ACappella is not the organum. Scripture does not correct ADDED RITUALS

ACappella is not the organum. Scripture does not correct ADDED RITUALS

Joined: July 29th, 2010, 2:32 pm

June 6th, 2014, 5:12 pm #1

It has been noted that the GOAT SINGERS have done a slick job of inventing ACappella by which they mean OUR WORSHIP PERFORMANCE team. They make most people think that this is either "a capella" or congregational singing WITHOUT INSTRUMENTS. Therefore, the Alpha Goat mounts the old Cadillac without wheels and convinces those they have MADE DUMB BEFORE THE SLAUGHTER that if WE perform in our Show and Tell that is just what we have always done. Well, you can change the meaning of words like "sing" but it does not change either the Biblical Text or the historic words they jerked out to suit their purposes. For instance the Kairos Church Planting scheme with mothers hatching daughter churches won't let themselves or you know that KAIROS is part of the goatish breed involved in the tragedy singing to jerk your tears and snatch your purse.

The Greeks knew Magadizing which was the children and women chanting one octave above the men. The ORGANUM of the Castrated opry singers imported into the Sistine Chapel (named after a goat-skin chapel). Wile it was sung IN THE CHAPEL the style was ORGANUM or a pseudo Pipe Organ.

As you can see, once you start boiling the frog it is pretty hard to keep him from getting well-cooked. I am reading some old Fiji Cannibalism history and I was reminded of preachers with defunct spirits would CONSUME their own with a worse fate.

It is the testimony of history that religionism as in performing roles of rhetoric, singing, playing, acting or dancing MUST be performed by MALE actors or CLERGY but they must perform the role of women. The naked dance of David is defined as "performing the role of women" and he wore the Ephod which was a let's pretend Babylonian Vulva still seen with the Pope's head sticking through it. The male FALSETTOS (CCM) lost out when the exiled Pope heard the castrated Opry singers in France. ORGANUM is the style of singing heard in the PLACE of the Sistine Chapel.




<font face="arial" size="4">Religious has always but more rapidly devolved into what history notes as a binding at the lips of Religion and Sexuality. They even boast about USING women.

The image above shows that the goal is to build up a tension and then relax it. The Laded Burden Jesus repudiated is defines as the "spiritual anxiety created by religious ceremonial" to which Jesus said the kingdom does not come. We have noted the Capella, Cantus, Delicatus connection in history. Carol Wimber of Fuller and the Vineyard PROMOTES the new praise singing to create a sexual-like climax JUST BEFORE the last act of worship "Giving of Substance."

That is why there is no Biblical or historical material you can plead to being a New Testament Christian. Jesus still asks "could you not tarry with me for one hour. No: they even SAY that the kids are exposed to music 24/7 so WE gotta give them music instead of the Word.

</font>
Last edited by Ken.Sublett on June 11th, 2014, 7:23 pm, edited 1 time in total.
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Joined: July 29th, 2010, 2:32 pm

June 6th, 2014, 7:14 pm #2

These musical fragments show that Greek music was predominantly vocal, although instrumental pieces were sometimes presented.

The music was homophonic; i.e., it consisted of single melodic lines. One of the most important compositions was the dithyramb, a poetic text set to music and sung by a chorus in honour of Dionysus.

Ancient Greek was a pitched language, so melody had to be an outgrowth of the natural inflections of the spoken language.

Greek vowels had long and short values that corresponded to long and short notes in the musical settings. Thus musical rhythms were derived from metric forms, and melodic movement was governed by the natural rise and fall of the text.

Ancient Greece appears never to have had a developed instrumental art. Percussion, brass, wind, and string instruments were all played, but the two primary instruments were the aulos, a double-reed pipe that accompanied the chorus in the dithyramb, and the kithara, a hand-held lyre used to accompany solo songs.

The exact nature of the accompaniment style is unknown, but since no evidence of counterpoint or harmony appears in contemporary accounts, the accompaniment probably played a version of the melodic line, occasionally adding two-note plucked chords.


We have noted may examples of comments that complicated music INTENDS to confuse or even hurt people. In the following LAWS of Plato, if it would be impossible to LEARN MUSIC if the voice and single plucked string were different, how could any godly person think that they are NOT hindering learning (what a disciple does) with outrageously loud and complex singing with or without instruments.

Plat. Laws 7.812c regarding rhythms and harmonic compositions, in order that when dealing with musical representations of a good kind or a bad, by which the soul is emotionally affected, they may be able to pick out the reproductions of the good kind and of the bad, and having rejected the latter, may produce the other in public, and charm the souls of the children by singing them, and so challenge them all to accompany them in acquiring virtue by means of these representations.

Clinias
Very true.

