1.17.14  Here is some of the definition of Lying Wonders and Blaspheming the Word of God from Genesis to Revelation.  It is not possible to read Acts 7 and follow the thread and not know that the sounds of wind, string or percussion devices are the weapons of soothsayers (Miriam, Levites) or sorcerers (Revelation 18) and sounds of God driving His enemies into hell (Isa 30)or the lake of fire.

Just your  HUMAN Tradition or Traditional 20 Times
Not submitting to Musical Discorders Imposing instruments caused CONTROVERSY 3  Times
Church suffers under ARCHAIC, OBSCURE, OR IRRELEVANT styles, methods or traditions
We need to use music to achieve UNITY 14 times according to John 17
If you REJECT using "machines for making wary" you are JUDGING those who IMPOSE. 20 TIMES
If WE IMPOSE instruments it will be in the name of PEACE 2 times
People who reject instruments is just based Style or Styles 13 Times
This is just their Method or Methods 10 Times
Need to change to speaking INTELLIGIBLY in the changing world 2 Times
They are Legalistic and and Judgmental 1 Time
Culture changes WE need to CHANGE 6 TIMES
Not using Instrumennts is just their Customs 2
WE need A NEW Language to explain the Spirit OF Christ 9 Times
People who reject instruments are Just defending THEIR Heritage 2
Freedom 22 Times--is something WE give YOU.
Not using instrumental noise is Just your Opinions 12 Times
People who reject instruments are Pharisee 2 times
WE offer Continuity with the Past 2 but IN ADDITION will offer instruments (based on this common White Paper from the NACC] 8 Times This is the Rick Atchley Both-And outrage
People who reject instruments are JUDGING others 12 Times
Not adding instruments may Eclipse the WORD Hinder the gospel
This will be CHALENGING [Discording)  4 Timess but WE will use GRADUALISM (The Serpent in Genesis uses twisting songs to gradually creep). It will be PAINFUL

  1. If you say that Churches of Christ which did not use INSTRUMENTS during the School of the Word from the Wilderness onwwars was just and evil tradition.
  2. And from Genesis to Revelation musical machines are said to have been brought by Lucifer (ZOE) into the garden of Eden and resulted in some sexual hanky panky to REVELATION when the Babylon mother of harlot rises again and ALL of her religious STAFF are called sorcerers and will be cast alive into the Lake of Fire.
  3. Then Christ in Jeremiah 23 says that you despise the Word and the Latin word is BLASPHEME

THIS PAPER WILL HELP YOU FLEE BABYLON whose Mother of Harlots (Revelation 17) uses "lusted after fruits" (Same as in Isaiah 8) as self-speakers, singers, instrument players and ALL religious craftsmen who were called PARASITES.







Check.gifANATHEMA is to be ACCURSED for preaching a GOSPEL of Rhetoric, Singing, Playing Instruments, Acting or DECORATING a place as a WORSHIP CENTER








NUMBERS 11 THE REST OF THE STORY ABOUT MUTTERING AND MURMURING:  Violates Christ's outlawing vocal or instrument rejoicing or speaing your own words in Numbers 10




The role of PREACHER as SENT Evangelist



The MARKS of the BEASTS (Zoe) and the INSECTS-PARASITES (LOCUSTS or musical worship teams)


9.25. 13

Mousagetēs 1 doric for Mousēgetēs leader of the Muses, Lat. Musagetes, of Apollo, Plat.

Strabo Geography [-10.3.10] And on this account Plato, and even before his time
Pythagoreians, called philosophy music 

andthey say that the universe is constituted in accordance with harmony,
assuming that every form of music is the work of the gods.
And in this sense, also, the
Muses are goddesses,
Apollo is leader of the Muses,
poetry as a whole is laudatory of the gods.

And by the same course of reasoning they also attribute to music the upbuilding of morals, believing that everything which tends to correct the mind is close to the gods.

Now most of the Greeks assigned to Dionysus, Apollo, Hecate, the Muses (9 women team), and above all to Demeter, everything of an orgiastic or Bacchic or choral nature, as well as the mystic element in initiations; and they give the name "Iacchus" not only to Dionysus but also to the leader-in-chief of the mysteries, who is the genius of Demeter.

Not surprisingly, the theory is a radical-some might say crazy-departure from the past, being based on tiny strings vibrating in 10-dimensional space-time… In superstring theory, the subatomic particles we see in nature are nothing more than different resonances of the vibrating superstrings, in the same way that different musical notes emanate from the different modes of vibration of a violin string.”
Rev. 9:11 And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon.

Apollo is considered to have dominion over plague, light, healing, colonists, medicine, archery, poetry, prophecy, dance, reason, intellectualism, Shamans, and as the patron defender of herds and flocks. Apollo had a famous oracle in Crete and other notable ones in Clarus and Branchidae.

Apollo is known as the leader of the Muses ("musagetes") and director of their choir. His attributes include: swans, wolves, dolphins, bows and arrows, a laurel crown, the cithara (or lyre) and plectrum. The sacrificial tripod is another attribute, representative of his prophetic powers.

The swan and grasshopper symbolize music and song; the hawk, raven, crow and snake have reference to his functions as the god of prophecy.The chief festivals held in honour of Apollo were the Carneia, Daphnephoria, Delia, Hyacinthia, Pyanepsia, Pythia and Thargelia.

Thalrgelia in Greek religion, one of the chief festivals of Apollo at Athens, celebrated on the sixth and seventh days of Thargelion (May-June). Basically a vegetation ritual upon which an expiatory rite was grafted, the festival was named after the first fruits, or the first bread from the new wheat.

On the first day of the festival, one or two men (or a man and a woman), representing the deity but also acting as scapegoats for community guilt, were first led through the city and then driven out. Occasionally, as in times of heavy calamity, they were sacrificed, being either thrown into the sea or burned on a funeral pyre. On the second day of the festival, there were a thanks offering, a procession, and the official registration of adopted persons.

-Apollo  Apollo exercises an elevating and inspiring influence on the mind as god of music, which, though not belonging to him alone any more than atonement and prophecy, was yet pre-eminently his province.

In Homer he is represented only as a player on the lyre,
song is the province of the Muses;
but in course of time he grows to be the
god, as they are the goddesses, of song and poetry,
        and is therefore
Mousagetês (leader of the Muses) as well as master of the choral dance,
which goes with music and song. And as the friend of all that beautifies life he is intimately
    associated with the Graces
[Graces meaning CHARIS meaning Charismatic
        meaning the MARK of homosexual "worship"]

A. Ralph Johnson in Instrumental Music, Sacred or Sinful illustrates the natural patronizing of those who will not "sing and dance" the Dionysus "bowing to Baal" while the clergy "pipes." The word PSALLO is a warfare word: it has a "musical" meaning in that a harp string can be twanged but ONLY WITH THE FINGER and never with a plectrum. As Paul defines melody in the heart which is the same as with GRACE in the heart he speaks of INTERNAL qualities and excludes EXTERNAL melody or playing with a PICK. If one PLUCKS the bow string it is the LITERAL arrow "singing" toward your heart. If Apollo shoots "harmony" he means "moving together" as in delivering a homosexual love arrow. If one PLUCKS the chalk line we know a carpenter is involved. If a male prostitute is told to PLUCK he goes to the specialist with tweezers or hot tar. If a singer is told to twang he SHOOTS out a hymn.

A Ralph John Psallo and Psalmos

See the two major PSALLO words which are never DEFINED. Instead, I will show how the words are used having several meanings.  If we twang a bowstring to send forth a singing arrow into a literal heart then PSALLO would obligate the instrumentalists because there is very little about twanging a HARP string and then the examples are ugly or even forbidden.

Lynn Anderson The Beginning of Musical Idolatry

Danny Corbitt and Matt Dabbs Psallo

John T. Willis 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.  People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.

Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma
All of the NACC sowing of discord is based on the word PSALLO claiming that it commands "making melody upon a harp" instead of Making melody (grace, meditate) IN the heart. They have "cut out" a few of the theatrical style preachers getting fed by churches of Christ.

If Christ or Paul wanted to hint at Making Music when Jesus comes to be out only Teacher both were not stupid: they could have used one of many compound words dedicated to a style and name of instrument.
Not included by Paul: PsalmOidia singing TO a harp.
Not included by Paul: PsaltOideo sing to the harp 2 Chron 5:[13]  it happened, when the trumpeters and singers were as one, to make one sound to be heard [one tuned note all in unison]
Not included by Paul:  Psaltos sung to the harp, sung OF Translated sing in Psalm 119:54
Psalm 119WEB.[52]  I remember your ordinances of old, Yahweh, And have comforted myself. [53]  Indignation has taken hold
Not included by Paul:  BarbitOidos singing to the barbiton Barbitos , v. H. 15, 8;  barbiton -os), a lyre, a lute  Latinum, Barbite, carmen

OFTEN included by Paul: Phallikos,, of or for the phallos: to ph. (sc. MELOS) the phallic song, Ar.Ach.261, Arist.Po.1449a11; restd. in IG12.187.33; also a dance, Poll.4.100.
, i, m. [3. Gallus, II. A.] , a song of the priests [a castratos] of Cybele

Rhea is EVE and Paul outlaws women PERFORMERS based on the widespread use of EVE (Zoe) as the only mediatrixEvah is defined as the abomination when women perform in the holy places which Christ restricted to being A School of the Word to be PREACHED by being READ.  Any kind of exciting presentation is in history the MARK of the Sophia-Zoe (Eve) effeminate breakout which Paul called WRATH or ORGY.

Commentary on Catullius, Poem 63   The self-mutilation and subsequent lament of Attis, a priest of Cybele. The centre of the worship of the Phrygian Kubelē or Kubēbē, was in very ancient times the town of Pessinus in Galatian Phrygia, at the foot of Mt. Dindymus, from which the goddess received the name Dindymene. Cybele had early become identified with the Cretan divinity Rhea, the Mother of the Gods, and to some extent with Demeter, the search of Cyhele for Attis being compared with that of Demeter for Persephone. The especial worship of Cybele was conducted by emasculated priests called Galli (or, as in vv. 12 and 34, with reference to their physical condition, Gallae). Their name was derived by the ancients from that of the river Gallus, a tributary of the Sangarius, by drinking from which men became inspired with frenzy (cf. Ov. Fast. 4.361ff.

The worship was orgiastic in the extreme, and was accompanied by the sound of such frenzy-producing instruments as the tympana, cymbala, tibiae, and cornu, and culminated in scourging, self-mutilation, syncope from excitement (fainting from losss of blood to the head). and even death from hemorrhage or heart-failure. The worship of the Magna Mater, or Mater Idaea, as she was often called (perhaps from identification with Rhea of the Cretan Mt. Ida rather than from the Trojan Mt. Ida), was introduced into Rome in 205 B.C. in accordance with a Sibylline oracle which foretold that only so could foreign enemy (i.e. Hannibal) be driven from Italy. Livy 29.10, Livy 29.14)

Not included by Paul: HupAuleo to play on the flute in accompaniment, melody (melos never psallo). Lu_si^ōdos , ho  one who played women's characters in male attire, II. as Adj., l. auloi flutes that accompanied such songs, from magōdos, so called from Lusis, who wrote songs for such actors, Str.14.1.41kinaid-os [i^, ho, A.catamite, Pl.Grg.494e, etc.: generally, lewd fellow,

Strab. 14.1.41 Well-known natives of Magnesia are: Hegesias the orator, who, more than any other, initiated the Asiatic style, as it is called, whereby he corrupted the established Attic custom; and Simus the melic poet, he too a man who corrupted the style handed down by the earlier melic poets and introduced the Simoedia,1 just as that style was corrupted still more by the Lysioedi and the Magoedi, and by Cleomachus the pugilist, who, having fallen in love with a certain cinaedus2 and with a young female slave who was kept as a prostitute by the cinaedus, imitated the style of dialects and mannerisms that was in vogue among the cinaedi.

Not included by Paul: HupoKitharizo play an accompaniment on the harp
Not commanded by Paul:  KitharOidesis singing to the cithra

Often INCLUDED including David: Lusioidos one who played women's characters in male attire, Auloi flutes that accompany such songs.
Not included by Paul: Kat-auleō , A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tinaAlciphr.2.1: metaph., se . . -ēsō phobō I will flute to you on a ghastly flute,E.HF871 (troch.):—Pass., of persons, methuōn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros khelōnidos psophon to be played to on the flute with lyre accompaniment,   ta mētrōa  , to have played to one as an accompaniment on the flute, -“oumenoi pros tōn hepomenōn ta mētrōa melē
Eph. 5:18 And be not drunk  [methuōn] with wine, wherein is excess;
        but be filled with the Spirit; (The Word of Christ Col 3:16; John 6:63)
Eph. 5:19 Speaking to yourselves
                    \ in psalms and hymns and spiritual songs,
                             \ singing and making melody [Grace and its effects Col 3:16] IN your heart
                                to the Lord; (Excludes performance FOR the audience]
2. make a place sound with flute-playing, Thphr.Fr.87:— Pass., resound with flute-playing, “nēsos katēuleitoPlu.Ant.56.
II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute accompaniment,  to be piped down, ridiculed,gelōmenoi kai -oumenoi”  
III. c. acc. rei, play on the flute

Biblical Hymns are prayers: you cannot be worshiping God if you are getting eraptured over the boy and girl singers always a mark of gender confusion by the leaders
Not included by Paul: Epi-psallō , A. play the lyre, S.Fr.60, Poll.4.58(Pass.); “melesi kai rhuthmoisPlu.2.713b ; sing,tous humnousLXX 2 Ma.1.30:—Pass., Ph.1.626.
Not included by Paul: Anti-psallô , a stringed instrument in accompaniment of song, a. elegois phorminga Ar.Av.218 .
Not included by Paul:
, atos, to, A. tune played on a stringed instrument

Psalmus  i, m., = psalmos, i. q. psalma, I. a psalm (eccl. Lat.; cf.: “carmen, hymnus),Tert. adv. Prax. 11; Lact. 4, 8, 14; 4, 12, 7; Vulg. Isa. 38, 20.—Esp., the Psalms of David, Vulg. Luc. 20, 42; id. Act. 13, 33 et saep.

I. a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation
Carmen ALWAYS INCLUDES an instrument when one INTENDS to list one.
A Tuba:  carmen tuba ista peregit ( = sonus),
A Guitar: carmine vocali clarus citharāque USED OF APOLLO, ABADDON, APOLLYON  per me (sc. Apollinem) concordant carmina nervis,
A Lyre : lyrae carmen,
A Flute:harundineum

The Levites prophesied or were SOOTHSAYERS with musical instruments:

Not included by Paul:  Psal-tikos A. of or for harp playing, ps. organon a stringed instrument, (of the magadis); andra psaltikên agathon a good harpist, Ael. ap. Ar.Byz.Epit.84.8.

Was the Spirit OF Christ guiding Paul really so stupid that He let slip a word which no one would have used if they intended that the School OF Christ be discorded by Instrumental noise.
It matters not what reasons "they" give for not using instruments, Bible 101a proves that They are SOURCED by Satan to silence the Word of God and the synagogue or church in the wilderness OUTLAWED them. To that one might ask what nonsense would impose MACHINE "for doing hard work or producing shock and awe" when Jesus invites us to the ekklesia or synagogue to "come learn of  me.?

Rick Atchley has worked a long time with a church of Christ and for the last decade confessed that someday he had to PREACH a sermon. All of that time he was recruited by the Stoneites to suggest that churches of Christ agreed with their pagan system. Of course, at the Christian Church meetings and at the Tulsa Workshop the featured main event was a PRO instrumental person who masked as a member of the church of Christ battling a PRO instrumental person from the PRO instrumental group.

His first sermon was to lay a psychological booby trap to keep any objecters off holy grounds and "questioning God's annointeds." I have reviewed this in part. Click Here.

However, we reviews his views long ago and specificially in 2004 where he announced his agenda of UNITING the discorded Restoration Movement which he blames on those who had never used instruments and refused to be forced. Click Here.

Rick exhibits the same ignorance of the Bible, Old and New, as well as church and Restoration history.  The secret is that all of the PLUCKING proof texts point to older males plucking harp strings to seduce a 'youth minister' whose hair had been plucked.  It may take ten years before they tell you what the real agenda is.

We have added Part Two: This claims that the ANTI-instrument people followed John Calvin. By maligning John Calvin you are supposed to believe that the ANTI-instrumentalists are also evil. Johnson speaks with some autority about Calvin and others but I am quite sure that none of the original resources have been seen much less read. Johnson also claims that only those offspring of Calvin rejected instruments. That is apparently why the Stoneites as offsprings of Cane Ridge were enlightened enough to deliberately sow discord and "steal the church houses of widows" and the churches of Christ have never been accused of it.

We will look at some other ancient writers both Tom Burgess and Ralph Johnson use to PROVE that psallo can still be such powerful proof of instrumental music AS worship that they can repudiate ALL non-restorationists that they can deliberately SOW DISCORD and blame the discorded for NOT affirming their treachery. ALL of the proof texts which are used point directly and explicitly to homosexual singer-musicians as "ministers" of the homosexual gods and goddesses. In another review we will look at this lady who is largely responsible for STOPPING the speaking or reciting of songs or poems and ADDING both tunes and instruments. Here she is: Miss Lesbos. We will post the Sappho connection soon because the writers Tom Burgess and A. Ralph Johnson appeal to for AUTHORITY to add instrumental music and promote sectarianism is about 1005% bound up in the feminine and effeminate origin of "threskia" worship or of "that Thracian" who was Orpheus. That is why James wrote:

Pure [CLEAN] religion and undefiled before God and the Father is this, To visit the fatherless and widows in their affliction, and to keep himself unspotted from the world. James 1:27

Thresko (g2357) thrace'-kos; prob. from the base of 2360; ceremonious in worship (as demonstrative), i.e. pious: - religious.

