Psalm 100

"Jubilate" redirects here. For the third Sunday after Easter, see Jubilate Sunday.

This article is about Psalm 100 in Hebrew (Masoretic) numbering. For Psalm 100 in Greek Septuagint or Latin Vulgate numbering, see Psalm 101.

Psalm 100 is the 100th psalm in the Book of Psalms in the Hebrew Bible.^[1] In English, it is translated as "Make a joyful noise unto the Lord, all ye lands" in the King James Version (KJV), and as "O be joyful in the Lord, all ye lands" in the Book of Common Prayer (BCP). Its Hebrew name is מִזְמוֹר לְתוֹדָה, 'Mizmor l'Todah' and it is subtitled a "Psalm of gratitude confession".^[2] In the slightly different numbering system in the Greek Septuagint version of the Bible, and in the Latin Vulgate, this psalm is Psalm 99. In the Vulgate, it begins Jubilate Deo (alternatively: "Iubilate Domino"),^[3] or Jubilate, which also became the title of the BCP version.

Psalm 100
"Make a joyful noise unto the Lord, all ye lands."
Hymn psalm
Miniature of David, in the 8th-century psalter Durham Cassiodorus, Northumbria
Other name	Jubilate Deo, a.k.a. Psalm 99 in the Septuagint/Vulgate numbering
Language	Hebrew (original)

People who have translated the psalm range from Martin Luther to Catherine Parr, and translations have ranged from Parr's elaborate English that doubled many words, through metrical hymn forms, to attempts to render the meaning of the Hebrew as idiomatically as possible in a modern language (of the time). The psalm, being a hymn psalm, has been paraphrased in many hymns, such as "All people that on earth do dwell" in English, and "Nun jauchzt dem Herren, alle Welt" in German.

The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies, and has been set to music many times over centuries. Many composers set it in Latin, and many others in English, because the Jubilate is part of the daily Anglican Morning Prayer, and also in Te Deum and Jubilate compositions, such as Handel's Utrecht Te Deum and Jubilate. It has been set in German by many composers, including Mendelssohn's Jauchzet dem Herrn, alle Welt; Reger's Der 100. Psalm; and Magdalene Schauss-Flake’s “Jauchzet dem Herrn, alle Welt.” In Hebrew, it constitutes the bulk of the first movement of Bernstein's Chichester Psalms.

Hebrew

The Hebrew text of the psalm comprises 5 verses. Unusually for a Biblical poem, it solely comprises tricolons, verses 1 and 2 (a monocolon and a bicolon respectively) combining into a tricolon, and the remaining verses all being tricolons. (One scholar, Jan P. Fokkelman, dissents and takes verse 4 to be two bicolons.) It is usually divided into two strophes, verses 1–3 and verses 4–5.^[4]

1. מזמור לתודה הריעו ליהוה כל הארץ
2. עבדו את יהוה בשמחה באו לפניו ברננה
3. דעו כי יהוה הוא אלהים הוא עשנו ולא [ולו] אנחנו עמו וצאן מרעיתו
4. באו שעריו בתודה חצרתיו בתהלה הודו לו ברכו שמו
5. כי טוב יהוה לעולם חסדו ועד דר ודר אמונתו

The first two words Hebrew: מזמור לתודה, Mizmor l'Todah are the title of the psalm, naming it a song for a specific thanksgiving sacrifice in Solomon's Temple made in order to fulfil a vow.^[5] This is recorded in Shevu'ot in the Babylonian Talmud, stating it to be sung "with harps and cymbals and music on every corner and every large boulder in Jerusalem".^[5] Mediaeval commentator Rashi, who made the correspondence between Shevu'ot's "song of todah" and Psalm 100, stated that the psalm is to be said "upon the sacrifices of the todah", which was expanded upon by David Altschuler in the 18th century stating that it is to be recited "by the one bringing a korban todah for a miracle that happened to him".^[6]

The bracketed part of verse 3 is an instance of Qere and Ketiv in the Masoretic Text.^[7][8] In the body of the text is the Hebrew word לא, lo' meaning "not" whereas the marginalia has the substitute לו, lô meaning "to him".^[7] One Kabbalistic explanation for the qere reading ולו of the literal ketiv ולא propounded by Asher ben David is that the א (Aleph) represents God, and the ketiv is supposed to read "we are The Aleph's", in other words (given that God has already been mentioned, by two names, earlier in the verse) "we are his" per the qere.^[8]

A less established thesis, first propounded in the 1960s (in Lewis 1967), is that the Ketiv text is an asseverative particle, connected to the following phrase and thus as a whole translated as "and indeed we are his people".^[9] Whilst this avoids the problem of the Qere reading making the verse say the same thing twice, it has not gained wide scholarly acceptance. Professor David M. Howard Jr rejects it on constructionist grounds, as the syllabic imbalance in the colon lengths that it introduces outweighs for him what little variance in meaning it has from the Qere reading.^[9] Professor John Goldingay rejects it as "unlikely".^[10]