Plat. Laws 7.812d Athenian
So, to attain this object, both the lyre-master and his pupil must use the notes of the lyre, because of the distinctness of its strings, assigning to the notes of the song notes in tune with them;1 but as to divergence of sound and variety in the notes of the harp, when the strings sound the one tune and the composer of the melody another, or when there results a combination of low and high notes, of slow and quick time, of sharp and grave,
i.e. the notes of the instrument must be in accord with those of the singer's voice. The tune, as composed by the poet, is supposed to have comparatively few notes, to be in slowish time, and low down in the register; whereas the complicated variation, which he is condemning, has many notes, is in quick time, and high up in the register. (England.)
Plat. Laws 7.812e and all sorts of rhythmical variations are adapted to the notes of the lyre,no such complications should be employed in dealing with pupils who have to absorb quickly, within three years the useful elements of music. For the jarring of opposites with one another impedes easy learning; and the young should above all things learn easily, since the necessary lessons imposed upon them are neither few nor small,which lessons our discourse will indicate in time as it proceeds. So let our educator regulate these matters in the manner stated. As regards the character of the actual tunes and words which the choir-masters ought to teach,
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Joined: July 29th, 2010, 2:32 pm

June 6th, 2014, 11:02 pm #3

A deeper-reaching attempt to explain the significance of the castrato age has been made by Moses (1960) in an interesting paper on the psychology of the castrato voice. He interprets the emergence of this vocal fashion as the fulfillment of an age-old dream wish of bisexual hermaphroditism. Even if one does not follow Moses in some of his somewhat overdrawn conclusions, there is left enough of a solid basis for his theory. Hermaphroditic mythology plays an important part in cultural history. In collections of primitive art one sometimes see sculptures of idols each with female breasts and a penis

Voices mirror not only individual characters but the spirit of a period as well. In this sense the voice of the castrato personifies the bisexual ideal with its unity of a female voice in a man's body. In the mythological atmosphere of the baroque opera the castrato portrayed gods and mythological persons who presented male and female characteristics in a vocal hermaphroditic combination.

In an unfinished book that Paul Moses left at his death he predicted, over ten years ago, quite correctly the approach of another age of crossover of the sexes. The young generation of today favors fashions that obliterate the differences between the sexes. Girls wear pants, and young men sport girlish long hair and wear necklaces and bracelets. The classical love song of the nineteenth century, the love-centered operettas, and the popular songs of the "June-moon" variety of the first half of this century have given way to the harsh rhythms of rock and roll of the unisex generation. And the phoniatrist sees among his patients an increasing number of young adult males who do not use the deep masculine voice that the pubertal growth of the larynx offers but continue to speak in an artificial high pitch of almost female sound. Friedrich S. Brodnitz, M.D.
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William
William

June 7th, 2014, 4:03 am #4

These musical fragments show that Greek music was predominantly vocal, although instrumental pieces were sometimes presented.

The music was homophonic; i.e., it consisted of single melodic lines. One of the most important compositions was the dithyramb, a poetic text set to music and sung by a chorus in honour of Dionysus.

Ancient Greek was a pitched language, so melody had to be an outgrowth of the natural inflections of the spoken language.

Greek vowels had long and short values that corresponded to long and short notes in the musical settings. Thus musical rhythms were derived from metric forms, and melodic movement was governed by the natural rise and fall of the text.

Ancient Greece appears never to have had a developed instrumental art. Percussion, brass, wind, and string instruments were all played, but the two primary instruments were the aulos, a double-reed pipe that accompanied the chorus in the dithyramb, and the kithara, a hand-held lyre used to accompany solo songs.

The exact nature of the accompaniment style is unknown, but since no evidence of counterpoint or harmony appears in contemporary accounts, the accompaniment probably played a version of the melodic line, occasionally adding two-note plucked chords.


We have noted may examples of comments that complicated music INTENDS to confuse or even hurt people. In the following LAWS of Plato, if it would be impossible to LEARN MUSIC if the voice and single plucked string were different, how could any godly person think that they are NOT hindering learning (what a disciple does) with outrageously loud and complex singing with or without instruments.

Plat. Laws 7.812c regarding rhythms and harmonic compositions, in order that when dealing with musical representations of a good kind or a bad, by which the soul is emotionally affected, they may be able to pick out the reproductions of the good kind and of the bad, and having rejected the latter, may produce the other in public, and charm the souls of the children by singing them, and so challenge them all to accompany them in acquiring virtue by means of these representations.

Clinias
Very true.

