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"It is time to work for the Lord" is the first half of a verse in Psalms that has served as a dramatic slogan at several junctures in rabbinic Judaism. Psalm 119:126 states: "It is time for the Lord to act, for your law has been broken" (New Oxford Annotated Bible ad loc.; Hebrew: עֵ֭ת לַעֲשֹׂ֣ות לַיהוָ֑ה הֵ֝פֵ֗רוּ תֹּורָתֶֽךָ Eth la'asot la-adonai he ...
Psalm 119 is the 119th psalm of the Book of Psalms, beginning in the English of the King James Version: "Blessed are the undefiled in the way, who walk in the law of the Lord". The Book of Psalms is in the third section of the Hebrew Bible , the Khetuvim , and a book of the Christian Old Testament .
In 1567 English composer Thomas Tallis contributed nine tunes for Archbishop Parker's Psalter, a collection of vernacular psalm settings intended for publication in a metrical psalter then being compiled for the Archbishop of Canterbury, Matthew Parker. They are: Man blest no doubt ; Let God arise in majesty
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The set of nine vernacular psalm settings referred to as the nine tunes for Archbishop Parker's Psalter. Man Blest No Doubt ; Let God Arise In Majesty Psalm 68; Why Fum'th In Sight (Psalm 2, tune known as the third mode melody, see also Fantasia on a Theme of Thomas Tallis) O Come In One To Praise The Lord
Other such duplicated portions of psalms are Psalm 108:2–6 = Psalm 57:8–12; Psalm 108:7–14 = Psalm 60:7–14; Psalm 71:1–3 = Psalm 31:2–4. This loss of the original form of some of the psalms is considered by the Catholic Church's Pontifical Biblical Commission (1 May 1910) to have been due to liturgical practices, neglect by copyists ...
Anglican chant, also known as English chant, [1] [2] is a way to sing unmetrical texts, including psalms and canticles from the Bible, by matching the natural speech-rhythm of the words to the notes of a simple harmonized melody. [3] This distinctive type of chant is a significant element of Anglican church music.
The Hesperinos psalm (Ps. 140) in Romanian printed in Cyrillic types is often used as a sticheron avtomelon in echos protos (glas a') (Anastasimatar, Vienna 1823). Many hymns in the Octoechos, such as Kathismata, Odes, and Kontakia are set in a strict meter—a fixed number of syllables with particular stress patterns, consistent throughout multiple verses.