"For a while in the Middle Ages, the bishops banned the use of brass instruments in churches because they were brash and produced what was perceived as " Devil tones " and "Satan's music ".This proscription was intended to sever the link with all ancient, Old Testament forms of worship ritual and its associated Egyptian ritual.
However, it is interesting that, from the Reformation, secular music was almost totally dedicated to the use of brass instruments with composers like Purcell, Handel and Bach at the forefront of great choral and brass-dominated works.
The fact is that, today, both Church and State ceremonies inherit their musical traditions from the priestly ritual and military pomp of the early time-frame. Adrian Wagner
Rising up to Play at Mount Sinai was this same MUSICAL IDOLATRY:
Cachaq (h6711) tsaw-khak'; a prim. root; to laugh outright (in merriment or scorn); by impl. to sport: - laugh, mock, play, make sport
When David PLAYED before the Ark believing that God was inside the word PLAYED is:
And David and all the house of Israel played before the Lord on all manner of instruments made of fir wood, even on harps, and on psalteries, and on timbrels, and on cornets, and on cymbals. 2S.6:5
And David danced before the Lord with all his might; and David was girded with a linen ephod (female garment). 2 Sam 6:14
Then David returned to bless his household. And Michal the daughter of Saul came out to meet David, and said, How glorious was the king of Israel to day, who uncovered himself to day in the eyes of the handmaids of his servants, as one of the vain fellows shamelessly uncovereth himself 2 Sam 6:20
This RISING UP TO PLAY is the Hebrew:
Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.
And the women answered one another as they played, and said, Saul hath slain his thousands, and David his ten thousands. 1S.18:7
When Samson GROUND in the king's house he was forced to SPORT. Both of the words used of Mount Sinai and by David implicate MAKING SELF VILE and grinders were abused.
In Discoveries At Nineveh, chapter 9
A second bas-relief represented the dead in the background.
On the upper part of the two slabs following the battle-scene was the triumphal return after victory.
In front of the procession were warriors throwing the heads of the slain at the feet of the conquerors.
Two musicians, playing on stringed instruments, preceded the charioteers, who were represented unarmed, and bearing their standards; above them was an eagle with a human head in its talons.
The king came next in his chariot, carrying in one hand his bow, and in the other two arrows - the attitude in which he is so frequently represented on Assyrian monuments, and probably
denoting triumph over his enemies.
Above the horses was the presiding divinity; also holding a bow.
The attendant, who in war bore the shield, was now replaced by an eunuch, raising the open parasol - the Eastern emblem of royalty. The horses were led by grooms, although the charioteer still held the reins. Behind the king's chariot was a horseman leading a second horse, gayly caparisoned.
This was outlawed when the tribes assembled or synagogued:
But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm.Nu.10:7
Alarm is:
Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.
Psalm 41 prophesied that Judas--whose Judas Bag carried the mouthpieces of wind instruments would not TRIUMPH OVER or play music and make a joyful noise over Messiah and get by with it: this was a warrior's chant and not worship.
As Fulfilled By David "Singing to the Gentiles" and shedding the blood OF the Gentiles.
I have pursued mine enemies, and overtaken them: neither did I turn again till they were consumed. Psalm 18:37
I have wounded them that they were not able to rise: they are fallen under my feet. Psalm 18:38
Or: And I have consumed them, and wounded (smashed) them, that they could not arise: yea, they are fallen under my feet. 2 Sam 22:39
Consumed is:
Kalah (h3615) kaw-law'; ... consume): - accomplish, cease, consume (away), determine, destroy utterly... take away, waste.
A close word is variously translated as sword, weapon or musical instrument.
Keliy (h3627) kel-ee'; from 3615;... vessel or weapon): - armour ([-bearee]), artillery, bag, carriage, instrument, jewel, psaltery, sack, stuff, thing, tool, vessel, ware, weapon, / whatsoever.
For thou hast girded me with strength unto the battle: thou hast subdued under me those that rose up against me. Psalm 18:39
Thou hast also given me the necks of mine enemies; that I might destroy them that hate me. Psalm 18: 40 (2 Sam 22:41)
They cried, but there was none to save them: even unto the Lord, but he answered them not. Psalm 18: 41
Then did I beat them small as the dust (the background to literal melody in Greek) before the wind: I did cast them out as the dirt in the streets. Psalm 18: 42 (2 Sam 22:43)
Shachaq (h7833) shaw-khak'; a prim. root; to comminate (by trituration or attrition): - beat, wear.
Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.
Psallo or "melody" is derived from:
Psocho (g5597) pso'-kho; prol. from the same base as 5567; to triturate, i.e. (by anal.) to rub out (kernels from husks with the fingers or hand): - rub.
Medical science knows that you can physically and emotionally grind people into bits with music. This is why the SPIRITUAL church of Christ is directly commanded to keep the singing (secular) and melody (polluting, prostituting, grinding, destroying) in the SPIRIT and not let it break out.
WAS THIS WORSHIP? No.
The KING and COMMANDERS of the army assigned surplus warrior Levites to help man the "like the nation's temple" as servants and musicians.
David (King), together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1Chr 25:1NIV
Their SERVICE is not worship but:
Abodah (h5656) ab-o-daw'; or abowdah ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought
Abad (h5647) aw-bad'; to serve, till, enslave, etc.: - be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labouring man, transgress [from margin], (set a) work, be wrought, worshipper.
Abaddon or Apollyon was Apollo who was the FAR SHOOTER with his bow, father of musical harmony, playing instruments, thieves and liars.
