Max.Lucado.Instrumental.Music.In.Worship 

Lynn Anderson etal: 3.  If  “safety” is the goal,  isn’t it “safer” to go with the overwhelming abundance of scripture that supports instruments, rather than the silence of a portion of the text? 

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There is not one single passage of Holy Scripture that ever said that a person ever worshipped by preaching, listening, singing, playing an instrument, acting or PAY TO PLAY.

Josh. 5:14 And he said, Nay; but as captain of the host of the LORD am I now come. And Joshua   
       FELL ON HIS FACE to the earth,
        and did WORSHIP, and said unto him, What saith my lord unto his servant?
Dan. 2:46 Then the king Nebuchadnezzar FELL ON HIS FACE, and WORSHIPED Daniel,
        and commanded that they should offer an oblation and sweet odours unto him.
2Chr. 20:18 And Jehoshaphat bowed his head with his face to the ground:
        and all Judah and the inhabitants of Jerusalem
        FELL BEFORE THE LORD
        WORSHIPING THE LORD.
1Cor. 14:25 And thus are the secrets of his heart made manifest;
        and so FALLING DOWN ON HIS FACE
        will WORSHIP God, and report that God is in you of a truth.
Rev. 7:11 And all the angels stood round about the throne,
        and about the elders and the four beasts,
        and FELL before the throne on their faces,
        and WORSHIPPED God,
Rev. 11:16 And the four and twenty elders, which sat before God on their seats,
        FELL UPON THEIR FACES and WORSHIPPED God,

Warning about the Instrumental-Trinitarian-Perverted Pollution at Mount Sinai.

Heb. 12:27 And this word,
        Yet once more, signifieth the removing of those things that are shaken,
        as of things that are made, that those things which cannot be shaken may remain.
Heb. 12:28 Wherefore we receiving a kingdom which cannot be MOVED,
        let us have grace, whereby we may serve God acceptably with REVERENCE and godly fear:
Heb. 12:29 For our God is a consuming fire.

-mŏvĕo, to move, affect, excite, inspire: charms, to stir up, excite, provoke
to move people FROM their place, to dance, gesticulating

“cantus vocis juvat sociatā nervorum concordiā,” Quint. 5, 10, 124: citharam cum voce,” id. ib. 5, 112: “tympana,” id. H. 4, 48; to disturb: “ d. ib. 5, 112:Kithera along with Voice.

tympana id. H. 4, 48; beaten by the priests of Cybele and Isis Mount Sinai Bacchantine females 1 Cor 13

Emasculated Galatians 5 of witchcraft
to disturb: “novis Helicona cantibus,”

The psaltery a triangular instrument similar to a harp, produced gentler sound and would be more suitable for somewhat restrained and low-key events, as would be the kithara, an instrument similar to the lyre.

Both were traditional instruments played in a variety of events, public and private, and were often accompanied by song, either by the performer him/herself or a singer.  Aristotle attests that those musicians came from the lower social strata, and many of them, both men and women, were prostitutes hired to entertain guests in private parties.⁶ 

A play of Anaxandrides was entitled Kitharistria while the masculine Kitharistes was the title of plays by Antiphanes and Menander, which might also refer to male sex workers. Antiphanes, Klearchos, Alexis, Nikon, Anaxippos, Diphilos and Sophilos wrote plays entitled  (kithara player and singer), where the gender could be either masculine or feminine. Moreover there are numerous specific references to psaltery and kithara players employed as prostitute entertainers. Aeschines, for example, attests that Misgolas, one of the alleged lovers of Timarchos, had a reputation for being very fond of kithara boys, while Antiphanes and Alexis confirm this with jokes about Misgolas and his kithara boys.⁶⁹

The BEAST from the EARTH exerciseth all the POWER of the first BEAST before him,
        and causeth the earth and them which dwell therein
        to worship the first BEAST, whose deadly wound was healed. Rev. 13:12

CONTRARY AND ANTITHETICAL to the worship of God, THE WORSHIP OF THE BEAST is--

Thera^p-euō   II.   do service to the gods, athanatous, theous th., Hes.Op.135, Hdt.2.37, X.Mem.1.4.13, etc.; “daimona” Pi.P.3.109; Dionuson, Mousas, E.Ba.82 (lyr.), IT1105(lyr.); th. Phoibou [“Apollon”] naous serve them, Id.Ion111 (anap.): abs., worship, Lys.6.51; do service or honour to one's parents, E.Ion183 (lyr.), Pl.R.467a, Men.91a; serve, wait upon a master, Id.Euthphr.13d, cf. Ar.Eq.59, 1261, etc.; th. tas thēkas reverence men's graves, Pl.R.469a.
APOLLYON- Phoebus , i, m., = Phoibos (the radiant), I. a poetical appellation of Apollon as the god of light: “quae mihi Phoebus Apollon, Val. Fl. 1, 228: “Circe,” [CHURCH AS WORSHIP CENTER] daughter of Sol, Petr. 135.—

Phoebus , i, m., = Phoibos (the radiant), I.a poetical appellation of Apollo as the god of light: “quae mihi Phoebus Apollon, Val. Fl. 1, 228: “Circe,” daughter of Sol, Petr. 135.—

B. Phoe-bēus , a, um, adj., Phœbean, Apollinean: “carmina,” Lucr. 2, 504: “lampas,” the sun, Verg. A. 4, 6: “virgo,” Daphne, Ov. P. 2, 2, 82: “laurus,” id. Tr. 4, 2, 51: “Rhodos,” where the worship of Apollon prevailed, id. M. 7, 365: “lyra,” id. H. 16, 180: “sortes,” oracle, id. M. 3, 130: “tripodes,” id. A. A. 3, 789: “Phoebeā morbos pellere arte,” id. F. 3, 827.—

Female Worship Leader C. Phoebas , ădis, f., a PRIESTESS of Apollo; hence the inspired one, the PROPHETESS Ov. Am. 2, 8, 12; id. Tr. 2, 400; Luc. 5, 128; 165.

-therap-ōn  henchman, attendant [1] “Mousaōn [2] therapontes”

[1]   Mousa music, song [3 below]  stu^ger-os , Mousa “kanakhan .       theias antiluron mousas”
        II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308   
        Muses as:   moisan pherein      LADED BURDEN
        Muses as:   adokim-os , disreputable, discredited, reprobate,
       Muses as:   “kanakhan . . theias antiluron mousas 

                         clanging and harp-players   

Max.Lucado.and.Anathema

Anyone or anything dedicated to ADORN the Worship or Temple of God CANNOT be redeemed and must be BURNED.

Max.Lucado.Trinity.and.Blasphemy

1Tim. 2:5 For there is ONE GOD,
        and one mediator between God and men,
        the MAN Christ Jesus;

The Holy Spirit (Divine Breath) or COMFORTER is named Jesus Christ the Righteous in 1 Timothy 2

BOTH MALE AND FEMALE ARE TO BE SILENT IN THE ASSEMBLY WHICH NEVER HELD WORSHIP SERVICES

1Tim. 2:2 For kings, and for all that are in authority;
        that we may lead a quiet and peaceable life in all godliness and honesty.
1Tim. 2:3 For this is good and acceptable in the sight of God our Saviour;
1Tim. 2:4 Who will have all men to be saved,
        and to come unto the knowledge of the truth.

There is ONE man, Jesus of Nazareth into whose MOUTH God put His WORD.  The WORD is truth is, Logos, Regulative principle OUTLAWING rhetoric, listening, singing, playing instruments, acting or PAY FOR PLAY.  Even school boys were permitted to READ in the Synagogue while the OVERSEEING ELDER made certain that any reader would not even add inflections of his voice.

1Tim. 2:6 Who gave himself a ransom for all, to be TESTIFIED in due time.
1Tim. 2:7 Whereunto I am ordained a preacher [Heral: not pulpists], and an apostle,
        (I SPEAK the truth in Christ, and lie not;) a teacher of the Gentiles in faith and verity.

THE TESTIMONY OF JESUS IS THE WORDS OF THE SPIRIT TO THE PROPHETS.

The ONLY way to WORSHIP:

Rev. 19:10 And I FELL AT HIS FEET to worship him.
        And he said unto me, See thou do it not:
        I am thy fellowservant, and of thy brethren
        that have the TESTIMONY of Jesus: worship God:
         for the TESTIMONY of Jesus IS the SPIRIT of prophecy

The Glorified Jesus of Nazareth was given the PROMISE or Evangelistid ROLE ass Holy Spirit. When His words are recorded they are:

John 6:63 It is the SPIRIT that quickeneth;
        the flesh profiteth nothing:  [None of Max Lucado's TRAFFICK]
        the WORDS that I SPEAK unto you, they are SPIRIT, and they are LIFE.

1Cor. 15:45 And so it is written,
        The first man Adam was made a living soul;
         the last Adam was made a quickening SPIRIT.

AGAIN: Lynn Anderson was a primary SOWING OF DISCORD at Highland and ACU.  He was involved to help DECEIVE Oak Hills which is not even a claimed Baptist Church:

Lynn Anderson etal: 3.  If  “safety” is the goal,  isn’t it “safer” to go with the overwhelming abundance of scripture that supports instruments, rather than the silence of a portion of the text?  

There is not one single passage of Holy Scripture that ever said that a person ever worshipped by preaching, listening, singing, playing an instrument, acting or PAY TO PLAY.

There is no reason that Lynn Anderson or any of the ACU-Highland massive sowers of discord should know that he just spoke a lie. Liars and SORCERERS (influence through music) will be or are being CAST ALIVE INTO THE LAKE OF FIRE.

Neither SABBATH nor PAUO (Greek) ever held a WORSHIP SERVICE. REST demands STOP anything done by the works of anyone's hands: it means for male and female to be SILENT so that we might ALL come to a knowledge of the truth.

God never called HIS people of their rest  to WORSHIP any WORKS OF Hands of men..

Acts.17.25.God.Not.Worshipped.Mens.Hands.html

Acts 17:48 Howbeit the most High dwelleth not in temples made with hands; as saith the prophet, Acts 17:49 Heaven is my throne, and earth is my footstool:          what house will ye build me? saith the Lord: or what is the place of my rest? Acts 17:50 Hath not my hand made all these things? Sorry you INVESTED in that new Edifice which was well designed to accomodate a Musical Worship Team always leading to what they SELL as Musical Worship.  However, "worship" means to submit on your face always INFERIORIOR nad REVERENT.  The way you CANNOT worship the One True God nor even claim to be a Christian or Student-only Therapeou is widely used of "to heal."  APOLLYON is the Washer, leader of the LOCUSTS or MUSES His musical worship team of prostitutes becomming SHEPHERDESSES. g2323. therapeuo, ther-ap-yoo´-o; from the same as 2324; to wait upon menially, i.e. (figuratively) to adore (God), or (specially) to relieve (of disease): — cure, heal, worship. belonging to Paeon, medicinal, healing paiōn-ios “pharmaka   3. enchanted potion, philtre: hence, charm, spell, Od.4.220 sq., Ar.Pl.302, Theoc.2.15, PSI1.64.20 (i B. C.); “pharmakois ton andr' emēnen” Ar.Th.561; toiauta ekhō ph. such charms have I, Hdt.3.85, cf. Apoc.9.21. Revelation 9.21 They didn't repent of their murders, nor of their sorceries, nor of their sexual immorality, nor of their thefts. Rev. 18:20 Rejoice over her, thou heaven, and ye holy apostles and prophets; for God hath avenged you on her. Rev. 18:21 And a mighty angel took up a stone like a great millstone, and cast it into the sea, saying, Thus with violence shall that great city Babylon be thrown down, and shall be found no more at all. Rev. 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev. 18:23 And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. Rev. 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Aesch. Ag. 488 Now blessings on the land, blessings on the light of the sun, and blessed be Zeus, the land's Most High, and the Pythian lord; [510] and may he launch no more his shafts against us. Enough of your hostility did you display by Scamander's banks; but now, in other mood, be our preserver and our healer, O lord Apollo. And the gods gathered here, I greet them all; him, too, my own patron, [515] Hermes, beloved herald, of heralds all revered; and the heroes2who sped us forth, I pray that they may receive back in kindliness the remnant of the host which has escaped the spear.   Acts 17:25 Neither is WORSHIPPED with MEN'S HANDS hands,         as though he NEEDED any thing, seeing HE giveth to all life, and breath, and all things; g2323. THERAPEUO, ther-ap-yoo´-o; from the same as 2324; to wait upon menially, i.e. (figuratively) to adore (God), or (specially) to relieve (of disease): — cure, heal, worship. -therap-ōn  henchman, attendant “Mousaōn therapontes” music, song stu^ger-os , Muses (Rev 18) as Apollon's Worshiip Team were known as hated prostitutes, 2. gen. hadou [ein' Aidao domoisi in the nether world, with nouns in adjectival sense, devilish, “thuousan ha. mēter'”  Erōs Aphroditēs th thera^p-euō   to be an attendant, do service,  Dionuson, Mousas, E.Ba.82     “daimona , etc.; “daimona” Pi.P.3.109;  , IT1105(lyr.); th. Phoibou naous serve them, Id.Ion111 (anap.): abs., worship, Eur. Ba. 82 Chorus     Blessed is he who, being fortunate and knowing the rites of the gods, keeps his life pure and [75] has his soul initiated into the Bacchic revels, dancing in inspired frenzy over the mountains with holy purifications, and who, revering the mysteries of great mother Kybele, [80] brandishing the thyrsos, garlanded with ivy, serves Dionysus. Go, Bacchae, go, Bacchae, escorting the god Bromius, child of a god, [85] from the Phrygian mountains to the broad streets of Hellas—Bromius, Mousa  II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308 (anap.); “euphamos” Id.Supp.695 (lyr.); “kanakhan . . theias antiluron mousas Dios aigiokhoio thugateres  [Daughters of Zeus whatever the sex] Pind. P. 3 was stricken by the golden [10] arrows of Artemis in her bedroom         and descended to the house of Hades, by the skills of Apollo. The anger of the children of Zeus is not in vain.         But she made light of Apollo, in the error of her mind,         and consented to another marriage without her father's knowledge,         although she had before lain with Phoebus of the unshorn hair [110] But if a god were to give me luxurious wealth, I hope that I would find lofty fame in the future. We know of Nestor and Lycian Sarpedon, whom men speak of, from melodious words which skilled craftsmen join together. Through renowned songs excellence [115] gains a long life. But few find that easy to accomplish. thera^p-eia   I. of persons, th. tōn theōn service paid to the gods  worship of ApolloN Agyieus, E.Ion187; 2. service done to gain favour, paying court,   worshipper, “Apollōnos” Pi.O. 3.16, cf. Pl.Phd.85a  “Mousaōn “kanakhan [clanging brass, gnashing of teeth, . . theias antiluron mousas”   aulōn sound of flutes, of the lyre, theias  etheiazon obtained inspiration through ritual A.to be inspired, frenzied Apollō, Apollon was the god of MELODY: he carried the LYRE to seduce male or female. He carried the Bow to make the strings TWANG to send a SINGING arrow into male or female who did not submit.  He is the only personified SPIRITUS and He was, from Egypt onward, the Leader of the Muses.  His musical worship team were known as LOCUSTS and dirty adulteresses. GREEK Acts 17:25 Neither is WORSHIPPED with MEN'S HANDS hands,         as though he NEEDED any thing, seeing he giveth to all life, and breath, and all things; cŏlo    to cultivate, till, tend, take care of a field, garden, a COMPOSITION. Most freq. of the reverence and worship of the gods, and the respect paid to objects pertaining thereto, to honor, respect, revere, reverence, worship:   Of the gods: colere aliquem locum, to frequent, cherish, care for, protect, be the guardian of, said of places where they were worshipped, had temples,  “carmina,” id. A. A. 3, 341: “cultiores doctioresque redire,” Gell. 19, 8, 1: “sermone cultissimus,” Aur. Vict. Epit. 45.—Adv.: cul-tē , elegantly: Phoebe  [APOLLON] silvarumque potens Diana... o colendi Semper et culti,” “Mercurium,” Caes. B. G. 6, 17: “Apollinem nimiā religione,” Curt. 4, 3, 21: “Cererem secubitu,” 2.  Of the honor bestowed upon men Veneror venerari et colere deos, [ZEUS]  “spectacula edentes, Venus-Lucifer 1. Act. collat, form vĕnĕro , āre: “saluto te, vicine Apollo, veneroque te, Ne, etc.,” Plaut. Bacch. 2, 1, 4: “ut venerem Lucinam meam,” id. Truc. 2, 5, 23. Caes. Gal. 6.17 They worship as their divinity, Mercury in particular, and have many images of him, and regard him as the inventor of all arts, they consider him the guide of their journeys and marches, and believe him to have great influence over the acquisition of gain and mercantile transactions. Next to him they worship Apollo, and Mars, and Jupiter , and Minerva; respecting these deities they have for the most part the same belief as other nations: that Apollo averts diseases, that Minerva imparts the invention of manufactures, that Jupiter possesses the sovereignty of the heavenly powers; that Mars presides over wars. To THE ANTETHESIS OF CHRIST'S ELDERS WHO FEED WITH "THAT WHICH HAS BEEN TAUGHT" THE WORSHIP GOD DETESTS: boukol-os , ho,  goat herd, gadfly, II. worshipper of Dionysos in bull-form, 2. b. tou Osorapi devotee of Sarapis, Apollod. 2.1 2 Apollodorus identifies the Argive Apis with the Egyptian bull Apis, who was in turn identified with Serapis （Sarapis）. As to the Egyptian Apis, see Hdt. 2.153 （with Wiedemann's note）, iii.27, 28. As to Apia as a name for Peloponnese or Argos, see Aesch. Supp. 260ff.; Paus. 2.5.7; Scholiast on Hom. Il. i.22; Tzetzes, Scholiast on Lycophron 177; Stephanus Byzantius, s.v. Apia. Amos 5:26 But ye have borne the tabernacle of your Moloch and Chiun your images,         the STAR of your god, which ye made to yourselves. Acts 7:41 And they made a calf in those days,         and offered sacrifice unto the idol,         and rejoiced in the works of their own hands Acts 7:42 Then God turned,         and gave them up to worship the HOST of heaven;          as it is written in the book of the prophets,         O ye house of Israel,  have ye offered to me slain beasts and sacrifices         by the space of forty years in the wilderness? Amos 5:27 Therefore will I cause you to go into         captivity beyond Damascus,         saith the LORD, whose name is The God of hosts. Hdt. 2.153  Psammetichus having made himself master of all Egypt, he made the southern outer court of Hephaestus' [Tubal Cain]  temple at Memphis, and built facing this a court for Apis, where Apis is kept and fed whenever he appears; this court has an inner colonnade all around it and many cut figures; the roof is held up by great statues twenty feet high for pillars. Apis in Greek is Epaphus Hdt. 2.59 The Egyptians hold solemn assemblies not once a year, but often. The principal one of these and the most enthusiastically celebrated is that in honor of Artemis at the town of Bubastis1 , and the next is that in honor of Isis at Busiris. [2] This town is in the middle of the Egyptian Delta, and there is in it a very great temple of Isis, who is Demeter in the Greek language. [3] The third greatest festival is at Saïs in honor of Athena; the fourth is the festival of the sun at Heliopolis, the fifth of Leto at Buto, and the sixth of Ares at Papremis. Mercŭrĭus , ii, m., = Hermēs, I.Mercury, the son of Jupiter and Maia, the messenger of the gods; as a herald, the god of dexterity; in speaking, of eloquence; the bestower of prosperity; the god of traders and thieves; the presider over roads, and conductor of departed souls to the Lower World: http://www.pineycom.com/EzekHeliopolis.html "'This is what the Sovereign LORD says: "'I will destroy the idols and put an end to the images in Memphis (This was Apis, the bull). No longer will there be a prince in Egypt, and I will spread fear throughout the land. Ezek 30:13 And I will make Pathros desolate, and will set fire in Zoan, and will execute judgments in No. Ezek 30:14 And I will pour my fury upon Sin, the strength of Egypt; and I will cut off the multitude of No. Ezek 30:15 And I will set fire in Egypt: Sin shall have great pain, and No shall be rent asunder, and Noph (Memphis) shall have distresses daily. Ezek 30:16 The young men of Heliopolis and Bubastis will fall by the sword, and the cities themselves will go into captivity. Ezek 30:17 Dark will be the day at Tahpanhes when I break the yoke of Egypt; there her proud strength will come to an end. She will be covered with clouds, and her villages will go into captivity. Ezek 30:18 or Tehaphnehes [Note: in the classical writers one of the primary motives of having a flute girl was so that they could make fun of her. Hand clapping was a way to show contemp for the looser.] Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Ezek 33:30 And they come unto thee as the people cometh, and they sit before thee as my people, and they hear thy words, but they will not do them: for with their mouth they shew much love, but their heart goeth after their covetousness. Ezek 33: 31   And, lo, thou art unto them as a very lovely song of one that hath a pleasant voice, and can play well on an instrument: for they hear thy words, but they do them not. Ezek 33: 32   And when this cometh to pass, (lo, it will come,) then shall they know that a prophet hath been among them. Ezek 33: 33  Egeb (h5690) eh'-gheb, from 5689; love (concr.), i. e. amative words: - much love, very lovely. Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover. And when thou art spoiled, what wilt thou do? Though thou clothest thyself with crimson, though thou deckest thee with ornaments of gold, though thou rentest thy face with painting, in vain shalt thou make thyself fair; thy lovers will despise thee, they will seek thy life. Je.4:30

