., to do away with, remove; to abolish, annul,
abrogate, cancel
1. To raise, lift, lift up, elevate, set up

However, when Messiah could not be utterly defeated to the sound of warrior music,

I will groan with the zither of lamentation
........ in all grief-stricken mourning and bitter complaint
until iniquity and wickedness are consumed
........ and the disease-bringing scourge is no more.

An evil disease, say they, cleaveth fast unto him: and now that he lieth he shall rise up no more. Ps.41:8

Then will I play on the zither of deliverance
........ and harp of joy,
on the
tabors of prayer and the pipe of praise
........ without end.

And at the beginning of their weeks
for the
season of Jubilee.

All my life the engraved Precept shall be on my tongue
........ as the fruit of praise
........ and the portion of my lips.

I will sing with knowledge and all my music
shall be for the glory of God.
........ (My) lyre (and) my harp shall sound
........ for His holy order
........ ........ and I will tune the pipe of my lips
........ ........ to His right measure.

Therefore, the MUSIC in the Old Testament is universally related to silencing the "harps of God" which He gave us to praise a Spirit God.

It was prophesied that Judas and clergy would try to musical mock or triumph over Jesus.

They ultimately failed.

In victory Jesus to validate His role as SON would praise the FATHER with the "instruments of God."

This is why the DIRECT COMMANDMENT OF Paul which CANNOT be misunderstood, said that we "glorify God with ONE VOICE" when we speak "that which is written" (Romans 15).

Therefore, to silence the Words of God through the use of human compositions and then scramble the brain with EITHER mechanical instruments or ORGANIC instruments or complex harmony, is an attempt to MOCK or TRIUMPH OVER the Word of God and therefore God Himself.

Musical Worship Index

Home Page

Counter added 11.21.04 9.01.07 1137  4.20.12 8000

<img src="/cgi-bin/Count.cgi?df=piney/counter_MuPsalm150.html.dat">