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Julia Start Fletcher demonstrates two versions of the Lord’s Prayer that incorporates simple and accessible movement for deep participation and formation.
This setting of Psalm 19 was submitted by composer Delvyn Case and performed by baritone Andrew White. It presents the first half of the psalm in a way that emphasizes a humble response to the glory of God’s creation.
This expression of Psalm 22 was submitted by Ed Willmington, with lyrics by Brianna Wyatt and music by Edwin M. Willmington. The psalm begins in subdued sadness but ends in glorious worship.
This setting of Psalms 42 and 43 was written and submitted by Travis Ham and focuses on helping believers answer waves of aching despair with an intentional refocusing on God, the help of our countenance [Ps. 42:11, ASV].
Dr. Kathleen Turner demonstrates simple and accessible congregational movement to accompany the song, “Come to Me” by Wendell Kimbrough.
This bilingual setting of Psalm 23 was written, recorded, and submitted by Josh Davis and focuses on the reality of God as pastor/shepherd of our souls.
This setting of Psalm 51 was written and submitted by Allison Dean. It focuses on the psalmist’s plea for mercy.
This setting of Psalm 150 was submitted by composer Delvyn Case and performed by Elizabeth Ostling. It explores the mystical connection between breath, life, music, and praise as described in the psalm.
This setting of Psalm 148 was written and submitted by Armenian American composer Tatev Amiryan. It represents a musical interpretation of Psalm 148, “Praise the LORD.”
Carlos Colón demonstrates and talks about three songs for Epiphany, as part of the series "Songs from the hymnal / Cantos del himnario Santo, Santo, Santo / Holy, Holy, Holy.'"
This is a multilingual setting of Psalm 117 submitted by Paul Neeley. It was composed by Paul Neeley and Josh Davis.
This setting of Psalm 146 was submitted by Larry Visser, who also composed this organ setting.