MAX LUCADO IS NOT A CHRISTIAN. Jesus and Paul told me so. A Christian is a Disciple who is a STUDENT: the commanded resources are the PROPHETS and, notes Jesus, other prophecies CONCERNING ME.
  
John 8:31 Then said Jesus to those Jews which BELIEVED on him,
        IF you continue in my WORD,  Check LOGOS below for the Regulative Principle which outlaws ANY works of human hands.
        THEN are ye my disciples indeed;

Max Lucado BLASPHEMES: Jesus and John told me so.
Max Lucado MOCKS Jesus: Mark and the Prophets told me so.
MAX LUCADO is ANTIChrist or ANTI Christian John
MAX LUCADO IS A PROFESSIONAL HYPOCRITE: The Spirit through Ezekiel and Jesus.
MAX LUCADO IS "WISE" OR A "SOPHISTS": Jesus said that God HIDES from Him.
God HATES MAX LUCADO.  Proverbs 6 and singers-musicians in a holy place (Amos 8)

Worship of the Almighty, if you comprehend, is to FALL ON YOUR FACE.  Hebrews 11 says that the MOVEO meaning the music of the Instrumental-Trinitarian--Perverted "play" at Mount sinai, if you do not come before God in Reverence and Godly fear you do not know that you have nothing to offer in the way of "the works of human hands" and if you DO those works this is the MARK of being Cast Alive Into the Lake of fire.

Heb. 12:27 And this WORD, Yet once more,
        signifieth the removing of those things that are shaken, as of things that are made,
        that those things which cannot be shaken may remain.
Heb. 12:28 Wherefore we receiving a kingdom which cannot be MOVED, let us have grace,
        whereby we may serve God acceptably with REVERENCE and godly fear:
Heb. 12:29 For our God is a consuming fire.

ignis ” raving, inspiration, Stat. Ach. 1, 509: “quae simul aethereos animo conceperat ignes, ore dabat pleno carmina vera dei,” Ov. F. 1, 473: “

carmina    tune, song; poem, verse; an oracular response, a prophecy; a form of incantation (cf.: cano, cantus, and canto). 
a tune, song, air, lay, strain, note, sound, both vocal and instrumental (mostly poet.; in prose, instead of it, cantus;
“per me (sc. Apollinem) concordant carmina nervis,   “harundineum,” id. Tr. 4, 1, 12: “socialia carmina,” id. H. 12, 139: “barbaricum,” id. M. 11, 163.—With allusion to playing on the cithara A magic formula.  On account of the very ancient practice of composing forms of religion and law in Saturnian verse, also a formula in religion or law, a form:

Incentor, o-ris, m. [id.] , one who sets the tune or begins to sing, a precentor, singer (post-class.).

I. Lit.: carminis, Paul. Nol. Carm. 15, 32 : [1] incentore [2] canam [3] Phoebo [4] Musisque [5] magistris, Avien. Perieg. 895 ; Isid. 6, 9, 13.--

II. Trop., an [A] inciter, exciter: [B] IGNEUS [C] turbarum, Amm. 15, 1, 2 : civilis belli, Oros. 5, 19 : rebellionis [renewal of war] totius, id. 6, 11 . Flamen Hislop

Incensor I. one who kindles or sets fire to, II. Trop., an inciter, instigator: turbarum,
Rom. 3:16 Destruction and misery are in their ways:
Rom. 3:17 And the way of peace have they not known:
Rom. 3:18 There is no fear of God before their eyes.

--Hor. Carm. 2.16  For ease the Mede, with quiver gay: For ease rude Thrace, in battle cruel: Can purple buy it, Grosphus? Nay, Nor gold, nor jewel.  No pomp, no lictor clears the way 'Mid rabble-routs of troublous feelings, Nor quells the cares that sport and play Round gilded ceilings. -mŏvĕo, to move, affect, excite, inspire: charms, to stir up, excite, provoke to move people FROM their place, to dance, gesticulating “cantus vocis juvat sociatā nervorum concordiā,” Quint. 5, 10, 124: citharam cum voce,” id. ib. 5, 112: “tympana,” id. H. 4, 48; to disturb: “ d. ib. 5, 112:Kithera along with Voice. tympana id. H. 4, 48; beaten by the priests of Cybele and Isis Mount Sinai Bacchantine females 1 Cor 13 Emasculated Galatians 5 of witchcraft to disturb: “novis Helicona cantibus,”	Always evil: always violent: Identical to Psallo pulso I. inf. parag. pulsarier, Lucr. 4, 931), 1, v. freq. a. id., to push, strike, beat (cf.: tundo, ferio, pello). Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” (harp)  Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62. A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet: C. To drive away, remove, put out of the way Psalmus , i, m., = psalmos, i. q. psalma, I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, 2 Sal. Cat. 25 she was skilled in Greek and Roman literature; she could sing, play, and dance,2 with greater elegance [elegantius] than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions    2 Sing, play, and dance] “Psallere, saltare.” Elego I. to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215. TO RECRUCIFY CHRIST: Anastatoo (g387) an-as-tat-o'-o; from a der. of 450 (in the sense of removal); prop. to drive out of home, i.e. (by impl.) to disturb (lit. or fig.): - trouble, turn upside down, make an uproar, to stir up, excite, unsettle to excite tumults and seditions in the state to upset, unsettle, minds by disseminating religious error.
With double dyes; a small domain, The soul that breathed in Grecian harping, My portion these; and high disdain Of ribald carping. vulgus (volg- ),  the great mass, the multitude, the people, public “vulgo loquebantur, sperno , to despise, contemn, reject, scorn, spurn, “doctrina deos spernens  Despise the doctrines of God	Elego I. to convey away (from the family) by bequest, to bequeath away, Petr. 43, 5; Gai. Inst. 2, 215. TO RECRUCIFY CHRIST: Anastatoo (g387) an-as-tat-o'-o; from a der. of 450 (in the sense of removal); prop. to drive out of home, i.e. (by impl.) to disturb (lit. or fig.): - trouble, turn upside down, make an uproar, to stir up, excite, unsettle to excite tumults and seditions in the state to upset, unsettle, minds by disseminating religious error.
Lego  A. In gen.: “oleam, The sweet smell of an offering. 1. To take out, pick out, extract, remove:  2. To pluck, strip, gather fruit from (a tree, etc.): “oleam qui legerit,” Cato, R. R. 144, 1: “ficus non erat apta legi, 5. To take to one's self unjustly, to carry off, steal, purloin, plunder, “soceros legere et gremiis abducere pactas,” Verg. A. 10, 79     Abducto 3. To carry away forcibly, to ravish, rob:  rhetori tradendus, abducendum protinus a grammaticis putem,” Quint. 2, 1, 12: Abduction from allegiance, study religious scruples, fear of God	lēgo  2. recount, tell over, 13. recite what is written, “labe to biblion kai lege” Pl.Tht.143c; Lexis , eōs, hē, (legō B) A.speech, OPPOSITE. ōdē, Pl.Lg.816d; 4. text of an author, opp. exegesis, Lexiko^s , ē, on, A.of or for words, lexikon (sc. biblion), = lexeis (v. “lexis”
Harping at a temple: poetry, a poem, song: “summā dicende Camenā, lŏquor ,  “deliramenta,” id. Am. 2, 2, 64: “quas tu mulieres quos tu parasitos loquere,” id. Men. 2, 2, 47:	lŏquor , 1. To speak out, to say, tell, talk about, mention, utter, name: “loquere tuum mihi nomen,” Plaut. Men. 5, 9, 7; id. Aul. 2, 1, 15:
Quint. Inst. 2 1.1 THE custom has prevailed and is daily growing commoner of sending boys to the schools of rhetoric much later than is reasonable: this is always the case as regards Latin rhetoric and occasionally applies to Greek as well. The reason for this is twofold: the rhetoricians, more especially our own,        have abandoned certain of their duties        and the teachers of literature have undertaken tasks which rightly belong to others [2] For the rhetorician considers that his duty is merely to declaim and give instruction in the theory and practice of declamation and confines his activities to deliberative and judicial themes, regarding all others as b the dignity of his profession;

-Plato Laws 10 [885d] that before threatening us harshly, you should first try to convince and teach us,
        by producing adequate proofs, that gods exist,
        and that they are too good to be wheedled by gifts and turned aside from justice.
For as it is, this and such as this is the account of them we hear from those who are reputed the best of poets -[poiētōn], orators [rhētorōn], seers -[manteōn], oida], priests [hiereōn], and thousands upon thousands of others; and consequently most of us,
        instead of seeking to avoid wrong-doing,
        do the wrong and then try to make it good.

-manti^s pl. mantides Suid.s.v. Sibulla:— diviner, seer, prophet,. of Apollo and Cassandra, Id.Ag.1275; of the Pythian priestess, II. a kind of grasshopper, the praying mantis, Mantis religiosa

-10.[909a] shall hold intercourse with them, save only those who take part in the nocturnal assembly, and they shall company with them to minister to their souls' salvation by admonition; and when the period of their incarceration has expired, if any of them seems to be reformed, he shall dwell with those who are reformed, but if not, and if he be convicted again on a like charge, he shall be punished by death.

But as to all those who have become like ravening beasts, and who, besides holding that the gods are negligent

[909b]  or open to bribes, despise men, charming the souls of many of the living, and claiming that they charm the souls of the dead, and promising to persuade the gods by bewitching them, as it were, with sacrifices, prayers and incantations,1 and who try thus to wreck utterly not only individuals, but whole families [Oikia household] and States for the sake of money

PROGRESSIVES OR THOSE SPEAKING ON THEIR OWN, SAYS JESUS, AS SONS OF THE DEVIL.  Jesus SPOKE what the FATHER Put into His MOUTH (the meaning of SPIRIT). He said that the osns of the Devil DO what they have seen with their father:

Devil Do: poiētai 4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn 

Epos  joined with muthos,     1. song or lay accompanied by music, 8.91,17.519.
2. fiction (opp. logos, historic truth),  THE REGULATIVE PRINCIPLE

Hdt. 1.23 Periander, who disclosed the oracle's answer to Thrasybulus, was the son of Cypselus, and sovereign of Corinth. The Corinthians say (and the Lesbians agree) that the most marvellous thing [Lying Wonders] that happened to him in his life was the landing on Taenarus of Arion of Methymna, brought there by a dolphin. This Arion was a lyre-player second to none in that age; he was the first man whom we know to compose and name the dithyramb¹ which he afterwards taught at Corinth.

1 The dithyramb was a kind of dance-music particularly associated with the cult of Dionysus.

Devil Do: LATIN:   făcĭo ,  to make in all senses, to do, perform, accomplish, prepare, produce, bring to pass, cause, effect, create, commit, perpetrate, form, fashion,  operor Lying Wonder,  “poëma,” to compose, id. Pis. 29, 70: “carmina,” Juv. 7, 28: “versus,” id. 7, 38: “sermonem,” Cic. Fam. 9, 8, 1; cf. “litteram,” id. Ac. 2, 2, 6: ludos, to celebrate, exhibit, admirationem alicujus rei alicui,” to excite [the Laded Burden],

Devil Do: carmen
 I.a tune, song; poem, verse; an oracular response, a prophecy; a form of incantation (cf.: cano, cantus, and canto). note, sound, both vocal and instrumental “also versus, numeri, modi): carmen tuba ista peregit ( = sonus),” Enn. Ann. 508 Vahl.: “carmine vocali clarus citharāque Philammon,” Ov. M. 11, 317; cf. “vocum,” id. ib. 12, 157: “per me (sc. Apollinem) concordant carmina nervis

“barbaricum,” id. M. 11, 163.—With allusion to playing on the cithara: The Moher o Harlots in John 17 “Carminibus Circe socios mutavit Ulixi,

Devil Do:   Commercium sermonis,”   7  In mercant. lang., to practise, exercise, follow any trade or profession:  8. In relig. lang., like the Gr. rhezein, to perform or celebrate a religious rite; to offer sacrifice, make an offering, to sacrifice:

Devil Do: Mousa   II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308 (anap.); “euphamos” Id.Supp.695 
“Kanakhan .Clanging Brass
 Theias  as many as made them hope by divinations, Madness caused by Ritual
        worship as divine, “Puthagoran  [Of the Cosmos, the Ecumenical, Kingdom of the Devil."
Antiluron mousas” S.Tr.643 (lyr.);  PLAYING THE LYRE
“Aiakō moisan pherein”I. bear or carry a load,  A Laded Burden

PROOF ONE: WHY MAX LUCADO AND THE POST-BIBLICAL THEOLOGIANS CANNOT BE CHRISTIANS.

John 8:28 Then said Jesus unto them,
        When ye have lifted up the Son of man,
        then shall ye know that I am he, and that I do nothing of myself;
        but as my Father hath taught me, I speak these things.
John 8:29 And he that sent me is with me:
        the Father hath not left me alone;
        for I do always those things that please him.
John 8:30 As he SPAKE these words, many believed on him.
John 8:31 Then said Jesus to those Jews which believed on him,
        IF ye continue in my WORD, then are ye my disciples indeed;

God is made AUDIBLE when Jesus spoke what God put into His mouth. Jesus said that these words are Spirit and Life. Max Lucado goes beyond that which is written and is therefor ANTI-WORD and therefore ANTI-CHRIST. Here is what any decent Greek would NOT do without being booted for Gender-Bleed.

