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This setting of Psalm 90:1 –2 was created and submitted by Regina Jupp and focuses on the idea that even in chaos we can find rest in our everlasting God.
This interpretation of Psalm 8:5–8; 22:10 [The Message] was created and submitted by Barbara Sartorius Bjelland. The psalm imagery combines the transcendence of God the Creator with the immanence of God, who holds all things together with tender hands.
Canción de alabanza inspirada en el Salmo 95. / A setting of Psalm 95 that was submitted by Gerardo Oberman. This setting is a song of praise.
Esta interpretación del salmo 18 fue presentada por Andrea Armoa. Plasma un momento tormentoso donde Dios acude en nuestra ayuda. / This interpretation of Psalm 18 was presented by Andrea Armoa. It depicts a stormy moment where God comes to our aid.
This setting of Psalm 8 was composed and submitted by Josh Rodriguez. It is a musical response to the opening lines of this psalm.
“Awake up, my glory” is a setting of Psalm 57 [KJV]. Sungji Hong wrote the music and submitted the setting. This text is a call for all of creation to joyfully praise the Lord our God. I tried to capture this idea of joy at God’s unmerited goodness and grace.
This song based on Psalm 9 was submitted by Joel Jupp, who wrote and recorded the song, and it expresses our reliance upon the Lord’s sovereignty in the midst of uncertainty.
This setting of Psalm 71, written and submitted by Ken Michell, focuses on the rich connection between hope and praise.
This setting of Psalm 89:1–18 was written and submitted by Ken Michell. It focuses on God’s covenant community praising him for his love and faithfulness.
Psalm 85, “Grant Us Your Peace, Lord,” submitted by Yongjiang Zhou, was written by Jacques Berthier and focuses on peace.
This setting of Psalm 51 was written and submitted by Allison Dean. It focuses on the psalmist’s plea for mercy.
Psalm 37 is an acrostic psalm with twenty-two sections built on each letter of the Hebrew alphabet. This musical setting follows that pattern, with twenty-two “songlets.” The last four measures of each songlet can be sung in counterpoint to the first four measures of the next, creating a twenty-two-link musical chain.
