competence, as it were) of the original, scriptural Psalter. Lacking that, one could easily think that the song one just sang that depends on, say, Ps. 46, is in fact the same as Ps. 46. As just noted, Towner’s analysis highlights two important aspects of contemporary hymnody’s use of the Psalms. The first concerns selectivity. Towner focuses on (1) which psalmic genres “resonate more vigorously with the contemporary singing church,” and (2) which individual psalms “emerge as most meaningful to the