Throeo (g2360) thro-eh'-o; from threomai , (to wail); to clamor, i.e. (by impl.) to frighten: - trouble

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

And he cometh to the house of the ruler of the synagogue, and seeth the tumult, and them that wept and wailed greatly. Mk.5:38

And when Jesus came into the rulers house, and saw the minstrels and the people making a noise, Mt.9:23

Minstrels: Auletes (g834) ow-lay-tace'; from 832; a flute- player: - minstrel, piper

They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept. Lu.7:32

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; Re.18:22

Sappho of Lesbos and Erinna at Mytelene

We have posted another review of Ralph Johnson and will add additional data in time. The first thing you should note--either as a serious Bible student or a student of history--is that it is a serious deviation from truth to blame the ANTI-instrumental churches of Christ for seemingly inventing the idea that it is sin to worship a Spirit God Who can only be worshipped in the new PLACE of our spirit with machines

Dwaine E. Dunning: 11/21/04The non-instrumental branch must be cut OFF. God always hides a MARK.

Isaiah 25, Isa 25: Isaiah Chapter 25: The branch of the terrible one is a song to be accompanied with instrumental music. Important changes made 11/30/04

1. Tom Burgess in Documents on Instrumental Music reviewed. .... Psallo and Instrumental Music: Proofs do not prove anything but the "music-homosexuality" connection. See more on Strabo's definition of the worship of Apollo or Abaddon or Apollyon: his MUSES are the locusts or musical performers in the book of revelation.

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

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

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

5. M. C. Kurfees and G. C. Brewer on Psallo and Instrumental Music in worship. Thayer and Grimm reviewed by Tom Burgess.

9/25/04 Charles Daily Northwest College of the Bible Part One 11/30/04 ..... Part One A .....Part Two ..... THRESKIA or CHARISMATIC

There is NO concept of "music" in the ekklesia or assembly or 'synagogue of Christ' where we are invited to REST from the performing religionists and, in twos and threes, come learn of ME. Alert people do not need a LAW which says "thou shalt not do complex harmony" when the assemble and Timothy obeys Paul who said: "Give attendance to the public reading of the Word" to exhortation of that read portion and to the doctrine in that portion. Give attendance or give heed to the WORDS OF CHRIST is Paul's unique "worship" word. He grasped Jesus Who insisted that the worship in the NEW PLACE of His school of the Bible is in the HUMAN SPIRIT and not in the cheap seats being entertained by "worship ministers." That is why he said that the converted Jews now worship IN THE SPIRIT. Why was that? Because external worship opens the doors to the Judaizers and DOGS or performing, musical prostitutes.

Since JESUS PAID IT ALL we can grasp the common Greek message and CAST OUT THE PARASITES.

Parasitos, ho, one who eats at the table of another, and repays him with flattery and buffoonery, parasite
........II. of priests who had their meals at the public expense

The other "musical" connection is that one SHOOTS OUT hymns often in an insulting way.

Reviewed by Kenneth Sublett--No organization! E-mail

The anti-anti-instrumentalists are surely welcome to prove their superiority by finding an example where PSALLO is used in anything but pagan worship which is almost universally a homosexual priesthood leading people into the consious worship of the Mother of the Gods who were sexually impure. Click to see a collection of booming and clanging with NOT spiritual or educational or edifying component.

See James Frazer comments about noise producers used to summon or control the "gods." More of the CLANGING as sorcery.

Click for Psallo and Harp Twanging (fingers only: no plectrum) Note the "love arrows."

Take a look at just a sample of Tom Burgess who uses the ancient writers as AUTHORITY. By looking at the REST OF THE STORY we can confirm that music as a "worship" device was universally connected with the worship of homosexual gods and goddesses by homosexual priests or adherants. They piped hoping to get Jesus into this perverted singing and dancing.

Even words like GRACE are pointers: Grace was Chara and is the mother of CHARISMATIC worship which was musical and homosexual in the preferred form of pederasty USING young boys as "associate ministers" or priests.

See Charles Daily. We have come a complete review of his "scripture" for the musical sectarians. There are several parts.

See Review Number One
Number Two

See more about the charismatic, bowing to Baal, prophesiers Charles Dailey sees as authority

See a review of Victor Knowles who appears to be the leader using "a cappells" people who will run with anyone to sell books. These people have already taken over their churches.

A. Ralph Johnson: partial review of adduced scholars. When you try to prove the unprovable you implicate you into music as external "worship." Too bad that there is no exception that it is ascribed to Satan and is the "carnal weapons" used in perverted forms of 'worship.' That is why Jesus DID NOT found a "worshiping commune" but an ekklesia or synagogue or school of the Bible. The early Restoration Movement leaders following the Campbells called it A School of Christ: a seminary EVERYONE must attend to be a ChristIAN. The STONEITES on the other hand gave birth to the Christian churches and a charismatic form of worship including the SHOUTING METHODISTS scheme which was turned into AN ACT OF WORSHIP. Can you believe it: hire us a Shouting Minister.

Again: They are substituted for the Bible, and tend to prevent free discussion. They are good for nothing unless used--and if used, they must be used as laws, or rules, or standards of doctrine. And if used in any of these ways, they are substituted for the Book of Christ left for the same purpose. They are used as a synopsis of religious truth, and save the trouble of searching the whole Bible for it.

Every church should be a theological school, and all the members should be students. It does no good for the minister to preach unless the people think. The church should be all awake, and engaged in discussion, and then [140] they would be prepared to be benefitted by the public labors of the minister.

If we would engage to build up, and not content ourselves with tearing down, we should do more. It will do no good to cry out against sectarianism.

There are warm-hearted, conscientious Christians in the sects; and if we will go on and do the work they love to see done better than they can do it in their own way, they will fall in; and before we are aware, the great sects will be gone. The labor of the church is to persuade men to turn to Christ; and let us go out into the highways and hedges, and labor and build up; and sectarianism will dissolve away like the dew. MILLENNIAL HARBINGER, NEW SERIES. VOLUME III. NUMBER III.B E T H A N Y, VA. MARCH, 1839.

The Lunenberg Letters--often lied about--prove that Alexander Campbell did not fellowship sectarians of which the musical SECTARIANS are the most destructive.

In our review of the Stone Campbell Movement we make it clear that there is LITTLE or no connection between non-instrumental churches of Christ and the Christian churches. They have different ROOTS, different authority and different outcomes.

Ralph's choice of Anti-Instrument as a "raca word" is full of errors: no one hates instruments. In his first thrust of a dangerous weapon he notes and we quote.

Ralph's choice of Anti-Instrument as a "raca word" is full of errors: no one hates instruments. In his first thrust of a dangerous weapon he notes and we quote.

A. Ralph Johnson: It seems incredible, that in a world groaning in despair, careening toward eternity, two factions of the body of Christ should be locked in mortal combat over the MOMENTOUS issue

Careening means to list to one side: one might suspect that Johnson LEANS decidely to the LEFT.

of whether one can use an organ to help with the whole song, or may only use a tuning fork to get the first note!

If you speak with one MIND and one MOUTH "that which is written" or if you speak or teach and admonish with the poetic inspired "that which is written" bible they you won't need a musical initiator or sustainer!

MUSIC was used to initiate groaning in despair in the garden of Eden. The same "serpent" is ophis or the musical enchanter. Music is the MARK of the music-groaning connection in all homosexual religionism. Click to move ahead or watch for OPIS below. The STING is a code word for the same end-time attack upon those who always refused to BOW OR BURN.

Don't get bluffed into a LITURGY which demands teaching and singing and playing mediators. You can come boldly before the Throne of Grace. But, remember that was the symbolic presence of God, His Mercy and His Word. Jesus said of the twos and threes who are absolutely burdened and groaning with tears from the clergy riding on their backs can "come learn of me." Music had meaning only in connection with the slaughter of tens of thousands of innocent animals. God had turned them over to worship the starry hosts according to Stephen. ALL of the animals belong to God so Israel was cursed with a pagan "like the nation's" system which no singer, preacher, musician or dancer could relieve for very long. The very meaning of God in Christ is:

<>For both he that sanctifieth and they who are sanctified are all of one: for which cause he is not ashamed to call them brethren, Heb 2:11
Saying, I will
declare thy name unto my brethren, in the midst of the church will I sing praise unto thee Heb 2:12.

Declare is:

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

Aggelos (g32) ang'-el-os; from aggello, [prob. der. from 71; comp. 34] (to bring tidings); a messenger; esp. an "angel"; by impl. a pastor: - angel, messenger

Sing does not mean JUBILATE over killing animals to feed the gods but:

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

Praise is:

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

Christ the Holy Spirit invites us to "come learn of Me." When WE sing "that which is written" God in Christ Himself permits us to "watch with Him one hour." He proclaims His own death as He grieves out a hymn.

If you fall into a charismatic, musical, jubilating fit when God comes near to participate with us as brothers then you have CRUCIFIED Him all over again and again.

And again, I will put my trust in him. And again, Behold I and the children which God hath given me. Heb 2:13

Forasmuch then as the children are partakers of flesh and blood,
........... he also himself likewise took part of the same;
........... that through death he might destroy him that had the power of death,
........... that is, the devil; Heb 2:14

And deliver them, who through fear of death were all their lifetime subject to bondage. Heb 2:15

When you understand pagan religionism and their use of music it is, as John agrees in Revelation, Sorcery: that is, it induces some kind of "spiritual anxiety through religious rituals" as REMOVED by Jesus Christ as "the laded burden" or the SELF-pleasing Paul outlaws for the Christian synagogue or ekklesia in Romans 15 as "creating mental excitement." Any claim to bring you into the presence of the very Deity does and intends to induce FEAR.  That is a word defining Apollo or the Apollyon and the "muses" John defined as the LOCUSTS from common Legends (based on some facts) John warns about for the Mother of Harlots church in Revelation 17.

I would say that the NEW STYLE WORSHIP MUSIC has caused more moaning and groaning than about anything any sectarian could heap on Christ's Children than anything since the inquisitions.

The Jews killed tens of thousands of innocent animals and could never gain a secure spirit. Therefore, to attempt to get you to restore the Old Covenant Sacrificial System Hicks is trying to bring you back under bondage. Only when God took on the nature of a human which contained full Deity, and then died on the cross, could anyone get the true futility of trying to DO animal sacrifices to feed the gods always using music to appeas the gods or even to intimidate them.

For verily he took not on him the nature of angels; but he took on him the seed of Abraham. Heb 2:16

Wherefore in all things it behoved him to be made like unto his brethren, that he might be a merciful and faithful high priest in things pertaining to God, to make reconciliation for the sins of the people. Heb 2:17

Hilaskomai (g2433) hil-as'-kom-ahee; mid. from the same as 2436; to conciliate, i.e. (trans.) to atone for (sin), or (intrans.) be propitious: - be merciful, make reconciliation for.

The old debating ploy: associate the lack of evangelism with NOT using first a little lyre, then a "chist of whistles," then a pipe organ and a professional organists at a cost to feed all of the poor of these struggling NORTHERN towns. Now, a Rock and Roll (that "F" word) derived from Voodoo to make the "spirit" come just as Inanna did in her temples she built in Babylon. As the Vineyard lady promotes and the early introducers of instruments confessed, just before the LAST act of worship called giving of means.

The issue is Bible 101aaa. Paul said nothing about MUSIC in any form. The Restoration Movement tried to restore the church as A SCHOOL OF CHRIST where worship was defined as READING and DISCUSSING the Bible.

Common sense 101bbb proves that you CANNOT even think about doing a pagan MUSICAL RITUAL which cannot teach and which PREVENTS teaching the Word of Christ, the Spirit or "that which is written." It was Alexander Campbell who RESTORED the almost universal singing or reading or GIVING HEED to the Words of God in Christ with SINGING out of his newly published song book WITHOUT SHAPE NOTES. John Calvin was literate enough to read the Bible and grasp that there was NO CEREMONY called MUSIC in the Bible. This was not related to a knee-jerk reaction against the Catholics because the Catholics NEVER used the organs in the modern MUSICAL SENSE. Take a look at their fairly modern discussion of LITURGY and music.

The Catholic Encyclopedia also defines congregational singing;

McEvilly in his "Commentary" applies them to public and private meetings. St Augustine (Ep. cxix, ch. xviii) says:

"As to the singing of psalms and hymns, we have the proofs, the examples, and the instructions of the Lord Himself, and of the Apostles". (Cf. also Col., iii, 16; I Cor., xiv, 26.)

"In the ancient congregational singing both sexes took part; the words of St. Paul imposing silence on women in church being interpreted to refer only to exhorting or instructing.

"Duchesne describes how the earliest worship of the Christians was parallel to that, not of the Temple of the Jews at Jerusalem, but of the local synagogues, the Christians borrowing thence their four elements of Divine service-

the lections (reading parts of Scripture),
chants (of the Psalter),
the homilies
(explaining those passages of scriptures),
and the prayers.

That is EXACTLY what Paul commanded!

See, even Catholics don't see SPEAK and translate it SING. That is what Paul told Timothy as a DIRECT COMMAND where "singing" was not a local, pagan issue at the time: "Give attendance to the public READING of the word, to exhorting (those passages read) and to doctrine (from those passages read.)

Why is it that people who have honored that for 2,000 years are suddenly ignorant, southern, red-necked mental basket cases?

The PEA, dear listeners, is under NEITHER walnut shell: there is no command, example or remote inference that the church SANG in the sense of TUNEFULNESS in the whole Bible which is not--even in its primative form--directly connected to Satan, prostitutes or Sodomites--little female children being the exception. The temple did not use MUSIC: Christ the Spirit called it "noise." It was used to SERVE the priests where service is defined as HARD BONDAGE while they endured the screams of innocent animals, blood, dung and burning flesh in a futile attempt to find ASSURANCE by a people who had FIRED Christ the Spirit and demanded a KING like the nations. God knew that it was so that they could WORSHIP LIKE THE NATIONS.

How do I know that: because as musicologists inform us "Melody as TUNEFULNESS belongs to the 19th century." Harmony, on the other hand, was SYMPHONIA which meant "moving together" as in Apollo's 'music' at the homosexual symposia. There was no connection between modern HARMONY and ancient MELODY.

Even melody was a WARFARE word and never a musical word: one SHOT real arrows or "love arrows" or one SHOT out hymns. One "twanged" the bowstring or one "twanged" the vocal cords both related to the Greek words for "tendons."

The LEFT "flight feathers" and the RIGHT "flight feathers" belong to the SAME BIRD who, according to Heredotus and the advice given to Cyrus concerning men TAKEN CAPTIVE: "make them into singers and flute players and hucksters and you will see them turn into women and give you no more trouble."

A. Ralph Johnson: How can it be that the agonized prayer of Jesus for his disciples to be, "ONE, that the world might believe" (Jn. 17:21), should be disregarded in order to bind on brothers a venerated archaic tradition?

Jesus didn't pray for UNITY OF MUSICAL "WORSHIP" in a pagan sense: He prayed for unity based on His WORD which was the Word of God Incarnate. Peter used "that which was written" and vallidated by a FACE TO FACE revelation from Jesus The Christ of God as a MARK to identify false teachers: we have no other ABSOLUTE PROOF. Jesus said that the sons of the Devil "speak on their own" and John refused to baptize the "generation of Vipers" and Paul said that we could SAVE OURSELVES "from that crooked generation." Remembering that Jesus had cast out the musical minstrels using a word meaning "more or less violently" and often used of cast out like Dung.  That is because the prophecy of Psalm 41 was that Judas and others would try to TRIUMPH OVER Jesus which word means to "blow wind instruments and make a joyful noise before the Lord." This was not worship but praising one's "god" as a way to panic the enemy into cowardice. Lucifer as the "singing and harp playing prostitute"  in the garden of Eden used that to effect:

Acts 2:40 And with many other words did he testify and exhort, saying, Save yourselves from this untoward generation.

The untoward or perverted or crooked generation were MARKED when....

G4646 skolios skol-ee-os' From the base of G4628 ; warped, that is, winding; figuratively perverse: crooked, froward, untoward.

Skolios 1 curved, winding, twisted, tangled, Lat. obliquus, Hdt., Eur., etc.:-- bent sideways, douleiê kephalê skoliê (Hor. stat capite obstipo) Theogn.: metaph. crooked, i. e. unjust, unrighteous , Il., Hes., etc.; skolia prattein, eipein Plat.:--so adv. skoliôs, Hes.

Prassô II. experience certain for- tunes, achieved bondage, i.e. brought it on himself, grant power of song, get something, plot, 3. of sexual intercourse, b. esp. of secret practices and intrigues

Skoliotês 2. of men, crookedness, dishonesty, LXX Ez.16.5.

Skolion 1 [neut. of skolios] [sub. melos] a song which went round at banquets, sung to the lyre by the guests, Ar.; so called from its zigzag course-- each guest who sung holding a myrtle-branch murrinê, which he passed across the table to any one he chose.

Now, HERE is the audition for the Musical Worship Team.

(a) from skolios crooked, because of the crooked order of the singers, the bad singers being passed over, or the couches being crookedly arranged, Dicaearch.Hist.43, Aristox.Fr.Hist.59, Plu.2.615c, Sch. Pl.l.c. (b) later, the omission of the bad singers being ascribed to the difficulty or non-social character of the songs skolion was derived from duskolon or duskolia, Hsch., Sch.Ar.V. 1217; or it was said that the songs were easy, but appeared difficult to drunken revellers, Ar.Ach.532 Ra.1302, V.1222, Pl.Grg.451e

Jesus identified that "generation" as hoping that John--as a public prophet--wore the SOFT garments of the king's Catamite or male prostitute. He said that they were like CHILDREN in the Market Place (Agora) PIPING hoping that He and others would sing and dance the perverted Dionysus invitation to INITIATION.

Ar.Ach.532 Ar.Ach.532 Aristophanes, Acharnians Thus far the evil was not serious and we were the only sufferers. But now some young drunkards go to Megara and carry off the courtesan Simaetha; the Megarians, hurt to the quick, run off in turn with two harlots of the house of Aspasia; and so for three gay women Greece is set ablaze. Then Pericles, aflame with ire on his Olympian height, let loose the lightning, caused the thunder to roll, upset Greece and passed an edict, which ran like the song, That the Megarians be banished both from our land and from our markets and from the sea and from the continent. 3 Meanwhile the Megarians, who were beginning to die of hunger, begged the Lacedaemonians to bring about the abolition of the decree, of which those harlots were the cause; several times we refused their demand; and from that time there was horrible clatter of arms everywhere.

Note: 3 A song by Timocreon the Rhodian, the words of which were practically identical with Pericles' decree.

