Ggods of Music-4 quotes

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THE GgODS OF MUSIC, part 4 quotes

1) The various musical instruments were specifically played and performed by Babylonian priests to summon the gods into their midst. It was also performed in such a way as to encourage each listener to become involved in the music itself, and led through the heavy drum beat and rhythm to submit themselves to the gods and filled with the essence or spirit of these gods and united with them.

To help bring about this submission to the gods, these musical performances were specifically designed to sexually arouse the listeners to mimic their promisquous gods.

The Bible connects Babylon with being a harlot (see Revelation 14:8, 18:2), and a harlot’s job is to sexually arouse her prospects in hopes that they will be enticed into her bed.

2) Inanna who was also called Ishtar or Astarte, was known as the queen of heaven as well as the goddess of sexuality. The Babylonians believed that Inanna went to visit Enki or Ea - the god of music and “the god of wisdom, who knows all things” (Inanna queen of heaven and earth: Her stories and hymns from Sumer, p 12, by Diane Wolkstein and Samuel Noah Kramer, quoting from “Inanna and the God of Wisdom”, New York: Harper & Row, 1983). Enki then gave Inanna “the art of love making. He gave me the kissing of the phallus. He gave me the art of prostitution....He gave me the resounding musical instrument. He gave me the art of song” (Inanna queen of heaven and earth: Her stories and hymns from Sumer, p 17, by Diane Wolkstein and Samuel Noah Kramer, quoting from “Inanna and the God of Wisdom”, New York: Harper & Row, 1983). And especially was the “drum” one of “the precious gifts of Ishtar” or Inanna (The Epic of Gilgamesh, tablet 12, lines 7 & 9, at http://looklex.com/textarchive/mesopotamia/gilgamesh12.htm), that was delivered to her by Enki or Ea as its sound was the personification of his presence in the midst of his worshippers.

After Inanna/Ishtar had received these sexual instructions and musical gifts, she brought these to her people and commanded them to “Let the little children laugh and sing. Let all Uruk (populace of a large city in Mesopotamia) be festive! Let the high priest greet the Boat of Heaven with song. Let him utter prayers. Let him slaughter oxen and sheep. Let him pour beer out of the cup. Let the drum and tambourine resound. Let the sweet tigi-music be played. Let all the lands proclaim my noble name. Let my people sing my praises” (Inanna queen of heaven and earth: Her stories and hymns from Sumer, p 24, by Diane Wolkstein and Samuel Noah Kramer, quoting from “Inanna and the God of Wisdom”, New York: Harper & Row, 1983).

3) Who really was this one all-wise god Enki or Ea - this manifestation of the one supreme god Bel-Marduk, and the ruler or king of Babylon?

The Bible refers to Lucifer as the real king of Babylon (see Isaiah 14:4-12). This means that Lucifer is the real power hidden behind all the gods/goddesses in Babylon! Enki’s great wisdom in music, song and instrumental performance is really just a representation of Lucifer’s great wisdom in these arts, and who has taken these arts away from their original intent of honoring God and twisted them to now honor himself. It is Lucifer, using the god Enki as a front, who is really depicted as communicating his now twisted wisdom and musical skill in singing and carrying the beat and rhythm in musical performance to the goddess Ishtar. Ishtar then communicates this particular musical style of song and performance to all of the Babylonians. Thus Ishtar is also just another front allowing Lucifer to remain hidden behind the scenes, and is the spirit and power possessing all these Babylonian worshippers and delivering his instructions to them! And more than any other musical instrument, the drum was used to summon the god Ea or Bel-Marduk – or actually Lucifer – so that he could fill all the listeners with his essence and spirit and take possession of them.

4) The steady rhythm and drum beat of this Babylonian music led each listener to begin tapping their hands, feet, or nodding their heads to move in time with the rhythm. And to help encourage such bodily movement as well as to further encourage each listener to give in to this sexually arousing Babylonian religious music, was dancing.

