Patrick Meed on Instrumental Music

Patrick Mead on Instrumental Music

Patrick Mead at Rochester Church of Christ in his first sermon on God and Instrumental Music sifts through the Old Testament for passages that use an instrument of any kind.  This tends to flood the mind with the notion that the Bible is filled with direct commands to use instrumental music to worship God.   Rev 12.26.10




The first two reasons assert that under the Old Testament, God did not just allow instrumental music, He commanded and blessed it. Rick offered the following passages for these contentions: 2 Chronicles 5:13-14; 7:6; 29:25-26; Psalm 33:1- 3; 92:1-3; 150:1-6.

Never mind that the godly tribes were quarantined. No singer or player went INTO or NEAR a holy thing or place on the penalty of death. Some of these patterns are separated from the last by up to 300 years.


Stand in the gate of the Lords house [courts], and proclaim there this word,
        and say, Hear the word of the Lord, all ye of Judah,
        that enter in at these gates to worship the Lord. Jeremiah 7:2

Thus saith the Lord of hosts, the God of Israel,
        Amend your ways and your doings,
        and I will cause you to dwell in this place. Jeremiah 7:3 

Trust ye not in lying words, saying,
        The temple of the Lord, The temple of the Lord,
        The temple of the Lord, are these. Jeremiah 7:4

Jer. 8:8 How do ye say, We are wise, and the law of the LORD is WITH US?
        THE PEN OF THE SCRIBES IS in vain.

For I spake NOT unto your fathers, nor commanded them
        in the day that I brought them out of the land of Egypt,
        concerning burnt offerings or sacrifices: Jeremiah 7:22

Cyril of Alexandria, Commentary on John,  

That the Pharisees puffed up unto strange boasting,
        were wont to pretend that the Divine Word was with them and in them,
        and therefore foolishly affirmed that they had advanced to marvellous wisdom, 
        the Spirit Itself will testify, 
        since Christ says by the Prophet Jeremiah unto them, 
                How do ye say, WE are wise, and the word of the Lord is with us?
                For nought to the scribes became their lying pen;
                the wise
men were ashamed, were dismayed and taken;
                what wisdom
is in them? because they rejected the word of the Lord.

For how are they not taken rejecting the Living and Hypostatic Word of God,
         receiving not the faith to Him-ward, 
         but dishonouring the Impress of God the Father,
         and refusing to behold His most true Form (so to say)
         through His God-befitting Authority and Power?


John 6:44 No man can come to me,
        except the Father which hath sent me draw him:
        and I will raise him up at the last day.
        And they shall be all taught of God.
        Every man therefore that hath heard,
        and hath learned of the Father, cometh unto me.

2Pet. 3:2 That ye may be mindful of the words
        which were spoken before by the HOLY PROPHETS
        and of the commandment of us the APOSTLES of the Lord and Saviour:

IT WAS THE SPIRIT OF CHRIST WHO SPOKE THROUGH THE PROPHETS AND NOT LYING SCRIBES whom He called hypocrites by naming speakers, singers and instrument players in Ezekiel 33.

    1Pet. 1:10 Of which salvation the PROPHETS have inquired and searched diligently,
            who prophesied of the grace that should come unto you:
    1Pet. 1:11 Searching what, or what manner of time
            the Spirit of Christ which was in them did signify,
            when it testified beforehand the sufferings of Christ,
            and the glory that should follow.    

God did NOT speak through the lying pen of the Scribes who recorded the Monarchy which God had NOT commanded.

Heb. 1:1 God, who at sundry times and in divers manners
        spake in time past unto the fathers by the prophets,
Heb. 1:2 Hath in these last days spoken unto us BY HIS SON
        whom he hath appointed heir of all things,
        by whom also he made the worlds;
Heb. 1:3 Who being the brightness of his glory,
        and the express image of his person,
        and upholding all things by the WORD of his power,
        when he had by himself purged our sins,
        sat down on the right hand of the Majesty on high

THOSE WHO DELIBERATELY SOW DISCORD BY QUOTING THE LYING PEN OF THE SCRIBES (hypocrites: speakers, singers, instrument players) are defined by the Spirit:

Jer. 23:16 Thus saith the LORD of hosts,
        Hearken not unto the words of the prophets that prophesy unto you:
        they make you vain: they speak a vision of their own heart,
        and not out of the mouth of the LORD.

Jer 23:17 They say still unto them that despise me,
        The Lord hath said, Ye shall have peace;
        and they say unto every one that walketh
        after the imagination of his own heart,
        No evil shall come upon you.   

Despise tthe Word of God of God and using your own words is:

Blasphēm-eō , pf. A. “beblasphēmēka” D.18.10:—speak profanely of sacred things, “eis theous” Pl.R.381e; offer rash prayers,

1. Because Christ as Spirit spoke ONLY through the prophets.
2. Those who use use the pattern of the Lying Pen of the Scribes, in fact despise and ignore the SPIRIT message.
3. Christ in Jeremiah defines that as blasphemy

Hebrew: H5006 nâ’ats naw-ats' A primitive root; to scorn; abhor, (give occasion to) blaspheme, contemn, despise, flourish, X great, provoke. 1.04.11 Bible 101a


Christ the Spirit spoke through the Prophets
Jesus of Nazareth made these prophecies more perfect
Jesus said "my WORDS are Spirit and Life."
To speak out of your own imagination while pretending to speak for Christ is defined as blasphemy.

The Progressive Church of Christ members note that they have reached their plateau.  A Cloud of Unknowing is prophesied of those who treat the word like a mechanic pretending to be a Brain Surgeon.

The amazing thing is that this small pool which has lost connection with the head: by lifting those proof texts necessary to sow discord within the Church of Christ, and failing to understand the context, they have unwittingly or half-wittingly ascribed to the Spirit of Christ what He did not say: does that not constitute blasphemy?

CENI means that no one can survive speaking out of their OWN IMAGINATION rather than simply reading an account and discussing it.

Jer 23:16 Thus saith the Lord of hosts,
        Hearken not unto the words of the prophets that prophesy unto you;
        they make you vain:
        they speak a vision of their own heart,
        and not out of the mouth of the Lord.

Jer 23:17 They say still unto them that despise me,
        The Lord hath said, Ye shall have peace;
        and they say unto every one that walketh
        after the imagination of his own heart,
        No evil shall come upon you.

Despise tthe Word of God:
Blasphēmo , āre,
I.  v.a., = blasphēmeō (eccl. Lat.), to revile, reproach, Vulg. 1 Par. 20, 7; God and divine things, to blaspheme: “Christum,Prud. Apoth. 415: “nomen Domini,Tert. adv. Jud. 13 fin.; Vulg. Lev. 24, 11; id. Matt. 9. 3; 26, 65.

By using your own imagination and enhancements

Prāvĭtas , ātis, f. pravus, I. crookedness, inequality, irregularity, deformity
a distorting of the mouth in speaking, impropriety in speaking, in gestures,

Orātĭo , 1. Speech, the power or faculty of speech, the habit or use of language: “quae (ferae) sunt rationis et orationis expertes,

Jer 23:18 For who hath stood in the counsel of the Lord,
        and hath perceived and heard his word?
        who hath marked his word, and heard it?