Although only Psalm 90 is directly attributed to Moses, it is conventional Jewish doctrine that Moses composed all of psalms 90 to 100, and this view is maintained by Rashi.^[11][5]

In Jewish liturgy

The psalm occurs in several siddurim but it is unknown exactly how or when this specific thanksgiving became a part of the daily prayer,^[12] being recited as part of the Songs of thanksgiving (Pesukei dezimra).^[13][14]

Psalm 100 is traditionally omitted, as mentioned by Rashi's student Simcha ben Samuel and discussed in detail by 14th century writer David ben Joseph ben David Abduraham, on Shabbat and festivals because the Thanksgiving offering was not offered on these days in the Temple.^[15] Only communal offerings were brought on these days. It is also omitted by Ashkenazim on the day before Pesach and during Chol HaMoed Pesach because the Thanksgiving offering is composed of a loaf of bread, which is chametz that may not be consumed during Pesach, and the day before Yom Kippur because no food is consumed at all on Yom Kippur;^[16][17] however, most Sephardic communities do recite it on these three occasions (but not on Shabbat of Festivals).

However, Amram Gaon did the opposite, omitting this psalm from the daily liturgy but including it in the morning prayer for Shabbat,^[12] and the is the practice in the Italian Nusach today.

Additionally, most Sephardic communities recite this Psalm as part of Kabbalat Shabbat.

Verse 2, "Ivdu es-Hashem b'simcha" (Serve the Lord with joy) is a popular inspirational song in Judaism.^[18]

Translations

Latin

 

The lectern at the church of Saint-Étienne in Espelette is inscribed with the first verse from the Vulgate.

The psalm is number 99 in the Vulgate:^[19][20]

1. Jubilate Deo omnis terra : servite Domino in lætitia.
2. Introite in conspectu ejus : in exsultatione.
3. Scitote quoniam Dominus ipse est Deus : ipse fecit nos, et non ipsi nos.
4. Populus ejus, et oves pascuæ ejus, introite portas ejus in confessione : atria ejus in hymnis, confitemini illi.
5. Laudate nomen ejus, quoniam suavis est Dominus; in æternum misericordia ejus : et usque in generationem et generationem veritas ejus.

Jerome's Hebraica veritas reads "et ipsius sumus" in verse 3.^[21]

A different Latin form of the psalm is to be found in Elizabeth I of England's Preces Private of 1564, where it is numbered psalm 100.^[22][23] Contrast its first two verses:

1. Jubilate in honorem Domini, quotquot in terra versamini.
2. Colite Dominum com laetitia, venite in conspectum ipsius cum exultatione.

Traditionally in the Roman Catholic Church, this psalm was chanted in abbeys during the celebration of matins on Fridays,^[24][25] according to the schema of St. Benedict of Nursia.^[26] As one of the most important psalms, Psalm 100 (99) was similarly sung for the solemn office of Lauds on Sunday.^[27]

In the 1970 reform of the Liturgy of the Hours, Psalm 100 is one of four Invitatory psalms which can introduce the daily office hours. It is recited at Lauds on the Fridays of the first and third weeks of the four week cycle of liturgical prayers. Psalm 100 is also present among the readings of the office of the Mass: found on January 5 after the Octave of Christmas, and on the fourth Sunday of Eastertide.^{[citation needed]} It also appears six times in Ordinary Time: Thursday of the 8th week, the Friday of the 22nd week, Tuesday and Friday of the 24th week, the Monday of the 29th week, and on Thursday of the 34th week of Ordinary Time.^{[citation needed]}

Because of its text and its subject, this psalm is still one of the most important liturgical chants, during the celebration of the Jubilee every 25 years in Rome.^[28] It is sung when the bishop opened the Door of Mercy.^[29]

The Old English text in the Vespasian Psalter is not an idiomatic translation but a word for word substitution, an interlinear gloss, of the Vulgate Latin:^[30]

1. Wynsumiað gode, all eorðe: ðiowiaƌ Dryhtne in blisse;
2. ingað in gesihðe his: in wynsumnisse.

King James Version

 

Wikisource has original text related to this article:

Psalm 100

In the King James Version, Psalm 100 is superscripted An exhortation to praise God cheerfully for his greatness and for his power.^[31]

1. A Psalm of Praise. Make a joyful noise unto the Lord, all ye lands.
2. Serve the Lord with gladness: come before his presence with singing.
3. Know ye that the Lord he is God: it is he that hath made us, and not we ourselves: we are his people, and the sheep of his pasture.
4. Enter into his gates with thanksgiving, and into his courts with praise: be thankful unto him, and bless his name.
5. For the Lord is good, his mercy is everlasting: and his truth endureth to all generations.