References to dancing found in the ancient tablets or shown in reliefs, were “usually in reference to the cult” practices connected with the temples of worship (Daily Life in Ancient Mesopotamia, Chapter 8 - Recreation, p 170, by Karen Rhea Nemet-Nejat, Greenwood Publishing Group, 1998). Dances were performed “by both men and women”, and were “done in time to music, singing and clapping” (Daily Life in Ancient Mesopotamia, Chapter 8 - Recreation, p 170, by Karen Rhea Nemet-Nejat, Greenwood Publishing Group, 1998). The number of dancers at any one time ranged from “performing solo, in pairs, and in groups”, and when in groups they would usually be arranged “in a row or circle” (Study titled Music and Dance in Ancient Western Asia, by Anne Draffkorn Kilmer, published in the book Civilizations of the Ancient Near East, vol 4, p 2609, editor: Jack M. Sasson, publisher: Charles Scribner & Sons, Farmington Hills, MI, 1995).

Various types of dances were performed, which included “acrobatic dancers” who would perform all kinds of different acrobatic steps and forms to the delight and awe of the watchers (Daily Life in Ancient Mesopotamia, Chapter 8 - Recreation, p 170, by Karen Rhea Nemet-Nejat, Greenwood Publishing Group, 1998). Also “whirling dances” were performed where the dancers would spin around and around (Study titled Music and Dance in Ancient Western Asia, by Anne Draffkorn Kilmer, published in the book Civilizations of the Ancient Near East, vol 4, p 2609, editor: Jack M. Sasson, publisher: Charles Scribner & Sons, Farmington Hills, MI, 1995).

The god Ea commanded to “let a whirling dance take place” in celebration dealing with the goddess Ishtar (Agushaya Poem (II.6), Tablet II vii 16, referred to in Before the Muses: An Anthology of Akkadian Literature, vol 2, second Edition, p 504, by B. Foster, Bethesda, MD., 1996). These “whirling dances were done in her honor” particularly during Ishtar’s “annual feast”, and the “‘whirling’ was usually done by men” arranged in a row or a circle, but could also be done by women (Study titled Music and Dance in Ancient Western Asia, by Anne Draffkorn Kilmer, published in the book Civilizations of the Ancient Near East, vol 4, p 2609, editor: Jack M. Sasson, publisher: Charles Scribner & Sons, Farmington Hills, MI, 1995). This whirling dance then became a “form or attribute of Ishtar” and was therefore associated with her worship and performed in her temples (Before the Muses: An Anthology of Akkadian Literature, vol 2, second edition, p 879, by Benjamin Reed Foster, publisher: CDL Press, Bethesda, MD., 1996). Since this whirling dance was a form or attribute of Ishtar herself, then performing this dance was just one way in which the performers and even worshipers could move into her presence and become filled with her essence or spirit and then completely possessed by her, so that she could communicate her religious instruction and wisdom of the gods.

Dancing also proved a most effective way of keeping the minds of the people distracted while they focused upon the dancers performing in unison with the beat of the music. This allowed the steady drum beat to more quickly affected their hearts and souls of the worshippers, who were soon led to lose self-control, join in with the dancers and then allow the god of music to fill them with his presence.

5) The temple musicians played their “instruments loud enough to drown out the south wind-storm” (Sumerian Tablet of Inana and Iddin-Dagan (Iddin-Dagan A, line 206, The Electronic Text Corpus of Sumerian Literature, at http://etcsl.orinst.ox.ac.uk/section2/tr2531.htm, accessed 4-23-12). These loud musical performances were also “accompanied by tigi drums, and ala drums [which] roared for him [the temple god] like a storm” (Sumerian Cylinder of The Building of Ningirsu's Temple, (Gudea, cylinders A and B), Cylinder B, section B19.1-2 (or cumulative lines 1243-1244), The Electronic Text Corpus of Sumerian Literature website, at http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?text=t.2.1.7#, accessed 4-23-12).

6) When the single language was changed into many different languages at the Ziggurat tower of Babel, the various languaged people grouped together and dispersed into all parts of the world . Thus these Babylonian styles of musical arrangement and drum enhanced rhythmical performances during their religious ceremonies, rituals and services, were now spread worldwide to become a foundational part of every civilization!

This historical fact can be seen by the many different variations imitating Babylon’s Ziggurat temples constructed in many different countries around the world.

