Rubel Shelly, Instrumental Music in Worship

In a sermon Rubel Shelly said: There is no explicit instruction that either requires or excludes musical instruments in the church's worship. The New Testament has no commandment on the subject.

Faithsite.com Reviews of BANNED RESPONSES TO FALSE TEACHING.

Geni, Adepts, Demons Rubel shelly will be teaching The Shaping of Things to Come to train new ministers at Rochester College. The book seems more occult than Christian.

You can read the book and see the PATTERNISM for the EMERGING PREACHERS.

CLICK: The Shaping of Things to Come: Innovation and Mission for the 21 Century Church

From: What Makes Us Who We Are (5 of 7) A Cappella Music

July 11, 1999 / Col. 3:16

Rubel Shelly: One of the things that makes us who we are is our distinctive musical heritage and practice.

Let's begin by defining the second error-teaching word slipped in which has a more judgmental taste when understood.

Heritage: 1. Property that can be inherited. 2 (a) something handed down from one's ancestors or the past, as a characteristic, a culture, tradition, or (b) the rights, burdens, or status resulting from being born in a certain time or place. (Webster)

If what makes us distinct is traditionalism then it should be repudiated publicly (as the preacher is doing) and the practices immediately changed. However, the Bible presents music and especially instruments as proof that people have no intention to listen to the word "taught as it has been taught." Karen Armstrong in A History of God notes that rituals are effeminate and "Israel could not bring herself to dialog with God."

Music is the most ancient, superstitious paganisms: it is legalistis in that it attempts to appease angry gods or to seduce them into giving material things. All rituals where the pseudo-mediatory claims to bring you into the presence of God creates panic named after PAN, the half goat sexual seducer whose "horns" or pan pipes give authority to those seeking to exercise control.

There is no "music" concept in the worship of a Spirit God. ALL of the Bible sees instruments as a MARK of those who tell God that they will not HEAR His words any longer. Music as in musica, melodia or cantus speak of incantation or enchantment. The intent of all musicians is to ENCHANT people out of their applause or money. The intent of all religious musicians was the enchant people out of their clothes to engage in sexual or homosexual activities as the end-product of music to lead the worshipers into the presence of the gods.

Music is from "symphonia" and is seen in secular festivals where in the classics "music" most often means singing and dancing.

We see "music" again in the end-time Babylonian Harlot religion of Revelation 18).

The Jewish people's congregation never "sang congregationally with instrumental music." They always "synagogued" in their own communities to hear the Word and to seek God through prayer.

The Synagogue had no "praise" service.

Synagogue by Edersheim and Other Evidence

The Catholic Encyclopedia and all of church history shows that no one ever added instruments because they believed that the Bible authorized them or because silence gave them permission. The only motive, then and now, was purely mercenary as a seeker system rather than a "go into all the world Christianity."

Lipscomb wrote as late as 1878 that:

> We do not think anyone has ever claimed authority from Scriptures to use the organ in worship. They only claim it is not condemned. It is used as an assister in worship...Prayer, praise, thanksgiving and making melody in the heart (mind) unto the Lord are acts of worship ordained of God, but no authority do we find for for the organ." (Sounding Brass and Clanging Cymbals, J. E. Choate and William Woodson". (p. 78).

> Of Australian Presbyterians;

When the issue was first brought up in the southern churches in 1874, one Session declared that they were "unanimously of the opinion that the use of such is both inexpedient and unscriptural and

think that those who have ventured to cast the apple of discord into our midst have much to answer for," and another considered that the introduction of organs "into the public worship of God is dangerous to the peace and purity of the Church."

The debate at the next Synod was the largest up until then, and the innovation was passed by a very slim majority. The dissents, appeals and protests lasted a few years, but the issue was finally settled in 1877,

the final dissent reiterating once more the regulative principle and concluding that it was "giving a place to instrumental music hitherto unknown to the worship of this Church."

The last church on the Taieri plain to have an organ introduced was East Taieri, near Mosgiel, in 1894. To a number of members, it was "equal to a sentence of excommunication,"
........... they now having "no Presbyterian church near Dunedin to which they can have access." 

Therefore, the first cork pop out of the cannon is an attempt to discredit the non-musical groups (and there are still many) by writing off their authority as traditionalism. The need for distorting the historical facts don't seem to be required.

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Rubel Shelly Continues:

Rubel Shelly: Many people who visit Woodmont Hills for the first time are initially bemused that we don't have piano, organ, or band accompaniment to our singing. A fellow came to me several years ago with the concern that our church couldn't afford a piano; and offered to help with the purchase. Many of those persons who are initially startled by our unaccompanied music quickly discern a beautiful simplicity and power to it. "Your people really know how to sing!" they say.

