"Es ist ein Ros entsprungen" (lit. 'A rose has sprung up') is a Christmas carol and Marian hymn of German origin. It is most commonly translated into English as "Lo, how a rose e'er blooming" and is also called "A Spotless Rose" and "Behold a Rose of Judah". The rose in the German text is a symbolic reference to the Virgin Mary. The hymn makes reference to the Old Testament prophecies of Isaiah, which in Christian interpretation foretell the Incarnation of Jesus, and to the Tree of Jesse, a traditional symbol of the lineage of Jesus. Because of its prophetic theme, the hymn is popular during the Christian season of Advent. The hymn has its roots in an unknown author before the 17th century. It first appeared in print in 1599 in Cologne and has since been published with a varying number of verses and in several translations. It is most commonly sung to a melody harmonized by the German composer Michael Praetorius in 1609. The hymn's popularity endures in the 20th and 21st centuries.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

"Christ unser Herr zum Jordan kam" ("Christ our Lord came to the Jordan") is a Lutheran hymn about baptism by Martin Luther, written in 1541 and published in 1543. It has been set in many musical compositions, including cantatas and chorale preludes by Johann Sebastian Bach.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

The Tree of Jesse is a depiction in art of the ancestors of Jesus Christ, shown in a branching tree which rises from Jesse of Bethlehem, the father of King David. It is the original use of the family tree as a schematic representation of a genealogy. The Tree of Jesse originates in a passage in the biblical Book of Isaiah which describes metaphorically the descent of the Messiah and is accepted by Christians as referring to Jesus. The various figures depicted in the lineage of Jesus are drawn from those names listed in the Gospel of Matthew and the Gospel of Luke. The subject is often seen in Christian art, particularly in that of the medieval period. The earliest example is an illuminated manuscript that dates from the 11th century. There are many examples in medieval psalters, because of the relation to King David, son of Jesse, and writer of the Psalms. Other examples include stained glass windows, stone carvings around the portals of medieval cathedrals, and painting on walls and ceilings. The Tree of Jesse also appears in smaller art forms such as embroideries and ivories.

The Tree of Jesse is a depiction in art of the ancestors of Jesus Christ, shown in a branching tree which rises from Jesse of Bethlehem, the father of King David. It is the original use of the family tree as a schematic representation of a genealogy. The Tree of Jesse originates in a passage in the biblical Book of Isaiah which describes metaphorically the descent of the Messiah and is accepted by Christians as referring to Jesus. The various figures depicted in the lineage of Jesus are drawn from those names listed in the Gospel of Matthew and the Gospel of Luke. The subject is often seen in Christian art, particularly in that of the medieval period. The earliest example is an illuminated manuscript that dates from the 11th century. There are many examples in medieval psalters, because of the relation to King David, son of Jesse, and writer of the Psalms. Other examples include stained glass windows, stone carvings around the portals of medieval cathedrals, and painting on walls and ceilings. The Tree of Jesse also appears in smaller art forms such as embroideries and ivories.

The Mass (Latin: missa, Italian: messa, French: messe, German: Messe) is a form of musical composition that sets the invariable portions of the western Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion and Lutheranism) known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass.

"Quempas" is the shortened title of the Latin Christmas carol "Quem pastores laudavere" ("He whom the shepherds praised"), popular in Germany in the sixteenth century, and used as a generic term for Christmas songs in a German caroling tradition. Quempas is also the name of a collection of old carols published by Bärenreiter since 1930.

Gotteslob ("Praise of God") is the title of the hymnbook authorized by the Catholic dioceses in Germany, Austria, South Tyrol, Luxembourg and Liège, Belgium. First published in Advent 2013, it is the official hymnal for German-speaking Catholics, succeeding the first common German hymnal, the 1975 edition of the same name. Each diocese published a book containing a common section and a regional section. The first editions amounted to around 4 million copies.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

"Der Morgenstern ist aufgedrungen" (The morning star is risen) is an Advent song and Christmas carol with lyrics by Lutheran minister Daniel Rumpius (or Rump), published first in 1587. The common melody by Michael Praetorius appeared later in 1609. It was reprinted, slightly revised by Otto Riethmüller in 1932, and is part of the current Protestant hymnal Evangelisches Gesangbuch and other song books.