Jer 23:19 Behold, a whirlwind of the Lord is gone forth in fury,
        even a grievous whirlwind: it shall fall grievously upon the head of the wicked.

Jer 23:20 The anger of the Lord shall not return,
        until he have executed,
        and till he have performed the thoughts of his heart:
        in the latter days ye shall consider it perfectly.

Jer 23:21 I have not sent these prophets,
        yet they ran:
        I have not spoken to them,
        yet they prophesied.

Jer 23:22 But if they had stood in my counsel,
        and had caused my people to hear my words,
        then they should have turned them from their evil way,
        and from the evil of their doings.

The spirit OF Christ spoke through the PROPHETS to univerally condemn music as the MARK and CAUSE of rejecting the Word. Otherwise, to prophesy meant to MAKE SELF a prophets in a singing, dancing and musical sense.

-Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et choris
Tympănum , i (collat. form typă-num , Cat. 63, 8 sq.), n., = tumpanon,
I. a drum, timbrel, tambour, tambourine. 
A. Esp., as beaten by the priests of Cybele, (Dogs in Philippians 3 and the emasculated in Galatians 5)
B. Trop., a timbrel, etc., as a figure of something effeminate, enervating: “tympana eloquentiae,Quint. 5, 12, 21: “in manu tympanum est,Sen. Vit. Beat. 13, 3.—
Nympharum leves chori,II. Meton. (abstr. pro concr.), vōcālis a troop or band of dancers and singers, a chorus, choir: “saltatores, citharistas, totum denique comissationis Antonianae chorum, etc.,Cic. Phil. 5, 6, 15; Cat. 63, 30: “Phoebi chorus,
Phoebus , i, m., = Phoibos (the radiant), Apollo (Abaddon, Apollyon)
God will afflict Miriam with leprosy when she claims to speak for God.  The first meaning of prophet in the PAGAN sense meant a charismatic, musical performer.  All dramatic performance is INTERPRETATION which is, according to Paul, just speaking in tongues.
-Prophe-ta  I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call out] Aegyptius, propheta primarius

, idos, fem. of prophētēs, esp. of the Pythia, E.Ion 42,321, Pl.Phdr.244a, Phld.Acad.Ind.p.26 M.: generally, CIG3796 (Chalcedon), LXX Ex.15.20, Jd.4.4, Schwyzer633.20 (Eresus, ii/i B.C.): metaph.,
A. p. tēs alētheiasD.S.1.2.
2. prophet's wife, LXXIs. 8.3.
Click for Christ defining the musical witches who deny CENI.
Is. 8:19 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?
Yiddeoniy (h3049) yid-deh-o-nee'; from 3045; prop. a knowing one; spec. a conjurer; (by impl.) a ghost: - wizard.

"In Isa 8:19 the
'obhoth and yidh'onim are spoken of those who 'chirp and mutter." These terms refer to the necromancers themselves who practiced ventriloquism in connection with their magical rites. In Isa 29:4 it is said 'Thy voice shall be as an 'obh, out of the ground.'... They are stamped in these passages, as in the Witch of Endor narrative, as deceivers practising a fraudulent art. By implication their power to evoke spirits with whom they were in familiar intercourse is denied." (Int Std Bible Ency., ency, p. 690)

Goês  A. sorcerer, wizard, Phoronis 2, Hdt.2.33,4.105, Pl.R. 380d, Phld.Ir.p.29 W.; g. epôidos Ludias apo chthonos E.Ba.234 , Hipp.1038; prob. f.l. for boêisi

boêisi  [.loud cry, shout, in Hom. mostly battle-cry, shout, murmur of a croud, song of joy, roar of the sea, sounds of musical instruments

E.Ba.234 Chthonos, Earth goddess, nether world, the shades

Epōd-os , on, (epadō A. singing to or over, using songs or charms to heal wounds, “epōdoi muthoi
b. Subst., enchanter,e. kai goēsE.Hipp. 1038 (but “goēs e.Ba.234): c. gen., a charm for or against

2. Pass., sung to music,phōnaiPlu.2.622d ; fit for singing,poiētikēn e. parekheinS.E.M.6.16.
b. sung or said after, morphēs epōdon called after this form, E. Hec.1272.
2. epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, BURDEN,
Is. 8:20 To the law and to the testimony:
        if they speak not according to this word,
        it is because there is no light in them.

Christ defined the synagogue or church in the wilderness to EXCLUDE these people: don't be a guilty enabler.

There is no ROLE for them and no DOLE: rhetoricians and musicians were called HYPOCRITES by Jesus and PARASITES by decent society.

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

Do trust your souls to people who mock the church: Christ and His Word "as taught" is the only guide into the spiritual world and the rest including wind, string and percussion musicians John called sorcerers are doomed for the Lake of Fire.

Before looking at any rationale for adding instruments into a Church of Christ it would be well to note that the Bible, church scholars and founders of denominations denied that the instruments of paganism and the theater had any role to play in the Church which is synagogue, ekklesia or school of the Word of Christ: A DISCIPLE of Christ is to be taught what Jesus Christ COMMANDED to be taught.

All recorded history makes religious musicians, sexuality and homosexuality absolute.

Patrick's sermon # 2 has been reviewed in part by clicking here.
Patrick Mead Rivers and Rubicons. Patrick uses the Nadab and Abihu example to most those who grasp the story.

Patrick Mead: intentionally just picks up on the obvious uses of instruments (machines for deceiving or controlling) none of which are used in the spiritual worship of the "citizens" of Israel.  On the contrary, these are all marks of Satan (Lucifer, Zoe), making war, sending signals, exorcism, prostitutes and Sodomites. The proof-texts--intentionally ignoring the context and story line--are MARKS of a national, Civil-Priestly state to which God abandoned Israel because of musical idolatry at Mount Sinai. [Acts 7 and many clear statements)

CHRIST SPEAKS ONLY THROUGH THE PROPHETS.  Christ affirmed the musical fall from grace most of the prophets. The Monarchy was NOT a system of worship for the common, godly people who attended synagogue or church in the wilderness as a school of the Word (only).

There seems to be a crippling veil which has not been removed because clergy, by definition, have served the secular world and have not turned to Christ.  It doesn't matter how many cases of the use of instrumental music in the Civil system in Washington: it has no connection to the spiritual world.

On the other hand, the Bible is flooded with LOUD warnings beginning with Genesis where the "serpent" is defined as a musical enchanter(ess) who is bisexual and able to wholly seduce Eve in a sexual way says Paul and able for Adam to "eat of the tallest tree in Eden" whom the prophets identify as the Assyrians.  The FRUITS are not apples.
Lucifer the singing and harp playing prostitute in Eden: Ezekiel 28
Assyrians in Eden: Ezekiel 31
In the middle of the Bible and throughout, Amos lumps the female-controlled players of musical instrumets with the "basket of summer FRUITS."  These are defined as the DOGS or CATAMITES Paul warned about in our worship. They caused the people to hunger and thirst for the Word of God until they died or went into captivity with the females led away with fishhooks in their nose.

The Bible ends with the Mother of harlots (Revelation 17) using the "lusted after FRUITS" as speakers, singers and instrumentalists identified by John as sorcerers (Revelation 18) who HAD deceived the whole world.