Romans 15 Speaking that which is WRITTEN for our LEARNING is not a LAW but the MARK of a Lost Spirit who shivers in the Church as UMBRELLICUM in silence:

Logos  computation, reckoning 2. statement of a theory, argument, ouk emeu alla tou l. akousantas prob. in Heraclit.50; logon ēde noēma amphis alētheiēs discourse and reflection on reality,
IV. inward debate of the soul, reflection, deliberation
Regulative and formative forces, derived from the intelligible and operative in the sensible universe,

Opposite to epithumia
 A. desire, yearning, longing after a thing, desire of or for it, Theaomai :--gaze at, behold, mostly with a sense of wonder, 3. view as spectators
Opposite Pathos  A. that which happens to a person or thing, incident, accident,  Moralizing Rhetoric
Opposite Poiein to excite passion, Arist.Rh.1418a12; V. Rhet., emotional style or treatment,
Opposite Enthousi-astikos , ē, on, A. inspired, “phusis” Pl.Ti.71e; esp. by music,
Prose,  OPPOSITE -poiêsis, Id.R.390a;
OPPOSITE -poiêtikê, D.H.Comp.6; OPPOSITE poiêmata, onomatopoeic word
OPPOSITE  emmetra Modus   2. The measure of tones, measure, rhythm, melody, harmony, time; in poetry, measure, metre, mode: Mūsĭcus a, um, adj., = mousikos.
X. the Word or Wisdom of God, personified as his agent in creation and world-government,

Theologians are doomed to call God a liar or INCOMPETENT.  If God had wanted any kind of music in the tuneful sense He was INTELLIGIBLE But denied by C. Leonard Allen.

mousikos kai melōn poētēs” 2. generally, votary of the Muses,  The Muses were the LOCUSTS unleashed with Apollon their "musical worship leaders." The Greek and Latin literature identifies them as dirty adulteresses

http://www.pineycom.com/DocHesTheog.html
[25] the Muses of Olympus, daughters of Zeus who holds the aegis: “Shepherds of the wilderness,
        wretched things of shame, mere bellies,
        we know how to speak many false things as though they were true;
        but we know, when we will, to utter true things.”
            ...and they bade me sing of the race of the blessed gods that are eternally,
                but ever to sing of themselves both first and last.
pharma^kon 3. enchanted potion, philtre: hence, charm, spell, Od.4.220 sq., Ar.Pl.302, [Circe, Church, Corinth mother of harlots]  Theoc.2.15

The singers [Muses], instrument players and craftsmen as sorcerers in Revelation 18.

CONCLUSION: Max Lucado makes up his own songs and sermons and SELLS THEM to.
Second, a Christian understands that no one in Scripture ever worshipped (FELL ON THEIR FACE) by preaching, by listening to a speech, by singing, by playing an instrument, acting, or PAY FOR PLAY.

By definition, according to Jesus, those who SPOKE on the WORD will be hated, hounded and never rich and famous.

Acts.17.25.God.Not.Worshipped.Mens.Hands
Apollyon, Apollo, Apollyon is the god worshipped and the leader of the Locusts or his musical worship team.
Litteral worship means to FALL ON YOUR FACE.  Worship IN Spirit (place) bows to the WORD or Regulative Principle.  You cannot MERCHANDISE God and be part of the WAY that is called a SECT.

Jude warns that the Instrumental-Trinitarian-Perverted PLAY will marked by rejecting ONCE delivered Word, Logos or inclusive-exclusive Regulative Principle: They were FOREORDAINED. No honest preacher can be Rich and Famous: you have to SELL YOUR SOUL.

Unleashed from the Smokey Pit: Apollyon leader of the Locusts-Muses Shepherdesses-Prostitutes.

https://www.youtube.com/watch?v=rUj3SQi-xT0

Ov. Met. 11.146
When Pan had doone, the sacred Tmole to Phebus turnd his looke,
And with the turning of his head his busshye heare he shooke.
Then Phebus [Apollineos] with a crowne of Bay uppon his golden heare
Did sweepe the ground with scarlet robe. In left hand he did beare
His viol made of precious stones [ gemma] and Ivorye intermixt.

Ăpollĭnĕus , a, um, adj. id.,

I.relating or belonging to Apollo (only poet.): “urbs,” i. e. Delos, where Apollo was born and specially honored, Ov. M. 13, 631: “proles,” i. e. Æsculapius, id. ib. 15, 533: “mater,” i. e. Latona, Stat. Th. 11, 12: “vates,” i. e. Orpheus, Ov. M. 11, 8: ars, both the art of soothsaying, id. Ib. 264, and that of healing, id. Tr. 3, 3, 10: “cantus,” id. M. 11, 155 et saep.

gemma “multas in digitis, plures in carmine gemmas Invenies,” Mart. 5, 11, 3:

My friend Stella, Severus, wears on his fingers sardonyxes, emeralds, diamonds, jaspers. Though there are many gems on his fingers, there are more in his verses, whence, I conclude, his hand is so decorated.  ³ See Ep. 8.

carmen , “also versus, numeri, modi): carmen tuba ista peregit ( = sonus),” Enn. Ann. 508 Vahl.: “carmine vocali clarus citharāque Philammon,” Ov. M. 11, 317; cf. “vocum,” id. ib. 12, 157: “per me (sc. Apollinem) concordant carmina nervis
5. A magic formula, an incantation:  incantamenta carminum, “Carminibus Circe socios mutavit Ulixi

http://www.pineycom.com/Isa30LXX.html
Is. 30:32 And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it.

Ezek. 28:13 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. [Cast as Profane]

Ovid: And in his right hand for to strike,
        his bowe was redy fixt.
He was the verrye paterne of a good Musician ryght
Anon he gan with conning hand
        the tuned strings to smyght.

plectrum   The PSALLO foundation of the musicators OUTLAWS the plectrum.  It only permits striking a bow or lyre string with the FINGERS.

artĭfex  artificibus eos auloedos esse, qui citharoedi   artifices scaenici,
A maker, originator, author, contriver: Also for a sly, cunning contriver, inventor of a thing (cf

căno   [cf. kanassō, kanakhē, konabos; clanging bronze  to utter melodious notes, to sing, sound, play. A. Of men: “si absurde canat, “tibia canentum   “harundine,    [flute]  “cithara,”

Ovid: The sweetenesse of the which did so the judge of them delyght,
That Pan was willed for to put his Reedepype in his cace,
And not to fiddle nor to sing where viols were in place.

pello , 4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205;
1. To drive out or away, to banish, expel: Phoebeā morbos arte, 
2. To beat, conquer, overcome
morbus  B. Grief, sorrow, distress:  “nomen insaniae significat mentis

4. Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck, Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown,

NO LAW OF GIVING.

The Tabret or Drum has the same meaning as Topheth or Hell: musical instruments are always used by God to drive His enemies into HELL or CAST ALIVE INTO THE LAKE OF FIRE.  The Instruments are removed from any Church at the same time Jesus comes and removes the candlestick of seven spirits OF Divine Truth.  Max gets his PATTERN for the use of instruments from 2 Chronicles 29: the instrument players performed for INFANTS, then GOATS and back to INFANTS.  The DRUMS are to make the LAMBS dumb before the slaughter.

Any thing or PERSON who has been devoted to ADORN a religious place can never be redeemed and must be BURNED.

RANDY FRAZEE STRUMS FOR MAX LUCADO   The use of a banjo pick VIOLATES the meaning of PSALLO so is self-condemned by using psallo as authority to sow discord and trust on grace to save him.

BEGINNING BABYLON MOTHER OF HARLOTS: NO REASON THAT MAX LUCADO OR ANY THEOLOGIAN REPLACING THE BIBLE SHOULD KNOW THAT THEY ARE IN PROPHECY

END TIME BABYLON MOTHER OF HARLOTS: Apollon's Muses or Locusts as his musical worship team are filthy prostitutes: fruits

Theophilus invented the TRIAS concept and marks modern trinitarians as does 1 John as ANTICHRIST. Both the neo-trinity and female or effeminate leadership aree products of women or the effeminate.  Paul said that Eve was WHOLLY SEDUCED and Cain was OF that wicked one:

This Eve, on account of her having been in the beginning deceived by the serpent, and become the author of sin, the wicked demon, who also is called Satan, who then spoke to her through the serpent, and who works even to this day in those men that are possessed by him, invokes as Eve.⁵⁸ And he is called "demon" and "dragon," on account of his [a0podedrake/nai] revolting from God. For at first he was an angel. And concerning his history there is a great deal to be said; wherefore I at present omit the relation of it, for I have also given an account of him in another place.
        And to Enoch was born a son, by name Gaidad; who begat a son called Meel; and Meel begat Mathusala; and Mathusala, Lamech. And Lamech took unto him two wives, whose names were Adah and Zillah. At that time there was made a beginning of polygamy, and also of music. For Lamech had three sons: Jabal, Jubal, Tubal. And Jabal became a keeper of cattle, and dwelt in tents; but Jubal is he who made known the psaltery and the harp; and Tubal became a smith, a forger in brass and iron. So far the seed of Cain is registered;

[Cain is derived from a Musical Instrument and Lances: He is the FATHER of those who handle musical instruments without authority: Handle means in a sexual sense.]

⁵⁸ Referring to the bacchanalian orgies in which " Eva " was shouted, and which the Fathers professed to believe was an unintentional invocation of Eve, the authoress of all sin.

The word "abomination" is also key to understanding the context. In Hebrew, the word "to 'evah," (abomination) is almost invariably linked to idolatry. In the passages from which both verses are taken, God tells Moses to tell the people not to follow the idolatrous practices of the people around them, people who sacrificed their children to Molech, or who masturbated into the fire to offer their semen to Molech, for example. Chapter 20 starts off with the same warning.

"To 'evah" also means "something which is ritually unclean," not something evil in itself, like rape or theft. Eating pork or having sex during menstruation are ritually unclean.

The Babylon Mother of Harlot rises again and uses lusted after fruits (Same as in Amos 8) as speakers, singers, instrument players and ANY religious craftsmen always called like the Levite's SORCERERS and PARASITES.  In Revelation 18 John says that they are sorcerers who HAD once deceived the whole world.  That is the justification for them to be CAST ALIVE INTO THE LAKE OF FIRE. Christ in Isaiah uses the practices of the Jews as their anticipated punishment.

Jude 3 Beloved, when I gave all diligence to write unto you of the common salvation,
        it was needful for me to write unto you, and exhort you
        that ye should earnestly contend
        for the faith which was once delivered unto the saints.
Jude 4 For there are certain men crept in unawares,
        who were before of old ordained to this condemnation,
        ungodly men, turning the grace of our God into lasciviousness,
        and denying the ONLY Lord God, and our Lord Jesus Christ.  [Trinitarians are called antichrists by John]
Jude 5 I will therefore put you in remembrance, though ye once knew this,
        how that the Lord, having saved the people out of the land of Egypt,
        afterward destroyed them that believed not.
Jude 6 And the angels which kept not their first estate,
         but left their own habitation, he hath reserved in everlasting chains
        under darkness unto the judgment of the great day.
Jude 7 Even as Sodom [earthly Jerusalem] and Gomorrha,
        and the cities about them in like manner, giving themselves over to fornication,
        and going after strange flesh, are set forth for an example,
        suffering the vengeance of eternal fire.

A Charmer is an Abomination: This was outlawed for the Church of Christ (the Rock) in the wilderness as "vocal or instrumental rejoicing or speaking your own words.

incantātor , ōris, m. incanto, I. an enchanter, wizard (

consŭlo (a). In the lang. of religion, to consult a deity, an oracle, omens, etc.: “Apollinem de re,” Cic. Leg. 2, 16, 40: “deum consuluit auguriis, quae suscipienda essent,” Liv. 1, 20, 7: “deos hominum fibris,” Tac. A. 14, 30 fin.: “Phoebi oracula,” Ov. M. 3, 9; Suet. Vesp. 5: “Tiresiam conjectorem,” Plaut. Am. 5, 1, 76:

Cantus A. Prophetic or oracular song: “veridicos Parcae coeperunt edere cantus,” Cat. 64, 306; cf. Tib. 1, 8, 4.—

B. An incantation, charm, magic song, etc.: cantusque artesque magorum.
“cantus e curru Lunam deducere tentat,”
2. With instruments, a playing, music: “in nervorum vocumque cantibus,” Cic. Tusc. 1, 2, 4; id. Rosc. Am. 46, 134: “citharae,” Hor. C. 3, 1, 20: “horribili stridebat tibia cantu,” Cat. 64, 264: “querulae tibiae,”

Amos 5:26 But ye have borne the tabernacle of your Moloch and Chiun your images,
        the STAR of your god, which ye made to yourselves.

Acts 7:41 And they made a calf in those days,
        and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands

This is a picture of the instrumental worship at Jerusalem and Mount Gerizim just before and just after Russ and David claim that God commanded them to impose instrumental Worship. Perhaps He did:

Acts 7:42 Then God turned,
        and gave them up to worship the HOST of heaven; 
        as it is written in the book of the prophets,
        O ye house of Israel,  have ye offered to me slain beasts and sacrifices
        by the space of forty years in the wilderness?

Max Lucado has a Vision to invalidated Biblical Facts.

Amos 5:27 Therefore will I cause you to go into
        captivity beyond Damascus,
        saith the LORD, whose name is The God of hosts.
Acts 7:43 Yea, ye took up the tabernacle of Moloch, 
        and the star of your god Remphan, 
        figures which ye made to worship them: 
        and I will carry you away beyond Babylon.

Isaiah 30 has the Spirit OF Christ saying that the Jews and their Assyrian worship

And his breath [SPIRIT], as rushing water [Free Word] in a valley, reach reach as far as the neck, and be divided, to confound the nations for their vain error; error also shall pursue them and overtake them. Isaiah 30:28 LXX
Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX
and the Lord shall make his glorious voice to be heard and the wrath of his arm, to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX
And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums and with harp. Isaiah 30:32 LXX
For thou shalt be required before thy time: has it been prepared for thee also to reign? nay, God has prepared for thee a deep trench, wood piled fire and much wood: the wrath of the Lord shall be as a trench kindled with sulphur. Isaiah 30:33 LXX

Mark.10.They.Shall.Mock.Him.With.Music

Judas  was a thief: his bag or box was
always attached to the spotted flute case.

And God WATCHED the prophesied and fulfilled Musical Worship Team
Trumpet, drums, flute, cymbals and castinets with buffoons
Psallo permits ONLY smiting a string with your FINGERS: not a plectrum
Psallo and SOP have the same root meaning.

Max Lucado ignores the prophecy and fulfilment of how Jesus was MOCKED with musical instruments.

Revelation 18F: they are all called Sorcerers who HAD once deceived the whole world.

MAX LUCADO GOES ROCK AND ROLL THAT VOODOO CONNECTION

They WILL BE CAST ALIVE INTO THE LAKE OF FIRE.

11.11. 13 See David Young, North Boulevard Church of Christ in Murfreesboro and restoring the REVIVALISM or Cosmic worship defined as sorcery in Scripture and recorded history. DENOUNCING as "traditionalism" the Church of Christ's grasp that "vocal or instrumental rejoicing or self-speak rhetoric" was outlawed when Christ the Rock provided the Qahal, synagogue, ekklesia or Church of Christ in the wilderness to PROTECT the godly people from the Jacob-Cursed and God-abandoned Levites who performed SORCERY with instrumental noise after God abandoned them to worship the Starry Host (Cosmic Worshi[p) at Mount Sinai.  IMAGINING founding 60,000 congregations on the Max Lucado conversion to the MOTHER CHURCH controlling DAUGHTER churches.  See Cane Ridge # 3 to see that the SALEM resourced revivals by SOPHISTS who validated their consuming food by enchanting the "laity" and make them dance when the sorcerers piped.

This is defined in Revelation 17-18
The Rise of the Babylon Mother of Harlots
Unleashes the "lusted after fruits" defined in Amos 8
As rhetoricians, singers and instrument players (Sophists or the Wise from whom God HIDES)
John called the Sorcerers and this marks Jesus removing the LAMPS (seven spirits) and sentencing them to be Cast alive into the Lake of Fire.
Abaddon or Apollyon is the leader of the MUSES known as adulteresses becoming shepherds.

Lucado.Oak.Hills.Instrumental.Music.Worship
Max Lucado imposed "Instrumental Music as Worship" because he said that Paul who condemns anything beyond the Word or LOGOS (Regulative) principle was NOT inspired but HE was inspired and had a vision.  Selling anything beyond speaking the free water of the Word is called prostitution: it doesn't matter which body part you sell.  The Spirit OF Christ defined a Church of Christ as REST both inclusively and exclusively. He excluded seeking your own pleasure or speaking your own words.  Being lifted up with pride was the sin of Lucifer called the "singing and harp-playing prostitute in the garden of Eden" and the "Babylon mother of harlots (Revelation 17) uses lusted after fruits as speakers, singers and instrument players.  John called them SORCERERS and that they would be cast alive into the Lake of Fire.  Jesus promised that if you do not speak HIS WORDS (Logos is the Regulative Principle) you are a Scribe or Pharisee He called hypocrites by naming speakers, singers and instrument players in Ezekiel 33.

Max Lucado explaining how to write "beyond the sacred pages." Yet, Paul wrote, not because of heavenly action, but because of congregational angst.  Titus needed direction, the Ephesians needed assurance.  Timothy struggled, the Corinthians squabbled and the Galatians waffled.  So Paul wrote to them.

How he made music with his words. He turned epistles into concert hall sheet music.  “Though I speak with the tongues of men and angels, but have not love, I have become as sounding brass or clanging cymbal.”  (1 Cor. 13:1) It’s as if he dipped his pen in honey. He could sound like a poet in the seventh heaven.

He could also sound like a pastor on Monday morning.  Tired, frustrated.  Beginning sentences and not finishing them. Starting a second thought before he finished the first.  Throwing out ideas in lumps instead of lyrics.  But that was ok.  He wasn’t writing the Bible.  He was writing to Philemon.  He wasn’t crafting epistles; he was solving problems.  Paul didn’t write for the ages; he wrote for the churches.  He wrote for souls.

And we’ve written:  articles, blogs, books, stories. Not like Luke, Paul, and John.  But not unlike them, either.

We’ve had our moments of inspiration.  Sandwiched between hours of perspiration, for sure.  But we’ve had our moments—mystical moments of pounding heart and pounding keyboard. We’ve felt the wind behind our backs and sensed a holy hand guiding ours.  We, like our Creator, have beheld our creations and declared, “It’s good.”  (Or, at least, “It’s not so bad.”)  And we have asked:  Is this our call?  Our assignment?  To use words to shape souls?

First, Jesus of Nazareth as Holy Spirit appeared to Paul and let Himself be seen to ENABLE Paul to be a post-resurrection witness and inspired writer.  Paul wrote circular letters to be READ in all of the churches.

