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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 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.
A conversation with Dr. Kathleen Turner and Julia Start Fletcher about simple postures, gestures, and movement in worship that can open up formative possibilities for congregations.
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].
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 submitted by David Kai, with words by Flora Litt and music by David Kai. It is a modern setting of this psalm of repentance in language, melody, and harmony.
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 18 was submitted by Emily R. Brink and Eric Sarwar, who prepared an English translation of the most loved psalm from the Punjabi Zaboor - Punjabi Psalter - of 1908 [Punjab is an area encompassing both eastern Pakistan and northern India]. The responsorial structure includes a refrain [v. 1] and 3 stanzas [vs. 16–19] in both the original Punjabi and in English translation.
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.”
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 is a multilingual setting of Psalm 117 submitted by Paul Neeley. It was composed by Paul Neeley and Josh Davis.