Plat. Laws 7.812d Athenian
So, to attain this object, both the lyre-master and his pupil must use the notes of the lyre, because of the distinctness of its strings, assigning to the notes of the song notes in tune with them;1 but as to divergence of sound and variety in the notes of the harp, when the strings sound the one tune and the composer of the melody another, or when there results a combination of low and high notes, of slow and quick time, of sharp and grave,
i.e. the notes of the instrument must be in accord with those of the singer's voice. The tune, as composed by the poet, is supposed to have comparatively few notes, to be in slowish time, and low down in the register; whereas the complicated variation, which he is condemning, has many notes, is in quick time, and high up in the register. (England.)
Plat. Laws 7.812e and all sorts of rhythmical variations are adapted to the notes of the lyre,no such complications should be employed in dealing with pupils who have to absorb quickly, within three years the useful elements of music. For the jarring of opposites with one another impedes easy learning; and the young should above all things learn easily, since the necessary lessons imposed upon them are neither few nor small,which lessons our discourse will indicate in time as it proceeds. So let our educator regulate these matters in the manner stated. As regards the character of the actual tunes and words which the choir-masters ought to teach,
Pan flutes or Pan pipes date from ancient times. It is assumed that they were used to make some kind of melody. There are several samples of music with notation, some going back to millennia B.C. According to someone I know well, there are songs with annotations from ancient times for which we do not understand the annotations. They would all sound terrible to us, probably, as we are so familiar with European renaissance style with Italian notation. Just as present day Middle Eastern and Oriental music sounds wrong.
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Joined: July 29th, 2010, 2:32 pm

June 8th, 2014, 12:01 am #5

The ORGAN which Jubal fathered was probably a pan pipe: it is often pictured with maybe 10 pipes. The oldest flute made of bone with holes is claimed to be about 10,000 years old. Some claim that the bow was the first plucked instrument: that is why Psallo is first used of plucking a bow. By connecting it to the teeth a "Jew's" harp sound can be made: tones are changed by bending the bow. If you give a kid an expensive toy he might toss away the toy and make a drum out of the box. Brass was called bell metal and it created a clanging or a hissing sound: that is why the serpent is connected to brass and the flute.



Men didn't do that before the time of David.

If you want a capella performers, here is what you get on a much less talented scale. I would ask for my money back and call in the surgeons if you want to.

https://archive.org/details/AlessandroMoreschi

https://ia600402.us.archive.org/9/items ... eMaria.mp3

Natural Castrati

http://aeroventure.com/MY-KARAOKE-DOMAI ... strati.htm


I don't wonder why there is such a surge of people wanting their pleasure centers ticked.

Last edited by Ken.Sublett on June 8th, 2014, 12:18 am, edited 1 time in total.
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Joined: July 29th, 2010, 2:32 pm

June 8th, 2014, 1:39 am #6

It has been noted that the GOAT SINGERS have done a slick job of inventing ACappella by which they mean OUR WORSHIP PERFORMANCE team. They make most people think that this is either "a capella" or congregational singing WITHOUT INSTRUMENTS. Therefore, the Alpha Goat mounts the old Cadillac without wheels and convinces those they have MADE DUMB BEFORE THE SLAUGHTER that if WE perform in our Show and Tell that is just what we have always done. Well, you can change the meaning of words like "sing" but it does not change either the Biblical Text or the historic words they jerked out to suit their purposes. For instance the Kairos Church Planting scheme with mothers hatching daughter churches won't let themselves or you know that KAIROS is part of the goatish breed involved in the tragedy singing to jerk your tears and snatch your purse.

The Greeks knew Magadizing which was the children and women chanting one octave above the men. The ORGANUM of the Castrated opry singers imported into the Sistine Chapel (named after a goat-skin chapel). Wile it was sung IN THE CHAPEL the style was ORGANUM or a pseudo Pipe Organ.

As you can see, once you start boiling the frog it is pretty hard to keep him from getting well-cooked. I am reading some old Fiji Cannibalism history and I was reminded of preachers with defunct spirits would CONSUME their own with a worse fate.

It is the testimony of history that religionism as in performing roles of rhetoric, singing, playing, acting or dancing MUST be performed by MALE actors or CLERGY but they must perform the role of women. The naked dance of David is defined as "performing the role of women" and he wore the Ephod which was a let's pretend Babylonian Vulva still seen with the Pope's head sticking through it. The male FALSETTOS (CCM) lost out when the exiled Pope heard the castrated Opry singers in France. ORGANUM is the style of singing heard in the PLACE of the Sistine Chapel.




<font face="arial" size="4">Religious has always but more rapidly devolved into what history notes as a binding at the lips of Religion and Sexuality. They even boast about USING women.

