List of Psalm Readings in Judaism Pdf

Book of the Bible

The Book of Psalms ( or SAW(L)MZ ; Hebrew: תְּהִלִּים, Tehillim , lit. "praises"), commonly referred to but as Psalms, the Psalter or "the Psalms", is the showtime book of the Ketuvim ("Writings"), the tertiary section of the Tanakh, and a book of the Onetime Testament.^[2] The championship is derived from the Greek translation, ψαλμοί ( psalmoi ), meaning "instrumental music" and, by extension, "the words accompanying the music".^[3] The book is an album of individual Hebrew religious hymns, with 150 in the Jewish and Western Christian tradition and more in the Eastern Christian churches.^{[4] [5]} Many are linked to the name of David, merely modernistic scholarship rejects his authorship, instead placing the composition of the psalms to various authors writing between the 9th and 5th centuries BC.^[v]

Construction [edit]

Benedictions [edit]

The Book of Psalms is divided into five sections, each closing with a doxology (i.east., a benediction)—these divisions were probably introduced by the last editors to imitate the five-fold sectionalization of the Torah:^[6]

• Book 1 (Psalms ane–41)
• Book 2 (Psalms 42–72)
• Volume three (Psalms 73–89)
• Book 4 (Psalms ninety–106)
• Book 5 (Psalms 107–150)

Superscriptions [edit]

Many psalms (116 of the 150) take individual superscriptions (titles), ranging from lengthy comments to a single word. Over a third appear to exist musical directions, addressed to the "leader" or "choirmaster", including such statements as "with stringed instruments" and "co-ordinate to lilies". Others appear to be references to types of musical limerick, such as "A psalm" and "Song", or directions regarding the occasion for using the psalm ("On the dedication of the temple", "For the memorial offering", etc.). Many carry the names of individuals, the most common (73 psalms—75 if including the two Psalms attributed by the New Attestation to David) beingness 'of David', and xiii of these relate explicitly to incidents in the male monarch's life.^[vii] Others named include Asaph (12), the sons of Korah (11), Solomon (2), Moses (1), Ethan the Ezrahite (1), and Heman the Ezrahite (1). The Septuagint, the Peshitta (the Syriac Vulgate), and the Latin Vulgate each associate several Psalms (such every bit 111 and 145) with Haggai and Zechariah. The Septuagint as well attributes several Psalms (like 112 and 135) to Ezekiel and Jeremiah.

Numbering [edit]

Hebrew numbering(Masoretic)	Greek numbering(Septuagint)
1–8	1–viii
9–10	ix
11–113	x–112
114–115	113
116	114–115
117–146	116–145
147	146–147
148–150	148–150

Psalms are usually identified by a sequence number, often preceded by the abbreviation "Ps." Numbering of the Psalms differs—mostly by ane—between the Hebrew (Masoretic) and Greek (Septuagint) manuscripts. Protestant translations (Lutheran, Anglican, Calvinist) employ the Hebrew numbering, but other Christian traditions vary:

• Catholic official liturgical texts, such as the Roman Missal, use the Greek numbering^[viii]
• Modernistic Catholic translations often use the Hebrew numbering (noting the Greek number)
• Eastern Orthodox and Eastern Catholic translations use the Greek numbering (noting the Hebrew number)

The variance between Masorah and Septuagint texts in this numeration is likely enough due to a gradual neglect of the original poetic form of the Psalms; such fail was occasioned by liturgical uses and carelessness of copyists. It is generally admitted that Psalms 9 and 10 (Hebrew numbering) were originally a single acrostic verse form, wrongly separated by Massorah and rightly united past the Septuagint and the Vulgate.^[nine] Psalms 42 and 43 (Hebrew numbering) are shown by identity of bailiwick (yearning for the business firm of Yahweh), of metrical structure and of refrain (comparing Psalms 42:6, 12; 43:5, Hebrew numbering), to be iii strophes of ane and the aforementioned poem. The Hebrew text is correct in counting as one Psalm 146 and Psalm 147. Later liturgical usage would seem to have split up upwards these and several other psalms. Zenner combines into what he deems were the original choral odes: Psalms 1, 2, 3, 4; 6 + thirteen; 9 + x; 19, 20, 21; 56 + 57; 69 + 70; 114 + 115; 148, 149, 150.^[10] A choral ode would seem to accept been the original grade of Psalms 14 and 70. The two strophes and the epode are Psalm 14; the two antistrophes are Psalm 70.^[11] It is noteworthy that, on the breaking up of the original ode, each portion crept twice into the Psalter: Psalm 14 = 53, Psalm 70 = twoscore:14–18. Other such duplicated portions of psalms are Psalm 108:2–6 = Psalm 57:8–12; Psalm 108:7–14 = Psalm 60:7–14; Psalm 71:1–three = Psalm 31:ii–iv. This loss of the original grade of some of the psalms is considered past the Catholic Church'due south Pontifical Biblical Commission (1 May 1910) to have been due to liturgical practices, neglect by copyists, or other causes.^[12]

Verse numbers were commencement printed in 1509.^{[13] [14]} Different traditions exist whether to include the original heading into the counting or not. This leads to inconsistent numbering in 62 psalms, with an beginning of 1, sometimes even 2 verses.^[fifteen]

Additional psalms [edit]

The Septuagint, present in Eastern Orthodox churches, includes a Psalm 151; a Hebrew version of this was establish in the Psalms Scroll of the Expressionless Sea Scrolls. Some versions of the Peshitta (the Bible used in Syriac churches in the Eye East) include Psalms 152–155. At that place are besides the Psalms of Solomon, which are a further 18 psalms of Jewish origin, likely originally written in Hebrew, just surviving only in Greek and Syriac translation. These and other indications suggest that the electric current Western Christian and Jewish collection of 150 psalms were selected from a wider set.

