Moses is the original psalmist of Israel, an underappreciated role. His Egyptian education prepared him broadly, and the Pentateuch preserves two Songs of Moses (Exodus 15 and Deuteronomy 32) along with other poetic fragments that may have been sung. Psalm 90 is attributed to him by its title, and Psalm 91 is generally credited to him as well. God's approval of his songwriting is shown in Revelation 15:3, where the victorious sing the song of Moses, the servant of God. He is the first recorded servant of God to write songs of praise and meditation, and later psalmists generally follow his style and themes. Psalm 90 is a classic example. It is a prayer that praises God as Israel's refuge and everlasting Creator, contrasts His sovereignty with the brevity and weakness of mankind, and pleads in verse 12 for God to teach us to number our days and gain a heart of wisdom. It then asks God to return and have compassion, resembling David's plea in Psalm 51, and requests mercy, joy, fulfillment of His work, glory, His beauty, and stability. Its counsel to use short lifetimes wisely fits believers who await Christ's return at the end of the age, as opportunities to strengthen their relationship with God diminish. Though written over 3400 years ago, the prayer remains fresh for use today.

Moses' songs are more multifaceted than simple praise to God, as in Psalms 90 and 91; those in Exodus 15 and Deuteronomy 32 also show him acting in verse as historian and prophet. The first Song of Moses, in Exodus 15, grows out of the Red Sea crossing and exalts God's victory over Pharaoh's army. It falls into three parts, the first two ending with the words "They sank into the sea." The first gives God the credit and shows what the victory meant to Israel. Verse 2 traces a progression in which God acts for His people, they praise Him, and He becomes their salvation, which maps how God always works in the salvation process. The second part recounts the miracle as the historian would, stressing God's own role: His right hand, His fury, and the blast of His nostrils that parted the sea and then returned the waters. It contrasts this with the Egyptians' boasts of vengeance. The third part opens with the rhetorical question "Who is like You, O LORD?" Then Moses takes up the prophet's mantle. He predicts that the surrounding nations will be petrified with fear, that Israel will enter the Promised Land, and that a sanctuary will stand on God's mountain. Though in the flush of victory he cannot foresee the forty years of struggle ahead. The song closes by proclaiming God's eternal reign, the first time Scripture calls God king.

Moses, a human like us whom God gave skill and guidance, learned and grew, failed and overcame, and through forty years of personal interaction with God refined his understanding of Him. At the end of his life he left Israel and us a song (Deuteronomy 32) that encapsulates what he learned about godly living. Though it seems a prophecy of Israel's future, Moses says it concerns doctrine, the doctrine of God Himself. In it he proclaims the name of the LORD: He is the Rock, His work is perfect, all His ways are just, a God of truth, righteous and upright. An accurate conception of God is a Christian's first concern, since understanding Him leads to proper response and godly living. The song falls into five parts: introduction, God's faithfulness versus Israel's faithlessness, God's just chastisement, His eventual compassion, and a conclusion. God is always faithful, just, provident, and merciful, nurturing Israel as the apple of His eye, yet Israel, ironically named Jeshurun ("upright one"), forsook Him for other gods and even demons. Their punishment, ending in scattering, was justified, though God restrains His wrath lest Israel's enemies take credit. Israel failed to foresee the consequences of its conduct and to understand God's character. Still, God is compassionate and will pardon a humbled remnant. The song closes with Gentiles rejoicing with Israel because God provides atonement, fulfilled in Jesus Christ, through whom Israelite and Gentile praise God together as spiritual Israel (Romans 15:8-12). Moses then urges Israel to set their hearts on these words, for they are life (Deuteronomy 32:46-47), advice that carries even greater weight for the called.

