The Bible has inspired all kinds of music through history. Classical music traditions of the world have largely originated in music composed for religious worship, and the influence of the Christian Church on European music is no exception. Folk traditions in Christian communities have an equally rich heritage of telling Bible stories through song, and we still see the legacy of these in Christmas carols and nativity plays.

The long history of exchange between so-called sacred and secular music means the Bible is often found hiding in plain sight, even in a concert that has no religious purpose. Meanwhile, sung services at cathedrals and university chapels still attract considerable 'audiences' who wish to hear choral music performed in its original setting.

We often hear that the Bible is being dismissed as irrelevant, yet it continues to be given an expressive voice in music and other art forms, its stories and poetry still appealing to audiences who wouldn't otherwise read it for themselves.

Here is my quick guide to where you might find the Bible at the BBC Proms this year. Whether you find yourself standing with other prommers at the Royal Albert Hall, or listening to the radio while standing at the kitchen sink, be sure to take note of the many and varied ways the concerts could offer you new perspectives on familiar (and less familiar) Bible passages.

Songs and hymns from the Bible

Some of these are composed for church worship, but others arise from personal devotion, interest or curiosity about the biblical texts. Anton Bruckner composed out of deep personal faith, and his biblical settings are well represented with Psalm 150 (19 July) and three more motets of various origins drawing from Psalms 37 and 89, Genesis 28, Exodus 3 and Philippians 2 (1 September). Other composers have looked to the Old Testament as sources of inspiration to meditate on their Jewish heritage. These include Ernest Bloch's settings of Psalms 137 and 114 (4 August) and Steve Reich's Jacob's Ladder inspired by the story in Genesis 28 (30 August).

An entire day of mostly sacred music from the English choral tradition has been scheduled (7 September). Among other hymns, this will include Hubert Parry's coronation anthem I was glad (Psalm 122), three motets and selections from part songs by Charles Villiers Stanford (Book of Wisdom 3, Luke 24, John 20, Acts 1, Psalm 119, John 19), John Ireland's Greater Love Hath no Man (John 15) and Edward Elgar's Give unto the Lord (Psalm 29). Later that same day, there will be a concert that will include two gospel songs inspired by Bible passages, He's got the whole world in his hands (2 Timothy 1) and Didn't it rain? (Genesis 6—9), as well as a workshop that will invite the audience to participate in these songs.

The Bible in conversation with other texts

Catholic and Orthodox liturgies for the mass, and especially the mass for the dead (known as the Requiem), have been the subject of many major compositions. Many of these ancient texts are drawn from biblical sources, but are often set alongside other poetry and prayers. Verdi's Requiem (23 July) and Faure's Requiem (4 September) are perhaps the most famous, and interesting for the fact that neither Verdi nor Faure were especially religious. Drawing from more unusual sources, Janacek's Glagolitic Mass (28 August) is a rare setting of a mass translated into Old Church Slavonic, and John Tavener's Song for Athene (25 August) combines Orthodox funeral texts with texts from Shakespeare in memory of an actress of Greek heritage.

Benjamin Britten's War Requiem (17 August) and John Pickard's Mass in Troubled Times (25 August) use the texts as commentary on contemporary events. Britten included texts by the war poets, composing the Requiem for the opening of Coventry Cathedral. Pickard has worked with theologian Gavin D'Costa to compile texts in five languages spanning a variety of religious traditions.

The Bible's great stories in song

Oratorios may be understood as sacred operas. They usually tell stories from the Bible and were traditionally composed for the period of Lent when secular and dramatised opera performances were not considered appropriate. This year's Proms will include oratorios from the two most famous composers of the genre. JS Bach's St John Passion (19 August) uses the Gospel of John to tell the story of Jesus' death and resurrection, while Handel's Messiah (7 September) draws from a broad range of texts from across the whole Bible to tell an overarching story of God's plan for the world fulfilled through Jesus.

The poet WH Auden wrote a set of Christmas poems in the hope that it would be set to music to form a Christmas Oratorio. This project was never completed, except for some individual songs composed by Britten. A Shepherd's Carol is the most well-known of these, imaginatively drawing from the story of the shepherds in Luke 2 (25 August).

Inspiration for instrumental music

Some composers have used the Bible as the inspiration for instrumental music without singers. Mel Bonis' Salome (16 August) is a piano piece rescored for orchestra that evokes the story of the woman that demanded the head of John the Baptist (Matthew 14, Mark 6). There was a particular fascination with this character in the late nineteenth century. Oscar Wilde wrote a play about her which Richard Strauss turned into an opera in 1905, shortly before Bonis composed her piano piece. She later included this as part of a series celebrating 'Legendary Women' alongside Ophelia and Cleopatra.

The Bible contains an interesting expression, that 'the word is very near you' (Deuteronomy 30.14). It's closer than you might think, and has a habit of making an appearance in unexpected places. We might not be a nation of avid Bible-readers, but in our arts and culture it remains a remarkably familiar presence that is certainly worth celebrating.

Joanna Heath works in Bible Society's international team and is a Visiting Fellow in Music at the Open University.