Both the singing and the "not-musical" instruments are named after destructive and evil influences and were to GRIND the people into bits to force them to get away from the sacrifice and fall on the ground if outside:
It came even to pass, as the trumpeters and singers were as one, to make one sound (bleating, crackling, noise) to be heard in praising and thanking the Lord; and when they lifted up their voice with the trumpets and cymbals and instruments of musick (instruments of singing), and praised the Lord, saying, For he is good; for his mercy endureth for ever: that then the house was filled with a cloud, even the house of the Lord; 2 Chron 5:13
Do we have proof that this was the nature of the worship of the Babylonians?
Stephen got himself killed, in part, for daring to tell the Jews that the Temple was not God's idea. Rather, because David sinned so much that he could never return to Gibeon to inquire of God, he was permitted to begin the LIKE THE NATION'S worship at Jerusalem which was an existing Jebusite High Place.
"The absence of instrumental music from the services of the tabernacle continued not only during the wandering of the Israelites in the desert, but after their entrance into the promised land, throughout the protracted period of the Judges, the reign of Saul, and a part of David's. This is a noteworthy fact. Although David was a lover of instrumental music, and himself a performer upon the harp, it was not until some time after his reign had begun that this order of things was changed." (Girardeau, p. 29).
You must note that this went along with Solomon's trying to be ECUMENICAL and let paganism take over in Jerusalem which, after all, was a Jebusite High Place.
WHEN the Lord thy God shall bring thee into the land whither thou goest to possess it, and hath cast out many nations before thee, the Hittites, and the Girgashites, and the Amorites, and the Canaanites, and the Perizzites, and the Hivites, and the Jebusites, seven nations greater and mightier than thou; Deut 7:1
As for the Jebusites the inhabitants of Jerusalem, the children of Judah could not drive them out: but the Jebusites dwell with the children of Judah at Jerusalem unto this day. Deut 15:63
The STARRY HOST to whom God "married" Israel included:
Chemosh was the god of the Moabites. God says Israel had forgotten Him and was worshipping Chemosh (I Kings 11:33). Who was Chemosh? He is identified with Baal-peor -- the pagan "Christ child" -- and with Baal-zebub, Mars, and Saturn (Peloubet's Bible Dictionary, p. 115).
We have shown that Saturn was one name of Nimrod, and Mars, another name as the god of war of the Greeks. Chemosh, then, was the Moabite name for Nimrod.
We have shown that Saturn was one name of Nimrod, and Mars, another name as the god of war of the Greeks. Chemosh, then, was the Moabite name for Nimrod. Nimrod founded the Musical Worship Team at the towers of Babylon.
His number as SATAN is 666. See more details on Chemosh below.
More Notes on the Sentence to WORSHIP THE STARRY HOST.
While Solomon was a WISE MAN this had nothing to do with being spiritual. As a king of Israel his job was to help lead the nation into Assyrian and Babylonian captivity.
And he defiled Topheth (named after the tambourine), which is in the valley of the children of Hinnom, that no man might make his son or his daughter to pass through the fire to Molech. 2 Kings 23:10
And he took away the horses that the kings of Judah had given to the sun, at the entering in of the house of the Lord, by the chamber of Nathan-melech the chamberlain, which was in the suburbs, and burned the chariots of the sun with fire. 2 Kings 23:11
Apollo (God of the sun) In the Greek Mythology Apollo was the son of Jupiter and Latona. His twin sister was Diana. He was the god of music, playing a golden lyre. The Archer, far shooting with a silver bow. The god of healing who taught man medicine. The god of light. The god of truth, who can not speak a lie. One of Apollo's more important daily tasks was to harness his chariot with four horses an drive the Sun across the sky. His tree was the laurel (chewing the leaves made you mad and "prophesy"). The crow his bird. The dolphin his animal.
Helios in his chariot, relief sculpture, excavated at Troy, 1872; in the State Museums of Berlin By courtesy of the Staatliche Museen zu Berlin. "Mounting up to heaven." 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, Apollo, originally a deity of radiant purity, was more and more interpreted as a sun god. During the Roman Empire the sun itself came to be worshiped as the Unconquered Sun.
PATNA: The two-day Chhath festival, or worship of the Sun God, ends on Friday when villagers will again stand in bodies of water, to make themselves clean, and make offerings to the rising sun. Chhath, a festival of survival, is celebrated by a farmer community found in Bihar and some parts of neighbouring Uttar Pradesh. The worshippers first express gratitude to the setting Sun for its work in growing their crops during the preceding year. The morning worship, on Friday, is a request for a bountiful crop, peace and prosperity in the year to come. FromAnd Saturn? "The Roman god of agriculture concerned with the sowing of the seeds."
And Jewish Sabbath worshipers begin their ceremonies on Friday evening!
The lust to restore Sabbath worship with instruments is the urge to restore S.U.N. worship under SATURN (666). Apollo who had a famous SEEKER CENTER at Delphi was also worshiped as the un in Rome.
Israel worshipped Milcom "the god of the children of Ammon." Who was this? None other than Molech whom we have identified as Nimrod (New Standard Bible Dictionary, p. 824).
Judah was worshipping this god just before her captivity (II Kings 23:13). Jeremiah 7:17-20 warned Judah against her practice of worshipping the Queen of Heaven, who was Semiramis.