The Qere "and his we are" is recorded as marginalia; which was to become the translation used in the main body text by the time of the Revised Version.^[32] Other marginalia provide "all the earth" and "to generation and generation" from the Hebrew for verses 1 and 5.

Geddes

The 1807 translation by Alexander Geddes for Catholics demonstrates some of the alternative choices set out in the translation notes section below:^[33]

1. A EUCHARISTIC PSALM.
   CELEBRATE Jehovah, all ye lands !
2. with joyfulness worship Jehovah !
   Come into his presence with exultation.
3. Know that Jehovah is the only God :
   It was he who made us, and his we are;
   his own people, and the flock of his pasture.
4. With thanksgiving enter into his gates;
   into his courts with songs of praise.
   To him be thankful, and bless his name :
5. For good is Jehovah ! everlasting his bounty !
   and his veracity from generation to generation.

Driver and BCP

 

The second part of verse 1 in the BCP translation, set to a chanting tune in James Green's 1738 A Book of Psalmody at the Internet Archive

Samuel Rolles Driver's Parallel Psalter has the Prayer Book translation of psalm 100 on a verso page.^[34] It is identical to the Jubilate Deo, sans Gloria, from the Book of Common Prayer, intentionally retaining the use of "O" for the vocative amongst other things:^[35]

1. O be joyful in the Lord, all ye lands : serve the Lord with gladness, and come before his presence with a song.
2. Be ye sure that the Lord he is God : it is he that hath made us, and not we ourselves; we are his people, and the sheep of his pasture.
3. O go your way into his gates with thanksgiving, and into his courts with praise : be thankful unto him, and speak good of his Name.
4. For the Lord is gracious, his mercy is everlasting : and his truth endureth from generation to generation.

The beginning of verse 1 here is the same as Psalm 66 verse 1 and Psalm 98 verse 4.^[34]

His own 1898 translation is on a facing recto page.^[36] It exhibits several of the differences in modern translations that are explained in the below translation notes section.

1. Shout unto Jehovah, all the earth.
2. Serve Jehovah with gladness;
   come before his presence with a ringing cry.
3. Know ye that Jehovah he is God :
   it is he that hath made us, and we are his;
   (we are) his people, and the flock of his pasture.
4. O enter into his gates with thanksgiving,
   (and) into his courts with praise :
   give thanks unto him, bless his name.
5. For Jehovah is good, his kindness (endureth) for ever,
   and his faithfulness unto all generations.

For "pasture" in verse 3 he gives "shepherding" as an alternative, and for "thanksgiving" in verse 4 "a thank-offering".^[36]

Psalm 100 was one of the fixed psalms in the older Anglican liturgy for office of lauds on Sundays, and the Prayer Book translation given by Driver (with an added Gloria) is a part of the order of morning prayer in the Book of Common Prayer under the title Jubilate Deo, or just Jubilate.^[37] It was added to the BCP litany in 1552, as a substitute for the Benedictus to be used only on days when it so happened that the second Lesson prescribed for the day happened to already include that part of the Gospel of Luke.^[38]

Kethe

 

The melody for Loys Bourgeois's Old 100th with Kethe's translation, from a 1628 publication

William Kethe's translation is in long metre, and formed part of a collection of psalms translated into metrical form in English, the 1562 expanded 150-psalm edition of Thomas Sternhold's and John Hopkins's 1549 metrical psalter (Day's Psalter).^[39] First appearing in Fourscore and Seven Psalms of David (the so-called Genevan Psalter) the year before,^[40] it divides the verses in the same way as the Book of Common Prayer:

1. All people that on earth do dwell, sing to the Lord with cheerful voice: him serve with fear, his praise forth tell, come ye before him and rejoice!
2. The Lord, ye know, is God indeed, without our aid he did us make; we are his flock he doth us feed, and for his sheep he doth us take.
3. O enter then his gates with praise, approach with joy his courts unto; praise, laud, and bless his Name always, for it is seemly so to do.
4. For why? the Lord our God is good, his mercy is for ever sure; his truth at all times firmly stood, and shall from age to age endure.

Of all of the psalms in the Sternhold and Hopkins psalter, Kethe's translation is the most famous and lasting, it being a popular hymn usually set to the tune "Old 100th". Hannibal Hamlin, a professor of English, observes that it suffers from common ailments of strophic song settings, that the first verse fits a tune better than subsequent verses and that the phrasing has a tendency towards the convoluted. Hamlin holds up "him serve with fear", with an unusual object-verb-object ordering for the imperative in English (which would in colloquial English more usually be "serve him with fear"), followed by a similarly unusual word order in "his praise forth tell", as examples of the latter. The former is exemplified by the drawn-out end of the second line of the tune "Old 100th" fitting "cheerful voice" better than it does "courts unto" and "ever sure".^[41]

Biblical scholar J. Clinton McCann Jr characterises this translation of the psalm as "the banner hymn of the Reformed tradition", and observes that the psalm would have provided an excellent basis, better than that of the Book of Genesis, for the Westminster Confession of Faith's declaration of the primary purpose of humans being to glorify God.^[42]

