According to Jeduthun.
Jeduthun was one of the chief musicians appointed by King David, as mentioned in 1 Chronicles 16:41-42. He was a Levite and one of the leaders of the temple music. This reference suggests a specific musical or liturgical style associated with Jeduthun, indicating a tradition or a particular way of performing this psalm.

A Psalm of Asaph.
Asaph was one of David's chief musicians and a seer, as noted in 1 Chronicles 25:1-2. He is credited with several psalms and was known for his prophetic insight. The Asaphite guild continued his legacy, contributing to the worship practices in the temple. This attribution connects the psalm to a rich tradition of worship and prophecy.

I cried out to God;
The act of crying out to God reflects a deep, earnest plea for divine intervention. This expression of distress is common in the Psalms, illustrating the human condition of seeking God in times of trouble. It echoes the cries of other biblical figures, such as David and Job, who also turned to God in their afflictions.

I cried aloud to God to hear me.
The repetition emphasizes the intensity and urgency of the psalmist's plea. It underscores the belief in a personal God who listens and responds to the cries of His people. This reflects the covenant relationship between God and Israel, where God is seen as a refuge and source of help. The plea for God to hear is a recurring theme in the Psalms, reinforcing the idea of God's attentiveness to human suffering.

Asaph opens by showing that this song is meant to be led publicly. Much like Psalm 4:1, Psalm 8:1, and many others that begin “For the choirmaster,” the line reminds us that God welcomes corporate worship, not just private devotion. The heading grounds the verse in the temple setting that David later describes in 1 Chronicles 25:6–7, where skilled singers and instrumentalists lead the congregation. The very first words therefore encourage us to bring our struggles to God together, knowing He “inhabits the praises of Israel” (Psalm 22:3).

Jeduthun (also called Ethan) was one of the chief musicians appointed by David (1 Chronicles 16:41–42; 25:1–3). Mentioning him signals a specific musical style or tune familiar to the worshipers, as seen again in the superscriptions of Psalm 39 and Psalm 62. The line reminds us that God uses particular people and gifts for His glory—just as He prompted Mary to sing in Luke 1:46–55 or Paul and Silas to sing hymns in Acts 16:25. The Holy Spirit still partners with human skill to turn personal lament into congregational strength.

Asaph was a Levite leader deeply involved in temple worship (1 Chronicles 16:4–5). Thirteen psalms carry his name (Psalm 73–83). By attaching authorship, Scripture lets us see that real people with real histories pour out their hearts before the Lord. Asaph’s earlier songs wrestle with doubt and injustice (Psalm 73:2–3), yet he keeps anchoring himself in God’s faithfulness (Psalm 73:17). That same authentic voice shapes Psalm 77; the heading calls readers to trust that God can handle every emotion we bring Him.

The first half of the verse shows decisive action: “I cried out to God.” This is more than polite prayer; it is desperate honesty, echoing “In my distress I called on the LORD” (Psalm 18:6) and “This poor man called out, and the LORD heard him” (Psalm 34:6). The reflex of faith is to turn upward, not inward. Asaph is certain God is the only real help, just as Jonah “called to the LORD out of my distress” (Jonah 2:2) and was answered.

• The verb tense is completed action—he did cry out.

• Faith does not deny trouble but directs it.

Repetition adds volume and intensity. The noise is intentional, matching Psalm 142:1, “With my voice I cry to the LORD.” Even Jesus, “in the days of His flesh, offered up prayers and petitions with loud cries and tears” (Hebrews 5:7). Sometimes the groan of the heart must become sound. There is no rebuke here for being loud; instead, Scripture validates vocal, even raw, expressions of need before the Creator.

The goal of the cry is not self-expression but divine attention: “to hear me.” Asaph expects an audience with the King. Psalm 4:3 promises, “The LORD hears when I call to Him,” and Psalm 6:9 affirms, “The LORD has heard my plea.” New-covenant believers carry the same confidence: “If we ask anything according to His will, He hears us” (1 John 5:14). Assurance of God’s listening heart turns panic into petition and petition into peace.

Psalm 77:1 models how to start every lament: gather with God’s people, lean on the gifts God supplies, remember the authentic voices who have gone before, and then pour out your need—honestly, audibly, and expectantly—because the living God truly hears.

"My voice to God--and let me cry;

My voice to God--and He hears me."

The Authorised Version has followed the LXX. and Vulg. in neglecting the striking changes in mood running through this psalm. Soliloquy and narrative alternate as the poet's mood impels him--now to give vent to his feelings in sobs and cries, now to analyse and describe them.