"Quempas" is the shortened title of the Latin Christmas carol "Quem pastores laudavere" ("He whom the shepherds praised"), popular in Germany in the sixteenth century, and used as a generic term for Christmas songs in a German caroling tradition. Quempas is also the name of a collection of old carols published by Bärenreiter since 1930.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

"Vom Himmel hoch, da komm ich her" ("From Heaven Above to Earth I Come") is a hymn text relating to the Nativity of Jesus, written by Martin Luther in 1534. The hymn is most often sung to the melody, Zahn No. 346, which first appeared in a 1539 songbook and was probably also composed by Luther. This classic Christmas carol remains popular and has inspired many choral and organ works by other composers.

Missa brevis (Latin for 'short Mass'; plural: Missae breves) usually refers to a Mass composition that is short because part of the text of the Mass ordinary that is usually set to music in a full Mass is left out, or because its execution time is relatively short.

En natus est Emanuel (Born is Emanuel) is a sacred motet for Christmas by Michael Praetorius who set Latin text to music for four voices. It is part of his 1609 collection Musae Zioniae. Some write the title Enatus est Emanuel. The Latin is in three stanzas that are set differently but with the same refrain. The first stanza says that Emanuel was born the Lord (Dominus), as announced by Gabriel. The second stanza is about the baby in the manger, and the third stanza describes the light come from the Virgin Mary. The refrain says that the Lord is our saviour. The first stanza is begun by the two upper voices but the word Dominus is sung in long notes by all four voices. The second stanza is similar but begun by the two lower voices. In the third verse, all voice sing together throughout. The motet has been recorded in programs for Christmas by choirs and vocal ensembles, such as a collection Es ist ein Ros entsprungen by the Vocal Concert Dresden in 2008.

"Es ist ein Ros entsprungen" (lit. 'A rose has sprung up') is a Christmas carol and Marian hymn of German origin. It is most commonly translated into English as "Lo, how a rose e'er blooming" and is also called "A Spotless Rose" and "Behold a Rose of Judah". The rose in the German text is a symbolic reference to the Virgin Mary. The hymn makes reference to the Old Testament prophecies of Isaiah, which in Christian interpretation foretell the Incarnation of Jesus, and to the Tree of Jesse, a traditional symbol of the lineage of Jesus. Because of its prophetic theme, the hymn is popular during the Christian season of Advent. The hymn has its roots in an unknown author before the 17th century. It first appeared in print in 1599 in Cologne and has since been published with a varying number of verses and in several translations. It is most commonly sung to a melody harmonized by the German composer Michael Praetorius in 1609. The hymn's popularity endures in the 20th and 21st centuries.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

"In dulci jubilo" (Latin for "In sweet rejoicing") is a traditional Christmas carol. In its original setting, the carol is a macaronic text of German and Latin dating from the Middle Ages. Subsequent translations into English, such as J. M. Neale's arrangement "Good Christian Men, Rejoice" have increased its popularity, and Robert Pearsall's 1837 macaronic translation is a mainstay of the Christmas Nine Lessons and Carols repertoire. J. S. Bach's chorale prelude based on the tune (BWV 729) is also a traditional postlude for Christmas services.

"In dulci jubilo" (Latin for "In sweet rejoicing") is a traditional Christmas carol. In its original setting, the carol is a macaronic text of German and Latin dating from the Middle Ages. Subsequent translations into English, such as J. M. Neale's arrangement "Good Christian Men, Rejoice" have increased its popularity, and Robert Pearsall's 1837 macaronic translation is a mainstay of the Christmas Nine Lessons and Carols repertoire. J. S. Bach's chorale prelude based on the tune (BWV 729) is also a traditional postlude for Christmas services.

The Vienna Boys' Choir (German: Wiener Sängerknaben) is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries. The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".

This is a list of the most notable films produced in Cinema of Germany in the 1970s. For an alphabetical list of articles on West German films see Category:West German films. For East German films made during the decade see List of East German films.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

The year 1618 in music involved some significant events.

Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

Missodia Sionia ("Sionian Chant of the Mass") is a collection of sacred music by Michael Praetorius, published in Wolfenbüttel in 1611. It holds music for church services on Latin texts, set for two to eight parts, including a complete mass for eight voices.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

"Nun bitten wir den Heiligen Geist" ("We now implore the Holy Ghost") is the title of several hymns in German. The first is one of the oldest hymns in the German language: a 13th-century leise. Subsequent versions expanded upon the leise; the original hymn became the new version's first stanza, and it now used melodies derived from its medieval tune. The Protestant reformer Martin Luther expanded the leise in 1524, and different Catholic versions were published between 1537 and 1975. The text of the original 13th-century leise alludes to the Latin sequence for Pentecost, Veni Sancte Spiritus (translated as "Come, Holy Spirit"). The leise was widely known and performed, especially as a song sung when someone was dying, during a procession, and in sacred plays. The leise contained an appeal for the right faith which especially suited Luther's theology; he wrote three additional stanzas, first published in Wittenberg in 1547 as part of Johann Walter's choral songbook Eyn geystlich Gesangk Buchleyn. His version's themes of faith, love and hope made the hymn appropriate for general occasions and funerals. Alternate versions of the hymn have appeared in Catholic hymnals, countering the Reformation, first in 1537 in a collection published by Michael Vehe. Over the following centuries, Protestant versions remained in use, adapted to changes in religion and philosophy, but restored to Luther's version by the 19th century's restoration of chorales. Catholic use was discontinued after the Baroque period, but the hymn reappeared in a modified version in Heinrich Bone's Cantate! hymnal in 1847. It became used more after the 1938 collection Kirchenlied included it in a version based on Vehe's. Maria Luise Thurmair wrote three stanzas for the 1975 Gotteslob which appeared combined with one stanza from the Vehe version. Luther's chorale is sung by several Christian denominations in different languages, having received various English translations. It has inspired vocal and organ music from the Renaissance to contemporary by composers such as Johann Crüger, Johann Sebastian Bach, Hugo Distler and Ernst Pepping.

Amarcord is a German male classical vocal ensemble based in Leipzig, founded in 1992 by five former members of the Thomanerchor. They primarily perform Medieval music and Renaissance music, as well as collaborating with contemporary composers. Until 2013, the group's name was Ensemble Amarcord.

"Nun lob, mein Seel, den Herren" (Now praise, my soul, the Lord) is a Lutheran hymn written in German by the theologian and reformer Johann Gramann in 1525. It was published in 1540 and appears in 47 hymnals. A translation by Catherine Winkworth, "My Soul, now Praise thy Maker!", was published in 1863.

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

Missodia Sionia ("Sionian Chant of the Mass") is a collection of sacred music by Michael Praetorius, published in Wolfenbüttel in 1611. It holds music for church services on Latin texts, set for two to eight parts, including a complete mass for eight voices.

This list of Christmas carols is organized by language of origin. Originally, a Christmas carol referred to a piece of vocal music in carol form whose lyrics centre on the theme of Christmas or the Christmas season. The difference between a Christmas carol and a popular Christmas song can often be unclear as they are both sung by groups of people going house to house during the Christmas season. Some view Christmas carols to be only religious in nature and consider Christmas songs to be secular. Many traditional Christmas carols focus on the Christian celebration of the birth of Jesus, while others celebrate the Twelve Days of Christmas that range from 25 December to 5 January or Christmastide which ranges from 24 December to 5 January. As a result, many Christmas carols can be related to Saint Stephen's Day (26 December), St John's Day (27 December), Feast of Holy Innocents (28 December), Saint Sylvester's Day (31 December), and the Epiphany. Examples of this are "We Three Kings" (an Epiphany song), and "Good King Wenceslas" (a carol for Saint Stephen's Day). Nonetheless, some other categories of Christmas music, both religious and secular, have become associated with the Christmas season even though the lyrics may not specifically refer to Christmas – for example, "Deck the Halls" (no religious references) and "O Come, O Come, Emmanuel" (an Advent chant). Other Christmas music sung by carolers focuses on more secular Christmas themes, and winter carols and novelty Christmas songs often refer to winter scenes, family gatherings, and Santa Claus ("Jingle Bells", "O Christmas Tree", "Home for the Holidays", "Jolly Old Saint Nicholas", "Frosty the Snowman", "Santa Claus Is Comin' to Town", etc.).