Why is this important in reviewing the RESOURCES hand fed by the NACC to a few preachers and THEIR repeating the material almost word-for-word?
It is because Jesus told the Apostles why He would not even preach the clear gospel to the clergy of Scribes and Pharisees whom He called hypocrites. Jesus pointed to Isaiah and Ezekiel who identify the HYPOCRITES as speakers, singers and instrument players along with anyone who would go out and listen to them to be entertained.

Jesus said that truth had been hidden in parables from the foundation of the World FROM those He also called Doctors of the Law who "Take away the KEY to knowledge." They, being blind, will lead the blind and charge you an unlawful wage for doing it.

Why do people hide the dozens of bright lights warning about instruments as a MARK of rejecting God under a bushel of isolated verses none of which defines collective worship?

Jesus explains why it may be utterly impossible for those sowing musical discord to even read or hear this message: God may have sent strong delusion and the most powerful DELUDERS were known as singers and musicians.


-Plato Symposium 215c DEFINES LYING WONDERS

Why, yes, and a far more marvellous one than the satyr. His lips indeed had power to ENTRANCE mankind by means of instruments; a thing still possible today for anyone who can PIPE his tunes: or the music of Olympus' flute belonged, I may tell you, to Marsyas his teacher.
        "So that if anyone, whether a fine flute-player or paltry [cheap, easy] flute-girl,
        can but flute his tunes, they have no equal for
exciting a RAVISHMENT,
        and will
indicate (prophesy) by the divinity that is in them
        who are
apt recipients of the deities and their sanctifications

Deo bind see how musicians BIND people to themselves as with the Alpha Males in the most ancient paganism did.
2. alone, bind, keep in bonds, pōs an egō se deoimi; says Hephaistos, pointing to the nets in which he had caught Ares, -Od.8.352;
3. metaph., bind, enchain,glōssa de hoi dedetaiThgn.178; “kerdei kai sophia dedetaiPi.P.3.54; “psukha d. lupēE.Hipp. 160(lyr.); later, bind by spells,to stoma
Gain and Sophia Binding A. cleverness or skill in handicraft and art, as in carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412; of the Telchines, Pi.O.7.53; entekhnos s., of Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and Palamedes, X.Mem.4.2.33, cf. 1.4.2; in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8, etc.; in driving, Pl. Thg.123c; in medicine or surgery, Pi.P.3.54; in divination, S.OT 502

Pind. P. 3 And those who came to him afflicted with congenital sores, or with their limbs wounded by gray bronze or by a far-hurled stone, [50] or with their bodies wasting away from summer's fire or winter's cold, he released and delivered all of them from their different pains, tending some of them with gentle incantations, others with soothing potions, or by wrapping remedies all around their limbs, and others he set right with surgery.
        But even skill is enthralled by the love of gain
        [55] Gold shining in his hand turned even that man,
        for a handsome price, to bring back from death a man who was already caught
The Flute Player binds or enslaves
-Aul-ētēs , ou, o(,
A. flute-player, Thgn. 941, Hdt.1.141, 6.60, 129, Ar.V.581, And.1.12, Pl.Prt.327b, OGI51.62 (iii B. C.); Boeot. auleitas IG7.3195 (Orchom. Boeot.).

Any instrument Player binds or enslaves
-Organon  (ergon) A. instrument, implement, tool, for making or doing a thing “polemika hopla te kai organa
2. organ of sense or apprehension, speech
3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhordaId.R.399c, al.; “met' ōdēs kai tinōn organōnPhld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2

-Ergon in Il. mostly of works or deeds of war, “polemēia e. work of feasting, of Aphrodites Aphroditēsh.Ven.1 ;
2. result of work, profit or interest, ergon [khrēmatōn] interest or profit on money, Is.11.42, cf. D.27.10Tekhnikos
-Homer to Aphrodite 5[1] Muse, tell me the deeds of golden Aphrodite the Cyprian, who stirs up sweet passion in the gods and subdues the tribes of mortal men and birds that fly in air and all the many creatures [5] that the dry land rears, and all that the sea: all these love the deeds of rich-crowned Cytherea.

-Tekhn-ikos , ē, on, of persons, A. artistic, skilful, workmanlike,esp. of rhetoricians and grammarians, “t. logōn periId.Phdr.273e; hoi peri tous logous t. ib.a; “ho t. te kai agathos rhētōrId.Grg.504d; Comp., more proficient in one's craft
technical excellence, ib.2.55; “t. energeiai, hoion aulein ē salpizein ē kitharizein
Artful, cunning, II. of things, artificial

-Plat. Phaedrus 273e and is able to divide things by classes and to comprehend particulars under a general idea, he will never attain the highest human perfection in the art of speech. But this ability he will not gain without much diligent toil, which a wise man ought not to undergo for the sake of speaking and acting before men, but that he may be able to speak and to do everything, so far as possible,
-Energeia  performance, workmanship, active force,

-Auleō , Boeot. part. A. auliōnIG7.3211,3212 (Orchom. Boeot.): (aulos):—play on the flute,Phrugion aulēsen melos” Pass., of tunes, to be played on the flute,ho Bakkheios rhuthmos ēuleitoX. Smp.9.3; “auleitai pan melathronis filled with music, E.IT367.

Energetic  -Salp-izō , sound the trumpet, salpigxi rhuthmous s. X.An.7.3.32: c. acc. cogn., “s. polemou ktuponBatr.200; “s. anaklētikonAP11.136 (Lucill.); “ligun ēkhon” “hotan poiēs eleēmosunēn, salpisēs emprosthen souEv.Matt.6.2  when the trumpet sounded, X.An.1.2.17, cf. 1 Ep.Cor.15.52.
-Matthew 6.2  Therefore when you do merciful deeds, don't sound a trumpet before yourself, as the hypocrites do in the synagogues and in the streets, that they may get glory from men. Most assuredly I tell you, they have received their reward.

-1 COR 15.[52] in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised incorruptible, and we will be changed.

-Hypocrĭta or -es , ae, m., = hupokritēs.
I. A mime who accompanied the delivery of an actor by gestures, Suet. Ner. 24; Quint. 2, 17, 12; 11, 3, 7.—
II. In eccl. Lat., a hypocrite, Vulg. Job, 8, 13; id. Matt. 6, 2; id. Luc. 12, 56 al.
Energetic  kithar-izō , Att. fut. - Antiph. 141: (kitharis):—
A. play the cithara, “phormiggi . . himeroen kitharizeIl.18.570, Hes.Sc.202; “lurē d' eraton kitharizōnh.Merc.423; “herpei anta sidarō to kalōs kitharisdenAlcm.35, cf. X.Smp.3.1, Oec.2.13; “adein kai k.Phld.Mus.7 K.; kitharizein ouk epistamai I am not a 'high-brow', Ar.V.989, cf. 959; “arkhaion ein' ephaske to k.Id.Nu.1357: prov., onos kitharizein peirōmenos, like onos pros luran (v. lura), Luc.Pseudol.7; to kitharizomenon music composed for the cithara, Plu.2.1144d.