WHAT JESUS AS HOLY SPIRIT TOLD PAUL TO WRITE TO MAX LUCADO AND ANYONE WHO SELLS THE FREE WATER OF THE WORD AND CORRUPTS IT.  Paul and the Greek Scholars called those who corrupt the word of the author "by selling learning at retail" is a PROSTITUTE.

Tongues? 

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

This is not speaking as in the command to SPEAK one to another to teach and comfort. Sounding brass and tinkling cymbals here are identifying marks of people who have NO LOVE. Even if they COULD speak all of the languages in the world there would be no love. The command is to SPEAK or LOGOS the Word of Christ which is the opposite of rhetoric, singing or playing instruments. Speaking in the tongues of angels was IN FACT making music in tongues.  Tongues and Instruments INTEND to lull people to sleep with THE LOCUSTS OF REVELATION.

La^l-eō, Mark of the Locusts II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday,  III.  of musical sounds, “aulō [flute] laleō” Theoc.20.29; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echo,  magadin lalein sound the magadis,  [double flute]

It may help us to understand that the Greek word lelein refers primarily to utterance rather than to meaningful conversation. The term is used repeatedly in chapter 14 to describe speaking in tongues. Phrynichus, the ancient dictionarian, defined the term as 'to talk nonsense'.

The word is used of gossip, prattling, babbling, animal sounds, and musical instruments. During the classical period, it usually was employed in a contemptuous sense. Debrunner, writing in the Kittle-Friedrich Theological Dictionary of the New Testament, states 'Lalein can also be used quite objectively of speech when there is reference to sound rather than than meaning. 'To what kind of utterance can St. Paul refer? There were many types of vocalization in ecstatic rites.

They have been heard to utter (different voices of equal strength, or with great diversity and inequality) in tones that alternated with silence; and again in other cases harmonious crescendo or dimenuendo of tone, and in still other cases other kinds of utterance. (Iamblichus, On the Mysteries, III, 4-6)

-kat-auleô , A. charm by flute-playing, metaphor I will flute to you on a ghastly flute, E.HF871 (troch.):--Pass., of persons, methuôn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros chelônidos psophon to be played to on the flute with lyre accompaniment,
II. in Pass., [ton monochordon kanona] parechein tais aisthêsesi . . katauloumenon subdued by a flute accompaniment, to be piped down, ridiculed, gelômenoi  
2.  make a place sound with flute-playing, resound with flute-playing, nêsos katêuleito Plu.Ant.56

Aggelos ,  of a loquacious person 2.  generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet
Aggelos , ho, hē,

A. messenger, envoy, Il.2.26, etc.; “di' aggelōn homileein tini” Hdt.5.92.z, cf. SIG229.25 (Erythrae):— prov., Arabios a., of a loquacious person, Men.32.
2. generally, one that announces or tells, e.g. of birds of augury, Il.24.292,296; Mousōn aggelos, of a poet,“aggelon glōssan logōn” E.Supp.203; “aisthēsis hēmin a.” Plot.5.3.3; neut. pl., “aggela nikēs” Nonn.D.34.226.

4. In later philos., semi-divine being, “hēliakoi a.” Jul.Or.4.141b,  “a. kai arkhaggeloi”  also in mystical and magical writings, “aggela nikēs”

nik-ēi_, hē,  II. pr. n., Nike, the goddess of victory, Hes.Th.384, cf. Pi.I.2.26, etc.; “Nikē Athana Polias” S.Ph.134, cf. E. Ion457 (lyr.), 1529.

Eur. Supp. 203 Theseus
[195] Full often have I argued out this subject with others. For there are those who say, there is more bad than good in human nature; but I hold a contrary view, that good over bad predominates in man, [200] for if it were not so, we should not exist. He has my praise,
        whichever god brought us to live by rule from chaos and from brutishness,
        first by implanting reason, and next by giving us a tongue to declare our thoughts,
        so as to know the meaning of what is said..

And where sight fails us and our knowledge is not sure, the seer foretells by gazing on the flame, by reading signs in folds of entrails, or by divination from the flight of birds.
        Are we not then too proud, when heaven has made such [215] preparation for our life,
                 not to be content with it?
        But our presumption seeks to lord it over heaven,
                 and in the pride of our hearts we think we are wiser than the gods.

Oak Hills Church of Christ under Max Lucado with Lynn Anderson's input uses Farmers Branch Church of Christ's totally perverted view of music in Scripture. Notes from Oak Hills and Instrumental Music.  Max Lucado got his vision from the Farmer's Branch paper also used by Rick Atchley and Mark Henderson. This is turn has been hand fed from the NACC by men such as Knowles, Johnson and David Faust masking under the theme of UNITY.

Jim Hackney at Heritage Church of Christ (EX) IMPOSES instruments claiming that He has power to BIND and LOOSE.

Heritage Church of Christ Instrumental

Jim Hackney reads off the list of "instrument" passages supplied by the NACC.  Unfortunately these all become lies and maybe blasphemy by claiming that God commanded something to which He ABANBDONED the Jews BECAUSE OF musical idolatry of the Egyptian trinity.

First, since psallo never at any time or place in recorded history MEANT more than pluck or smite a string with your FINGERS and never with a PLECTRUM they would know that pluck had and has absolutely no "musical" content.  That is why there is no recorded Bible or literary example of being able to instruct someone to pluck a string with one word. If you tell someone PLUCK there is no telling what would happen to you.  The same is true in English and all languages.

Second, if you want to tell someone to PLUCK an INSTRUMENT there are compound words for all named instruments and STYLES of plucking.

Third, you blaspheme the Spirit of Christ by saying that:

1. He was too ignorant not to use TWO words such as PSALLO Plus A Harp.
2. He was too ignorant not to use one compound word which meant play a harp
3. He just wanted to throw in stumble words for those who have not been washed with water INTO the Word or school of Christ or
   
4. He intentionally wanted to sow massive discord since singing as an ACT was first imposed in the hear 373.

Even if "psallo" meant play a harp it could NEVER be used to justify a guitar pick, a flute or drums

Playing the part of those deliberately sowing discord and blaspheming, let's assume that the Spirit of Christ or Paul or anyone prior to 1878 was too illiterate to know about all of the compound words.  For instance.

Anti-psallô, A.play a stringed instrument in accompaniment of song, a. elegois phorminga  {harp of Apollo, Abaddon, Apollyon's instrument]
 

Epi-psallō, A. play the lyre, S.Fr.60, Poll.4.58（Pass.); “melesi kai rhuthmois” 

                    SING, “tous humnous” LXX 2 Ma.1.30: Then the priests sang the hymns.

Even if you define a melody that would NOT include a rhythm.

Melos  rooted in cutting limb from limb like all musical terms.
        A. limb, in early writers always in pl.is corrupt for kata meros
        2. metaphor., “esmen . . allēlōn melē” Ep.Rom.12.5, cf. 1 Ep.Cor.6.15.
        meros ,  A. share, portion, 2. with Preps., ana meros in turn, successively,
        III. the part one takes in a thing
B. Especially musical member, phrase: hence, song, strain, first in h.Hom.19.16
        lyric poetry, choral songs, Opposite Epic or Dramatic verse

Perhaps the Holy Spirit was not educated enough NOT to use psallo which is never translated to mean musical melody and was not aware that He could have used MELOS which means musical melody or a series of single notes.

HH 19 To Pan:1 Muse, tell me about Pan, the dear son of Hermes, with his goat's feet and two horns —a lover of merry noise. Through wooded glades he wanders with dancing nymphs who foot it on some sheer cliff's edge, [5] calling upon Pan, the shepherd-god, long-haired, unkempt.... Often he courses through the glistening high mountains, and often on the shouldered hills he speeds along slaying wild beasts, this keen-eyed god. Only at evening, [15] as he returns from the chase,
        he sounds his note,
        playing sweet and low on his pipes of reed:
        not even she could excel him in melody —
        that bird who in flower-laden spring pouring forth her lament utters honey-voiced song amid the leaves....
Then all the immortals were glad in heart and Bacchic Dionysus in especial; and they called the boy Pan because he delighted all their hearts.

2. music to which a song is set, tune, Arist.Po.1450a14;
        Melos is Opposite. rhuthmos, metron, Pl.Grg. 502c;
                Melos is Opposite metron , II. metre, Ar.Nu.638, 641, etc.;

Aristoph. Cl. 638 Soc.
In the first place, to be clever at an entertainment, understanding what rhythm is for the war-dance, and what, again, according to the dactyle.

Again "meter" is the opposite of melos or melody and rhythm.

                   Opposite melos (music) and rhuthmos (time), Pl.Grg.502c

         Melos is Opposite. rhuthmos, rhēma, Id.Lg.656c;
                 Melos is Opposite rhēma  (erō) A. that which is said or spoken, word, saying,

                                    Ero I. I will say or speak, II. I will tell, proclaim, 2. to be specified, agreed, promised
                                                II.2. to be specified, agreed, promised

sullegō  II. of persons, collect, get together, “stasiōtas” Hdt.1.59; “egkhōrious” E.IT303; “khoron” Antipho 6.11; “ekklēsian”
—Pass., come together, assemble, “rhēmata kai logous”
mustered, Gathered

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

1 Cor 14: 23 Ean oun sunelthē hē ekklēsia holē epi to auto kai pantes lalōsin glōssais, eiselthōsin de idiōtai ē apistoi, ouk erousin hoti mainesthe;
 
Sunerkhomai II. come together, assemble, meet “sunelthe pros Theōna”

La^l-eō ,Mark of the Locusts

II.  chatter, Opposite. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, 

III.  of musical sounds, “aulō [flute] laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou [flute] ē salpiggos l.”[trumpet] Arist. Aud.801a29; of Echo,  magadin lalein sound the magadis,  [double flute]

                        3. subject of speech, matter, Hebraism cf. rhētos
                                rhēt-os on stated terms, on certain conditions, according to covenant
                                IV. to rh. the precise, literal contents of a document,
                                 the letter of the law,
                                      expressly, distinctly, Plb.3.23.5,
                                      rhētos literal, Opposite. allegorical, Ph.1.69, al.

Opposite Allēgor-eō , (agoreuō)  2. abs., speak figuratively or metaphorically,
4. allēgor-ētēs , ou, ho, allegorical expounder,
agoreuō agora  1. to speak in the assembly, harangue, speak
of the kērux in the Ecclesia, tis agoreuein bouletai; who wishes to address the people?

If you have a favorite "proof text" you may scroll down to the yellow background statements of the Andersons.  I have added only a small part of the proof that they are simply worng about the Bible. You will notice that the proofs are "scrambled" and I may put them in logical and Biblical order with a table of context so you can read what you wish.  I have excluded personal references to people at Oak Hills and some of the overwrought use of "buildings" apparently to justify the use of instrumental music.  I have left the links to definitions and Greek literature which take up space: I may remove them but it woudl be a good idea for the Greek "scholars" defending instrumental music to be exposed to a tiny bit of evidence which repudiates music and their scholarship.

This paper had been modified to supply the FALSE TEACHINGS of Lynn Anderson etal 10.07.08.  The Older paper of proof text posted on the internet with PARALLELS to Farmer's Branch's "white paper" to prove that they are all really lies about God's Word. I think that the "spirit" did not lead the elders.

Therefore, the fall into musical idolatry was led by the women under the guidance of the "proofs" from Lynn Anderson etal which have been circulated by handlers from the NACC.

In the worship bulletin for the Oak Hills Church of Christ (Max Lucado, pulpit minister) on September 5, 1999, (when their guest speaker was Buckner Fanning, of the Trinity Baptist Church in San Antonio) the following was printed:

A. Oak Hills Church of Christ Elders?: The elders want to provide you with a statement about a question that may have been raised. That question has to do with the use of musical instruments in our worship.

After many months of careful study and consideration,
the elders unanimously concluded that there is no Biblical prohibition of the use of mechanical instruments in worship.

We believe that they didn't study the Bible. Rather, they were SHEPHERDED by the STAFF and believed what is abut 100% anti-Biblical and anti-Christian. For instance:

B. Farmer's Branch Church of Christ: The Need For This Consideration

This presentation regarding what the leadership of the Farmers Branch Church believes concerning vocal and instrumental musical expression

has been produced as a response to sincere questions posed by genuine disciples who are a part of the heritage of the Churches of Christ.

The Heglian dialect discusses YOUR opinion and MY opinion but we will COMPROMISE with MY opinion and then there will be no DIVISION.

A. Max Lucado's vision and Oak Hills Church of Christ Elders?: We merely want to state that CONSENSUS to you today without any PREDICTION of what that might mean to our worship services. Our worship style may or MAY not change, but we are in no hurry to change. We are HIGHLY SENSITIVE to your feelings, and we want to HEAR your THOUGHTS and WISHES.

We have it on the authority of God in Christ that after the end of the Law we can ONLY worship God in the new PLACE of our human spirit as we give heed to the Spirit OF truth.

But just before, the STAFF had stated:

"..the elders unanimously concluded that there is no Biblical prohibition of the use of mechanical instruments in worship.

B. Farmer's Branch Church of Christ:: For some time now, FBCC has occasionally incorporated the use of instrumental music into its Sunday morning assemblies in the form of a solo with an instrumental track or a special event such as a musical.

This has proven to be a unique experience for anyone who has had their faith nurtured in the context of the Churches of Christ which (in regard to most Churches of Christ) have been exclusively a capella in their form of worship.

Lynn Anderson in Navigating the Winds of Change shows how to slowly change people's "comfort zones" so that they become comfortable with that which they know is not Scriptural.  This says that one opinionated person has the right to manipulate your mind so that you gradually love to become the proverbial "boiled frog." Unfortunately, when such people learn how to manipulate you it becomes their religion and your weakness lets them act out their tyranical impulses. The result is that the slippery slope leads to destruction of that which you PRESUMED to create in your own image. I have collected many notes about Anderson's method of "shepherding" but minimalists understand that sheep will not rest and feed around the sounds of rushing waters.  I am sure that this represents his views which intimidated the elders and resulted in a full-blown rock and roll show.

Lynn Anderson etal: While we want to be considerate of feelings and comfort zones, we should be much more interested in being obedient to God and considering what He desires.  “Am I now seeking the favor of men, or of God?  Or am I trying to please men?  If I were still pleasing men, I should not be a servant of Christ.” Gal.1:10.  Rather than asking what kind of worship we are comfortable with, each of us should be asking what kind of worship is pleasing to God.

Who is this WE usurping the authority to SOW DISCORD for YOU. Sowing discord is one of those things God hates along with the discorders.  Jesus died to give us REST from the LADED BURDEN.

Matt. 11:25 At that time Jesus answered and said, I thank thee, O Father, Lord of heaven and earth,
        because thou hast hid these things from the wise and prudent,
        and hast revealed them unto babes.

The wise are the "doctors of the Law" and the "crooked race" pointing to the skolion musicians in the symposium
Sophos A. skilled in any handicraft or art, clever “mantis” Id.Th.382; “oiōnothetas  Interpreter of signs.
poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.), cf. Ar.Ra.896

Sophizo practise an art, Thgn.19, IG12.678; play subtle tricks, deal subtly, etc.; ouden sophizomestha toisi daimosi we use no subtleties in dealing with the gods, E.Ba.200;

E.Ba.200 Teiresias
[200] We mortals have no cleverness in the eyes of the the gods. Our ancestral traditions, and those which we have held throughout our lives, no argument will overturn, not even if some craftiness should be discovered by the depths of our wits.  Will anyone say that I do not respect old age, [205] being about to dance with my head covered in ivy? No, for the god has made no distinction as to whether it is right for men young or old to dance, but wishes to have common honors from all and to be extolled, setting no one apart.

Sophia , Ion. -iē, h(, prop. A. cleverness or skill in handicraft and art, as in carpentry in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8,

Sophistes (Latin) A. master of one's craft, adept, expert, of diviners, Hdt.2.49;
        of poets, “meletan sophistais prosbalon” Pi.I.5(4).28,
        of musicians, “sophistēs . . parapaiōn khelun”
        with modal words added, “hoi s. tōn hierōn melōn”

Melos sp. musical member, phrase: hence, song, strain
2. music to which a song is set, tune, Arist.Po.1450a14; opposite rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma, Id.Lg.656c;
melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos”
3. later of the rhētores, Professors of Rhetoric, and prose writers of the Empire

THE LADED BURDEN IN HEBREW AND GREEK IS THE SINGING TO CREATE SPIRITUAL EXCITEMENT

The burden in Greek includes:

epōd-os , on, （epadō） A. singing to or over, using songs or charms to heal wounds, “epōdoi muthoi” Pl.Lg.903b.

b. Subst., enchanter, “e. kai goēs” E.Hipp. 1038 (but “goēs e.” Ba.234): c. gen., a charm for or against, “ethusen hautou paida epōdon Thrēkiōn aēmatōn” A.Ag.1418 ; e. tōn toioutōn one to charm away such fears, Pl.Phd.78a.

2. epōdos, ho, verse or passage returning at intervals, in Alcaics and Sapphics, D.H.Comp.19 ; chorus, burden, refrain, Ph. 1.312 : metaph., ho koinos hapasēs adoleskhias e. the 'old story', Plu.2.507e.

The Self-Pleasure outlawed in Romans 15 is a burden:

BURDEN IS: Airo (h142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

Rom. 15:1  We then that are strong ought to bear the infirmities of the weak, and not to please ourselves. 

G700 aresky ar-es'-ko Probably from G142 (through the idea of exciting emotion); to be agreeable (or by implication to seek to be so):please.

aeirō , II. raise up, exalt, “apo smikrou d' an areias megan” A.Ch.262, cf. 791 
esp. of pride and passion, exalt, excite, hupsou ai. thumon grow excited, S.OT914

REST IS:

Come unto me all ye that labor and are heavy laden, and I will give you rest. Matthew 11:28

Take my yoke upon you, and learn of me; for I am meek and lowly in heart:and ye shall find rest unto your souls. Matthew 11:29

For my yoke is easy, and my burden is light. Matthew 11:30

Labor is what we call "religion" and "worship."