Because Rubel Shelly has been so harshly judgmental on those who will not AFFIRM those who have created a musical sectarianism initially needing no authority, and others have defended the Biblical and almost-universal historical repudiation of any form of music as accomodating paganism, people have assumed that Rubel would be consistent.

A "musical worship team" is an organic pipe organ. The word ORGANUM is after the pipe organ and A Cappella as a performance style derives from the exiled "babylonian captivity" pope returning to Rome with a castrated musical worship team which could perform in the Sistine Chapel where mechanical instruments were not allowed.

"Beautiful" is not the Biblical goal where the DIRECT COMMAND is to TEACH OR PREACH and the only resource is the inspired Word of God.

Church is synagogue and not pagan worship center. Synagogue was a learning center and had no "praise service."

Alan Morrrison notes:

R.P. Martin says in his interesting book on worship in the early church that the reading and exposition of the Scriptures is

"an inheritance we have received, through the early church, from the worship of Judaism, and which makes the model Christian service a Word-of-God service".

From the outset, church worship was a "Word-of-God service". The truths of the Bible were at the heart of worship. And this was also true insofar as the singing of songs was concerned.

It was the synagogues that remained after AD.70, NOT the Temple! The original purpose of the synagogue was primarily for Scripture-reading and exposition of the passages read (Lk.4:16-22; Mt.13:54; Mk.1:21-22; Jn.6:59).

There was also prayer (Mt.6:5) and, although there is no specific mention in the literature of singing in the synagogue, it is considered most likely "that those parts of the Liturgy which were connected with Temple worship, like the recitation of psalms...were sung"

So long as one's idea of worship is rooted in the Temple concept, one will crave "celebrations" and big displays. The charismatic style of worship naturally arises out of this false concept of the O.T. Temple.

However, the chief element in synagogue worship -- its central factor -- was not ceremonial or display but something which was of vital importance to the shaping of the subsequent life of the local churches upon which the synagogue was so influential.

That element was the reading and exposition of Scripture. Worship in the Early Church involved "Word-of-God" services. Ralph Martin very appropriately called the reading and exposition of Scripture "the centre of gravity of the synagogue's service, with the blessings and prayers gathered around it"

See our background to Psallo as Twanging.

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Rubel Shelly: We use a cappella (Latin, "in the style of the chapel/church") music for historical and theological reasons that we can articulate in a positive way. In its simplest and most straightforward manner, our reasoning is this:

Click to see how A Cappella was used by the Pope, who didn't believe in instruments either, to legalistical get around the "no instruments" by using "vocal bands" or an ORGANIC PIPE ORGAN. Since women were excluded he just castrated young males and dressed them in gowns.

"Catholic Church music can regain its former purity only by a return to the purely vocal style.
........ "The purely vocal style is the ideal of the Church.
........ "The papal choir, the Sistine, has always excluded instrumental music.
........ ........ "The first step toward the decadence of genuine Catholic church music
........ ........ ........ was the introduction of orchestra instruments.
........ ........ ........ "A Cappella was invented in the 15th century to enhance the music for the pope."

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Rubel Shelly: The New Testament and early Christian history reveal a practice of unaccompanied vocal praise to God in the church's worship, (That must be a command, example or inference.)

and our commitment to imitate the life of the earliest church has led us to adopt that same style for our congregational worship.

There is not a drip of a hint that the church assembled for a PRAISE RITUAL. The direct command was to glorify God with one voice by speaking "that which is written" (Rom 15), the Spirit (Eph 5, John 6:63) and The Word of Christ (Col. 3:16). This was the COMMANDED WAY to prevent discord between the factions of Romans 14.

It has been noted that there was no praise service in the Synagogue.

"Vocal Praise" is about the only way you can do it. However, "praise" isn't singing "Lord, Lord" but it is "seeking God" through His Word and telling others what God has done for the World and not how "God let me zip in and rip off a parking place from an old lady in a too-long Cadallac yesterday."

The word "music" (symphony) is used only of the secular party for the prodigal son. The act Paul defined was never called music. Aside from a home coming party with music and dance, the book of Revelation consistent with all of the Old Testament connects the MUSICAL term to the worship of the Babylonian whore religion. They are grouped in the Greek world with rhetoricians, Sophists, singers, musicians hermeneuts, exegetes: those who TAMPER with the Word. In the same Greek world they are all identified along with the harp players as PARASITES:

Rhêtor-ikos , ê, on, oratorical, hê rhêtorikê (sc. technê) rhetoric; of persons, skilled in SPEAKING, fit to be an ORATOR

The techne is the craftsmen who will go back into hell along with the Babylon harlot, her musicians and instrumentalists.