Luther

Martin Luther translated the psalm into German, including the Hebrew title in the first verse (like Geddes) with the psalm under the title Der 100. Psalm:^[43]

1. Ein Dankpsalm. Jauchzet dem Herrn, alle Welt.
2. Dienet dem Herrn mit Freuden; kommt vor sein Angesicht mit Frohlocken.
3. Erkennet, daß der Herr Gott ist. Er hat uns gemacht, und nicht wir selbst zu seinem Volk, und zu Schafen seiner Weide.
4. Gehet zu seinen Toren ein mit Danken, zu seinen Vorhöfen mit Loben; danket ihm, lobet seinen Namen.
5. Denn der Herr ist freundlich, und seine Gnade währet ewig, und seine Wahrheit für und für.

Watts/Wesley

Hymnals sometimes attribute "Before Jehovah's awful throne", another translation of the psalm in hymn form common in Methodism, to Isaac Watts, but this is only partly true.^[44][45] Watts translated Psalm 100 twice, to form a hymn comprising two parts that was first published in Psalms of David Imitated, the first subtitled "a plain translation", whose first verse was:^[45]

1. Ye nations of the Earth rejoice, Before the Lord your sovereign King; Serve him with cheerful heart and voice; With all your tongues his glory sing.

and the second subtitled "a paraphrase", whose first two verses (as later re-published) were:^[45][46]

1. Sing to the Lord with joyful voice; Let ev'ry land his name adore; The British isles shall send the noise Across the ocean to the shore.
2. Nations attend before his throne, With solemn fear and sacred joy: Know that the Lord is God alone; He can create, and he destroy.

The second verse of the paraphrase was a rewrite, Watts' original in the 1706 Horae Lyricae reading:^[45]

2. With gladness bow before his throne, And let his presence raise your joys, Know that the Lord is God alone, And form'd our Souls, and fram'd our voice.

No version of Watts contained the line about the "awful throne". That was a revision by John Wesley for his 1737 Collection of Psalms and Hymns, who discarded Watts' first verse of part 2 entirely, and rewrote its now-first verse (that verse's second rewrite) to include the line by which it is known:^[45][46][47]

1. Before Jehovah's awful throne, Ye nations, bow with sacred joy; Know that the Lord is God alone; He can create, and he destroy.

The word "awful" is used here in its older, 18th century, meaning, and some modern reprints of Watts/Wesley spell it "awe-ful" to make this clear.^[47] Other hymnals revised it further, instead; in the Lutheran book of worship it is "Before Jehovah's awesome throne", and in the 1982 Episcopal Hymnal it is "Before the Lord's eternal throne".^[48]

Others

There are other translations of the psalm in hymn form and otherwise, including "Before the Lord Jehovah's Throne" (number 306 in the Presbyterian The Worshipbook),^[49] "Sing, All Creation" (set to the tune of Rouen's "Iste Confessor" in Morning Praise and Evensong),^[49] the metrical "O be joyful in the Lord, Sing before him, all the earth" (number 482 in The Worshipbook),^[49] and Joseph Gelineau's "Cry Out with Joy to the Lord" in his Gradual.^[49]

Catherine Parr's Psalms or Prayers contains an elaborate translation into English, from the Elizabethan Latin translation, that doubles most of the imperative verbs and some of the adjectives and nouns. "Jubilate" becomes, for example "Rejoice and sing"; and "colite" becomes "worship and serve".^[22]

Translation notes

As aforementioned, verse 3 contains an instance of Qere and Ketiv in the Masoretic Text. The KJV translation "and not we ourselves" is based upon the ketiv, and agrees with the Septuagint and Vulgate translations; the New American Standard Bible and the Darby Bible also agreeing. More modern translations such as those of the New International Version and the English Standard Version are based upon the qere, and read "and we are his".^[7][50] Geddes opined in a footnote to his translation that the KJV/Septuagint translation is "totally inadmissable".^[33]Wilhelm Martin Leberecht de Wette, in his German translation of the Psalm, likewise gave the translation "und sein sind wir", noting that the ketiv translation "und nicht wir" (as given by Luther) is "ganz unschicklich".^[51]

The historicist argument in support of following the qere over the ketiv is that the ketiv simply makes no sense in context. There was simply no contemporary Biblical world view in which people believed that they created themselves. It is bolstered by a constructionist argument that the structure of the psalm is better taking the qere reading, as in that way each part of the second half of the verse contains a pronoun or possessive suffix referencing the names of God in the first half.^[52]Robert Lowth, writing in James Merrick's 1768 Annotations on the Psalms, said that "I am persuaded that the Masoretical correction [...] is right: the construction and parallelism both favour it."^[53]