Phortizo (g5412) for-tid'-zo; from 5414; to load up (prop. as aa vessel or animal), i.e. (fig.) to overburden with ceremony (or spiritual anxiety):- lade, be heavy laden.

Ana pauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain); by impl. to refresh:- take ease, refresh, (give, take) rest.
Ana means "every one of you."
Pauô, includes to: bring to an end, stop or silence by death, take one's rest, cease, have done, of one singing or speaking.

Yoke means a beam balance:the strong oxen helps carry the load of the weak one.

STAND fast therefore in the liberty wherewith Christ hath made us free, and be not entangled again with the yoke of bondage. Galatians 5:1

Meek means humble, non-demanding.
Lowly means the opposite of religious performers.
His Burden is:

Phortion (g5413) for-tee'-on; dimin. of 5414; an invoice (as part of freight),

That means: "Jesus carries the freight and you just carry the invoice."
Rest is:

Anapauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to repose (lit. or fig. [be exempt], remain); by impl. to refresh:- take ease, refresh, (give, take) rest.
Anapausis (g372) an-ap'-ow-sis; from 373; intermission; by impl. recreation:- rest. When you hear people yelling for you to do this here religious program, it is not God. Believe me. I tell my folks that they are reloading me with the burden Jesus died to remove just by anouncing (and anouncing and anouncing) all of those "busy" programs. All good of course, but not added to our "to do list" by Jesus.

So, you have heard it straight from Jesus:"Go enjoy an ice cream cone, sleep late, go for a long walk in the forest or along the beach, and just relax."

Pauo means stop the polemos or battle, fight, war: stop levying war against another, anaireisthai or airô egeirein, kathistanai, epagein to begin a war; p. poieisthai to make war, -- opp. to p. anapauein, kataluesthai to put an end to it, make peace, all in attic
The singing which is to PAUSE to give rest is b. mostly of things, make an end of, stop, abate
Pauo means: STOP the: melôid-ia , hê, singing, chanting,
II. chant, choral song, melôidias poiêtês, lullaby, generally, musis
Pauo means: Stop the pain of: aoidê [aeidô]
1. song, a singing, whether the art of song, Hom.; or the act of singing, song, Il.
2. the thing sung, a song, Hom., etc.
3. the subject of song, Od.

Pauo means: Stop worshipping the MUSES
kata-pauô put an end to, stop
3. depose from power, k. tina tês archês, tês basilêïês, Hdt.4.1, 6.64; tous turannous Id.5.38 , cf. 2.144, 7.105; Mousas depose them from their honours, cease to worship them, E. HF685 (lyr.):--Pass., tês basilêïês katepausthê Hdt. 1.130 , cf. 6.71.

Euripides, Heracles (ed. E. P. Coleridge)  Never will I cease to link in one the Graces and the Muses, [675] sweetest union. Never may I live among uneducated boors, but ever may I find a place among the crowned! [680] Yes, still the aged singer lifts up his voice of bygone memories: still is my song of the triumphs of Heracles, whether Bromius the giver of wine is near, or the strains of the seven-stringed lyre and the Libyan pipe are rising; [685] not yet will I cease to sing the Muses' praise, my patrons in the dance.

I have posted a separate study of  DISCORDING OUR COMFORT ZONES here.

A primary meaning of GOSPEL is "come to me all ye that labor and are heavy laden and I will give you rest." Heaven laden and burden specificially identifies the type of singing of the "crooked generation."  The word REST or Greek PAUO has the same meaning as SABBATH when instruments (for doing hard work) were outlawed. The command in Isaiah 58 is not to seek your own pleasure or not to speak your own words. See how music INTENDS to lade people with burdens in a sexual arousal sense.  And Click Here to see how REST outlaws the use of instruments.  And further the meaning of instrumental music as heresy which has the meaning of "creating spiritual excitement ot CARRY YOU AWAY for the musicians own uses."

Before looking at isolated "instrument" verses people use to prove that musical idolatry which invited God to turn Isreal over to worship the starry hosts (Acts 7 etc.) is God commanding us to do likewise in the ekklesia, church or school of the Bible, we should try to understand why a tiny few feel obligated to deliberately sow discord and sanctify it as "upsetting their comfort zones" to force everyone into their own comfort zones.  The analogy of CRACK addiction is not exaggerated.

Based on the need for music as a comfort zone for the whole week we should ask whether sitting down and listening to the Word of God for a few minutes without music deprives them of the opiate they need to make it through life.  Reading and listening is not addictive: music is a highly addictive drug (endorphins) inducer.

More troubling is that they usurp the roles of the elders and the collective body who are the "owners" of their community comfort zone. Evangelism, on the other hand, is the role of those claiming to be "located missionaries." Those with talent are commanded to use it to minister to others: those who speak in the assembly are commanded to speak as the oracle of God. The words for speak are defined and proven in the ancient texts to be the opposite of poetry or music which was used to deceive.

They make the claim that not using machines for doing hard work in the assembly is a form of mental illness.

"A comfort zone denotes that limited set of behaviors that a person will engage without becoming anxious. A comfort zone is a type of mental conditioning that causes a person to create and operate mental boundaries that are not real. Such boundaries create an unfounded sense of security

Of Anxiety: Somatically the body prepares the organism to deal with threat (known as an emergency reaction): blood pressure and heart rate are increased, sweating is increased, bloodflow to the major muscle groups is increased, and immune and digestive system functions are inhibited. Externally, somatic signs of anxiety may include pale skin, sweating, trembling, and pupillary dilation."

Even Nimrod of the Towers of Babylon knew how to upset people so that he "could regenerate morals by external means." He, too, led about a female musical worship team. Musicians were always known as "the harem of the gods."  Here is some good data on the DRUG HIGH which is produced by the singing, clapping and gyrating the body to arouse people into--in the words of Carol Wimber--a sexual like climax with God. This was the purpose driving all pagan religions which USED such women to fill the collection plates.

More sinister is the well-documented fact in the Bible and ancient literature is that speaking the Word of God is always the mark of godly people while "making" Rock and Roll music is always the mark of the spiritual harlot, the ignorant and the very lowest classes.

NEXT: LOOKING AT THE COMMON PROOF TEXTS--out of order!

Lynn Anderson etal: Gal. 1:4 Who gave himself for our sins, that he might deliver us from this present evil world, according to the will of God and our Father:

 
Titus 2:11 For the grace of God that bringeth salvation hath appeared to all men,
Titus 2:12 Teaching us that,
        denying ungodliness and WORLDY lusts,
        we should live soberly, righteously, and godly,
        in this present world;

JESUS DOES NOT PRAY FOR THE WORLD: THE WORLD IMPOSES MUSICAL INSTRUMENTS

-Căno , cĕcĭni, cantum (ancient I. imp. cante = canite, Carm “once canituri,” Vulg. Apoc. 8, 13),
2. Of the faulty delivery of an orator, to speak in a sing-song tone: “inclinată ululantique voce more Asiatico canere,” Cic. Or. 8, 27; cf. canto and canticum.—

“In the lang. of the Pythagoreans, of the heavenly bodies (considered as living beings),” the music of the spheres, Cic. N. D. 3, 11, 27.—

C. Transf., of the instruments by which, or (poet.) of the places in which, the sounds are produced, to sound, resound: “canentes tibiae,” Cic. N. D. 2, 8, 22: “maestae cecinere tubae,” Prop. 4 (5), 11, 9. “frondiferasque novis avibus canere undique silvas,”

-Tuba War trumpet the ONLY instruments God authorized. Apart from military purposes, it was used on various occasions, as at religious festivals, games, funerals,
imitated by Verg. A. 9, 503: “tubae utrimque canunt,” Plaut. Am. 1, 1, 73

kosmos,  metaph., of ornaments of speech, such as epithets, Id.9.9 (pl.), Arist.Rh.1408a14, Po.1457b2, 1458a33; hadumelē k. keladein to sing sweet songs of praise, Pi.O.11 (10).13 (s.v.l.).

Pind. O. 11 My tongue wants to foster such themes; [10] but it is by the gift of a god that a man flourishes with a skillful mind, as with anything else. For the present rest assured, Hagesidamus son of Archestratus: for the sake of your boxing victory,

        I shall loudly sing a sweet song, an adornment for your garland of golden olive,
        [15] while I honor the race of the Western Locrians.
There, Muses, join in the victory-song; I shall pledge my word to you that we will find there a race that does not repel the stranger, or is inexperienced in fine deeds, but one that is wise and warlike too.

THE WORLD IS IMPOSED WHEN PEOPLE IMPOSE MUSICAL INSTRUMENTS WHICH DEFEATS THE LAMBS.

Kosmo-krator epith. of ouranos, Orph.H.4.3; “Zeus Mitras Hēlios k. Dam.Pr.131; hoi k. tou skotous toutou the cosmic rulers of this sinful world, Ep.Eph.6.12; “hoi k. hoi ta hupo selēnēn stoikheia dioikountes”

glōssokomon glōssa III, komeō

a case for the mouthpiece of a pipe: generally, a case, casket, NTest.
A. glōssa , Ion. glassa , Herod.3.84, al., SIG1002.7 (Milet.), Schwyzer 692 (Chios), Att. glōtta , ēs, h(,

A. tongue, Od.3.332, etc. 1. in Music, rced or tongue of a pipe, Aeschin.3.229, Arist.HA565a24, Thphr.HP4.11.4, etc.

Aeschin. 3 229 he knew that he had not the ability to describe one of all the things he had accomplished, but saw in his accuser a man able to set forth to the hearers in all detail how he had himself administered things which had not been done by him at all. But when a man who is made up of words, and those words bitter words and useless—when such a man takes refuge in “simplicity” and “the facts,” who could have patience with him? If you treat him as you might a clarinet, and take out his tongue, you have nothing left!

1 Cor 11:[14] Doesn't even nature itself teach you that if a man has long hair, it is a dishonor to him?
1 Cor 11:[15] But if a woman has long hair, it is a glory to her, for her hair is given to her for a covering

ati_m-ia , Ion. -iē, h(,

A. dishonour, disgrace, “atimiēsin iallein” Od.13.142, Pi.O.4.21, S.El.1035, etc.; “en atimiē tina ekhein” Hdt.3.3; “atimiēn prostithenai tini” Id.7.11; oneidos kai a. ekhein ib.231; atimiēs kurein pros tinos ib.158; theōn a. dishonour done to the gods, E.Heracl.72, Pl.Hipparch.229c; “ouk atimia sethen” A.Eu.796: pl., “tais megistais kolazein a.” Pl.Plt.309a, cf. 310e, R. 492d, al.; “hubreis kai atimias” D.18.205, 21.23; indignities, Arist.Pol. 1336b11.

2. deprivation of privileges, A.Eu.394 (lyr.); esp. of civic rights, And.1.74, X.Lac.9.6, D.9.44; coupled with thanatos and phugē, IG1.27a74.

II. of things, esthēmatōn a., i.e. sorry garb, A.Pers.847; “komē . . atimias pleōs” Cratin.9. [Ep. “atimi_ē” Hom. l.c., Tyrt.10.10.]

Ephesians 6.[12] For our wrestling is not against flesh and blood, but against the principalities, against the powers, against the world's rulers of the darkness of this age, and against the spiritual hosts of wickedness in the heavenly places.

G3823 palē pal'-ay From πάλλω pallō (to vibrate; another form for G906 ); wrestling:—+ wrestle.

Pallô, poise, sway a missile before it is thrown, sway, brandish, she drove it furiously, tripped on the shield-rim, quiver, leap, esp. in fear, II. Pass., swing, dash oneself, Pi.N.5.21; vibrate, of strings, Pl.Phd.94c (psalloito ap. Stob.);  leap, bound, quiver, quake, phrena deimati pallôn S.OT153 (lyr.); dash along, of horses, E.El.477 (lyr.)

THE WORLD SPEAKS DIRECTLY TO THE MAGICAL INFLUENCE OF MUSIC ON THE STARRY HOST

kosm-ikos , ē, on, (kosmos IV) s.v. Orpheus: Astrol., k. kentra (goad)  skhēma 
hēlios , o(, Ep. ēelios ,

II. as pr. n., Helios, the sun-god, Od.8.271, etc.; nē ton Hē. Men.Sam. 108; hupo Dia Gēn Hēlion, in manumission-formula, POxy.48.6, 49.8 (i A.D.), IG9(1).412（Aetolia), IPE2.54.10(iii A.D.); [“Hēlios doulous eleutherous poiei” Artem.2.36; identified with Apollo, Carm.Pop.12, E.Fr.781.11; with Dionysus, D.Chr.31.11, etc.

2. Hēliou astēr, of the planet Saturn, v.l. in Pl.Epin.987c, cf. D.S.2.30, Theo Sm. p.130H. (I.-E. sāwelios, cf. Cret. abelios, Lith. sáulė, Lat. sōl.）

This evil world in Greek includes the LADED BURDENS (songs) which creates spiritual anxiety through religious ritual.

Poneros in a physical sense: oppressed by toils, ponêrotatos kaiaristos, of See Shield of Heracles, for the ugly meaning of the muses 2. of things, toilsome, painful, grievous, erga  274 ; phortion  [The burden Jesus removed]

Erga involves a musical instrument such as those handled (without authority) by Jubal and are defined as machines for doing hard work."

Organon , to, ( [ergon,] ) I. an implement, instrument, engine of any kind

Ergon  [Ergô] I.work, 1. in Il. mostly of deeds of war, 3. a hard piece of work, a hard task, Il.: also, a shocking deed or act,

A. instrument, implement, tool, for making or doing a thing
3. musical instrument the "organ" of Jubal.

The Bible says that Jubal handled musical instruments WITHOUT AUTHORITY.

Then and now everyone knows that making music is works-intensive and "legalism" meaning making music to force the laws of Apollyon or Abaddon as NOMOS.

Aristotle Politics 1341b and all the instruments that require manual skill. And indeed there is a reasonable foundation for the story that was told by the ancients about the flute. The tale goes that Athena found a flute and threw it away. Now it is not a bad point in the story that the goddess did this out of annoyance because of the ugly distortion of her features; but as a matter of fact it is more likely that it was because education in flute-playing has no effect on the intelligence, whereas we attribute science and art to Athena

And since we reject professional education in the instruments and in performance  and we count performance in competitions as professional,  for the performer does not take part in it  for his own improvement, but for his hearers'  pleasure, and that a vulgar pleasure, owing  to which we do not consider performing to be proper for free men, but somewhat menial; and indeed performers do become vulgar, since the object at which they aim is a low one, as vulgarity in the audience usually influences the music, so that it imparts to the artists  who practise it with a view to suit the audience a special kind of personality, 

Appealing to Aldus Huxley to validate turning from the Word to the performing arts must accept he also said that this performance induces a perverted manner into the habitual performers.  Plato observed the same thing.

Organum: a device, plan, contrivance; esp. a trick, artifice, stratagem. Of musical instruments, a pipe,  Vulg. Gen. 4, 21  

Gen 4:21 And his brother's name was Jubal: he was the father of all such as handle the harp and organ.

The word handle flows naturally from the musical enchanter in the garden of Eden who wholly seduced Eve in a sexual sense, to TOPHETH or HELL once king's Solomon's music grove in Jerusalem.

H8610 taphas taw-fas' A primitive root; to manipulate, that is, seize; chiefly to capture, wield; specifically to overlay; figuratively to use unwarrantably:--catch, handle, (lay, take) hold (on, over), stop, X surely, surprise, take.

Psal-tikos A. of or for harp playing, ps. organon a stringed instrument, (of the magadis)
A or secret worship, of the rites of Bacchus, Phallikos, of or for the phallos: to ph. (sc. MELOS) the phallic song, also a dance,

Galliambus, i, m. [3. Gallus, II. A.] , a song of the priests [a castratos] of . [The Popes A capellas were GALLIAMBUS: don't do that in church, please]

Used With: Machina. a machine, i. e. any artificial contrivance for performing work, II.Trop., a device, plan, contrivance; esp. a trick, artifice, stratagem

Paul warning about passing judgment did not give others the right  to wreck my life whileI have no right to condemn you: passing judgment is IMPOSING things into the assembly which causes discord. It is consistent with those imposing music that they take into account the loss of a large part of the "owners" because they have a higher use and appeal to the law of  IMMINENT DOMAIN. In Paul's words, creating such mental arousal as to separate the body is to CRUCIFY CHRIST to yourself all over.

The purpose of instruments under the law as well as psalms as warrior chants was to magnify their power to delibertly disturb ot sow discord: they are therefore violent people. Passing judgment is imposing pagan musical rituals to sow discord. 

Dis-turbo I.to drive asunder, to separate by violence, to throw into disorder, disturb. judicium , to give his vote; of a judge (different from sententiam ferre, to pass sentence)

Musical instruments bring on the WRATH which Paul tried to prevent by allowing only senior males to perform publically:

Orgao I. to be getting ready to bear, growing ripe for something, II. of men, like sphrigaô, swell with lust, wax wanton, be rampant, aphrodisiois mainomenos [Zoe: mad women in Corinth], to be in heat, desire sexual intercourse, organ pros tên homilian, 2. generally, to be eager or ready, to be excited, judge under the influence of passion.

Paul restricted women specificially whose flailing unholy arms brings on wrath or an ORGY.  This spiritual anxiety Jesud outlawed along with the burden laders is what PREVENTS the understanding of the Word as the only true purpose for the assembly.

Peter said that we should ave us from this CROOKED generation. All of history knows that music was for "entertainment" only and appealed--according to the classics and church fathers--to the lower classes. This crooked generation was the enemy beginning with the "serpent" in the garden of Eden who is defined throughout that area as a Musical Enchanter(ess).  Isaiah defines "Lucifer as the singing and harp playing prostitute in the garden of Eden."