A word with similar meaning:

Hupo-kritikos , ê, on, belonging to hupokrisis.. having a good delivery, Arist.Rh.1404a15 .
2. suited for speaking or delivery, (sc. technê) the art of delivery, (but, the actor's art, .
3. metaph., acting a part, pretending to

Hupokrinomai

I. to reply, make answer, answer, Hom., Hdt.
2. to expound, interpret, explain, Od., Ar.:--the attic word in this sense is apo-krinomai.
II. of actors, to answer on the stage: hence to play a part, be an actor
2. to represent dramatically: hence to exaggerate
3. metaph. to play a part, to feign, pretend,

Thes words in the Greek are most often used with the word Pharisee!

Of those who would DIVERT a non-instrumental church into being an instrumental church and taking pay for it as rhetorician or Sophist, the Greek had a word for it.

Parasi-tus , i, m., = parasitos, lit. one who eats with another; hence,

I. In gen., a guest (pure Lat. conviva): parasiti Jovis, the gods, Hence, parasitus Phoebi, a player, actor

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

The end time Babylon harlot employes them all:

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Rev 18:22

The "craftsmen" in the Babylonian system were the "creator gods." Even inventing a drum could make you a "god." And a "grinder" was generally also a prostitute.

Technites (g5079) tekh-nee'-tace; from 5078; an artisan; fig. a founder (Creator): - builder, craftsman.

The "musician" is from the 9 goddesses. Apollo (Abaddon, Apollyon) in his seeker center at Delphi used and worshiped three muses: a trio.

Mousikos (g3451) moo-sik-os';, (a Muse); "musical", i.e. (as noun) a minstrel: - musician

The Theosophy Society is one of the best confessiors that music is connected with the occult:

"From Greek mousike (techne) the art of the Muses. The music of the Greeks did not signify merely the harmony of sounds, but actually imbodied the idea of inner harmony of the spirit,
........... the becoming at one with the spirit of the Muses,
........... so that the soul responded in harmonic rhythm to the beat of universal harmony.

"Music with the Greeks, therefore, included, besides vocal and instrumental music, choral dancing, rhythmic motions, and various modes of harmony expressed in action, perhaps most particularly that part of education which we should now

classify as a striving for harmony in life combined with aesthetic,
in contrast with intellectual and physical branches of study and development.

This is the Lucifer principle which intends to SILENCE the synagogue or ekklesia for which Jesus died.

It was culture of the essential person, the ego or soul,
whereas the other two divisions care for and supply the needs of the mind and of the body.

Music, in all its various branches is represented as having been taught to man

by his divine and divine-human ancestors, such as Isis-Osiris, Thoth, Edris (in the Koran), etc.

[Isiris-Osiris was worshiped with musical idolatry at Mount Sinai. For this terminal sin God

The syngaogue of Romans 15 would solve all of the division of those with various backgrounds including "music." Paul prohibits music which does INTEND to, as Rubel Shelly promotes, "leads us into the presence of God."

WE then that are strong ought to bear the infirmities of the weak, and not to PLEASE ourselves. Rum 15:1

PLEASE IS: Aresko (g700) ares'-Jo; prob. from 142 (through the idea of EXCITING EMOTIONS)

AIR (g142) awry; a prim. verb; to LIFT; by imp. to take up or AWAY; fig. to RAISE THE VOICE, KEEP IN SUSPENSE the MIND

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

Paul comanded TEACHING and not harmonic singing:

For whatsoever things were written aforetime were written for our learning, that we through patience and comfort of the scriptures might have hope. Rom 15:4

Now the God of patience and consolation grant you to be likeminded one toward another according to Christ Jesus: Rom 15:5

That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ. Rom 15:6

You CAN all speak thesame things if you speak that which is written by the Spirit of Christ (1 Pe 1:11). Paul commanded Timothy to "give your self to the [public] reading of the Word, to exhortation (of what was read) and to doctrine [that which was read]. Paul told the elders who are THE pastor-teachers along with the deacons to "teach that which has been taught."

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Rubel Shelly: Have we sometimes overextended our worship practice

so as to violate the freedom of our members to experience and enjoy instrumental music as a gift from God? Yes.

Overextend: "to extend beyond reasonable limits or beyond one's capacity to meet obligations or commitments." Webster

Jesus EXAMPLED and Paul OUTLAWED instrumental music or charismatic SINGING in the synagogue in Romans 15.

THERE IS NO OTHER TRADITION but that instrumental was used by Lucifer in the fall of the angels, that he/she wholly seduced Eve in the garden of Eden as the serpent which was a MUSICAL ENCHANTER, that the king/queen of Tyre was a personification of Lucifer as the "harp-playing prostitute," that the king/queen of Babylon went into Sheol with her harps and harpists and that Circe the end-time "church" will be the holy harlot using CRAFTSMEN or rhetoricians or sophists, singers and musicians as SORCERERS to lead people away from the Word of God.

