Robert Ballard The Case For Instrumental Music

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

7.16.14 Robert Ballard Are Instrumental Performers Parasites?

Yes!  Christ defined the Church of Christ (the Rock) in the wilderness after Israel fell into instrumental idolatry and were sentenced back to Babylon for captivity and death.

It was EXCLUSIVE of Vocal or Instrumental rejoicing or self speakers
It was INCLUSIVE of Rest, Reading and Rehearsing the Word of God.

ALL of the text from God is to be READ for Comfort and Docrine. Being jointly read and rehearsed is the only way to validate God and His Word and show reverence and respect.

Acts 8:28 Was returning, and sitting in his chariot read Esaias the prophet.

Acts 8:32 The place of the scripture which he read was this, He was led as a sheep to the slaughter; and like a lamb dumb before his shearer, so opened he not his mouth:

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

Acts 23:34 And when the governor had read the letter, he asked of what province he was. And when he understood that he was of Cilicia;

2Cor. 3:14 But their minds were blinded:
        for until this day remaineth the same vail untaken away
        in the reading of the old testament; which vail is done away in Christ. 
2Cor. 3:  15 But even unto this day, when Moses is read, the vail is upon their heart.

Col. 4:16 And when this epistle is read among you,
        cause that it be read also in the church of the Laodiceans;
        and that ye likewise read the epistle from Laodicea.

1Th. 5:27 I charge you by the Lord that this epistle be read unto all the holy brethren.

People who minimize the Word, Logos or Regulative Principle are sent strong delusions and they can no longer read the text.

Rev. 5:4 And I wept much, because no man was found worthy to open and to read the book, neither to look thereon.

People who compose their own sermons rather than read and discuss "that which is written for our learning," performing singers, instrument players, actors, "ministry" leaders, finance ministers etc. are defined by Scripture and recorded history as PARASITES and leaders of an effeminate "worship service" to prevent Jesus from being the only Speaker.

When Jesus MARKED Judas as the son of perdition predestined to try to triumph over (musically) Jesus with the SOP we should understand that SOP and PSALLO have the same root meaning.

Outward Command: SPEAK "that which is written for our Learning" ODE and PSALLO IN the heart. Meaning Keep it Silent BECAUSE: LEXIS or LOGOS is the OPPOSITE of ODE which means to enchant. Psallo is a word often connected to Apollo, Abaddon or Apollyon. He carried his bow and made the string "twang" to send forth a sinning arrow into the literal heart of enemies. He also carried the Lyre which he "plucked" intending to send forth a Love Arrow into his male of female frieds. Abaddon or Apollyon has been unleased from the pit and is the leader of the LOCUSTS which we understand to be the MUSES as his musical worship team. The muses are known in the literature as dirty adulteresses who become SHEPHERDESSES at Apollo's Worship Center at Delphi and Corinth. Psallo is USED primarily as: psallō   pluck, pull, twitch,ps. etheiranpluck the hair: esp. of the bow-string, toxōn kheri psallousi neurastwangthem, E.Ba.784; “kenon kroton” Lyc.1453; ek keraos ps. belossend a shaft twanging from the bow, When used of musicalinstruments Psallo means play or pluck II. mostly of the strings of musical instruments, play a stringed instrument with the fingers, and not with the plectron: Jesus said MY WORDS are SPIRIT and LIFE.  As the antithesis to the "spirit" as a person or people Ventus , B.  personified as deities, the winds: te, Apollo sancte,  omnipotens Neptune, invoco; Vosque adeo, Venti! Turpil. ap. Cic. Tusc. 4, 34, 73  Lucr. 5, 1230 (1228); cf. Ov. H. 17 (18), 37.— Spīrĭtus The air: imber et ignis, The BREATH of a god, inspiration: “ spiritum Phoebus [Apollo, Abaddon, Apollyon]  mihi, Phoebus artem Carminis Carmen , dedit, poetic spirit or inspiration, Hor. C. 1, 7, 23;Q. Horatius Flaccus, Odes (ed. John Conington) Let others Rhodes or Mytilene sing, Or Ephesus, or Corinth, set between Two seas, or [Baccho] Thebes, or [Apollo] Delphi, for its king Each famous, or Thessalian Tempe green;   There are who make chaste Pallas' virgin tower The daily burden of unending song, And search for wreaths the olive's rifled bower: The praise of Juno sounds from many a tongue, Telling of Argos' steeds, Mycenae's gold. Mark 6.7 He called to himself the twelve, and began to send them out two by two; and he gave them authority over the unclean spirits. Luke 8:2 and certain women who had been healed of evil spirits and infirmities: Mary who was called Magdalene, from whom seven demons had gone out; The Spirit OF God is the BREATH of God and not a "people." Psallo marks as Lawless those who used a "guitar pick", beat on a drum or blew a flute. The Phrase:  psallere saltare elegantius, ē-lēgo , āvi, 1, v. a., I.to convey away (from the family) by bequest, to bequeath away, pulso I.   Lucr. 4, 931),  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 , = psalmos,  I.      In gen., to play [psalmus] upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,” Sall. C. 25, Elego I. to convey away (from the family) by bequest, to bequeath away,  Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate; she was skilled in Greek and Roman literature; she could sing, play, and dance, with greater elegance than became a woman of virtue, and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. The Phrase:  “cantare et psallere jucunde,” jūcundus (jōcundus ), a, um, adj. jocus, I. pleasant, agreeable, delightful, pleasing (syn.: gratus, blandus; “class.): est mihi jucunda in malis et grata in dolore vestra erga me voluntas,   “verba ad audiendum mălus , evil, wicked, injurious, destructive, mischievous, hurtful : carmen, i. e. an incantation, Leg. XII. Tab. ap. Plin. 28, 2, 4, § 17: “abi in malam rem,” go and be hanged! burdensome,  plagis “male tibi esse malo quam molliter,” I would rather you should be unfortunate than effeminate, Sen. Ep. 82, 1:  “cantare et psallere,” Suet. Tit. 3: The Graces as Muses were "blue-eyed blond musical prostitutes." They were Abaddon-Apollyon's Praise Team. "Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit. He found it significant that, on the whole, only women and effeminate men fell into this folly. Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did. The Phrase: gratus, blandus; The New Hermeneutics or the Kairos Time Grātus or  kharis religion beloved, dear, acceptable, pleasing, agreeable “Herophile Phoebo grata and: “superis deorum gratus (Mercurius) et imis,  “carmina,” id. C. 1, 15, 14; 3, 11, 23: “artes,” id. ib. 4, 13, 22: “error mentis, favorite, darling:  deserving or procuring thanks Grata testudo Jovis,” [G1361 Diotrephes] testūdo   Hermes made the first lute or lyre from a tortoise-shell while still in his crib. He is a type of Jubal. 1. Of any stringed instrument of music of an arched shape, a lyre, lute, cithern Mercŭrĭus , ii, m., = Hermēs,  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:   Mercury or Hermes (Kairos) while still in his cradle scouped out a turtle and made the first lyre: the turtle should be graceful that it would be worshipped even today for its contribution Diotrephes He gave this harp to Apollo, Abaddon or Apollyon who is YOUR musical worship leader even today. G1361 Diotrephes dee-ot-ref-ace' From the alternate of G2203 and G5142; Jove nourished; Diotrephes, an opponent of Christianity:   From:. Trepho (g5142) tref'-o; a prim. verb (prop. threpho, but perh. strength. from the base of 5157 through the idea of convolution); prop. to stiffen, i.e. fatten (by impl. to cherish [with food, etc.], pamper, rear): - bring up, feed, nourish  trephô similar words mean that the was RAISED UP by Zeus. Hor. Ars 395 Orpheus, the priest and interpreter of the gods, deterred the savage race of men from slaughters and inhuman diet; hence said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion “Pythia cantica” Hor. Ars 414, songs like the hymns which were sung in honor of Apollo, by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing. Grata or GRACE in the sense of the Graces and Muses who were musicians under Apollo or Abaddon at Delphi where the Phythian serpent was worshipped.  Other forms are: khairō1. c. dat. rei, rejoice at, take pleasure in a thing, “nikē”Il.7.312; “phēmē” Od.2.35; “dōrō” Hes.Op.358; “molpa [sing and dance], hē, (melpō)A.dance or rhythmic movement with song, 2. more freq. song, suriggos ekhōnthe note,  klagg-ē klagg-ē twang of the bow howling of wolves and lions, baying of dogs, also, of musical instruments of song k. aēdoneios

Everett Ferguson Congregational Singing in Early Church
As "doctors of the Law take away the key to knowledge" Everett Ferguson quotes a lot of Scripture and church history but misses the rest of the story not part of his thesis.

Churches and theologians have probably spend more time trying to justify the use of music in the assemblies of Christ than teaching the lost.  That is because the lust of the eyes and ears looks in vain for the use of any kind of "music" in connection with God's people from Genesis to Revelation.  To the contrary, the Word asssociates musical instruments with Lucifer, warriors threatening the enemy, unauthorized sacrificial exorcism, prostitutes and Sodomites.

LEAVEN from ACU requested Teresa D. Welch, an instrumentalist to review Danny Corbitt's Missing More than Music.  Teresa does not endorse the ANTI-instrumentalists rehash as well as they might have hoped. Danny says that Paul and Silas sang hymns because they would not have their musical instruments with them.  I have worked on the HYMN word from Greek and Latin text and found that there was two VENUES of performing hymns.

In the Bible sense a Hymn is a prayer from recorded Scripture.
When Hymns are  SUNG the literature adds a word for SING and HYMN
When Hymns are accompanied with instruments they most often identify Dionysus or Apollo (Abaddon, Apollyon) as the "gods" being praised.

4.09.13
See the two major PSALLO words which are never DEFINED. Instead, I will show how the words are used having several meanings.  If we twang a bowstring to send forth a singing arrow into a literal heart then PSALLO would obligate the instrumentalists because there is very little about twanging a HARP string and then the examples are ugly or even forbidden.

