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The uncertainty of when this pandemic will end and who we will be post-pandemic leaves each of us feeling unresolved. This session is for all seminarians and academics in graduate school to come together to explore how we can be formed to embrace and thrive in uncertain times.
The uncertainty of when this pandemic will end and who we will be post-pandemic leaves each of us feeling unresolved. This session is for all seminarians and academics in graduate school to come together to explore how we can be formed to embrace and thrive in uncertain times.
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.
This setting of Psalm 8 was composed and submitted by Josh Rodriguez. It is a musical response to the opening lines of this psalm.
Psalm 85, “Grant Us Your Peace, Lord,” submitted by Yongjiang Zhou, was written by Jacques Berthier and focuses on peace.
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.
“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 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.
Dr. Kathleen Turner demonstrates simple and accessible congregational movement to accompany the song, “Come to Me” by Wendell Kimbrough.
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.