phorm-igx , iggos, h(,
A. lyre, freq. in Hom., esp. as the instrument of Apollo, “phormiggos perikalleos hēn ekh' ApollōnIl.1.603, cf. 24.63, Od.17.270, Hes.Sc.203; of Achilles, “phrena terpomenon phormiggi ligeiē kalē daidaleēIl.9.186; with seven strings (after Terpander's time), heptaktupos, heptaglōssos, Pi.P.2.71, N.5.24; “antipsallōn elephantodeton ph.Ar.Av.219 (anap.).
2. ph. akhordos, metaph. for a bow
Rev. 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying, Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all.
Rev. 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee;

Rev 18" 22 kai phōnēkitharōdōn kai mousikōn kai aulētōn kai salpistōnou akousthēensoi eti,” kai pas tekhnitēs pasēs tekhnēs ou heurethē en soi eti, “kai phōnē mulouou akousthē en soi eti,

There will be no:  Phōn-ē4. ] of sounds made by inanimate objects, mostly Poet., “kerkidos ph.S.Fr.595; “suriggōnE.Tr.127 (lyr.); “aulōnMnesim.4.56 (anap.); rare in early Prose, “organōn phōnaiPl.R.397a; freq. in LXX, “ ph. tēs salpiggosLXX Ex.20.18; ph. brontēs ib. Ps.103(104).7; “ ph. autou hōs ph. hudatōn pollōnApoc.1.15. II. faculty of speech, discourse

There will be no:  kitharōdōn

There will be no: Mousikē (sc. tekhnē), A. any art over which the Muses presided, esp. poetry sung to music.  Known as dirty adulteresses.
There will be no: Aulētōn
There will be no: Salpistōn

There will be no: Craftsman
Tekhnit-ēs , A. artificer, craftsman
II. one who does or handles a thing by the rules of art, skilled workman,
also hoi peri tous theous t. persons versed in religious practices, Id.Cyr.8.3.11; anthrōpos t. logōn, as a sneer, Aeschin.1.170; hoi Dionusiakoi t. or hoi peri ton Dionuson t., theatrical artists, musicians as well as actors, D. 19.192
Of whatever Craft
Tekhn-ē , h(, (tektōn) A. [select] art, skill, cunning of hand,
of a soothsayer, A.Ag.249
3. way, manner, or means whereby a thing is gained, without any definite sense of art or craft. he makes this his trade. Poet, rhetorician
Rev. 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived.

There will be no: Numph-ē , h( (Ep. voc. II.  Nymph or goddess of lower rank Druades 3. [select] in mystical theology, “Zeus ambrotos epleto n.

The Bride and Bridegroom performed heiros gamos or a holy wedding.  The Vineyard lady repeats the old practice nothing that the music brings on a sexual-like climax with the Spirit.

There will be no: Emporos III. merchant, trader, Semon. 16, Hdt.2.39, Th.6.31, etc.; distd. from the retail-dealer (kapēlos) by his making voyages and importing goods himself,

ESPECIALLY There will be no:
2Cor. 2:16 To the one we are the savour of death unto death;
        and to the other the savour of life unto life. And who is sufficient for these things?
2Cor. 2:17 For we are not as many,
        which CORRUPT the word of God: but as of sincerity,
        but as OF God, in the sight of God speak we in Christ.
kapēlos a^
A. retail-dealer, huckster, Hdt. 1.94, 2.141, Sophr.1, etc.; opp. emporos, Lys.22.21, X.Cyr.4.5.42, Pl.R.371d, Prt.314a; also OPPOSITE the producer (autopōlēs), Id.Sph. 231d, Plt.260c; applied to Darius, Hdt.3.89; k. aspidōn, hoplōn, a dealer in . . , Ar.Pax447, 1209.
2. esp. tavern-keeper, Ar.Th.347, Lys.Fr.1, PMagd.26.2 (iii B.C.), PTeb.612(i/ii A. D.), Luc.Herm.58, etc.
3. metaph., k. ponērias dealer in pettyroguery, D.25.46.
II. as Adj., os, on, = kapēlikos, bios D.H.9.25; esp. cheating, knavish, “k. prospherōn tekhnēmataA.Fr.322; “k. phronēmaCom.Adesp.867.

A. unmixedness, purity, opp. mixis, Arist.Col.793a10; “aerosS.E.M.9.73, cf. Alex.Aphr. in Sens.137.1: metaph., “logismouIamb.VP16.68 (pl.); in bad sense, unrelievedness, “kakouPhld. Ir.p.25 W.
II. sincerity, uprightness, 1 Ep.Cor.5.8, al., POxy. 1252 vii 38 (iii A. D.).
The Peter MARK: if they do not speak that which has been left for us as the memory of eye- and ear- witnesses he says they are a FALSE TEACHER. The Scribes and Pharisees knew that they could not PEDDLE the free water of the Word (Isaiah 55) so they just fabricated their own songs and sermons.

There will be no: Sorcers
Pharmakon 3. [select] enchanted potion, philtre: hence, charm, spell, Od.4.220 sq., Ar.Pl.302, Theoc.2.15, PSI1.64.20 (i B. C.); “pharmakois ton andr' emēnenAr.Th.561; toiauta ekhō ph. such charms have I, Hdt.3.85, cf. Apoc.9.21.
2. [select] c. gen. also, a means of producing something, “ph. sōtēriasId.Ph.893; “mnēmēs kai sophias ph

Rev 9[21] They didn't repent of their murders, nor of their sorceries, nor of their sexual immorality, nor of their thefts.
sophia ,  in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, in divination, S.OT 502

[v. ad fin.], o(,
A. one sacrificed or executed as an atonement or purification for others, scapegoat, Hippon.5, al., Ar.Ra.733 (troch.), Ister 33; and, since criminals were reserved for this fate, a general name of reproach, Ar.Eq.1405, Lys.6.53, Call. in Diēgēseis ii 29, D. 25.80. [a_ Hippon. and Call., a^ Ar.Eq. l.c.; on the accent v. Hdn. Gr.1.150; “pharmakosDid. ap. Harp.]

pharmakos (on the accent v. Hdn.Gr.1.150), o(, h(,
A. poisoner, sorcerer, magician, LXXEx.7.11 (masc.), Ma.3.5 (fem.), Apoc.21.8, 22.15.

Malachi 3.5 I will come near to you to judgment; and I will be a swift witness against the sorcerers, and against the adulterers, and against the perjurers, and against those who oppress the hireling in his wages, the widow, and the fatherless, and who deprive the foreigner of justice, and don't fear me," says Yahweh of Hosts.

Revelation 21.[8]
But for the cowardly, unbelieving, sinners, abominable, murderers, sexually immoral, sorcerers, idolaters, and all liars, their part is in the lake that burns with fire and sulfur, which is the second death."

