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THE  GgODS  OF  MUSIC,  part  5  quotes

1)    When He created heaven, He did not intend it to be a place of silence, but to be alive with glorious singing as well as music played on instruments (see Revelation 5:8-11, 14:2-3, 15:2-4).  Christ and His disciples sang (Matthew 26:30; Mark 14:26), and God Himself sings (Zephaniah 3:17).
     If music displeased God then He would not have spoken His message to Elisha while music was being played (2 Kings 3:15-17); or allowed His Spirit to inspire prophets to prophesy (1 Samuel 10:5-7); or would have come down and filled Solomon’s Temple with His presence and glory (2 Chronicles 5:11-14); or have defeated the enemies of His people (2 Chronicles 20:21-24); or worked to deliver Paul and Silas out of jail (Acts 16:25-34).  These passages reveal that God does like and appreciates music and singing.  But what kind?

     Since God and Satan have nothing in common (2 Corinthians 6:14-15), and since Lucifer is completely opposite and contrary to God, then the music that pleases God would sound nothing like the paganistic beat music that is connected with Lucifer - nothing like the paganistic style of beat commonly heard in Rock, Country and Western, Blues, Jazz, etc.  But the music that would please God would have a completely different beat, rhythm and style.

2)     The various types of musical instruments commonly used in ancient Israel included Wind instruments – such as flutes, pipes, double reeds (similar to an oboe or bassoon), organs (or double reeds being supplied air other than from human breath), horns (ram’s or antelope’s), cornets, trumpets and whistles: string instruments – such as psalteries, viols, harps and lyres: percussion instruments – such as small hand-held drums, tambourines or timbrels or tabrets, high and loud sounding cymbals, clappers, rattles, and bells (see 2 Samuel 6:5, 10:5; Psalms 150:2-5; Musical Instruments in Ancient Israel, by David Campbell, university of Texas, at http://www.utexas.edu/courses/wilson/ant304/projects/projects98/campbellp/campbellp.html, accessed October 26, 2009).

3)    The holy Levite priests, sometimes upwards of 120, (2 Chronicles 5:12), blew upon trumpets (Numbers 10:8) made of silver (Numbers 10:2) or of “ram’s horns” (Joshua 6:4).  These sacred trumpets were not so much used in accompanying musical assombles, although at times they were (1 Chronicles 15:28, 16:6; 2 Chronicles 5:12-13, 7:6, 29:26-28; Ezra 3:10-11; Nehemiah 12:27-35, 40-42), as they were used more as signals to gain the attention of the people.

     The main uses of these trumpets were for sacred purposes, such as calling the people to assemble at the sanctuary (Numbers 10:2-3); “in your solemn days” (Numbers 10:10), “in the beginnings of your months” (Numbers 10:10), “over your burnt offerings" (Numbers 10:10; 2 Chronicles 29:26-28), “over the sacrifices of your peace offerings” (Numbers 10:10), or in some holy feasts (Leviticus 23:24).  They were also used during the rebuilding of the temple (Ezra 3:10-11) and of the city of Jerusalem (Nehemiah 12:27, 35), as well as “before the ark of God” (1 Chronicles 15:24, 41).

     Singing and instrumental music could be heard (2 Chronicles 5:12-13, 29:28-30), but the priests themselves were not involved in either singing or playing instrumental music.  Other Levites were chosen for these important areas.

4)    Working closely with the priesthood were other descendants of the three sons of Levi (Gershon, Kohath and Merari).  It was from among these descendants that some were chosen to sing as well as to write and perform sacred music and song (1 Chronicles 6:31-32).

     The kind of sacred song and music these non-priest Levites performed were not chants, but were songs for worshipping, praising and glorifying the Lord God Michael (i.e. Psalms 29, 33, 57, 66, 76, 81, 96, 98, 103, 147, 150), and they were intelligently sung “with understanding” (Psalms 47:7).

     As these sacred songs of praise were about the Lord God Michael Himself (Exodus 15:2), and were sung specifically to Him (Exodus 15:1, 21; Judges 5:3; 1 Chronicles 16:9; Psalms 9:11, 27:6, 33:2, 47:6, 68:4, 32, 71:22, 75:9, 95:1, 96:2, 101:1, 104:33, 105:2, 146:2, 147:7; Isaiah 12:5, 42:10; Jeremiah 20:13), then they were not written or sung for the purpose of glorifying self or uplifting any thing else, and many times these sacred songs were accompanied with musical instruments (Psalms 33:2-3, 98:5).