Lynn Anderson The Beginning of Musical Idolatry

Danny Corbitt and Matt Dabbs Psallo ripening issues

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

Danny Corbitt Refuting Everett Ferguson Psallo, Psalmos, Psalmus, Psalma

Quick Added Notes 4.06.13

These represented all of the pagan sects in Rome such as those of Dionysus and Orpheus.  Both could be pointed out on the days when types of foods were available or prepared in the marketplace or the pagan temples in the Agora: in Athens it was quite separated from the Ekklesia for word-only discussions. The men who translated the Septuagint or LXX were aware that the PSALLO-based words pointed to making war or making strang love in the marketplace. Any lawful citizen able to attend the assembly was swept up by slaves using a red, polluted rope and driven to the ekklesia for instruction only. A gang of slaves, called Scythians, carrying ropes dipped in red ochre (miltos, hence Miltiades, i.e. the Red-Haired) would travel through the city on the days the Ecclesia was to meet, and would lash those citizens not in attendance with their ropes. With garments thus stained, shamed citizens could legally carry out no business until they visited the meeting grounds of the Ecclesia on the hill called the Pnyx.   -psallō , fut. so miltokharēs skhoinos psallomenē a carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark, AP6.103 (Phil.): -Phurô  I. to mix something dry with something wet, mostly with a sense of mixing so as to soil or defile, to be doomed to have one's hair defiled with earth, II. metaph. to mingle together, confuse, bioton ek pephurmenou kai thēriōdous diestathmēsato from a confused and savage state, E.Supp. 201. Agora a^g, as, Ion. agorē , ēs, hē, (ageirō):— 2. market-place, III. business of the agora: 1. public speaking, gift of speaking, mostly in pl., eskh' agoraōn withheld him from speaking, generally, provisions, supplies, Agoraios b. agoraios, hē, market-day, IGRom.4.1381 (Lydia). (The distn. agoraios vulgar, agoraios public speaker, drawn by Ammon., etc., is prob. fictitious.) Agorazō a^g, fut. asō Ar.Lys.633, Men. 828:—frequent the “agora, hai gunaikes a. kai kapēleuousi” Hdt.2.35, 4.164, cf. Arist.Ph.196a5, Com.Adesp.710; occupy the market-place, Th.6.51. 2Corinthians 2:14 Now thanks be unto God, which always causeth us to triumph in Christ,         and maketh manifest the savour of HIS knowledge by us in every place. 2Corinthians 2:15 For we are unto God a sweet savour of Christ,          in them that are saved, and in them that perish: 2Corinthians 2:16 To the one we are the savour of death unto death;         and to the other the savour of life unto life. And who is sufficient for these things? 2Corinthians 2:17 For we are NOT as many, polus great, mighty, “megas kai pollos egeneo” Hdt.7.14, cf. E.Hipp.1; ho p. sophistēs, stratēgos stra^tēg-os 5. an officer who had the custody of the Temple at Jerusalem, “ho s. tou hierou” Ev.Luc. 22.52, Act.Ap.4.1, J.BJ6.5.3. which corrupt the word of God: but as of sincerity, but as of God,         in the sight of God         speak we in Christ. ka^pēl-euō , A. to be a retail-dealer, drive a petty trade, Hdt.1.155, 2.35, Isoc.2.1 2. metaph., k. ta prēgmata, of Darius, Hdt.3.89; k. ta mathēmata sell learning by retail, hawk it about, Pl. Prt.313d; “k. ton logon tou theou” 2 Ep.Cor.2.17;  adultery The Psallo based words MARK a church, Kirke, or Circe: it is the mark of marketimereligion. You remember that Jesus cast the pipers inducing singing or lamenting or dancing into the MARKETPLACE along with all of the other merchandisers: there SHALL NOT--CANNOT be a Canaanite or Trader in the House of God Zech 14:21 Yea, every pot in Jerusalem and in Judah shall be holiness unto the Lord of hosts: and all they that sacrifice shall come and take of them, and seethe therein:         and in that day there shall be no more the Canaanite in the house of the Lord of hosts. Kennaniy (h3669) ken-ah-an-ee'; patrial from 3667; a Kenaanite or inhabitant of Kenaan; by impl. a pedlar (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker. H3667 kena‛an ken-ah'-an From H3665 ; humiliated; Kenaan, a son of Ham; also the country inhabited by him:—Canaan, merchant, traffick. Mercātor , ōris, m. id., I. a trader, merchant, esp. a wholesale dealer (opp. to caupo, a retailer; class.). I.  Lit.: “venalicii mercatoresque,” Cic. Or. 70, 232: “multi ad eos mercatores ventitant,” Caes. B. G. 4, 3. — II.Transf.A. A dealer, speculator: “non consules, sed mercatores provinciarum,” Cic. post Red. in Sen. 4, 10.—Rarely of a petty dealer: “vilis sacci mercator olentis,” Juv. 14, 269.— B.A buyer, purchaser: “signorum,” Cic. Verr. 1, 20, 60: “veneni,” Juv. 13, 154. The word CHURCH does not define the Ekklesia: kuklos   of the circle which hunters draw round their game, 3  place of assembly, of the “agora, hieros k.” Il.18.504; “ho k. tou Zēnos tōgoraiou” b. crowd of people standing round, ring or circle of people, Eur. Hipp. 953  Continue then your confident boasting, take up a diet of greens and play the showman with your food, make Orpheus your lord and engage in mystic rites, holding the vaporings of many books in honor.2 [955] For you have been found out. To all I give the warning: avoid men like this. For they make you their prey with their high-holy-sounding words while they contrive deeds of shame. 2 Theseus compares Hippolytus to the Orphics, an ascetic religious sect that ate a vegetarian diet and had a reputation for hypocrisy. Bakkh-euō , A.  celebrate the mysteries of Bacchus, Hdt.4.79. Eur. IT 1243 Lovely is the son of Leto, [1235] whom she, the Delian, once bore in the fruitful valleys, golden-haired, skilled at the lyre; and also the one who glories in her well-aimed arrows. [1240] For the mother, leaving the famous birth-place, brought him from the ridges of the sea to the heights of Parnassus, with its gushing waters, which celebrate the revels for Dionysus. The Dionysus worshipers are those who do "evil things in the dark." Paul silenced them and everything which did not contribute to PEACE AND EDIFICATION which in this case is ONLY Education by "using one mind and one mouth to speak that which is written for our learning" (Romans 15). Disciples are students or learners and musical performances and speaking in tongues are identified by the same word for SPEAK.

Revised 9.28.13  Well, even when God ABANDONED the Jews to worship the Starry Host because of instrumental idolatry, He never, ever commanded anything more than the two silver trumpets.  The Spirit OF Christ defined the assembly of the godly and OUTLAWED vocal or instrumental rejoicing or preaching as in "sermonizing."

The "proof text" has God commanding that the Jacob-cursed and God-abandoned Levites to STAND IN RANKS under the King and Commanders of the Army.  They made a loud noise and warned that ANY one not connected with the abandoned and cursed Civil - Military - Clergy complex who came NEAR any "holy" thing or into any covered house were to be EXECUTED.  Everyone but the abandoned abandoned nobility was quarantined to their isolated areas and must be OUTSIDE the Camp or gates.

ONLY when they began burning the GOATS for the fully abandoned Israel nation did the Levites make a NOISE with the instruments commanded by DAVID the king.

WHAT GOD WERE THE JEWS ABANDONED TO BECAUSE OF INSTRUMENTAL IDOLATRY

Here Symmachus, greatly wondering at what was spoken, says: WhaTt, Lamprias, will you permit our tutelar god,

called Evius, the inciter of women, famous for the honors he has conferred upon him by madmen, to be inscribed and enrolled in the mysteries of the Jews?

Or is there any solid reason that can be given to prove Adonis to be the same with Bacchus? Here Moeragenes interposing, said: Do not be so fierce upon him, for I who am an Athenian answer you, and tell you, in short, that these two are the very same.

And no man is able or fit to bring the chief confirmation of this truth, but those amongst us who are initiated and skilled in the triennial or chief mysteries of the god.

But what no religion forbids to speak of among friends, especially over wine, the gift of Bacchus, I am ready at the command of these gentlemen to disclose.

When all the company requested and earnestly begged it of him; first of all (says he), the time and manner of the greatest and most holy solemnity of the Jews is exactly agreeable to the holy rites of Bacchus; for that which they call the Fast they celebrate in the midst of the vintage, furnishing their tables with all sorts of fruits while they sit under tabernacles made of vines and ivy; and the day which immediately goes before this they call the day of Tabernacles.

Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi.

Plutarch of Chaeronea held that the God of the Jews was none other than Dionysos. "First the time and character of the greatest, most sacred holiday of the Jews clearly befit Dionysos. When they celebrate their so-called Fast, at the height of the vintage, they set out tables of all sorts of fruit under tents and huts plaited for the most part of vines and ivy.

They call the first of the two days Tabernacles. A few days later they celebrate another festival, this time identified with Bacchos not through obscure hints but plainly called by his name, a festival that is a sort of 'Procession of Branches' or 'Thyrsos Procession' in which they enter the Temple each carrying a thyrsos.

What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their gods withal. Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,--either word agrees with Bacchus.

 And I suppose that their Sabbaths have some relation to Bacchus; for even now many call the Bacchi by the name of Sabbi, and they make use of that word at the celebration of Bacchus's orgies. And this may be discovered out of Demosthenes and Menander. Nor would it be out of place, were any one to say that the name Sabbath was given to this feast from the agitation and excitement [enthousi-astikos ] which the priests of Bacchus display.

The Israelites fell into the instrumental idolatry of the sun gods including o (Abaddon, yon) and their SERVICE with instruments was called Hard Bondage or Abad which is the service of Abaddon. o is called the Sun God.

Helios in his chariot (Greek: "Sun"), in Greek religion, the sun god. He drove a chariot daily from east to west across the sky and sailed around the northerly stream of Ocean each night in a huge cup. In classical Greece, Helios was especially worshiped in Rhodes, where from at least the early 5th century BC he was regarded as the chief god, to whom the island belonged. His worship spread as he became increasingly identified with other deities, often under Eastern influence.

From the 5th century BC, o, originally a deity of radiant purity, was more and more interpreted as a sun god. During the  Hell has seven divisions, one beneath the other. They are called Sheol, Abaddon, Beer Shahat, Tit ha-Yawen, Sha'are Mawet, Sha'are Zalmawet, and Gehenna.-- The Legends of the Jews, Louis Ginzberg]

lucĭfer, fe(ra, fe(rum, adj. [lux-fero] , light-bringing: itaque ut apud Graecos Dianam, eamque Luciferam, sic apud nostros Junonem (Juno)
A. The morning-star, the planet Venus: “stella  Hesperos
B. The fabled son of Aurora [Eos] and Cephalus, 

-Hêlios II. as pr. n., Helios, the sun-god, Od.8.271, dentified with o, 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,  [Lucifer, Zoe, daughters of Eve]

HERE IS THE PATTERN FOLLOWED BY ALL WHO PRACTICE "WORSHIP SERVICES" WHICH REPLACE THE EKKLESIA OR THE SCHOOL (only) OF THE WORD (only) of CHRIST (only). That includes the Prophets by the Spirit OF Christ and the prophecies made more certain by Jesus of Nazareth. The Apostles were eye-- and ear-- witnesses of the risen Jesus Christ who returned at Pentecost as promised and "poured out what you see and hear." That is why A Church of Christ does not do ritualistic worship services as a legalistic way to gain God's favor.  Music is the most works-intensive effort every invented by men. 

Paul and John wrote in the context of the Greek Classics which were a major means of religion and education in the theaters.

Luke 11:49 Therefore also said the wisdom of God, I will send them prophets and apostles, and some of them they shall slay and persecute

We are saved by Grace through FAITH. From what are we saved?

RELIGIONISTS OUTSIDE OF GOD'S GRACE

Ephesians 2:2 Wherein in time past ye walked according to the course of this world,
        according to the prince of the power of the air,
        the spirit that now worketh in the children of disobedience:

Kosmos , ho,  natgural, II.rnament, decoration, esp. of women; “hieros k.” OGI90.40 (Rosetta, ii B. C.): pl., ornaments, A.Ag.1271; “hoi peri to sōma k.” Isoc.2.32: 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.).

Hēdu^-melēs , Dor. had- , Aeol. ad- , es,

A. sweet-singing, “khelidoi” Anacr.67, cf. Sapph.122（Comp.), Pi.N.2.25; sweet-sounding, “xoana” S.Fr.238, etc.: poet. fem., “hēdumeleia surigx” Nonn.D.29.287.

Surigx , iggos, hē,

A. shepherd's pipe, Panspipe, “aulōn suriggōn t' enopē” Il.10.13; “nomēes terpomenoi surigxi” 18.526; “suriggōn enopē” h.Merc.512; “hupo ligurōn suriggōn hiesan audēn” Hes.Sc.278; “ou molpan suriggos ekhōn” S.Ph.213 (lyr.); kalaminē s. Ar.Fr.719; “kat' agrous tois nomeusi surigx an tis eiē” Pl.R.399d.

2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. “surizō” 11.2, surigmos:—the last part of the nomos Puthikos was called surigges, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10.