Now please notice II Kings 17:17, Jeremiah 8:18-22, and Deut. 4:16-19. Alexander Hislop, in his book, page 309 says:
"As Baal (Nimrod) the Lord of Heaven had his visible emblem -- the sun, so she (Semiramis) as Beltes, Queen of Heaven, must have hers also -- the moon." Josiah (II Kings 23:11) "burned the chariots of the sun with fire."
With regard to Israel's and Judah's gods being represented by stars, the New Standard Bible Dictionary, p. 827, says "The stars formed a class . . . corresponding to the Igigi or 'heaven gods' of the Babylonians." From Atrahasis:
- When the gods instead of man
- Did the work, bore the loads,
- The gods' load was too great,
- The work too hard, the trouble too much,
- The great Anunnaki made the Igigi
- Carry the workload sevenfold.
- Anu their father was king,
Of course the minor gods just shifted the burden to mankind just as God warned Israel's elders when they demanded a MAN-KING.
- Belet-ili the womb goddess is present-
- Let her create a mortal man
- So that he may bear the yoke...
- So that he may bear the yoke, the work of Ellil,
- Let man bear the load of the gods!
- ...
- Belet-ili the womb goddess is present,
- Let the womb goddess create offspring,
- And let them bear the load of the gods!
This is why God ordained the SABBATH for REST instead of WORSHIP.
Job, as one of the oldest writings, repudiated sun and moon worship:
If I rejoice because my wealth was great, and because mine hand had gotten much; Job 31:25
If I beheld the sun when it shined, or the moon walking in brightness; Job 31:26
and my heart has been secretly enticed, and I have worshiped them by kissing my hand to them, Job 31:27
This also were an iniquity to be punished by the judge:
for I should have denied the God that is above. Job 31:28
Molech . . . Chiun--"Molech" means "king" answering to Mars [BENGEL]; the Sun [JABLONSKI];
Saturn, the same as "Chiun" [MAURER]. The Septuagint translates "Chiun" into Remphan, as Stephen quotes it (Ac 7:42,43). The same god often had different names.
The Basilisk was always, among the Egyptians, and among many nations besides, regarded as "the very type of majesty and dominion." As such, its image was worn affixed to the head-dress of the Egyptian monarchs; and it was not lawful for any one else to wear it. The sun identified with this serpent was called "P'ouro," which signifies at one "the Fire" and "the King," and from this very name the epithet "Purros," the "Fiery," is given to the "Great seven-crowned serpent" of our text. *
* The word Purros in the text does not exclude the idea of "Red," for the sun-god was painted red to identify him with Moloch, at once the god of fire and god of blood.--(WILKINSON). The primary leading idea, however, is that of Fire.
Thus was the Sun, the Great Fire-god, identified with the Serpent. But he had also a human representative, and that was Tammuz, for whom the daughters of Israel lamented, in other words Nimrod. Hislop.
See the worship of Ishtar and Tammuz in the Temple and the men bowing to the sun in the east.
This old woodcut is of the Jewish males bowing to the S.U.N. gods in the east. One product of trying to finally bring about the CATHOLIC JUBILEE for the atonement of mankind was a proliferation of sun pillars errected all over the country. See the urge to "baptize" Santa who is SATURN and think of the S.O.N. God as the S.U.N. god.
And the high places that were before Jerusalem, which were on the right hand of the mount of corruption, which Solomon the king of Israel had builded for Ashtoreth the abomination of the Zidonians, and for Chemosh the abomination of the Moabites, and for Milcom the abomination of the children of Ammon, did the king defile. 2 Kings 23:13
Har (h2022) har; a short. form of 2042; a mountain or range of hills (sometimes used fig.): - hill (country), mount (-ain), * promotion.
LIFTING UP with music was the spiritual Armageddon.
In the worship of Tyre, the king is defined as a harp-playing prostitute. She/he was Lucifer who came into the garden of Eden with string, percussion and wind instruments. The 'serpent' is defined by a Hebrew and other languages as a MUSICAL ENCHANTER and not a snake.
Lucifer it the LIGHT and his name derives from the HALAL praise by which many Jews including David 'MADE HIMSELF VILE.' In the modern Incarnation Lucifer is ZOE. Zoe was called the BEAST and known as "the female instructing principle."
Canaanites or Kenites were brought into the temple to perform priestly duties.
Yeruwshalaim (h3389) yer-oo-shaw-lah'-im; rarely y˙ruwshalayim yer-oo- shaw-lah'-yim; a duel (in allusion to its two main hills....
John in Revelation equates Jerusalem, as opposed to the spiritual Zion, to Egypt and Sodom.
Up to the time of King Josiah's reform (621 BC) there was a women's cult of Asherah (under qedeshim auspices [consecrated for fertility practices], according to 2 Kings 23:7) in the Jerusalem Temple, alongside the male cult of Yahweh.
And he brought out the grove from the house of the Lord, without Jerusalem, unto the brook Kidron, and burned it at the brook Kidron, and stamped it small to powder, and cast the powder thereof upon the graves of the children of the people. 2 Kings 23:6
And he brake down the houses of the sodomites, that were by the house of the Lord, where the women wove hangings for the grove. 2 Kings 23:7
Thus, the "holy whores" were both male and females who were theatrical performers who could seduce you into "an act of worship."
Qadesh (h6945) kaw-dashe'; from 6942; a (quasi) sacred person, i. e. (techn.) a (male) devotee (by prostitution) to licentious idolatry: - sodomite, unclean.