Revelation 22.15
Outside are the dogs, the sorcerers, the sexually immoral, the murderers, the idolaters, and everyone who loves and practices falsehood.
Kuōn  II. as a word of reproach, freq. in Hom. of women, to denote shamelessness or audacity; applied by Helen to herself, Il.6.344, 356; by Iris to Athena, 8.423; by Hera to Artemis, 21.481: of the maids in the house of Odysseus, Od.18.338, al.: later, in a coarse sense, Ar.V.1402; rhapsōdos k., of the Sphinx

3.  of the Cynics, “areskei toutois kunōn metamphiennusthai bionPhld.Sto.Herc. 339.8: hence, Cynic philosopher, Arist.Rh.1411a24
III.  freq. in Mythology of the servants, agents or watchers of the gods, Dios ptēnos kuōn, of the eagle, Pan is the kuōn of Cybele
Of Hecate, in Mithraic worship, Porph.Abst.4.16; of the “Bakkhai, Lussas k.E.Ba.977
Rev. 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.

-Plato Symposium 215c DEFINES LYING WONDERS Part Two

You differ from him in one point only--that you produce the same effect with simple prose unaided by instruments. For example, when we hear any other person--[215d] quite an excellent orator, perhaps--pronouncing one of the usual discourses, no one, I venture to say, cares a jot; but so soon as we hear you, or your discourses in the mouth of another,--though such person be ever so poor a speaker, and whether the hearer be a woman or a man or a youngster--we are all astounded and entranced. As for myself, gentlemen, were it not that I might appear to be absolutely tipsy, I would have affirmed on oath all the strange effects I personally have felt from his words, and still feel even now.  

Psilos IV. opposite to melody. Ordinary sound of the voice OPPOSITE to singing.

This is the same procedure used by David Faust who is the latest facilitator from the NACC tutoring a few men to infiltrate peaceable churches of Christ with instrumental music.  It always begins with "musical worship teams" to lead you into God's presence: they claim to be God standing in the holy places capable of being your mediators. The next step will be to appease the masses with A Sunday Acappella service BUT adding a third or Sabbath Worship service. Believe me, they intend to "go all the way" as did Max Lucado appeasing the people all along that this will be "soft strings in another room." Don't be fooled.

Why list ALL of the "instrument" passages gleaned from a lexicon without ever reading what God was saying?

The impact of a serial quoting of non-related statements is pretty strong until you just stop and understand that there must be a deliberate patternism for using the boasted-of postmodern plan or Lynn Anderson's Navigating the Winds of Change to make a shocking impact. This is not unexpected because a musical instrument is defined as "a machine for doing hard work mostly in makingwar and in creating the shock and awe of performance religionism." However, one of the oldest bits of information is that leaders use musical performers to point or direct the credit or worship to the leader and to bind them to himself: tribalism 101a--and pay him too.

We will skip the proof that God had abandoned the national leaders to "worship the starry host" because of musical idolatry at Mount Sinai. When the elders fired God and demanded a king LIKE THE NATIONS He understood that to mean "so we can worship like the nations." As a result Hosea says that "I gave them kings in my anger and took them away in my anger." God warned that the king set over them would take their tithe and lands and give it to his "ministry team." He would take the young girls for the court and the young boys to make musical instruments and run before the potentate's chariots.

Anyone who has read how the elders "fired" God and God's promises that the kings would destroy them, cannot miss the primary document of O.E.Payne and later by Tom Burgess who justifies instrumental music by the Greek word Psallo along with the curse of the Old Testament.  Not to be missed is that ALL of the literature where psallo is used it means only the plucking and the proof uses Alexander the Great condemned by his father, Philip, for outing his pederasty by the WAY he plucked the harp seducing young boys for a sexual favor.

Next, we need to establish that God or the Spirit OF Christ knows that there are two classes of people one of which Jesus called a Crooked Generation meaning the perverted skolion singers from whom we are to SAVE OURSELVES. 

God intends to make fools of the blind to collect the blind and quarantine them just as the sacrificial system was off limits to people who assembled or synagogued as a school of the Bible where vocal and instrumental rejoicing was outlawed. Not too helpful when people are told that god LOVES loud noise when He tries to be our teacher when the elders "teach that which has been taught" and we "sing that which is written." On the contrary, Habakkuk 2 says to silence the "idols" we assume SPEAK to us and "when God is in His Holy Temple, let all the earth keep silence before him."

You might LUMPED with a group whom Jesus INTENDS to keep in the dark because you have let the wolves inside when Paul told you to worship in the SPIRIT in contrast to in the FLESH. Body Worship is not a pretty term.  Rember that Lucifer is called "the singing and harp playing prostitute" in the garden of Eden. She / he / it is called in Gnosticism "Zoe, the beast and female instructing principle."

Therefore the Lucifer Principle intends to make noise and especially music to PREVENT people from hearing the still, quiet voice of God speaking so gently that with Elijah God's voice is the "silence of a whispered breeze." As long as people invent their own songs and make music no one can convince anyone that the performers--Jesus called hypocrites--intend for you to keep the though and thoughs of God in your mind.  Why should all historic scholars and founders of denominations be so wrong and a half dozen people in these end times be so opposite but correct?   

Here is how God intends to fool those foolish enough to revert to an Old Testament priestly class all condemned by the Spirit OF Christ in the prophets.  Sure, they were the senior pastors, preachers, doctors of the law and identified by Jesus as "piping trying to force people to sing and dance." This MARKED the perverted Dionysus or god of the new wineskin bowing to Baal. But, Nehemiah speaking of the Monarchy said "they all TOOK us for all they could collect."

Matt 13:10: And the disciples came, and said unto him,
        Why speakest thou unto them in parables?
Matt 13:11: He answered and said unto them,
        Because it is given unto you to know the mysteries of the kingdom of heaven,
        but to them [clergy, doctors of the law] it is not given.
Matt 13:12: For whosoever hath, to him shall be given, and he shall have more abundance:
        but whosoever hath not, from him shall be taken away even that he hath.
Matt 13:13: Therefore speak I to them in parables:
        because they seeing see not; and hearing they hear not, neither do they understand.
Matt 13:14: And in them is fulfilled the prophecy of Esaias, which saith,
        By hearing ye shall hear, and shall not understand
        and seeing ye shall see, and shall not perceive:
Matt 13:15: For this people's heart is waxed gross, and their ears are dull of hearing, 
        and their eyes they have closed;
        lest at any time they should see with their eyes, and hear with their ears, 
        and should understand with their heart,
        and should be converted, and I should heal them.
Matt 13:16: But blessed are your eyes, for they see: and your ears, for they hear. 

The prophecy of these end times was from Isaiah who in Isaiah 5 just radically repudiated the practice defined by Amos where their religious festivals were MARKED by wine, visible women and instrumental music. Isaiah promises that they will be led into captivity and the dominant women would suffer reproach and die for lack of the Word of God.  In chapter 6 he prophesies the modern church:
Also I heard the voice of the Lord, saying, Whom shall I send, and who will go for us?
Then said I, Here am I; send me. Isa 6:8
And he said, Go, and tell this people,
ye indeed, but understand not; and see ye indeed, but perceive not. Isa 6:9

Make the heart of this people fat, and make their ears heavy, and shut their eyes;
        lest they see with their eyes, and hear with their ears, and understand with their heart,
        and convert, and be healed. Isa 6:10

ALL musical terms and names of instruments are derived from evil roots. All Greek singing and playing words convey the idea of enchantment or deception or sorcery as John said of the "fruits" speaking, singing and playing instruments in Revelation 18:22-23

#E The words SPEAK for the synagogue or ekklesia are defined as the OPPOSITE of poetry or music. The Bible is not metrical and cannot be sung in a tunful sense.  