3. mouthpiece of the aulos, 

INSTEAD OF:

Ephesians 2:20 And are built upon [educated by] the foundation of the apostles and prophets, Jesus Christ himself being the chief corner stone;

THE MUSICAL IDOLATRY FOR WHICH THERE WAS NO REDEMPTION IS OUR PATTERN.

1Corinthians 10:1 Moreover, brethren,

         I would not that ye should be ignorant,
        how that all our fathers were under the cloud, and all passed through the sea;
1Corinthians 10:2 And were all baptized unto Moses in the cloud and in the sea;
1Corinthians 10:3 And did all eat the same spiritual meat;
1Corinthians 10:4 And did all drink the same spiritual drink:
        for they drank of that spiritual Rock that followed them:
        and that Rock was Christ.
1Corinthians 10:5 But with many of them God was not well pleased:
        for they were overthrown in the wilderness.
1Corinthians 10:6 Now these things were our examples,
        to the intent we should not lust after evil things, as they also lusted.

Epithu_m-ētēs , oi, ho,

A. one who longs for or desires, neōterōn “ergōn” Hdt.7.6; [dogmatōn] And.4.6; “ergōn” Lys.12.90; timēs, sophias, Pl.R.475b, etc.; phusei polemou e. Arist.Pol.1253a6; “kakōn” 1 Ep.Cor.10.6; “allotriōn” BGU531 ii 22 (ii A.D.).

2.  abs., lover, follower, X.Mem.1.2.60.

b.  one who lusts, LXX Nu.11.34.
Dogma , atos, to, (dokeō) A. that which seems to one, opinion or belief, Pl.R.538c; notion, Pl.Tht.158d, al. philosophical doctrines,

1Corinthians 10:20 But I say, that the things which the Gentiles [Gens] [ sacrifice,
         they sacrifice to devils, and not to God:
         and I would not that ye should have fellowship with devils.

Daemŏnĭum  II.  An evil spirit, demon, App. Mag. p. 315, 10; Vulg. Deut. p. 32, 17;

daimonaō ,  A. to be under the power of a daimōn, to suffer by a divine visitation, “daimona domos kakois” A.Ch.566; “daimonōntes en ata” Id.Th. 1008 (lyr.): abs., to be possessed, to be mad, E.Ph.888, X.Mem.1.1.9, Plu.Marc.20, etc.; “daimonas” Men.140.

Greek: Daimonios , II. from Hdt. and Pi. downwds. (Trag. in lyr.), heaven-sent, miraculous, marvellous, “bōlax” Pi.P.4.37; “teras” B.15.35, S.Ant.376
2. of persons, “tō d. hōs alēthōs kai thaumastō” Id.Smp.219b; ho peri toiauta sophos d. anēr ib.203a; “daimonios tēn sophian” Luc.Philops.32: Comp. “-ōteros” D.C.53.8.

Sophos , ē, on, mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238 (lyr.),

Sophia A. cleverness or skill in handicraft and art, in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, in divination,

1 Cor. 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.

1 Corinthians 10.7 mēde eidōlolatrai ginesthe, kathōs tines autōn: hōsper gegraptai “Ekathisen ho laos phagein kai pein, kai anestēsan paizein.”

Paizō pais  I. properly, to play like a child, to sport,  alla pepaistai metriōs hēmin, of the chorus, Ar. Th.1227.  4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn”   dance and sing, Pi. O.1.16.

Aristoph. Frogs 225
Rightly so, you busybody.
the Muses of the fine lyre love us
And so does horn-crested Pan, playing his reed pipe.
And the harpist o delights in us as well,
On account of the reed, which as a bridge for his lyre

ōn , ho, o: Abaddon, yon The name of a NUMBER
phorm-iktēs , ou, Dor. phorm-miktas , ho, A. lyre-player, of Orpheus, Pi.P.4.176

phorm-iktos , ē, on, A. sung TO the phormigx, kai peza kai ph. (sc. melē) S.Fr.16.

Melos , eos, to, 2. music to which a song is set, tune, Arist.Po.1450a14;
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” ; “aulōn pamphōnon m.” Pi.P.12.19;

5.  play amorously, “pros allēlous” X.Smp.9.2; “
II. est, sport, Hdt.2.28, 5.4, 9.11; make fun with a person,

Empaizō , fut. To be deluded  2. euphem. in mal. part., LXXJd. 19.25.
II. sport in or on, hôs nebros chloerais e. leimakos hêdonais E.Ba. 866 (lyr.); tois choroisin e. to sport in the dance, Ar.Th.975; tôi  Luc.Lex.5

Paig-ma , atos, to, A. play, sport, lōtos hotan . . paigmata bremē whene'er the pipe sounds its sportive strains, E.Ba.161(lyr.); “Ludia p. luras” Lyr.Alex.Adesp.37.15.II. 'child's play', to toiouto p. tōn logōn

"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).

A Devil will deliberately lie about the Truth of the Word:

Lying pseudos
in NT of what is opposed to religious truth, false doctrine, Ep.Rom.1.25; poiōn bdelugma kai ps., i.e. doing what is repugnant to the true faith, Apoc.21.27;
2.  esp. of divine or supernatural action, Ep.Eph.1.19, al., Aristeas 266; “e. theou Dios Baitokaikēs” OGI262.4 (Syria, iii A.D.); magical operation, “hiera e.”
party feelings or attachments, rivalries, “s. iskhurai philōn peri tinos” Hdt.5.5; “kata spoudas” Ar.Eq.1370, Ael.VH3.8; spoudai erōtōn erotic enthusiasms, Pl.Lg.632a.

Apoc 21.[27] There will in no way enter into it anything profane, or one who causes an abomination or a lie, but only those who are written in the Lamb's book of life.

Daimons continued:  on, ephē, daimonias huperbolēs ! Id.R.509c.
2. Of persons, “tō d. hōs alēthōs kai thaumastō” Id.Smp.219b; ho peri toiauta sophos d. anēr  lokhos gunaikōn, of the Furies, A.Eu.46;
Thaum-astos , Ion. thōm- , ē, on, A. wonderful, marvellous, first in neut. as Adv.,
“th. karpos” Id.9.122
III. to be worshipped, “oudeis m' areskei nukti thaumastos theōn” E.Hipp.106.

Hdt. 9.122 [3] Cyrus heard them, and found nothing to marvel at in their design; “Go ahead and do this,” he said; “but if you do so, be prepared no longer to be rulers but rather subjects. Soft lands breed soft men; wondrous fruits of the earth and valiant warriors grow not from the same soil.” [4] The Persians now realized that Cyrus reasoned better than they, and they departed, choosing rather to be rulers on a barren mountain side than dwelling in tilled valleys to be slaves to others.

Lokhos 

1. a place of ambush, place for lying in wait, Hom., Eur.

2. the act of lying in wait, lokhon heisai to place an ambuscade,

Xen. Cyrop. 5.5.2 Cyrus had given orders to bring out the tent of the Assyrian king which the Medes had selected for Cyaxares, to make it ready with all kinds of furnishings, and to conduct into the women's apartments of the tent the woman and with her the music-girls, who had been selected for Cyaxares. And this was done.

ib.203a; “daimonios tēn sophian” Luc.Philops.32: Comp. “-ōteros” D.C.53.8.
Sophia , A. cleverness or skill in handicraft and art, tektonos,
in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8, etc divination
cunning, shrewdness, craft, Hdt.1.68, etc.; to loidorēs ai theous ekhthra s. Pi.O. 9.38.
dēmēgorikos from dēmēgoros of or for public speaking, qualified for it, Xen.: hē -kē (sc. tekhnē), = dēmēgoria,

THE END-TIME PROPHECY IS THAT O, ABBADON OR YON AND THE LOCUSTS OR MUSES WILL BE UNLEASHED. THEIR JOB IS TO DRIVE OUT THE GODLY PEOPLE AND HOLD THE UNGODLY CAPTIVE WITH THE MUSES JOHN CALLS SORCERERS.

Mousa_geta_s , a, ho, Dor. for Mousēgetēs (v. infr.), A.leader of the Muses, epith. of o, Pi.Fr.116; “ho m. kai arkhagetas tas poiētikas theos” (Delph. Mousēgetēs , Pl.Lg. 653c, D.S.1.18, Jul.Or.4.132a, al.; voc. Mousēgeta^ , IG12(5).893 (Tenos); also Epithet of Heracles, in dat. Mousagētē ,

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

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

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

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

Rev. 9:11 And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name yon.

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

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

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

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

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

-o  o exercises an elevating and inspiring influence on the mind as god of music, which, though not belonging to him alone any more than atonement and prophecy, was yet pre-eminently his province. In Homer he is represented only as a player on the lyre,
while song is the province of the Muses;
but in course of time he grows to be the god, as they are the goddesses, of song and poetry,
        and is therefore Mousagetês (leader of the Muses) as well as master of the choral dance,
        which goes with music and song. And as the friend of all that beautifies life he is intimately
    associated with the Graces [Graces meaning CHARIS meaning Charismatic
        meaning the MARK of homosexual "worship"]

Revised 8.29.13 God set a mouse trap so that the text is actually INVERTED for those not OF TRUTH or not the lost spirits Jesus cam to seek and save. He did not pray for the world and God hides from the wise or Sophists defined as self-preachers, singers and instrument players.

The command is to SPEAK the ODES
-lexis , eōs, h(, (legō B) A. speech, OPPOSITE. ōdē, Pl.Lg.816d; l. ē praxis speech or action, Id.R.396c; ho tropos tēs l. ib.400d; ta lexei dēloumena orders given by word of mouth,

-ōdē , hē, contr. for aoidē,
“en tais ōdais kai melesin” R.399c, cf. 398c; OPPOSITE. lexis,

Psallo has never and can never speak of musical melody.  If someone said:

SPEAK to the students about the rules of grammar
SING and WHISTLE in the bathroom.

Is that too hard to understand? According to Paul if you tamper with the Word God sends strong delusions so that you believe your own lies. The results are Lying Wonders: lying wonders are rhetoric, singing, playing, juggling or acting AS a religious act--that legalism word.

Notice that ODE must include melos is you intend to SING.
MELOS or melody B. esp. musical member, phrase: hence, song, strain, Cratin.236; melē, ta, lyric poetry, choral songs, opp. Epic or Dramatic verse,
2. music to which a song is set, tune, Arist.Po.1450a14; OPPOSITE. rhuthmos, metron, Pl.Grg. 502c; 
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos” OPPOSITE. rhuthmos, rhēma,

The Phormigx was the instrument of o (Abaddon, yon):  He was the father of musical harmony on his lyre. The psallo word is specificially related to o making his bow string twang to send forth a singing arrow into a literal heart.  His lyre sent forth love arrows into his often male lovers.  Most of the PLUCKING passages referenced by Stark, Payne and Burgess point directly to older males plucking strings to seduce a young male.   It was common to speak of "shooting forth hymns" without any of the ugliness associated with psallo.  God was not stupid: if He wanted to speak about any king of musical melody especially the Greek literates knew to use multiple words or a compound word devoted to EACH instrument or an accompaniment.

There is no lyric poetry in the Bible: Plucking a string and then singing TO that sound is not tuneful.

Rhēma , A.that which is said or spoken, word, saying
kata rhēma apaggeilai word for word

You cannot speak in the LOGOS sense (The Regulative Principle) because it is opposite to rhetoric, poetry or music.  Robert may SEE the text as commanding SINGING psalms, hymns and spiritual songs (all inspired) instead of SPEAKING.  Oding is the OPPOSITE of SPEAKING so Paul commanded that the normal pagan singing and playing instruments be SILENCED.