Psalm 116 is the 116th psalm of the Book of Psalms, beginning in English in the King James Version: "I love the LORD, because he hath heard my voice and my supplications". It is part of the Egyptian Hallel sequence in the Book of Psalms. In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate version of the Bible, this psalm begins with Psalm 114, counted as verses 1–9 of Psalm 116, combined with Psalm 115 for the remaining verses. In Latin, Psalm 114 is known as "Dilexi quoniam exaudiet Dominus", and Psalm 115 is known as "Credidi propter quod locutus sum". Psalm 116 in Hebrew is the fourth psalm in the “Egyptian Hallel”. The Septuagint and Vulgate open with the word "Alleluia", whereas the Hebrew version has this word at the end of the preceding psalm. Psalm 116 is used as a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It has often been set to music, including settings by Marc-Antoine Charpentier, Anton Bruckner and Franz Schreker.

Angst der Hellen und Friede der Seelen ("Fear of Hell and Peace of the Soul") is a collection of sixteen settings of Psalm 116 in German, "Das ist mir lieb" (Psalms 116), commissioned by the Jena merchant Burckhard Grossmann in 1616 and eventually published in 1623. The composers are Heinrich Schütz, then in alphabetical order Michael Altenburg, Christoph Demantius, Nicolaus Erich, Andreas Finold, Melchior Franck, Abraham Gensreff, Johannes Groh, Johann Krause, Christian Michael, Daniel Michael, Rogier Michael, Tobias Michael, Michael Praetorius, Johann Hermann Schein and Caspar Trost. The settings range in complexity from that of Schütz, for 7 voices, down to settings for 3 or 2 voices. The setting of Schütz (SWV 51) has been recorded several times, the whole collection was recorded by the Alsfelder Vocal Ensemble and Musica Fiata Köln under Wolfgang Helbich in August 1994.

This list of Christmas carols is organized by language of origin. Originally, a Christmas carol referred to a piece of vocal music in carol form whose lyrics centre on the theme of Christmas or the Christmas season. The difference between a Christmas carol and a popular Christmas song can often be unclear as they are both sung by groups of people going house to house during the Christmas season. Some view Christmas carols to be only religious in nature and consider Christmas songs to be secular. Many traditional Christmas carols focus on the Christian celebration of the birth of Jesus, while others celebrate the Twelve Days of Christmas that range from 25 December to 5 January or Christmastide which ranges from 24 December to 5 January. As a result, many Christmas carols can be related to Saint Stephen's Day (26 December), St John's Day (27 December), Feast of Holy Innocents (28 December), Saint Sylvester's Day (31 December), and the Epiphany. Examples of this are "We Three Kings" (an Epiphany song), and "Good King Wenceslas" (a carol for Saint Stephen's Day). Nonetheless, some other categories of Christmas music, both religious and secular, have become associated with the Christmas season even though the lyrics may not specifically refer to Christmas – for example, "Deck the Halls" (no religious references) and "O Come, O Come, Emmanuel" (an Advent chant). Other Christmas music sung by carolers focuses on more secular Christmas themes, and winter carols and novelty Christmas songs often refer to winter scenes, family gatherings, and Santa Claus ("Jingle Bells", "O Christmas Tree", "Home for the Holidays", "Jolly Old Saint Nicholas", "Frosty the Snowman", "Santa Claus Is Comin' to Town", etc.).

"Puer nobis nascitur", usually translated as "Unto Us Is Born a Son", is a medieval Christmas carol found in a number of manuscript sources—the 14th-century German Moosburg Gradual and a 15th-century Trier manuscript. The Moosburg Gradual itself contained a number of melodies derived from the 12th- and 13th-century organum repertories of Notre Dame de Paris and the Abbey of Saint Martial, Limoges, suggesting that its antiquity may be much greater. The song was first published in the 1582 Finnish song book Piae Cantiones, a volume of 74 medieval songs with Latin texts collected by Jaakko Suomalainen, a Finnish Lutheran cleric, and published by T. P. Rutha, a Catholic printer. The song book had its origins in the libraries of cathedral song schools, whose repertory also had strong links with medieval Prague, where clerical students from Finland and Sweden had studied for generations. Songs from Piae Cantiones continued to be performed in Finland until the 19th century. A setting by Michael Praetorius appears in his Musae Sioniae. The book became well known in Britain after a rare original copy of Piae Cantiones owned by Peter of Nyland was given as a gift to the British Minister in Stockholm. He subsequently gave it to John Mason Neale in 1852, and it was from this copy that Neale, in collaboration with Thomas Helmore published songs in two collections in 1853 and 1854 respectively, although this carol was not included in either. The carol became popular as a processional hymn following a translation by George Ratcliffe Woodward first published in 1902. Percy Dearmer also translated the hymn for inclusion in The Oxford Book of Carols (1928) as "Unto Us a Boy Is Born". Both translations are commonly used. Robert Cummings of the All Music Guide notes that, "Its text speaks of the birth of Christ and of his mission on Earth. The melody is glorious in its triumphant character and ecstatic devotional sense ... a radiant hymn of strong appeal, brighter and more colorful than most of the chants emerging from and before the fourteenth century." He goes on to suggest that the first phrase and indeed the whole melody resembles the much later hymn, "O God, Our Help in Ages Past".