     The musical tune accompanying these lyrics of praise was sung and played “skilfully” (Psalms 33:3).  It was very melodic (Amos 5:23), and was also “solemn” in sound (Psalms 92:3), and thus was not too lively in tempo, nor did it overpower the voice or the words sung.
     “The real service of praise in the Temple was only with the voice. The instrumental music served only to accompany and sustain the song.” Solomon’s Temple, under The Duties of the Singers and Musicians, by 3D Bible Project at http://www.3dbibleproject.com/en/temple/details/priest_service.htm, accessed 6-21-11.

     This sacred song and music of the non-priest Levites was to be performed every “morning” (Psalms 92:2), “day and night” (Psalms 92:2; 1 Chronicles 9:33) in praising the Lord God “as every day’s work required” (1 Chronicles 16:37).  Even though these Levites could not minister within the first or second apartment of the tabernacle itself, they could minster within the sacred boundaries of “the house of the Lord” (1 Chronicles 25:6; 2 Chronicles 29:25) in the court of the sanctuary or “before the dwelling place of the tabernacle of the congregation” (1 Chronicles 6:32).

5)    Whenever the priests “were to offer burnt offerings to the Lord” God it was to be done “with singing” (2 Chronicles 23:18), and they were also to “come before his presence with singing” (Psalms 100:2).  Levite singers and musicians had to coordinate their services in relationship to the ministration of the priests, and so they could be heard performing at appropriate times before, during and after religious, ceremonial and sacred feast services (2 Chronicles 30:21-22).

     Under the direction and “commandment of the Lord God by His prophets” (2 Chronicles 29:25-26), these non-preist Levites were organized into specific groups with chiefs or leaders of each group so each could carry out their duties in an orderly and organized fashion.  During the time of David there were 3 chief singers, each a descendant from a different Levite son.  Heman was chief among these three, and he was from the Kohathites (1 Chronicles 6:33, 15:17).  Asaph, from the Gershonites, stood on Heman’s right side (1 Chronicles 6:39-43, 15:17), and Ethan, from Merari, stood on his left (1 Chronicles 6:44, 15:17).

     These 3 chief singers were accompanied by some 288 other Levite singers (1 Chronicles 25:7) “of the second degree” (1 Chronicles 15:18).  As some of these singers could also accompany their singing “with instruments of music” (1 Chronicles 15:16, 19), there were 4000 other musicians that only played instruments (1 Chronicles 23:5).  The “chief musician” among all these talented instrumentalists was Jeduthun (see Chapter heading of Psalms 39, 62, 77).  The one man above and in control of all these singers and players of musical instruments was the director or conductor “Chenaniah the master of the song with the singers” (1 Chronicles 15:22, 27).

6)    Only men could sing within the precincts of the sanctuary and temple, not women.. This meant that all work performed by the men within the sanctuary and temple was completely free from all distractions of the opposite sex, and from immorality.  This was completely opposite from the way the pagans of Babylon conducted their services.
     Babylonian worship services contained female “virgins” or temple prostitutes, and it was common for harlots and whores to attract their visitors by singing along with melodic music (Isaiah 23:15-16).  This meant that for the Lord God Michael to restrict all religious services and all singing and musical performances within the sacred precincts of the sanctuary and temple to be only men, made the distinction plain between His religion and all the pagan religions.

7)    The Levite priests were divided into 24 courses (1 Chronicles 24:1-19), and so were the Levite singers and musicians “divided into 24 courses” (Solomon’s Temple, under The Duties of the Singers and Musicians, by 3D Bible Project at http://www.3dbibleproject.com/en/temple/details/priest_service.htm, accessed 6-21-11; (1 Chronicles 25:8-31).  This meant that on any given day there were at least 12 singers accompanied by over 160 musicians to perform all the sacred song and music during their course of duty.

     These 3 chief singers were also to write new sacred music in praising and worshiping God (Psalms 98:1).  These written songs were commonly referred to as “Psalms” (see Chapter heading of Psalms 66-69, 75-76, 83, 87-88, 92 and 108), which were basically religious poems set to music (Strong’s Exhaustive Concordance, Hebrew word #4210).  Out of the 150 songs found recorded in the book of Psalms, it documents that Heman wrote at least 1 song (Psalms 88); Ethan also at least 1 (Psalms 89), and Asaph at least 12 (Psalms 50, 73-83).