Jesus identified his God-role as SON as the WORD of God the FATHER whose THOUGHT He reproduced 100% faithfully. That WORD then was Spirit and Life (John 6:63). Jesus identified the clergy of Pharisees (professional preacher-prayers), Scribes (book, song and lecture writers for sale) and the SECT of the Hypocrites (performing actors, singers, musicians all identified in the Greek world as PARASITES) as CHILDREN of the Devil because THEY spoke on their own and THEIR father spoke on His own.

I have manifested thy name unto the men which thou gavest me out of the world: thine they were, and thou gavest them me; and they have kept thy word. John 17:6

The name is Jesus Christ or the Christ of God and NOT Christian.

Now they have known that all things whatsoever thou hast given me are of thee. John 17:7

For I have given unto them the words which thou gavest me;
........... and they have received them,
........... and have known surely that I came out from thee,
........... and they have believed that thou didst send me. John 17:8

While I was with them in the world, I kept them in thy name: those that thou gavest me I have kept, and none of them is lost, but the son of perdition; that the scripture might be fulfilled. John 17:12

The Judas bag was "for carrying the mouthpieces of wind instruments."
During the assembly, QAHAL or church in the wilderness God outlawed wind instruments and
........... "making a joyful noise before the Lord". which was the warrior's panic "music."
........... The process word is ALARM or TRIUMPH OVER.

Psalm 41
prophesied that Judas would not TRIUMPH OVER Jesus using that "musical word."
Judas fail as prophesied but the Levitical Warrior "musicians" mocked Jesus to His death.

The abominable BRANCH and the BRANCH of the terrible ones is defined as:

Zamiyr (h2158) a song to be accompanied with instrumental music

The musical MINSTRELS or flute players attacked Jesus by presuming to perform the musical rituals with and for the dead girl. Jesus CAST THEM OUT like dung just as Lucifer was cast as profane out of God's presence.

And now come I to thee; and these things I speak in the world, that they might have my joy fulfilled in themselves. John 17:13

I have given them THY WORD; and the world hath hated them,
because they are not
of the world, even as I am not of the world. John 17:14

Remember that in Romans 15 Paul COMMANDED that we use one MIND and one MOUTH to glorify God by speaking "that which is written." In Ephesians

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

You CANNOT be unified if you refuse to IMITATE Christ by SPEAKING the Word of God as it had been heard from the Father Who was within.

I pray not that thou shouldest take them out of the world, but that thou shouldest keep them from the evil. John 17:15
They are not of the world, even as I am not of the world. John 17:16
SANCTIFY them through THY
TRUTH: thy WORD is TRUTH. John 17:17

It is the spirit that quickeneth; the flesh profiteth nothing: the words that I speak unto you,
they are
spirit, and they are life Jn 6:63

As thou hast sent ME into the world, even so have I also SENT them into the world. John 17:18

And for their sakes I SANCTIFY myself, that they also might be SANCTIFIED through the TRUTH. John 17:19
........... Neither pray I for these alone, but for them also which
........... shall believe on ME through THEIR WORD; John 17:20

That they all may be ONE; as thou, Father, art in me, and I in thee, that they also may be one in us: that the world may believe that thou hast sent me. John 17:21

As part of the High Church movement the musical churches repudiate SPEAKING that which has been taught because as a LIVING CHURCH they claim the right to get a NEW VISION. That is why they do not imate Christ but they SING: they do not speak that which is written but their OWN "inspired" songs and sermons. This is the reason for deliberately sowing discord and then BLAMING those who have been shot in the heart for bleeding on the shooters.

If people disobey Paul's DIRECT COMMAND for the elders as the only pastor-teachers along with the deacons who were more mobile to "teach that which has been taught" they they CANNOT be a SON of God in the sense that Christ was a SON: speaking only what He heard from the Father within. The UNITY based on the Word was defined by Thomas Campbell and others seeking UNITY for a SCHOOL OF THE BIBLE and not a pagan worship center meant "glorifying God with ONE MOUTH and ONE MIND by speaking 'that which is written.'" That, in Romans 15 defines a synagogue of Christ where His example was not to PLEASURE Himself and that would solve the division created by two major "musical" SECTS in Rome: the Dionysiacs and Orphics.

This is the next DEBATER'S BIG LIE: the NOT playing music which is 100% the work of human hands and even Jubal and Nimrod knew SEDUCED people is a venerated archaic tradition. I may be PRICKING INTEREST and be excused because all literate Bible scholars know for a fact that MUSIC was that which Satan used to WHOLLY SEDUCE Eve in the Garden of Eden which Paul identified as a SEXUAL seduction. The serpent "parable" word which God used from the foundation of the world to fool the retailers of Divine truth (Matthew 13) would have been known to Abraham as he wrote out CUBE ROOTS on clay tablets (likely) as a ten year old kid to mean a Musical Enchanter.

Any sincere student would know that the UNIVERSAL literature, some written on clay tablets a thousand years before Moses, associated MUSIC with a religion of sexuality, perversion and "navigating the gates of hell." He or she would know that the Spirit of Christ used music as the MARKER of those who refused to listen to the Words of God. They would know that Jesus CAST OUT the musical minstrels just as Satan was CAST OUT of God's presence as one EJECTS DUNG. The same city officials regulated the flute-girls (prostitutes), cemetary and dung heap in Athens.

They would have connected Revelation 18:22 to the "holy whore" whose name was CIRCE in the area of John's Patmos: she is worshipped each time we think CHURCH where we fight over ANY kind of music instead of the ekklesia or synagogue or SCHOOL OF THE BIBLE Jesus died to give us to provide REST. The Greek PAUO is spring-loaded toward the demand to STOP the preaching, STOP the singing, STOP the musicians. Just STOP it and quit using MUSIC to TAKE CAPTIVE and TRIBULATE people just to get money. It is called the DOUBLE CROSS and people get the authority for MUSIC the same place they get the LAW OF GIVING.

A. Ralph Johnson: Those who insist that we imbibe this party spirit have often berated us as cowards, without the courage of our convictions, for refusing to meet in the middle of the street with six-guns ablaze to defend our cause. That does not settle who is right. It only indicates who thinks he has an edge on being able to make someone else look bad, --or who has the more fragile vanity. My daddy used to say, "when two fellows try to see who can be the dirtiest, -- the one that wins, IS!

The DIRTY DOZEN or more are those who are not OF Christ because they do not take the WORD out INTO the world. ALL preachers could be one and speak the same things absolutely if they obeyed Romans 15 which would settle all diversity seen in Romans 14. If they SPEAK they imitate Jesus: if they SING and PLAY they imitate Judas and the abominable branch. If they speak made up sermons they cannot be SONS of God or they would imitate Jesus and speak ONLY what the FATHER reveals.

I think that Ralph and all of the new ANTI-Antis must be looking at a mirror: surely any reader can read Ralph's harsh judgmentalism of people who will not BOW OR BURN and understand that Ralph must be seeing in a mirror brightly.

The old DEBATER'S TRICK is to shoot the oponent in the heart with one of Apollo's Arrows (he is Abaddon or Apollyon and his LOCUSTS are the Muses of Revelation 18:22) and then riducule him for MAKING MELODY as he beats his heels.

The word PSALLO never means MELODY in the Greek texts.  Melody is the word MELOS and always defines the musical worship of Apollo (Apollyon) by the muses which are the LOCUSTS working for the Mother of Harlots in Revelation 17.  That is why John calls rhetoricians, singers and musicians SORCERERS.

And so ALL singing and musical words speak of ENCHANTMENT which is Sorcery.

P. Vergilius Maro, Aeneid

She said, and from her quiver chose with speed
winged shaft, predestin'd for the deed;
Then to the stubborn yew her strength applied,
Till the
far distant horns approach'd on either side.

Music as the conflict of opposites meaning that it creates ANXIETY is based on the fact that the bow was often made of two pieces of horn joined in the middle. This was the point of GREAT TENSION [psallo, sop, grinding] which working against the great stress in the string TWANGED forth the literal arrow. The same process is at work when WORKERS shoots forth hymns in the performing sense. This is the most WORKS INTENSIVE thing done in the name of religion.

Keras I. the horn of an animal, in Hom. mostly of oxen, as a symbol of strength III. anything made of horn, 1. bow, 2. of musical instruments, horn for blowing, also, the Phrygian flute, because it was tipped with horn 8. of the pêcheis of the lyre

The bowstring touch'd her breast, so strong she drew;
Whizzing in air the fatal arrow flew.
........At once the twanging bow and sounding dart
........The traitor heard, and felt the point within his heart.

Him, beating with his heels in pangs of death,
flying friends to foreign fields bequeath.
........ The conqu'ring damsel, with expanded wings,
........ The welcome message to her mistress brings.

Classical writers and church fathers note that this is a WOMAN'S WORLD. Men who sang and played were drunk on wine or perverted.

Euripides Ion

Strong though thy beak beyond the feather'd kind,
bow shall reach thee. Towards the altar, see,
A swan comes sailing: elsewhere wilt thou move

Thy scarlet-tinctured foot? or from my bow
The lyre of Phoebus [Apollo, Apollyon] to thy notes attuned
Will not protect thee; farther stretch thy wings;

Go, wanton, skim along the Delian lake,
........ Or wilt thou steep thy melody in blood.

Look, what strange bird comes onwards; wouldst thou fix
Beneath the battlements thy straw-built nest?

My singing bow shall drive thee hence; begone,
Or to the banks of Alpheus, gulfy stream,
Or to the Isthmian grove; there hatch thy young;

Mar not these pendent ornaments, nor soil
........ The temple of the god: I would not kill you:
'Twere pity, for to mortal man you bear
........ The message of the gods; yet my due task
Must be perform'd, and never will I cease
........ My service to the god who nurtured me.

That is because our Apollyon or Abaddon was the father of "twaning bow strings to shoot you in the heart, father of liers and father of thieves."  He shot LOVE ARROWS from his lyre.  The ONLY connection PSALLO has with music is in the sense of SHOOTING FORTH HYMNS and PLUCKING THE HEART STRINGS.

Augustine wrote of those under the burden of musical superstition. This is why lifeless instruments and carnal weapons mean the same thing.

Again, if you prefer to test the presence of God by the agreeable effects on the hearing, and not sight, or smell, or taste, harps get their strings and pipes their bones from animals; and these become musical by being dried, and rubbed, and twisted.

So the pleasures of music, which you hold to have come from the divine kingdom, are obtained from the refuse of dead animals, and that, too, when they are dried by time, and lessened by rubbing, and stretched by twisting. Such rough treatment, according to you, drives the divine substance from living objects; even cooking them, you say, does this. Why then are boiled thistles not unwholesome? Is it because God, or part of God, leaves them when they are cooked?

Paul called them lifeless instruments which is quite identical to carnal weapons: both were considered military weapons as indeed the word PSALLO makes perfectly clear.

Paul began Romans 15 which defined a Synagogue or School of the Bible which glorified God by speaking "that which is written." The FIRST direct command to be Christ-like is DON'T PLEASURE YOURSELVES. This means to EXCITE and singing was a primary effort to EXCITE people to carry them away for the heretic's OWN USE.

All pagans used MUSIC in their anguished worship because they believed that the gods lived inside: when you rubbed them or stroked them they SPOKE to you. That is why Habbakuk warns about trying to AWAKEN idols as David tried to awaken his harp: when God is in HIS holy temple then all of the earth should KEEP SILENCE or get out.

A. Ralph Johnson: A Word of Caution

One difficulty with writing is, to accurately convey feelings. It is also difficult, when a subject affects millions of people in different ways, to speak to the needs of each without leaving others feeling pained that they have been lumped with the "bad guys." In citing arguments made against instrumental, I do not wish to imply that all anti-instrumentalists hold to all of them.

I recognize that most anti-instrumentalists are wise enough to reject many of the really outrageous ones. I do not wish to blame all for the folly of a few.

Did you hear the parable of the Doctor and the Idiot? Well, it seems that a doctor wanted to go west and minister to the health of poor Indians. He had a friend who was the village idiot. He jumped, skipped, sang and pretended that he could cure insanity. He slobbered into his lice-infested beard and wanted the ladies to kiss him. Well, they went west and met the Indians. They burned the doctor at the stake and worshipped the idiot as a god. The "worlds" first professionals had a DUAL OCCUPATION:

I don't have space to develop it here, but the sacrifices of Cain and Abel speak volumes about the ancient fertility rituals of the agriculture society which depended on singing, dancing, playing instruments and having sex with the "gods" in the person of the "ministers of the gods." Religionism is not Christianity.

"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." (H. Bamfort Parks, p. 30 Of Gods and Men).

"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.

A resemblance between the sacrificial garments of ancient ritual and the costume of a household jester in the Middle Ages--coxcomb, eared hood, bells, and bauble, with a motley coat--has been noted.

In most early societies, moreover, men evolved techniques for deliberaly inducing the abnormal forms of consciousness in which they supposed themselves to achieve union with divine power, sometimes by the use of drugs and other physiological stimuli, sometimes by hypnotic dances and music. The wild utterances to which they gave vent on such occasions were regarded as the words of a god and were interpreted as divine commands or predictions of future events." (Parkes, p. 32-33).

"Dancing is a bodily gnosis, a release of powerful internal stimulants and a revelling in the physical excitement these stimulants inspire. Dancing (and its partner music) is also a celebration of the experience of the true BODY, our immediate experience felt in all its power, which is timeless because it knows no past or future.. the present moment - the moment in which our entire lives are lived - has the greatest value to us when we approach it as we approach musicÉ The present moment is valued not because it serves as a means to an ultimate assumed gratification, but because it is an immediate source of joy itself. The meaning and purpose of dancing is the dance." Gyrus T - " Dionysus Risen"

Sorry, but I just have to believe that Ralph is trying to PULL a fast something. Yet, I believe that when you reject the truth God sends a strong delusion. There is not a bit of Bible, ancient contemporaneous documents, Classical or other period writings, the church fathers or founders of denominations who will accept Ralph's claim that ANTI-instrumentalists are just evil and outrageous. At sometime this means SOUTHERN, ignorant, red necks. But, Ralph doesn't grasp that NONE of the churche sin the South USED music. Not even Catholics or Anglicans had a MUSICAL RITUAL. One needs to read the history of Jewish and Catholic Liturgical music and see that NONE of this fits the charismatic musical performance.

None of the churches of Christ in the South ever USED instruments as churches known down through church history known as THE CHURCH OF CHRIST never used instruments or any form of modern CHARISMATIC (sexual) forms of SANGING four-part Fanny.

Churches of Christ faithful to the UNIVERSAL EVIDENCE never USED music so how can Ralph and his misleaders CLAIM that they are outrageous sowers of discord. Ralph's bunch said BOW OR BURN and faithful churches did not BOW. Ralph, by association, takes on all of the BLOOD and deliberate discord sowed by INTRODUCING instruments which had NO reason to adduce a silly PSALLO argument. They said, "we gonna do it 'spite of hell and you can get with it or get out." That is a historical fact.

Now, Ralph and friends have fulfilled the Jubal or Genun prototype: they have fallen and cannot get up. The only solution was to try to FORCE others to join to feel COMFORTABLE. Blaming others is the old DEBATE game whether you speak it for God and the world to hear or write it out to continue to sow discord. This Prototype is seen in the BOOK OF ENOCH (quoted by Jesus and others at least 128 times), Book of Jubiless, books of Adam and Eve and 3 dozen other documents I have posted on my pages. This is the GENUN story: read it and weep. Jude still said that God will come with ten thousands of His saints to execute judgment: the CAUSE of the fall is allowing SATAN to lead you into musical seduction.

A. Ralph Johnson: Permit me also to explain that I use the term, "anti-instrumental" rather than "non-instrumental" or "a cappella brethren," because those two terms fail to fully express the essence of our situation.
........... There are many who by preference, circumstance,
........... or for other reasons, do not use instrumental music
........... but do NOT believe that it is sinful.

One may by choice sing a-cappella.
........... By "anti-instrumental" I mean those
........... opposed to religious use of instrumental music, as sinful.

I have no problem with those who simply prefer to sing unaccompanied.

Instrumental music is not sinful although it is NEVER used as far as I know except by someone trying to profit on their skill by manipulating the pleasure centers of others for a PROFIT. But that is why Lucifer "the singing and harp-playing prostitute" was guilty of TRAFFICKING. It was sinful when it attempted to BLEED off worship due only to God.

Or MUSIC might be sinful where Jesus promises to meet with us as the ONLY TEACHER. Maybe it would not be sinful but it was UNLAWFUL to "triumph" or "alarm" with music when the assembly was called only for instructions.

Singing with instruments is NOT sinful: the MORTAL SIN provable to all readers is that MUSIC in the public SCHOOL OF THE BIBLE AND OF CHRIST has always said to God: we WILL NOT listen to your word. If you made it past the slowest in the slow group at kindergarten you will be able to grasp that you choose NOT to hear the Word of Christ the Spirit "as it has been spoken" by telling God: We WILL NOT (for this 'worship' period) listen to YOUR WORDS. First, they are NOT the metrical material composed by Christ the Spirit to teach rather than to seduce. Second, it is a human impossibility to SPEAK and SANG at the same time. Third, it is a human impossiblity to GIVE HEED (Paul's unique 'worship' word) to the words of Christ and the performing musicians at the same time. It has always been known that MUSIC produces the impulses of FIGHT, FLIGHT or SEXUALITY. That is why musicians are USED to bring in people to put their widow's mite into the temple's colleciton plates which were called TRUMPETS.

ANYONE who MOUNTS the pulpit or bema or HIGH PLACE knows that they are the CENTER of focus and it CANNOT BE otherwise. That is why Jesus stood up at the pulpit [which held up the Bible and not the preacher], read the Bible and then had the uncommon decency to SIT DOWN and do what Paul commanded Timothy and what we have quoted from the Catholic Encyclopedia above.

Here is probably one of the oldest accounts of the fertility rituals: 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 [Organ instrument of the prostitute]
They spend their days in wealth, and in a moment go down to the grave. Job 21: 13

The Logical conclusion is:

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

Why would the "Spirit of Christ" remotely associate "musical worship" with the fertility, BREEDING rituals if He intended to COMMAND it?

