The Talmud notes that when Solomon came to dedicate the Temple and bring in the Ark of the Covenant, the gates refused to open.

[2][3] Another possible Sitz im Leben of Psalm 24 is the situation described in 1 Chronicles 15 and 2 Samuel 6 where David brings the Ark of the Covenant from Obed-Edom's house up to the Tabernacle in Jerusalem.

The Midrash explains that Mizmor LeDavid indicates that first David played on his harp, and then God's spirit rested upon him.

[9] In recent centuries, Ashkenazi Jews also recite the psalm while the Torah scroll is carried back to the ark on weekdays, Rosh Chodesh, festivals, and during the Shabbat afternoon prayer.

Chasidic and Sephardic Jews recite it on Rosh Hashanah and Yom Kippur after the evening prayer, and some Nusach Ashkenaz communities have adopted the practice as well.

[17] The dialogue of Psalm 24, verses 7–10, requesting the gates to open for the King of Glory, have been associated with the ascension of Jesus since the second century, when the Christian philosopher Justin described (in Dialog mit dem Juden Tryphon 36,4–6) a dialogue of heavenly lords who did not recognise Jesus because of his human appearance.

[19] Matthew Henry concurs, adding that the Ark being brought up to Jerusalem symbolizes Christ entering into heaven, "and the welcome given to him there".

[24] The Protestant minister Georg Weissel paraphrased the last section of Psalm 24 as an Advent hymn, "Macht hoch die Tür" (Make the door high) in 1623.

[28] Christoph Bernhard Verspoell wrote the 1810 hymn "Öffnet eure Tore" (Open your gates) for the Feast of the Ascension.

[30] Andreas Hammerschmidt composed a six-part motet, "Machet die Tore weit" (Make the gates wide), setting verses 7–9.

Lili Boulanger set the entire psalm in French, La terre appartient à l’Eternel in 1916 for mixed choir, organ, brass ensemble, timpani and 2 harps.