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Psalm 51, one of the penitential psalms, [1] is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 50 .
David is depicted giving a penitential psalm in this 1860 woodcut by Julius Schnorr von Karolsfeld. The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering).
Pope Clement VIII included the prayer in an appendix to the Vulgate. The prayer is included in some editions of the Greek Septuagint. For example, the 5th century Codex Alexandrinus includes the prayer among fourteen Odes appearing just after the Psalms. [6] It is accepted as a deuterocanonical book by Orthodox Christians. [9]
[17] The Anglican Communion, which includes the Church of England, The Episcopal Church and other member churches, has its own act of contrition, referred to in the Prayer Book as the General Confession. This is said by the Congregation en masse during worship. The 1662 Book of Common Prayer contains two versions. The first (for use at Matins ...
The penitent venerates the Gospel Book and the cross and kneels. This is to show humility before the whole church and before Christ. Once they are ready to start, the priest says, "Blessed is our God, always, now and ever, and unto the ages of ages," reads the Trisagion Prayers and the Psalm 50 (in the Septuagint; in the KJV this is Psalm 51).
Live recording of Avinu Malkeinu during Yom Kippur Morning Service at the Hebrew Union College in Jerusalem. Avinu Malkeinu (Hebrew: אָבִינוּ מַלְכֵּנוּ; "Our Father, Our King") is a Jewish prayer recited during Jewish services during the Ten Days of Repentance, from Rosh Hashanah through Yom Kippur inclusive.
The Tikkun HaKlali consists of the following ten Psalms said in this order: 16, 32, 41, 42, 59, 77, 90, 105, 137, and 150. [2] Each recital is preceded by a paragraph expressing one's desire to bind himself to the tzadikim of all generations, especially Rebbe Nachman, and several verses which are customarily recited before any saying of Psalms.
The work is set as a falsobordone, a technique then commonly used for performing psalm tones in a polyphonic manner. Allegri's setting is based upon the Tonus peregrinus . Verses alternate between a five-part setting sung by the first choir (verses 1, 5, 9, 13, 17) and a four-part setting sung by the second (verses 3, 7, 11, 15, 19 ...