The melody was also popular elsewhere in Europe, and appears in a Swedish/Latin version in the 1582 Finnish songbook Piae Cantiones, a collection of sacred and secular medieval songs.

The most popular that keeps the macaronic structure is R. L. de Pearsall's 1837 translation, which retains the Latin phrases and substitutes English for German.

[6] A 2008 survey by BBC Music Magazine found this to be the second most popular choral Christmas carol with British cathedral organists and choirmasters.

[7] Alternatively, a looser translation produced in 1853 by John Mason Neale titles the work "Good Christian Men, Rejoice".

[8] In 1921, H. J. Massé wrote that it was an example of "musical wrong doing ... involving the mutilation of the rhythm of that grand tune In dulci jubilo to the English words Good Christian Men Rejoice.

It is inconceivable that anyone of any real musical culture should have lent himself to this tinkering with a perfect tune for the sake of fitting it perforce to works of inferior merit.

[9] Jeremy Summerly in his radio documentary series A Cause for Caroling is more complimentary, saying that the mistaken repeated note is what makes that version of the tune memorable.

[10] Still another English translation, made in the 19th century by Arthur T. Russell and featured in several Lutheran hymnals, renders the work as "Now Sing We, Now Rejoice".

Now let us sing with joy and mirth, In honour of our Lordes birth, Our heart's consolation Lies in præsepio, And shines as the sun, Matris in gremio.

BWV 729, written by Bach to accompany congregational singing in Arnstadt, is traditionally performed as the first organ voluntary at the end of the Festival of Nine Lessons and Carols at King's College, Cambridge.

[19] Franz Liszt included the carol in his piano suite Weihnachtsbaum in the movement entitled "Die Hirten an der Krippe" (The Shepherds at the Manger).

Gustav Holst included both "Good Christian Men, Rejoice" (Neale version, 1853) and "God Rest You Merry, Gentlemen" in his 1910 choral fantasy Christmas Day, with accompaniment for orchestra or organ.

The singing, presided over by a nameless Jamaican countertenor, is described as "the War's evensong" (p. 130), and culminates thus: "climaxing now with its rising fragment of some ancient scale, voices overlapping three- and fourfold, up, echoing, filling the entire hollow of the church—no counterfeit baby, no announcement of the Kingdom, not even a try at warming or lighting this terrible night, only, damn us, our scruffy obligatory little cry, our maximum reach outward—praise be to God!—for you to take back to your war-address, your war-identity, across the snow’s footprints and tire tracks finally to the path you must create by yourself, alone in the dark.

(p. 136) An instrumental arrangement of the Pearsall version by English musician Mike Oldfield, "In Dulci Jubilo", reached number 4 in the UK Singles Chart in January 1976.