On the contrary, the world is filled with ancient and modern literature which shows that all instruments are attributed to Satan. When Jubal "handled" musical instruments the word means "without warrant." That is, he had no God-given authority to use instruments for controling others. Of the Marzeah which was IMPOSED on Israel as they worshiped the starry host as punishment for their musical idolatry at Mount Sinai, scholars note:

"With the wine-drinking (which is the literal meaning of the Hebrew for feasting), went music and dancing." (Heaton, E. W., Everyday Life in Old Testament times, Scribners, p. 93)

"Worship was form more than substance; consequently, conduct in the marketplace was totally unaffected by worship in the holy place. Amos spoke from the conviction that social justice is an integral part of the Mosaic covenant, which regulates relations not only between God and people, but also among people." (King, p. 44).

"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). (Proof Here).

It is also a fact that this same black voodoo when married to hill country music gave rise to the revivalistic music seen in all of the so-called Awakenings. Of course, this happened only after the Wesley brothers drove the church away from singing the Biblical text to self composed songs which had the magical power of "spiritual revival."

Wouldn't adding instruments overextend our capacity to meet our obligations to teach the Words of Christ in song and sermon? If God gave musical instruments as a gift for worship then wouldn't we be under extending our worship practice.

Jubal, father of the word, Jubilee, taught people to handle instruments where the word "handle" means "without authority." Click to see the Voodoo connection. And Click to see the A Cappella meaning.

It is simply untrue that God gave instruments as a gift to mankind any further than He gave marijuana or "peyote" which some American Indians use for "worship" as a gift from God. Otherwise it would not have been Jubal who was "father" of the "family of musicians" but God. And it would not be David who added instruments to worship but God. And the Holy Spirit would not have used the word "handle" which means "without warrant" or authority.

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

If the entire Bible and church history does not condemn "musical performance" as the "works of human hands" to try to attract a Spirit God then nothing can be proven wrong. It is normally the pro-instrumental preachers still on the payroll of non-instrumental churches which denounce the non-instrumental position as sinful perversion.

The word ADULTERY and KLEPTO is associated with this verse. The concept of arousal singing to produce the outlawed PLEASURING is also connected with KLEPTOMANIA by the "heretics" who LIFT YOU UP to carry you away for THEIR OWN PLEASURES.

Hdt.1.155 Heredotus: Cyrus told how to take the FIGHT out of the enemy: [4] But pardon the Lydians, and give them this command so that they not revolt or pose a danger to you: send and forbid them to possess weapons of war,
...........and order them to wear tunics under their cloaks
........... and knee-boots on their feet,
........... and to teach their sons lyre-playing [kitharizein]
........... and song [psallein] and dance
........... and shop-keeping [huckstering].
........... And quickly, O king,
........... you shall see them become women instead of men,
........... so that you need not fear them, that they might revolt."

That proves that Satan us using the neutered performers to neuter the church.

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Rubel Shelly: There is no explicit instruction that either requires or excludes musical instruments in the church's worship.

The New Testament has no commandment on the subject.

Aristotle, Athenian Constitution

L. These then are the matters administered by the Council. Also ten men are elected by lot as Restorers of Temples, who draw 30 minae1 from the Receivers and repair the temples that most require it; and ten City Controllers, [2] five of whom hold office in Peiraeus and five in the city;

it is they who supervise the flute-girls and harp-girls and lyre-girls to prevent their receiving fees of more than two drachmas,

and if several persons want to take the same girl these officials cast lots between them and hire her out to the winner.

And they keep watch to prevent any scavenger from depositing ordure (dung) within a mile and a quarter of the wall;

Once you have A holy spirit you can read Paul's word SPEAK and not have it "filtered through time" to mean MAKE MUSIC.

You can grasp that the melody word PSALLO universally points to males plucking the harp string to groom yung boys as "youth ministers" for the ACT of sodomy.

You can grasp that NO ONE even thought Paul remotely spoke of SINGING as a ACT OF WORSHIP until the year 373. Why would any literate person think that the synagogue or school of the BIBLE would allow a "cerfiticate of need" for truth perverters in song and sermon or instruments.

You could grasp that instruments arrived on earth with Satan or Lucifer or ZOE who in Tyre and the garden of Eden is called the "singing and harp playing prostitute."

You could grasp that Jesus CAST OUT the minstrels like one EJECTS DUNG using the same image of Lucifer being CAST AS PROFANE using a word translated as to "steal your inheritance, play the flute, pollute or prostitute."

