the purpose driven music paradigm - Escape Babylon's Demons

corresponds to the Arabian word duf. The handheld duf consists of an 11 inch
diameter, 2 inch deep circular wood frame with a skin tightly stretched over it and
thin metal disks attached to it. Handheld tambourine like timbrels are misleadingly
equated with the modern cylindrical drum by purpose driven church leaders. 1
Samuel 10:5 mentions the use of a pipe (chaliyl) or a simple flute by a company of
God’s prophets along with tabrets (toph) possibly a mandolin type instrument.
Trumpets (shofars) were also used outside temple worship.
In addition to the timbrel, psaltery, harp, trumpet, loud and high sounding cymbals,
two additional instruments were mentioned in Psalm 150 to be used to praise God.
stringed instruments (men): stringed harp
organs (uggab): flute, reed-pipe or pan-pipes
The use of the word loud in this Psalm isn’t loud in the sense of excessively,
continuously loud rock music. It refers to an emphatic religious impulse like a shout
of joy, a sudden trumpet blast or the clash of a cymbal.
Pastor David Cloud provides some excellent reasons for the church to avoid the use
of the modern drum because of their proven association with voodoo, shamanism,
paganism and magic rituals. Here are some quotes taken from his article titled
“Drums and Christian Music” found at www.wayoflife.org/fbns/drumsand.htm.
“[Drums] represents the beat of the heart and is played to summon up magic powers” (Miranda
Bruce-Mitford, The Illustrated Book of Signs & Symbols, DK Publishing, 1996 p. 80)
In Siberia, in northern Asia, drums are used in shamanic rituals to heal people. It is believed that
the shaman can communicate with the spirit world THROUGH DRUMMING (Louise Tythacott,
Musical Instruments, Thomas Learning, 1995, p. 37)
“Pagan dances and rituals are always accompanied by the incessant BEAT of DRUMS. Rhythm
plays a major role in these demonic activities” (Lowell Hart, Satan’s Music Exposed, Salem
Kirban Inc., 1980 p. 71)
“Bata drums [drums used in voodoo], sacred to the Yoruba people of Nigeria and Cuba: Their
push and pull provided a template for the inner rhythms of rock and roll” (Robert Palmer, Rock &
Roll An Unruly History, Harmony Books, New York, 1995, p. 46)
“The idea that certain RHYTHM patterns or sequences serve as conduits for spiritual energies,
linking individual human consciousness with the gods, is basic to traditional African religions,
and to African-derived religions throughout the Americas . And whether we’re speaking
historically or musicologically, the fundamental riffs, licks, bass figures, and drum rhythms that
make rock and roll can ultimately be traced back to African music of a primarily spiritual or ritual
nature. In a sense, rock and roll is a kind of voodoo’ . . . ” (Robert Palmer, Rock & Roll, An Unruly
History, p. 53)
“Bata drummers tap out their toques, or rhythm patterns, like signals to the realm of the gods,
inviting and enticing them to come on down and mount or POSSESS the ir horses, or devotees. .