Theologians (Doctors of the Law) took over once-Christian Colleges the staff and most of the influence flooded in boasting of "Exercising Prophetic roles as Channellers to train advanced degrees to go out and facilitate (manipulate) the demise of conservative churches of Christ.  That translates into ANTI-instrumentalist who REFUSE to Affirm instruments or Conform by joining the "unity" movement. Those who refuse to Affirm and continue to teach the olden Text (pre post modern) have been declared subject to any means, fair or foul, to "infiltrate and divert."  Jesus thus defined the Scribes and Pharisees as hypocrites meaning in Ezekiel 33 self-speakers, singers and instrument players.

Jesus will ask WHY have you agreed among yourselves to blaspheme the Holy Spirit OF Christ in the prophets by saying that GOD has commanded your movement to claim that GOD COMMANDED INSTRUMENTAL PRAISE and YOU had better not be disobedient?  Jesus left THE MARK of A Church (school) of Christ and that is why those with no role and no dole are so anxious to use MUSIC which means "to make the lambs dumb before the slaughter."  This sorcery or witchcraft is recorded on clay tablets some up to 2,000 years old when Moses wrote his WARNING.  The eternal story is of a goddess getting the father god drunk and stealing all of the ME or magical powers including "the power of the eldership, the power of musical instruments and the power of stroking the private parts" which is proven by medical science.  The Spirit OF Christ  proved that it was the WOMEN who led the worship in Ezekiel 8

She rears her ugly head in Revelation 17 and uses "lusted after fruits" (same as in Amos 8) as speakers, singers and instrument players.  John calls them sorcerers who HAD once deceived the whole world.   The MARKS are that Christ removes the Lamps or seven Spirits OF Christ (Isaiah 11) at the same time the rhetoricians, singers and instrument players. The next act is that they will be cast alive into the lake of fire.  Christ gave us the PROPHETIC type in Isaiah 30

The MARKS in sight and sound of God driving His enemies into "hell" are wind, string and percussion instruments.  These are the same instruments the "singing and harp-playing prostitute" brought into the Garden of Eden when He-She-It was "cast as profane" (that praise word) out of God's presence.

Civil Greek Society promised to "tar and feather" any person who came into their community wanting to sell their speeches, poems and music and whatever need you have.

ABSOLUTE MARKS OF A CHURCH (SCHOOL) OF CHRIST

John 15:18 If the world hate you, ye know that it hated me before it hated you.
John 15:19 If ye were of the world, the world would love his own:
        but because ye are not of the world,
        but I have chosen you out of the world, therefore the world hateth you.
John 15:20 Remember the word that I said unto you, The servant is not greater than his lord.
        If they have persecuted me, they will also persecute you;
        if they have kept my saying, they will keep yours also.
John 15:21 But all these things will they do unto you for my name’s sake,
        because they know not him that sent me.
John 15:22 If I had not come and spoken unto them, they had not had sin:
         but now they have no cloke for their sin.
John 15:23 He that hateth me hateth my Father also.

Aristot. Nic. Eth. 1175b.1

But things that are akin to things of different kinds must themselves differ in kind. [3] A still clearer proof may be drawn
        from the hindrance that activities
        receive from the pleasure derived from other activities.

For instance, persons fond of the flute
        cannot give their attention to a philosophical discussion [The LOGOS Regulative Principle]
        when they overhear someone playing the flute,
        because they enjoy music more than the activity in which they are engaged;
                therefore the pleasure afforded by the music of the flute
                impairs the activity of study.

hoi gar philauloi adunatousi tois logois prosekhein, ean katakousōsin aulountos,

Worship of God is giving all of our attention to God and the LOGOS
-prosekhō The ONLY worship concept in A Church of Christ
3. turn to or towards a thing, “p. omma” E.HF931: mostly, p. ton nounturn one's mind, attention to a thing, be intent on it,
ou prosekhei ta pragmata” “p. nomon theou” LXX Is.1.11, cf. Ex.34.11: also p. apo tōn hagiōn, tōn grammateōn, ib.Le.22.2, Ev.Luc.20.46; “p. tou mē phagein haima” LXX De.12.23; p. hina mē mastigōthēs ib.2 Ch.25.16.

Chronicles 25:16 And it came to pass, as he talked with him, that the king said unto him, Art thou made of the king’s counsel? forbear; why shouldest thou be smitten? Then the prophet forbare, and said, I know that God hath determined to destroy thee, because thou hast done this, and hast not hearkened unto my counsel.

Luke 20:46 Beware of the scribes, which desire to walk in long robes, and love greetings in the markets,
        and the highest seats in the synagogues, and the chief rooms at feasts;
Luke 20:47 Which devour widows’ houses, and for a shew make long prayers [Hymns]:
        the same shall receive greater damnation.

Jesus called the Scribes and Pharisees, hypocrites.   IN Ezekiel 33 Christ named self-speakers, singers and instrument players for hire.  Therefore, to SHOW FORTH would be to prophesi in order to fleece those Jesus set free.

katesthiō animals of prey, serpent 2. eat up, devour one's substance
 
prophēt-euō A.to be a prophētēs or interpreter of the gods, “manteueo, Moisa, prophateusō d' egō” Pi. l.c.; tis prophēteuei theou; who is his interpreter? E.Ion 413

Mant-euomai , (mantis):—divine, prophesy, modi, draw divinations from or by means of
2. generally, presage, forebode, surmise, of presentiment, Opposite knowledge
II. consult an oracle, seek divinations, Pi.O.7.31, Hdt.1.46, 4.172, etc.; “en Delphoisi” Id.6.76;

Pind. O. 7 Grace, which causes life to flourish, looks with favor now on one man, now on another, with both the sweet-singing lyre and the full-voiced notes of flutes. And now, with the music of flute and lyre alike I have come to land with Diagoras, singing the sea-child of Aphrodite and bride of Helios...Disturbances of the mind lead astray even a wise man. Tlepolemus went and sought the god's oracle.

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? mainomai , fut. to be mad with wine, of Bacchic frenzy, “mainomenos Diōnusos” 2. of things, rage, riot, esp. of fire,

The Mad Women of Corinth would be prophesying (11:5) or speaking other than those who spoke for instruction in a tongue or minor dialect dialekton logous pherein to bring news, {New}

la^l-eō II. chatter, opp. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix (sc. eimi), a very grasshopper to chirp at midday, Aristopho 10.6; “anthrōpinōs l.” Strato Com.1.46.

III. of musical sounds, “aulō laleō” Theoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.” Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin lalein sound the magadis, Anaxandr.35.

Mousa
II. mousa, as Appellat., music, song, “m. stugera” A.Eu.308 (anap.); “euphamos” Id.Supp.695 (lyr.); “kanakhan . . theias antiluron mousas” S.Tr.643  “aluros m.” Id.Ph.1028 (lyr.); “dia mousas ēxa” Id.Alc.962

Pind. I. 2 The men of old, Thrasybulus, who mounted the chariot of the Muses with their golden headbands, joining the glorious lyre, lightly shot forth their honey-voiced songs for young men, if one was handsome and had [5] the sweetest ripeness that brings to mind Aphrodite on her lovely throne. For in those days the Muse was not yet a lover of gain, nor did she work for hire. And sweet gentle-voiced odes did not go for sale, with silvered faces, from honey-voiced Terpsichore. But as things are now, she bids us heed [10] the saying of the Argive man, which comes closest to actual truth: “Money, money makes the man,” he said, when he lost his wealth and his friends at the same time.

Because, as Acts 7 makes clear, God had "turned them over to worship the starry host" rather than the Creator of the host BECAUSE of Musical idolatry at Mount Sinai.

To show or shine forth is prophēt-ēs ,  As PRETEND revealers they were New Wineskinners.
.one who speaks for a god and interprets his will to man, Dios p. interpreter, expounder of the will of Zeus, of Tiresias, Pi.N.1.60; Bakkhou p., perh. of Orpheus, E.Rh.972; [Dionusou p., of the Bacchae, Id.Ba.551 (lyr.); Nēreōs p., of Glaucus, Id.Or.364; esp. of the Delphic o, “Dios p. esti Loxias patros” A.Eu.19; of the minister and interpreter at Delphi, Hdt.8.36,37; at the Ptoön, ib. 135, IG7.4135.13 (ii B.C.); cf. prophētis.

THE WORSHIP OF THE MUSES UNDER ABADDON OR YON SILENCES THE WORD OF GOD

-prosku^n-ētos , ē, on, A.to be worshipped, worshipful Mousaistai

Mousagetēs ¹ doric for Mousēgetēs leader of the Muses, Lat. Musagetes, of o [Abaddon, yon] , Plat.1 Mous-a_getēs, ou, ho,

Mousa_geta_s , a, ho, Dor. for Mousēgetēs (v. infr.), A.leader of the Muses, epith. of o, Pi.Fr.116; “ho m. kai arkhagetas tas poiētikas theos” (Delph. Mousēgetēs , Pl.Lg. 653c, D.S.1.18, Jul.Or.4.132a, al.; voc. Mousēgeta^ , IG12(5).893 (Tenos); also Epithet of Heracles, in dat. Mousagētē ,

Mouseios , on, Aeol. Moisaios , a, on, (Mousa)\ A.of or belonging to the Muses, “hedra” E.Ba.410 (lyr.); Moisaion harma the car of Poesy, Pi.I.8 (7).67; lithos M. a monument of song, Id.N.8.47. II. musical, “kelados”

Mouso-polos , on, A.serving the Muses, poetic, “oikia” Sapph. 136 (s. v.l.); m. stonakha a tuneful lament, E.Ph.1499 (lyr.); kheires, stephanos, AP9.270 (Marc. Arg.), 12.257 (Mel.); mousopole thēr, addressed to Pan, Castorio 2.5. II. Subst., bard, minstrel, E.Alc. 445

THE WAY TO WORSHIP THE MUSES LED BY ABADDON OR YON

Kat-a^kouō, A hear and obey, be subject, “Arabioi oudama katēkousan epi doulosunē Persēsi” Hdt.3.88, cf. App.Syr. 55; tinos D.1.23, Arr.Fr.7J., App.Mith.57, , ib.314c; “k. aulountos”

Auleō , 

A. “auliōn” IG7.3211,3212 (Orchom. Boeot.): (aulos):—play on the flute, “Phrugion aulēsen melos” [the musical melody word] . Hdt. 1.141, 2.60, Pl.Prt.327a: c. dat. pers., X.Smp.2.8, etc.; au. exodon play a finale, Ar.V.582; au. eiresian, of the boatswain, Plu.Alc. 2:— Pass., of tunes, to be played on the flute, “ho Bakkheios rhuthmos ēuleito” X. Smp.9.3; “auleitai pan melathron” is filled with music, E.IT367.

SILENCING THE LIVING AND WRITTEN WORD BY THOSE WHO WORSHIP THE MUSES UNDER ABADDON OR YON'

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,
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,

VI. verbal expression or utterance, lego, lexis       -Lexis A.speech, OPPOSITE ôidê
	-ôidê, 1.art of song 5. = eppsdê, spell, incantation 4. text of an author,  OPPOSITE exegesis [Peter's private interpretation outlaws exegesis] Arist.En1142a26

Prose,  OPPOSITE -poiêsis, Id.R.390a;
OPPOSITE -poiêtikê, D.H.Comp.6; opp. 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,

347c] But if he does not mind, let us talk no more of poems and verses, but consider the points on which I questioned you at first, Protagoras, and on which I should be glad to reach, with your help, a conclusion.

For it seems to me that arguing about poetry is comparable to the wine-parties of common market-folk. These people, owing to their inability to carry on a familiar conversation over their wine by means of their own voices and discussions

[4] The same thing occurs in other cases when a man tries to do two things at once; the pleasanter activity drives out the other, the more so if it is much more pleasant, until the other activity ceases altogether.