One could see the MUSICAL IDOLATRY Rubel sees as PATTERNISM for which God turned the nation over to worship the starry host (Stephen, Acts 7).

One could see the clear identity of the end-time Babylon Whore religion in Revelation 18 where the singers, musicians and religious technocrats will go back into hell.

I suppose that if you can make music neutral then the battle is half won. If God had included MUSIC as worship in either the Old or New Testaments He would have endorsed the central "mind altering weapon" of all pagan religions the Bible intends to contradict. He would, of necessity, have had to endorse sexual intercourse as part of the musical paganism.

Paul prescribed a TEACHING, PREACHING or ADMONISHING One another by the use of PSALLO translated MELODY. This is NOT a musical word but defines WAREFARE.

Henry George Liddell, Robert Scott, An Intermediate Greek-English Lexicon

Psallô [psaô]

I. to touch sharply, to pluck, pull, twitch, Aesch.; toxou neuran ps.

to twang the bow-string, Eur.; belos ek keraos ps.
to send a shaft twanging from the bow
carpenter's red line, which is twitched and then suddenly let go, so as to leave a mark,

II. to play a stringed instrument with the fingers, not with the plectron, Hdt., Ar., Plat.

2. later, to sing to a harp,
sing, NTest.

The word PSALLO translated melody or grace EXCLUDES using a plectrum and any form of musical instrument other than a BOW or weapon-like strung instrument. You VIOLATE a direct command when you MAKE MELODY with a singy-clappy team. You VIOLATE a direct command when you make melody with a GUITAR. Paul was literate and if he INTENDED an instrument he COULD NOT do it with the word PSALLO. He would have used psalmODIA or some other word which means sing WITH accompaniment.

To the reading world the Bible PROHIBITS music to accompany Jesus as the only teacher-preacher through His Word when it is "taught as it has been taught."

Psallo simply means to PLUCK: one can pluck the harp string or the bow string. The root is Apollo or abaddon who PLUCKED both the harp and bow to send literal arrows into the literal heart or to send love arrows. It is NOT a musical word.

The ONLY thing "musical" is the idea of YANKING a harp string (or bow) and PULLING it with the FINGERS: it does not define the NOTE created by the pulling and letting go.

But the INSTRUMENTALISTS (not approved in the NT) were usually perverted parasites:

Kithara the Lat. cithara (whence guitar), a kind of lyre or lute, Hhymn., Hdt., attic: --it was of triangular shape, with seven strings, Eur. Cf. ki^tha^rizô

Latin with similar definitions
Parasi-tor, to play the parasite, to sponge: parasitarier,

Did we forget about the prophecy of Psalm 41 that, led by Judas, the clergy would try to TRIUMPH OVER JESUS with "instruments and making a joyful noise before the Lord" as the national "warrior's cry"?

Look at how the meaning is interpreted in the Dead Sea Translation.

Did we forget about Jesus putting out the Musical Mourning Team "more or less violently"?

The APPROVED EXAMPLE of Jesus condemns MUSICAL WORSHIP TEAMS. These teams performed at weddings, funerals or religious festivals:

"Long before Israel's existence, we find in Akkadian tablets the word halhallatu for 'double clarinet,' and we have many ancient representations of this instruments... Extremely popular for SECULAR purposes, the clarinet was played at WEDDINGS, BANQUETS, and FUNERAL. At funerals it served as accompaniment to the customary WAILING women; this is the meaning of Matt. 9:23. The chief characteristics of the clarinet were: popularity, juxtaposition with hand drum and lyre, expression of extreme emotionalism, and symbolic meaning of FERTILITY and RESURRECTION." (Int. Std. Bible Dict., p. 472).

Again, Paul outlaws this for the SYNAGOGUE:

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

"Matthew alone mentions the hired 'flute players'; beside them would be found the hired wailing women with hair streaming, beating their breasts and filling the air with loud moans and bursts of sobs...

"Paid mourners were professionals at the business, and the custom of having them in houses of mourning and at funerals dates far back, even beyond the times of Jeremiah (9:17), and is found among Jews and pagans alike. Naturally, Jesus would order these people out and hush them;
........... "a deed such as he was about to do
........... called for the decency and the dignity of silence." (Lenski, Matt. p. 375).

But when the people were put forth, he went in, and took her by the hand, and the maid arose. Matthew 9:25

PUT FORTH IS:

Ekballo (g1544) ek-bal'-lo; from 1537 and 906; to EJECT (lit. or fig.): - bring forth, CAST (forth, out), drive (out), expel, leave, pluck (pull, take, THRUST) out, put forth (out), send away (forth, out).