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

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. Eze 33:31

And, lo, thou art unto them as a very lovely song (love song or erotic as many praise songs)
........ of one that hath a pleasant voice,
........ ........ and can play well on an instrument:
........ for they hear thy words,
........ ........ but they do them not. Eze 33:32

And when this cometh to pass, (lo, it will come,) then shall they know that a prophet hath been among them. Eze 33: 33 (God had been there and gone and will not pass that way again)

Judah would be brought down to again speak through their "familiar spirits." These were old wineskins or nebels or harps in which they believed they could get a better message than from God. The strangers they had collected with rituals--even burning babies to the sound of instruments--were adulterers just looking for a better gig. They were led by violent or tyrannical men. They would just burn themself up like chaff:

He answered and said unto them, Well hath Esaias prophesied of you hypocrites (ACTORS), as it is written, This people honoureth me with their lips, but their heart is far from me. Mark 7:6

Howbeit in vain do they worship me, teaching for doctrines the commandments of men (Songs). Mark 7:7

For laying aside the commandment (songs) of God, ye hold the tradition of men, as the washing of pots and cups: and many other such like things ye do. Mark 7:8

And he said unto them, Full well ye reject the commandment (songs) of God, that ye may keep (sing) your own tradition. Mark 7:9

The hypocrites were not just mistaken people: they were a major SECTARIAN group. This included rhetoricians, sOPHISts (serpents), singers, musicians and craftsmen. These were the techne [Koresh in Hebrew] and they specialized in singing, house or theater building (now how stealing) and state managing.

A. Ralph Johnson: My purpose is to expose error in these arguments, and set forth sound evidence to show that instrumental accompaniment is authorized for Christians.

This would be some trick: Ralph cannot find a single instance of God in Christ approving instruments or any form of MUSIC which is not speaking to teach "that which is written." He would have to explain why Lucifer is called the "singing and harp-playing prostitute" who was in the garden of Eden. He would have to catch a glimps of the word stranslated SERPENT in the garden of Eden to discover that this was a common term for MUSICAL ENCHANTERS. The serpent in the end times is OPIS which is included in the word sOPHISst. Rhetoricians, sOPHISts, singers and musicians practiced SORCERY in the Greek literature. Because they performed no USEFUL work they were called PARASITES.

Parasitos, ho, one who eats at the table of another, and repays him with flattery and buffoonery, parasite
........ II. of priests who had their meals at the public expense

God permitted a pagan form of ritual because the elders "fired" God and demanded a king like the nations. God understood this to means so we can worship like the nations. He declared that they would not get by with this and He facilitated their trip to Babylon.

ALL sacrificial altars came into disrepute: a house of merchandise and a den of thieves. Those who served these pagan altars were known as PARASITES. When animal sacrifices ceased, the priestlings and musicians just KEPT ON being parasites--even after Jesus put an end to them all.

Parasiteô 1 [from parasi_tos]

I. to play the parasite or toad-eater, Luc.
II. to be honoured with a
seat at the public table, Plut.

Speaking of those seduced by music in many documents such as The Book of Enoch quoted by Jude to explain FOR WHOM God will come in judgment:

But these speak evil of those things which they know not: but what they know naturally, as brute beasts, in those things they corrupt [waste away from a musical note] themselves. Jude 1:10

Woe unto them for they have gone in the way of Cain [meaning a musical note], and ran greedily after the error of Balaam for reward, and perished in the gainsaying of Core. Jude 1:11

Raging waves of the sea, foaming out their own shame; wandering stars, to whom is reserved the blackness of darkness for ever. Jude 1:13

These are spots in your feasts of charity, when they feast with you, feeding themselves without fear: clouds they are without water, carried about of winds; trees whose fruit withereth, without fruit, twice dead, plucked up by the roots; Jude 1:12

Paul understood that one cannot SING externally and SPEAK externally at the same time. Neither could he find any basis for supposing that SING and PLAY are one word.

He also knew that there were words which meant PLAY but he did not use any of the dozen or so. For instance:

Kômôidoloicheô 1 [leichô] to play the parasite and buffoon, Ar.

Kumbal-izô , play the cymbals
Lurôideô , play the lyre
Cithari-zo kitharizô, to play on or strike the cithara

When Ralph appeals to Lucian of Samosata--as do they all--to prove that psallo continued to mean singing AND playing instruments we hope that he not aware that he has been LED by some UNholy spirit to prove that music was the weapon of RELIGIONISTS. That is why God revealed to Paul that our melody must be in the form of GRACE in our hearts and not shooting people with arrows or other things to wound or destroy them.

Lucian of Samosata, Vol III, TOXARIS: A DIALOGUE OF FRIENDSHIP, defines instrumentalist and performers as parasites although he says that one does not require a musical instrument to be a parasite.

"This was the lady whom Dinias's parasites now associated with them; they played their subordinate part well, and between them fairly hustled the boy into a passion for Chariclea.

"Such a finished mistress of the art of perdition,
........... who had ruined plenty of victims before,
........... and acted love-scenes and swallowed fine fortunes without number,
........... ........... was not likely to let this simple inexperienced youth out of her clutches..

"The rest, of course, was easy. How was he to resist this pretty woman, with her captivating manners, her well-timed tears,
........... her parenthetic sighs? Lingering farewells, joyful welcomes,
........... judicious airs and graces, song and lyre,--
........... all were brought to bear upon him.

Johnson and Tom Burgess CLAIM that Lucian of Samosata proves that "psallo" or melody INCLUDES a musical instrument. What Lucian said was that "you cannot play a lyre IF you have not a lyre." Or you cannot ride a horse IF you have not a horse.

Women were OUTLAWED in the assembly because it is utterly impossible for them to be vocal and non-sedentary without exercising authority. That word is AUTHENTIA which means erotic and murderous.

Maybe it is because MUSIC has always been an UNFAIR weapon to massage people in order to get them to fall into a charismatic state. Maybe it is NOT that they couldn't carve out a flute from bamboo. Maybe God thinks that it is EVIL to USE music in order to USE people when everyone knows that it like getting a lady drunk on a drug so you can mollest her. Maybe it is NOT because people knew that pagans used instruments and the simple-minded red-necks just wanted to OUTRAGE the people from North Palestine.

From VolIII, A PORTRAIT-STUDY, Lucian notes that MAYBE music and rhetorical speaking is the MARK of an effeminate performer and the "treasurers" KNOW that the best way to attract the masses is to put on a SHOW. Plato notes that music and drama always subjects the PLAYERS to "gender bleed."

"The pitch, exquisitely soft, as far removed from masculine bass as from ultra-feminine treble, is that of a boy before his voice breaks; sweet, seductive, suavely penetrating; it ceases, and still vibrating murmurs play, echo-like, about the listener's ears, and Persuasion leaves her honeyed track upon his mind.

But oh! the joy, to hear her sing,
sing to the lyre's accompaniment.

"Let swans and halcyons and cicalas [locusts] then be mute. There is no music like hers; Philomela's self, 'full-throated songstress' though she be, is all unskilled beside her. Methinks Orpheus and Amphion, whose spell drew even lifeless things to hear them, would have dropped their lyres and stood listening in silence to that voice. What should Thracian Orpheus, what should Amphion, whose days upon Cithaeron were divided betwixt his lyre and his herd,-

what should they know of true concord, of accurate rhythm, of accentuation and time, of the harmonious adaptation of lyre and voice, of easy and graceful execution?

Clement notes that all of the musical gods were perverted: But perhaps when he was such he was a man; but now these fables seem to have grown old on our hands. Zeus is no longer a serpent, a swan, nor an eagle, nor a licentious man; the god no longer flies, nor loves boys, nor kisses, nor offers violence, although there are still many beautiful women, more comely than Leda, more blooming than Semele, and boys of better looks and manners than the Phrygian herdsman. Where is now that eagle? where now that swan? where now is Zeus himself? He has grown old with his feathers; for as yet he does not repent of his amatory exploits, nor is he taught continence. The fable is exposed before you: Leda is dead, the swan is dead. Seek your Jupiter. Ransack not heaven, but earth.


The manifold symbols of Apollo correspond with the multitude of his attributes. The commonest is either the lyre or the bow, according as he was conceived as the god of song or as the far-hitting archer. The Delphian diviner, Pythian Apollo, is indicated by the tripod, which was also the favourite offering at his altars. Among plants, the bay, used for purposes of expiation, was early sacred to him. (See Daphné.) It was planted round his temples, and plaited into garlands of victory at the Pythian Games. The palm-tree was also sacred to him, for it was under a palm-tree that he was born in Delos. Among animals, the wolf, the dolphin, the snow-white and musical swan, the hawk, raven, crow, and snake were under his special protection; the last four in connection with his prophetic functions.

Apollo exercises an elevating and inspiring influence on the mind as god of music, which, though not belonging to him alone any more than atonement and prophecy, was yet pre-eminently his province.

In Homer he is represented only as a player on the lyre,
song is the province of the Muses;
but in course of time he grows to be the
god, as they are the goddesses, of song and poetry, and is therefore Mousagetês (leader of the Muses) as well as master of the choral dance, which goes with music and song. And as the friend of all that beautifies life he is intimately associated with the Graces [Graces meaning CHARIS meaning Charismatic meaning the MARK of homosexual "worship"]

Mousagetês 1 [doric for Mousêgetês] leader of the Muses, Lat. Musagetes, of Apollo, Plat.


"Upon hearing that Ganymede was to be cup bearer as well as Zeus' lover, the infinitely jealous Hera was outraged. Therefor Zeus set Ganymede's image among the stars as the constellation Aquarius, the water carrier. Aquarius was originally the Egyptian god over the Nile. The Egyptian god poured water not wine from a flagon.

"All of Zeus' scandalous liaisons have allegorical meanings. Zeus' torrid affair with Ganymede was a religious justification for homosexuality within the Greek culture.

Before the popularity of the Zeus and Ganymede myth spread,

the only toleration for sodomy was an external form of goddess worship. Cybele's male devotees tried to achieve unity with her by castrating themselves and dressing like women.

"While Platonic love needed women for regeneration purposes (grow the attendance) the philosopher used this myth to justify his sexual feelings towards his all male pupils.


(tettix). A species of insect, frequently mentioned by the classical writers. It is originally a caterpillar, then a chrysalis, and is converted into a fly late in the spring. Its song is much louder and shriller than that of the grasshopper.

The ancient writers, and especially the poets, praise the sweetness of their song; and Plutarch says they were sacred to the Muses. According to Aelian, only the male cicada sings, and that in the hottest weather. This is confirmed by the discoveries of modern naturalists. The cicada is extremely common in the south of Italy. It is found also in the United States, being called in some parts "the harvest-fly," and in others, very erroneously, "the locust."

You CANNOT miss that Paul speaks of internal MELODY and all of the perverted "religionists" thought of HARMONY, singing and musical instruments. We have noted that the meaning of HARMONY invented by Apollo or Abaddon or Apollyon means MOVING TOGETHER as in the perverted threskia form of religion.

Then, he would have to fly over to Revelation and understand that the sOPHISts or professional, enchanting speakers are the SERPENTS or OPHIS who are enchanting or charming. He would have to grasp why John identifies the holy whore who, in his island world, was burried within view of Patmos: she was in Legend and therefore John's symbol of false religion CIRCE whom we worship every time we say the word CHURCH.

And the voicte 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

The MUSICIANS were the MUSES employed by Apollo or Abaddon or Apollyon. They were in the legends John used the LOCUSTS or musical performers as any reader of the Classics grasps. The craftsmen are the Greek word TECHNE: they were gifted rhetoricians, sOPHISts, singers, musicians, house builders and "stage managers."

Because the Bible does not identify SINGING in the external ODEING form it would be pretty strange if Christ authorized INSTRUMENTAL ACCOMPANIMENT for something which was NEVER DONE in the synagogue or the churches of Christ.

Singing in the external ODEING sense created mental excitement which Paul outlawed as PLEASURING one another in Romans 15. Only then by following CHRIST'S PATTERN they could speak "that which is written" with one mind and one voice. That defines a synagogue and not CHURCH as a pagan worship center.

Click here to see how singing externally is connected to LIFTING people up which in the sacrificial systems was "to cut their throat." This musical practice of making a great, crashing sound is the meaning of HERESY: using music to lift people up to carry them away for YOUR OWN USES.

Ralph will not find any form of SINGING in the ritualistic sense until Ephraim INTRODUCED singing as "an act of worship" in the mid 4th century. Justin and others speak of singing the PSALMS which is what Paul commanded. Their singing was SAYING or using the normal inflections of speech to speak GOD'S word which is the only way you can teach one another.

A. Ralph Johnson: I do so with a background of many years of facing attacks by anti-instrumentalists calling in question our intelligence, honesty and courage, but recognizing that much of this is from those who even other anti-instrumental brethren call, "Antis."

I have tried to make my response to the point, even if it sometimes seems blunt. Some people understand nothing else.

Honest research proves thar Ralph's POINT is BLUNT. There is absolutely no reason to believe that ANTI-instruments would know the CODED MESSAGE since they got their degrees from the same sources. However, God in Christ--from the foundation of the world--hid spiritual truth in plain view. ANTI-instrumentalists can look at the discording nature of "music" without having to have a Phd.

I challenge Ralph to find ONE published book which attacks the character of instrumentalists. I know of no book which does not objectively say what EVERYONE knew until the Christian church in 1878 invented the PSALLO as an authority argument. However, because of the HIGH CHURCH view which is just MADE UP theology, there was never any hint of needing an excuse.

But, since I am a retired engineer and NOT a preacher I can tell you after collecting MOST of the world's major works on MUSIC AS WORSHIP that you cannot be too bright and not see that the Bible radically repudiates external rituals in the worship of a Spirit God. ALL of the passages in the Old Testament in a religious sense relate to dedication of kings and temples or the purification of same. Because they had been virtually deserted by God as a result of the MUSICAL IDOLATRY at Mount Sinai, these temples were like the nation's temples because they wanted to worship 'like the nations."

Ralph should understand that, without knowing it, people speak in parables long burried in the Biblical and historical text. The very word MELODY or MUSIC is the mark of a literal, spiritual or sexual attack. The deliberately SOW DISCORD without any Biblical authority (Psallo discovered in 1878) and then SMITE and STING you because you were mortally wounded.

By focusing on the one POINT which is the ONLY point, it is easy to get BLIND SIDED by the ocean of evidence which explain why musical discorders will devote so much time and NATIONAL ORGANIZATION trying to force the reluctant dummies to bow to Baal.

Music was always repudiated because no FREE PERSON should given a for-hire rhetorical or musical performer the KEY to their emotions. This was and is held to be the KEY to one's sexual pleasure centers. A perfectly rational person can be MIND ALTERED enough by a bagpipe to march into the certain jaws of human slaughter with nothing to be gained by it. If I permitted the "holy bartender" to ply me with wine I would know that he intended to lower my resistance to take all of my money.

How can PRO-paganism gloat in telling everyone that they believe that it is the "holy" spirit vibrating their "viral membranes" and readily submit themselves and USE people who are professionals at shutting down the rational (spiritual) brain?

The BASE of all musical terms speak of ANXIETY and STRIFE. It is a fact that archers BLAMED the victim because they didn'd defend themselves.

Fragment 10, Aristotle, de mundo 5, 396b20

Things taken together are wholes and not wholes, something is being brought together and brought apart, which is in tune and out of tune; out of all things there comes a unity, and out of a unity all things.
........ The BOW is called STRIFE, but its WORK is DEATH

Fragment 209, Hippolytus Ref Ix, 9, I

They do not apprehend how being at variance it agrees with itself: there is a palintonos (counter-stretched) harmony, as in the bow and the lyre.(4)

That is the "musical" connection which is universally a WARFARE connection! And you notice the "psallo" or twanging and the counter-stretched strings bring about STRIFE but they produce HARMONY or "moving together" to get the job done.

Psallo includes: I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran [gut, tendon, lifeless] ps. to twang the bow-string, Eur.; belos ek keraos ps. to send a shaft twanging from the bow

Or send a SONG shooting from the lips! THAT is the musical connection!

Psallo DEMANDS that you do not use a plectrum or guitar pick or blow a flute or plunk a piano or beat on drums. You VIOLATE Paul's direct command if you do not PLUCK ONLY with the FINGERS ONLY.


I. to shoot with the bow,
II. to
shoot or hit with an arrow, to be struck by an arrow,
2. to
shoot from a bow: METAPHOR to discharge, send forth, humnous.

Pindar Odes He is an eagle, his rivals are ravens and daws (O. 2.96; [p. xxxvi] N. 3.82).
........... Bellerophon shooting his arrows from the lone bosom of the chill ether (O. 13.87) is a
........... prefigurement of his poetic exaltation, his power, his directness,
........... and so he never wearies of calling his songs arrows or darts

which sometimes fall in a hurtling shower;
but sometimes a
single arrow hits the mark,
sometimes a
strong bolt is kept in reserve by the Muse,
for Pindar, as an aristocrat, is a man of reserves.

The splendor of the Goddesses of Triumphal Song irradiates him (P. 9.97), and he is a leader in the skill of poesy, which to him is by eminence wisdom (sophia), wisdom in the art of the theme, and in the art of the treatment.

His lyre has a various range of notes,
quiver is full of arrows,
........... and at times such is the shower of notes,
........... such the rain of arrows,
such the
sparkle and flash and flame of the lights,

such the sweet din and rumble and roar of the music of earth and the music of heaven,
that the poet himself, overcome by the
resources of his own art, confesses his defeat, and by one strong impulse of his light feet,
........... swims out of the deluge of glory
........... with which he has flooded the world of song.

"O Golden Lyre, joint heirloom of Apollo and the Muses [p. xxxviii] violet-tressed, thou for whom the step, the dancer's step, listeneth." "Obeyeth" seems too faint. We see the foot poised, tremulously listening for the notes of the phorminx, as if it had a hearing of its own.

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 2:19

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

Apollo is Abaddon or Apollyon in John's code in the book of Revelation. The "locusts" are the muses which he restores as he falls as lightening. They are the musicians who will go back into hell with him:

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

The techne or craftsmen were specificially the HOUSE BUILDERS and STAGE MANAGERS.