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

The untoward or perverted or crooked generation were MARKED:

Skolios 1 curved, winding, twisted, tangled, bent sideways, douleiê kephalê skoliê, unjust, unrighteous , Il., Hes., etc.; skolia prattein,

Prattein, Prassô II. experience certain fortunes, 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

Impure Grace is: Charis for his pleasure, for his sake, glôssês charin for one's tongue's pleasure,  pleasure or sake, for the sake of my flesh, for the pleasure of devouring it,  prassein, 4. love-charm, philtre, charizesthai (1.2), indulge, humour, orgêi,  Charizomai charizô  in erotic sense, grant favours to a man,

Skolion [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.

This is the only meaning of "musical" melody and Jesus and Paul calls it crooked. This was invented by Sappho as the prototypical Lesbian. Aristonexus is used by Burgess, Johnson, Payne etc as their authority for PLUCKING in church.

What Melic poetry like Sappho's actually was is best comprehended in the light of Plato's definition of melos, that it is 'compounded out of three things, speech, music, and rhythm.' Sappho is said by Athenaeus, quoting Menaechmus and Aristoxenus, to have been the first of the Greek poets to use the Pêktis (pêktis), a foreign instrument of uncertain form, a kind of harp (cf. fr. 122), which was played by the fingers without a plectrum. Wharton's Life of Sappho 

Lesbia. 16. But whenever these poems were written, they spring from experiences that did not touch deeply the soul of the writer. A passing fancy, a moment's passion, an evanescent humor brought them forth. But at Rome, and not long after he arrived at Rome, Catullus met the mastering passion of his life, and beside the verses to which it gave birth the melodious chamber ditties of Horace and the elaborated passions of the elegiasts are but as tinkling cymbals.

To the woman who exercised this wonderful power over him he gives the name of Lesbia. But more often he is not content with a name, and the familiar terms of endearment flow from his lips with a newer and deeper meaning;

for he delights to feel that though his experience is on the outside like that of other men,
his mistress is peerless in virtues and his love for her a love passing that of women 

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, later, the omission of the bad singers being ascribed to the difficulty or non-social character of the songs skolion, or it was said that the songs were easy, but appeared difficult to drunken revellers,  

Lynn Anderson etal: Gal. 1:5 To whom be glory for ever and ever. Amen.

 
Paul defined the ekklesia or synagogue in Romans 15 from which he EXCLUDED "Areskos" or self-pleasure which includes ALL of the hypocritic arts.  The literature describes a "demagogue who appeases the mases using the performing arts" and connects the word "kleptoma."

The ONLY way he defines a way to GLORIFY God or praise God is to speak with ONE MIND and ONE MOUTH using "that which is written." This educates, comforts with Scripture and PREVENTS disunity.  It is not possible to watch performing musicians without giving the glory to THEM: that is why they perform.

Lynn Anderson etal: Gal. 1:6 I marvel that ye are so soon removed from him that called you into the grace of Christ unto another gospel: Gal. 1:7 Which is not another; but there be some that trouble [compel] you, and would pervert the gospel of Christ.

Peter warned us to save OURSELVES from this crooked race: this points directly to the "getting fluted down with wine" symposium where the FLUTE-girl and HARP-girl were at a premium WHEN they wanted to get aroused. Even in these vile places of "religious festivals" when they needed to discuss something important they told the flute-girls to "go outside and play with yourselves." Good advice.

3344. metastrepho, met-as-tref´-o; from 3326 and 4762; to turn across, i.e. transmute or (figuratively) corrupt: pervert, turn.

This has the same meaning as the crooked generation of skolion singers who eleminate all who do not perform the "idolatry of talent."

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

Perverse: G1294 diastrephō dee-as-tref'-o From G1223 and G4762 ; to distort, that is, (figuratively) misinterpret, or (morally) corrupt:—perverse (-rt), turn away.

G4762 strephō stref'-o Strengthened from the base of G5157 ; to twist, that is, turn quite around or reverse (literally or figuratively):—convert, turn (again, back again, self, self about

G5157 tropē trop-ay' From an apparently primary word τρέπω trepō (to turn); a turn (“trope”), that is, revolution (figuratively variation):--turning.

Tropos , ho, ( [trepô] ) turn, direction fashion, guise: in barbarous guise or fashion IV. in Music, like harmonia,

Deipnosophistai 3 lots of flute-girl prostitute parallels,

I know, too, of Polystratus of Athens, nicknamed the Etruscan, and a disciple of Theophrastus, that he used to clothe himself in the garments of the flute-girls.

Even princes were often excited over flute-girls and harp-girls, as is made clear by Parmenio in the Letter to Alexander dispatched to him after the capture of Damascus, when he came into possession of Darius's household goods. Having caused an inventory to be made of the captured stuff, he writes also the following:

    "I discovered concubines of the king who played musical instruments, to the number of 329; men employed to weave chaplets, 46; caterers, 277; kettle-tenders, 29; pudding-makers, 13; bartenders, 17; wine-clarifiers, 70; perfume- makers, 14."

The instrumentalists appeal to Alexander to prove that PSALLO meant to play instruments: However, ALL of the passages they point to as PROOF speak of older males, like Alexander, who PLUCKED his harp so skillfully that it shamed his father: he was plucking his harp to pluck a young man who had been plucked as "youth minister."

Because the "gospel" gives us freedom from any but those who let us REST and learn the word, the gospel is perverted by music or any kind of theatrical or hypocritic performance

Lynn Anderson etal: Gal. 1:8 But though we, or an angel from heaven, preach any other gospel unto you than that which we have preached unto you, let him be accursed. Gal. 1:9 As we said before, so say I now again, If any man preach any other gospel unto you than that ye have received, let him be accursed. Gal. 1:10 For do I now persuade men, or God? or do I seek to please men? for if I yet pleased men, I should not be the servant of Christ. Self pleasure is what Paul OUTLAWED for the ekklesia, synagogu or school of the Bible: Rom 15:1 WE then that are strong ought to bear the infirmities of the weak, and not to please ourselves

THE GOSPEL OF THE KINGDOM INVOLVES ONLY WHAT JESUS THE KING TAUGHT.

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

The weak are the infirm and that includes lots of old people and most people to some extent. What the performers think is spiritual is creating the "spiritual anxiety" died to remove. No one goes away from a "musical" performance not being damaged by decibel poisoning and a "drug" high.

Aresko (g700) ar-es'-ko; prob. from 142 (through the idea of exciting emotion); to be agreeable (or by impl. to seek to be so): - please.

Music was always the mark of the prostitute or Sodomite:

Areskos 
A. pleasing, mostly in bad sense, obsequious, cringing, 
II. areskos, ho, the staff borne by pornoboskoi [brothel keeper] on the stage, 

Airo (g142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

Airô to raise up, exalt, Aesch.:--of passion, to exalt, excite, hupsou airein thumon to grow excited, to raise by words, to extol, exaggerate, to take up for oneself: to carry off, win, gain

This had the same meaning of EXTERNAL SINGING:

Aoidê 1. art of song, autar aoidên thespesiên, spell, incantation, thing sung, song, whether of joy or sorrow,

Aeidô sing,.hence of all kinds of vocal sounds, crow as cocks, hoot as owls, croak as frogs,; hoi tettiges chamothen aisontai, crowing too soon.

The tettiges are the LOCUSTS which are the MUSES serving Apollo, Abaddon or Apollyo

Aeirô is connected to:

Kithar-izô ,( [kitharis] ):--play the cithara, phormingi [Apollyon's instrument], kitharize. Instrument players were defined as parasites.

The included Attic word Airô to raise up, exalt, Aesch.:--of passion, to exalt, excite, hupsou airein thumon to grow excited, to raise by words, to extol, exaggerate, to take up for oneself: to carry off, win, gain

Romans XV. 1 debemus autem nos firmiores imbecillitates infirmorum sustinere et non nobis placere

Sustinere  I. to hold up, hold upright, uphold, to bear up, keep up, support, sustain 1.To sustain, support, maintain, by food, money, or other means (maintain, preserve with dignity of a citizen II. Concr., the citizens united in a community, the body - politic, the state, and as this consists of one city and its territory, or of several cities, it differs from urbs, i.e. the compass of the dwellings of the collected citizens; 

Imbecillitas Caes. B. G. 7, 77, 9

Caes. B. G. 7, 77, 9  Caesar, Gallic War 7.77. LXXVII. But those who were blockaded at Alesia , the day being past, on which they had expected auxiliaries from their countrymen, and all their corn being consumed ignorant of what was going on among the Aedui, convened an assembly [Concilium Pastorium] and deliberated on the exigency of their situation. After various opinions had been expressed among them, some of which proposed a surrender, others a sally, while their strength would support it, the speech of Critognatus ought not to be omitted for its singular and detestable cruelty. 

Concilium is the same as Latin ecclesia or Greek sulloge or synagogue. I.a collection of people, an association, gathering, union, meeting A.An assembly for consultation pastorum pasco  2.To feed, nourish, maintain, support, 3.To cherish, cultivate, let grow, feed 

4. Of animals, to graze, browse (poet.): pascentes capellae,

Pastor 2.The minister or superintendent of a church or congregation

Ezek XXXIV. The word of Yahweh came to me, saying, [2]  Son of man, prophesy against the shepherds of Israel, prophesy, and tell them, even to the shepherds, Thus says the Lord Yahweh: Woe to the shepherds of Israel who feed themselves! Shouldn't the shepherds feed the sheep? [3]  You eat the fat, and you clothe you with the wool, you kill the fatlings; but you don't feed the sheep. [4]  You haven't strengthened the diseased, neither have you healed that which was sick, neither have you bound up that which was broken, neither have you brought back that which was driven away, neither have you sought that which was lost; but with force and with rigor have you ruled over them. [5]  They were scattered, because there was no shepherd; and they became food to all the animals of the field, and were scattered.

Eph 4:[11]  He gave some to be apostles; and some, prophets; and some, evangelists; and some, shepherds and teachers; [12]  for the perfecting of the saints, to the work of serving, to the building up of the body of Christ; [13]  until we all attain to the unity of the faith, and of the knowledge of the Son of God, to a full grown man, to the measure of the stature of the fullness of Christ 

Outlawed:  Placeo to please, to be pleasing or agreeable, to be welcome, acceptable, to satisfy (class.).
1. In scenic lang., of players or pieces presented, to please, find favor, give satisfaction: scenico placenti 

Rom. 8:8 So then they that are in the flesh cannot please God.
Rom. 8:9 But ye are not in the flesh, but in the Spirit, 
        if so be that the Spirit of God dwell in you. 
        Now if any man have not the Spirit of Christ, he is none of his.

Outlawed: Scaenicus I. of or belonging to the stage, scenic, dramatic, ORGANA, theatrical
I. Lit.: poëtae, dramatic poets, ludi, stage-plays, theatrical representations, : fabula, a drama ,  
2. Placere sibi, to be pleased or satisfied with one's self, to flatter one's self, to pride or plume one's self

I. Lit.: poëtae, dramatic poets, ludi, stage-plays, theatrical representations, : fabula, a drama, organa, Suet. Ner. 44 : coronae, id. ib. 53 : habitus, id. ib. 38 : gestus, Cic. de Or. 3, 59, 220 : modulatio Comedy. Orator

Poi-êtês II. composer of a poem, author, p. kômôidias Pl.Lg.935e ; p. kainôn dramatôn, b. composer of music, 2. author of a speech

Lynn Anderson etal: II.  Inspired Scripture I believe in a God who speaks clearly through His Inspired Word.  His important truths are readily apparent throughout the whole of scripture.  Certainly there are finer nuances to be gleaned by deeper study, but He does not leave us to guess where He stands and then hope to escape the wrath of hell if we guess wrong. I believe that all scripture is “inspired by God” (2Tim. 3:16).  I have heard it said many times that the Bible doesn’t address the issue of instrumental worship for the church and that it is conspicuously missing.

Sorry, but I have never heard that the Bible doesn't address instruments except from instrumental apologists: I think they meant that the Bible did not authorize it.  The most overwhelming issue of the Old Testament is the clergy being abandoned to pagan music and the prophets universally condemning them as robbers and parasites JUST what God promised when the elders fired God and hired a DOMINANT PREACHER. God didn't tell you that you cannot be a hypocrite either:

Hupokrinomai

I. to reply, make answer, answer, Hom., Hdt.
2. to expound, interpret, explain, Od., Ar.:--the attic word in this sense is apo-krinomai.

II. of actors, to answer on the stage: hence to play a part, be an actor
2. to represent dramatically: hence to exaggerate
3. metaph. to play a part, to feign, pretend, c. inf., id=Dem.

Latin canto I. Neutr., to produce melodious sounds (by the voice or an instrument), to sound, sing, play (class. in prose and poetry; to sing and play while the actor accompanies the song with gestures or dancing, C. Transf., of instruments, to sound, resound: 

Parasi-tus , i, m., = parasitos, lit. one who eats with another; hence,
I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods-Hence, parasitus Phoebi, a player, actor,  

II. In partic., in a bad sense, one who, by flattery and buffoonery, manages to live at another's expense, a sponger, toad-eater, parasite

Some claim that God is silent and his silence gives ME the right to impose new practices whih BECOME the words of God which cannot be disputed. And so totally inspired that they claim that God COMMANDED instrumental praise and we must not be disobedient.  

When God brought Israel out of Egypt by pure grace, He gave them The Book of the Covenant. They agreed to keep it but refused to listen to the voice of God. While Moses was on the mountain getting a written code of grace, the people rose up in musical idolatry. For that transgression God removed Grace and gave them The Book of The Law and turned them over to worship the starry host.

Exod 32:1 AND when the people saw that Moses delayed to come down out of the mount, the people gathered themselves together unto Aaron, and said unto him, Up, make us gods, which shall go before us; for as for this Moses, the man that brought us up out of the land of Egypt, we wot not what is become of him.

Exod 32:2 And Aaron said unto them, Break off the golden earrings, which are in the ears of your wives, of your sons, and of your daughters, and bring them unto me.

Exod 32:3 And all the people brake off the golden earrings which were in their ears, and brought them unto Aaron.

Exod 32:4 And he received them at their hand, and fashioned it with a graving tool, after he had made it a molten calf: and they said, These be thy gods, O Israel, which brought thee up out of the land of Egypt.

Exod 32:5 And when Aaron saw it, he built an altar before it; and Aaron made proclamation, and said, To morrow is a feast to the Lord.

Exod 32:6 And they rose up early on the morrow, and offered burnt offerings, and brought peace offerings; and the people sat down to eat and to drink, and rose up to play.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

"In the New Testament there is nowhere any emphasis laid on the musical form of the hymns; and in particular none on instrumental accompaniment whereas this is significantly paganism." (Delling, Gerhard, Worship in the New Testament, trans. Percy Scott Phil. Westminster press, 1962, p. 86).

Both the Greek and Latin define this is MUSICAL IDOLATRY;

Ludo A.To sport, play with any thing, to practise as a pastime, amuse one's self with any thing. B.To sport, dally, wanton (cf. "amorous play, 

Tertullian De Spectaculus Chapter X. Theatrical Performance and Religion 

Let us pass on now to theatrical exhibitions, which we have already shown have a common origin with the circus [Circe=church], and bear like idolatrous designations-even as from the first they have borne the name of "Ludi," and equally minister to idols.

They resemble each other also in their pomp, having the same procession to the scene of their display from temples and altars, and that mournful profusion of incense and blood,
.........with music of pipes and trumpets,
........ all under the direction of the soothsayer and the undertaker,
........ those two foul masters of funeral rites and sacrifices.

2 Peter 2:13 And shall receive the reward of unrighteousness,
..........as they that count it pleasure to riot in the day time.
..........Spots they are and blemishes, sporting themselves
..........with their own deceivings [delusions] while they feast with you;
..........All musicians and rhetoricians are equated to parasites.

Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves.
gamêliôi lechei [marriage couch-bed] hêdonais, playing in the wind, exult over, treat haughtily or contemptuously, made a mock of, tinos sumphorais, III. use or abuse at pleasure

Exod 32:17 And when Joshua heard the noise of the people as they shouted, he said unto Moses, There is a noise of war in the camp.

Lam. 2:6 And he hath 
      1. violently taken away his tabernacle, as if it were of a garden:

      2. he hath destroyed his places of the assembly: [h4150 synagogues: good and bad]

          the LORD hath caused the solemn feasts and sabbaths to be forgotten in Zion,
          and hath despised in the indignation of his anger the king and the priest.

Hos 8:3 Israel hath cast off the thing that is good: the enemy shall pursue him.

Hos 8:4 They have set up kings, but not by me: they have made princes, and I knew it not: of their silver and their gold have they made them idols, that they may be cut off.

Hos 8:5 Thy calf, O Samaria, hath cast thee off; mine anger is kindled against them: how long will it be ere they attain to innocency?

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

3. The Lord hath cast off his altar (candlestick), he hath abhorred his sanctuary,
he hath given up into the hand of the enemy the walls of her palaces;
they have made a noise in the house  [Temple] of the Lord, as in the day of a solemn feast. Lam 2:7

WES: 2:7 They - The enemies with their triumphs and blasphemies, made as great a noise, as those that sang holy songs, or played on instruments, were wont to make to the glory of God.

Exod 32:18 And he said, It is not the voice of them that shout for mastery, neither is it the voice of them that cry for being overcome; but the noise of them that sing do I hear.

Paul warned both the Romans and Corinthians about this musical idolatry

1Co.10:7 Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play.