Ballo (g906) bal'-lo; a prim. verb; to THROW (in various applications, more or less violent or intense): - arise, cast (out), * DUNG, lay, lie, pour, put (up), send, strike, THROW (DOWN), thrust. Comp. 4496. (Meaning: a quick toss).

ekballô , Arc. esdellô IG5(2).6.49 (Tegea, iv B.C.), fut. -ba^lô: aor. -ebalon : pf. -beblêka : Pass., fut.

A. -beblêsomai E.Ba.1313 :-- throw or cast out of, c. gen., Odion megan ekbale diphrou Il.5.39 , etc. : abs., throw out, ek d' eunas ebalon 1.436 , etc. ; kai tên men..ichthusi kurma genesthai ekbalon threw her overboard, Od.15.481, cf. Hdt.1.24 : then in various relations, ekpiptô being freq. used as its Pass. :

ballô , b. sporon cast the seed, Theoc.25.26; b. kopron POxy.934.9 (iii A. D.): hence b. arouras manure

kopros , hê,

A. excrement, ordure, of men and cattle, Od.9.329, al., Hdt. 3.22, etc.: in pl., Euph.96.4; esp. as used in husbandry, dung, manure, Pl.Prt.334a, Thphr.HP2.7.4.

2. generally, filth, dirt, kulindomenos kata kopron Il.22.414 , 24.640, cf. BGU1116.14 (i B. C.).

II. dunghill, byre, Il.18.575, Od.10.411, Call.Dian.178; kathisai tinas epi koprou Men.544.5 . (In this sense oxyt. kopros acc. to Eust.1165.15.) (Cf. Skt. s'ákr.t, gen. s'aknás 'excrement'.)

2. cast out of a place, Kimmerious ekbalontes ek tês Eurôpês Hdt.1.103 ; e. ek tês chôras, of an enemy, Lycurg.99, cf. D.60.8 ; esp. of banishment, drive out, cast out of the synagogue, Ev.Jo.34 ; ek tou tagmatos J.BJ2.8.8 ; exorcize, cast out evil spirits, Ev.Marc.1.34,

4. e. gunaika ek tês oikias divorce he

Here is the way to be Pro-Christ. The essentials of the "Son's" commission from the "Father" is identical to the Commission of Christ to Paul and to Paul's commission two of the passages which mention "singing." If you are not "for" Christ then you are "Against" Christ and here is the test:

Music and sexual perversion and intercourse were grouped in many of the ancient traditions. These were tribal or fertility rituals and God never hints that He can be appeased or the worshiper improved by music. This was so well understood that physical or carnal rituals had no place in Christian, spiritual worship. If you remember that the Exodus event is now the pattern for "worship and community" being taught at Woodmont Hills and the idolatrous Israelites have become their "spiritual fathers" you can understand that while church means "assembly" with no "standing army" outside of assembly time while the Nimrod principle wants to collect people into "families" then you can understand why music of many forms are necessary to keep the tribal chiefs in power and keep the tribal members from wandering:

"In this fashion evey common tribal interest--the recurrence of the seasons (Jubilee), the increase of the food supply, successful hunting--was likely to become embodied in some regularly repeated ceremony, which usually included group dancing, singing, and feasting.

Besides enabling men to express, and thereby to allay, anger and anxiety, such ceremonies

also promoted tribal unity and strengthened the loyalty of the individual to tribal traditions,

for the emotional excitement they aroused had the effect of breaking down the barriers between individuals and thus fusing all tribesmen into a collective whole.

Meanwhile, whole systems of magical devices were gradually elaborated." (H Bamford Parkes, God and Men, p. 29)

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

any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods, [All music produces a trance-like state]

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

In most early societies, moreover, men evolved techniques for deliberaly inducing the abnormal forms of consciousness in which they supposed themselves to achieve union with divine power, sometimes by the use of drugs and other physiological stimuli,

sometimes by hypnotic dances and music. The wild utterances to which they gave vent on such occasions

were regarded as the words of a god and
were interpreted as divine commands or predictions of future events." (Parkes, p. 32-33).

And instrumental music is a gift from God?

Well all of the evidence claims that it is a gift from the "gods" or demons.

A contemporary Bible Scholar notes that:

"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans (Satans). 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). (Proof Here).

Lucifer is represented by Sophia-ZOE where Sophia is the serpent and Zoe is the BEAST or "female instructing principle."

Jubal was father of those who handle instruments. "Handle" is defined as "without warrant" or without authority.