"Asherah's devotees considered her the chief wife of Yahweh, even as she was the wife of El, head of the Canaanite pantheon, for in the Bible El is identified with Yahweh. But Josiah eliminated the cult of Asherah, and official Judaism has since then left no place for other gods, which meant the elimination of every goddess."
Defeating the Lion of the Tribe of Judah
As the DOVE proves that Jesus was a SON of a FATHER and not a daughter of the Mother of the Gods, the FEMINIST symbolism had the goddess standing on top of the Lion. Remember the "cows of Bashaan"? Well, they did not produce milk:
The feminine or fertility principle was represented by the Egyptian Cow-eared woman, Hathor. Hathor was a kind, gentle cow but watch your step. She could become quite violent. Like many pagan gods and goddesses, people were to serve them and the gods were not to serve at all.
"Hathor leaves the sacrificial cycle to Isis and Osiris (merged with Apis) and despite being liable to volatile emotions remains the loving creatress.
"The gods play the sistrum for Hathor, the goddesses dance for her to dispel her bad temper." As the joyful Goddess of fertility, dance, song and inebriety Hathor personifies - sex drugs and rock and roll - the very spirit and energy of the modern age.
Miriam named after Bitter Waters played the sistrum and "led the women out" with clanging brass and dancing. She claimed to be a prophet of Jehovah but she was chastized and disappears as the FEMINIST agent of God.
"For, say they, the sound of these sistra averts and drives away Typho; meaning hereby, that as corruption clogs and puts a stop to the regular course of nature; so generation, by the means of motion, loosens it again, and restores it to its former vigour. Now the outer surface of this instrument is of a convex figure, as within its circumference are contained those four chords or bars [only three shown], which make such a rattling when they are shaken--nor is this without its meaning for that part of the universe which is subject to generation and corruption is contained within the sphere of the moon; and whatever motions or changes may happen therein, they are all effected by the different combinations of the four elementary bodies, fire, earth, water, and air--moreover, upon the upper part of the convex surface of the sistrum is carved the effigies of a cat with a human visage, as on the lower edge of it, under those moving chords, is engraved on the one side the face of Isis, and on the other that of Nephthys--by these faces symbolically representing generation and corruption (which, as has been already observed, is nothing but the motion and alteration of the four elements one amongst another)." MPH
Hathor as Qadesh the Syrian fertility goddess with phallic Min. Note the Hathor crown and headdress. She stands on a lion, holding a serpent and ears of grain (Graves 1946, Pritchard 1954) And I wept much, because no man was found worthy to open and to read the book, neither to look thereon. Revelation 5:4And one of the elders saith unto me, Weep not: behold, the Lion of the tribe of Juda, the Root of David, hath prevailed to open the book, and to loose the seven seals thereof. Revelation 5:5
And I beheld, and, lo, in the midst of the throne and of the four beasts, and in the midst of the elders, stood a Lamb as it had been slain, having seven horns and seven eyes, which are the seven Spirits of God sent forth into all the earth. Revelation 5:6
And he came and took the book out of the right hand of him that sat upon the throne. Revelation 5:7
Jesus is not the lion stomped on by the FEMINIST goddesses and their emasculated priests, but:
Thou shalt tread upon the lion and adder: the young lion and the dragon shalt thou trample under feet. Psalm 91:13
The symbolism of the DOVE restored Christianity as a MASCULINE disclipine to replace the feminine or effeminate RELIGION. In Babylon, the MOTHER GODDESS was Semiramis.
"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephtha's daughter, and the women hailing the young hero David (1 Sam. 18:6-7) have become almost archetypes of female musicians. Charisteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating.
This is a scene known to the entire Near East, and not even the severe rule of Islam could wholly suppress this age-old practice. Remnants of these choruses of dancing women are still extant in isolated Jewish communities." (The Int. Std. Bible Dict., p. 457).
"Despite the differences between the Mosaic and the Egyptian cults, it can hardly be denied that Egyptian influence on Jewish musical practices were quite significant. They would stand to reason because of the high quality of egyptian cultic music.
> The tambourine or timbrel, a hoop of bells over which a white skin was stretched, came from Egypt. Miriam used this instrument to accompany the singing and dancing on the shores of the Red Sea (Ex. 15).
The trumpet blown for decampment, at the gathering of the people and on different cultic occasions, especially during sacrifices (2 Chron. 30:21; 35:15; Num 10:2), was the signaling instrument of the Egyptian army.
The sistrum, according to 2 Sam 6:5, was used by the Israelites and bore the name mena'aneim. It was the same as the Egyptian kemkem which was employed in the cult of Isis.
"The solemnity celebrated on the occasion of the transferring of the Ark to Sion (David rose up to PLAY), as well as the dances of the daughters of Israel at the annual feast of the Lord of Shiloh (Judg 21:21), were similar in thier musical embellishments to Egyptian customs in the liturgy and at parades. (Quasten, Johannes, Music and Worship in Pagan and Christian Antiquity, p. 65)
And the women usually stripped off naked and ridiculed the working women according to Heredotus.
What Can We Learn From the Nature of the Instruments.
"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans. In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51).
> "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
NEBUCHADNEZZAR the king made an image of gold, whose height was threescore cubits (60), and the breadth thereof six (6) cubits: he set it up in the plain of Dura (circle), in the province of Babylon. Dan 3:1
That at what time ye hear the sound of the (1) cornet, (2) flute, (3) harp, (4) sackbut, (5) psaltery, (6) dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Dan 3:5
The number 666 is repeated over and over.