Humnos, ho, hymn, ode, in praise of gods or heroes

We can shoot out HYMNS or as in PSALLO-- and its PREFERRED and primary meaning-- we can SHOOT one another with real arrows or as in all of the paganisn which "worshipped" rather than "synagogued" shoot one another with Love Arrows! And that gets you back to Apollo, Abaddon or Apollyon the "god" of the musical superstitious and fearful and Sodomites.

Plato Cratylus on the Musical Purifier and CHANGES from the ATTIC 360 B.C. shows why people believe that music is PURIFYING:

Soc. Then in reference to his ablutions and absolutions, as being the physician who orders them, he may be rightly called Apolouon (purifier);

Or: Soc. Then in reference to his ablutions and absolutions, as being the physician who orders them, he may be rightly called Apolouon (purifier); or
........ or in respect of his powers of divination, and his truth and sincerity,

which is the same as truth, he may be most fitly called Aplos, from aplous (sincere), as in the Thessalian dialect, for all the Thessalians call him Aplos;
........ also he is Ballon (always shooting),
........ because he is a master archer who never misses;

THAT is why Jesus said worship in the SPIRIT and TRUTH which is the Word of Christ. And why Paul warned that if you DON'T keep worship in the PLACE of the spirit you let Apollyon and his MUSES the DOGS will tell you to BOW or BURN.

He is Apollo, Abaddon or Apollyon:His MUSES were females whom the mother goddess had turned into LOCUSTS. Just in time the STAR has again dug up the locusts or musical performers to MARK and STING people and CHASE AWAY the believers marked with the WORD.

"And he is the God who presides over harmony, and makes all things move together, both among Gods and among men. And as in the words akolouthos and akoitis the a is substituted for an o, so the name Apollon is equivalent to omopolon;

only the second l is added in order to avoid the ill-omened sound of destruction (apolon). [Akoitis or moving together or HARMONY is sodomy. ]

"Now the suspicion of this destructive power still haunts the minds of some who do not consider the true value of the name, which, as I was saying just now, has reference to all the powers of the God, who is the single one, the everdarting, the purifier, the mover together (aplous, aei Ballon, apolouon, omopolon).

The name of the Muses and of music would seem to be derived from their making philosophical enquiries (mosthai);

If PSALLO haunts the minds about getting SHOT with a real arrow to make their HEART bleed; or if they are haunted about being shot with a love arrow, then why not quit using psallo to any way connect with the BOW and literal warfare. Literal warfare with the BOW is to SHOOT OUT HYMNS with a literal stringed instrument rather than the voice or harp of God.

If Ralph wants to RESTORE psallo to its ETYMOLOGICALLY base of literal WARFARE then it is not honest to blame non-instrumental churches of Christ who NEVER used instruments and just kept on NOT DOING what they had NEVER DONE.

The only BOW connection is the included meaning of SHOOTING OUT HYMNS. The ANTIS who cannot REST (like Jubal or Genun) until everyone BOW while they PIPE also use the old DEBATE ploy of ridiculing their betters.

The THERON are the BEASTS of Revelation including PAN the little perverted half goat. His HORNS in the Book of Revelation are defined as MUSIAL HORNS.

Would that be worse than STILL trying to steal the church houses of widows. How worse could they be wounded, as in the case of J. W. McGarvey to see the LOCUSTS swarm all over him and confiscate his church.

Toxeuma arrow, the distance of a bow-shot. missile of any kind, metaphor of songs and words, kardias [heart] toxeumata [arrows]

Pindar, Odes Isthmian Odes Pi.I.5(4).47; My swift tongue has many arrows, to shout the praises of these heroes.

Kardias [heart] toxeumata [arrows] S.Ant.1085 ; Sophocles, Antigon

[1080] All the cities are stirred up in hostility, whose mangled corpses the dogs [Cynics or homosexual priests], or the wild beasts or some winged bird buried,
........ carrying an unholy stench to the city that held each man's hearth.

There, now, are arrows for your heart, since you provoke me, [1085] launched at you, archer-like, in my anger. They fly true--you cannot run from their burning sting.

Sting is akis, barb of an arrow or hook, stings of desire. Pikros pointed, sharp, keen, metaph., glôssês pikrois kentroisi of sound, piercing, shrill, phthongos, embittered, angry, relentless, pedantically, harshly, bitterly, vindictively

Kentron, to, ( [kenteô] ) any sharp point, a symbol of sovereignty a. sting of bees and wasps, Ar.V.225, 407 (lyr.), al.; of scorpions,

Kentron (g2759) ken'-tron; from kenteo, (to prick); a point ("centre"), i.e. a sting (fig. poison) or goad (fig. divine impulse): - prick, sting

Of the locusts or MUSICAL PERFORMERS:

And they had tails like unto scorpions, and there were stings in their tails: and their power was to hurt men five months. Re.9:10

After disturbing "each man's hearth" they just can't quit STINGING those who were long ago MARKED with the Words of Christ in songs and sermons.

The MUSICIANS of Revelation 18:22 are the MUSES under the rule of Apollo in John's Patmos area: he is Abaddon or Apollyon. The LOCUSTS were "musical performers" who have been resurrected from hell to SEPARATE those with the Mark of the BEAST. The Beast was known as ZOE who forced the little "ignorant jehovah" to form MUSICAL WORSHIP TEAMS to worship Sophia (wisdom) and Zoe (life) or EVE in the book of Genesis.

Skorpios (g5651) skor-pee'-os; prob. from an obsol. skerpo, (perh. strengthened from the base of 4649 and mean. to pierce); a "scorpion" (from its sting): - scorpion

Skopos (g4649) skop-os' ("scope"); from skeptomai , (to peer about ["skeptic"]; perh. akin to 4626 through the idea of concealment; comp. 4629); a watch (sentry or scout), i.e. (by impl.) a goal: - mark

The goal or MARK of the Stoneites in the Stone-Campbell Movement is to conceal their goal to get the non-instrumental defected defectors to help them build 5500 new "venues for holy entertainment." They make it SOUND like the truth singers have gone INSTRUMENTAL by adding a few sowers of discord who ALREADY preach the musical madness. In truth, The Christian Chronicles laments that only about 5 out of 13,000 congregations have added instruments and these are in "alternative" services.

Ophis (g3789) of'-is; prob. from 3700 (through the idea of sharpness of vision); a snake, fig. (as a type of sly cunning) an artful malicious person, espec. Satan: - serpent.

And he laid hold on the dragon, that old serpent, which is the Devil, and Satan, and bound him a thousand years, Re.20:2

Aeschylus Out, I order you! Go away from this house at once, leave my prophetic sanctuary, [180] so that you may not be struck by a winged glistening snake Note 1 shot forth from a golden bow-string, and painfully release black foam, vomiting the clots of blood you have drained from mortals. [185]

It is not right for you to approach this house; no, your place is where the punishments are beheading, gouging out of eyes, cutting of throats,
........and where young men's virility is ruined by destruction of seed;

where there is mutilation and stoning,
........ and where those who are impaled beneath their spine
........ moan long and piteously. [190]

Do you hear what sort of feast is your delight? You are detested by the gods for it. The whole fashion of your form sets it forth. Creatures like you should live in the den of a blood-drinking lion, and not inflict pollution on all near you in this oracular shrine. [195] Be gone, you goats without a herdsman! No god loves such a flock.

"Enters from the inner sanctuary.

Note 1 The arrow sped from Apollo's gold-wrought string is called a "winged glistening snake" because it stings like a serpent's bite. There is also a latent word-play: ophis "snake" suggests ios "snake's poison" which also means "arrow."

Ophis a serpent, snake, Il., Hdt., Trag.:--metaph., ptênon ophin, of an arrow, Aesch. [The first syll. is sometimes made long, when it was pronounced (and perh. ought to be written) opphis, v. ocheô.]

"In one manuscript, instead of Apollyon the text reads "Apollo," the Greek god of death and pestilence as well as of the sun, music, poetry, crops and herds, and medicine. Apollyon is no doubt the correct reading. But the name Apollo (Gk Apollon) was often linked in ancient Greek writings with the verb apollymi or apollyo, "destroy." From this time of Grotius, "Apollyon" has often been taken here to be a play on the name Apollo. The locust was an emblem of this god, who poisoned his victims, and the name "Apollyon" may be used allusively in Revelation to attack the pagan god and so indirectly the Roman emperor Domitian, who liked to be regarded as Apollo incarnate. (Anchor Bible Dictionary)

Apolluon (g623) ap-ol-loo'-ohn; act. part. of 622; a destroyer (i.e. Satan): - Apollyon.

Apollumi (g622) ap-ol'-loo-mee; from 575 and the base of 3639; to destroy fully (reflex. to perish, or lose), lit. or fig.: - destroy, die, lose, mar, perish.

APOLLO (Gr. Apollon), a Greek god, the son of Zeus, the father of the gods, and Leto, daughter of the Titan Coeus, and the twin brother of Artemis, goddess of the moon. The twins were born on the island of Delos, whither their mother had fled to escape the jealous anger of Zeus' wife, Hera. Apollos is one of the most versatile of the Olympian gods. As the god of youth, manly beauty, music, and song, he represents the Greek mind at its best. He was the god of prophecy, with his oracle at Delphi, the protector of flocks and herds, the helper and averter of evil, and also the god of righteous punishment.

"Abaddon = (ab-ad-dohn'); of Hebrew origin [11]; a destroying angel: Abaddon = "destruction" 1) ruin 2) destruction 3) the place of destruction 4) the name of the angel-prince of the infernal regions, the minister of death and the author of havoc on the earth. *2 Apollyon = (ap-ol-loo'-ohn); active participle of 622; a destroyer (i.e. Satan): Apollyon = "Destroyer" the angel of the bottomless pit, the Destroyer."

David (king) and the commanders of the army used the surplus warrior, Levitical "musicians" to give glory to the future temple which would be like the nations. Their SERVICE was not worship in the spiritual sense but EXTERNAL. The made music while priestly DESTROYERS slaugthered innocent animals in an attempt to do their OWN works of self-righteousness after they repudiated God's covenant of grace. They were destroying TYPES of God in Christ in a futile to find peace. Their service was ABODAH:

And they overcame him by the blood of the Lamb, and by the word of their testimony; and they loved not their lives unto the death. Rev 12:11

Apollumi (g622) ap-ol'-loo-mee; from 575 and the base of 3639; to destroy fully (reflex. to perish, or lose), lit. or fig.: - destroy, die, lose, mar, perish.

See Charles Dailey restoring the MUSICAL PROPHESIERS as he STINGS those he considers ignorant.

Id.O.2.98 Pindar, Odes Olympian Odes

[str. 5] Achilles, who laid low Hector, the irresistible, unswerving pillar of Troy, and who consigned to death Memnon [King of Ethiopia, son of Eos and Tithonos] the Ethiopian, son of the Dawn (Venus, Lucifer, Zoe). I have many swift arrows in the quiver under my arm, [85] arrows that speak to the initiated. But the masses need interpreters. The man who knows a great deal by nature is truly skillful, while those who have only learned chatter with raucous and indiscriminate tongues in vain like crows

When the Jewish clergy still afflicted with praying that Dionysus would be their MESSIAH would PIPE hoping that Jesus and His disciples would sing and dance the perverted Dionysus choral. These arrows had something to do with bowing to Baal. Apollo or Abaddon or Apollyon shot love arrows.

The word AUTHORITY Paul outlawed for women (or effeminate men) is AUTHENTIA which is both erotic and murderous.

[ant. 5] against the divine bird of Zeus. Now, bend your bow toward the mark; tell me, my mind, whom are we trying to hit
........ [90] as we shoot arrows of fame from a gentle mind?

I will aim at Acragas, and speak with true intent a word sworn by oath: no city for a hundred years has given birth to a man more beneficent in his mind or more generous with his hand

[epode 5] [95] than Theron [The hunter].

But praise is confronted by greed,
which is not accompanied by justice,
........but stirred up by depraved men,
........eager to babble and to bury the fine deeds of noble men.

Since the sand of the shore is beyond all counting, [100] who could number all the joys that Theron has given others?

9.[1] The resounding strain of Archilochus, the swelling thrice-repeated song of triumph, sufficed to lead Epharmostus to the hill of Cronus, in victory-procession with his dear companions.

[5] But now, from the bow of the Muses who, shooting from afar,

send a shower of such arrows of song as these on Zeus of the red lightning-bolt and on the sacred height of Elis, which once the Lydian hero Pelops [10] won as the very fine dowry of Hippodameia.

[11] And shoot a winged sweet arrow to Pytho [the serpent. Paul healed the Pythian prophetess USED for profit];
........... for your words will not fall to the ground, short of the mark,
........... when you trill the lyre in honor of the wrestling of the man from renowned Opus.

Trill is:

Elelizô move in coils or spires, of a serpent, cause to vibrate, phorminga e. make its strings quiver, quake, tremble, quiver, of a brandished spear, phorminx elelizomena. Asteropan

Asterop-ê, steropê, astrapê, lightning
Phorm-inx as the instrument of Apollo, 2. ph. achordos, metaphor for a bow

Praise Opus and her son; [15] praise her whom Themis and her glorious daughter, the savior Eunomia, have received under their protection; she flourishes with excellence beside your stream, Castalia, and beside the Alpheus. From there the choicest garlands [20] glorify the famous mother-city of the Locrians with her splendid trees.

[21] I am lighting up that dear city with fiery songs, and more swiftly than a spirited horse or a winged ship

[25] I will send that message everywhere, so surely as I, by some destined skill, am cultivating the exquisite garden of the Graces; for they are the givers of delight, but men become brave and skillful by divine will

Grace is Chara or Charis which is Charismatic which is sexual and homosexual.

You might have noticed that the brand new preachers don't say Jesus but Je-Zeus! This is the end time appearance of Lucifer who was cast out of heaven long ago.

Wherefore if they shall say unto you, Behold, he is in the desert; go not forth: behold, he is in the secret chambers; believe it not. Matt 24:26
........ For as the lightning cometh out of the east,
........ and shineth even unto the west;
........ so shall also the coming of the Son of man be. Matt 24:27

And he said unto them, I beheld Satan as lightning fall from heaven. Lu.10:18

Behold, I give unto you power to tread on serpents [ophis or sOPHISts] and scorpions [Abaddon's dug-up locusts or musical performers], and over all the power of the enemy: and nothing shall by any means hurt you. Lu 10:19

The enemy is the adversary or Satan. He is like an adder or other poisonous. Jesus called the Jewish clergy vipers or the sons of the Devil because "they speak on their own."

Astrape (g796) as-trap-ay'; from 797; lightning; by anal. glare: - lightning, bright shining.

Aster (g792) as-tare'; prob. from the base of 4766; a star (as strown over the sky), lit. or fig.: - star.

2. Hêliou astêr, of the planet Saturn

Aster Choerob.):--star (v. astron), aster' opôrinôi Il. 5.5 ; oulios a. 11.62 ; Seirios a. Hes.Op.417 ; a. Arktouros the chief star in the constellation, ib.565, etc.; shooting star or meteor
2. flame, light, fire, E.Hel.1131 (lyr.).
metaphor of illustrious persons, etc., phanerôtaton aster' Athênas E.Hipp.1122 (lyr.); Mousaôn astera kai Charitôn AP7.1.8 (Alc. Mess.)

The muses are the MUSICIANS of Revelation 18:22: they are "prophesiers" peddling songs, sermons and the new GRACE-CENTERED movement:


2. esp. in erotic sense, of favours granted (v. charizomai 1.3 ), charites aphrodisiôn erôtôn Pi.Fr.128 , cf. Pl.Phdr.254a, al.
Charizô , 3. in erotic sense, grant favours to a man, COMEDY.
2. of sound, make it clear to the ear, make it ring clear, aoidên phainein salpinx

Aoidê, Att. contr. ôidê (q. v.), hê, : ( [aeidô] ):--song, whether:

Music has a better repudation for inducing and seducing people into a charismatic, musical worship than any drug.

Aphrodite is ZOE or LUCIFER:

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

Heliou or heylel is LUCIFER which is defined by the PRAISE word

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 celebrate; also to stultify: give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

Which has the same meaning as:

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): eat (as common things), gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

Which explains why Lucifer was CAST out of heaven and showed up as the serpent or nachash or musical enchanter in the garden of Eden. According to Paul he seduced Eve as a new bride is seduced:

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

Workmanship speaks of ANGELS (fallen). It means deputyship, i. e. ministry; general employment (never servile)

If any man teach otherwise, and consent not to wholesome words, even the words of our Lord Jesus Christ, and to the doctrine which is according to godliness; 1 Tim 6:3

He is proud [filled with smoke], knowing nothing, but doting about questions and strifes of words, whereof cometh envy, strife, railings, evil surmisings, 1 Tim 6:4

Tuphô smouldering flax, of the fire of love,

Perverse disputings of men of corrupt minds, and destitute of the truth, supposing that gain is godliness: from such withdraw thyself. 1 Tim 6:5

Workmanship is the use of Lucifer's MUSICAL WORSHIP to make merchandise of people. No one can possibly believe that they can take the high ground and REPUDIATE the direct command to "teach that which has been taught" or glorify God "with that which is written" or refuse to speak "the words of our Lord Jesus Christ."

The other motive is that they are willing to sow discord damage, falsify, create injustice, be the oppressor, or do violence to the peacable kingdom is making merchandise.

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 [Chalal (h2490)] 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

ANTI-imposers of instrumental "worship" may have it all wrong but why is it that EVERY Biblical and historical reference to music as a "worship" concept speaks of pollution, prostitution and identifies one with the "singing and harp-playing prostitute" who INDWELLED the king of Tyre, Babylon and the CIRCE model of the holy whore religion returned to hell in Revelation 18.

The word TREAD is connected to the "sting of a scorpion." Those marked with the Word can defeat Satan by his own sting.

