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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.”
Psalm 148
How does this psalm piece interpret the psalm?
The piece is a musical interpretation of Psalm 148, “Praise the LORD.” In this piece, the text plays a structurally essential role in the musical form. With its ascetic, restrained character and strictly metrical setting the vocal part resembles Armenian monophonic chants used in the Divine Liturgy of the Armenian Apostolic Church. The syllabic and somewhat recitational text setting is designed to emphasize the text and highlight its meaning. The theme in the vocal part is based on a scale of diminished 4ths, typical to Armenian sacred music modes, and it incorporates a decoration style similar to vocal melodies of Armenian sacred music. The composer approached the text as a universal address to all humankind, regardless of race and nationality, and that is what she aimed to highlight in her piece through a musical language coming from different Christian traditions.
As a universal praise addressed to both heavenly and earthly beings, “Praise the LORD” conveys a powerful and unifying message and is fitting at the beginning of worship as well as for other occasions.
Text and Music: Psalm 148; Tatev Amiryan, © Tatev Amiryan
Used by permission.
Contact: Tatev Amiryan, musicofarmenia.com/tatevamiryan
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Carmen Imes has spent the past fifteen years immersed in the book of Exodus, writing about it for both her master’s thesis and her doctoral dissertation. In this lecture, Imes will share some of the most paradigm-shifting insights she’s had while reading Exodus through an Egyptian lens.
This panel considers the psalms as a source of artistic and theological engagement, exploring how musicians and songwriters draw from these ancient texts to navigate the emotional complexity of the human experience. Through diverse musical approaches and cultural perspectives, the panelists will consider how the psalms continue to resonate in modern contexts by offering language for lament and praise, shaping liturgical practice, and fostering resilience in both personal and communal experience.
“Deconstruction” is a popular term among young people who grew up in the Christian church. In this public lecture, Robert Chao Romero will consider the challenge of widespread deconstruction while offering a hopeful path forward. Expanding on Phyllis Tickle’s analogy of the church having a rummage sale of ideas every few centuries, Romero invites us to consider the contributions of Latina/o theology and the history of the Brown Church as valuable resources for reconstruction on the other side of deconstruction.
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