Psaltery reminds us of a NEW WINESKIN religion which is made of THAT WHICH DIED OF ITSELF:
> Nebel (h5035) neh'-bel; or neĮbel 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.
This has the same meaning as the FAMILIAR SPIRIT of the Witch.
> Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.
Paul connects lifeless instruments or "carnal weapons" to the soothsaying or getting a REAL message from the angels:
THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. 1Cor 13:1
Sounding:
Echeo (g2278) ay-kheh'-o; from 2279; to make a loud noise, i.e. reverberate: - roar, sound.
Echos (g2279) ay'-khos; of uncert. affin.; a loud or confused noise ("echo"), i.e. roar: fig. a rumor: - fame, sound.
Brass:
Chalkos (g5475) khal-kos'; perh. from 5465 through the idea of hollowing out as a vessel (this metal being chiefly used for that purpose); copper (the substance, or some implement or coin made of it): - brass, money.
This was a brass or bronze echo chamber used by witches or by the military to frighten the enemy.
Osiris, Isis and Horus are one level of the Egyptian TRINITY. They were worshiped under the living bull calf, Apis, and the cow, Hathor. This defines the worship of the Israelites as they ROSE UP TO PLAY at Mount Sinai.
"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).
"They sat down to eat and drink and rose up to play. They practiced rites in which they made themselves naked, perhaps similar to those which were carried out by naked Babylonian priests." (Woodward, p. 158).
> "The trumpet... was the signaling instrument of the Egyptian army. The name of the Sistrum (2 Sam 6:5) was mena'ane'im. It was the Egyptian kemken used in the cult of Isis.
The music during the transferring the Ark to Sion
and the dances of the women at the Shiloh (Judges 21:21), were similar to the Egyptian liturgy and parades.
"As Herodotus reports, women sang the praises of Osiris while liknesses of the gods were born about and, during the festival of Diana at Bubastis,
"The Egyptians do not hold a single solemn assembly, but several in the course of the year. Of these the chief, which is better attended than any other, is held at the city of Bubastis in honour of Diana. The next in importance is that which takes place at Busiris, a city situated in the very middle of the Delta; it is in honour of Isis, who is called in the Greek tongue Demiter (Ceres). There is a third great festival in Sais to Minerva, a fourth in Heliopolis to the Sun, a fifth in Buto to Latona, and a sixth in Papremis to Mars.
> "It (the pipe meaning 'to love passionately') was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, ase we see from Genesis Rabbah 50: 'The angels said to Lot: 'There are players of the pipe (organ) in the country, hence it ought to be destroyed'." Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests." (Interpreter's Dictionary of the Bible, p. 460, Abingdon).
> "Only in Ps 150:3 is it (shophar) mentioned with most of the other really musical instruments. Hence, we must conclude that the function of the shophar was to make noise--be it of earthly or of eschatological character--but not to make music. After the destruction of the temple and the general banishment of all instrumental music, the shophar alone survived, just because it was not a musical instrument."(Interpreter's Dictionary of the Bible, p. 473, Abingdon).
What About the Origin of Some of the Festivals?
The New Year's Festival or Akitu was adopted by Solomon:
"The effect of this new theology, especially under Solomon's influence, was to modify Israel's worship. The covenant renewal festivals of the former Confederacy were transformed into fall New Year celebrations of the foundation of the Temple and the election of the Davidic house.
It was not until the great reformation of Josiah that the Mosaic covenant tradition was discovered." (Anderson, p. 519)
39-46 O Tummal, exceedingly worthy of the princely divine powers, inspiring awe and dread! Foundation, your pure lustration extends over the abzu. Primeval city, reed-bed green with old reeds and new shoots, your interior is a mountain of abundance built in plenitude.
At your feast held in the month of the New Year, you are wondrously adorned as the great lady of Ki-ur rivals Enlil. Your princess, mother Ninlil, the beloved wife of Nunamnir, has erected a house in your precinct, O E-Tummal (Tummal House), and taken a place upon your dais.
As we noted above, for most of the life of the Monarchy, the prostitute worshipers of Ishtar had Solomon's help in errecting houses close to "god's house" and took a place on His dais.
179-185 O Enegir, great libation pipe, libation pipe to the underworld of Ereckigala, Gudua (i.e. entrance to the nether world) of Sumer where mankind is gathered, E-gida (Long house), in the land your shadow has stretched over the princes of the land.
Your prince, the seed of the great lord, the sacred one of the great underworld, given birth by Ereckigala,
playing loudly on the zanaru instrument,
sweet as the voice of a calf, Ninazu of the words of prayer, has erected a house in your precinct, O house Enegir, and taken his seat upon your dais.
ISHTAR navigated the SEVEN GATES OF HELL by stripping off all of here possessions.
What was the Meaning of a Great Crashing "musical" Sound during Sacrifice?
> "Beginning with David and throughout the entire period of the monarchy, for about four centuries, Israel's worship on Zion gave a central place to the king, not simply as officiant but substantively, as the figure who in his office and person embodied the relationship between God and the nation.
In contrast, the premonarchic worship of Israel, at Shechem and elsewhere, had featured a Covenant between God and the people, through their tribal heads, as the bond in the relationship.