ALL MELODY CONCEIVES TO DECEIVE: Simple Simon knew and knows how to make the HEART FAT:

-Pindar, Nemean Odes 7. [20] And I expect that the story of Odysseus came to exceed his experiences, through the sweet songs of Homer, 

Pause! poetry and music were to be used ONLY by the MYTH MAKERS to √ do they ALL twist truth? Musicians and poets DO NOT WANT you to know the truth and YOU being blind love to follow the blind. Congratulations, God wrote about you.

[22] since there is a certain solemnity in his lies and winged artfulness, and poetic skill deceives, seducing us with stories, and the heart of the mass of men is blind.

For if [25] they had been able to see the truth, then mighty Aias, in anger over the arms, would never have planted in his chest the smooth sword--Aias, who was the most powerful in battle, except for Achilles, and whom the breath Hades breaks over all alike; it falls on the man who does not expect it, and on the one who does. There is honor for those whose fame a god causes to grow luxuriant when they are dead. Neoptolemus came to help, to the great navel of the broad-bosomed earth. And he lies beneath the Pythian soil, of the unswerving Zephyr conveyed in swift ships, to bring back the wife of golden-haired Menelaus [30] from the city of Ilus.

Paul and John knew the stories the Greeks told one another to entertain and deceive the masses. But, Jesus never speaks to the masses without using PARABLES.  However, not even the DECENT poets used meter or melody:

-Aristotle Aristot. Rh. 3.6: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors.    

-Commentary 3.8
And on rhythm in general, and its application to prose, there is an Appendix (C), pp. 379—392; in which is a full account of its original and derived significations in the first part, and of its distinction from metron in the second.
John 3:34 For he whom God hath sent speaketh the words of God:
        for God giveth not the Spirit by metron unto him.
 The form of diction should be neither metrical nor without rhythm.
          If it is metrical, it lacks persuasiveness, for it appears artificial,  
and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence.

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

Don't be shocked that these definitions of all music speak of witchcraft or sorcery because no one dared add singing as an ACT into the church assembly until about the year 373 and then to sing non-Biblical text.

-Epôidê , Ion. and poet. epaoidê , hê,
A. song sung to or over: hence, enchantment, spell Od.19.457 Pi.P.4.217
ou pros iatrou sophou thrênein epôidas pros tomônti pêmati S.Aj. 582 ; of the Magi, Hdt.1.132,

-Pindar, Odes 4:There was a pair of them; they were alive, and they rolled onward more swiftly [210] than the battle-lines of the loud-thundering winds. But that voyage of the demigods put an end to them. And then the Argonauts came to Phasis, where they clashed with the dark-faced Colchians in the realm of Aeetes himself. And the queen of sharpest arrows brought the dappled wryneck from Olympus, bound to the four spokes [215] of the indissoluble wheel: Aphrodite of Cyprus brought the maddening bird to men for the first time, and she taught the son of Aeson skill in prayerful incantations, so that he could rob Medea of reverence for her parents, and a longing for Greece would lash her, her mind on fire, with the whip of Persuasi on. 

That is why the Lucifer Principle uses speakers, singers and musicians to ROB God of reverence without which Hebrews 12 says you should know that "God is a consuming fire." How can anyone say that God COMMANDS making loud noise when He demands reverence and Godly fear?

Ovid, Metamorhosis Ov. Met. 5.250
The Muses work for Apollo or Abaddon.

Lucina's aid.--Unduly puffed with pride,
because it chanced their number equalled ours,
stupid sisters, hither to engage
in wordy contest, fared through many towns;--
through all
Haemonia and Achaia came
to us, and said;-- 

'Oh, cease your empty songs,
attuned to
dulcet numbers, that deceive
vulgar, untaught throng. If aught is yours
of confidence, O
Thespian Deities
contend with us: our number equals yours.
We will not be defeated by your arts;
nor shall your songs prevail.

Origen Book VI, Chapter XLI speaking of the "god" to whom God abandoned Israel because of musical idolatry.

In the next place, as if he had forgotten that it was his object to write against the Christians, he says that, "having become acquainted with one Dionysius, an Egyptian musician,

Alawys denounced: "the latter told him, with respect to magic arts,
that it was
only over the uneducated and men of corrupt morals that they had any power,

Alawys approved: "while on philosophers they were unable to produce any effect,
because they were careful to observe a
healthy manner of life." 

Following the use of women and instrumental music in the religious festivals which left the nation ignorant of God's word, the nation would be DECEIVED until "women and children rule over" the houses and they become a testesterone-free save house for the effete.

Then said I, Lord, how long? And he answered, Until the cities be wasted without inhabitant, and the houses [of God] without man, and the land be utterly desolate, Isa 6:11

And the Lord have removed men far away, and there be a great forsaking in the midst of the land. Isa 6:12

Isa 6:13 But yet in it shall be a tenth, and it shall return, and shall be eaten: as a teil tree, and as an oak, whose substance is in them, when they cast their leaves: so the holy seedsubstance thereof. shall be the

PROVING THE UNIVERSAL MARK OF THE EFFEMINATE: the church is almost now devoid of men.
E-mail from a long term but now X member of one of Patrick Mead's sister congregations:

"This will confirm many things that you have been saying about these hijacked congregations.

It was the most efiminate thing that I have ever witnessed.  They had a choir that was totally composed of women.  This group sang a couple of performance songs and also led the congregational singing.  Only one song was acapella, a bone tossed to those that still care.  The two men besides the preacher that spoke, although married, were way off the scale in the feminine category.  It was really sad."

Why does  GOD need music as a MACHINE to make His Word more powerful. Especially when this is a universal mark of all effeminate priesthoods? #H

"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Parkes, Henry Bamford, On Gods and Men, p. 30).

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence

any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,

and many tribes supposed lunatics and sexual deviants to be divinely possessed.

"The trained musicians which eventually appear around the time of David and Solomon mark a distinctive change in the history of Jewish music.

Before this time much of the music was made by women." (Zondervan Pict., Music p. 313).

"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephthah's daughter, and the women hailing the young hero David have become almost archetypes of female musicians.

"Characteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating.

This is the scene known to the entire Near East, and not
"even the severe rule of Islam
could wholly suppress this age-old practice." (Int Dict of the Bible, Music, p. 457). 

Ancient literature from Babylonian tablets and beyond agree with Johannes Quasten. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41 He uses many of the church Fathers and Classical resources we also rely upon:

"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit

He found it significant that, on the whole, only women and effeminate men fell into this folly.  

Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did.

Similar opinions may be found in the writings of Philo. On one occasion he spoke of the Jewish "Feast of Fasting," used by the Greeks for the Day of Atonement:

"Now, many a man from the false religions, which are not ashamed of criticising what is noble, will ask: how can there be a feast without carousing and overeating, without the pleasant company of hosts and guests, without quantities of unmixed wine, without richly set tables and highly stacked provisions of everything that pertains to a banquet, without pageantry and jokes,

bantering and merry-making to the accompaniment of flutes and citharas, the sound of drums and cymbals and other effeminate and frivolous music of every king,

enkindling unbridled lusts with the help of the sense of hearing. For in and through the same [pleasures] those persons openly seek their joy, for what true joy is their they do not know.