The Old English metrical form of Psalm 100, associated with the Paris Psalter, similarly gives "we his syndon" ("we belong to him"). Scholarship on this rests on the 19th century Ph.D. thesis of Helen Bartlett.^[54] Bartlett, like the parallel Old-English and Latin psalters of earlier in the 19th century (e.g. Thorpe 1835, p. 271), only compares the Old English translation with the Vulgate Latin (also using the Vulgate numbering), not with the Latin of Jerome, and ascribes "we his syndon" to a mistranslation of the Vulgate "et non ipsi nos" that overlooks "non" and misconstrues a dative, rather than to Jerome's "et ipsius sumus".^[55]

Lost in the English translation is that all of the imperative verbs in the Hebrew are in the plural.^[56] The phrase "make a joyful noise" is significantly longer than the Hebrew, which is just one word (as is the Latin); and translators aiming to preserve the text more literally use verbs such as "acclaim", "hail", or "shout" (as Driver did).^[57][36] Also lost in most English translations is the use of the vocative, although the Book of Common Prayer translation retained this by use of "O", as did the original Prayer Book translation that Driver gave.^[58][57][59]Hermann Gunkel translated the end of verse 1 as "all the land", i.e. all of the land of Israel, rather than the more generally accepted modern translation of "all the Earth", i.e. everyone; a point upon which James Luther Mays commented that "Gunkel's historicism led him astray".^[58][57][60]

Musical settings

In Latin

The Jubilate in Latin was set to music often, including works by Giovanni Pierluigi da Palestrina in 1575,^[28] Giovanni Gabrielli,^[61] and Michel-Richard de Lalande as his S72/5. Fernando de las Infantas' setting was composed for the Jubilee of 1575.^[62] One of the surviving manuscripts of the grand motets by Jean-Baptiste Lully is a setting of the Jubilate Deo, catalogue number LWV 77/16; there is doubt as to its authenticity, and whether it is the same piece as Jean Loret reported performed on 29 August 1660 at the monastery of La Mercy in Paris to celebrate "le Mariage et la Paix" (the marriage of Louis XIV and the peace with Spain).^[63][64] Marc-Antoine Charpentier set Jubilate Deo omnis terra, H.194, for three voices, two treble instruments and continuo in 1683.

Both Wolfgang Amadeus Mozart,^[61] and his father Leopold Mozart wrote a setting.^[61]

In English

 

The melody for Loys Bourgeois's Old 100th with Kethe's translation, from a 1628 publication

William Kethe's metric translation of Psalm 100, "All people that on earth do dwell", became a popular hymn with the melody by Loys Bourgeois from the Genevan Psalter, Old 100th^[39][40]

The Jubilate or Jubilate Deo in English is a daily part of the Anglican liturgy, set to music by many composers. Henry Purcell included it in his Te Deum and Jubilate, and George Frideric Handel in his Utrecht Te Deum and Jubilate; both composers took the approach of one movement for each verse, Handel splitting the BCP verse 1 back into its constituent two original Hebrew verses, with one movement each.^[65] Charles Villiers Stanford's setting was part of his innovative Morning, Evening and Communion Service in B♭, and the Jubilate Deo was first performed on 25 May 1879.^[66] Ralph Vaughan Williams composed two settings of the psalm, The Hundredth Psalm a choral cantata in 1929 using the BCP translation, and The Old Hundredth Psalm Tune in 1952 using Kethe's translation, which was used for the coronation of Elizabeth II and had parts for SATB, organ, orchestra, and congregation.^[67][68] Other settings were written by composers including John Gardner,^[61] Herbert Howells,^[61] John Ireland,^[61] Richard Purvis,^[61] George Dyson,^{[citation needed]} Kenneth Leighton,^{[citation needed]} William Walton,^[61] and John Rutter.^[69] Benjamin Britten composed Jubilate Deo in C in 1961.^[61]

In German

The hymn "Nun jauchzt dem Herren, alle Welt" is a 1646 paraphrase of Psalm 100 by David Denicke.

Heinrich Schütz set Psalm 100 to music several times, first as part of his Psalmen Davids of polychoral psalms in German, published in 1619, Jauchzet dem Herren, alle Welt, SVW 36 set for double choir with echo effects. He wrote a setting of a metred paraphrase of the psalm, "Jauchzet dem Herren, alle Welt", SWV 189, for the Becker Psalter, published first in 1628. Finally, he composed a setting as part of his Opus Ultimum, the motet (SWV 493) being the first that he composed of the 13 motets in that work for the re-consecration of the Dresden church after its renovation on 28 September 1662. It was believed lost until it was reconstructed in 1981 by Wolfram Steude.^[70] A pasticcio motet Jauchzet dem Herrn alle Welt was composed by Georg Philipp Telemann or Johann Sebastian Bach, and Johann Gottlob Harrer:^[71] The text of the first movement of Bach's Christmas Oratorio, Jauchzet, frohlocket!, is a paraphrase of the psalm.

