The hymn remains in regular use by the Roman Catholic Church, in the Office of Readings found in the Liturgy of the Hours, and for special occasions such as the canonization of a saint. The popularity of its sentiment has given rise to its translation into languages other than the original Latin; an example in contemporary English usage would be Holy God, we praise Thy Name. Many Protestant churches have retained its use.
The hymn follows the outline of the Apostles' Creed, mixing a poetic vision of the heavenly liturgy with its declaration of faith. Naming God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to the Church spread throughout the world. The hymn then returns to its creedal formula, naming Christ and recalling his birth, suffering, and glorification. At this point the hymn turns to the subjects declaiming the praise, both the Church in general and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with the elect.
The text has been set to music by a number of classical composers, with those settings by Anton Bruckner, Hector Berlioz and Antonin Dvorak among the better known. The prelude to Marc-Antoine Charpentier's setting for five voices, chorus and orchestra is well known in Europe on account of it being used as the theme music for the Eurovision Song Contest.