“The tower [of Babylon] was a symbol of worship and protection and became well known by many as the ziggurat of Etemenanki, in honor of the Babylonian supreme god Marduk; a dominant central point of worship that spread out to many other nations that were to come (thirty-four of these staged towers have now been located in twenty-seven ancient cities of the Middle East - the greatest of them all was the one at Babylon” Nimrod, Mars and the Marduk Connection, by Bryce Self, at http://ldolphin.org/Nimrod.html, accessed 5-13-12.

These Ziggurat temple pyramids were not just located in the Middle East, including Iraq, Iran, etc., but these Babylonian pyramids and religious mounds have also been found throughout the world, including the following:

Africa – including Egypt, Sudan, Nigeria;

Asia – including China, India, Indonesia, Japan, Philippines, Tibet, Russia;

Europe – including Bosnia, Croatia, France, Greece, Italy, Serbia, Slovenia, Spain;

South America – including Brazil, Peru; Central or MesoAmerica – including Guatemala, Mexico, Yucatan;

North America – including states of Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Kentucky, Louisiana, Mississippi, Missouri,

North Carolina, Oklahoma, South Dakota, Tennessee, Texas, Wisconsin; etc.

(see Wikipedia On-line Encyclopedia, under word Step Pyramid, at http://en.wikipedia.org/wiki/Step_pyramid,

and under word Pyramid, at http://en.wikipedia.org/wiki/Pyramid,

and under List of Mississippian sites, all accessed 3-22-12; World Pyramids, at http://www.world-pyramids.com/project.html, accessed 3-22-12;

Ancient Pyramids Around the World, By Amanda Bensen, at http://www.smithsonianmag.com/history-archaeology/Ancient-Pyramids-Around-the-World.html, accessed 3-22-12;

UnderWater Pyramids, at http://www.cyberspaceorbit.com/phikent/japan/japan2.html, accessed 3-22-12;

The Ancients: Pyramids Around the World, at http://www.thelivingmoon.com/43ancients/02files/Pyramids_World.html, accessed 3-22-12).


