MUSIC OF LIFE - If the psalms correspond to the undulating songs of joy and grief which mark all of human life, then Psalm 150 describes a moment in life when the song suddenly shifts from a plodding Nora Jones lament to a rousing Handel’s Messiah Hallelujah flourish that bids all who has breath to sing praise out in double-forte: "Hallelujah," or "Praise the Lord."

STRUCTURE - The word, "hallelujah," is the repetitive imperative that begins every half-line in this psalm. Notice also that the single word "hallelujah" provides both context and object: hallelu ([you] praise God in . . . his sanctuary / firmament; and for . . .his mighty deeds / surpassing greatness. The rest of the hallelujah provides the object of our praise: God (Yah). Hallelu-yah.

THE DUKE AND THE 150TH - Jazz historian Stanley Dance tells an intriguing story about Duke Ellington. Performing in Barcelona, Ellington played his version of Psalm 150 in the ancient Church of Santa Maria del Mar. Normally given to stately and carefully ordered worship, on this occasion, "the enthusiasm was such that the congregation burst into the aisles to participate in the finale, ‘Praise God and Dance’ [Psalm 150]. The music and the message of the concert seemed to transcend language barriers without difficulty." [1]

 

Is your worship mostly mental appreciation? What would Psalm 150 look like in your performance of worship?

This is no "Shhhhhhh! No singing in the library" psalm. To rejoice with your whole heart and being may take your loudest voice and your brassiest instruments-trumpets, tambourines and loud clashing cymbals. How do you make music to the God of the universe? How do you declare your praise? During a period of time when you can b e alone, or perhaps together with a few close friends, experiment with loud worship.

In the context of Acts 5:27-32 (the first lesson) this psalm would provide an effective counterpoint or recurring theme. In the Acts 5 account, the early followers of Jesus encounter some religious Marian the Librarians: "You shush up about Jesus or else." Yet in stark contrast stands the maestro at the podium in Psalm 150-"let everything that has breath praise the Lord."

When you have a context-place ("in" . . . ) and reason ("for" . . .)-and you have the object in view-the resurrection of Jesus Christ center and foremost in early Christian experience-you suddenly find your voice and Duke Ellington has everyone in the library praising God.

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[1] Cited in The New Interpreter’s Bible IV (Nashville: Abingdon Press, 1996), page 1280.