Felix Mendelssohn set the psalm to music for eight voices as Jauchzet dem Herrn, alle Welt, composed in 1844 and published posthumously in 1855.^[72] Max Reger entitled his 1906 setting of Luther's translation, a choral symphony, Der 100. Psalm.

In Hebrew

Leonard Bernstein set the Hebrew text of Psalm 100 to music in his Chichester Psalms, the whole psalm forming the majority of the first movement.^[73] Other settings were written by Malcolm Arnold^{[citation needed]} and Charles Ives.^{[citation needed]}

See also

• Hakarat HaTov

References

1. Mazor 2011, p. 589.
2. Samson Raphael Hirsch, Sidur tefilot Yisrael, Israels Gebete, (סדור תפלות ישראל). I. (Kauffmann, Frankfurt a.M. 1921), OCLC 18389019, p. 55.
3. PSALMUS 100 (99) at Vatican website.
4. van der Lugt 2014, pp. 101–103.
5. Baumol 2009, p. 42.
6. Baumol 2009, pp. 42, 45.
7. Mariottini 2013, pp. 99–100.
8. Dauber 2012, p. 213.
9. Howard 1997, p. 93. sfn error: no target: CITEREFHoward1997 (help)
10. Goldingay 2008, p. 133.
11. Guggenheimer 2011, p. 34.
12. Baumol 2009, pp. 42–43.
13. B. Posen: Die Schabbos-Vorschriften. Hilchos Schabbos. Morascha, Basel 2005, OCLC 694996857, p.55:„An Schabbat und Feiertagen, an Erew Jom Kippur und Pesach, sowie an Chol Hamo'ed Pessach wird der Psalm nicht gesprochen.“
14. Hochspringen ↑ Raw B. Posen: Die Schabbos-Vorschriften. Hilchos Schabbos. Morascha, Basel 2005, OCLC 694996857, p. 53 (s. Google Books). Ps. 100. מזמור לתודה: „Todah ist sowohl Bekenntnis einer Dankverpflichtung, als eines Schuldbewusstseins
15. Baumol 2009, pp. 43.
16. The Complete Artscroll Siddur page 64
17. Raw B. Posen: Die Schabbos-Vorschriften. Hilchos Schabbos. Morascha, Basel 2005, OCLC 694996857, S. 53 (auch einsehbar bei Google Books). Ps. 100. מזמור לתודה: „Todah ist sowohl Bekenntnis einer Dankverpflichtung, als eines Schuldbewusstseins“.
18. "Ivdu עִבְדוּ". Zemirot Database. Retrieved January 20, 2019.
19. Mueller 2011, p. 362.
20. Moorsom 1903, pp. 6–7.
21. Moorsom 1903, p. 7.
22. Mueller 2011, p. 362.
23. Clay 1851, pp. xv–xvi, 352.
24. Psautier latin-français du bréviaire monastique, p. 355, 1938/2003
25. "La distribution des Psaumes dans la Règle de Saint Benoît | Mont de Cats". abbaye-montdescats.fr. Retrieved 2016-03-29.
26. Règle de saint Benoît, chapitre XVIII, traduction de Prosper Guéranger, p. 46, Abbaye Saint-Pierre de Solesmes, réimpression 2007
27. Psautier latin-français du bréviaire monastique, p. 117.
28. "Don Fernando de Las Infantas, teólogo y músico. Estudio crítico biobibliográfico". Retrieved 2016-03-29.
29. Tablettes historiques du Velay. 1872. p. 449. Retrieved 2016-03-29.
30. Paues 1911.
31. KJV 1867, p. 4.
32. Earle 1894, p. 325.
33. Geddes 1807, p. 184.
34. Driver 1904, p. 290.
35. Driver 1904, p. xxvii.
36. Driver 1904, p. 291.
37. Blunt 1872, pp. 17, 314.
38. Blunt 1872, pp. 16–17.
39. Holladay 1995, p. 200.
40. Knowles & Partington 1999, p. 87.
41. Hamlin 2004, pp. 48–49.
42. Goldingay 2008, p. 134.
43. BuaB 1877, p. 76.
44. Moorsom 1903, p. 6.
45. Hatchett 2003, pp. 187–188.
46. Watts 1860, pp. 201–202.
47. Hostetler 1949, p. 226.
48. Holladay 1995, p. 206.
49. Bower 1987, p. 263.
50. Kohlenberger III 2009, p. 50.
51. de Wette 1856, p. 493.
52. Howard 1997, p. 92. sfn error: no target: CITEREFHoward1997 (help)
53. Calvin 1847, p. 85.
54. O'Neill 2016, p. 680.
55. Bartlett 1896, p. 30.
56. Hayes 1985, p. 25.
57. Alden 1955, p. 123.
58. Mays 1994, p. 68.
59. Driver 1904, pp. xxvii, 290–291.
60. Howard 1997, p. 91. sfn error: no target: CITEREFHoward1997 (help)
61. Laster 1996, pp. 655–656.
62. Stevenson 1961, p. 316.
63. Duron 2008, p. 14.
64. Alwes 2015a, p. 228.
65. Burrows 2005, p. 94.
66. Dibble 2002, p. 102.
67. Gillingham 2012, p. 298.
68. Rosewall 2007, p. 480.
69. Rosewall 2007, p. 417.
70. Robinson 1988, pp. 217–218, 232.
71. Bach Digital Work 01471 at www.bachdigital.de
72. Todd 2004, p. 171.
73. Alwes 2015b, p. 308.