     The first written song of any Israelite was by Moses (Exodus 15:1-11), and he wrote at least 1 other recorded song (Psalms 90); David wrote at least 75 songs (Psalms 3-9, 11-32, 34-41, 51-65, 68-70, 72, 86, 101, 103, 108-110, 122, 124, 131, 133, 138-145); and there are 61 other documented songs that are from unknown authors (Psalms 1-2, 10, 33, 42-49, 66-67, 71, 84-85, 87, 91-100, 102, 104-107, 111-121, 123, 125-130, 132, 134-137, 146-150).  Even the prophet Isaiah (Isaiah 5:1-30) and Habakkuk (Habakkuk 3:1-19) wrote songs of praise to the Lord God of heaven.

8)    “It came even to pass, as the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the LORD; and when they lifted up their voice with the trumpets and cymbals and instruments of music, 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; So that the priests could not stand to minister by reason of the cloud: for the glory of the LORD had filled the house of God”. 2 Chronicles 5:13-14.

     These verses reveal that the Lord God Michael was attracted to come and personally dwell among those who were singing His praises and playing for His glory!  The Scriptures declare that the Lord God Michael is the holy One “that inhabitest the praises of Israel” (Psalms 22:3), and that He is more pleased “with a song” of praise that “will magnify him with thanksgiving”, than with the sacrificing of many animals (Psalms 69:30-31).

     Thus “it is good to sing praises unto our God” (Psalms 147:1), and to play musical instruments “unto our God” (Psalms 147:7).  In fact “All the earth shall worship thee, and shall sing unto thee; they shall sing to thy name” (Psalms 66:4).  Those who are saved and redeemed from the earth and taken to heaven will continue singing and playing musical instruments to the glory and praise of both the “Lord God Almighty” and to the Lord God Michael – “thou King of saints” (Revelation 15:2-3, also 14:2-3).

9)    Out of all the various kinds of musical instruments common to the Israelites it was only cornets (Psalms 98:6), cymbals (1 Chronicles 16:5, 42, 25:6; 2 Chronicles 5:12-13, 29:25; Ezra 3:10), harps (1 Chronicles 16:5, 25:6; 2 Chronicles 5:12, 29:25; Psalms 43:4, 98:5), horns (1 Chronicles 25:5), psalteries or lyres (1 Chronicles 16:5, 25:6; 2 Chronicles 5:12, 29:25), and trumpets (2 Kings 11:14; 1 Chronicles 16:6, 42; 2 Chronicles 5:12-13, 7:6, 23:13, 29:25-28; Psalms 98:6; Ezra 3:10) that were allowed to be heard within the sacred precincts of the santuary or tempel.  No other kinds of musical instruments are mentioned being played or in the worship of the Lord God Michael.  This meant that flutes; pipes; double reeds; organs; whistles; drums; tambourines or timbrels or tabrets; clappers; rattles; and bells were not heard while worshipping God.  There is not one instance in Scripture where any type of drum – including small hand-held drums – were ever heard or seen being played within the sanctuary or temple at any time, including during the worshiping of the Lord God Michael through sacred music and song.

(Note: regarding bells: although small bells were used on the bottom of the high priest’s robe, they were not being used in sacred music within the sanctuary or temple.  Regarding drums: when king David was trying to bring the ark of God into Jerusalem for the first time, but was not careful to follow the God-given instructions on how to properly move the ark and Uzzah was struck dead because of it, timbrels or small drums were used to accompany the musical procession – see 1 Chronicles 13:3-10.  But after understanding why Uzzah had died, and then following God’s instructions on properly moving the ark, the musical instruments then used were limited to those only played by the Levites and priests within the sanctuary, and no drums such as timbrels, tambourines or tabrets were used to accompany the second musical procession, and king David was able to successfully bring in the ark of God into Jerusalem without any problems – see 1 Chronicles 15:14-21).

10)    Drums were heard and seen being played within the pagan temples and worship services to their gods, as these percussion instruments were integral to lead their worshippers into the right mood to engage in their sexual and ritual practices and become possessed by their gods.
     “The Babylonians and the Assyrians adopted the Sumerian chants for their own sacred music, and throughout the history of Sumerian, Babylonian, and Assyrian temple music each psalm and liturgy was usually said to the accompaniment of a single instrument. The early Sumerian psalms usually have the title eršemma or melody to the flute. But the drum, balag, Syriac pelagg~, and the kettledrum, liles, Babylonian lilissu, were freely employed in [their] sacred music.” Babylonian and Hebrew Musical Terms, by Professor Stephen Langdon, Journal of the Royal Asiatic Society, vol 53, Issue #2, April, 1921, p 169-191, at http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=5682892, accessed by 6-30-11).