Hence, when we enjoy something very much, we can hardly do anything else; and when we find a thing only mildly agreeable, we turn to some other occupation; for instance, people who eat sweets at the theater do so especially when the acting is bad.

[ 5] And since our activities [of the flute] are sharpened, prolonged and improved by their own pleasure, and impaired by the pleasures of other activities, it is clear that pleasures differ widely from each other. In fact alien pleasures have almost the same effect on the activities as their own pains; since, when an activity causes pain, this pain destroys it, for instance, if a person finds writing or doing sums unpleasant and irksome; for he stops writing or doing sums, because the activity is painful.

Aristotle on Politics 8
2. or whether we ought rather to think that music tends in some degree to virtue (music being capable of producing a certain quality of character
        just as gymnastics are capable of producing a certain quality of body,
        music accustoming men to be able to rejoice rightly);
3. or that it contributes something to intellectual entertainment and culture (for this must be set down as a third alternative among those mentioned).
        Now it is not difficult to see that one must not make amusement the object of the education of the young;
        for amusement does not go with learning--learning is a painful process.

Jesus said that preaching the Word is a painful process: it will get you despised, rejected and killed.

Learning is a painful process: that is why THEOLOGY has replaced the WORD and you can just parott what the doctors of the Law tell you and force you to confess to make YOU a doctor of the law so that YOU can take away the key to knowledllge.

Never get neutered by a "musical worship service" which the texts Paul and John read trying to SILENCE the Words of Christ in song and sermon:

Hebrews 11:6 But without faith it is impossible to please him:
        for he that cometh to God must believe that he is,
        and that he is a rewarder of them that diligently seek him. [ekzēt-eō ,]

1Peter 1:10 Of which salvation the prophets have inquired and searched diligently,
        who prophesied of the grace that should come unto you:
1Peter 1:11 Searching what, or what manner of time the Spirit OF Christ which was in them did signify,
        when it testified beforehand the sufferings of Christ,
        and the glory that should follow.
1Peter 1:12 Unto whom it was revealed, that not unto themselves, but unto us they did minister the things,
        which are now reported unto you by them that have preached the gospel unto you
        with the Holy Spirit (WORD John 6:63) sent down from heaven;
        which things the angels desire to look into.
1Peter 1:13 Wherefore gird up the loins of your mind, be sober,
        and hope to the end for the grace that is to be brought unto you at the revelation of Jesus Christ;

“nēphōn methuonta hupo tēs Aphroditēs theatai” X.Smp.8.21;

IT WOULD BE NICE IF ANY ONE WHO HAS CONSPIRED TO "STEAL THE CHURCH HOUSE OF WIDOWS" WOULD GIVE A REASON FOR THE HOPE THAT LIES IN YOU.

Before the Disciples of Christ and especially the Christian Church intending "to take Tennessee for the organ and society party within 5 years" there is no stated need to find authority for using mechanical means for "worship" against Churches of Christ defined as "A School of Christ" until the  year 1878. While those with an agenda to "infiltlrate and divert" churches of Christ, once spoke of "preferences" the attack has reverted to the men--especially O.E.Payne--who insisted that instruments were COMMANDED.  Returning to the roots after 100 years of little success, still lisps the "psallo" word but have reverted to the Jacob-cursed and God-abandoned Levites who made instrumental "noise" at the temple.  Having missed the prophets by the Spirit OF Christ no level of "scholarship" informs any "Transistioner" (Jim Hackney and the Christian Standard) before they lurch into sowing massive discord claiming that a "spirit" told them to do it.

Revised 7.23.13  Ballard is utterly false: Robert Ballard simply has not read the Bible which condemns instruments from Genesis to Revelation.  I am certain that he follows the pattern of searching all of the instrument passages and looks for one which says "thou shalt not use instruments."  It is not possible to even read the text in ANY version and understand that the Spirit OF Christ in the Prophets repudiates the Instruments and says that The King of Tyre as agent of Lucifer who brought instruments into the garden of Eden. He calls him/her/it "the singing and harp playing prostitute."  Jesus Christ marked for identification the Babylon Mother of Harlots (Rev 17) who still uses "lusted after fruits" (Amos 8) as any religious teknokrat: self-speakers, singers, instrument players.  John calls them sorcerers who HAD deceived the whole world.  Jesus was sent to seek and separate those NOT of the World or Kosmos: NACC's Cosmic Worship led by a latter day Monk.

Instrumental Music in Worship is Sin: The Bible Tells Disciples (only) so. people have stolen the worship word to make it listening to self-speak preachers, singers and instrument players. That is defined as IMPURE religion. 

NACC 2013 Vioctorious Review. In the words of Dwayne E. Dunning "we have to lop off the branches one by one" since subverting the whole TREE has met with failure except a few "failures" from the once-Christian universities now wholly subverted.

Post Civil War: history: In 1890 the first convention was called at Chattanooga to organize the state society. The only churches in the state of Tennessee were those who had already adopted the organ in their worship. The Christian Standard pumped up the news and "it is reported that the brethren in Nashville, Tennessee are desirous of entertaining our National Convention next year."  This of course was just two congregations. A survey showed that out of 2500 members in Nashville, less than one hundred wanted the society. Lipscomb noted that among the Society people "the Bible is as popular as last year's almanac." "The supporters of the missionary society organized the Tennessee State Missionary Convention on October 6, 1890, with one purpose in mind, as stated by J. H. Garrison. He said at that time: "We will take Tennessee for organized mission work...within five years."

A. I. Myhr was dispatched to Tennessee to head the new state society despite the protestation of David Lipscomb that Tennessee was not a destitute mission territory. Myhr and his supporters moved resolutely ahead to accomplish their mission. "Their efforts met with some success and the intent was clear. Myhr was aggressive and abrasive in his operations. His actions were of such a nature, in promoting the missionary society, that he came under the direct attack of E. G. Sewel and David Lipscomb. And as later event proved, Myhr was no match for Lipscomb and the Gospel Advocate.

Stark  In the Stark Warlick Debate,  thought of worship as the emotion of the soul and that it might "produce singing, shouting, praising, leaping, dancing, hand clapping, or thanksgiving and such should not be suppressed by man made rules."

O. E. Payne Instrumental Music is Scriptural p 125

M.C. Kurfees Origin of Instrumental Music in Christian Worship

M.C.Kurfees Instrumental Music in Worship total book

Boswell-Hardeman Summary
The Book: The Boswell Hardeman Discussion on Instrumental Music.

Paul speaks of Lifeless Instruments which are Carnal Weapons.

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. (condemned)

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]

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.

Col 2:18 Let no man beguile you of your reward in a voluntary humility and worshipping of angels, intruding into those things which he hath not seen, vainly puffed up by his fleshly mind,

Beguile (paralogizhtai). Only here and Jas. i. 22. See note. Rev., delude. So Ignatius, speaking of the duty of obedience to the bishopsays: "He that fails in this, does not deceive the visible bishop, but attempts to cheat (paralogizetai) the Invisible" (Epistle to Magnesians, 3.). The word is found in the Septuagint, Josh. ix. 22; 1 Sam. xix. 17; 2 Samuel xxi. 5.

Beguile
katabra^beuō, A.  give judgement against one as brabeus, and so, DEPRIVE one of the prize, DEPRIVE one of one's right, c. acc., Ep.Col.2.18, Sch.Il.1.399: rule over, “hē gē k. tōn loipōn”

Hom. Il. 1.[395] For often I have heard you glorying in the halls of my father, and declaring that you alone among the immortals warded off shameful ruin from the son of Cronos, lord of the dark clouds, on the day when the other Olympians wished to put him in bonds, even Hera and Poseidon and Pallas Athene

Vincent 18. Beguile of reward (katabrabeuetw). Only here in the New Testament. From kata against, brabeuw to act as a judge or umpire. Hence to decide against one, or to declare him unworthy of the prize. Bishop Lightfoot's rendering rob you of your prize, adopted by Rev., omits the judicial idea, 199 which, however, I think must be retained, in continuation of the idea of judgment in ver. 16, "let no man judge," etc. The attitude of the false teachers would involve their sitting in judgment as to the future reward of those who refused their doctrine of angelic mediation. Paul speaks from the standpoint of their claim.

Voluntary "PLAN" to be humble.
Ethelo  to be willing of consent rather than desire, they cared not to make a stand, i.e. they were unable
9. delight in, love, to express a future event, like our will or shall,

Isn't it predestinated of those OF the World for whom Jesus will not pray; and the wise [speakers, singers, instrument players] from whom God HIDES to GRAPPLE with the Psallo (same root as SOP) to prevent people from reading the massive connection between musical sounds and trying to silence the voice of the Victim?

See a fuller list of ACTUAL passages in the Bible which condemns instruments: the evil is that Self-speaking, singing or playing instruments PROVES that one does not Grasp that the Church of Christ is A School (only) of the Word (only) of Christ in the Prophets and Apostles. Therefore, Christ outlaws seeking your own pleasure or speaking your own words in the name of God is outlawed.  Paul calls this corruptiong the word or selling learning at retail which is defined as prostitution.

Genesis 3:1 Now the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?

Genesis 3.1  sed et serpens erat callidior cunctis animantibus terrae quae fecerat Dominus Deus qui dixit ad mulierem cur praecepit vobis Deus ut non comederetis de omni ligno paradisi

5175 nâchâsh naw-khawsh' From H5172 ; a snake (from its hiss):—serpent.
H5172 nâchash naw-khash' A primitive root; properly to hiss, that is, whisper a (magic) spell; generally to prognosticate:— X certainly, divine, enchanter, (use) X enchantment, learn by experience, X indeed, diligently observe.

Serpo , of things, to move slowly or imperceptibly, to creep along, proceed gradually,
Of disease, etc.: “si ulcus latius atque altius serpit,” gradually spreads, “serpentes quasdam (bestias), quasdam esse gradientes,”  “chamaeleon,
 Fire: “exsistit sacer ignis et urit corpore serpens,” slowly spreading,  canam, qui leniter
(cf.: “sermones Repentes per humum,”
A creeping LOUSE

The newest song which the singers have, (Odyssey)...
"they will be afraid that he may be praising, not some new songs, but a new kind of song; and this ought not to be praised, or conceived to be the meaning of the poet; for any musical innovation is full of danger in the whole State, and ought to be prohibited. 
"So Damon tells me, and I can quite believe him; he says that when modes of music change, the fundamental laws of the State always change with them..." 
"Then," I said, "our guardians must lay the foundations of their fortress in music?"
"Yes," I replied, 'in the form of amusement: and at first sight it always appears harmless'." (The Great Dialogs, Plato, Classic edition, p. 312)

lēnis , I. soft, smooth, mild, gentle, easy, calm. sensus judicat dulce,

dulcis  II. Trop., agreeable, delightful, pleasant, charming, soft, flattering.
“orator,” Cic. Off. 1, 1, 3; cf. “of orators or writers,” “carmen,” id. 12, 10, 33: “poëmata,” Hor. A. P. 99

carmen , a tune, song, air, lay, strain, note, sound, both vocal and instrumental
“per me (sc. inem) concordant carmina nervis

Christ marked the king of Tyre as "lucifer" which He identified as a "singing and harp-playing prostitute in the garden of Eden." So the anti-God morning star is prophetically identified as the enemy of the LOGOS or true Day Star.  LOGOS is identified as the REGULATIVE PRINCIPLE.

o is Abaddon or yon: his musical worship team or muses are marked in the literature as dirty adulteresses, John calls them SORCERERS and says they will be cast alive into the Lake of Fire.