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Rubel Shelly: Thus a Catholic source says the following: "For almost a thousand years Gregorian chant, without any instrumental or harmonic addition, was the only music used in connexion [sic] with liturgy." And a widely respected Protestant scholar writes:

"There is no evidence for the use of musical instruments;

and if we picture the believers as men and women drawn from the poorer strata of society and meeting clandestinely,

the non-mention of musical instruments is not surprising. The making melody psallontes: Eph. v.19 is in the heart

So, from the garden of Eden down to the end-time Babylon Whore with her musicians and instruments proves that instrumental music was always associated with Satan and with his disciplew who wanted the people to look at him and not listen to the Words of God.

One of the "but hath God really said" dodges is to say, "well, you know that they were not rich or talented and this explains why all church history notes that Christians were different because they did not try to attack or "move the worshipers into the presence of the gods" with instrumental music.

But, the scholars universally condemn instruments and for the same reason the Bible condemns them: they were the devices which the king of Tyre as a Lucifer agent who was in the garden of Eden "came equipped."

So, there is no way to misuse history to explain that the Christian's practices were just cultural. And, since we have lots of money and talent we can buy instruments and train Sister Singers therefore God was just waiting for the 19th century to begin to really enjoy instrumental music.

The Catholic Encyclopedia disagrees with Dr. Shelly about the legal loopholes about time and place and commands:

"(a) The first testimony is found in the Epistle of St. Paul to the Ephesians (v, 19): "Speaking to yourselves in psalms, and hymns, and spiritual canticles, singing and making melody in your hearts to the Lord".

"Cardinal Bona finds in these words a witness to the fact that "from the very beginnings of the Church, psalms and hymns were sung in the assembly of the faithful", and understands them to refer to an alternated chant (mutuo et alterno cantu). [That excludes Fanny Crosby]

Since this was not really "singing" but teaching the Bible, this was not "responsorial singing" of modern composers with two choirs.

And you will note that the FAITHFUL used the Biblical material.

"McEvilly in his "Commentary"

"applies them to public and private meetings. St Augustine (Ep. cxix, ch. xviii) says:
"As to the singing of psalms and hymns, we have the proofs, the examples, and the instructions of the Lord Himself, and of the Apostles". (Cf. also Col., iii, 16; I Cor., xiv, 26.)

That means "Direct Commands and examples" and do not need to infer anything.

We know that these were all INSPIRED BIBLICAL TEXTS as Paul insists because a great controversy resulted when people began to introduce their own compositions as CO-INSPIRED along with God's poetic material.

Augustine went on to say:

"In such a case we ought by all means to adopt it,

especially if it be something in defence of which Scripture can be alleged:
as in the singing of hymns and psalms,
........ for which we have on record both the example and the precepts
........ of the Lord and of His apostles.
........ [Is that something like "Commands, Examples and Inferences?"]

"In this religious exercise, so useful for inducing a devotional frame of mind and inflaming the strength of love to God, there is diversity of usage, and

in Africa the members of the Church are rather too indifferent in regard to it;

on which account the Donstists reproach us with our grave chanting of the divine songs of the prophets in our churches,

while they inflame their passions in their revels by the singing of psalms of human composition,
........ which rouse them like the stirring notes of the trumpet on the battle-field.

If music DID NOT inflame the passions it would have NO VALUE in filling the collection plates. Because any form of rhetorical or musical performance inflames the passions it violates what JESUS did and what Paul OUTLAWED in Romans 15.

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Rubel Shelly: Second, some of the early Christian writers often cited about non-instrumentation also inveigh against females being allowed to participate in congregational hymn-singing. Scripture alone is normative for Christian faith and practice, not post-biblical history.

To show that Dr. Shelly's prejudicial statement was not official, the Catholic Encyclopedia notes that:

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

"Duchesne describes how the earliest worship of the Christians was parallel to that, not of the Temple of the Jews at Jerusalem, but of the local synagogues, the Christians borrowing thence their four elements of Divine service-the lections (reading parts of Scripture), the chants (of the Psalter), the homilies (explaining those passages of scriptures), and the prayers. Catholic Encyclopedia

Paul's word "authority" is AUTHENTIA which is sexual authority, both erotic and murderous. You cannot USE a woman in a non-silent, non-sedentary role without knowing and planning to USE her to exercise sexual authority which is very powerful in sucking in the seekers. The singing was never "musical" but TEACHING or PREACHING and rather than singing the word READING is called chanting.

"But considerable prominence was given to the hymns by the Gnostic, Bardesans, who composed a psalter of 150 psalms. However, the 59th canon of the Synod of Laodicea, 360 A. D., enjoined that 'No psalm composed by private individuals nor any uncanonical books may be read in the Church, but only... the Canonical Books of the OT and NT." Int Std Ency., p. 2494

"In competition with pagan musical art, congregational singing began to wane. Basil states that he had 'the Psalms rendered by skillful presentors after the manner of the triumphal Odes of Pindar,

the congregation joining at the closing verse,
with the accompaniment of lyres." Int Std Bible Ency., p. 2494A

Not even David sang his songs and simultaneously played to create harmony. Rather, after the ending of a verse it was common to strum the strings. This may be the meaning of 'selah' which meant "now, meditate on this verse in the heart."