Primary types [edit]

Hermann Gunkel's pioneering grade-critical work on the psalms sought to provide a new and meaningful context in which to interpret individual psalms—not by looking at their literary context inside the Psalter (which he did not run across as significant), but by bringing together psalms of the same genre ( Gattung ) from throughout the Psalter. Gunkel divided the psalms into five principal types:

Hymns [edit]

Hymns, songs of praise for God's piece of work in creation or history. They typically open with a call to praise, describe the motivation for praise, and conclude with a repetition of the telephone call. Two sub-categories are "enthronement psalms", celebrating the enthronement of Yahweh as king, and Zion psalms, glorifying Mountain Zion, God's dwelling-place in Jerusalem.^[16] Gunkel also described a special subset of "eschatological hymns" which includes themes of future restoration (Psalm 126) or of judgment (Psalm 82).^[17]

Communal laments [edit]

Communal laments, in which the nation laments some communal disaster.^[xviii] Both communal and individual laments typically but not e'er include the following elements:

1. address to God,
2. description of suffering,
3. cursing of the political party responsible for suffering,
4. protestation of innocence or admission of guilt,
5. petition for divine help,
6. faith in God's receipt of prayer,
7. apprehension of divine response, and
8. a song of thanksgiving.^{[xix] [20]}

In general, the individual and communal subtypes tin be distinguished by the utilize of the atypical "I" or the plural "nosotros". However, the "I" could also be characterising an individual'southward personal experience that was reflective of the unabridged customs.^[21]

Royal psalms [edit]

Royal psalms, dealing with such matters equally the rex'south coronation, marriage and battles.^[xviii] None of them mentions any specific male monarch by name, and their origin and use remain obscure;^[22] several psalms, especially Psalms 93–99, concern the kingship of God, and might relate to an almanac ceremony in which Yahweh would be ritually reinstated as male monarch.^[23]

Individual laments [edit]

Individual laments over the fate of the detail private who utters them. By far the virtually common blazon of psalm, they typically open up with an invocation of God, followed past the lament itself and pleas for help, and often ending with an expression of conviction.^[xviii]

Individual thanksgiving psalms [edit]

Individual thanksgiving psalms, the opposite of private laments, in which the psalmist thanks God for deliverance from personal distress.^[eighteen]

In addition to these five major genres, Gunkel also recognised a number of modest psalm-types, including:

• communal thanksgiving psalms, in which the whole nation thanks God for deliverance;
• wisdom psalms, reflecting the One-time Testament wisdom literature;
• pilgrimage psalms, sung by pilgrims on their way to Jerusalem;
• archway and prophetic liturgies; and
• a grouping of mixed psalms which could non exist assigned to whatever category.^[24]

Composition [edit]

Origins [edit]

The composition of the psalms spans at to the lowest degree five centuries, from psalm 29 to others conspicuously from the post-Exilic period (not earlier than the fifth century BC.) The majority originated in the southern kingdom of Judah and were associated with the Temple in Jerusalem, where they probably functioned as libretto during the Temple worship. Exactly how they did this is unclear, although there are indications in some of them: "Bind the festal procession with branches, up to the horns of the altar," suggests a connection with sacrifices, and "Let my prayer exist counted as incense" suggests a connection with the offering of incense.^[4]

According to Jewish tradition, the Volume of Psalms was composed by the Start Human being (Adam), Melchizedek, Abraham, Moses, Heman, Jeduthun, Asaph, and the three sons of Korah.^{[25] [26]} The volume, however, is largely attributed to David on account of his being a poet-musician,^{[ citation needed ]} and who is described in 2 Samuel 23:1 as "the sweet psalmist of Israel." According to Abraham ibn Ezra, the concluding redaction of the book was made by the Men of the Great Assembly.^[27]

Influences [edit]

Some of the psalms bear witness influences from related earlier texts from the region; examples include various Ugaritic texts and the Babylonian Enūma Eliš. These influences may be either of background similarity or of dissimilarity. For example Psalm 29 seems to share characteristics with Canaanite religious poetry and themes. Not too much should be read into this, however. Robert Alter points out that the accost to "sons of God" at the opening "are best thought of the flickering literary afterlife of a polytheistic mythology" but that "belief in them...is unlikely to have been shared by the scribal circles that produced Psalms".^[28]. The contrast against the surrounding polytheistic mythology is well seen in Psalms 104:26 where their mythological convention of a monstrous sea-god in fierce conflict, such as the Babylonian Tiamat, Canaanite Yam and the Leviathan which also appears in the Hebrew Bible, is "reduced to an aquatic pet with whom YHWH can play".^[29]

Poetic characteristics [edit]

The biblical poetry of Psalms uses parallelism as its primary poetic device. Parallelism is a kind of symmetry, in which an thought is developed by the use of restatement, synonym, amplification, grammatical repetition, or opposition.^{[30] [31]} Synonymous parallelism involves two lines expressing essentially the same idea. An example of synonymous parallelism:

• "The LORD is my light and my salvation; whom shall I fear? The 50ORD is the stronghold of my life; of whom shall I be afraid?" (Psalm 27:1).

2 lines expressing opposites is known as antithetic parallelism. An example of antithetic parallelism:

• "And he led them in a deject past day/ and all the night by a peppery light" (Psalm 78:fourteen).

Two clauses expressing the thought of amplifying the beginning claim is known as expansive parallelism. An example of expansive parallelism:

• "My mouth is filled with your praise/ all the solar day with your lauding" (Psalm 71:viii).

Editorial agenda [edit]

Many scholars believe the private Psalms were redacted into a single collection during the Second Temple period.^[32] It had long been recognized that the collection bore the imprint of an underlying bulletin or metanarrative, merely that this message remained curtained, as Augustine of Hippo said, "The sequence of the Psalms seems to me to contain the hole-and-corner of a mighty mystery, only its meaning has not been revealed to me." (Enarr. on Ps. 150.ane) Others pointed out the presence of chain, that is, next Psalms sharing similar words and themes. In time, this approach developed into recognizing overarching themes shared by whole groups of psalms.^[33]

In 1985, Gerald H. Wilson'southward The Editing of the Hebrew Psalter proposed – by parallel with other ancient eastern hymn collections – that psalms at the beginning and terminate (or "seams") of the five books of Psalms have thematic significance, corresponding in particular with the placement of the royal psalms. He pointed out that in that location was a progression of ideas, from arduousness, through the crux of the drove in the credible failure of the covenant in Psalm 89, leading to a concert of praise at the end. He concluded that the collection was redacted to be a retrospective of the failure of the Davidic covenant, exhorting Israel to trust in God alone in a non-messianic time to come.^[34] Walter Brueggemann suggested that the underlying editorial purpose was oriented rather towards wisdom or sapiential concerns, addressing the issues of how to alive the life of faith. Psalm one calls the reader to a life of obedience; Psalm 73 (Brueggemann's crux psalm) faces the crunch when divine faithfulness is in doubt; Psalm 150 represents faith's triumph, when God is praised not for his rewards, just for his being.^[35] In 1997, David. C. Mitchell'southward The Bulletin of the Psalter took a quite dissimilar line. Edifice on the work of Wilson and others,^[36] Mitchell proposed that the Psalter embodies an eschatological timetable like that of Zechariah 9–14.^[37] This plan includes the gathering of exiled Israel by a bridegroom-king; his establishment of a kingdom; his vehement death; Israel scattered in the wilderness, regathered and over again imperilled, then rescued by a king from the heavens, who establishes his kingdom from Zion, brings peace and prosperity to the earth and receives the homage of the nations.