The image above shows that the goal is to build up a tension and then relax it. The Laded Burden Jesus repudiated is defines as the "spiritual anxiety created by religious ceremonial" to which Jesus said the kingdom does not come. We have noted the Capella, Cantus, Delicatus connection in history. Carol Wimber of Fuller and the Vineyard PROMOTES the new praise singing to create a sexual-like climax JUST BEFORE the last act of worship "Giving of Substance."

That is why there is no Biblical or historical material you can plead to being a New Testament Christian. Jesus still asks "could you not tarry with me for one hour. No: they even SAY that the kids are exposed to music 24/7 so WE gotta give them music instead of the Word.

</font>
The goat is often used in the Bible as a symbol of the Devil. Revelation says that he knows that he has a short time left and that may be why the the devil is the spirit of ENTERTAINING THE GOATS as opposed to FEEDING THE LAMBS. The goat skin is an important study unless you want to silence the truth.

This fits the outburst of the NEW WINESKINS movement begun by Shelly preparing for Jubilee 2000 when all of the "daughter" churches were supposed to defect back to the "mother church." The Jubilee vision was that Jesus would return and kill all of the masons and pagans.

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Joined: July 29th, 2010, 2:32 pm

June 9th, 2014, 1:05 am #7

It has been noted that the GOAT SINGERS have done a slick job of inventing ACappella by which they mean OUR WORSHIP PERFORMANCE team. They make most people think that this is either "a capella" or congregational singing WITHOUT INSTRUMENTS. Therefore, the Alpha Goat mounts the old Cadillac without wheels and convinces those they have MADE DUMB BEFORE THE SLAUGHTER that if WE perform in our Show and Tell that is just what we have always done. Well, you can change the meaning of words like "sing" but it does not change either the Biblical Text or the historic words they jerked out to suit their purposes. For instance the Kairos Church Planting scheme with mothers hatching daughter churches won't let themselves or you know that KAIROS is part of the goatish breed involved in the tragedy singing to jerk your tears and snatch your purse.

The Greeks knew Magadizing which was the children and women chanting one octave above the men. The ORGANUM of the Castrated opry singers imported into the Sistine Chapel (named after a goat-skin chapel). Wile it was sung IN THE CHAPEL the style was ORGANUM or a pseudo Pipe Organ.

As you can see, once you start boiling the frog it is pretty hard to keep him from getting well-cooked. I am reading some old Fiji Cannibalism history and I was reminded of preachers with defunct spirits would CONSUME their own with a worse fate.

It is the testimony of history that religionism as in performing roles of rhetoric, singing, playing, acting or dancing MUST be performed by MALE actors or CLERGY but they must perform the role of women. The naked dance of David is defined as "performing the role of women" and he wore the Ephod which was a let's pretend Babylonian Vulva still seen with the Pope's head sticking through it. The male FALSETTOS (CCM) lost out when the exiled Pope heard the castrated Opry singers in France. ORGANUM is the style of singing heard in the PLACE of the Sistine Chapel.




<font face="arial" size="4">Religious has always but more rapidly devolved into what history notes as a binding at the lips of Religion and Sexuality. They even boast about USING women.

The image above shows that the goal is to build up a tension and then relax it. The Laded Burden Jesus repudiated is defines as the "spiritual anxiety created by religious ceremonial" to which Jesus said the kingdom does not come. We have noted the Capella, Cantus, Delicatus connection in history. Carol Wimber of Fuller and the Vineyard PROMOTES the new praise singing to create a sexual-like climax JUST BEFORE the last act of worship "Giving of Substance."

That is why there is no Biblical or historical material you can plead to being a New Testament Christian. Jesus still asks "could you not tarry with me for one hour. No: they even SAY that the kids are exposed to music 24/7 so WE gotta give them music instead of the Word.

</font>
Pan was a capella: a half he-goat. He is defined as the SATYR and the BEAST in Revelation is defined as "a new style of music and SATYRIC DRAMA." It is clear that ACappella is a DISCORD WORD used to confuse people that their old quiet and reverent congregational, one-another singing is ACappella and can be dominated or led by a mixed-sex persona violating the one or two part ORGANUM.

The word ANATHEMA is a thing or person who has been added to a religious organization to ENHANCE or ADORN it or its performance. Such an object or person was devoted to the harem: they CANNOT be redeemed and must be burned. Christ in Isaiah 30 warns that the sign of God driving His enemies into "hell" was wind, string and percussion instruments. According to the Spirit OF Christ in Isaiah and Ezekiel these forms of instruments were brought with Lucifer when he/she was CAST AS profane (the cHALAL word) into the garden of Eden.

The same are Sorcerers in Revelation 18 and will be CAST ALIVE INTO THE LAKE OF FIRE. The PATTERN from 2 Chronicles 29 where people say that God commanded instrumental "worship" is during the BURNING OF THE GOATS and the text said that the PLAYING of the instruments was commanded by David.