By taking over and adapting Jerusalem's ancient cult, David provided Israel with a new worship, one that featured his own status and its sacral significance. Britannica
> "The book of Psalms contain new doctrine after the Law of Moses. And after the writing of Moses, it is the second book of doctrine... (David) first gave to the Hebrews a new style of psalmody, by which he abrogates the ordinances established by Moses with respect to sacrifices, and introduces the new hymn and a new style of jubilant praise in the worship of God; and throughout his whole ministry he teaches very many othe things that went beyond the law of Moses." (Fragment of Commentary by Hippolytus, bishop of Rome, Ante-Nicene, V, p. 170)
We know that this is true because God turned the nation over to worship the Starry Host because of their musical idolatry at Mount. Firing God and demanding a king forced God to select kings to carry out the captivity and death sentence conditionally imposed at Mount Sinai. And "Te Bible tells us so."
> "From (the Uraritic text) come references to a class of Temple personnel designated by the term serim, who exercised functions similar to those of the Hebrew singers during the monarchy and later times. Some of the servants of David who were designated in 1 Kings 4:31 by (a) term meaning 'aboriginal' or 'native sons,' and who possessed Canaanite names such as Heman, Chalcol, and Darda, were engaged in various forms of musical activity. As such they were described by the phrase 'sons of Mahol,' a Hebrew term closely related to (the Greek),
used of a semi-circular area in which the Greek chorus danced, and meaning 'members of the orchestral guild.' A further reflection of this musical interest became apparent when Megiddo was excavated and the treasure room of the royal palace was uncovered. From this area was recovered a plaque inlaid with ivory, depicting a royal personage seated on a throne. He was drinking from a small bowl, and was being entertained by a court musician who stood before him plucking the strings of a lyre." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 335, see p. 411).
> "Music and psalmody likewise flourished, especially as Solomon lavished the resources of the state on the new Temple, enriching its cultus in various ways (1 Ki. 10:12). Although we know too little of prevailing musical techniques to make definite statements, Israelite music under Phoenician influence probably soon reached standards of excellence as high as any in the contemporary world." (Bright, John, A History of Israel, p. 198).
> "We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'arousers,' sang every morning this verse from Ps 44: 'Awake, Lord, awake! Do not abandon us for ever.'
The Talmud tells us that Johh Hyrcanus suppressed the practice because it recalled too readily a pagan custom.
> "A similar practice is attested in connection with the cult of Herakles-Melkart. According to Menander, as he is quoted by Josephus, the king Hiram, who was a contemporary of Solomon, rebuilt the temples of Tyre and, 'he was the first to celebrate the awakening of Heracles in the month of Peritius.'" (de Vaux, p. 247)
"In an inscription from Cyprus, in one from Rhodes and in several from around the district of Carthage, there are references to important personages who bear the title Mqm'lm which we can translate as 'arouser of the god.'" (de Vaux, p. 247).
What about Music and Hezekiah's Reform
The leadership, priests, nation, city and temple had been taken over by pagan worship so that God would not remove their due punishment when they slaughtered animals. Hezekiah looked back 328 years to see how David's PLAGUE STOPPING sacrifice at a CIVIL altar was carried out. There is no mention that David used his own instruments. Nevertheless, rather than a simplistic proof-text for modern musical worship Hezekiah's reform may be a prophetic warning of the centralization of power in armed camps. Hezekiah was hoarding food and forcing the people back close to Jerusalem in preparation for resisting the Assyrians. After all, the temple-state was a civil or "like the nation's" state and not an example of a spiritual kingdom.
"In short, it now seems most likely that the incense altars and the pillars survived Hezekiah's reform, and it is even possible that they survived Josiah's.
Should the two (small) incense altars be correlated to the two stelae, and associated with oblations to male and female classes of intermediate divinities -- the baals and ashtorets -- chiefly served through the burning of incense, according to our contemporary texts? The huge altar of burnt-offering would then pertain to Yhwh, the main object of meat sacrifices. It may be that the larger stela in fact represents the presence of Yhwh himself, and that the smaller represents that of the baals:
the ashtorets seem to have had poles or trees as their icons, rather than stones.
In any event, Hezekiah certainly left the temple standing as a functional structure, and probably even built it. This is consonant with the general character of Hezekiah's reform:
it was his strategy to abandon the countryside to the Assyrians,
and concentrate the rural population inside fortresses
to protract the campaign in the hope of Egyptian or other intervention
(the Egyptian intervention did, as it happens, prove decisive).
As a corollary of this strategy, state shrines had to be renewed in the fortresses, and the population and priesthoods had to be registered (see Halpern 1991 for the reconstruction of the reform in its strategic valence). It is improbable, however, that Hezekiah left the priesthoods at Arad intact or enrolled additional rural priests there, as part of his centralization of the population to state fortresses, without some provision for cultic activity. Yet it is incontrovertible that cultic activity at Arad -- inside the fortress itself, which was closely linked to Jerusalem -- survived Hezekiah's period. It follows that at least incense burning, and possibly even animal sacrifice, continued at least until Josiah's day." Bruce Halpern
Sacrifice was not complete until Hezekiah's animals were burned up or consumed on the altar. The burnt offering was a HOLOCAUST:
Olah (h5930) o-law'; or owlah o-law'; fem. act. part. of 5927; a step or (collect. stairs, as ascending); usually a holocaust (as going up in smoke): - ascent, burnt offering (sacrifice), go up to. See also 5766
And Hezekiah commanded to offer the burnt offering upon the altar. And when the burnt offering began, the song of the Lord began also with the trumpets, and with the instruments ordained by David king of Israel. 2 Chr. 29:27
David was king and not priest. And this sacrifice was to sanctify the civil leadership and the temple which was the capital of a LIKE THE NATION'S state. Therefore, the part played by the instruments of David were civil:
David, together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals. Here is the list of the men who performed this service: 1 Chron 25:1
The "congregation" was not the people but the called OFFICIALS AND CLERGY:
And all the congregation worshipped, and the singers sang, and the trumpeters sounded: and all this continued until the burnt offering was finished. 2 Chron 29:28
This was not spiritual worship but falling on their face or bowing.