Moses, known as a prince, general, freedom-fighter, shepherd, leader, prophet, and law-giver, also stands as a psalmist, though this role is often the least recognized. Psalm 91, traditionally credited to Moses, follows Psalm 90 and is considered a companion poem, sharing themes of safety and protection that God's people can expect from Him. Verse after verse offers reassurance that our God will shield us from harm, illness, war, deceit, dangerous beasts, and evil. Moses emphasizes from the opening of the psalm that these promises are not guarantees but are reserved for those who dwell in the secret place of the Most High. This secret place likely refers to the Holy of Holies, a sanctuary accessible under the Old Covenant only to a select few like Moses, whom God called. Within Psalm 91, Moses provides three observations on entering this secret place: first, through faith, declaring trust in God as a refuge and fortress; second, through total devotion, making the LORD one's life; and third, through love for God, which leads to deliverance as promised by Him. Though God's promises are sure, Moses conveys that conditions must be met to receive His protection.

Psalm 90, identified as a prayer of Moses, the man of God, introduces a series of 11 psalms from Psalm 90 to Psalm 100, which are linked by themes and a progression of time. Jewish tradition attributes the authorship of these psalms to Moses, suggesting they form a cohesive group, possibly even a single psalm divided into 11 sections. There is a consideration that Moses may have written all of them, reflecting a unified mind and purpose under God's inspiration, though this remains uncertain. As a prophet often compared to Jesus Christ, Moses' potential role in crafting these prophetic psalms adds depth to their significance, especially since few of his prophecies are preserved elsewhere. In Psalm 90, Moses sets the tone by emphasizing God's eternal nature and sovereignty over time, contrasting it with human frailty and the fleeting nature of life. He urges a perspective aligned with God's timeless control, encouraging the wise use of our limited years to grow in understanding and righteousness. Moses expresses a longing for God's compassion and mercy, asking for a balanced life and the establishment of enduring works, reflecting a present-tense plea applicable to all humanity until Christ's return. In Psalm 91, attributed to Moses by tradition, the progression of time continues with imagery of protection amidst escalating worldly terrors, pointing to a future time of great tribulation. Moses conveys God's promise of safety and deliverance for those who love Him, instilling confidence and faith to face worsening conditions. In subsequent psalms within this series, such as Psalm 92, the thematic and temporal progression advances, potentially reflecting Moses' voice in praising God on the brink of divine intervention and rest. If Moses authored these, his consistent call is for endurance and trust in God's plan, culminating in the establishment of God's reign and the rewarding of the righteous, as seen through the lens of end-time events.

Moses' connection to the psalms under discussion centers on authorship speculation regarding a significant block of anonymous psalms, Psalm 90 through 100 (or 93 through 100, depending on scholarly division). These psalms share common themes: the Lord's reign, His coming, holiness, judgment, salvation, joy, and gladness. Psalm 90 explicitly bears Moses' name as its author, and since none of the following psalms through Psalm 100 carry any attribution to David, Asaph, or other known psalmists, it is suggested that Moses may have authored all eleven of these psalms. This is acknowledged as speculative, something that cannot be definitively proven but also cannot be disproven, since the biblical text simply leaves them unnamed until Psalm 101 resumes attribution. This possible Mosaic authorship connects meaningfully to the larger theme of God as the divine Warrior, a concept that finds some of its earliest and most vivid expression in Moses' own words and experience. At the Red Sea, Moses instructed the terrified Israelites to stand still and watch the Lord fight for them, resulting in the destruction of Pharaoh's army. Following this deliverance, Moses and the Israelites sang a song declaring the Lord to be "a man of war," celebrating His right hand as glorious in power and His ability to overthrow enemies with the blast of His breath. This song in Exodus 15 established foundational imagery of God as a mighty warrior-King, a Protector who fights on behalf of His people—imagery that would recur throughout Israel's history and saturate the Psalms. If Moses indeed authored Psalms 90-100, his personal experience of God as the One who delivered Israel through overwhelming displays of power would directly inform the content of Psalms 97 and 98, which describe Christ's return in judgment, His establishment of righteous rule, and the overthrow of idolatry and wickedness. The theophany language in these psalms—God coming in fire, lightning, and clouds, with mountains melting at His presence—echoes the same divine Warrior tradition Moses himself articulated at the Red Sea. Thus, the possible link between Moses and these later psalms reinforces a continuous biblical portrait of God as the One who intervenes decisively in human history to deliver His people and judge His adversaries, a theme culminating in the prophesied second coming of Christ, the ultimate fulfillment of the divine Warrior motif first celebrated in Moses' song of triumph.