The Harpies or Sirens Bird footed

Last edited by Ken.Sublett on June 9th, 2014, 1:14 am, edited 1 time in total.
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Joined: July 29th, 2010, 2:32 pm

June 11th, 2014, 3:10 am #8


The NEW WINESKINS use of music to produce a sexual-like climax and Dionysus along with the fairy tales (tails) about ACapella which is ANTI-organum in the Sistine Capella also define the MARK OF THE BEAST. The Beast is defined as a New Style of Music along with a Satyric (capella) Drama. Revelation 17 calls it the worship of the Babylonian Harlot by "lusted after fruits (same as in Amos 8) as self-speakers, singers and instrument players. The brides are NYMPHS who engage in Holy Sex real or virtual. Paul warned about the AUTHENTIA sexual authority used by women in any stand up-speak out roles.

The myths and fables surrounding Dionysus, God of Wine, are the most savage and emotional in the whole of Greek mythology. They describe drunkenness, madness and wild ritual. They tell of cannibalism, voyeurism, transvestitism, infanticide, omophagia and the murder of a son by his mother. All of this by command of the Lord of Wine. Obviously, this mythological tradition also proves to be one of the richest in Greek literature


The word used by Paul is used to mean "Don't get fluted down with wine."

It is obvious that the God of Wine did not conquer Greece as such, but rather was carried abroad by his believers who were bent on spreading his cult. Scholars have thus been preoccupied with the problem of the origins of Dionysus' mythic stories and his strange rituals. From an historical perspective, the Thracian people, from whose land he was said to have emerged, founded the kingdom of the Phrygia in Asia Minor, where they were known in the Iliad as "growers of the vine" (iii. 185). In fact, throughout the classical period, the inhabitants of Asia Minor were considered adherents of strange ecstatic cults, often regarded as ungreek in spirit.


Paul also warned that both men and women be SILENT to prevent the outbreak of wrath or ORGIA. The purpose was that "all might be saved and come to a knowledge of the truth."

Consequently, many a scholar has sought Anatolian roots for the initiation rites (teletai) and cultic practices (orgia) entailed upon Dionysus' believers. In Dionysiac revelry, for example, the pine branch, surmounted by a cone and entwined with ivy, was known as a 'thyrsos'. Some have suggested a Hittite, or even Semitic origin for this word. Others even went so far as to suggest that Dionysus was himself a foreign, non-Greek god, who had been imported into Greece at a relatively late period. However, although it may be plausible that certain Dionysiac rites were borrowed from the east, the god himself had seemingly been known in the area of Greece as early as the Bronze Age. Evidence has in fact been uncovered to show that some god with a name like 'Diwonysos' was worshipped in southern Greece and the Aegean islands as early as the Mycenean period.

If Dionysus was indeed an Anatolian import, it is likely that he was brought to Greece either before or not long after the Greeks had begun to settle in this area. In fact, his traditional band of followers are all related to prehistoric powers of vegetation and the underworld.


Paul warned that the MEN were like CHILDREN expecting that John wore SOFT clothing of the perverted persona and style of singing as a "prophet." They hoped that John would be like a SHAKEN REED with would prove that he was the expected homosexual prophesier.

Among them may be counted the ecstatic Maenads, female bearers of Dionysus' thyrsus, as well as the oversexed Satyrs and Sileni, both characterised by a goat's ears, feet, tail and phallus. These forces of Nature have their origin in an era when man still believed that Nature was filled by demigods (daimones) and semi-divine nymphs, in whose hands the well-fare of animals and growth were placed. Some of them were imagined to inhabit the wells, mountains and trees which they represented. Others were depicted with the same form as the animals that they originally controlled. According to fable, the very first Maenads were simply the nymphs of Mount Nysa, who lost all control when they were filled with the god's spirit (entheoi) - while the Satyrs and Sileni always retained some aspects of a GOAT's form. Many scholars are convinced that these primitive forces were earlier than the Gods of Olympus themselves. At any rate, it should be noted that in the outlying countryside of Attica,

Dionysus was represented as dressed in "a black goat-skin' and often as horned [horny]. In other words, not only was he accompanied by a choric band of semi-goats, but to some extent he can be said to represent a goat in the village (komikos) tradition. We can thus understand why annual competitions in drama were held in honour of the wine-god and included a 'satyr play' (satyrikon) and 'tragedy', which originally meant 'a hymn (ode) in honour of the goat (tragos)'. It is thus feasible that one of sources that later culminated in the figure of Dionysus was a prehistoric village goat-god, who symbolised the season of vintage and vegetable growth.