And when they had made an end of offering, the king and all that were present with him bowed themselves, and worshipped. 2 Chr 29:29
The TYPE of Sacrifice with the mocking music of the HOLOCAUST has been completed. This "certified" the people to now be able to offer their own sacrifices.
Moreover Hezekiah the king and the princes commanded the Levites to sing praise unto the Lord with the words of David, and of Asaph the seer. And they sang praises with gladness, and they bowed their heads and worshipped. 2 Chron 29:30
Bowed means:
Gadad (h6915) kaw-dad'; a prim. root; to shrivel up, i. e. contract or bend the body (or neck) in deference: - bow (down) (the) head, stoop.
Further sacrifices purified the HOUSE but this was not completed until everyone cast the garbage out of the holy place which had been polluted by pagans.
"Since the Scripture expressly states that the musical instruments sounded 'until the burnt-offering was finished'
the congregational praise which followed must have been a Capella." (Notes on The Biblical Doctrine of Worship, Presbyterian Church of N.A.).
Edersheim notes that when the instruments began for the nation, the people were put outside the gates or outside the camp. After the state sacrifices were complete individuals could make offerings but there was no music involved.
The LEVITES served the priests and not God nor the people:
The Syriac Version
God: Then Solomon offered burnt offerings unto the Lord on the altar of the Lord, which he had built before the porch, 2 Chronicles 8:12
Even after a certain rate every day, offering according to the commandment of Moses, on the sabbaths, and on the new moons, and on the solemn feasts, three times in the year, even in the feast of unleavened bread, and in the feast of weeks, and in the feast of tabernacles. 2 Chronicles 8:13
David: And he appointed, according to the order of David his father, the courses of the priests to their service, and the Levites to their charges,
to praise and minister before the priests, as the duty of every day required: the porters also by their courses at every gate: for so had David the man of God commanded. 2 Chronicles 8:14
Carnal Priests and Levitical Sounders Cannot Enter the Most Holy Place
We have an altar, whereof they have no right to eat which serve the tabernacle. Heb 13:10
For the bodies of those beasts, whose blood is brought into the sanctuary (most Holy Place) by the high priest for sin, are burned without the camp. Heb 13:11
The camp is the battle array or camp of the enemy warriors:
Parembole (g3925) par-em-bol-ay'; from a comp. of 3844 and 1685; a throwing in beside (juxtaposition), i.e. (spec.) battle- array, encampment or barracks (tower Antonia): - army, camp, castle.
Standing in the Gap To Destroy Jesus Christ with Music!
This was fulfilled in the offering up of Jesus Christ as prophesied in Psalm 41 and as translated in the Dead Sea Scrolls. They had to identify Jesus as Beliar or Beelzebub or the enemy before they mounted a MUSICAL AMBUSH.
The ministry of the priests and Levites in the Dead Sea Scrolls:
When the battle line are arrayed against the enemy battle line against battle line there shall go forth from the middle opening into the gap between the battle lines seven priests of the sons of Aaron, dressed in fine white linen garments: a linen tunic and linen breeches, and girded with a linen sash of twined fine linen, violet, '"purple, and crimson, and a varicolored Sign, the work of a skillful workman, and decorated caps on their heads; the garments for battle, and they shall not take them into the sanctuary.
The one priest shall walk before all the men of the battle line to encourage them for battle.
In the hands of the remaining six shall be the trumpets of assembly' the trumpets of memorial, the trumpets of the alarm, the trumpets of pursuit, and the trumpets of reassembly.
When the priests go out into the gap between the battle lines,
seven Levites shall go out with them. In their hands shall be seven trumpets of rams' horns.
Three officers from among the Levites shall walk before the priests and the Levites.
Then the priests shall blow on the six trumpets of the slain a sharp staccato note to direct the battle,
and the Levites and all the people with rams' horns shall blow a great battle alarm together in order to melt the heart of the enemy.
Jesus was not CONSUMED in the tomb and His body suffered no decay. However, it was the PHYSICAL TEMPLE which was burned while the Romans blew their own music of triumph.
A heart that melts shall be as a door of hope. You will do to them as You did to Pharaoh '°and the officers of his chariots in the Red Sea. You will ignite the humble of spirit like a fiery torch of fire in a sheaf, consuming the wicked.
What About the Nature of the Temple?
The Temple for the Patron god of MUSIC.
Nudimmud or Enki or Ea was the "patron god of music" and the arts along with other skills. Ea is held to be Lamech, the father of the children of arts, crafts and music (without authority) in his second incarnation.
Lamech's children such as Jubal are grouped under the name of GENUN or GENII or GENIUS or Kabiri who used music and other skills to seduce the Holy Sethites out of the presence of the Living Word. This story is told in part in The Book of Enoch.
Inanna under various names got Ea drunk and stole the ME or sacred powers. These included the 'gift of the eldership, the gift of moving past the GATES OF HELL, gift of instrumental music and of sexual perversion.
24 (23 lines: the house of Enki in Eridu.) -33 O ......, shrine where destiny is determined, ......, foundation, raised with a ziqqurat, ......, settlement of Enlil, your...
your right and your left are Sumer and Akkad. House of Enlil, your interior is cool, your exterior determines destiny.