This is the laded burden [songs] Jesus died to remove along with the burden laders. And what Paul outlawed as SELF-pleasure so that the ekklesia or school of the Bible could take place in Romans 15.

T. Maccius Plautus, Truculentus, or The Churl
(to PHRONESIUM.) What say you? Why have you dared to say that you love another man?

PHRONESIUM I chose to.
Say you so, indeed? I'll first make trial of that. Do you, for the sake of such a shabby present, vegetables, and comestibles, and vinegar-water, bestow your love upon an effeminate, frizzle-pated, dark-haunt frequenting, drum-drubbing debauche , a fellow not worth a nutshell?
GETA What new thing's this? Do you dare, you rogue, to speak ill of my master, you spring-head of vice and perjury?  

Note: 6 Is he deranged: "Hariolus." Literally, "a soothsayer," or "diviner." In their prophetic frenzy, these persons often had the appearance of being mad, and were so considered.
    7 Drum-drubbing debauchee: "Typanotriba." Literally, "drum," or "tambourine beater." He alludes to the eunuch-priests of Cybele, who used to beat tambourines in her procession-probably in allusion to debauchees, emasculated by riot and dissipation 

"Hebrew music... was used in the luxurious times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and stretched upon their couches of ivory, were wont at their banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and amused themselves with devising musical instruments while their nation was perishing. (Smith's Bible Dictionary, Music, p. 590).

Psalms Delitzsch

Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing
Clement of Alexandria on Exhortation to the Heathen whom they twist to authorize instrumental music in worship says:

All honour to that king of the Scythians, whoever Anacharsis was, who shot with an arrow one of his subjects who imitated among the Scythians the mystery of the Mother of the gods, as practised by the inhabitants of Cyzicus,

beating a drum and sounding a cymbal
strung from his neck like a priest of Cybele,
condemning him as having become effeminate among the Greeks,
and a teacher of the disease of effeminacy to the rest of the Cythians.
And do you not see Moses, the hierophant of the truth, enjoining that no eunuch, or emasculated man, or son of a harlot, should enter the congregation? By the two first he alludes to the impious custom by which men were deprived both of divine energy and of their virility; and by the third, to him who, in place of the only real God, assumes many gods falsely so called,-as the son of a harlot, in ignorance of his true father, may claim many putative fathers.

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 Cor 13:1

See the TWANGING ARROW as the background to external melody which Paul prohibited.
Paul repeated this warning which also appears in Isaiah 29 and Isaiah 48 shows why the mercinaries or corrupters of the word meaning "selling learing at retail" meaning spiritual adultery will not have a clue. A blind flock deserves a blind shepherd to "craunch your bones."
And some believed the things which were spoken, and some believed not. Acts 28:24

And when they agreed not among themselves, they departed, after that Paul had spoken one word, Well spake the Holy Ghost by Esaias the prophet unto our fathers, Acts 28:25

Saying, Go unto this people, and say, Hearing ye shall hear, and shall not understand; and seeing ye shall see, and not perceive: Acts 28:26

For the heart of this people is waxed gross, and their ears are dull of hearing, and their eyes have they closed; lest they should see with their eyes, and hear with their ears, and understand with their heart, and should be converted, and I should heal them. Acts 28:27

Be it known therefore unto you, that the salvation of God is sent unto the Gentiles, and that they will hear it. Acts 28:28
Isaiah 30 notes that when you hear the wind, string and percussion instruments it is the SIGN or MARK that God is driving His enemies into hell.  That is the last MARK that Jesus the Spirit has visited your church and REMOVED the candlesticks meaning the seven Spirits OF Divine knowledge. (Isa 11:1)

As in the days of Noah, god will send a SPIRIT of FIRE and a SPIRIT of judment to burn up the blind chaff.


When we are told that there is little symphathy for the BLIND who are led by the BLIND and both fall into a ditch.  Who are the BLIND men playing their bluff.  In Matthew 15 Jesus spoke of the false teachers afflicting people a Scribes and Pharisees whom He called hypocrites. What is a hypocrite so that we can know whether Patrick Mead is speak for a God who LOVES LOUD or whether he is a hypocrite?

Matt 15:6 And honour not his father or his mother, he shall be free.
        Thus have ye made the commandment of God of none effect
        by your tradition.

The MEANING of the Scribes, Pharisees and Hypocrites was that they IMPOSED their own TRADITIONS in order to TRUMP the COMMANDMENTS of God.


It is easier to mumble personal opinion than to LOOK at the proof that Jesus was OUTLAWING musical performers. Why can't you FACE Scripture fair and squar?

Matt 15:7 Ye hypocrites, well did Esaias prophesy of you, saying,

Matt 15:8 This people  
.......... draweth nigh unto me with their mouth, and
.......... honoreth me with their lips;
.......... but their heart is far from me.

Matt 15:9 But in vain they do worship me,
.......... teaching for doctrines the commandments of men

Hypokrites (g5273) hoop-ok-ree-tace'; from 5271; an actor under an assumed character (stage-player), i.e. (fig.) a dissembler ("hypocrite"): - hypocrite.

-Hupo-kritēs , ou, o(,
A. one who answers:
I. interpreter or expounder,tēs di' ainigmōn phēmēsPl.Ti. 72b; “oneirōnLuc.Somn.17, etc.
II. in Att., one who plays a part on the stage, actor, Ar.V.1279, Pl.R.373b, Chrm. 162d, Smp.194b, X. Mem.2.2.9, etc.
2. of an orator, poikilos hu. kai perittos (of Dem.) Phld.Rh.1.197 S.; one who delivers, recites, declaimer,epōnTim.Lex. s.v. rhapsōdoi; rhapsodist, D.S.14.109, 15.7; this sense or sense 11.1 is possible in PCair.Zen.4.44 (iii B. C.).
3. metaph., pretender, dissembler, hypocrite, LXX Jb.34.30, 36.13, Ev.Matt.23.13, al.
-Poikilos i^, ē, on,
2. of Art, p. humnos a song of changeful strain or full of diverse art, Pi.O.6.87; “poikilon kitharizōnId.N.4.14; “dedaidalmenoi pseudesi poikilois muthoiId.O.1.29; of style, “lexis poiētikōtera kai p.Isoc.15.47 (Comp.); “skhēmatismoiD.H.Is.3.

-Hupokrinô reply, make answer, of an oracle, 2. expound, interpret, explain [Peter outlawed this as private interpretation.] 2. deliver a speech, declaim, of orators and rhetoricians, represent dramatically,

LATIN: -canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 2. Of the singing pronunciation of an orator, to declaim in a singing tone, to sing, preach to deaf ears. occasion for singing, i. e. for imagination, fiction, Of an actor:

Similar Words:
dramatôn 3. of an orator, use histrionic arts, exaggerate, ape, of or caused by love, xuntukhia a love-affair, mimic, Mania or religious frenzy.

Melos a love song: includes melody of an instrument.  External melody is rhythmic and induces what Carol Wimber and the pagans called a "sexual-like climax." Sure, that is why modern music attracts and why musicologists know that "churchy" music is derived from Voodoo which again needs femal operatives.