In the classical period, Dionysus was addressed by additional epithets and titles, several of them reflecting various aspects of his cult. Several of them recall his wild rites - as his Anatolian epithets, Bacchus and Iacchus, i.e. 'the Screamer'. The name of Dionysus' festival is derived from the first of these two epithets, known to many an art and music enthusiast under its Latin name, the 'Bacchanalia'. The god was also sometimes addressed as Bromius, 'the Thunderer' - an epithet reflecting not only his relationship to Zeus, God of the Heavens,


This scream is defined exactly as HALAL or David's "Making self vile" praise song.

but also the sonorous after-effects of intoxication on those who participated in the rituals. The god was also sometimes addressed as dithyrambus, that also served as the name of an ecstatic hymn sung in his honour. It is still uncertain which was the original meaning, or even what was the etymology of this non-Greek term. In fact, it seems that yet earlier it was the name of an Anatolian funeral dirge! However, by the fifth century B.C.E., it bore the sense of a choric hymn to Dionysus, sometimes sung by a tragic chorus in drama - and sometimes as an independent choric production. As an independent song, the dithyramb is known from a fragment of the seventh century lyric poet, Archilochus of Paros:

"How to produce a fine song for Lord Dionysus,

a dithyramb, that I know, (especially) when my mind is fuddled with wine"

(Archilochus, fr. 77).
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June 11th, 2014, 7:40 pm #9

It has been noted that the GOAT SINGERS have done a slick job of inventing ACappella by which they mean OUR WORSHIP PERFORMANCE team. They make most people think that this is either "a capella" or congregational singing WITHOUT INSTRUMENTS. Therefore, the Alpha Goat mounts the old Cadillac without wheels and convinces those they have MADE DUMB BEFORE THE SLAUGHTER that if WE perform in our Show and Tell that is just what we have always done. Well, you can change the meaning of words like "sing" but it does not change either the Biblical Text or the historic words they jerked out to suit their purposes. For instance the Kairos Church Planting scheme with mothers hatching daughter churches won't let themselves or you know that KAIROS is part of the goatish breed involved in the tragedy singing to jerk your tears and snatch your purse.

The Greeks knew Magadizing which was the children and women chanting one octave above the men. The ORGANUM of the Castrated opry singers imported into the Sistine Chapel (named after a goat-skin chapel). Wile it was sung IN THE CHAPEL the style was ORGANUM or a pseudo Pipe Organ.

As you can see, once you start boiling the frog it is pretty hard to keep him from getting well-cooked. I am reading some old Fiji Cannibalism history and I was reminded of preachers with defunct spirits would CONSUME their own with a worse fate.

It is the testimony of history that religionism as in performing roles of rhetoric, singing, playing, acting or dancing MUST be performed by MALE actors or CLERGY but they must perform the role of women. The naked dance of David is defined as "performing the role of women" and he wore the Ephod which was a let's pretend Babylonian Vulva still seen with the Pope's head sticking through it. The male FALSETTOS (CCM) lost out when the exiled Pope heard the castrated Opry singers in France. ORGANUM is the style of singing heard in the PLACE of the Sistine Chapel.




<font face="arial" size="4">Religious has always but more rapidly devolved into what history notes as a binding at the lips of Religion and Sexuality. They even boast about USING women.

The image above shows that the goal is to build up a tension and then relax it. The Laded Burden Jesus repudiated is defines as the "spiritual anxiety created by religious ceremonial" to which Jesus said the kingdom does not come. We have noted the Capella, Cantus, Delicatus connection in history. Carol Wimber of Fuller and the Vineyard PROMOTES the new praise singing to create a sexual-like climax JUST BEFORE the last act of worship "Giving of Substance."

That is why there is no Biblical or historical material you can plead to being a New Testament Christian. Jesus still asks "could you not tarry with me for one hour. No: they even SAY that the kids are exposed to music 24/7 so WE gotta give them music instead of the Word.

</font>
Instrumental idolaters claim that GRACE covers deliberate sin and confess that instrumental idolatry IS SIN but Grace is gonna cover up the smell.

http://www.piney.com/Synagogue1.html

John Calvin understood that the LOGOS is the Regulative principle and defined the synagogue.

http://www.piney.com/Calvin.Numbers.10.html

One of the claims even by PHDS is that God did not command the synagogue but it was ADDED from silence and it is never condemned. However, even with a Phd people look up the word "synagogue" and fail to grasp or care that the synagogue was observed during the time of Jacob who warned everyone not to attend the assemblies or enter into covenant with the LEVI TRIBE. The assembly for the godly people is defined both inclusively:

EXCLUSIVE stop the "vocal or instrumental rejoicing and rhetoric or self speak.
INCLUSIVE of PREACHING the WORD (only) by Reading it during the REST DAY. They were to rehearse or "meditate in the heart."

