The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies, and has been set to music many times over the centuries.

It has also been set in German by many composers, including Mendelssohn's Jauchzet dem Herrn, alle Welt, and Reger's Der 100.

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

[11][12] Contrast its first two verses: Traditionally in the Roman Catholic Church, this psalm was chanted in abbeys during the celebration of matins on Fridays,[13][14] according to the schema of St. Benedict of Nursia.

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] 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.

[20] 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.

[21] 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".

[23] 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.

[24] 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".

[25] 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.

However, Amram Gaon did the opposite, omitting this psalm from the daily liturgy but including it in the morning prayer for Shabbat,[28] and this is the practice in the Italian Nusach today.

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

[43] 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.

[54] 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.

[58] 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).

[64] 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] 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[41][42] The Jubilate or Jubilate Deo in English is part of the daily Anglican morning liturgy of the Book of Common Prayer, and has been set to music by many composers.

[67] 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.

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

He wrote a setting of a metred paraphrase of the psalm, "Jauchzet dem Herren, alle Welt", SWV 198, for the Becker Psalter, published first in 1628.