These three views—Wilson'due south non-messianic retrospective of the Davidic covenant, Brueggemann's sapiential teaching, and Mitchell's eschatologico-messianic programme—all have their followers, although the sapiential calendar has been somewhat eclipsed past the other two. Soon before his untimely death in 2005, Wilson modified his position to allow for the existence of messianic prophecy inside the Psalms' redactional agenda.^[38] Mitchell'southward position remains largely unchanged, although he now sees the issue equally identifying when the historical beginning of the Psalms turns to eschatology.^[39]

The ancient music of the Psalms [edit]

The Psalms were written non merely as poems, just as songs for singing. According to Bible exegete Saadia Gaon (882–942) who served in the geonate of Babylonian Jewry, the Psalms were originally sung in the Temple precincts by the Levites, based on what was prescribed for each psalm (lineage of the singers, designated fourth dimension and identify, instruments used, manner of execution, etc.), only are permitted to be randomly read by anyone at any time and in any place.^[40] More than a 3rd of the psalms are addressed to the Director of Music. Some psalms exhort the worshipper to sing (e.k. Pss. 33:1-3; 92:1-iii; 96:1-3; 98:1; 101:one; 150). Some headings denote the musical instruments on which the psalm should exist played (Pss. 4, v, 6, eight, 67). Some refer to the Levites who sang one of 8 melodies, one of which was known simply as "the eighth" (Hebrew: sheminit) (Pss. half dozen, 12).^[41] And others preserve the name for ancient eastern modes, similar ayelet ha-shachar (hind of the dawn; Ps. 22); shoshanim / shushan (lilies / lily; Pss. 45; 60), said to exist describing a certain melody;^[42] or ʻalmuth / ʻalamoth (mute;^[43] Pss. 9, 46), which, according to Saadia Gaon, is "a silent melody, almost inaudible."^[44]

Despite the frequently heard view that their ancient music is lost, the means to reconstruct it are withal extant. Fragments of temple psalmody are preserved in aboriginal synagogue and church building chant, particularly in the tonus peregrinus tune to Psalm 114.^[45] Cantillation signs, to tape the tune sung, were in apply since ancient times; bear witness of them can exist plant in the manuscripts of the oldest extant copies of Psalms in the Dead Bounding main Scrolls and are even more than extensive in the Masoretic text, which dates to the Early Middle Ages and whose Tiberian scribes claimed to exist basing their work on temple-menses signs. (Come across Moshe ben Asher's 'Song of the Vine' colophon to the Codex Cairensis).^[46]

Several attempts take been made to decode the Masoretic cantillation, merely the most "successful" is that of Suzanne Haïk-Vantoura (1928–2000) in the last quarter of the 20th century.^[47] Her reconstruction assumes the signs correspond the degrees of diverse musical scales – that is, private notes – which puts it at odds with all other existing traditions, where the signs invariably represent melodic motives; it also takes no business relationship of the existence of older systems of notation, such equally the Babylonian and Palestinian systems. Musicologists have therefore rejected Haïk-Vantoura'south theories, with her results dubious, and her methodology flawed.^[48] In spite of this, Mitchell has repeatedly defended it, showing that, when applied to the Masoretic cantillation of Psalm 114, it produces a melody recognizable as the tonus peregrinus of church and synagogue.^[49] Mitchell includes musical transcriptions of the temple psalmody of Psalms 120–134 in his commentary on the Songs of Ascents.

Regardless of academic research, Sephardic Jews have retained a tradition in the Masoretic cantillation.^[50]

Themes and execution [edit]

Virtually individual psalms involve the praise of God for his power and beneficence, for his cosmos of the world, and for his by acts of deliverance for Israel. They envision a world in which everyone and everything volition praise God, and God in plow will hear their prayers and respond. Sometimes God "hides his face" and refuses to answer, questioning (for the psalmist) the human relationship betwixt God and prayer which is the underlying supposition of the Book of Psalms.^[51]

Some psalms are called "maskil" (maschil), meaning "enlightened" or "wise", considering they impart wisdom. Most notable of these is Psalm 142 which is sometimes called the "Maskil of David"; others include Psalm 32 and Psalm 78.^[52]

A special grouping and sectionalization in the Volume of Psalms are fifteen psalms (Psalms 120–134) known in the construct case, shir ha-ma'aloth (= "A Song of Ascents", or "A Song of degrees"), and 1 as shir la-ma'aloth (Psalm 121). According to Saadia Gaon, these songs differed from the other psalms in that they were to be sung by the Levites in a "loud melody" (Judeo-Arabic: בלחן מרתפע‎).^[53] Every psalm designated for Asaph (due east.k. Psalms 50, 73–83) was sung by his descendants while making use of cymbals, in accordance with 1 Chronicles 16:5.^{[54] [53]} Every psalm wherein is plant the introductory phrase "Upon Mahalath" (e.g. Psalms 53 and 88) was sung past the Levites by using large percussion instruments having wide and closed bezels on both sides and beaten with two wooden sticks.^[55]

Later estimation and influence [edit]

Overview [edit]

Individual psalms were originally hymns, to be used on various occasions and at various sacred sites; later, some were anthologised, and might have been understood inside the diverse anthologies (due east.g., ps. 123 as i of the Psalms of Rising); finally, individual psalms might be understood within the Psalter as a whole, either narrating the life of David or providing instruction like the Torah. In later Jewish and Christian tradition, the psalms have come to be used as prayers, either individual or communal, every bit traditional expressions of religious feeling.^[56]

[edit]

Many authors have commented on the psalms, including:

• Hilary of Poitiers^[57]
• Augustine of Hippo^[58]
• Saadia Gaon^[59]
• Thomas Aquinas^[60]
• John Calvin^[61]
• Emmanuel (pseudonym), Jewish Commentary on the Psalms.^[62]

Use in Jewish ritual [edit]

Some of the titles given to the Psalms have descriptions which advise their utilize in worship:

