[2] It forms a regular part of Jewish, Catholic, Anglican, Eastern Orthodox Church and Protestant liturgies.

It has often been set to music, notably by Heinrich Schütz, by Johann Sebastian Bach who began a cantata with its beginning, by Joseph Haydn, who based a movement from Die Schöpfung on the psalm, and by Beethoven, who set a paraphrase by Gellert in "Die Himmel rühmen des Ewigen Ehre".

Jean-Joseph Cassanéa de Mondonville wrote a grand motet Caeli enarrant in 1750 and François Giroust in 1791.

These connections include:[5] According to the Baptist preacher Charles Spurgeon, this psalm compares and contrasts "the study of God's two great books—nature and Scripture".

Nonetheless, he points that these two parts have been in unity since the Septuagint and agrees with it, "the inclination to adopt this [critical] solution is liable to stem from intellectual laziness.

[12] The final verse in both the Hebrew and KJV versions, "Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight, O Lord, my strength, and my Redeemer," is used as a prayer in both the Jewish[13] and Christian traditions.

42. Notable settings to German texts include: In Protestant Christianity, various metrical settings of Psalm 19 have been published, including "The heav'ns and firmament on high do wondrously declare" in The Whole Booke of Psalmes (Thomas Sternhold and John Hopkins, 1584)[27][28] and "The heav’ns God’s glory do declare" in the Scottish Psalter (1650).

[30] The Rastafarian song "Rivers of Babylon" (recorded 1970 by The Melodians) includes a reference to the Amidah through verse 14 of Psalm 19 in English together with a reference to Psalm 137 that was written in memory of the first destruction of Zion (Jerusalem) by the Babylonians in 586 BC (the city and the Second Temple were destroyed in 70 AD by the Romans).

[31] "The judgements of the Lord are true and righteous altogether", a phrase from Psalm 19:9, is inscribed on the Lincoln Memorial in Washington DC.