THE FALSE CLAIM of ADDED FROM SILENCE but APPROVED. This gives humans the right to IMPOSE something which is deliberately discording and claim Jesus as their authority. One such example

There are several: the apostles and Jesus participated in synagogue worship throughout the gospels. Synagogue worship is a completely extraBiblical worship that is not authorized/outlined in the OT but developed during the Babylonian exile when Temple worship was not possible. However, this practiced flourished even after the return from Babylon, rebuilding the Temple, and during the centuries prior to Christ.

I appreciate your comments. Let me take these bits at a time. The Spirit OF Christ especially in Isaiah 1 and Jeremiah 7 but in other prophets says that God did not command the Temple or anything connected with the Monarchy. Remember that the elders "fired" God and wanted a king. God warned them and warned that He would not protect them. The captivity and death sentence because of musical idolatry at Mount Sinai would be carried out: God gave them kings in His anger.

There are numerous names for the assembly of the godly tribes: Qahal, ekklesia, synagogue, church of Christ (the Rock) certainly after Israel's fall into instrumental idolatry of the Egyptian triad under the image of the golden calf or calveS. Because Abraham was to be a blessing to the nations, Jews hold that the synagogue always existed any time God had something to teach the people. The only spiritual covenant was made with God in Christ to Abraham. The tribal leaders had that role.

In Genesis 49 Jacob spans history as does Moses beginning in Genesis. Jacob commanded that people not gather or assemble with the Levi tribe nor to enter into any covenant with them. I am going to post two images because it is pretty difficult to format in my engineering fashion. All of the blue underlines are clickable on a text version which I can post as a html file. You will notice that Jacob speaks of the Qahal which is still a widely used word by the Jews for their synagogue which is a school. The qahal continued and the holy convocation which came to be each rest days was a reading only assembly. Both Jews and Gentiles were wise unto salvation because they attended the synagogue.

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

After the fall into musical idolatry:

2Cor. 3:14 But their minds were blinded: for until this day remaineth the same vail untaken away in the reading of the old testament; which vail is done away in Christ.

You will notice that Jesus STOOD UP to read from Isaiah and then SAT DOWN. The command in all of the letters called Scripture is that they be READ:

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

Pay especial attention to the congregation or assembly of the tribe of Levi. The tribe that Jacob cursed God abandoned to carry out the "worship of the starry host" after executing 3,000 of their idolatrous brethren. The prophets and Stephen make it clear that God did not command the Civil-Military-Clergy complex: they came along with being abandoned as a nation to Babylonianism to be restored according to Revelation 17f.

Jesus didn't condemn the synagogue or church in the wilderness because Christ the Rock ordained it both exclusively and inclusively. The Spirit of Christ defined the same assembly especially in Isaiah. Genesis 49 seems to indicate that the "covenant made with God in Christ" to Abraham included the command to TEACH and comfort.




<font face="arial" size="4">Anyone who IMPOSES something something like instruments based on the Jacob-cursed and God-abandoned Levites as their FOUNDATION for "Musical worship teams" with or without instruments. That is why they are ANTI-Shiloh
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Joined: July 29th, 2010, 2:32 pm

June 12th, 2014, 2:45 am #10

Also, Jesus was in the temple during the extraBiblical feast of Hannukah (John 10:22,23). No condemnation from Him for this feast that is not in the OT.

God never commanded a temple: He does not live in houses built by human hands neither is He worshipped by the works of human hands. The temple had been defiled in fact because wine, women and sexuality took place even in the presumed holy place. I am certain that lots of things happened in Jerusalem. The text says:

John 10:21 Others said, These are not the words of him that hath a devil. Can a devil open the eyes of the blind?
John 10:22 And it was at Jerusalem the feast of the dedication, and it was winter.
John 10:23 And Jesus walked in the temple in Solomons porch.


So, it isn't clear to me that any ceremonies were taking place. Solomon's porch was pretty much open to any and all. If Jesus had been inside of the Inner court, the holy place or most holy place He would certainly have been executed on the spot.

Jesus was there to reputiated the festival of lights: if you read 2 Maccabees you will see how the godly Jews fled Jerusalem rather than letting the young boys serve as musicians and prostitutes in the holy places.

Second Maccabees: Pay attention to the universal connection with homosexuality and all clergy priesthoods. That is why Jesus called the Scribes and Pharisees, hypocrites: In Ezekiel 33 Christ named preachers for pay, singers and instruments SELLING themselves in the name of God.

http://www.piney.com/2Macc.html

People enjoy slandering Jesus: here is what He came to REMOVE and not endorse.