Sources

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• Mariottini, Claude F. (2013). "Psalm 100:3: In search of a better translation". Rereading the Biblical Text: Searching for Meaning and Understanding. Wipf and Stock Publishers. ISBN 978-1-63087-035-5.
• Kohlenberger III, John R. (2009). "The textual sources of the King James Bible". In Burke, David G. (ed.). Translation that Openeth the Window: Reflections on the History and Legacy of the King James Bible. Society of Biblical Lit. ISBN 978-1-58983-356-2.
• Geddes, Alexander (1807). A New Translation of the Book of Psalms: From the Original Hebrew; with Various Readings and Notes. J. Johnson. (A New Translation of the Book of Psalms at the Internet Archive)
• Hayes, John (1985). Preaching the new common lectionary: after Pentecost, Part 3. Abingdon Press. ISBN 978-0-687-33850-4.
• Mays, James Luther (1994). The Lord Reigns: A Theological Handbook to the Psalms. Westminster John Knox Press. ISBN 978-0-664-25558-9.
• de Wette, Wilhelm Martin Leberecht (1856). Commentar über die Psalmen: nebst beigefügter Uebersetzung (5th ed.). Heidelberg: J.C.B. Mohr. ISBN 9780837018317. (Commentar über die Psalmen (1836 edition) at the Internet Archive)
• Alden, Robert (1955). "Psalm 100". Psalms Volume 2. Everyman's Bible Commentaries. Moody Publishers. ISBN 978-1-57567-845-0.
• Driver, Samuel Rolles (1904). The Parallel Psalter (2nd ed.). Oxford: Clarendon Press.
• Knowles, Elizabeth M.; Partington, Angela, eds. (1999). "William Kethe". The Oxford Dictionary of Quotations. Oxford University Press. ISBN 978-0-19-860173-9.
• van der Lugt, Pieter (2014). "Psalm 100". Cantos and Strophes in Biblical Hebrew Poetry III: Psalms 90–150 and Psalm 1. Oudtestamentische Studiën. BRILL. ISBN 978-90-04-26279-9.
• Hamlin, Hannibal (2004). Psalm Culture and Early Modern English Literature. Cambridge University Press. ISBN 978-0-521-83270-0.
• Blunt, John Henry (1872). The Annotated Book of Common Prayer (6th ed.). London: Rivingtons.
• Burrows, Donald (2005). Handel and the English Chapel Royal. Oxford studies in British church music. Oxford University Press. ISBN 978-0-19-816228-5.
• Gillingham, Susan (2012). Psalms Through the Centuries. John Wiley & Sons. ISBN 978-0-470-67490-1.
• Rosewall, Michael (2007). "Vaughan Williams, Ralph". Directory of Choral-orchestral Music. Taylor & Francis. ISBN 978-0-415-98004-3.
• Luther, Martin (1877). Die Psalmen Davids: nach M. Luthers übersetzung. Britische und ausländische Bibelgesellschaft.
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• Laster, James H. (1996). Catalogue of Choral Music Arranged in Biblical Order (2nd ed.). Scarecrow Press. ISBN 978-1-4617-2664-7.
• Dauber, Jonathan (2012). Knowledge of God and the Development of Early Kabbalah. BRILL. ISBN 978-90-04-23427-7.
• Guggenheimer, Heinrich W. (2011). Tractates Ševu'ot and 'Avodah Zarah. Studia Judaica. Vol. 61. Walter de Gruyter. ISBN 978-3-11-025806-6.
• Baumol, Avi (2009). "Psalm 100: Mizmor l'Todah". The Poetry of Prayer: Tehillim in Tefillah. Gefen Publishing House Ltd. ISBN 978-965-229-452-4.
• Bower, Peter C. (1987). Handbook for the Common Lectionary. Westminster John Knox Press. ISBN 978-0-664-24048-6.
• Mueller, Janel, ed. (2011). Katherine Parr: Complete Works and Correspondence. University of Chicago Press. ISBN 978-0-226-64724-1.
• Clay, William Keatinge (1851). Private Prayers: Put Forth by Authority During the Reign of Queen Elizabeth. Cambridge: University Press. (Private Prayers at the Internet Archive)
• Moorsom, Robert Maude (1903). A Historical Companion to Hymns Ancient and Modern (2nd ed.). London: C.J. Clay.
• Howard Jr., David M. (1997). "The Texts: Psalm 100". The Structure of Psalms 93-100. Biblical and Judaic studies. Vol. 5. Eisenbrauns. ISBN 978-1-57506-009-5.
• Hatchett, Marion J. (2003). A Companion to the New Harp of Columbia. University of Tennessee Press. ISBN 978-1-57233-203-4.
• Watts, Isaac (1860). Worcester, Samuel (ed.). The Psalms, hymns, and spiritual songs of the Isaac Watts. Boston: Crocker & Brewster.
• Hostetler, Lester (1949). Handbook to the Mennonite Hymnary. Prabhat Prakashan.
• Holladay, William L. (1995). The Psalms Through Three Thousand Years: Prayerbook of a Cloud of Witnesses. Fortress Press. ISBN 978-1-4514-2030-2.
• Earle, John (1894). The Psalter of the Great Bible of 1539: A Landmark in English Literature. London: John Murray. (The Psalter of the Great Bible of 1539 at the Internet Archive)
• Calvin, John (1847). Anderson, James (ed.). Commentary on the Book of Psalms. Vol. 4. Calvin Translation Society.
• O'Neill, Patrick P., ed. (2016). Old English Psalms. Harvard University Press. ISBN 978-0-674-50475-2.
• Bartlett, Helen (1896). The Metrical Division of the Paris Psalter: A Dissertation (Ph.D. thesis). Bryn Mawr University. (The Metrical Division of the Paris Psalter at the HathiTrust Digital Library)
• Paues, Anna C. (1911). "Bible, English" . In Chisholm, Hugh (ed.). Encyclopædia Britannica (11th ed.). Cambridge University Press.
• "Psalm C". The Holy Bible, Containing the Old and New Testaments. G.E. Eyre and W. Spottiswoode. 1867.
• Alwes, Chester Lee (2015a). A History of Western Choral Music. Vol. 1. Oxford University Press. ISBN 978-0-19-936193-9.
• Alwes, Chester Lee (2015b). A History of Western Choral Music. Vol. 2. Oxford University Press. ISBN 978-0-19-937700-8.
• Duron, Jean (2008). "les nouveaux canons de la musique française sous le règne de Louis XIV". In Duron, Jean (ed.). La naissance du style français: 1650–1673. Editions Mardaga. ISBN 978-2-87009-994-0.
• Stevenson, Robert (1961). Spanish Cathedral Music in the Golden Age. Los Angeles: University of California Press.
• Robinson, Ray (1988). "The Opus Ultimum: Heinrich Schütz's Artistic and Spiritual Testament". In Paine, Gordon (ed.). Five Centuries of Choral Music: Essays in Honor of Howard Swan. Pendragon Press. ISBN 978-0-918728-84-5.
• Goldingay, John (2008). "Psalm 100". Psalms: Psalms 90–150. Baker Commentary on the Old Testament. Vol. 3. Baker Academic. ISBN 978-0-8010-3143-4.
• Dibble, Jeremy (2002). Charles Villiers Stanford: Man and Musician. Oxford University Press. ISBN 978-0-19-816383-1.