Quint. Inst. 12 10.33 Consequently the Greek language is so much more agreeable in sound than the Latin, that our poets, whenever they wish their verse to be especially harmonious, adorn it with Greek words.

pŏēma , a composition in verse, a poem. Poësis est perpetuum argumentum e id. A. P. 416: “scribere,
pangere,” Hor. Ep. 1, 18, 40;

Hor. Ars 416
Orpheus, the priest and interpreter of the gods. Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion. This was deemed wisdom of yore, to distinguish the public from private weal; things sacred from things profane;.. Oracles were delivered in poetry, and the economy of life pointed out, and the favor of sovereign princes was solicited by Pierian strains, games were instituted, and a [cheerful] period put to the tedious labors of the day; [this I remind you of,] lest haply you should be ashamed of the lyric muse, and o the god of song....he who sings the Pythian strains,² was first a learner, and in awe of a master. But [in poetry] it is now enough for a man to say of himself:— "I make admirable verses: a murrain seize the hindmost: it is scandalous for me to be outstripped, and fairly to acknowledge that I am ignorant of that which I never learned."

2 “Pythia cantica” Hor. Ars 414, songs like the hymns which were sung in honor of o [Abaddon, yon], by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing.

THE SERPENT AS MUSICAL ENCHANTER(ESS) IS WISE BUT GOD HIDES FROM THE WISE OR SOPHISTS: SPEAKERS, SINGERS, INSTRUMENT PLAYERS, DANCERS, ACTORS

Callĭdus , a, um, adj. calleo, I.that is taught wisdom by experience and practice, shrewd, expert, experienced, adroit, skilful:  “in disputando,” Quint. 12, 2, 14
In reference to art, excelling in art, skilful, Hor. S. 2, 3, 23 — rĕ-sŏno

dis-pŭto ,
“isti in eo disputant, Contaminari non decere fabulas,”
Contamino [Chalal or polluting the Rest means play the flute, steal other people's property, pollute or prostitute]

fābŭla , “poëticae
1. Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,” Amm. 28, 1, 4; “or, theatralis,
atque carminibus non a veritate modo,
Prov.: Lupus in fabula (like the Engl., talk of the devil, and he will appear), of a person who comes just as we are talking about him

THE SERPENT OR BEAST IS
Herpō , herpein es muthon, pros ōdas, Id.Hel.316, Cyc.423 ;
herpon tois odousi thērion an animal that walks on its teeth, 

Theiron or Beast is a New Style of Music of Drama suddenly attacking.

ēnthon, etc., “eis to hieron

Even a Levite was to be executed if he entered, sang or played in a holy place.

Muthos  2. public speech, “m. andressi melēsei” Od.1.358; “muthoisin skoliois” 
muthoisi kekasthai to be skilled in speech, OppositeLOGOS

LOGOS includes the Regulative Principle: is the opposite of singing, poetry or music.

Muthos , ho, A.word, speech
2.public speech, “m. andressi melēsei” Od.1.358; “muthoisin skoliois [crooked race]
either of a story which never comes to an end, or of one told to those who do not listen, 

Churches of Christ try to refuse to PERMIT those who intend to IMPOSE instruments: otherwise the subject would never come up.

Revised 5.24.13 Thou has Turned My Mourning into Dancing. Perhaps by God's design, they didn't read enough to understand that this is the GENDER mark well documented by Christ in Isaiah 3.

After the fall into musical idolatry of the trinity at Mount Sinai the Church of Christ (the Rock) was ordaineed to specificially outlaw the ALARM when calling the assembly. Moses had been told in Ezodus 18 how to select non-mercinary leaders down to groups as small as then families in the very isolated villages: Most Jews probably never say Jerusalem which was a Jebusite High place.  The Synagogue or Church was to Rest, Read and Rehearse the Word of God--Speak the Word and meditate IN the heart.  The Alarm or Triumph was outlawed because any person making vocal or instrumental rejoicing sounds or trying to preach would be MOCKING the Spirit OF CHRIST Who spoke through the Covenant and Prophets.

The MARK of another fall into musical polytheism was prophesied in the Psalms where always-effeminate musicians would mock Him up to the foot of the old rugged cross: when Jessus called the Scribes and Pharisees Christ in Ezekiel 33 had names self-speakers, singers and instrument players: this was a mark that people were MOCKING God because they had no intention of obeying God's Word.

THIS IS THE MARK OF THE PROGRESSIVES--BACK TO BABYLON: JAY GUIN KEEPS A LIST: Matthew 27:29 And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand:         and they bowed the knee before him,         and mocked him, saying, Hail, King of the Jews! Matthew 27:31 And after that they had mocked him, they took the robe off from him,         and put his own raiment on him, and led him away to crucify him. illūdo (inl- I  Neutr., to play at or with any thing, to sport with, amuse one's self with (syn. colludo; cf. ludificor). 1. T o scoff or mock at, to make a laughing-stock of, to ridicule (so most freq.): “satis superbe illuditis me, “feminarum illustrium capitibus,”  : illusa pictae vestis inania, rhetorum), How to use PSALLO to turn captives into WOMEN Grant, then, forgiveness to the Lydians, and to make sure of their never rebelling against thee, or alarming thee more, send and forbid them to keep any weapons of war, command them to wear tunics under their cloaks, and to put buskins upon their legs, ..........and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein), ..........and shop-keeping (Hucksterism).  So wilt thou soon see them become women instead of men, and there will be no more fear of their revolting from thee." -[4] Ludoisi de sungnômên echôn tade autoisi epitaxon, hôs mête aposteôsi mête deinoi toi eôsi: apeipe men sphi pempsas hopla arêia mê ektêsthai, keleue de spheas kithônas -[khiton  David's garment] te hupodunein toisi heimasi kai kothornous hupodeesthai, proeipe d' autoisi -kitharizein te kai psallein kai kapêleuein [prostitutes, petty trade, playing tricks, corrupting] paideuein tous paidas. kai tacheôs spheas ô basileu gunaikas ant' andrôn opseai gegonotas, hôste ouden deinoi toi esontai mê aposteôsi." The word kitharizo means to PLAY THE CITHARA and does not include singing. -Kitharizô 1 [kitharis] to play the cithara, phormingi [o] kitharize Il., Hes.; lurêi eraton kitharizôn Hhymn. (so that there can have been no great difference between the kithara, lura, and phorminx ); kitharizein ouk epistatai, of an uneducated person, -Kithar-isis , eôs, hê, playing on the cithara, Pl.Prt.325e; k. psilê, i.e. without the voice, Id.Lg.669e, cf. Pae.Delph.15; aulêsis kai k. Phld.Mus.p.23 K. -Arassô ,of any violent impact, with collat. notion of rattling, clanging, as of horses, hoplais, pound in a mortar, strike with a shower of stones. a). kitharēn strike the lyre, Orph.A.382; humnon, melos, etc., Nonn.D.1.15,440, etc. 2. c. dat. modi, arassein tina oneidesi, kakois, assail with reproaches or threats, II. Pass., to be dashed against, dash one against the other Pound in a mortar, “holmō a.” Nic. Th.508 When they MOCKED Jesus the prophecy used the word Alarm or Triumph which is to play loud wind instruments and make a loud rejoicing sound. G1702 empaizō emp-aheed'-zo From G1722 and G3815 ; to jeer at, that is, deride: Empaizō , fut. A.“-xomai” LXXHb.1.10: pf. empepaikha ib.Nu.22.29:— mock at, mock, “tini” Hdt.4.134; 3. Pass., to be deluded, Ev.Matt.2.16, AP10.56.2 (Pall.), Vett.Val.16.14; to be defrauded, of the revenues, Cod.Just.1.34.2. II. sport in or on, “hōs nebros khloerais e. leimakos hēdonais” E.Ba. 866 (lyr.); tois khoroisin e. to sport in the dance, Ar.Th.975; “tō gumnasiō” Luc.Lex.5.  E.Ba. 866 Euripides, Bacchae ........OnLine Text   Chorus Shall I move my white foot in the night-long dance, aroused to a frenzy, [865] throwing my head to the dewy air, like a fawn sporting in the green pleasures of the meadow, when it has escaped a fearful chase beyond the watchers [870] over the well-woven nets, and the hunter hastens his dogs [Catamites] on their course with his call, while she, with great exertion and a storm-swift running, rushes along the plain by the river, rejoicing [875] in the solitude apart from men and in the thickets of the shady-foliaged woods. What is wisdom? Or what greater honor do the gods give to mortals than to hold one's hand [880] in strength over the head of enemies? What is good is always dear. Empaiktês , ou, ho,A. mocker, deceiver, LXXIs.3.4, 2 Ep.Pet.3.3, Ep.Jud. 18. 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 while they feast with you; Entrupo (g1792) en-troo-fah'-o; from 1722 and 5171; to revel in: - sporting selves. Truphaô , ( [truphê] 2. part. truphōn as Adj., effeminate, luxurious, Ar.Nu.48, etc.; “t. kai amelēs” Pl.Lg.901a; “to truphōn” effeminacy, Ar.V.1455 (lyr.); also of things, dainty, delicate,  “paison, II. to be licentious, run riot, wax wanton, Ar.Lys.405, etc.; to be extravagant Paison paizô [pais] 2. esp. dance, “paisate” Od.8.251; “dōma peristenakhizeto possin andrōn paizontōn” 23.147, cf. Hes.Sc.277; “p. te kai khoreuein” alla pepaistai metriōs hēmin , of the chorus, 4. play on a musical instrument, h.Ap.206: c. acc., “Pan ho kalamophthogga paizōn” Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, IT'S TRUE: JESUS NEVER POSTED A LAW THAT SAID "THOU SHALT NOT MUSICALLY MOCK ME"

STRONG DELUSIONS LYING WONDERS REV 5.17.13

The CENI is defined by the Spirit OF Christ in the Wilderness and in the Prophets and prophecies made more certain by Jesus.  The Apostles were eye-- and ear--witnesses of the risen Lord Who returned as The Holy Spirit (breath, wind) in the upper room. They mark as false teachers anyone who does not teach that PATTER of foundation:

Matthew 28:17 And when they saw him, they worshipped him: but some doubted.
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:
        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. Matthew 28:20

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

Paul commanded that we SPEAK that which is written for our learning (Romans 15).  He also commanded that we fill up with SPIRIT (Word in Col 3:16) and Teach and Admonish with the Biblical material which includes "teaching psalms." This is in contrast to the drinking songs of the crooked race of the symposia where the goal was to become "fluted down with wine."

Both singing in the pagan sense and beating on "instruments of delusion" was worship IN THE FLESH which Paul rejects in Philippians 3 because it permitted the "conscision or dogs" to destroy the rest Jesus died to give us from the laded burdens of the arousal songs by Jews or Gentiles.

In contrast, if you use one mind and one mouth to speak that which is written for our learning you MUST keep the arousal singing and beating on instruments quiet and permit melody (or grace) to be IN the heart where grace means the divine influence of the GRACE which hath appeared teaching us to DENY the world's religions.