1. There are several reasons: Hanukkah had no scriptural basis. The Book of Maccabees is not in the Hebrew Scriptures. So it isn't a Biblical feast but a man made feast.

2. Hanukkah replaced the original Feast of Sukkoth calling itself "the Sukkot of Chislev" and was transferred from September to December (2 Macc.1:9& 18) and (2 Macc.10:5-8).

2 Macc2:7 - In the reign of Demetrius, in the one hundred and sixty-ninth year, we Jews wrote to you, in the critical distress which came upon us in those years after Jason and his company revolted from the holy land and the kingdom

2 Macc2:8 - and burned the gate and shed innocent blood. We besought the Lord and we were heard, and we offered sacrifice and cereal offering, and we lighted the lamps and we set out the loaves.

2 Macc2:9 - And now see that you keep the feast of booths in the month of Chislev, in the one hundred and eighty-eighth year.

2 Macc 10:5 - It happened that on the same day on which the sanctuary had been profaned by the foreigners, the purification of the sanctuary took place, that is, on the twenty-fifth day of the same month, which was Chislev.

2 Macc 10:6 - And they celebrated it for eight days with rejoicing, in the manner of the feast of booths, remembering how not long before, during the feast of booths, they had been wandering in the mountains and caves like wild animals.

2 Macc 10:7 - Therefore bearing ivy-wreathed wands and beautiful branches and also fronds of palm, they offered hymns of thanksgiving to him who had given success to the purifying of his own holy place.


This was the worship of Dionysus which the Jews and the "progressives" worship: the always gender bent priests PIPED hoping that Jesus would bow and lament and dance. They wanted to initiate Jesus into the always-gay priesthood proving that Jesus WAS Dionysus (Bacchus) or the old perverted "wineskins god."

2 Macc 10:8 - They decreed by public ordinance and vote that the whole nation of the Jews should observe these days every year.

2 Macc 10:9 - Such then was the end of Antiochus, who was called Epiphanes.


3. Hanukkah was based on a fire festival -the winter solstice (Saturnalia). They replaced the temple 7-branched Menorah with a pagan 9-branched one. Nine was the number of the mother goddess (pregnancy lasts 9 months).

4. Because of instrumental idolatry God turned the Jews over to worship the starry host: this included thw worship of fire.

5. Jesus knew the Hanukkah miracle was a lie. They said that a one-day supply of oil lasted 8 days. It is not mentioned anywhere in scripture not even in the Books of the Maccabees.

6. Hanukkah was celebrating men who stole the throne of David, and stole the Priesthood of Zaddock, made military action permissible on the Sabbath, and killed 100,000 of their country men for being Greek sympathizers

7. Hanukkah focused on the temple so the feast was presided over by the Sadducees who denied life after death, denied the existence of angels, and had allowed the descendants of Esau (the Herodians) to take over the rule of the nation.

If you read Isaiah 1, Jeremiah 7 and Acts 7 you will discover that God DID NOT COMMAND the Civil, Military or Clergy complex: In the prophets Christ calls them robbers and parasites.

8. On the Contrary, Jesus taught a Gospel of peace and universal love for all men, but Hanukkah was a military celebration exalting warfare and pomoting the Jews over the gentiles.

John 10:24 Then came the Jews round about him, and said unto him, How long dost thou make us to doubt? If thou be the Christ, tell us plainly.
John 10:25 Jesus answered them, I told you, and ye believed not: the works that I do in my Fathers name, they bear witness of me.


Jesus and His WORD was and is the LIGHT OF THE WORLD. Why would you think that Jesus FELLOWSHIPPED with unbelievers?

Matt. 5:14 Ye are the light of the world. A city that is set on an hill cannot be hid.
Luke 16:8 And the lord commended the unjust steward, because he had done wisely: for the children of this world are in their generation wiser than the children of light.

John 8:12 Then spake Jesus again unto them, saying, I am the light of the world:
he that followeth me shall not walk in darkness, but shall have the light of life.
John 9:5 As long as I am in the world, I am the light of the world.

2Cor. 4:4 In whom the god of this world hath blinded the minds of them which believe not, lest the light of the glorious gospel of Christ, who is the image of God, should shine unto them.
Phil. 2:15 That ye may be blameless and harmless, the sons of God, without rebuke, in the midst of a crooked and perverse nation, among whom ye shine as lights in the world;


The Light of Jesus commanded that we teach and observe WHAT HE COMMANDED to be taught. A Christian is a disciple. A disciple is a student. The WORD is the only resource and it is NOT silent in condemning self-speakers, singers, instrument players or actors. All of the religious craftsmen are called sorcerers and will be cast alive into the lake of fire--as we write.
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