	"LET THERE BE LIGHT" Ministries home \| Sermon Quotes THE GgODS OF MUSIC, part 4 quotes 1) The various musical instruments were specifically played and performed by Babylonian priests to summon the gods into their midst. It was also performed in such a way as to encourage each listener to become involved in the music itself, and led through the heavy drum beat and rhythm to submit themselves to the gods and filled with the essence or spirit of these gods and united with them. To help bring about this submission to the gods, these musical performances were specifically designed to sexually arouse the listeners to mimic their promisquous gods. The Bible connects Babylon with being a harlot (see Revelation 14:8, 18:2), and a harlot’s job is to sexually arouse her prospects in hopes that they will be enticed into her bed. 2) Inanna who was also called Ishtar or Astarte, was known as the queen of heaven as well as the goddess of sexuality. The Babylonians believed that Inanna went to visit Enki or Ea - the god of music and “the god of wisdom, who knows all things” (Inanna queen of heaven and earth: Her stories and hymns from Sumer, p 12, by Diane Wolkstein and Samuel Noah Kramer, quoting from “Inanna and the God of Wisdom”, New York: Harper & Row, 1983). Enki then gave Inanna “the art of love making. He gave me the kissing of the phallus. He gave me the art of prostitution....He gave me the resounding musical instrument. He gave me the art of song” (Inanna queen of heaven and earth: Her stories and hymns from Sumer, p 17, by Diane Wolkstein and Samuel Noah Kramer, quoting from “Inanna and the God of Wisdom”, New York: Harper & Row, 1983). And especially was the “drum” one of “the precious gifts of Ishtar” or Inanna (The Epic of Gilgamesh, tablet 12, lines 7 & 9, at http://looklex.com/textarchive/mesopotamia/gilgamesh12.htm), that was delivered to her by Enki or Ea as its sound was the personification of his presence in the midst of his worshippers. After Inanna/Ishtar had received these sexual instructions and musical gifts, she brought these to her people and commanded them to “Let the little children laugh and sing. Let all Uruk (populace of a large city in Mesopotamia) be festive! Let the high priest greet the Boat of Heaven with song. Let him utter prayers. Let him slaughter oxen and sheep. Let him pour beer out of the cup. Let the drum and tambourine resound. Let the sweet tigi-music be played. Let all the lands proclaim my noble name. Let my people sing my praises” (Inanna queen of heaven and earth: Her stories and hymns from Sumer, p 24, by Diane Wolkstein and Samuel Noah Kramer, quoting from “Inanna and the God of Wisdom”, New York: Harper & Row, 1983). 3) Who really was this one all-wise god Enki or Ea - this manifestation of the one supreme god Bel-Marduk, and the ruler or king of Babylon? The Bible refers to Lucifer as the real king of Babylon (see Isaiah 14:4-12). This means that Lucifer is the real power hidden behind all the gods/goddesses in Babylon! Enki’s great wisdom in music, song and instrumental performance is really just a representation of Lucifer’s great wisdom in these arts, and who has taken these arts away from their original intent of honoring God and twisted them to now honor himself. It is Lucifer, using the god Enki as a front, who is really depicted as communicating his now twisted wisdom and musical skill in singing and carrying the beat and rhythm in musical performance to the goddess Ishtar. Ishtar then communicates this particular musical style of song and performance to all of the Babylonians. Thus Ishtar is also just another front allowing Lucifer to remain hidden behind the scenes, and is the spirit and power possessing all these Babylonian worshippers and delivering his instructions to them! And more than any other musical instrument, the drum was used to summon the god Ea or Bel-Marduk – or actually Lucifer – so that he could fill all the listeners with his essence and spirit and take possession of them. 4) The steady rhythm and drum beat of this Babylonian music led each listener to begin tapping their hands, feet, or nodding their heads to move in time with the rhythm. And to help encourage such bodily movement as well as to further encourage each listener to give in to this sexually arousing Babylonian religious music, was dancing. References to dancing found in the ancient tablets or shown in reliefs, were “usually in reference to the cult” practices connected with the temples of worship (Daily Life in Ancient Mesopotamia, Chapter 8 - Recreation, p 170, by Karen Rhea Nemet-Nejat, Greenwood Publishing Group, 1998). Dances were performed “by both men and women”, and were “done in time to music, singing and clapping” (Daily Life in Ancient Mesopotamia, Chapter 8 - Recreation, p 170, by Karen Rhea Nemet-Nejat, Greenwood Publishing Group, 1998). The number of dancers at any one time ranged from “performing solo, in pairs, and in groups”, and when in groups they would usually be arranged “in a row or circle” (Study titled Music and Dance in Ancient Western Asia, by Anne Draffkorn Kilmer, published in the book Civilizations of the Ancient Near East, vol 4, p 2609, editor: Jack M. Sasson, publisher: Charles Scribner & Sons, Farmington Hills, MI, 1995). Various types of dances were performed, which included “acrobatic dancers” who would perform all kinds of different acrobatic steps and forms to the delight and awe of the watchers (Daily Life in Ancient