• Some deport the Hebrew description shir ( שיר ; Greek: ᾠδή , ōdḗ , 'song'). Thirteen have this description. It means the catamenia of spoken language, every bit information technology were, in a directly line or in a regular strain. This description includes secular equally well as sacred song.
• Fifty-eight Psalms bear the description mizmor ( מזמור ; ψαλμός ), a lyric ode, or a song set to music; a sacred song accompanied with a instrument.
• Psalm 145 solitary has the designation tehillah ( תהלה ; ὕμνος ), significant a song of praise; a song the prominent thought of which is the praise of God.
• Thirteen psalms are described as maskil ('wise'): 32, 42, 44, 45, 52–55, 74, 78, 88, 89, and 142. Psalm 41:2, although non in the in a higher place list, has the description ashrei maskil.
• Six Psalms (16, 56–60) have the title michtam ( מכתם , 'gilt').^[63] Rashi suggests that michtam refers to an item that a person carries with him at all times, hence, these Psalms comprise concepts or ideas that are pertinent at every stage and setting throughout life, accounted vital equally function of 24-hour interval-to-day spiritual awareness.^[64]
• Psalm 7 (along with Habakkuk chapter 3)^[65] bears the championship shigayon ( שיגיון ). There are three interpretations:^[66] (a) Co-ordinate to Rashi and others, this term stems from the root shegaga, meaning "mistake"—David committed some sin and is singing in the form of a prayer to redeem himself from it; (b) shigayon was a type of musical instrument; (c) Ibn Ezra considers the word to mean "longing", as for example in the verse in Proverbs five:nineteen^[67] tishge tamid.

Psalms are used throughout traditional Jewish worship. Many consummate Psalms and verses from Psalms appear in the morning services (Shacharit). The pesukei dezimra component incorporates Psalms 30, 100 and 145–150. Psalm 145 (commonly referred to as "Ashrei", which is really the showtime word of two verses appended to the beginning of the Psalm), is read 3 times every day: once in shacharit equally office of pesukei dezimrah, as mentioned, once, along with Psalm 20, as function of the forenoon'south concluding prayers, and once at the start of the afternoon service. On Festival days and Sabbaths, instead of concluding the morning service, it precedes the Mussaf service. Psalms 95–99, 29, 92, and 93, forth with some later on readings, incorporate the introduction (Kabbalat Shabbat) to the Friday dark service. Traditionally, a different "Psalm for the Mean solar day"—Shir shel yom—is read after the morning service each twenty-four hours of the week (starting Sun, Psalms: 24, 48, 82, 94, 81, 93, 92). This is described in the Mishnah (the initial codification of the Jewish oral tradition) in the tractate Tamid. According to the Talmud, these daily Psalms were originally recited on that day of the week by the Levites in the Temple in Jerusalem. From Rosh Chodesh Elul until Hoshanah Rabbah, Psalm 27 is recited twice daily following the morn and evening services. In that location is a Minhag (custom) to recite Psalm 30 each morning of Chanukkah after Shacharit: some recite this in identify of the regular "Psalm for the Day", others recite this additionally.

When a Jew dies, a watch is kept over the trunk and tehillim (Psalms) are recited constantly by sun or candlelight, until the burial service. Historically, this watch would be carried out by the immediate family, normally in shifts, but in contemporary practice this service is provided by an employee of the funeral home or chevra kadisha.

Many Jews consummate the Book of Psalms on a weekly or monthly basis. Each calendar week, some also say a Psalm connected to that calendar week's events or the Torah portion read during that week. In improver, many Jews (notably Lubavitch, and other Chasidim) read the unabridged Book of Psalms prior to the morn service, on the Sabbath preceding the calculated advent of the new moon.

The reading of psalms is viewed in Jewish tradition every bit a vehicle for gaining God'due south favor. They are thus often peculiarly recited in times of trouble, such as poverty, disease, or physical danger; in many synagogues, Psalms are recited later services for the security of the State of State of israel. Sefer ha-Chinuch^[68] states that this practise is designed not to achieve favor, as such, but rather to inculcate conventionalities in Divine Providence into i's consciousness, consistently with Maimonides' general view on Providence. (Relatedly, the Hebrew verb for prayer, hitpalal התפלל, is in fact the reflexive grade of palal פלל, to approximate. Thus, "to pray" conveys the notion of "judging oneself": ultimately, the purpose of prayer—tefilah תפלה—is to transform ourselves.)^[69]

In Christian worship [edit]

Children singing and playing music, illustration of Psalm 150 (Laudate Dominum)

New Testament references show that the earliest Christians used the Psalms in worship, and the Psalms have remained an of import part of worship in most Christian Churches. The Eastern Orthodox, Cosmic, Presbyterian, Lutheran and Anglican Churches accept always made systematic use of the Psalms, with a cycle for the recitation of all or well-nigh of them over the course of one or more than weeks. In the early centuries of the Church, it was expected that any candidate for bishop would be able to recite the entire Psalter from retentiveness, something they often learned automatically^[70] during their time as monks.

Paul the Apostle quotes psalms (specifically Psalms fourteen and 53, which are nearly identical) as the basis for his theory of original sin, and includes the scripture in the Epistle to the Romans, chapter three.

Several conservative Protestant denominations sing only the Psalms (some churches also sing the small number of hymns found elsewhere in the Bible) in worship, and do not accept the use of whatsoever non-Biblical hymns; examples are the Reformed Presbyterian Church building of North America, the Presbyterian Reformed Church (Northward America) and the Free Church of Scotland (Continuing).

• Psalm 22 is of particular importance during the season of Lent every bit a Psalm of continued religion during severe testing.
• Psalm 23, The LORD is My Shepherd, offers an immediately appealing message of condolement and is widely chosen for church funeral services, either as a reading or in one of several popular hymn settings;
• Psalm 51, Have mercy on me O God, chosen the Miserere from the starting time word in its Latin version, in both Divine Liturgy and Hours, in the sacrament of repentance or confession, and in other settings;
• Psalm 82 is plant in the Book of Common Prayer as a funeral recitation.
• Psalm 137, Past the rivers of Babylon, in that location we saturday down and wept, the Eastern Orthodox Church building uses this hymn during the weeks preceding Keen Lent.

New translations and settings of the Psalms keep to be produced. An individually printed volume of Psalms for employ in Christian religious rituals is called a Psalter.

Furthermore, psalms often serve every bit the inspiration for much of modern or gimmicky Christian worship music in a variety of styles. Some songs are entirely based on a detail psalm or psalms, and many quote directly from the Volume of Psalms (and other parts of the Bible).^[71]

Eastern Orthodox Christianity [edit]

Orthodox Christians and Greek-Catholics (Eastern Catholics who follow the Byzantine rite) have long fabricated the Psalms an integral part of their corporate and private prayers. The official version of the Psalter used by the Orthodox Church is the Septuagint. To facilitate its reading, the 150 Psalms are divided into 20 kathismata (Greek: καθίσματα; Slavonic: каѳисмы, kafismy ; lit. "sittings") and each kathisma (Greek: κάθισμα; Slavonic: каѳисма, kafisma ) is further subdivided into 3 stases (Greek: στάσεις, {[transl|grc|staseis}} lit. "standings", sing. στάσις, stasis), then-called because the faithful stand at the cease of each stasis for the Glory to the Father ....