"Quempas" is the shortened title of the Latin Christmas carol "Quem pastores laudavere" ("He whom the shepherds praised"), popular in Germany in the sixteenth century, and used as a generic term for Christmas songs in a German caroling tradition. Quempas is also the name of a collection of old carols published by Bärenreiter since 1930.

This list of Christmas carols is organized by language of origin. Originally, a Christmas carol referred to a piece of vocal music in carol form whose lyrics centre on the theme of Christmas or the Christmas season. The difference between a Christmas carol and a popular Christmas song can often be unclear as they are both sung by groups of people going house to house during the Christmas season. Some view Christmas carols to be only religious in nature and consider Christmas songs to be secular. Many traditional Christmas carols focus on the Christian celebration of the birth of Jesus, while others celebrate the Twelve Days of Christmas that range from 25 December to 5 January or Christmastide which ranges from 24 December to 5 January. As a result, many Christmas carols can be related to Saint Stephen's Day (26 December), St John's Day (27 December), Feast of Holy Innocents (28 December), Saint Sylvester's Day (31 December), and the Epiphany. Examples of this are "We Three Kings" (an Epiphany song), and "Good King Wenceslas" (a carol for Saint Stephen's Day). Nonetheless, some other categories of Christmas music, both religious and secular, have become associated with the Christmas season even though the lyrics may not specifically refer to Christmas – for example, "Deck the Halls" (no religious references) and "O Come, O Come, Emmanuel" (an Advent chant). Other Christmas music sung by carolers focuses on more secular Christmas themes, and winter carols and novelty Christmas songs often refer to winter scenes, family gatherings, and Santa Claus ("Jingle Bells", "O Christmas Tree", "Home for the Holidays", "Jolly Old Saint Nicholas", "Frosty the Snowman", "Santa Claus Is Comin' to Town", etc.).

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

Gotteslob ("Praise of God") is the title of the hymnbook authorized by the Catholic dioceses in Germany, Austria, South Tyrol, Luxembourg and Liège, Belgium. First published in Advent 2013, it is the official hymnal for German-speaking Catholics, succeeding the first common German hymnal, the 1975 edition of the same name. Each diocese published a book containing a common section and a regional section. The first editions amounted to around 4 million copies.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

"Vom Himmel hoch, da komm ich her" ("From Heaven Above to Earth I Come") is a hymn text relating to the Nativity of Jesus, written by Martin Luther in 1534. The hymn is most often sung to the melody, Zahn No. 346, which first appeared in a 1539 songbook and was probably also composed by Luther. This classic Christmas carol remains popular and has inspired many choral and organ works by other composers.

"Der Morgenstern ist aufgedrungen" (The morning star is risen) is an Advent song and Christmas carol with lyrics by Lutheran minister Daniel Rumpius (or Rump), published first in 1587. The common melody by Michael Praetorius appeared later in 1609. It was reprinted, slightly revised by Otto Riethmüller in 1932, and is part of the current Protestant hymnal Evangelisches Gesangbuch and other song books.

"Wie schön leuchtet der Morgenstern" (German pronunciation: [viː ʃøːn ˈlɔɪ̯çtət deːɐ̯ ˈmɔʁɡn̩ˌʃtɛʁn] ; lit. 'How lovely shineth the morning star') is a Lutheran hymn by Philipp Nicolai written in 1597 and first published in 1599. It inspired musical settings through centuries, notably Bach's chorale cantata Wie schön leuchtet der Morgenstern, BWV 1, but also vocal and instrumental works by Baroque composers, Peter Cornelius, Felix Mendelssohn, Max Reger, Hugo Distler, Ernst Pepping, Mauricio Kagel and Naji Hakim.

Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.