Mesopotamia, Chapter 8 - Recreation, p 170, by Karen Rhea Nemet-Nejat, Greenwood Publishing Group, 1998). Also “whirling dances” were performed where the dancers would spin around and around (Study titled Music and Dance in Ancient Western Asia, by Anne Draffkorn Kilmer, published in the book Civilizations of the Ancient Near East, vol 4, p 2609, editor: Jack M. Sasson, publisher: Charles Scribner & Sons, Farmington Hills, MI, 1995). The god Ea commanded to “let a whirling dance take place” in celebration dealing with the goddess Ishtar (Agushaya Poem (II.6), Tablet II vii 16, referred to in Before the Muses: An Anthology of Akkadian Literature, vol 2, second Edition, p 504, by B. Foster, Bethesda, MD., 1996). These “whirling dances were done in her honor” particularly during Ishtar’s “annual feast”, and the “‘whirling’ was usually done by men” arranged in a row or a circle, but could also be done by women (Study titled Music and Dance in Ancient Western Asia, by Anne Draffkorn Kilmer, published in the book Civilizations of the Ancient Near East, vol 4, p 2609, editor: Jack M. Sasson, publisher: Charles Scribner & Sons, Farmington Hills, MI, 1995). This whirling dance then became a “form or attribute of Ishtar” and was therefore associated with her worship and performed in her temples (Before the Muses: An Anthology of Akkadian Literature, vol 2, second edition, p 879, by Benjamin Reed Foster, publisher: CDL Press, Bethesda, MD., 1996). Since this whirling dance was a form or attribute of Ishtar herself, then performing this dance was just one way in which the performers and even worshipers could move into her presence and become filled with her essence or spirit and then completely possessed by her, so that she could communicate her religious instruction and wisdom of the gods. Dancing also proved a most effective way of keeping the minds of the people distracted while they focused upon the dancers performing in unison with the beat of the music. This allowed the steady drum beat to more quickly affected their hearts and souls of the worshippers, who were soon led to lose self-control, join in with the dancers and then allow the god of music to fill them with his presence. 5) The temple musicians played their “instruments loud enough to drown out the south wind-storm” (Sumerian Tablet of Inana and Iddin-Dagan (Iddin-Dagan A, line 206, The Electronic Text Corpus of Sumerian Literature, at http://etcsl.orinst.ox.ac.uk/section2/tr2531.htm, accessed 4-23-12). These loud musical performances were also “accompanied by tigi drums, and ala drums [which] roared for him [the temple god] like a storm” (Sumerian Cylinder of The Building of Ningirsu's Temple, (Gudea, cylinders A and B), Cylinder B, section B19.1-2 (or cumulative lines 1243-1244), The Electronic Text Corpus of Sumerian Literature website, at http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?text=t.2.1.7#, accessed 4-23-12). 6) When the single language was changed into many different languages at the Ziggurat tower of Babel, the various languaged people grouped together and dispersed into all parts of the world . Thus these Babylonian styles of musical arrangement and drum enhanced rhythmical performances during their religious ceremonies, rituals and services, were now spread worldwide to become a foundational part of every civilization! This historical fact can be seen by the many different variations imitating Babylon’s Ziggurat temples constructed in many different countries around the world. “The tower [of Babylon] was a symbol of worship and protection and became well known by many as the ziggurat of Etemenanki, in honor of the Babylonian supreme god Marduk; a dominant central point of worship that spread out to many other nations that were to come (thirty-four of these staged towers have now been located in twenty-seven ancient cities of the Middle East - the greatest of them all was the one at Babylon” Nimrod, Mars and the Marduk Connection, by Bryce Self, at http://ldolphin.org/Nimrod.html, accessed 5-13-12. These Ziggurat temple pyramids were not just located in the Middle East, including Iraq, Iran, etc., but these Babylonian pyramids and religious mounds have also been found throughout the world, including the following: Africa – including Egypt, Sudan, Nigeria; Asia – including China, India, Indonesia, Japan, Philippines, Tibet, Russia; Europe – including Bosnia, Croatia, France, Greece, Italy, Serbia, Slovenia, Spain; South America – including Brazil, Peru; Central or MesoAmerica – including Guatemala, Mexico, Yucatan; North America – including states of Alabama, Arkansas, Florida, Georgia, Illinois, Indiana, Kentucky, Louisiana, Mississippi, Missouri, North Carolina, Oklahoma, South Dakota, Tennessee, Texas, Wisconsin; etc. (see Wikipedia On-line Encyclopedia, under word Step Pyramid, at http://en.wikipedia.org/wiki/Step_pyramid, and under word Pyramid, at http://en.wikipedia.org/wiki/Pyramid, and under List of Mississippian sites, all accessed 3-22-12; World Pyramids, at http://www.world-pyramids.com/project.html, accessed 3-22-12; Ancient Pyramids Around the World, By Amanda Bensen, at http://www.smithsonianmag.com/history-archaeology/Ancient-Pyramids-Around-the-World.html, accessed 3-22-12; UnderWater Pyramids, at http://www.cyberspaceorbit.com/phikent/japan/japan2.html, accessed 3-22-12; The Ancients: Pyramids Around the World, at http://www.thelivingmoon.com/43ancients/02files/Pyramids_World.html, accessed 3-22-12).