Your door-jambs and architrave are a high mountain,
your projecting pilasters a dignified mountain. Your peak is a ...... peak of your princely platform. Your base serves heaven and earth.
"The Davidic covenant model was also influenced by Canaanite and other Near Eastern conceptions, in this case the institutions of kingship and temple. In the ancient world the king was regarded as a sacral person, the representative or 'son' of God through whom the blessings of the divine order was mediated to society. And the temple was regarded as founded at the center or 'naval' of the world, the meeting place of heaven and earth where creation is annually renewed in the mythical victory over the powers of chaos. Thus the king was a temple-builder, and the temple was a royal sanctuary where the king performed a cultic role." (Bernard Anderson, p. 187)
ALL praise singing was superstitious magic believing that music has inherent power to force, appease, AID or even seduce the gods or goddesses.
"In the Babylonian cult, for instance, hymns of praise had an important place. Every New Year, when the cycle of the seasons returned to its beginning, the worshipers reexperienced and reactualized the victory of the powers of life over the powers of death.
The creation myth of Enuma elish depicted the victory of the god Marduk over the dragon of Chaos, Tiamat. Not only was the myth recited, but the battle was reenacted during the festival. At the climax of the celebration worshipers joined in the acclamation, 'Marduk has become king!' This is interpreted to mean that he had reascended his throne for another year." (Bernard Annderson, p. 522).
Psalm 93 begins with the musical shout: Yahweh malak which some translate "Yahweh has become king." The NIV says
"The LORD reigns, he is robed in majesty; the LORD is robed in majesty and is armed with strength. The world is firmly established; it cannot be moved. Psa 93:1
Animal sacrifices made into a LAW as a result of musical idolatry--as opposed to free offerings--used the instrumental music of the NATIONS. The great crashing sound was not music but NOISE. This music was part of exorcism:
"There is but one step from a musical incantation to religious music. In the Bible, apotropaic practices are perfectly compatible with monotheistic worship. Thus cultic music appears on three or four levels in the OT: in the frenzied songs of the professional prophets (1 San. 10:5-6); in the early numinous ordinances... in Leviticus and Numbers, and eventually, in the organized songs, chants, and psalms of the temple and of the professional Levitic musicians." (Interpreter's Dictionary of the Bible, p. 458, Abingdon). (See Homer Odyssey XI.260 ff)
"It is important to bear in mind that all music of the temple, regardless of the period, was nothing but an accessory to its sacrificial ritual. Without sacrifice the music loses its raison d'etre. What was the inherent connection between the sacrifice and its accompaning music? This is still an unsolved puzzle. It is possible to compare a banquet for honored guests whereby quantities of burned meant, incense, and music were offered, to a sacred meal for a still anthropomorphically conceived deity, whose prestige demanded sacrifice, incense, praise, as well as musical entertainment. Whatever the original function of sacrificial music, it was forbidden immediately after the destruction of the temple in A.D. 70. Nor do we have all the details of the temple's musical practice... There is ample reason to believe that the Levites refused to divulge their 'trade secrets' and took them to their graves." (Interpreter's Dictionary of the Bible, p. 459, Abingdon).
After Joel prophesying of TURNING to the Lord rather than turning INTO the places of unholy prostitution, chapter three promises no more CANAANITES or TRAFFICKERS and no more STRANGERS who are SINGERS.
In an introduction to the building of Ningirsu"s temple
The Gutians' influence probably did not extend beyond Umma. The neighbouring state of Lagash enjoyed a century of complete independence, between Shar-kali-sharri and the beginning of Ur III, during which time it showed expansionist tendencies and had widely ranging trade connections.
Of the ensi Gudea, a contemporary of Ur-Nammu of Ur III, there are extant writings, exclusively Sumerian in language, which are of inestimable value.
He had the time, power, and means to carry out an extensive program of temple construction during his reign, and in a hymn divided into two parts and preserved in two clay cylinders 12 inches (30 centimetres) high he describes explicitly the reconstruction of Eninnu, the temple of the god Ningirsu.
See our Babylon Glossary for details
NINGIRSU
(Sumerian), also called NININSINA, Akkadian Gula, or Ninkarrak, in Mesopotamian religion, city goddess of Urukug in the Lagash region and, under the name Nininsina, the Queen of Isin, city goddess of Isin, south of Nippur. Bau seems originally to have been goddess of the dog; as Nininsina she was long represented with a dog's head, and the dog was her emblem. Perhaps because the licking of sores by dogs was supposed to have curative value, she became a goddess of healing. She was a daughter of An, king of the gods, and the wife of Pabilsag, a rain god who was also called Ninurta, or Ningirsu.
BAU
(Sumerian), also called NININSINA, Akkadian Gula, or Ninkarrak, in Mesopotamian religion, city goddess of Urukug in the Lagash region and, under the name Nininsina, the Queen of Isin, city goddess of Isin, south of Nippur. Bau seems originally to have been goddess of the dog; as Nininsina she was long represented with a dog's head, and the dog was her symbol. Perhaps because the licking of sores by dogs was believed to have healing value, she became a goddess of healing. She was a daughter of An, king of the gods, and the wife of Pabilsag, a rain god who was also called Ninurta, or Ningirsu.
See comments by Augustine. He confirms the terminal sin of Israel at Mount Sinai. They were thinking in terms of a secular god and worship.
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