Further reading

• Augustine of Hippo (1990). "Exposition of Psalm 99". In Ramsey, Boniface (ed.). Expositions of the Psalms. Vol. 5. Translated by Boulding, Maria. New City Press. pp. 13–28. ISBN 978-1-56548-196-1.
• Thorpe, Benjamin, ed. (1835). Libri Psalmorum versio antiqua Latina: cum paraphrasi Anglo-Saxonica : partim soluta oratione, partim metrice composita. Oxonii: E Typographeo Academico.
• Lewis, Joe O. (1967). "An Asseverative ולא in Psalm 100:3?". Journal of Biblical Literature. 86 (2): 216. doi:10.2307/3263278. JSTOR 3263278.
• Greidanus, Sidney (2016). "'Make a joyful noise to the LORD, all the Earth!': Psalm 100 (99)". Preaching Christ from Psalms. Wm. B. Eerdmans Publishing. pp. 528–548. ISBN 978-0-8028-7366-8.

External links

 

Wikimedia Commons has media related to Psalm 100.

• Pieces with text from Psalm 100: Scores at the International Music Score Library Project
• Psalm 100: Free scores at the Choral Public Domain Library (ChoralWiki)
• Psalms Chapter 100 text in Hebrew and English, mechon-mamre.org
• Shout joyfully to the LORD, all you lands text and footnotes, usccb.org United States Conference of Catholic Bishops
• Psalm 100:1 introduction and text, biblestudytools.com
• Psalm 100 – A Psalm of Thanksgiving for All Lands enduringword.com
• Psalm 100 / Refrain: The Lord is gracious; his steadfast love is everlasting. Church of England
• Hymns for Psalm 100 hymnary.org