Again, Behold, I give unto you power to tread on serpents and scorpions, and over all the power of the enemy: and nothing shall by any means hurt you. Luke 10:19

Notwithstanding in this rejoice not, that the spirits are subject unto you; but rather rejoice, because your names are written in heaven. Luke 10:20

In that hour Jesus rejoiced in spirit, and said, I thank thee, O Father, Lord of heaven and earth, that thou hast hid these things from the wise [sophists] and prudent, and hast revealed them unto babes: even so, Father; for so it seemed good in thy sight. Luke 10:21

For it is written, I will destroy the wisdom of the wise, and will bring to nothing the understanding of the prudent. 1Co.1:19

In spirit does not mean "charismatically" but IN the SPIRIT of Christ even as we worship God IN the new place of OUR spirit and not in "houses built by human hands" or by the "works of human hands." Satan and his musical enchanters obscure the SUN so that people cannot grasp what is happening until it is too late.

AND the fifth angel sounded, and I saw a star fall from heaven unto the earth: and to him was given the key of the bottomless pit. Rev 9:1

And he opened the bottomless pit; and there arose a smoke out of the pit, as the smoke of a great furnace; and the sun and the air were darkened by reason of the smoke of the pit. Rev 9:2

This is what happened when Solomon dedicated the "like the nation's temple" in 2 Chr.5:13. Because of the darkness produced when all of the music or noise began the priests COULD NOT MINISTER. That is a message to the new swarm of sowers of discord among peacable churches who WILL NOT bow to baal. Click for more details for those with eyes and ears.

And there came out of the smoke locusts upon the earth: and unto them was given power, as the scorpions of the earth have power. Rev 9:3

Smoke is:

Kapn-eios (sc. ampelos), hê, vine. A. with smokecoloured grapes.

Papyri 1.59001.Date: 273BC ; Location: Phil

basilikou sitou, tokou hôs duo drachmôn têi mnai hekastêi ton2 mêna hekaston. apodotô de Isidôros Dionusiôi to 10daneion en 3 mêni Artemisiôi tôi en tôi treis- kaidekatôi etei kai ton tokon. ean de mê apodôi en tôi gegrammenôi chronôi, apotei- satô to daneion hêmiolion, kai hê praxis estô Dionusiôi ek tôn huparchontôn tôn Isidôrou

Dionusiôi ek tôn huparchontôn

Dionusiôi of Dionysus, III. Dionusion, to, fruit of kissos, kissos sacred to Dionysus, oinopos dark-complexioned, wine, black mixed with red. Achne, that which comes to the surface, foam, CHAFF.

Symol of a drakon A. dragon, serpent,

interchangeable with ophis which is the serpent in Revelation. Metaphor ptênon argêstên ophin, of an arrow, A.Eu.181. Click for notes above.

Dionusiôi ek tôn huparchontôn

huparchô begin, take the initiative,

When the NEW STYLE MUSIC or Worship Ministers to "lead you into the presence of God" we know for a fact that this was the SMOKE or MUSIC Apollyon unleashed through the locusts or Muses or musical performers. Fittingly, two major THEMES which overwhelmed all churches was the VINEYARD movement and the NEW WINESKIN theme.

This is the same Dionysus or Zeus worship which the Jewish clergy tried on Jesus Who refused to BOW.

Speaking in tongues or "making music" is equated by Paul in First Corinthians. The sounding and clanging are identical to the NEBEL or HARP which speaks of a vile person. The booming was the bronze echo chamber used in temples and on the battle field to FOOL the FOOLS.

Laleô [lalos]
I. to talk, chat,
prattle, babble
II. the proper sense, to
chatter, is sometimes opposite to articulate speech, as of monkeys, of locusts, to chirp.
III. of
musical sounds, aulôi lalein

Aulos [aêmi to blow] 1. a flute or rather clarionet (for it was played by a mouthpiece, glôssis,

The Judas Bag was for carrying the mouthpieces of wind instruments!

Echeion drum, gong, tambourine, as head-dress, used for stage-thunder, sounding-boards in the theatre
........II. in the lyre, = chalkôma, apptly.
........ a metallic sounding-plate, so of the palate,
2. Adj. êcheion organon sounding instrument

Echetês ( [êcheô] ) clear-sounding, musical, shrill, donax achetas, epithet of the cicada, chirping, êcheta tettix, the chirper, i.e. the male cicada, êcheta porthmon the sounding strait [locusts]

And when they say to you, "Consult the mediums and the wizards who chirp and mutter," should not a people consult their God? Should they consult the dead on behalf of the living? Isa 8:19

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

Echeo (g2278( ay-kheh'-o; from 2279; to make a loud noise, i.e. reverberate: - roar, sound.

However, the word SPEAK or SAY in later literature and in the Bible agrees with Paul's ABOLUTE DEMAND TO speak to one another;

3. in later writers, = legô, speak, Scriptures pointed to are:

So Abram departed, as the Lord had spoken unto him; and Lot went with him: and Abram was seventy and five years old when he departed out of Haran. Gen 12:4

And when the devil was cast out, the dumb spake: and the multitudes marvelled, saying, It was never so seen in Israel. Matt 9:33

For Moses truly said unto the fathers, A prophet shall the Lord your God raise up unto you of your brethren, like unto me; him shall ye hear in all things whatsoever he shall say unto you. Acts 3:22

And he trembling and astonished said, Lord, what wilt thou have me to do? And the Lord said unto him, Arise, and go into the city, and it shall be told thee what thou must do. Acts 9:6

Theron is the god of the BEASTS in the book of Revelation. The INITIATION was musical to HIDE the truth from those who were to be INITIATED into sodomy with Apollo's LOVE ARROWS. The clergy were defined by Jesus as just such CHILDREN in the agora or public assembly place and market who PIPED hoping that He would SING and DANCE the perverted Dionysus choral. They piped, Jesus didn't bow and neither should you. MUSICIANS have always believed that they were the "harem of the gods." While they are reaching a sexual climax with their demon "gods" they are trying to get you to be their sexual partner. History knows no exception.

I can go on and on to prove that the MUSIC ploy began with Lucifer trying to BLEED OFF worship to him or herself. Typified as the king/queen of Tyre she was the "singing and harp playing prostitute." She/he had been in Eden and wholly seduced Eve but Adam went willingly. The story of Wen Amun--a real historical account--shows how the king used the Egyptian female singer to STEAL his property.

History knows of no exception. This is why there is such outright hostility trying to make one word carry the weight of 2,000 years of deliberate discord among both Christians, Jews and Muslims.

The claim that those who will not bow when the pipers pipe are just ignorant southerners is psychological violence.

Stephen in Acts 7 confirms the EVENT and the prophets who prove that God turned them over to worship the starry host. Amos 5f and Isaiah 5f illustrates the form of such pagan musical idolatry. However, not in the most vile pagan temples did singers or musicians or preachers ever enter into the Holy Place as a type of the body or church of Christ. Any singer who attempted to enter into this type of the church or the Most Holy Place would have been executed on the spot.

Other than that, music is always attributed to Satan or to prostitutes. Why would the Jesus who CAST OUT the musical minstrels as one ejects dung then approve instrumental music for CHRISTIAN WORSHIP?

The founding principle is that NOT trying to worship a Spirit God in the new PLACE of the human spirit totally devoted to truth--in spirit and in truth--somehow causes people to see us as fratricidal (brother killers), fire bombers of restaurants and muggers of ladies wearing fur coats. A. Ralph Johnson may know many who will not be cowed into silence and still teach that such "music" is idolatry and founded on paganism but in the old days that was not considered an ATTACK. A attack is when an instrumental church steals the church houses of widows so they can PLEASURE themselves in violation of the first principle of what Paul defined as a "synagogue" in Romans 15.

You can be BLUNT only when you are ACCURATE. If you cannot be accurate then you SHOLD NOT be blunt. There is NO authority for doing what is universally destructive and divisive. Notice how Ralphy tries to SOW DISCORD to divide and conquor. There are now a GOOD sect which does not use instruments and an EVIL, rancorous and rude SECT who just will not affirm Ralph and the church wrecking crew by AGREEING that something universally associated to Satan, prostitutes, Sodomites and the Warrior Levites in the sacrifice of tens of thousands of TYPE of Jesus Christ is NOW SANATIZED. As Rubel Shelly says: we NOW can baptize about ANYTHING and make it Christian. That includes thinking of the S.O.N. God as the S.U.N. God which is APOLLO. Rubel will also JOIN because he has books to peddle.

You have to explain why Jesus CAST OUT the musical ministrels LIKE DUNG while He was doing His healing work. And why the CAST OUT word of Lucifer or Satan means to "play the flute, profane, pollute or prostitute."

Ther is a lot of MESS to clean off music and musicians before those who have NEVER approved of instruments can obey Rubel Shelly and the Stoneites and APOLOGIZE for not affirming their deliberate sowing of discord and then perverting all known truth to make the VICTIM feel guilty. Sure, the musical warrior Levites MOCKED Jesus the same way.

A. Ralph Johnson: Personally, I am much impressed with our non-instrumental and anti-instrumental brethren. Most are intelligent, caring, and God fearing. They love the Lord and cherish the scriptures. I could want no better friends. I regard each of them individually on their own merits,
........ not on the basis of those who have shown rancor and rudeness.

As far as I am concerned, they are some of the best people in the world.

God must have let a few slip in! A common ploy is to paint those who will not JOIN in as ignorant rednecks. It has been true even in the time of Calvin that not using instruments was sold as a sign of mental or spiritual backwardness. Perhaps Ralph Johnson can point out why playing instruments proves that you are smarter than people who just sing. The history known even by Nimrod is that MUSIC IS FOR ENTERTAINMENT and has no other purpose. That is why public speakers, singers and musicians were called PARASITES.

So, please understand that while I write with a sharp pen to pique interest and to puncture fallacies, I have no intention of lumping all together. I simply want people to think so they can free themselves from misconceptions, and further our unity together in Christ.

Didn't Aeschylus above tell us the universal, 100% connection between music AS worship and young men getting their masculinity destroyed was..

...where those who are impaled beneath their spine moan long and piteously. [190]

Did Ralph just say that the anti-instrument position is based on fallacies? Are they under a misconception with most of 2,000 years of scholarship? Are they ENSLAVED by not trying to worship in the human spirit as the NEW PLACE of worship like the closet? Why is the Cain (from a musical note) family the fathers or HANDLERS (meaning without authority or Divine warrant) which used INSTRUMENTS and literal weapons to TAKE CAPTIVE the people so they could sell the people their own animals the SECT which got the MARK for removing people's FREEDOM?

MAKING MUSIC in the presence of a Holy, Spiritual God has been the almost universal way to DELIBERATELY SOW DISCORD. The way to stop the DISCORD is to stop the HARMONY. Certainly: musical harmony creates dissonance which is like the Chinese torture WATER DRIPS or the DOG BARKS in the middle of the night. The harmony MASKS the change of tones but the discording effect is intrinsic in harmony or it would not CREATE such a drug high.

Hide me from the secret counsel of the wicked; from the insurrection (noisy crowd) of the workers of iniquity: Psalm 64:2NIV

They sharpen their tongues like swords and aim their words like deadly arrows. Psalm 64:3

Shanan (h8150) shaw-nan'; a prim. root; to point (trans. or intrans.); intens. to pierce; fig. to inculcate: - prick, sharp (-en), teach diligently, whet.

Whose arrows are sharp, and all their bows bent, their horses hoofs shall be counted like flint, and their wheels like a whirlwind: Is.5:28

Iniquity is:

Aven (h205) aw'-ven; from an unused root perh. mean. prop. to pant (hence to exert oneself, usually in vain; to come to naught); strictly nothingness; also trouble, vanity, wickedness; spec. an idol: - affliction, evil, false, idol, iniquity, mischief, mourners (-ing), naught, sorrow, unjust, unrighteous, vain, vanity, wicked (-ness.) Comp. 369.

People have always known that setting lies to melody is the very best, Satan devised way to prick you real good:

"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 devotees,
.......they have set their lies to melodies, rhythms and meters.

Celsus said that it was well known that "music pertained only to the lowest gods, the demons,

and that the highest divine being had no need of melodies and sounds. And again, Philo claimed that:

One cannot truly offer thanks to God as the vast majority of men do, with external effects, consecrated gifts and sacrifices..., but rather with songs of praise and hymns - not such as the audible voice sings, but such as are raised and re-echoed by the invisible mind. (Philo, De Plantations 126 (II 148 Cohn-Wendland)

Didn't Paul tell us to sing AND make melody IN THE HEART? Didn't Jesus say that God only SEEKS those who can worship in the NEW PLACE of the human heart as it gives heed (worships) to God through HIS words. Didn't Paul say that the converted Jews now worshipped IN THE SPIRIT?

The Greek MUSIC concept almost demands choric dancing. If a religious group has NEVER danced as an act of worship as the Stoneites added SHOUTING as an act of worship, and someone tries to FORCE them to dance and shout and says "bow or burn," and they REFUSE to join in, there is nothing which belongs to the human species which would define them as DIVISIVE.

Is disunity based on people NOT using instruments whereas history proves that every forceful introduction of such machines has radically sowed discord? Even among the Jews who KNEW that the "music" called NOISE by God NEVER had any legitimate role to play outside of Canaan, outside of Jerusalem and outside of the temple COURTS. No, they NEVER played instruments to congregational singing in the Holy Place as a type of the body or church of Christ. A singer, musician or speaker who entered into the Holy Place--even to clean out garbage--would have been executed as a vile sinner. How is it that Ralph Johnson can now INSIST on musicians standing in the Holy Place claiming to "bring you into the presence of God" or as MUSICAL MEDIATORS or you are MARKED as a vile, ignorant sinner. Music always INTENDED to pique or prick ones emotions to SHUT DOWN the rational brain which otherwise would not FUND THE PARASITES known as musician.

To pique one must presume to be a piquer? Can one get pricked on his own pique?

Pique: 1. To wound the pride of; to sting; to nettle; to irritate; to fret; to offend; to excite to anger. 2. To excite to action by causing resentment or jealousy; to stimulate; to prick; as, to pique ambition, or curiosity. 3. To pride or value.

"Men . . . pique themselves upon their skill." - Locke
says that they "blind themselves on the sharp corner of their wit."
"Wars had arisen . . . upon a personal pique." --De Quincey.

Semnunô, exalt, magnify, thus did he throw a cloak of majesty about himself. To be proud of . . , pique oneself on it,

Puncture: Kentêma wound inflicted, sting, k. glôssês [through love of talking] A.Fr.169 ; of poisonous bites, prick, Glosses: the tongue or mouthpiece of a pipe

See the musical locusts and vipers which sting above.

Fallacies: Kseudês of persons, lying, false, to betake oneself to falsehood,

Erasmus had nothing but contempt for people who RIDE on the backs of widows and the poor. He spoke of some monk who was "blinded on the corner of his sharp wit." My mom disputed that I was a wit but allowed that I was at least a half wit. So, when you hoist your pittard it would be nice if you had a horse. Remember, Lucian said that "you can't ride a horse if you don't have a horse" and "you cannot play LYRIC poetry without a LYRE." That is NOT authority for instrumental music AS worship because the early discorders told the Judge in New Bern, TN that IF the organ they were forcing is WAS worship THEN it would be SINFUL. Lucian who made a fortune advising to "play the flute" and cause all of the "fat heads and simpletons" to leave their money, might have said to make fools of us: you cannot ride a MOTORCYCLE without a MOTORCYCLE.

People have THOUGHT for these 2,000 years and almost universally connected MUSIC to pagan idolatry. There is NO music remotely suggested in the Christian System which is a synagogue so any MISconceptions will have to come from people who have SOME KIND OF AGENDA for adding music when they knew when they formed a new SECTARIANISM that they had no authority and NEEDED no authority.

MUSIC after 1850 years of unity among most non-Catholics which repudiated MUSIC as worship was the very thing that created DISCORD and DISUNITY. The STONEITES who followed the charismatic path of the Shouting Methodists came out of a more Anglican background and saw no need to consult the Bible when they wanted to do something. They mistakenly thought that church councils had given them the High Church authority to do whatever they wished-even if they knew that it would sow discord. However, the High Church scheme was never radified just as the Church of England's vote to oust the organ was vetoed by Queen Elizabeth the HEAD of the church who wanted the POMP for civil rituals just as David improvised music for STATE rituals.

Churches of Christ who were the ONLY REFORMERS had roots in John Calvin's RESTORATION MOVEMENT which attempted to move beyond the REFORMATION. Therefore, there is no more likely to UNITY two radically different groups than there is to unite the Church of Christ with the Baptists.

A. Ralph Johnson: In writing this I find myself in much the situation of Paul in 1Cor. 7:8- 11. What I write may seem painful but sometimes a little pain is necessary to get action. Think what is said through carefully. Accept what is true. Discard what is not. I am not insisting that anyone wear a shoe that does not fit. The reader is accountable only to God. Please pray for me as I try to suggest some thoughts for consideration in the problem of a divided house.

There is nothing in the Bible or history to refute the claim that MUSIC intends to INFLICT PAIN. Sure, makes you FEEL "spiritual" but it is the impulse of FIGHT, FLIGHT or SEXUALITY. Nimrod and modern medicine proves it. People who TRAFFICK in religion have known even from the garden of Eden that music is a way to RUB or ABRADE all of the pleasure centers. Melody or PSALLO derives from:

Psocho (g5597) pso'-kho; prol. from the same base as 5567 [psallo=to rub or touch the surface]; to triturate [grind into a fine powder], i.e. (by anal.) to rub out (kernels from husks with the fingers or hand): - rub.

The women at the millstones [perforated and therefore like a flute] or the GRINDERS in Hebrew were concubines or prostitutes who GROUND just as Samson GROUND or rose up to PLAY just as at Mount Sinai and by David moving the Ark.

The "church music" VIBRATES every nerve ending in the body. However, God has created PRIVATE PARTS and sense connections to the brain. This is why the king of Tyre who personified or INCARNATED Lucifer was called the "singing and harp playing prostitute."

Paul in 2 Cor 7: A. Ralph is so certain that a human impulse to become musically sectarian was the gift of God that he wants--as many have stated openly--those who had their property stolen and their lives disruped to REPENT. Apparently if you BLEED on them when they SHOOT you with a literal harp you must repent for being so southern and ignorant. And if you don't sorrow and repent you have death working in you.