At Vespers and Matins, different kathismata are read at dissimilar times of the liturgical year and on different days of the week, according to the Church building'southward calendar, then that all 150 psalms (20 kathismata) are read in the class of a week. During Great Lent, the number of kathismata is increased so that the unabridged Psalter is read twice a calendar week. In the twentieth century, some lay Christians have adopted a continuous reading of the Psalms on weekdays, praying the whole book in four weeks.

Bated from kathisma readings, Psalms occupy a prominent place in every other Orthodox service including the services of the Hours and the Divine Liturgy. In particular, the penitential Psalm 50 is very widely used. Fragments of Psalms and individual verses are used as Prokimena (introductions to Scriptural readings) and Stichera. The majority of Vespers would withal be equanimous of Psalms even if the kathisma were to be overlooked; Psalm 118, "The Psalm of the Law", is the centerpiece of Matins on Saturdays, some Sundays, and the Funeral service. The entire book of Psalms is traditionally read out loud or chanted at the side of the deceased during the fourth dimension leading up to the funeral, mirroring Jewish tradition.

Oriental Christianity [edit]

Several branches of Oriental Orthodox and those Eastern Catholics who follow 1 of the Oriental Rites will dirge the entire Psalter during the course of a 24-hour interval during the Daily Office. This practice continues to be a requirement of monastics in the Oriental churches.

Cosmic usage [edit]

The Psalms have always been an important office of Catholic liturgy. The Liturgy of the Hours is centered on chanting or recitation of the Psalms, using fixed melodic formulas known equally psalm tones. Early Catholics employed the Psalms widely in their individual prayers besides; however, every bit knowledge of Latin (the language of the Roman Rite) became uncommon, this practice ceased among the unlearned. All the same, until the end of the Middle Ages, information technology was non unknown for the laity to bring together in the singing of the Lilliputian Office of Our Lady, which was a shortened version of the Liturgy of the Hours providing a fixed daily cycle of twenty-five psalms to be recited, and nine other psalms divided beyond Matins.

The piece of work of Bishop Richard Challoner in providing devotional materials in English meant that many of the psalms were familiar to English language-speaking Catholics from the eighteenth century onwards. Challoner translated the entirety of the Little Office into English language, too as Lord's day Vespers and daily Compline. He also provided other individual Psalms such as 129/130 for prayer in his devotional books. Bishop Challoner is also noted for revising the Douay–Rheims Bible, and the translations he used in his devotional books are taken from this work.

Until the Second Vatican Council the Psalms were either recited on a one-calendar week or, less commonly (as in the example of Ambrosian rite), two-calendar week cycle. Different one-week schemata were employed: nigh secular clergy followed the Roman distribution, while Monastic Houses about universally followed that of St Benedict, with just a few congregations (such as the Benedictines of St Maur^{[ citation needed ]}) following individualistic arrangements. The Breviary introduced in 1974 distributed the psalms over a iv-calendar week cycle. Monastic usage varies widely. Some utilize the four-week cycle of the secular clergy, many retain a i-calendar week cycle, either following St Bridegroom's scheme or some other of their own devising, while others opt for some other arrangement.

Official approval was also given to other arrangements^{[Notes 1]} past which the consummate Psalter is recited in a ane-week or two-calendar week wheel. These arrangements are used principally by Cosmic contemplative religious orders, such as that of the Trappists.^{[Notes 2]}

The Full general Pedagogy of the Liturgy of the Hours, 122 sanctions three modes of singing/recitation for the Psalms:

• directly (all sing or recite the entire psalm);
• antiphonally (2 choirs or sections of the congregation sing or recite alternating verses or strophes); and
• responsorially (the cantor or choir sings or recites the verses while the congregation sings or recites a given response after each verse).

Of these three the antiphonal mode is the most widely followed.^{[ citation needed ]}

Over the centuries, the use of consummate Psalms in the liturgy declined. Subsequently the Second Vatican Council (which besides permitted the use of vernacular languages in the liturgy), longer psalm texts were reintroduced into the Mass, during the readings. The revision of the Roman Missal after the Second Vatican Quango reintroduced the singing or recitation of a more substantial department of a Psalm, in some cases an entire Psalm, after the kickoff Reading from Scripture. This Psalm, called the Responsorial Psalm, is usually sung or recited responsorially, although the General Instruction of the Roman Missal, 61 permits directly recitation.

Protestant usage [edit]

Following the Protestant Reformation, versified translations of many of the Psalms were ready as hymns. These were particularly pop in the Calvinist tradition, where in the past they were typically sung to the exclusion of hymns (sectional psalmody). John Calvin himself made some French translations of the Psalms for church building usage, but the completed Genevan Psalter eventually used in church services consisted exclusively of translations by Clément Marot and Théodore de Bèze, on melodies by a number of composers, including Louis Bourgeois and a sure Maistre Pierre. Martin Luther's Ein feste Burg ist unser Gott is based on Psalm 46. Amid famous hymn settings of the Psalter were the Scottish Psalter and the paraphrases by Isaac Watts. The first volume printed in Northward America was a collection of Psalm settings, the Bay Psalm Volume (1640).

By the 20th century, they were mostly replaced by hymns in church services. However, the Psalms are popular for private devotion among many Protestants and nevertheless used in many churches for traditional worship.^[72] In that location exists in some circles a custom of reading i Psalm and one chapter of Proverbs a mean solar day, respective to the 24-hour interval of the month.

Metrical Psalms are withal very popular among many Reformed Churches.

Anglican usage [edit]

Anglican chant is a method of singing prose versions of the Psalms.

In the early 17th century, when the King James Bible was introduced, the metrical arrangements by Thomas Sternhold and John Hopkins were as well popular and were provided with printed tunes. This version and the New Version of the Psalms of David by Tate and Brady produced in the late seventeenth century (see article on Metrical psalter) remained the normal congregational way of singing psalms in the Church of England until well into the nineteenth century.

In Nifty Britain, the 16th-century Coverdale psalter still lies at the eye of daily worship in Cathedrals and many parish churches. The new Mutual Worship service book has a companion psalter in modernistic English language.