THE ONLY MEANING OF LITERAL WORSHIP: Matt. 28:17 And when they saw him, they worshipped him: but somedoubted. G4352 proskuneō pros-koo-neh'-o From G4314 and probably a derivative of G2965 (meaning to kiss, like a dog licking his master’s hand); to fawn or crouch to, that is, (literally or figuratively) prostrate oneself in homage (do reverence to, adore):—worship. Proskun-eō obeisance to the gods or their images, fall down and worship, c. acc., Hdt.2.121 2.  esp. of the Oriental fashion of prostrating oneself before kings and superiors, abs., Hdt.1.119, 8.118: c Plat.   TRUTH: Rep. 398a 3. welcome respectfully, respect, “prosekunēsa sou ta grammata” That which is written ; ta hiera g. the Holy Scriptures,  2 Ep.Ti.3.15, J.Ap.1.10; Ev.Jo.4.23 ,  But the hour cometh, and now is, when the true worshippers shall worship the Father in spirit and in TRUTH: for the Father seeketh such to worship him 2 Timothy 3.15  From infancy, you have known the sacred writings which are able to make you wise for salvation through faith, which is in Christ Jesus. J. Ap. 1.10 There have been indeed some bad men, who have attempted to calumniate my history, and took it to be a kind of scholastic performance for the exercise of young men.  for, as I said, I have translated the Antiquities out of our sacred books;  WORSHIP IS  ALSO IS USED FOR THE LYING WONDERS OF PSEUDO PERFORMERS BELIEVING THAT THEY ARE A GOD.   IRONICALLY , proskunoimenanautonhōshieronkaithaumastonkaihēdun, Pl.R.398a: of Lying Wonders Thaum-astos , Ion. thōm- , ē, on, th. lokhos gunaikōn, “thaumaston poieis, hos .II. admirable, excellent,  of the Furies, A.Eu.46; Aeschylus, Eumenides 34 III. to be worshipped, “oudeis m' areskei nukti thaumastos theōn” E.Hipp.106. Areskō a^, impf.  “to kolakeuein nun areskein onom' ekhei” “heautois” Ep.Rom.15.1:—Med., malista ēreskonto  pleased him most, Hdt.6.128. kola^k-euō , A.to be a flatterer, a Lisping parasite. thaumatopoiōn, goēteuein [bewitch, be wizard] monon kai kolakeuein ton akroatēn dunamenon Strab. 1.2 Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals, and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him...The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honour and virtue have nothing to do with our estimate. 13 A harvest-wreath of laurel or olive wound round with wool, and adorned with fruits, borne about by singing-boys at the puanepsia and thaogēlia, while offerings were made to Helios and the Hours: it was afterwards hung up at the house-door. The song was likewise called eiresionè, which became the general name for all begging-songs. Romans 15:1 We then that are strong ought to bear the infirmities of the weak, and not to please [Areskō] ourselves. Romans 15:2 Let every one of us please his neighbour for his good to edification. [fill full: education] Nux 3. in Comparisons, of anything dark and direful, nukti eoikōs like night, of o[Abaddon, yon]  in his wrath, Il.1.47, cf. 12.463, Od.11.606 III. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224. Nux as pr. n., the goddess of Night,Il.14.259, Hes.Op.17,Th.123,211 ; N. oloē ib.224. Plato. Republic [398a] who was capable by his cunning of assuming every kind of shape and imitating all things should arrive in our city, bringing with himself the poems which he wished to exhibit, we should fall down and worship him as a holy and wondrous and delightful creature, but should say to him that there is no man of that kind among us in our city, nor is it lawful for such a man to arise among us, and we should send him away to another city, after pouring myrrh down over his head and crowning him with fillets of wool,  Commentary Epideik-nu_mi -nuō 2. . more freq. in Med., show off or display for oneself or what is one's own, mousikan orthan e. give a specimen of his art. of a rhetorician lecturing, Id.Phdr.235a; “polla kai kala” Id.Grg.447a; of epideictic orators, Arist.Rh.1391b26; of a musician, Ael.VH9.36: c. part., e. “hupertheōn” Pl.Lg.648d. The idea suggested by proskunoimen and hieron, that the poet is a sort of theos or theios [god or goddess] anēr, is now elaborated with ironical politeness. The images of the gods were anointed, and crowned with garlands, not only on great occasions (cf. Cic. Verr. IV 77), but also at other times, according to Proclus, who remarks on this passage muron autēs (sc. tēs poiētikēs) ...Apropos of the present passage, Dio Chrysostom and other ancient writers cited by Ast refer to the anointing of swallows by Greek women: kai keleuei mala eirōnikōs (so Ast: MSS eirēnikōs) stepsantas auton eriō kai murō katakheantas aphienai par' allous: touto de hai gunaikes epi tōn khelidon ōn poiousi (Dio Chr. Or. 53 p. 276 ed. Reiske). To this custom Ast supposes that Plato is alluding, the poets being as it were faithless and garrulous swallows (cf. khelidonōn mouseia), as well as to the Pythagorean precept ‘not to admit swallows into the house’ Mouseios , on, Aeol. Moisaios , a, on, (Mousa) A. of or belonging to the Muses, “hedra” E.Ba.410 (lyr.); Moisaion harma the car of Poesy, Pi.I.8 (7).67; lithos M. a monument of song, Id.N.8.47.  II. musical, “kelados” AP9.372. Eur. Ba. 410 Chorus Would that I could go to Cyprus, the island of Aphrodite, where the Loves, who soothe [405] mortals' hearts, dwell, and to Paphos, fertilized without rain by the streams of a foreign river flowing with a hundred mouths. Lead me there, Bromius, Bromius, god of joy who leads the Bacchae, [410] to Pieria, beautiful seat of the Muses, the holy slope of Olympus. There are the Graces, there is Desire; there it is [415] lawful for the Bacchae to celebrate their rites. Pind. I. 8 Even when he was dead songs did not forsake him; beside his pyre and tomb the Muses of Helicon stood, and poured over him the many-voiced dirge. It proved to be the will of the immortals [60] to make a noble man, even when dead, a theme for the hymns of goddesses; and even now this brings up a subject for words, and the Muses' chariot rushes forward to shout praises in memory of Nicocles the boxer. Honor him, who won the garland of wild Dorian celery in the Isthmian valley; since [65] he too was once victorious over all that lived around him, battering them with his inescapable hands. He is not dishonored by the offspring of his father's distinguished brother. Therefore let another young man weave for Cleandros a garland of tender myrtle in honor of the pancratium, since the contest of Alcathous and the young men of Epidaurus welcomed him before in his success. A good man may praise him, [70] for he did not restrain his youth, keeping it hidden in his pocket1and ignorant of fine deeds. 1 Reading kolpō (Theiler, Slater) or kolpou (Young) rather than keia. Pind. N. 8 [40] Excellence grows among skillful and just men up to the liquid air, as a tree shoots up fed by fresh dew. The uses of friends are of all kinds; those in times of toil are the highest, yet delight also seeks to set a trustworthy pledge before the eyes. Megas, to bring your soul back to life again [45] is not possible for me. Empty hopes end in vain; but it is easy to set up, for your fatherland and for the Chariads, a monument of the Muses in honor of the twice illustrious feet of two men. I rejoice in letting fly a boast suitable to such a deed; and with incantations a man [50] makes hardship painless. Truly, the song of victory existed long ago, even before the quarrel arose between Adrastus and the race of Cadmus. Mouseion , to/, A. shrine of the Muses, seat or haunt of the Muses, Aeschin. 1.10: hence, 2. home of music or poetry, mouseia thrēnēmasi xunōda choirs chiming in with dirges, E.Hel.174 (lyr.); aēdonōn m. choir of nightingales, Id.Fr.88; parodied “khelidonōn mouseia” Ar.Ra. 93; “to Numphōn nama te kai m. logōn” Pl.Phdr.278b (but mouseia logōn, hoion diplasiologia ktl. gallery of tropes, ib.267b): generally, school of art or letters, to tēs Hellados m., of Athens, Ath.5.187d, cf. Plu.2.736d; to tēs phuseōs m., a phrase of Alcidamas censured by Arist. Rh.1406a25. IV. Mouseia, ta , festival of the Muses, Paus.9.31.2: sg., Ath.14.629a; “ta M. thusai” THE END OF THE ROAT FOR MUSICAL DISCORDERS WITH OR WITHOUT MACHINES Revelation 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. Revelation 18:22 And the voice of harpers, and musicians [Muses], 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; Revelation 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. Revelation 21:8 But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death. Revelation 18:24 And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth.

Added quotes (misquotes) from Winder below

Robert Ballard: This book refers to the over 180 places in the Bible where instrumental music is used to praise God.

Nevertheless, there is not a single instance of the church--beginning in the wilderness as the Qahal or synagogue--ever assemblying to sing with instrumental accompaniment.   2 Chronicles 29 as the proof text which justifies sowing massive discord and doing a hostile takeover of churches involved the King, city officials, priests and Levites ONLY. No one not of the cursed and abandoned tribe of Levi was permitted to be present. Those who can read understand that the command of God was for the Levites to stand in ranks under the king and commanders of the army. Where do preachers get the notion that they have become "a king set over us?" They stood guard to execute any civillian who ventured inside the gates.

Since the Levites were under the king and commanders of the army the PRAISE word intended to threaten the enemy and turn them into cowards: that is often repeated by the NACC.  The word "Lucifer" is derived from David's praise word which means to boast or make a fool of yourself: since "praise singers" were the world's OLDEST profession believing that they could appease or seduce the gods, preachers who never bother to define words answer to the charge of Jesus that "the doctors of the law take away the key to knowledge."  Jesus called these Scribes and Pharisees, hypocrites by quoting from Isaiah and specificially Ezekiuel 33 where Christ names "rhetoricians, singers and instrument players." It is true: God never said 'thou shall not be a hypocrite.'  However, the Greek language specificially defines rhetoricians, singers and instrument players hypocrites as well as enchanters or sorcerers.

The command to make instrumental noise was by the COMMAND OF DAVID for the burnt goat to try to appease Israel as the historic Instrumental Sect.  Christ says that God did not command sacrifices or burnt offerings.

The NACC and a few dupes have used extreme means to force churches of Christ to "unite" and make music.

Therefore, they have made a major industry to command people to do what Christ says God did not command.

Christ in Jeremiah 23 defines that as blasphemy of the Holy Spirit of Christ.

The Jacob-cursed Levites volunteered to slaughter 3,000 of the "brethren" for engaging in musical idolatry at Mount Sinai.  Moses then gave them the perpetual role of standing in ranks: any civilian not authorized as the Civil-Military-Clergy congregation was to be executed and never led in worship. The performance of the noise was by the command of David.

Furthermore, the church is built on the teachings of the prophets (by Christ) and the prophecies made more perfect by Jesus of Nazareth. Peter lists these two resources as Christ-revealed.  He identified anyone who taught otherwise as false teachers.   The exclusion of "vocal or instrumental rejoicing" which includes an elevated form of teaching defines the Holy Convocation for the holy people quarantined from the unholy assemblies of the tribe of Levi cursed by Jacob and abandoned to worship the starry host because of musical profaning of the Sabbath at Mount sinai. There is no command, example or remote inference that a Rabbi imposed an instrument until as late as the year 1815 in Germany: the ethical judge refused to let the musical discorder confiscate the synagogue.  Even in the lowest level of commercial ethics, the person wanting to take control is bound to leave and pay for his own property or be confined.

The historic pattern endorsed by Jesus, commanded by Paul and practiced by the historic Church of Christ was:

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

Why would the masses of theology NOT understand that?  Maybe because Jesus hid the word from the clergy in parables from the foundation of the world: the best place to hide the word from "doctors of the law" is in plain sight.

New 8.15.11  Added Hezekiah's Plague Stopping Exorcism

New 8.15.11  The Levites would kill you if you were inside the gatesduring the sacrifices.

It is impossible to be a Christian or a follower of Christ and refuse to follow His command to teach what HE commanded to be 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:
        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.  Matthew 28:20

The commmands of God are assertive: one never tries to trump God by teaching what He DID not command as the core of the assembly. Because ALL authority is vested with the Son, there can be no imagined authority imposed on others by a human.