Paizo (g3815) paheed'-zo; from 3816; to sport (as a boy): - play.
Paig-ma , atos, to, A. play, sport,  whene'er the pipe sounds its sportive strains, E.Ba.161(lyr.); Ludia p. luras 

E.Ba.161  Euripides Bacchae
Chorus
[135] He is sweet in the mountains, whenever after the running dance he falls on the ground, wearing the sacred garment of fawn skin, hunting the blood of the slain goat, a raw-eaten delight, rushing to the [140]  Phrygian, the Lydian mountains, and the leader of the dance is Bromius, evoe!  The plain flows with milk, it flows with wine, it flows with the nectar of bees. [145]  The Bacchic one, raising the flaming torch of pine on his thyrsos, like the smoke of Syrian incense, darts about, arousing the wanderers [planetes [Wandering stars] with his racing and dancing, agitating them with his shouts, [150]  casting his rich locks into the air. And among the Maenad cries his voice rings deep:  “Go, Bacchae, go, Bacchae, with the luxury of Tmolus that flows with gold, [155]  sing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, [160]  when the sweet-sounding sacred pipe sounds a sacred playful tune suited [165] to the wanderers, to the mountain, to the mountain!” And the Bacchante, rejoicing like a foal with its grazing mother, rouses her swift foot in a gamboling dance

êïos epithed of Phoebus, A. êïe Phoib [Apollo, Apollon, Apollyon] 

enopê 3. of things, sound, 08; kitharas e. E.Ion882 O you, who cause a voice to sing from your seven-stringed lyre, a voice that lets lovely-sounding hymns peal forth in the rustic lifeless horn

Note 2. lura  A.lyre, a stringed instrument with a sounding-board formed of the shell of a tortoise thrênon (since the dirge was accompanied by the flute)

II.lyric poetry and music, Pl.Lg.809c, 809e.
III. the constellation Lyra, Anacr.99, Arat. 269; Mousôn

The Bible is NOT lyric poetry. 

Lynn Anderson etal: Is not the Old Testament part of our Bible?  Is it not part of all scripture?  Was it not written to teach us about God (Ro. 15:4) and what He values (love, justice, mercy, faith, worship, etc.) and what He hates (evil, idolatry, etc.)?  When the early church gathered to worship, what scripture did they study together - not the New Testament - it had not been written yet.  What was their hymnbook? - the psalms, which over and over include mandates to use instruments Rom 15:4  “For everything that was written in the past was written to teach us, so that through endurance and the encouragement of the Scriptures we might have hope.”

GOD DID NOT COMMAND KING, KINGDOM, TEMPLE, ANIMAL SACRIFICES OR LEVITE SORCERS MAKING NOISE

Paul excludes the diversities of Romans 15 and defines the ekklesia or synagogue or school of the Bible in Romans 15: the teaching was done by speaking "that which is written" using one mind and one mouth. Self-pleasure excludes all form of theatrics especially exhibitionism which was a female or perverted mark.

This was written for our learning including telling us that Israel fell from Grace because of musical idolatry.  Because there is no exception to this radical condemnation, it is not possible for anyone taking an honest look at the text to conclude that it teaches us to DO that which caused God to abandon them to musical idolatry in national-only animal sacrifices.

1Cor. 10:6 Now these things were our examples,
        to the intent we should not lust after evil things, as they also lusted.
1Cor. 10:7 Neither be ye idolaters, as were some of them; as it is written,
        The people sat down to eat and drink, and rose up to play.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

"They sat down to eat and drink and rose up to play. They practiced rites in which they made themselves naked, perhaps similar to those which were carried out by naked Babylonian priests." (Woodrow, p. 158)

Anton Marks "We know that all of the Israelites brought Egyptian gods and practices with them and it is not far-fetched to think that Miriam, who had not yet been exposed to the Covenant, was part of the consciousness-altering rhythms and which was part of a priestly myth-play brought to destructive consummation at Mount Sinai as the golden calf was called back into action. 

This "rising up to play" involved eating, drinking, nakedness and musical worship. The goddess, Hathor, is the best candidate for the Mother Goddess of the Mount Sinai idolatry. Here priestessess or prophetesses were highly trained with musical instruments, cultic songs and be able to join in the religious dance.

1Cor. 10:11 Now all these things happened unto them for ensamples: and they are written for our admonition, upon whom the ends of the world are come.  

When Paul addressed those areas where pagan singing with instruments--and music included the whole body--he commanded that the SPEAK "that which is written" (Rom 15), The Spirit (Eph 5; John 6:63) or the Word of Christ (Col 3.) These were all forms of the BOOK of Psalms or other inspired text.  Modern writers do not write inspired Scripture.

Where there were numerous prophets which usually meang prophesiers or mad singing and playing people who arroused you to pick your pocket, Peter told the churches to give attention to the PROPHETS and the Day Star would arise in their hearts.

The reason for both is that Peter left a written memory and claimed that it was from an eye and ear witness of Jesus Christ Who validated HIS mission by working miracles.  Therefore, singing that which is written is a MARK as the only real way we can identify what Paul identified as the pagan, perferted performers.  A teacher who did not "teach that which is written" was marked as a false teacher. That is why God put that authority in the hands of Pastor-Teachers as the elders and not young professional performers to put on a show.

Jesus had a bound copy of the Greek version: maybe similar to the one the eunuch was reading so that he knew that baptism was prophesied.  The meaning of a Scribe was that they would be at every major event taking notes and making copies to sell before the audience got away.  Everything that Jesus said would be recorded and became short accounts.

Therefore, they would need nothing more to assemble to read whatever text they had, discuss it and be admonished to observe it. With the addition of the Lord's Supper they could conduct "church" until Jesus comes.

Lynn Anderson etal: Psa 4:1  For the director of music. With stringed instruments. Psa 5:1  For the director of music. For flutes. Psa 6:1  For the director of music. With stringed instruments. Psa 33:2  Praise the LORD with the harp; make music to him on the ten-stringed lyre. Psa 33:3  Sing to him a new song; play skillfully, and shout for joy. Psa 43:4  Then will I go to the altar of God, to God, my joy and my delight. I will praise you with the harp, O God, my God. Psa 47:5  God has ascended amid shouts of joy, the LORD amid the sounding of trumpets. Psa 49:4  I will turn my ear to a proverb; with the harp I will expound my riddle: Psa 54:1  For the director of music. With stringed instruments. Psa 55:1  For the director of music. With stringed instruments. Psa 61:1  For the director of music. With stringed instruments. Psa 67:1  For the director of music. With stringed instruments.

Who is the chief Musician: the truth is that he is often the slave driver.

Commentators and critics have confessed that they can make only conjectures as to the primitive meaning and use of the word (for it is only one word in Hebrew) lamenazzeah. 

The Ancient Versions attempt a rendering.  The Sept. has eis to telos = unto, for, or, with a view to the end.  The Arabic, Ethiopic, and Vulgate render it "at the end".  The Chald. renders it (Ps. 45) "to the praise".  The Talmudists hold that it related to Him Who is to come; while Aquila (one of the Sept. Revisers, A.D. 130) renders it "to Nikopoio" = to the giver of victory.

It is clear that a Person was intended by these various renderings; but they appear to be interpretations rather than translations.  Regarded as the former, they may be useful in showing us how the Psalms point to Christ; for He is the end.  It is He Who giveth victory; it is He Who is the Coming One :  and, while the book is called Sepher Tehillim, the Book of Praises, it is He Who "inhabiteth the praises of Israel" (Ps. 22:3).

All ancient Hebrew manuscripts, with the early and best later printed editions, show no break whatever between the lines of one Psalm and another.

The Septuagint translators had been many years in Babylon, and the oldest among them must have been very young when carried away thither.

There was none who had full knowledge and experience of the ancient usages of the Temple worship.

Consequently, when they came to their task some 197 years after the latest carrying away to Babylon, there was nothing to show them where one Psalm ended and where the next began.

Hence, when they came to the word lamenazzeah, "To the chief Musician", they took it as being the first line of a Psalm, instead of the last line of the preceding Psalm which they had just translated.  All subsequent Versions, in all languages, have followed them in this mistake.  For mistake it was, as we may see from the only two examples of independent Psalms given us in the Scriptures :  viz. Isa. 38:9-20, and Hab. 3.

In each of these isolated Psalms we have the true models on which all the other Psalms are based.

In each case we have
    1.  The Super-scription, or Title proper.
    2.  The body of the Psalm itself.
    3.  The Sub-scription.

In each of these two cases the word lamenazzeah forms the sub-scription, and appears at the end of the Psalm. Those who "set forward" the work of the temple excelled which means:

Nacach (h5329) naw-tsakh'; to glitter from afar, to be eminent as a superintendent, especially of the Temple services and its music; also to be permanent, to excel, chief musician, singer, overseer, set forward. (The Worship team or Minister of Music is the overseer or anxiety inducer).

Of which, twenty and four thousand were to set forward the work of the house of the Lord; and six thousand were officers and judges: 1Chr.23:4

There were also women musical singers "for my own pleasure" or my "musical instruments" or "my concubines" but there were never any Levitical women worship team members.

Another description shows that the musical worship teams were the overseers of the group:

Paqiyd (h6496) paw-keed'; from 6485; a superintendent (civil, military or religious): - which had the charge, governor, office, overseer, [that] was set.

Of the sons of Asaph, the singers were over the business of the house of God. Ne.11:22b
Godly people performed no work on the REST DAY: work involved sending out ministers of God.

Melakkah (h4399) mel-aw-kaw'; from the same as 4397; prop. deputyship, i. e. ministry; gen. employment (never servile) or work (abstr. or concr.); also property (as the result of labor): - business, * cattle, * industrious, occupation, (* -pied), * officer, thing (made), use, (manner of) work ([man], -manship).

This is outlawed for the day of Rest: 

The singers and musicians were eminent (famous, celebrated, conspicuous or exalted). They were the chief singers, set forward to advance the work of the institution. They were in charge, they were officers, they were the overseers of the "flock."
        This was not because of the elders or tribal leaders approved.
Rather, the chief "lion" organized his own teams to grasp ruler ship after the wars were over. This led to the displacement of the religious institution by the "peace party." However, when they cry "peace, peace" we had better watch out.

And the young men that were brought up with him spake unto him, saying, Thus shalt thou answer the people that spake unto thee, saying, Thy father made our yoke heavy, but make thou it somewhat lighter for us; thus shalt thou say unto them, My little finger shall be thicker than my fathers loins. 2 Chron 10:10

For whereas my father put a heavy yoke upon you, I will put more to your yoke: my father chastised you with whips, but I will chastise you with scorpions. 2 Chron 10:11

And answered them after the advice of the young men, saying, My father made your yoke heavy, but I will add thereto: my father chastised you with whips, but I will chastise you with scorpions. 2 Chron 10:14

This caused Civil war after Solomon's death

See that human hymns are idols. 

John Murray defining Psalms as Inspired Psalms: We cannot write those. 

"In the Septuagint psalmos occurs some 67 times in the titles to the Psalms. In most cases it is the translation of the Hebrew mismor, but in a few cases it translates other Hebrew words.

Psalmos means simply "song of praise." The frequency with which the word psalmos occurs in the titles is probably the reason why the Book of Psalms is called in the LXX version simply psalmoi. In the Hebrew it is called tehillim.

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

I will declare thy name unto my brethren: in the midst of the congregation will I praise thee. Psalm 22:22

"There is nothing in the context of these two passages requiring us to regard "psalms" as referring to uninspired compositions.

On the other hand, there are abundant instances in the usage of Scripture elsewhere which show that the word "psalm" refers to an inspired composition.

"Furthermore, there is no instance in which the word "psalm," as used with reference to a song of praise to God, can be shown to refer to an uninspired song.

It is therefore quite unwarranted to regard "psalms" in these two passages as referring to uninspired songs, whereas there is abundant warrant for regarding them as denoting inspired compositions. 

Probably most churches do NOT follow that direct command and are therefore not informed.  Paul outlawed SELF-pleasure which we have proven excludes all forms of arousal singing or instruments.  He further defined the METHOD of teaching "that which is written." He said us ONE MIND and ONE MOUTH as the way to educate, glorify or praise God, comfort WITH the Scriptures and thereby keep the unity of the body. No one in history has ever imposed music without knowing that they would sow discord which IS a burnable offense.

No musical performers SPEAK that which is written in UNISON and therefore violate the direct command for the teaching purpose and the method of teaching: rarely will a Physics professor let some musician rewrite his lectures and perform them with a musical band.

Lynn Anderson etal: III.  God Never Changes I believe in a God that never changes.  He is not given to whims and fancies that come and go.  A loving God would not desire and command something at one time (Num. 10:2, Ps. 98, 150, I Chron. 25:6, etc.), later decide that He hates it (and neglect to mention that fact - just expect us to guess it), then change His mind again and require it (I Cor. 15:52, I Thess. 4:16, Rev. 5:8, 8:2, 14:2, 15:2).  God does not change.

That is partly true: Jacob cursed the tribe of Levi and warned us NOT to attend their assemblies or enter into covenant with them  Genesis 49

People lived under the Abrahamic covenant of Grace before they fell into musical idolatry at Mount Sinai. God abandoned the national system of kings and priests to make war and conduct NATIONAL animal sacrifices to which the people's congregation never attended.  The serpent in the garden of Eden was a "musical enchanter(ess)".  The king/queen of Tyre was typical of Lucifer called the "singing and harp playing prostitute" in the garden of Eden. There are examples of instrumental music during the Patriarchal period and the concept is of giving Jacob a musical party so that he did not even know that he was wedding the wrong woman.

If God abandones you to idolatry then maybe God DOES change: He always changes when we repent.
The assembly for instruction did NOT change when the curse of musical-sacrificial terror was IMPOSED.

Gal. 3:14 That the blessing of Abraham might come on the Gentiles through Jesus Christ; 
        that we might receive the promise of the Spirit through faith.
Gal. 3:15 Brethren, I speak after the manner of men;
        Though it be but a man’s covenant, yet if it be confirmed,
        no man disannulleth, or addeth thereto.

By appealing to the Law imposed because of musical idolatry one defacto rejects the Covenant of Grace destroyed BY musical idolatry.

Gal. 3:16 Now to Abraham and his seed were the promises made.
        He saith not, And to seeds, as of many; but as of one,
        And to thy seed, which is Christ.
Gal. 3:19 Wherefore then serveth the law?
        It was added because of transgressions,
        till the seed should come to whom the promise was made;
        and it was ordained by angels in the HAND of a mediator.

After we are baptized into Christ:

Gal. 3:28 There is neither Jew nor Greek, there is neither bond nor free,
        there is neither male nor female: for ye are all one in Christ Jesus.

Gal. 3:29 And if ye be Christ’s, then are ye Abraham’s seed,
        and heirs according to the promise.

At the same time the Qahal, synagogue or church in the wilderness was ordained for all of the rest as a school of the Bible. It excluded vocal and instrumental rejoicing.

That neer changed and the synagogue was all that was left for the most part after the Return.

Lynn Anderson etal: A.  Old Testament 1.  Pre-Davidic Ex. 15:20 - Pre-Davidic – “Miriam, the prophetess, sister of Aaron and Moses, took a timbrel in her hand and led the women in her song of praise.”

Job writes of the time before Miriam:

Mark me, and be astonished, and lay your hand upon your mouth Job 21:5 .
Even when I remember I am afraid, and trembling taketh hold on my flesh. Job 21:6

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
        [The evil take wind, string and percussion instruments]
They spend their days in wealth, and in a moment go down to the grave. Job 21:13

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

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

Lo, their good is not in their hand:
        the counsel of the wicked is far from me. Job 21:16
How oft is the candle of the wicked put out
        and how oft cometh their destruction upon them!
        God distributeth sorrows in his anger. Job 21:17
They are as stubble before the wind, [baptism of the spirit]
        and as chaff that the storm carrieth away. Job 21:18

Of the pipe which Jubal handles meaning without authority: "It (the pipe meaning to love passionately) was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, as we see from Genesis Rabbah 50:

    "The angels said to Lot: There are players of the pipe (organ) in the country, hence it ought to be destroyed. Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests. (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

Organum -Of musical instruments, a pipe, Vulg. Gen. 4, 21;  an organ, water-organ: organa hydraulica, -Of a church-organ
Organon, to, ( [ergon, erdô] ) a Musical instrument: a machine for doing hard work in making war and creating the "arousal" in pagan ceremonial legalism
         
    Polemeios: warlike, aoida war-note, of the trumpet, B.17.4
    aoid-ê  5. = eppsdê, spell, incantation

All musical terms and names of instruments speak of casting a spell: John called the speakers, singers and instrument players in Revelation 18 SORCERERS. They worked UNDER the Mother of Harlots (Rev 17)

Music is the MARK god reserved only for those making war on His people as they try to "wear out the saints" to worship THEM.

When Israel fell into musical idolatry, the Law was written to warn a people condemned to return to their Assyrian and Babylonian roots.  Babylonian tablets were up to 3,000 years old when Moses was born. That is where we understand what the end Time Babylon Mother of Harlots means. Inanna got the Ea (Lamech) the patron god of music drunk and stole the magical chants--the ME: these included the power over the eldership, the power over musical performers and the power of homosexual seduction and many more.

"Long before Israel's existence, we find in Akkadian tablets the word halhallatu for 'double clarinet,' and we have many ancient representations of this instruments... it served also to express extreme joy as well as deep mourning. Its liturgical function is dubious, to say the least. According to Rabbinic literature, the days were limited to twelve, or maximally eighteen, when (it) was played before the altar.

"Extremely popular for secular purposes the (double clarinet) was played at weddings, banquets, and funerals. At funerals it served as accompaniment to the customary wailing women; this is the meaning of Matt. 9:23. The chief characteristics of the clarinet were: popularity, juxtaposition with hand drum and lyre, expression of extreme emotionalism, and symbolic meaning of fertility and resurrection." (Interpreters Dictionary of the Bible, p. 472, Abingdon).