For though I made you sorry with a letter, I do not repent, though I did repent: for I perceive that the same epistle hath made you sorry, though it were but for a season. 2 Cor 7:8

Now I rejoice, not that ye were made sorry, but that ye sorrowed to repentance: for ye were made sorry after a godly manner, that ye might receive damage by us in nothing. 2 Cor 7:9

For godly sorrow worketh repentance to salvation not to be repented of: but the sorrow of the world worketh death. 2 Cor 7:10

Before you begin to tremple with your lostness just read the facts and understand that the PRO musical sectarians have built on the sands of error. We grant them permission to do that if they do not boot us out of our churches. However, to be so evangelist in the URGENT NEED to be affirmed by those who have 100% of the truth on their side is a deep-seated urge which goes back to the first attack of Satan using music in at least three dozen accounts we have posted on this site.

For behold this selfsame thing, that ye sorrowed after a godly sort, what carefulness it wrought in you, yea, what clearing of yourselves, yea, what indignation, yea, what fear, yea, what vehement desire, yea, what zeal, yea, what revenge In all things ye have approved yourselves to be clear in this matter. 2 Cor 7:11

Because Paul was an inspired apostle that is a strange place to find oneself: especially when Paul radically OUTLAWED any form of MUSIC or CELEBRATIVE activity when the gathering (synagogue) was uniquely for worship meaning to GIVE HEED TO THE WORD. Remember that Paul told Timothy to LABOR so he could sponsor the AGAPE and then told him to "give attendance to the public reading of the Word." No music.

Just over to the right in chapter ten Paul warns about 'RISING UP TO PLAY' in worship: this was the musical worship of the Egyptian Triad and was idolatrous and caused God to take away THE BOOK OF THE COVENANT and give them THE BOOK OF THE LAW to legislate for the lawless on their way through Canaan and into captivity and death. Yes! this was MUSICAL IDOLATRY. Paul issues the same warning in Romans 10.

See the Egyptian Musical Idolatry background
See the Mount Sinai Musical Idolatry
See how the prophets grasp that this was a BEYOND REDEMPTION fall from grace.

The problem with quoting ancient scholars is that you are apt to dip into the sauce dish and pick up a fish head instead of fish. The scholars who are used to prove that psallo included instruments AFTER Paul wrote did not get a good tidbit out of the sauce dish which was indispensible to the homosexual symposia where the males USED the flute girls for entertainment but NOT for "birth control" while their wives had their own homosexual relationships.

The rule is still 100% as Ralph's examples prove: when any of the psao forms are used the context is of something involving warfare or perverted paganism. When the psallo type words are used they are as far as I can detect ALWAYS attached to another word which defines the singing. You know, the song of the prostitute: "Sing beautiful songs and Play on the harp." Ezekiel 33 repeats this.

Secondly, any WRITER would almost without exception write in ATTIC Greek because the goal was to peddle scribal material to the rich and famous--even the kings.

A. Ralph Johnson: b. The non-Christian world, in and following New Testament times, defined and used Psalmos and psallo to indicate instrumental music.

That is true but the BASE UNDERPINNINGS or "sand" on which the word is built is WARFARE and perverted forms of worship prophesied for the end-times. You can still use OLD ENGLISH but you have to translate it. None of the ANTI-Word sowers of discord can ever find a SINGLE EXAMPLE to prove their point. "Psallo" never meant more than PLUCK or TWANG. Therefore, he will find NO EXAMPLE of anyone defining singing with instruments which does not do the following: (1) sing, and (2) play or pluck and (3) pluck on what? The NAME of what is to be plucked or ground into powder MUST be specificied. The same is true with psalmos which means nothing more than SONG. If you tell someone to SING the 23 Psalm you means JUST SING. No, you don't tell them NOT to play a banjo nor do you tell them NOT to sing Gingle Bells. The rational (spiritual) mind can grasp the meaning of words.

Why would the Spirit of Christ use the term "A-BOMB DROPPING" as the WORD to define CHARITY? They both help clean up cities. NONE of Ralph Johnson's or Tom Burgess' PROOF TEXTS are of the post Biblical writers. ALL of the literature references Ralph etal can find will connect psallo to warfare or perverting music. It NEVER in the Old Testament, Classical Literature, New Testament or the world's history means sing AND play an instrument. You need a word for sing, a word for play or pluck and another word for the instrument.

We can say that psallo is NEVER used in any language at any time to include singing AND plucking AND a named instrument.

Therefore, it is never in the Koine language which God used SPECIFICIALLY to reach the common, working people. The only Koine evidence would probably come out of the later papyri. Not even in the Attic language of preachers and kings does PSALLO as far as I can find include instruments unless they are named.

The word PSALLO has its primary meaning of just PLUCKING. It can mean plucking an old hen or of twanging a bowstring and the sound created. Psallo specificially EXCLUDES using a plectrum or pick and LIMITS its meaning to "pulling with the fingers." Therefore, you CANNOT use any definition of the word and play a guitar with a pick: guitarISTS were known as parasITES. They would pluck or GET plucked to get to sit at a working person's table.

You cannot play the flute because the same word in Hebrew defines "play the flute, pollute and prostitute." You cannot psallo a flute because it has no strings to pluck.

You cannot play a piano because the strings are struck with a hammer and not pulled with the fingers.

You cannot use a pipe organ because it was called a "cist of whistles" and the MARK of BAAL.

You cannot PLAY an electronic organ because it has no strings to pluck with the FINGERS ONLY.

And, Lucian would say, you cannot ride a horse without a horse just as you cannot RECITE lyric poetry without a LYRE. Simple! Lucian wrote in Attic!

If Paul HAD NOT said "make melody IN THE HEART" and just said "sing and make melody" he could NOT have possibly permitted an instrument unless he NAMED the instrument. No one just says PLUCK: you have to tell the person WHAT is to be plucked or it is nonsense.

If Paul had remotely meant to SING and pluck a literal harp he would have used the compound word psalmODIA. I cannot think up an English word which means to SING and PLAY a specific instrument at the same time. If we told out children to sing AND play they would undoubtedly do "ring around the rosy." If we told them to sing they would NOT play the piano. Scripture demands baptism in WATER: there is no command--and the sane need none--"thou shalt not baptize in blood.

Nor, can I think of a word which includes both SPEAKING and SINGING in the external sense. Good reason: it is a physical impossibility. So, why should we try to make a fool out of the Holy Spirit for INVENTING some new language for which we can find no evidence.

Ralph Johnson will find NO Classical or church Father writer who does not connect all forms of MUSIC to the homosexual practices of paganism. All Greek festivals were religious and worship events. Consistent with the Wimber Wineskin Lady, the next to last ACT was having a sexual experience with the "gods" through the god's agents.

A. Ralph Johnson: Anti-instrumentalists claim that psalmos and psallo came to mean a-cappella by New Testament times.

Not a literate one. They probably said and someone missed it that PSALLO means to PLUCK. Nothing more and nothing less. Paul said pluck in the heart. He did not command--and the sane do not need it--thou shalt not pluck a chicken.

Psallo does not DEFINE playing an instrument but it is a known fact that you CAN pluck a harp string. But, they would know that PSALLO issues you a direct command to PREVENT you from blowing a flute. Psallo is inclusive and exclusive: you don't need the "law of silence" if you have any respect for the Words of Christ the Spirit.

Psallo does not DEFINE making a mark with a chalk line but everyone knew that in making the mark you must first PLUCK the line. No! Don't try to PLUCK a chalk line with a GUITAR PICK. And don't try to make a straight line by plucking a guitar--the sane do not need to be told. This proves that psallo is something you do with your FINGERS and no other device. That connects it directly to PLUCK, connects PLUCK to warfare, and connects the BOW and HARP to Apollyon or Abbadon and his muses or locusts.

Psallo does not DEFINE SINGING because Paul used BOTH ode and psallo. Psallo does not INCLUDE singing or Paul would have used just one word. But, the Bible, ancient literature and modern usage knows that we SHOOT out curses against the ANTI-instrumentalists. We have provided numerous examples of people SHOOTING out hymns.

No, A cappella means 'ala castratos' USED by the Pope in the Sistine chapel because no instruments could be used in the worship involving the Pope because he was the agent of Jesus Christ. And no Christian will play music in the presence of the Incarnate God of the universe. Click for the sordid mess. This will connect you to lots of stuff which will define why non-instrumentalists may be stupid but they are NOT like that..... A cappella used a form of singing called ORGANUM or "after the pipe organ." It was the pope's legalism to make a pipe organ out of castrated human voices.

The Greek world is FILLED with proof that PSALLO is not a musical term but a WARFARE word. With the meaning of Abaddon's twanging bow string to send a singing arrow into the LITERAL heart of the enemy one SHOULD understand that the OLD Pagan and therefore Attic psallo--even with allowable changes in the civilized society--was EXCLUDED by prohibiting it from being an OUTWARD thing in a meeting intending to create UNITY through UNISON speaking of "that which is written."

Therefore, it really could matter less: "singing" was "telling" or reciting as we amply prove in our Tom Burgess review. A SHARP person should hear paul say SPEAK, or TEACH or ADMONISH one another using the BIBLE AS RESOURCE. Then, SING and MAKE MELODY in the heart. Why? Why, because making melody or PSALLOING externally meant that you twanged your bowstrinng to send a singing arrow into the literal heart. It has no pure connection with music. Indeed, a sharp pointed person should grasp that you cannot TEACH the WORD of Christ with music. In Romans 15 Paul outlawed PLEASURING yourself. This included getting EXCITED. Then you could with ONE MIND and ONE MOUTH glorify God using "that which is written."

Psalmos is identical to SONG: the first instrument of choice is the HUMAN VOICE according to the Britannica. If you intend something OTHER than the voice then you MUST specify it as ALL of the Old Testament and Greek examples prove. First, the recorded view is that you don't SING and PLAY an instrument at the same time unless you are a prostitute, sodomite or DRUNK: we have lots of proof and NO case of PSALLO being used to include both singing and playing unless the INSTRUMENT IS NAMED.

Paul knew the word psalmODIA if he wanted to include SINGING and PLAYING at the same time. He had lureIST or harpIST if he wanted to specify singing and harping. This and no example in the Greek literature proves that PSALMOS by itself ever includes an instrument unless it is named. Then, of course, they would specify a psalmODIA or a flute-girl if they wanted someone for their festivls. In the often-perverted symposia, if they wanted to "speak to one another" as discourse the would cast out the flute-girls even as Jesus cast them out for His healing session.

There was NO music in the early churches and even much later in the historical churches. As far as I can determine, it was the Christian church which began with the Stoneites who, in 1878, for the first time in history decided that PSALLO actually endorses instrumental "worship."

A. Ralph Johnson: How did they do so? Did first century Christians invent a special language of their own? They lived in the culture of the times and spoke the language in which they were brought up. I give here only a few of the many references that show the instrumental nature of the word. For more examples, see Documents On Instrumental Music by Tom Burgess, or Instrumental Music Is Scriptural by O. E. Payne.

Now, that is sharp: that is EXACTLY what they did. They didn't actually invent but they DEVELOPED a special language which could be understood in most of the world where Greek or Roman traders went even into Britian before the time of Christ. While David "made melody" in his heart as he psalmed on his bed, making meldy IN THE HEART was a radical departure from what the pagans would understand if you combined both ODEING and MAKING MELODY externally. We told you that you cannot use PSALLO and use a plectron BECAUSE psallo is primarily a warfare word of grinding to bits and polluting others. But psallo CHANGED its meaning when it moved from plucking bow strings to plucking harp strings. It had a different meaning when they plucked the hair of the musician-male prostitute in the symposa.

Well, words DID grow obsolete as everyone knows:

Plêk-tron , Dor. plaktron , to, anything to strike with:

1. instrument for striking the lyre, plectrum
spear-point, diobolon p., of lightning, a bee's sting, cock's spur, 4. = pêdalion, 5. goad, 6. = glôssa,

Glôssa 2. obsolete or foreign word, which needs explanation, 3. people speaking a distinct language, III. anything shaped like the tongue 1. in Music, reed or tongue of a pipe,

Paul did not condemn getting HIGH on music and falling into a primitave GIBBERISH as a sign of madness or, if intentional, deliberately MOCKING God. Rather, he condemned speaking their own native dialect which others did not know.

Paul could think of no better CONDEMNATION than to equate it to PLAYING INSTRUMENTS.

Kata-plêktikos, striking, astonishing, terrible, but expressly opp. phoberos in Muson.

Phoberos is similar to phobos of Apollo or fear. The twang of a bowstring creates PANIC. I. Act., causing fear, terrible, 3. Rhetoric: of style, impressive, awe-inspiring,

Phobos creates panic flight. 2. Phobos personified, as son of Ares, I worshipped at Selinus, IG14.268.2. Apollôn thêras phobôi

Striking is also BALLO as when Jesus cast out the musical minstrels as one throws out dung.

Another word for strike is

Paiô, to strike with a beak or instrument of war. 3. drive away, 4. of sexual intercourse,

Aristophanes, Peace The girl has quitted the bath; she is charming from head to foot, belly and buttocks too; the cake is baked and they are kneading the sesame-biscuit; [870] nothing is lacking but the bridegroom's tool. Trygaeus: Let us first hasten to lodge Theoria in the hands of the Senate. Servant: Tell me, who is this woman? Trygaeus: Why, it's the same Theoria.Servant: The one we used to go to Brauron with, to get tipsy and frolic?

5. hit hard in speaking,

Which is the meaning of Children PLAYING in the agora or marketplace.

Paizô , play like a child, sport, dance, 4. play on a musical instrument, ance and sing, 5. play amorously. Similar to the Latin psallo , i, 3, v. n., = Psallô. I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: psallere saltare

They are like unto children sitting in the marketplace, and calling one to another, and saying, We have piped unto you, and ye have not danced; we have mourned to you, and ye have not wept. Lu.7:32

JESUS COULD THINK OF NOTHING MORE VIOLENT by which to desribe those who refused to speak and heare HIS words than to say that they are LIKE children singing an playing instruments. This includes the concept of SEXUAL PLAY because children were often the chorus leaders and sexual "ministers" or the priests who always practiced pederasty.

For those who ASSEMBLE just to hear a speaker God through Ezekiel said:
Indeed, to them you are NOTHING MORE
........... than one who sings love songs (minstrel as a prostitute) with a beautiful voice

and [NOTHING MORE than one who]
........... plays (make melody on) an instrument well,

for they hear your words
........... but do not put them into practice. Eze 33:32


If you are in the middle of trying to panic the enemy warriors, the Generaly screams PLUCK [psallo] and everyone just seems to know that he is not telling you to MAKE MUSIC and SING simultaneously. The twanging bowstrings were, however, ZITHERS.

If the harp-girl [prostitute almost without exception] is standing in the symposium and someone says PLUCK she will probably [but not always] pluck her harp strings. If you tell the male musical performer to PLUCK he probably grasps that he needs to get attention from the HAIR PLUCKERS. If a singer is getting reading to sing, Socrates might raise his hand and say, "SHOOT" and the singer knows to BELT OUT a song.

But PLUCK never at any time ORIGINALLY meant or CAME not to mean "singing with instrumental accompaniment." You simply MUST know that the performer would understand just WHAT to pluck. The absolute proof is that none of the ANTI-Biblical performers can find a Biblical or any other literature where PSALLO meant to SING to the HARMONY of a musical instrument.

Word mean different things at different places and often depending on tradition.

Plato in Cratylus lists many of the changes to the Attic even in 360 B.C.

Her. Yes, Socrates, I can conceive no correctness of names other than this; you give one name, and I another; and in different cities and countries there are different names for the same things; Hellenes differ from barbarians in their use of names, and the several Hellenic tribes from one another.

Soc. Shall I tell you what I suspect to be the true explanation of this and several other words?-

My belief is that they are of foreign origin.
For the
Hellenes, especially those who were
under the dominion of the
barbarians, often borrowed from them.

Soc. To say that names which we do not understand are of foreign origin; and this is very likely the right answer, and something of this kind may be true of them;
........... but also the original forms of words may have been lost in the lapse of ages;
........... names have been so twisted in all manner of ways, that I should not be surprised if the old
........... language when compared with that now in use would appear to us to be a barbarous tongue.

Soc. Nor uttered nor addressed? For example: If a person, saluting you in a foreign country, were to take your hand and say: "Hail, Athenian stranger, Hermogenes, son of Smicrion"- these words, whether spoken, said, uttered, or addressed, would have no application to you but only to our friend Hermogenes, or perhaps to nobody at all?

Crat. In my opinion, Socrates, the speaker would only be talking nonsense.

Soc. Well, but that will be quite enough for me, if you will tell me whether the nonsense would be true or false, or partly true and partly false:- which is all that I want to know.

Crat. I should say that he would be putting himself in motion to no purpose; and that his words would be an unmeaning sound like the noise of hammering at a brazen pot.

This to Paul was speaking in tongues which was like playing instruments to SPEAK.

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

People who write lexicons or dictionaries do not have a first century TEXT BOOK. They define PSALLO based on how it is used in the GREEK LITERATURE. They found what I have found: there is NO example of psallo meaning both to sing and play at the same time. While the word PSALMOS is metrical and CAN be twanged out on the steps of a harp, it does not DEMAND or even INCLUDE instruments. A song MAY BE played. Therefore, I know of no exception to the rule that when a PSALM is sung the name of the INSTRUMENT which makes melody (maybe three or more notes with no harmony) is ALWAYS INCLUDED: The "song of the prostitute" included SINGING of songs and MAKING MELODY with a harp.

The "musical" content was inserted because they believed that Paul was speaking about MUSIC. Older scholars grasped that one twangs out or shoots out an arrow and one also shoots out a song: Psallo is NOT a musical term but a WARFARE word. I will look at some of Ralph's proof texts later. For now:

Josephus: (A.D. 70)

A. Ralph Johnson: So Samuel, when he had given him these admonitions, went away. But the Divine Power departed from Saul, and removed to David; who, upon this removal of the Divine Spirit to him, began to prophesy. But as for Saul, some strange and demoniacal disorders came upon him, and brought upon him such suffocations as were ready to choke him; for which the physicians could find no other remedy but this, That if any person could charm those passions by singing [exadein] and playing [psalein], upon the harp,

CHARMING is not what we want to perform in ASSEMBLY. Better leave incantation, charming, magical earrings, enchantment, orators or performance prayer to the WITCHES of Endor.