The version of the psalter in the American Book of Mutual Prayer prior to the 1979 edition is the Coverdale psalter. The Psalter in the American Book of Mutual Prayer of 1979 is a new translation, with some attempt to continue the rhythms of the Coverdale psalter.

Islam [edit]

According to the Islamic Holy volume, the Qur'an, God has sent many messengers to mankind. Five universally acknowledged messengers (rasul) are Abraham, Moses, David, Jesus and Muhammad,^[73] each believed to have been sent with a scripture. Muslims believe David (Dāwūd) received Psalms, or Zabur ^[74] (cf. Q38:28); Jesus (Īsā) the Gospel, or Injeel; Muhammad received the Qur'an; Abraham (Ibrahim) the Scrolls of Abraham; and Moses (Mūsā) the Torah, or Taurat.^[75] God is considered to have authored the psalms. ^[76]

Psalms in the Rastafari movement [edit]

The Psalms are i of the most popular parts of the Bible among followers of the Rastafari movement.^[77] Rasta singer Prince Far I released an atmospheric spoken version of the psalms, Psalms for I, set to a roots reggae backdrop from The Aggrovators.

Psalms set to music [edit]

Multiple psalms as a single limerick [edit]

Psalms have often been set every bit part of a larger work. The psalms feature big in settings of Vespers, including those by Claudio Monteverdi, Antonio Vivaldi, and Wolfgang Amadeus Mozart, who wrote such settings as role of their responsibilities as church musicians. Psalms are inserted in Requiem compositions, such as Psalm 126 in A German language Requiem of Johannes Brahms and Psalms 130 and 23 in John Rutter'south Requiem.

• Psalmi Davidis poenitentiales (six, 32, 38, 51, 102, 130, 143) past Orlande de Lassus—1584
• Melodie na psałterz polski by Mikołaj Gomółka—c. 1600
• Psalmen Davids (1619), Symphoniae sacrae I (1629) and Becker Psalter (1661) past Heinrich Schütz
• Chandos Anthems past George Frideric Handel—1717–18
• Zwei englisch Psalmen (1842), Sieben Psalmen nach Lobwasser (1843), Elijah (1846), and Drei Psalmen (1849) by Felix Mendelssohn
• Eighteen Liturgical Psalms by Louis Lewandowski—1879
• Biblické písně by Antonín Dvořák—1894
• Le Roi David by Arthur Honegger—1921
• Symphony of Psalms (38, 39, 150) by Igor Stravinsky—1930
• Chichester Psalms by Leonard Bernstein—1965
• Tehillim by Steve Reich—1981
• Four Psalms (114, 126, 133, 137) by John Harbison—1998

Individual psalm settings [edit]

At that place are many settings of individual psalms. One of the better known examples is Gregorio Allegri'southward Miserere mei, a falsobordone setting of Psalm 51 ("Accept mercy upon me, O God"). Settings of private psalms by afterwards composers are as well frequent: they include works from composers such as George Frideric Handel, Felix Mendelssohn, Franz Liszt, Johannes Brahms and Ralph Vaughan Williams. Psalms also feature in more modern musical movements and pop genres.

See also [edit]

• Exclusive psalmody
• History of music in the biblical period
• Penitential Psalms
• Psalm of communal lament
• Selah
• Zabur
• Genevan Psalter
• Pesher

Notes [edit]

1. ^ See "Short" Breviaries in the 20th and early 21st century America Archived xviii January 2006 at the Wayback Auto for an in-progress study
2. ^ See for example the Divine Office schedule at New Melleray Abbey

References [edit]