Living in the princely quarters Miriam would automatically be a prophetess of Hathor, the female counterpart to Apis the golden calf worshipped at Mount sinai.  These represented the Egyptian trinity of Osiris, Isis and infant Horus. The name of her prophesying is called "soothsaying." When she pretended to speak for God she got slapped with a dose of leprosy and dissapears.  Miriam means "bitter waters" and is the likely prototypical usurping woman in Paul's writings:

Theodoret (Quasten, Music & Worship, p. 65) claimed that the Jews brought liturgical music from Egypt and Philo wrote that "Moses learned rhythm, harmony, meter and everything concerned with instrumental music from the Egyptians." This is why Moses knew that the noise at Mount Sinai was not the sound of defeat or of victory. Rather, it was the "sound of them singing that I hear."

The Jews sang in the type of the Egyptian threnodies (elegies for the dead):
Thus they made a golden bull, the image of an animal that was held to be the most sacred in that land;

they offered unholy sacrifices, performed impious dances and sang hymns
which differed in no way from the pagan mourning songs. Philo, De specialibus legibus 

[Jesus threw them out more or less violently like dung]

"This reference probably indicates the use of songs from the cult of Osiris... it can hardly be denied that Egyptian influence on Jewish musical practices was quite significant. This would stand to reason because of the high quality of Egyptian cultic music. The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).

"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was m^ena'an^e'im. It was the Egyptian kemken used in the cult of Isis.

The music during the transferring the Ark to Sion (David rose up to play)
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.

"As Herodotus reports, women sang the praises of Osiris while liknesses of the gods were born
        about and, during the festival of Diana at Bubastis,
        Women's singing was a vital part of all pagan worship. In very
        times women became priestly singers of the gods in the temple. 

When males do that in the presence of God they have dug deeper than any male in paganism unless it is recorded "he was drunk, perverted or just having fun."

"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (Johannes Quasten. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41

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

Here is what God thought of her "revelations."
Take heed in the plague of leprosy, that thou observe diligently, and do according to all that the priests the Levites shall teach you: as I commanded them, so ye shall observe to do. Deut 24:8
Remember what the Lord thy God did unto Miriam by the way, after that ye were come forth out of Egypt. Deut 24:9

Here is what Miriam did which was common to what the Israelites did in Egypt and never ceased to do.
Sistrum, a metallic rattle which was used by the Egyptians in celebrating the rites of Isis, and in other lascivious festivals,.Ov. Am. 2, 13, 11 By the Jews, Vulg. 1 Reg. [Samuel] 18, 6 .--Hence sarcastically, as if used for a war - trumpet by the wanton Cleopatra Verg. A.8.696   Luc. 10.63

Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et choris

Prophe-ta  I. a foreteller, SOOTHSAYER prophet... oraculorumque interpretes, sacerdotes Aegyptiorum, quos prophetas vocant, [Priestess of Egpt prophetess call out] Aegyptius, propheta primarius

Lynn Anderson etal: Ex. 28:33-35  Jehovah prescribes the high priest’s garments: “…and beneath upon the hem of it thou shalt make . . . bells of gold . . .that he die not”. Num. 10:1-10  “The Lord said to Moses, ‘Make two silver trumpets . . .” I Sam. 10:5  Samuel tells the newly anointed King Saul that he would meet “a band of prophets coming down from the high place with harp, tambourine, flute, and lyre before them, prophesying.  Then the Spirit of the Lord will come mightily upon you, and you shall prophesy with them and be turned into another man.”  Wow - talk about transforming worship!

See Saul's Madness induced by the prophets from the Philistine HIGH PLACE.

"This is the first mention in the OT of a band of prophets. These were men who went about in companies and were able by means of music and dancing to work themselves up into a convulsive and ecstatic frenzy (2 Ki. 3:1-10). 

Their abnormality was believed to be caused by the invasive influence of the spirit of god. The word prophesied here does not mean either foretelling the future or preaching after the manner of the later prophets, but engaging in the ritual dance of the prophetic guild (19:18-24). Their behavior was commonly regarded as a form of madness (2 Ki. 9:11; Jer. 29:26)" (The Int. Bible Ency., I Sam. p. 932).

And the Lord said unto Samuel, Hearken unto the voice of the people in all that they say unto thee: for they have not rejected thee, but they have rejected me, that I should not reign over them. 1 Samuel 8:7

According to all the works which they have done since the day that I brought them up out of Egypt even unto this day, wherewith they have forsaken me, and served other gods, so do they also unto thee. 1 Samuel 8:8

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

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

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

Lynn Anderson etal: 2 Sam 6:5  David and the whole house of Israel were celebrating with all their might before the LORD, with songs and with harps, lyres, tambourines, sistrums and cymbals.

 
"The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was m^ena'an^e'im. It was the Egyptian kemken used in the cult of Isis.

The music during the transferring the Ark to Sion (David rose up to play)
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.

Lynn Anderson etal:  2 Sam 6:15  while he and the entire house of Israel brought up the ark of the LORD with shouts and the sound of trumpets.

 
2 Sam 6:13 And it was so, that when they that bare the ark of the Lord had gone six paces, he sacrificed oxen and fatlings 

2 Sam 6:15 So David and all the house of Israel brought up the ark of the Lord with shouting, and with the sound of the trumpet.

Ju-bilo , a-vi, a-tum, 1, v. n. and

I. a. [jubilum], to shout, to raise a shout of joy: quiritare, jubilare, V to call out to a person: io buccol quis me jubilat? Poet. ib.: jubilate Deo, Vulg. Psa. 99, 4 

2 Sam 6:16 And as the ark of the Lord came into the city of David,
............ Michal Sauls daughter looked through a window,
............ and saw king David leaping and dancing before the Lord;
............ and she despised him in her heart.

Latin Play:lu-do B. To play, sport, frisk, frolic an ad pugnandum,

pugno , a-vi, a-tum, 1, v. n. and very rarely

I. a. [root pug-, to thrust, strike, whence pugil, pungo, etc.], to fight, either singly or in armies, to combat, give battle, engage, contend (very freq. and class.).

A. To sport, play with any thing, to practise as a pastime, amuse one's self with any thing: illa ipsa ludens conjeci in communes locos, Cic. Par. prooem.: Prima Syracosio dignata est ludere versu Nostra ... Thalia, Verg. E. 6, 1 .--Esp., to play on an instrument of music, to make or compose music or song:

B. To sport, dally, wanton (cf. "amorous play," Ov. A. A. 2, 389; Cat. 61, 207; 

2 Sam 6:20 Then David returned to bless his household.
............ And Michal the daughter of Saul came out to meet David,
............ and said, How glorious was the king of Israel to day,
............ who uncovered himself to day
............ in the eyes of the handmaids of his servants,
............ as one of the vain fellows shamelessly uncovereth himself 

Nu-doI. to make naked or bare; to strip, bare, lay bare, expose to view, uncover (syn.: exuo, detego, revelo).

Scurra , ae, m. 1. A city buffoon, droll, jester (usually in the suite of wealthy persons, and accordingly a kind of parasite; syn.: -Of the clown in a pantomime,  

Vain is h205. aven, aw-ven´; from an unused root perhaps meaning properly, to pant (hence, to exert oneself, usually in vain; to come to naught); strictly nothingness; also trouble. vanity, wickedness; specifically an idol:affliction, evil, false, idol, iniquity, mischief, mourners(-ing), naught, sorrow, unjust, unrighteous, vain, vanity, wicked(-ness). Compare 369.

Ezek 22:28 And her prophets have
        daubed them with untempered [Taphel, Tabret, frivolity] morter,
        seeing vanity, and divining lies [magical songs] unto them, saying,
        Thus saith the Lord God, when the Lord hath not spoken.

Latin: Vānus Ghost, emptiness, nothingness, naught, of persons, show, false, lying, deceptive, delusive, untrustworth, vainglorious, ostentatious, boastful, vain, weak, wavering.

Vanities are Magica which is equated to Exegetice or those people who add to the Word of God.

Magica Vanities: This is the Garden of Eden Story. Which is the Lucifer-Zoe story etal.

Vanitas I.Lit., emptiness, nothingness, nullity, want of reality:

B. Esp., falsity, falsehood, deception, untruth, untrustworthiness, fickleness, magice I. the magic art, magic, sorcery (post-Aug.): pariter utrasque artes effloruisse, medicinam [p. 1097] dico magicenqu.
          Included Vanitas: tŭmultus  an uproar, bustle, violent commotion, disturbance

Included Tumultus pulso and psallo have the same meaning: to push, strike, beat, Of military engines, Of musical instruments: chordas digitis et pectine eburno, to strike, play upon, cymbala,A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet:
C.To drive away, remove, put out of the way,

A. In gen., to urge or drive on, to impel, to set in violent motion, to move, agitate, disturb, disquiet:

    Similar Vanitas: to Rythmice I. the art of observing rhythm

Lynn Anderson etal:2.  Davidic 1 Chr 6:32  “They ministered with music before the tabernacle, the Tent of Meeting, until Solomon built the temple of the LORD in Jerusalem. They performed their duties according to the regulations laid down for them.”  NIV

 
God gave Israel kings to carry out the captivity and death sentence imposed because of musical idolatry at Mount Sinai.

Acts 7:41 And they made a calf in those days, and offered sacrifice unto the idol,
        and rejoiced in the works of their own hands.
Acts 7:42  Then God turned, and gave them up to worship the host of heaven;
        as it is written in the book of the prophets, O ye house of Israel,
        have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness?
Acts 7:43 Yea, ye took up the tabernacle of Moloch, and the star of your god Remphan,
        figures which ye made to worship them:
        and I will carry you away beyond Babylon.

Acts 7:45 Which also our fathers that came after brought in with Jesus into the possession of the Gentiles, whom God drave out before the face of our fathers, unto the days of David;

Acts 7:46 David Who found favour before God,
    and desired to find a tabernacle for the God of Jacob.
Acts 7:47 But Solomon built him an house.
Acts 7:48 Howbeit the most High dwelleth not in temples made with hands; as saith the prophet,
Acts 7:49 Heaven is my throne, and earth is my footstool: what house will ye build me? saith the Lord: or what is the place of my rest?
Acts 7:50 Hath not my hand made all these things?
Acts 7:51 Ye stiffnecked and uncircumcised in heart and ears, ye do always resist the Holy Ghost: as your fathers did, so do ye.

That is the proof text Lynn Anderson and others are using to sow discord and subvert your church: he is still honored at ACU and LU!

When David sinned so that he could never again return to GOD'S Tabernacle, God gave him a Jebusite High Place already fitted for idolatry.  David made his OWN tent and transferred the Ark and the singers to ZION (Nor Moriah totally consumed in paganism):

After the processional with music in which the ark was brought to Jerusalem it is said:

"The ancient Tabernacle was now divided; the ark was brought into Zion, whereas the brazen altar at least, and probably the vessels of the holy place (ex. 25:23-40; 37:10-28; 40:22-27), were established in the high place at Gibeon.

Asaph and the singers (1 Chron. 6:31-47; 15:16-19; 16:5; 25:6) were left before the ark, while the priests ministered in Gibeon before the Tabernacle (16:39)." (Schofield Bible, p. 478-479).

"The original altar of Burnt-offering continued at Gibeon with the Tabernacle (2 Chr. 1:3, 5). David must have erected a new altar for sacrifice at Jerusalem.

> The sacrifices commanded by the Law were, it appears, offered at the former place (Gibeon);
> at the latter were offered voluntary additional sacrifices." (Albert Barnes, 1 Chron, p. 347).

1Chr. 6:15 And Jehozadak went into captivity, when the LORD carried away Judah and Jerusalem by the hand of Nebuchadnezzar.

1Chr. 6:32 And they ministered before the dwelling place of the tabernacle of the congregation with singing, until Solomon had built the house of the LORD in Jerusalem: and then they waited on their office according to their order.

The KJV uses the word SINGING: Zamar NEVER includes an instrument without naming that instrument.

This just means SINGING because David never performed WORSHIP with either singing or instruments. Ecclesiasticus was in the bound Bible Jesus quoted from:

48:8. In all that he did he gave thanks to the Holy One, the Most High, with ascriptions of glory;
..........HE sang praise with all his heart, and he loved his Maker.

48:9. He placed singers before the altar,
..........to make sweet melody with their voices.

48:10. HE gave beauty to the feasts, and arranged their times throughout the year,
..........while they praised God's holy name,
..........and the sanctuary resounded from early morning.

From What the Bible Says

1Chr. 13:8 And David and all Israel played before God with all their might,
        and with singing, and with harps, and with psalteries, and with timbrels,
        and with cymbals, and with trumpets.
1Chr. 13:9 And when they came unto the threshingfloor of Chidon, Uzza put forth his hand to hold the ark; for the oxen stumbled.
1Chr. 13:10 And the anger of the LORD was kindled against Uzza, and he smote him, because he put his hand to the ark: and there he died before God.
1Chr. 13:11 And David was displeased, because the LORD had made a breach upon Uzza: wherefore that place is called Perezuzza to this day.

"we recognize the same elements: the sacrifices and libation, the cultic feast in which the congregation gets a share of food and drink after it has been blessed by the king, and the merry-making, now in the form of instrumental and vocal music. But the central act of the ritual, which was performed by the king, is called literally 'drinking' the god (Gurney, O. R. Some Aspects of Hittite Religion, p. 33-34, Oxford University Press, 1977)

Lynn Anderson etal: 1 Chr 15:16  David told the leaders of the Levites to appoint their brothers as singers to sing joyful songs, accompanied by musical instruments: lyres, harps and cymbals.

 
These were Levitical Warrior Musicians under the KING and COMMANDERS OF THE ARMY: the singing was ordained by the KING because these were to give glory to the king whom God had given in His Anger and whom God said would destroy the nation: and they did.

1Chr. 25:1 Moreover David and the captains of the host separated to the service [hard bondage] of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was:

1Chr. 25:2 Of the sons of Asaph; Zaccur, and Joseph, and Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph, which prophesied according to the order of the king.

Asaph is from h622: a primitive root; to gather for any purpose; hence, to receive, take away, i.e. remove (destroy, leave behind, put up, restore, etc.):—assemble, bring, consume, destroy, felch, gather (in, together, up again), x generally, get (him), lose, put all together, receive, recover (another from leprosy), (be) rereward, x surely, take (away, into, up), x utterly, withdraw.

"As we have seen in the passage discussed above (I Sam. 10:5-13), prophecy was intimately associated with politics from the very first moment it appeared in Israel. The prophetic band was stationed right next to a Philistine garrison. Their purpose was to incite Israelites to engage in holy war against the Philistine foe, and to do this they must have sung, with the fervor of their ecstasy, war songs which aroused the people to action. Like the charismatic judges of an earlier day, they were intoxicated with 'enthusiasm." (Anderson, Bernard, p. 231).

From What the Bible Says

From the warning of God and the retrospective of Nehemiah and the statement that the "law was against us" we know that the kings were imposed whey the elders fired God. They were told that the kings would enslave them and carry then into captivity and death. And because God had turned them over to worship the starry host we understand that the military and clergy were involved with thee worship of Dionysus which they had inherited from Egypt as a curse:

1 Chr 25:1  David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service:

Payne insists that the Hebrew of 1 Chronicles 25:1 unambiguously identifies these leaders as military commanders, an interpretation favoured by several Bible translations. (Payne, p 423-4; NASB, NIV, NKJV, NRSV, Jerusalem Bible) If military commanders had a particular interest in the appointment of musicians, it suggests a strong link between music and warfare.

Service is: H5656 ăbôdâh From H5647 ; work of any kind:  bondage, + bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, X wrought.

H5647 ‛âbad aw-bad' A primitive root; to work (in any sense); by implication to serve, till, (causatively) enslave, be, keep in bondage, be bondmen, bond-service, compel

1 Chron 25:2 Of the sons of Asaph; Zaccur, and Joseph, and Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph, which prophesied according to the order of the king.

H623 ’âsâph aw-sawf' From H622 ; collector; Asaph, the name of three Israelites, and of the family of the first:---Asaph.
      H622 ’âsaph aw-saf' A primitive root; to gather for any purpose; hence to receive, take away, that is, remove (destroy, leave behind, put up, restore, etc.):--assemble, bring, consume, destroy, fetch, gather (in, together, up again),   surely, take (away, into, up), X utterly, withdraw.

"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).

David's Praise word in the instrumental Psalms is Halal from which we get the word for LUCIFER which speaks of a light and sound show to steal people's prophecy. Hillel, Judges 12:13.  Sophocles, Antigone

Chorus
[791] You seize the minds of just men and drag them to injustice, to their ruin. You it is who have incited this conflict of men whose flesh and blood are one. [795] But victory [Nike] belongs to radiant Desire swelling from the eyes of the sweet-bedded bride. Desire sits enthroned in power beside the mighty laws. [800] For in all this divine Aphrodite plays her irresistible game.

Commentary [800] empaizei, 'wreaks her will' in that contest which nikai implies. We find empaizô with a dat. (1) of the object, as Her. 4.134 empaizontas hêmin, 'mocking us': (2) of the sphere, as Ar. Th. 975 choroisin empaizei, 'sports in dances.' The en of empaizei here might also be explained as (a) in the imeros, or the blephara, i.e. by their agency: or (b) 'on her victim.' But the interpretation first given appears simpler. (Cp. Vergil's absol. use of illudere, G. 1. 181, Tum variae illudant pestes.)

Both Zamar and Psallo are a WARFARE word and never a WORSHIP word.

Psallô (psao)

1. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps. to twang the bow-string, Eur.; belos ek keraos ps. to send a shaft twanging from the bow,  
   schoinos miltophurês psallomenêI phurôI. metaph. to mingle together so as to soil or defile, confuse, to be doomed to have one's hair defiled with earth,  thêriôdous from a confused and savage

Tox-euma , atos, to, A. arrow, metaphor, of songs and words S.Ant.1085

Sophocles, Antigone Teiresias 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. Boy, lead me home, so that he may launch his rage against younger men, and learn to keep a quieter tongue [1090] and a better mind within his breast than he now bears