Adam Clark notes of a later event of prophesying:

The next day an evil spirit from God came forcefully upon Saul. He was prophesying in his house, while David was playing the harp, as he usually did. Saul had a spear in his hand 1 Sam 18:10

"He prophesied in the midst of the house. He was beside himself; made prayers, supplications, and incoherent imprecations: 'God preserve my life,' 'Destroy my enemies,' or such like prayers, might frequently escape from him in his agitated state. The Arabic intimates that he was actually possessed by an evil spirit, and that through it he uttered a sort of demoniacal predictions." (Clark, 1 Sam 18, p. 270).

"In ancient times, says Justin, kings used a spear instead of a diadem: And as spears were the emblems of supreme power, hence they were reputed as attributes of the Divinity, and were worshipped as representatives of the gods." (Adam Clark, 1 Sam. 18, p. 270)

God was allowing David's music to drive Saul "over the edge." The spear was Saul's badge of superiority: he didn't even need a priest to make an animal sacrifice. By driving Saul into charismatic prophesying or 'making self vile' people would hold Saul in contempt as they originally had.

"Most likely, Israel first became acquainted with ecstatic prophecy in Canaan, where it was connected with Baal religion. The Egyptian story of Wen Amon tells of a religious festival in the Phoenician port of Byblos where 'the god seized one of the youths and made him possessed'--that is, he fell into an ecstatic state.

Centuries later, prophets of Baal, imported from Phoenicia,
worked themselves into an ecstatic frenzy on the top of Mount Carmel as they danced around the altar, cut themselves with knives, and raised their cultic shouts (I Kings 18:20-29).

This type of orgiastic prophecy was also known in Asia Minor, from which it spread into the Mediterranean world and later took the form of the orgies of the cult of Dionysus" (Bernard Anderson, Theology of the O.T., p. 229). (This always included musical instruments)

"The ecstatic condition appears to have been normal to the prophetic guilds of the period of the judges and the early kingdom, and for the first time in 1 Sam. 10:5-10, 19:20-24 the contagiousness of the condition comes to light, in the case of Saul.

"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).

"The Hithpa'el of nb', in the ancient texts, refers to ecstasy and delirium rather than to the emission of a 'prophecy'." (de Vaux, Roland, The Bible and the Ancient Near East, p. 243 Doubleday

"Maniac inspirations, the violent possession which threw sibyls and priestesses into contortions--the foaming lip and streaming hair and glazed or glaring eyes-- have no place in the self-controlling dignity of Christian inspiration. Even Jewish prophets, in the paroxysm of emotion, might lie naked on the ground and rave (1 Sam. xix. 24);

but the genuine inspiration in Christian ages never obliterates the self-consciousness or overpowers the reason. It abhors the hysteria and stimulation and frenzy which have sometimes disgraced revivalism and filled lunatic asylums." (Pulpit Commentary, 1 Cor., p. 460).

"In the environment in which Christianity arose was surcharged with such phenomena (raving prophecy). In the Greek oracles messages were uttered by priests or priestesses in a state of ecstasy,

consciousness being in abeyance, and it was necessary to interpret them to the laity, as both Plutarch and Heraclitus testify... In the orgies of the cult of Dionysus music, dancing, drink, and other means were employed to supereninduce the ecstatic state, in which the devotees ate raw flesh, disported themselves with frenzied enthusiasm in the forests, and indulged in wild phallic excesses.

The ecstatic person was 'in the divinity' and out of normal consciousness. Cicero makes prophecy and madness practically synonymous." (Clark, Elmer T., The Small Sects in America, p. 86, Abingdon)

"The religious ecstasy induced by music expressed itself either in an outburst of emotions,
thus giving rise to religious
........ or in a transfer to the state of prophecy. [Lord, Lord sayers]

In this way music became an important factor in divination.
In the mysteries of the
Magna Mater this relationship between music and divination is particularly clear.
........ Through the din of tambourines, cymbals and flutes
........ the ecstatic worshiper of the goddess prophesied the future to those present.

I would MAKE SELF A PROPHET if I said: "Jesus will return tomorrow." However, I would be a false prophet. I would likely NOT sing the truly anti-Biblical and erotic praise songs unless I first fell into "prophesying" which meant to sing and play instruments to PIQUE my pleasure centers. Paul would see us as DRUNK on wine or on passion and pride or perverted.

A. Ralph Johnson has been blinded by his own statement: it is a Biblical and literary fact that while a SONG is metrical and the tune can be twanged out with a harp, it is also a fact that when the SINGING word is used an instrument, if intended, is always named. Ralph Johnson has just quoted another WITHOUT EXCEPTIONS from Josephus.

A. Ralph Johnson: they advised them to inquire of such a one, and observe when these demons came upon him and disturbed him, and to take care that such a person might stand over him,

One: and play [psalein]
Two: upon the harp
Three: and recite hymns to him....skillful in
........... playing [psalein]
........... ........... on the harp, and
........... in singing [exadein]
........... ........... of hymns,...
........... whensoever it was that it came upon him, and this by

One: reciting of hymns, and
Two: playing [psalein]
Three: upon the harp... -Antiquities, Bk. 6, chap. 8, #2; Pages 185-186. (6.166 Whiston)

If PSALEIN included BOTH singing and PLAYING on a harp then why did the Spirit of Christ use two words. This proves the point. Furthermore, psalein ia not psalmos or psallo. Singing is NEVER used to include both VOCAL reciting and playing an instrument.

This was not "worship" but singing Saul's swan song as CHARMING or EXORCISM:

Exaidein dunamenos kai psallein epi kinurai

Exaidô , A. sing out, sing one's last song, of the swan 2. sing the exodos, of a chorus II. sing away by means of a spell

"Jingling, banging, and rattling accompanied heathen cults, and the frenzying shawms of a dozen ecstatic cries intoxicated the masses. Amid this euphoric farewell feast of a dying civilization, the voices of nonconformists were emerging from places of Jewish and early Christian worship ..." (Encyclopedia Judaica, 1971 ed., s.v. "Music."

exaidein dunamenos kai psallein epi kinurai

Dunamai I. to be able, strong enough to do, having influence with him, c. of things, mean, 'spell',

Cunning of David is yada (h3045) includes prognosticator, regard, have respect, skilful, shew, can (man of) skill, be sure, of a surety, teach, (can) tell, understood, have [understanding], * will be, wist, wit, wot.

For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil. Ge.3:5

exaidein dunamenos kai psallein epi kinurai

Psallein psallo meaning purely to play or pluck

exaidein dunamenos kai psallein epi kinurai

Kinura A. kinnor, a stringed instrument played with the hand, LXX 1 Ki.16.23; with a plectron, J.AJ7.12.3. However, Josephus says:

The viol was an instrument of ten strings, it was played upon with a bow; the psaltery had twelve musical notes, and was played upon by the fingers;

Of this event, Josephus reads:

they advised them to inquire for such a one, and to observe when these demons came upon him and disturbed him, and to take care that such a person might stand over him, and play upon the harp, and recite hymns to him.

Only if Ralph has some demon-possessed people should they perhaps "call for the musicians" and let them play over him.

Playing or plucking has no meaning unless you define WHAT is to be plucked WITH THE FINGERS ONLY, please. If you have DEMONS you want to introduce into the "worship assembly" then be my guest.

stanta psallein te kai tous humnous epilegein.

Kêleô, A. charm, bewitch, beguile, esp. by music epaidôn k. charm by incantation, kêleitai aoidais

Epaeidô means to sing AND play 2. sing as an incantation, sing to one so as to charm or soothe him, use charms or incantations, by means of charms

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. Is.19:3

Furthermore, this was not singing but RECITING by David.

Epilegô, 2. . say besides, repeat, 4. . utter, pronounce a spell (cf.epeipon ), rhêsin mustikên. III 2. . in Hdt. also, con over, read, 3. . recount, in speaking

Or in Latin

Recito , a-vi, a-tum, 1, v. a. I. In the best prose, a publicist's t. t., to read out, recite a document.. it became customary to recite one's own works before audiences; cf.: pronuntio, declamo): B. To repeat from memory, say by heart, recite.

The "pharmakea" or sorcery in the book of Revelation were written enchantments or incantations to perform magic. Remember that Saul had turned to the Witch of Endor and that her 'familiar spirit' was an old wineskin or water skin. It produced a hollow sound or echo. This is quite identical to the meaning of the nebel or harp and of the "sounding brass" of 1 Cor. 13. God then used the young child David to perform magic or exorcism as a sign or MARK for those with eyes and ears.

Steve Mason, Professor (Humanities & Ancient History notes that: Things that didn't sound particularly Pharisaic in his writing could easily be explained away by his notorious opportunism: he would happily "Hellenize" certain concepts for the benefit of his Greek-speaking audience, and to this end he didn't mind corrupting his true beliefs quite badly. It seemed reassuring to know that, no matter what stunts he pulled for his own dubious ends, we knew what he really was. In fact, from time to time his allegedly despicable character was cited as but further evidence--in addition to the gospels--of what was held to be the sordid character of all Pharisees.

In any case, Josephus was writting for the offended Hellenists who considered him a traitor and he would NOT have written in the Koine. Assuredly, the Attic Greek language continued but there are NO instances we can find where either Zamar or Psallo INCLUDES both singing and playing.

Neither Psallo nor Zamar DEFINE both singing and playing: BOTH are used where the action is BOTH to sing or rather RECITE a song and emphasize the specific NOTE with the same tone on the harp.

In the same way the English SONG might be used in connection with playing an instrument but it does not MEAN to play an instrument.

When God gave Moses his song at the Red Sea, he and others RECITED it because they were in 'synagogue' and the purpose was to teach the song so that the rest of the two or three million could learn it. Miriam, whose name means bitter waters, decided to lead the women OUT to escape and just sang one little part with clanging brass and tinkling cymbals and dancing because the MUSIC word almost demands dancing. Click to see how Miriam helped facilitate idolatry.

One of the things well known by science is that MUSIC entertains by inducing spiritual anxiety. At the beginning it sounds good but in time--as the pagans knew--the soul SWELLS UP and you get a backlash and fall into what Paul called MADNESS. Music was most valuable in this activity. Perhaps this, as is much of the story, a secret message which associates MUSIC with the charismatic prophesying.

And it came to pass on the morrow, that the evil spirit from God came upon Saul, and he prophesied in the midst of the house: and David played with his hand, as at other times: and there was a javelin in Sauls hand. 1 Sam 18:10

And A. Ralph Johnson agrees: "And when the evil spirit again came upon him to trouble and confuse him, he called David to the chamber wherein he lay, and, holding his spear in his hand, bade him charm away the spell with his harp [psalmoi] and songs [humnois]. -Antiquities, Bk. 6, Chap. 9, #3 (6.213 Whiston)

For, behold, I will send serpents, cockatrices, among you, which will not be charmed, and they shall bite you, saith the Lord. Jer 8:17

The wicked are estranged from the womb: they go astray as soon as they be born, speaking lies. Jer 58:3

Their poison is like the poison of a serpent: they are like the deaf adder that stoppeth her ear; Jer 58:4

Poison is plural of: Chauwah (h2332) khav-vaw'; causat. from 2331; life-giver; Chavvah (or Eve), the first woman: - Eve.

In all contemporaneous literature, Eve or ZOE is directly connected to Lucifer who was the "singing and harp-playing prostitute" in the garden of Eden. If you cannot read the PARABLES you will allow women and children to rule over you.

Which will not hearken to the voice of charmers, charming never so wisely. Jer 58:5

Break their teeth, O God, in their mouth: break out the great teeth of the young lions, O Lord. Jer 58:6

Let them melt away as waters which run continually: when he bendeth his bow to shoot his arrows, let them be as cut in pieces. Jer 58:7

One cannot help but notice that Josephus is paraphrasing the Old Testament where the Greek Version existed from one to two hundred years before he was born. I don't believe there was a Greek Version in Koine! The MUSIC-INDUCED charming or soothing was an end-time MARK of the beast.

Such CHARMING is like sorcery: this was NOT an act of worship but a MARK that Saul was lost and beyond redemption. When people are totally repudiated by God he may allow "music" to soothe away the delusions:

Josephus Book 8 chapter 8. God MARKED Saul with music as one for whom we should have no further concern. This is also why Jesus spoke to the clergy in Parables.

And when Samuel mourned for him, God bid him leave off his concern for him, and to take the holy oil, and go to Bethlehem, to Jesse the son of Obed, and to anoint such of his sons as he should show him for their future king. But Samuel said, he was afraid lest Saul, when he came to know of it, should kill him, either by some private method or even openly. But upon God's suggesting to him a safe way of going thither....

(2)[166] 2. So Samuel, when he had given him these admonitions, went away.
........But the Divine Power departed from Saul,
........and removed to David; who,
........upon this removal of the Divine Spirit to him, began to prophesy.

But as for Saul, some strange and demoniacal disorders came upon him, and brought upon him such suffocations as were ready to choke him; for which the physicians could find no other remedy but this, That if any person could charm those passions
........... by singing,
.. .......... ......................and
........... playing
........... ..... ................. upon
........... the harp,

Charm in the Greek is;

Epaeidô sing to or in accompaniment, sing as an incantation, sing to one so as to charm or soothe him, use charms or incantations. Cant = An incantation, charm, spell,

Note: if "singing and playing the harp" is implied in Bill Swetmon's use of psallo then we must of necessity translate this passage as follows:

By singing and
By [1] singing and [2] playing upon the[3] harp

This is also true of Ephesians 5:19. It does not say "singing and singing on a harp in the heart." It puts the speaking on the outside with the absolute demand to teach the Words of Christ. The melody is on the inside where its "abrading" meaning implies to "break the heart." It does not mean to celebrate ala voodoo.

This is why it is impossible to read SPEAK or PREACH and not understand the words to mean sing.

Josephus condemns those who would SOW DISCORD by adding music by relegating its value only to the mental conditions of mankind who have LOST connection to the Head.

they advised them to inquire for such a one, and to observe when these demons came upon him and disturbed him, and to take care that such a person might stand over him,

and play upon the harp,
and recite hymns to him.

(16) Accordingly Saul did not delay, but commanded them to seek out such a man. And when a certain stander-by said that he had seen in the city of Bethlehem a son of Jesse, who was yet no more than a child in age, but comely and beautiful, and in other respects one that was deserving of great regard,

who was skillful in playing on the harp,
and in
singing of hymns,

Note 1: 1 Spanheim takes notice here that the Greeks had such singers of hymns; and that usually children or youths were picked out for that service; as also, that those called singers to the harp, did the same that David did here, i.e. join their own vocal and instrumental music together.

Or, if Bill Swetmon is right, we must translate this:

Who was skillful in singing
........... and playing on the harp
and in
singing of hymns

[and an excellent soldier in war,]

Psallo is a WARFARE word and NOT a musical word. One twangs and one shoots out hymns but one does not TWANG a bow and SHOOT hymns unless they are sounding a Saul's doom.

he sent to Jesse, and desired him to take David away from the flocks, and send him to him, for he had a mind to see him, as having heard an advantageous character of his comeliness and his valor. So Jesse sent his son, and gave him presents to carry to Saul. And when he was come, Saul was pleased with him, and made him his armor-bearer, and had him in very great esteem; for

he charmed his passion,
and was the
only physician against the trouble he had
from the demons,

whensoever it was that it came upon him,
and this by
reciting of hymns, and playing upon the harp,
and bringing Saul to his right mind again.

Modern research admits that music may have some advantage in calming those suffering mental illness. Even this, therapists insist, should be very simple or even single, pure tones (as in unison). They are also agreed that one can play music and bring on an "evil spirit" which, if God's will is ignored, is from the Lord.

The church needs musical physicians or soothsayers only if it is possessed of a mad demon. Because we know that God permitted the temple for civil-state animal sacrifices, and because of the 'like the nation's sacrifices," the loud noise DURING animal sacrifices is identified as exorcism.

However, he sent to Jesse, the father of the child, and desired him to permit David to stay with him, for that he was delighted with his sight and company; which stay, that he might not contradict Saul, he granted.

And when Samuel mourned for him, God bid him leave off his concern for him. It is historical in The Book of Enoch, Jubilees, Adam and Eve and three dozen accounts of how Satan seduced people to NOT WAIT FOR GOD, God turned them over, as at Mount Sinai, to "worship the starry host."

"God, the Great Physician had abandoned Saul and told Samual not to be concerned with him anymore. Only then was the MUSICIAN the "only physician" who could soothe Saul's delusions. The short lapse into sanity was the last gasp of lucidity.

See how Elisha sending for a harpist to "prophesy" was the MARK of God's judgment against the family of Ahab andJezebel. The king was led to destroy his source of income!

Click to see that Josephus connects the MUSICAL LEVITES to the destruction of the nation with music.

As David PLANNED to use the surplus Levites as temple musicians for the STATE TEMPLE, Josephus shows how that was repeated in his time. Click to see how the MUSICAL LEVITES are treated by Joshepus.

This makes my point: MELODY and music was associated with WARFARE or helping the King keep everyone on the job even as slaves building Solomon's temple.

Furthermore, Paul made it so clear that no one WHO HAS NOT BEEN DELUDED can grasp that he was not speaking of MAKING MUSIC but of TEACHING the inspired Word. Remember that Jesus said of the twos and threes: "Come learn of me."

So, the PSALLO argument which was first DISCOVERED by the Christian church preachers in 1878 can no more be seen as an ACT OF LEGALISTIC WORSHIP more than shooting the deacons with a real bow.

6. Now as many of the Levites, (26) which is a tribe of ours, as were singers of hymns, persuaded the king to assemble a sanhedrim, and to give them leave to wear linen garments, as well as the priests

for they said that this would be a work worthy the times of his government, that he might have a memorial of such a novelty, as being his doing.

Nor did they fail of obtaining their desire; for the king, with the suffrages of those that came into the sanhedrim, granted the singers of hymns this privilege, that they might lay aside their former garments,

and wear such a linen one as they desired; and as a part of this tribe ministered in the temple,
........ he also permitted them to learn those hymns as they had besought him for.
........ Now all this was contrary to the laws of our country, which,
........ whenever they have been transgressed,
........ we have never been able to avoid the punishment of such transgressions.

See the Catholic Restoration of the Levites.

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