1. ^ Helen C. Evans; William W. Wixom, eds. (5 March 1997). The Glory of Byzantium: Art and Culture of the Centre Byzantine Era, A.D. 843-1261. Metropolitan Museum of Art. p. 86. ISBN9780870997778 . Retrieved 5 March 2018 – via Internet Archive.
2. ^ Mazor 2011, p. 589.
3. ^ White potato 1993, p. 626.
4. ^ ^{a b} Kselman 2007, p. 775.
5. ^ ^{a b} Berlin & Brettler 2004, p. 1282.
6. ^ Bullock 2004, p. 58.
7. ^ Hayes 1998, pp. 154–55.
8. ^ For case "Psalmus 117" in Vigilia Paschalis in Nocte Sancta, 66
9. ^ Clifford 2010, p. 773.
10. ^ Zenner 1896.
11. ^ Zenner, J.K., and Wiesmann, H., Die Psalmen nach dem Urtext, Munster, 1906, 305
12. ^ Catholic Encyclopedia, The Biblical Commission, published past New Advent, accessed 19 November 2021
13. ^ A Concordance of Biblical Literature,... Illustrated by Numerous Engravings. Marking H. Newman. 1845.
14. ^ "Erste Versnummerierungen (Verszählungen in gedruckten Bibelausgaben des 16. Jahrhunderts". www.wlb-stuttgart.de . Retrieved 8 July 2020.
15. ^ "Psalm 12 in 5 languages :: BibleServer". world wide web.bibleserver.com . Retrieved 8 July 2020.
16. ^ Day 2003, pp. eleven–12.
17. ^ Bray 1996, p. 400.
18. ^ ^{a b c d} Twenty-four hours 2003, p. 12.
19. ^ Coogan, M. A Brief Introduction to the Onetime Attestation: The Hebrew Bible in its Context. (Oxford University Press: Oxford 2009) p. 370
20. ^ Potato 1993, p. 627.
21. ^ Bray 1996, p. 416.
22. ^ Berlin & Brettler 2004, p. 1285, note to ps.2.
23. ^ Kselman 2007, p. 776.
24. ^ Day 2003, p. 13.
25. ^ Babylonian Talmud (Baba Bathra 14b–15a)
26. ^ Simon 1982, pp. 237–243.
27. ^ Simon 1982, p. 162.
28. ^ Change 2007, pp. 98–99.
29. ^ Alter 2007, pp. 14–xv.
30. ^ Coogan, M. A Cursory Introduction to the Old Testament: The Hebrew Bible in its Context. (Oxford University Press: Oxford 2009). p. 369;
31. ^ Kugel, James L. The Idea of Biblical Poetry. (Baltimore: Johns Hopkins University Press 1981)
32. ^ Haley, Kevin J. (7 October 2012). ""In the Midst of the Congregation I Will Praise You" (Ps 22:23b): The Reinterpretation of the Psalms of the Individual in Judaism and Christianity | Semantic Scholar". S2CID 171211158.
33. ^ C. Westermann, The Living Psalms (trans. J.R. Porter; Edinburgh: T. & T. Clark, 1989; M.E. Tate, Psalms 51–100 (Waco, TX: Discussion, 1990).
34. ^ G.H. Wilson, The Editing of the Hebrew Psalter (Chico, CA: Scholars Press, 1985).
35. ^ West. Brueggemann, 'Divisional past Obedience and Praise: The Psalms as Canon', JSOT l:63–92.
36. ^ B.Southward. Childs, Introduction to the Old Testament every bit Scripture (Philadelphia: Fortress, 1979) 511–18; J.50. Mays, '"In a Vision": The Portrayal of the Messiah in the Psalms', Ex Auditu vii: 1–8; J. Forbes, Studies on the Book of Psalms (Edinburgh: T. & T. Clark, 1888).
37. ^ D.C. Mitchell, The Message of the Psalter: An Eschatological Programme in the Volume of Psalms, JSOT Supplement 252 (Sheffield: Sheffield Academic Printing, 1997).
38. ^ G.H. Wilson, 'King, Messiah, and the Reign of God: Revisiting the Royal Psalms and the Shape of the Psalter' in P.Due west. Flint and P.D. Miller (eds.), The Book of Psalms: Composition and Reception (Leiden: Brill, 2005).
39. ^ He has expanded his views on some subjects; see '"God Volition Redeem My Soul From Sheol": The Psalms of the Sons of Korah', JSOT thirty (2006) 365–84; 'Lord, Recall David: G.H. Wilson and the Message of the Psalter', Vetus Testamentum 56 (2006) 526–48; The Songs of Ascents (Campbell: Newton Mearns, 2015) 211–16; 36–44.
40. ^ Saadia 2010, p. 33. sfn fault: no target: CITEREFSaadia2010 (help)
41. ^ Saadia 2010, pp. 61, lxx. sfn error: no target: CITEREFSaadia2010 (help)
42. ^ Saadia 2010, pp. 127–28, 150. sfn error: no target: CITEREFSaadia2010 (assistance)
43. ^ Co-ordinate to Saadia, the word is derived from the Hebrew root אלם‎, signifying a "mute," or person who cannot speak. Although the discussion עלמות‎ as spelt in the psalm is with the Hebrew character ʻayin (ע‎), and the Hebrew word for "mute" is spelt with the Hebrew grapheme aleph (א‎), the two letters are interchangeable.
44. ^ Saadia 2010, pp. 65, 130. sfn error: no target: CITEREFSaadia2010 (help)
45. ^ Werner, The Sacred Bridge (New York: Columbia University Printing, 1957) 419, 466.
46. ^ For discussion on the origins and antiquity of the Masoretic cantillation, run into D.C. Mitchell, The Songs of Ascents (Campbell: Newton Mearns 2015): 122-137.
47. ^ S. Haïk-Vantoura, La musique de la Bible révélée (Robert Dumas: Paris, 1976); Les 150 Psaumes dans leurs melodies antiques (Paris: Fondation Roi David, 1985).
48. ^ Dalia Cohen and Daniel Weill. "Progress in Deductive Research on the Original Performance of Tiberian Accents (Te'amim)." Proceedings of the Ninth Globe Conference of Jewish Studies, Division D, Vol. 2 (Jerusalem, 1986): 265–80; cf. too, e.k., the review by P.T. Daniels, Journal of the American Oriental Order, Vol. 112, No. three (Jul.–Sep., 1992), p. 499.
49. ^ D.C. Mitchell, The Songs of Ascents: Psalms 120 to 134 in the Worship of Jerusalem's temples (Campbell: Newton Mearns 2015); 'Resinging the Temple Psalmody', JSOT 36 (2012) 355–78; 'How Can We Sing the Lord's Song?' in S. Gillingham (ed.), Jewish and Christian Approaches to the Psalms (Oxford University Press, 2013) 119–133.
50. ^ "Tehillim". www.sephardichazzanut.com . Retrieved 22 May 2018.
51. ^ Berlin & Brettler 2004, p. 1284.
52. ^ McKenzie, Steven L. (2000). King David: A Biography . New York: Oxford University Press. p. 39–twoscore. ISBN9780195351019.
53. ^ ^{a b} Saadia 2010, p. 31. sfn error: no target: CITEREFSaadia2010 (help)
54. ^ 1 Chronicles 16:v
55. ^ Saadia 2010, pp. 31-32 (annotation 77). sfn error: no target: CITEREFSaadia2010 (aid)
56. ^ Kselman 2007, pp. 776–78.
57. ^ Comments on the Psalms of Hilary of Poitiers, 4th century , Paris, Editions du Cerf , 2008, drove Christian sources No. 515
58. ^ Discourse on the Psalms, of St. Augustine, the fourth century , 2 vols., Collection "Christian Wisdom", Editions du Cerf
59. ^ Saadia Gaon (1966). Qafih, Yosef (ed.). Psalms, with a Translation and Commentary made by Rabbi Saadia Gaon (in Hebrew). Jerusalem - New York: American Academy for Jewish Studies. OCLC 741065024.
60. ^ Commentary on the Psalms (up to Psalm 54) St. Thomas Aquinas, 1273, Editions du Cerf, 1996
61. ^ Comment psalms of John Calvin, 1557
62. ^ Emmanuel, Commentaire juif des psaumes, Editions Payot, 1963
63. ^ DLC (27 August 2006). "Hebrew Language Detective: katom". Balashon. Retrieved 19 September 2012.
64. ^ "Daily Tehillim". Daily Tehillim. Retrieved sixteen April 2014.
65. ^ "Habakkuk 3 / Hebrew – English Bible / Mechon-Mamre". Mechon-mamre.org. Retrieved 17 March 2013.
66. ^ "ארכיון הדף היומי". Vbm-torah.org.
67. ^ "Proverbs 5:19 A loving doe, a graceful deer-may her breasts satisfy yous ever, may you lot ever be captivated by her dear". Bible.cc. Retrieved 19 September 2012.
68. ^ "ספר החינוך - אהרן, הלוי, מברצלונה, מיחס לו; שעוועל, חיים דב, 1906-1982; רוזנס, יהודה בן שמואל, 1657-1727; ברלין, ישעיה בן יהודה, 1725-1799 (folio 637 of 814)". Hebrewbooks.org.
69. ^ For the relationship between prayer and psalms—tefillah and tehillah—run into South. R. Hirsch, Horeb §620. See as well Jewish services § Philosophy of prayer.
70. ^ Tom Meyer. "Saint Sabas and the Psalms" (PDF). Etrfi.org . Retrieved 14 July 2018.
71. ^ Sarah Eekhoff Zylstra. "Let's Sing the Songs Jesus Sang". Retrieved 8 January 2020.
72. ^ "The Psalms of David – Sung a cappella". Thepsalmssung.org. Retrieved 16 April 2014.
73. ^ Concise Encyclopedia of Islam, C. Glasse, Messenger
74. ^ Wherry, Elwood Morris (1896). A Complete Alphabetize to Auction's Text, Preliminary Discourse, and Notes. London: Kegan Paul, Trench, Trubner, and Co.
75. ^ A-Z of Prophets in Islam and Judaism, B.Grand. Wheeler, Apostle
76. ^ "Psalms". Oxford Middle for Islamic Studies.
77. ^ Murrell, Nathaniel Samuel. "Tuning Hebrew Psalms to Reggae Rhythms". Retrieved 11 February 2008.