Paul utterly outlawed stand over female because they automatically produce the AUTHENTIA authority which is both erotic and murderous. Paul would exclude women clapping or waving unholy ARMS when he restricted prayer to mature males lifting holy PALMS without wrath or orge meaning and EROTIC outbreak of sight, sound and motion: a 100% virtual or real sexaul climax according to the Vineyard lady, Carol Wimber and Greek and Egyptian resources.

-Demosthenes, Speeches [15] but in fact he has deserted the path of right and justice, he has flinched from the proof of recent guilt, and then, after a long interval, he makes a hotchpotch of imputation and banter and scurrility, and stands on a false pretence, denouncing me, but indicting Ctesiphon. He sets in the forefront of the controversy his private quarrel with me, in which he has never confronted me fairly; yet he is avowedly seeking to disfranchise somebody else.

-5. hupokrinetai, he plays his part: cf. -etragôidei in § 13.6. The word implies not only pomposity but dissimulation.--katêgorei...krinei: see note on § 14.8. [sing or speak a sad song]

Ezekiel also defines the HYPOCRITES Jesus condemned as slick speakers, singers and instrument players.

Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and speak one to another, every one to his brother, saying, Come, I pray you,
and hear what is the word that cometh forth from the Lord. Ezek 33:30
And they come unto thee as the people cometh,
and they sit before thee as my people,
and they hear thy words,
but they will not do them:
for with their mouth they shew much love, (erotic praise songs from Jubal's organ.)
but their heart goeth after their covetousness. Ezek 33:31
Ye hypocrites (actors), well did Esaias prophesy of you, saying, Matt 15:7
This people draweth nigh unto me
with their mouth,
and honoreth me with their lips;
but their heart is far from me. Matt 15:8
But in vain they do worship me,
teaching for doctrines the commandments of men. Matt 15:9
And he called the multitude, and said unto them, Hear, and understand: Matt 15:10
But He spoke to them in parables and they couldn't understand because they had the wrong "seeker" motive.
And, lo, thou art unto them [nothing more than]
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
Not that which goeth into the mouth defileth a man;
but that which cometh out of the mouth, this defileth a man. Matt 15:11
Then came his disciples, and said unto him, Knowest thou that the Pharisees were offended, after they heard this saying? Matt 15:12
But he answered and said, Every plant [doctrine], which my heavenly Father hath not planted, shall be rooted up. Matt 15:13
Let them alone: they be blind leaders of the blind.
And if the blind lead the blind, both shall fall into the ditch. [pit] Matt 15:14

Thy pomp is brought down to the grave, and the noise of thy viols:the worm is spread under thee, and the maggots cover thee. Isaiah 14:11

Isaiah 14:15 Yet thou shalt be brought down to hell, to the sides of the pit.

Ezekiel 33 identifies the same HYPOCRITES which Jesus also associated with the perverters who PLAYED in the marketplace trying to force others to sing or lament and dance. This would be the mark that Jesus was their hoped for Dionysus who gave them authority for the  sexuality, homosexuality and music in the Holy Places as the Abomination of Desolation:
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. Eze 33:30 
He that hath ears to hear, let him hear. Mt 11:15 
But whereunto shall I liken this generation? It is like unto children 
My people come to you, as they usually do, and sit before you to listen to your words
but they do not put them into practice. 
With their mouths they express devotion 
(Lord, Lord as amorousness - inordinate love), 
        but their hearts are greedy for unjust gain                (commerce or trade or attendance). Eze 33:31 
sitting in the markets,

and calling unto their fellows, Mt 11:16 

This "love" word has the same meaning as the organ Patrick Mead is defending of Jubal. 

Indeed, to them you are nothing more than one  who sings love song
with a beautiful voice and plays
        (make melody on) an instrument well
That means you are NOTHING just NOTHING at all.
And saying, We have piped unto you, and ye have not danced; we have mourned unto you, (This would be to pollute or triumph over Jesus by forcing Him to perform the effeminate dance of the Dionysus chorus. It would not happen Psa 41.
for they hear your words 
        but do not put them into practice. 
        Eze 33:32 
and ye have not lamented. Mt 11:17 
When all this comes true--and it surely will--then they will know that a prophet has been among them." Eze 33:33 
Then began he to upbraid the cities wherein most of his mighty works were done, because they repented not: Mt 11:20   
Patrick Mead insists that God loves and wants and commands LOUD INSTRUMENTAL NOISES even if they are not "musical." No, the NOISE around the curse of the Sacrificial system is never called worship: it was EXORCISM out of mortal fear that they would do something wrong. On the contrary: 

Hab 2: 19 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.

Hab 2:20 But the LORD is in his holy temple: let all the earth keep silence before him.

This was an almost universal connection between instruments and demons which they believed lived in and spoke from lifeless instruments.

Worshippers, such as known from statues as previously mentioned, may have been in attendance, and the ceremony could have included singing or accompaniment by music.

Statues of the gods, or of new gods being inaugurated into the city, were made and installed, as text 6:2 tells us, noting a "year in which Isme-Dagan installed the copper statue of Ninurta for the Esumesa in its high dais" (Postgate:118). Here we see a possible use of the stone block, already noted in the figure worship of the Assyrian Tukulti Ninurta. Again, such dedications would have been accompanied by sacrifices, ritual and possibly prayer.

The statue "underwent mouth and eye-opening rituals in order to make it animate" (Pollock:187). It is known that the statues were made of wood, covered in precious metals, and inlaid with precious stones and lapiz-lazuli.

Awake up, my glory; awake, psaltery and harp: I myself will awake early. Ps.57:8

John Hyrcannus SILENCED all of thes awakening Psalms as pagan.

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).

-Nemean 9 For Chromius of Aetna Chariot Race ?474 B. C.

Pi.N.9.50 9.[1 Pindar 9:[1] Muses, we will go in victory procession from Apollo's shrine in Sicyon to newly-founded Aetna, where the doors flung open wide are overwhelmed by guests, at the prosperous home of Chromius. Make a sweet song of verses! For, mounting his chariot of victorious horses, he gives the word to sing for the mother and her twin children [5] who jointly watch over steep Pytho. [6] There is a saying among men: a noble deed when it is accomplished should not be buried silently in the ground; and divine song is suited to boasting. But we will wake the shouting lyre and the flute in honor of the very pinnacle of horse-contests, which Adrastus established for Phoebus [Apollo, Apollyon] by the streams of the Asopus.

Next, I will look at Jubal whom Patrick Mead uses as part of a flood of assertions to support the teaching that God loves loud music: especially when Jesus Christ meets with us in synagogue to accept the gospel promise "come, REST and learn of ME." I will prove that REST specificially identifies STOP the rhetoric, STOP the singing, STOP the instruments which drive PANIC they traffic as the holy spirit inside.

If you LISTEN to the music as COMMANDED by God for WORSHIP you cannot hear the Word of God: that was the MARK imposed by musical idolatry at Mount Sinai.


Patrick's sermon # 2 has been reviewed in part by clicking here.
            12.28.07 Rev 12.30.07  10.14.09 1500
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