Because the Spirit of Christ informed the prophets to repudiate the Civil-Military-Clergy complex which had been abandoned to the worship of the starry host, including the worship of fire, The Church is built or educated by the Prophets and the prophecies made more perfect and left as a written memory of the Apostles. Furthermore, Jesus in person did not participate or command any kind of what we would call music.  Hymns are spoken; Spiritual songs exclude instruments and Psalms never imply the use of an instrument.  The Spirit does not have to IMPLY.

Jesus of Nazareth would die, be resurrected, be changed, ascend to the Father and receive the PROMISE of the Holy Spirit: that is, He would continue to teach the Apostles in His post resurrected state: The "another Comforter" different in this respect is still named "Jesud Christ the Righteous."  Peter left that "memory" for us and outlawed private interpretation or further expounded.  He identified anyone who did not respect that Christ empowered memory as a false teacher.

A Christian is a disciple of Christ commanded to assemble only to learn and confess the Word of Christ.  Disciples never try to convince the other disciples that he should make instrumental noise when the Master Teacher is teaching Chemistry.

The Instrument war is built on the foundation of not grasping that the Church of Christ is an ekklesia or synagogue and has only one purpose: to instruct people from the Word of God.   Did you know that the effeminate enemies of Christ beat him to the bones with their "flutes?" Well, that's the prophecy.

It is a waste of time to try to refute the practices of a national Israel and Judah who were worshipping the starry host: except those lusting to be entertain fall into the pit of commanding that to which God abandoned God to slavery and death.

Even the, the Levites were God's guarantee that the godly people--who attended synagogue or the Church of Christ in the wilderness--did not even get close to the horrors quarantined behind closed doors.

The fact is that Jesus and the writers of the epistles reject any hypocritic or cunning sophists including speakers, singers or instrument players just before defiing the synagogue as a School of the Word of God only.

Jesus outlawed music for the Church of Chris t, practiced it and endorsed the synagogue and never COMMANDED any kind of musical performance when He comes to be our teacher. That means that those who impose music do not know that a Christian is a disciple and not a ceremonial legalists or that the church is a place for preaching the word by Reading and discussing it.

Malachi 3 short notes to prove that the MARK is people using musical instruments as weapons: not mysterious, just a simple text.

Malachi 4 continues the MARKS.

• Fact. God turned the Israelites over to worship the starry host because of musical idolatry at Mount Sinai (acts 7 etal).
• We know the names of the starry host.
• Why would the masses of religionism make a major industry out of forcing people to worship the starry host?
• Why do you suppose they despise those who refuse to join with them? Don't they know that the church is built upon the teachiings of Christ in the prophets (repudiating music) and Jesus Whom God made to be both Lord and Christ who made the prophecies more perfect through the Apostles.
  

PROOF THAT THE PATTERN OF THE NACC WAS NOT COMMANDED BY GOD.

When they use the Israelite Civil-Military-Priestly class as the patternism for making "sacrificial" music without the literal sacrifices do they not know that

"The Israelite state was not founded with divine blessing. Rather, it was allowed as a grudging concession, just as a parent lets a child have his way in order that he may learn his folly from experience." (Anderson, Bernard, Theology of the O.T. p. 163).

"In one sense the creation of the monarchy was providential...In retrospect, one can say that events which brought about the collapse of the Confederacy and the rise of the Israelite state were not...devoid of divine purpose. God's revelation is relevant to the whole of human life--to economics, politics, and every sphere of human activity.

If God would speak to the nations through Israel, then Israel must undergo the experience of being a nation in order that she might appreciate the wealth of nationhood and attack the idolatrous power of nationalism." (Bernard Anderson, p. 163) 

Why would preachers claim that "God commanded instrumental praise and we must not be disobedient?" Why would they make that claim to thousands of people intending to impose musical machines knowing that it would sow discord among the owners so they could use their church as "a theater for holy entertainment?" Wouldn't they know that rhetorical preaching, singing, clapping, playing instruments and doing some body gyration would make it impossible for the elders to "teach that which has been commanded?"

IF COFFMAN AND ALL HISTORIC SCHOLARS ARE CORRECT THE INSTRUMENTALISTS ARE FORCING YOU TO WORSHIP THE STARRY HOST.

Coffman's Commentary  The great Cambridge scholar, Henry McKeating, has the following comment on this passage from Hosea:

"Hosea is not only antagonistic to the northern kings but to the monarchy as such. The monarchy is powerless to save the nation. Israel was wrong to ask for a king. Her punishment was that she got what she asked." 7: Henry McKeating, Amos, Hosea, and Micah (Cambridge: University Press, 1971), p. 148.

Coffman: "We are aware that it is popular among many able commentators today to make apologies for Israel's monarchy and to apply what the Scriptures plainly say about it to some specific monarch, Saul, for example, as did Dummelow, or to the kings of Northern Israel as did Hailey;

but it is the conviction of this writer that
Israel was totally and completely wrong in asking a king and that this rejection of God (that is what the text calls it) contained embryonically all of the later sorrows of the Chosen People.

Throughout the whole history of Israel, there were very few monarchs who even tried to serve the Lord. Solomon was to be blamed for the division of the kingdom under his son, because the people simply rejected the excesses of Solomon; and yet, even after God took the monarchy away from them, the nation wanted nothing in heaven or on earth as much as they wanted the restoration of that scandalous Solomonic empire.

It was this, more than anything else, that motivated their rejection of God Himself,

finally and irrevocably,
in their rejection of God's Son, Jesus Christ the Holy One.

All church fathers understood that. No Bible student could miss that. 

MOST DO NOT ACCEPT THAT CHURCH IS "A SCHOOL OF THE WORD." THEY FALL INTO THE FATAL DEFINITION OF MOST PAGAN INSTITUTES.

The Church had to fight the man cults among the paganism: the Jews had a covenant with Death. The women musicians wanted to help Jesus with the "dead" girl by honoring or appeasing her soul. Funeral festivals or Martyr's festivals or just about anything festivals gave people the opportunity to feast, sing, dance, play instruments offer sacrifices to the dead. God knew that they offered the worship to Him but THEY ate the food.  After all, the task of the church was to try to remove the superstitions and burdens of sacrifices, priesthoods, musicians and exorcists all identified as "parasites."

Hippolytus   We think, then, that the "psalms" are those which are simply played to an instrument, without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument;

"We think" won't work: you need fodder to think.  There is no instance where any of the psallo type words (including SOP) is used to mean "play a harp."   It requires three words to define singing AND playing AND the name of the instrument.

The Jews who translated the Greek or Septuagint (LXX) picked the word "psallo" to speak of psalms because so many of them are warrior's chant: "My god can destroy your god."  They picked the psallo rooted words which means SOP, do violence by shooting literal arrows, do sexual violence by shooting love arrows (Abaddon), or sing because the common expression was "shooting out seductive love songs." Tom Burgess collected many of the examples of "plucking" but did not tell you that ALL of them connect to older males--such as Alexander the Great--who embarassed his father because he skillfully played the harp trying to seduce a younger male whose pubic hairs had been plucked.

We are safe from sowers of discord because none of the Bible is metrical in a tuneful sense: God made certain that you cannot be faitful and teach that which is commanded for our learning AND do musical performance at the same time.

That is because "psalm" is derived from a stringed instrument which can be plucked with the fingers only. That is because it was used primarily of plucking a bow to make it "twang" to send forth a "singing" arrow into the literal heart. The Jacob-cursed Levites produced "fear" and not reverence.

It would prove a disrespect for facts to extend smiting a string with the FINGERS only into using a guitar pick, drums, cymbals, flute, trumpet, organ or piano: in fact it would prove a DELIBERATED and high handed violation of the LAW of "Psallo" knowing that it would sow discord and force godly peiople to toss themselves out of their own synagogue

This is derived from warriors plucking the bow string and pretty vile people plucking harp strings to seduce a younger male:

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

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

Nabel (h5034) naw-bale'; a prim. root; to wilt; gen. to fall away, fail, faint; fig. to be foolish or (mor.) wicked; causat. to despise, disgrace: - disgrace, dishonour, lightly esteem, fade (away, - ing), fall (down, -ling, off), do foolishly, come to nought, * surely, make vile, wither..

Nabal (h5036) naw-bawl'; from 5034; stupid; wicked (espec. impious): - fool (-ish, -ish man, -ish woman), vile person.

Males who would sing and play at the same time were known to be "drunk, perverted or just having fun."

So, it was the translators of the Septuatint who used the "Psa" based words knowing fully well that in the Greek world the message was making war or making perverted sex.  Not all of the book of psalms are psalms:

MARK:  Psalmos also appears in the LXX as equivalent to the Hebrew word neginah [5058]. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praisd of the Lord composed by King Hezekiah, Is 38:20 (my songs).

5059.  nagan, naw-gan´; a primitive root; properly, to thrum, i.e. beat a tune with the fingers; expec. to play on a stringed instrument; hence (generally), to make music:—player on instruments, sing to the stringed instruments, melody, ministrel, play(-er, -ing).

H5060 nâga‛ naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strike (punish, defeat, destroy,

Of the singing and harp playing prostitute in the garden of Eden.

Isaiah 23:16 Take an {1} harp, go about the city, thou harlot that hast been forgotten;
        make sweet {2} melody, {3}sing many songs, that thou mayest be remembered.

BLB h5058 First, "MUSIC" of a stringed instrument

Isaiah 38:20 The LORD was ready to save me:
        therefore we will sing MY songs to the stringed instruments all the days of our life
        in the house of the LORD.  (Not in the holy places)

Singing TO a stringed instrument included plucking the string and then matching the single syllable to that sound: Two or three notes would do it very well when Cantillating.

Isaiah told Hezekiah that his sons would be taken into captivity: not to worry, says Hezekiah, just as long as it doesn't happen in my lifetime.  While Hezekiah was fiddling around OUTSIDE of the holy places, little Manessah was getting ready to start burning infants again.

Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and their song all the day.

Second: names a stringed instrument (Psaltery) in the titles of Psalms 4, 6, 54, 55, 67, 76

Third: a song, sung to the music of stringed instruments.  Sounds were first produced by a bow and then the harp with perhaps 3 strings.  You can sing to the "notes" of a harp without using the harp.

Examples: singing and making melody is IN the heart or spirit.

Psalms 77:6 I call to remembrance my song in the night:
        I commune with mine own heart:
        and my spirit made diligent search.

Learning is recycling what you know:
Co-gnosco   II. To recognize that which is already known, acknowledge, identify , With the access. idea of individual exertio,
Narro to tell, relate, narrate, report, recount, set forth from gignōskō ,

Matthew 26:30 And when they had sung an hymn, they went out into the mount of Olives.

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

Dīco,  to say, tell, mention, relate, affirm, declare, state; to mean, intend (for syn. cf.: for, loquor stands for the Gr. eipein pros tina,
Ontōs , Adv. part. of eimi A. (sum), really, actually, verily, with Verb
Alēth-ēs a^, Dor. ala_thēs , es, (lēthō,
I. Hom., Opposite. pseudēs, in phrases alēthea muthēsasthai, eipein, agoreuein, alēthes enispein
3. of oracles, true, unerring, “alathea mantiōn thōkon” Pi. P.11.6, cf. S.Ph.993, E.Ion1537; of dreams, A.Th.710. “alēthei logō khrasthai” Hdt. 1.14
        Opposite Epos 1. song or lay accompanied by music, 8.91,17.519. b. generally, poetry, even lyrics
        5. celebrate, of poets, “Aiantos bian

Especially a song of derision, a satire. Again:

Lamentations 3:13 He hath caused the arrows of his quiver to enter into my reins.
Lamentations 3:14 I was a derision to all my people; and their song all the day.

Jer 20:7 Yahweh, you have persuaded me, and I was persuaded; you are stronger than I, and have prevailed: I am become a laughing-stock all the day, every one mocks me.