Classical writers and the fathers recognize the simultaneous singing and playing as the arena of the female entertainers or prostitutes where there was no intention of communicating information. They note that to read a man's poem or song and play instruments would be to insult him. And so is Christ insulted.

Having someone INVEIGH agains women is not going to add anything to the instrumental music issue. They inveighed against instruments because of universal Biblical opposition and the practices of all pagans. Most of the church Fathers did not object to sit down women reciting the Biblical text. So that argument is mute.

Men like Alexander the Oracle Monger explained by Lucian of Samosata shows that people who want to construct Seeker-Centers have to resort to using women as their primary "ministers." Without them you could not extort money. He knew that you only needed women and flute players to get the money out of "fat heads and simpletons."

Apollo had his oracle just up the coast from Corinth and he also used women and instrumental music for the best Seeker-Center in the ancient world. Amazingly, he "navigated the winds of change" to kidnap his male ministers from another "oracle" in Crete.

Apollo is the model of Apollyon or Abbadon in the book of Revelation.

Everyone from God to Paul to the church Fathers to the Seekers today know that "female authority" is sexual power where women are used to attract with authentia which is both cruel and deadly.

The missing fact is that while much later monastic writers "inveighed" against women just for breathing valuable air, we have none of them even suggesting that effeminate clergy males dressed up and singing like women ever add musical instruments.

Inveigh: to assail, attack with words, to make a violent verbal attack. Webster.

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Rubel Shelly: Christ, his apostles, and the evangelists-teachers of the earliest church are simply silent on this matter about which we have had so much to say. Ah, and there lies the problem! How are we to interpret the "silence" of Scripture on this or any other topic?

Jesus was not silent on at least three occasions. Paul was not silent. When Paul's operative word is "teach" and not "sing" and the melody, to keep from being destructive, was in the heart, then only the legalistic LAW OF SILENCE says that since God didn't say DON'T DO IT then we can do whatever we decide that we will do.

This can be said with a straight face and backing up to the pay window only by total ignorance of the Word of God. Or, on my worse days, trying to fool someone.

Alfred T. DeGroot delivers up the standard method: Disciples are "churches" because the church must be High Church (Catholic) "alive" and bend with the winds of the time. However, churches of Christ are "sects" because they rely on the commands of Scripture. In the universal sense, he accuses the non-musical group of rejecting instruments because of silence. However, it is a fact that musical groups add instruments because "the earliest church was simply silent." This is perhaps the clearest example of turning silence upside down. Click Here to see that silence with God is golden.

There are numerous examples of Jesus repudiating instrumental music. Did you know that? No. You don't grasp that by feeding on the dry onion skins of the Word. Did you know that Psalm 41 promises that Judas will not triumph over Jesus? And that the "triumph" is blowing wind instruments and "making a joyful noise" which God outlawed during the assembly? (Numbers 10:7)

Those who use the Greek word psallo argue that the Bible is not silent, but authorizes or even commands instruments.

People ignorant of the nature of the Monarchy period appeal to the Psalms as God's non-silence authorizing Christian practices.

Other's use the silence of "the Bible didn't say: 'don't jump off tall buildings." Therefore, the silence of God authorizes jumping off tall buildings."

God is still there and "He is not Silent." Click for Proof

In reviewing DeGroot we quoted Augustine to say what everyone understood:

"but because it was obvious to remark that all sound,
which is the material of song, is by nature of three kinds.
........ > For it is either produced by the voice,
........ ........ as in the case of those who sing with the mouth without an instrument;
........ > or by blowing, as in the case of trumpets and flutes;
........ > or by striking, as in the case of harps and drums, and all other instruments
........... that give their sound when struck.

Paul commanded the church to "speak" or "preach" the revealed Word. That is, the one instrument included in the word "psalmos" is the human voice.

By placing the melody "in the heart" Paul excluded mechanical devices.

Being inspired, he gave both a positive command and a negative command.

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The Silence of Scripture

Rubel Shelly: You can make a pretty good case for the silence of Scripture being prohibitive. The writer of Hebrews, for example, argued that Jesus could not be a priest without a change from the Mosaic covenant to a new one. Under the old covenant, priests were to be chosen from the Tribe of Levi. But Jesus was from Judah, "and in regard to that tribe Moses said nothing about priests" (Heb. 7:11-14).