Bibliography [edit]

• Alter, Robert (2007). The Book of Psalms. Westward. West. Norton. ISBN9780393062267.
• Berlin, Adele; Brettler, Marc Zvi (2004). "Psalms". In Berlin, Adele; Brettler, Marc Zvi; Fishbane, Michael A. (eds.). The Jewish Study Bible . Oxford University Press. ISBN9780195297515.
• Bray, G. (1996). Biblical Interpretation: By and Present. Intervarsity Press.
• Bullock, C. Hassell (2004). Encountering the Volume of Psalms: A Literary and Theological Introduction. Bakery Academic. ISBN9780801027956.
• Clifford, Richard J. (2010). "Psalms". In Coogan, Michael David; Brettler, Marc Zvi; Newsom, Carol Ann (eds.). The New Oxford Annotated Bible: New Revised Standard Version: with the Apocrypha: an Ecumenical Study Bible. Oxford Academy Press. ISBN9780195289558.
• Day, John (2003). Psalms. Continuum. ISBN9780567084545.
• Harris, Stephen L. (1985). Understanding the Bible. Mayfield.
• Hayes, John H. (1998). "The Songs of Israel". In McKenzie, Steven 50.; Graham, Matt Patrick (eds.). The Hebrew Bible Today: An Introduction to Critical Issues . Westminster John Knox Press. ISBN9780664256524.
• Kselman, John S. (2007). "Psalms". In Coogan, Michael David; Brettler, Marc Zvi; Newsom, Carol Ann (eds.). The New Oxford Annotated Bible with the Apocryphal/Deuterocanonical Books. Oxford University Press. ISBN978-0-19-528880-3.
• Mazor, Lea (2011). "Book of Psalms". In Berlin, Adele; Grossman, Maxine (eds.). The Oxford Dictionary of the Jewish Religion. Oxford University Press. ISBN9780199730049.
• Mitchell, David C. (1997). The Message of the Psalter: An Eschatological Plan in the Volume of Psalms. JSOT: Sheffield Academic Press. ISBN978-i-85075-689-7.
• Mitchell, David C. (2015). The Songs of Ascents: Psalms 120 to 134 in the Worship of Jerusalem's Temples. Campbell: Newton Mearns.
• Potato, Roland Eastward. (1993). "Psalms". In Coogan, Michael D.; Metzger, Bruce (eds.). The Oxford Companion to the Bible. Oxford University Press. ISBN9780199743919.
• Prinsloo, Willem S. (2003). "Psalms". In Dunn, James D. G.; Rogerson, John William (eds.). Eerdmans Commentary on the Bible. Eerdmans. ISBN9780802837110.
• Saadia Gaon (2010). Qafih, Yosef (ed.). Book of Psalms, with a Translation and Commentary made by Rabbi Saadia Gaon (תהלים עם תרגום ופירוש הגאון רבינו סעדיה בן יוסף פיומי זצ"ל) (in Hebrew). Kiryat-Ono: Makhon Moshe (Makhon Mishnat haRambam). OCLC 741156698.
• Simon, Uriel (1982). Four Approaches to the Volume of Psalms: from Saadiah Gaon to Abraham Ibn Ezra (ארבע גישות לספר תהלים) (in Hebrew). Ramat Gan: Bar-Ilan University. ISBN9652260312. OCLC 10751226.
• Theodore, Antony (2021). Psalms of Love. ISBN9788195254613.
• Zenner, Johannes Konrad (1896). Die Chorgesänge im Buche der Psalmen: ihre Existenz und ihre Grade nachgewiesen. Herder.

External links [edit]

Wikimedia Commons has media related to Psalms.

Wikiquote has quotations related to: Psalms

• Tehillim Online to read psalms of David in Hebrew or transliterated.
• Acquire Tehillim Online to read and hear TEHILIM OF THE DAY in Hebrew.
• Full reading and translation of all 150 Psalms
• Psalms from Dead Ocean Scrolls (Psalms 151–154)
• Book of Psalms Audiobook—King James Version
• Psalms public domain audiobook at LibriVox Various versions

Translations [edit]

• Jewish translations:
  • Tehillim—Psalms (Judaica Press) translation [with Rashi'south commentary] at Chabad.org
• Christian translations:
  • Book of Psalms—NIV
  • Revised Grail Psalms (see: Grail Psalms)

Commentary and others [edit]

• Online encyclopedia
  • "Psalms." Encyclopædia Britannica Online.
• Jewish
  • reading of Tehillim—Psalms and many explanation.
  • Psalms (Judaica Printing) translation [with Rashi's commentary] at Chabad.org
  • Penetrating beneath the surface level of the Tehillim—Psalms
  • Reading of Tehillim—Psalms in ancient tunes and explanation. Likewise a complimentary series that teaches how to read the cantilation notes of Psalms
• Christian
  • St. Augustine of Hippo (1888). Homelies on Psalms. clerus.org. Translated by Philip Schaff. Archived from the original on xi Apr 2019. Retrieved 14 April 2019.
  • Spurgeon, Charles H. (1885). The Treasury of David.
  • Commentary on the Psalms by Gordon Churchyard, at world wide web.easyenglish.bible
  • Introduction to the Psalms by Wilbert R. Gawrisch
  • Introduction to the Psalms a Forrad Movement publication
  • Fordham, David, ed. (Oct 1986), The Book of Psalms: In the Authorized Version (illuminated ed.), ISBN978-0805000467 .

Psalms Wisdom literature
Preceded by The Twelve Prophets	Hebrew Bible	Succeeded by Proverbs
Preceded by Job	Western Old Testament
	E. Orthodox Onetime Attestation	Succeeded past Odes

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Source: https://en.wikipedia.org/wiki/Psalms

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