There is no reason to doubt that the title of this psalm, which ascribes it to David, is correct. A portion of the psalm Psalm 24:3-6 has a strong resemblance to Psalm 15:1-5, and doubtless was composed by the same author.
The occasion on which the psalm was composed is not designated; but from its contents it was evidently on some public occasion of great solemnity; probably on the removal of the ark of the covenant into its appointed place in Jerusalem, where it was to abide permanently; a solemn entrance of Yahweh, as it were, into the place of his permanent abode, Psalm 24:7-10. This could not have been the temple, because:
(a) that was not erected in the time of David; and
(b) the description Psalm 24:7-10 is rather that of entering into a "city" than into a temple or a place of public worship, for the psalmist calls upon the "gates" to lift up their heads - an expression more suitable to a city than to the doors of a tabernacle or a temple.
According to this view, no occasion seems more appropriate than that of removing the ark from the house of Obed-edom to "the city of David," or to Jerusalem, as described in 2-Samuel 6:12-17. David indeed placed the ark "in the midst of the tabernacle which he had pitched for it" on Mount Zion 2-Samuel 6:17, but the particular reference of the psalm would rather seem to be to the entrance of the ark into the city than into the tabernacle. It was probably designed to be sung as the procession approached the city where the ark was destined to remain. The occasion of thus taking up the ark into the holy hill where it was to abide seems to have suggested the inquiry, who would be suited to ascend the holy hill where God abides, and to stand in his presence, Psalm 24:3-6.
The psalm properly consists of three parts:
I. An ascription of praise to God as the Maker and Upholder of all things, Psalm 24:1-2. He is represented as the Proprietor of the whole earth, and as having a right to all that there is in the world, since He has made the earth and all which it contains. This universal claim, this recognition of Him as Lord of all, would be especially appropriate in bringing up the symbol of his existence and His power, and establishing his worship in the capital of the nation.
II. An inquiry, who would ascend into the hill of the Lord, and stand in His holy place; who could be regarded as worthy to engage in His worship, and to be considered as his friend? Psalm 24:3-6. This part of the psalm accords in the main with Psalm 15:1-5; and the inquiry and the answer would be especially appropriate on an occasion such as that upon which the psalm appears to have been composed. In asserting God's claim to universal dominion Psalm 24:1-2, and in introducing the symbols of His power into the place where he was to be recognized and adored Psalm 24:7-10, nothing could be more suitable than the question who would be regarded as qualified to worship before Him; that is, who would be regarded as His friends. The essential thing here asserted to be requisite, as in Psalm 15:1-5, is purity of heart and life - things essential to the evidence of piety under every dispensation, patriarchal, Mosaic, Christian.
III. A responsive song on the entrance of the procession with the ark into the city, Psalm 24:7-10. This consists of two strophes, to be sung, it would seem most probable, by responsive choirs:
First strophe, Psalm 24:7-8.
(a) The call upon the gates to lift up their heads, that the King of glory might come in.
(b) The response: Who is this King of glory?
(c) The answer: Yahweh, mighty in battle.
Second strophe, Psalm 24:9-10.
(a) The call upon the gates to lift up their heads, that the King of glory might come in.
(b) The response: Who is this King of glory?
(c) The answer: Yahweh of hosts.

The Lord is Sovereign Ruler of the universe, Psalm 24:1, Psalm 24:2. The great question, Who is fit to minister to the Lord in his own temple? Psalm 24:3-6. The glory of God in his entrance into his temple, Psalm 24:7-10.
It is probable that this Psalm was composed on occasion of bringing the ark from the house of Obed-edom to Mount Sion, and the questions may respect the fitness of the persons who were to minister before this ark: the last verses may refer to the opening of the city gates in order to admit it. As many of the expressions here are nearly the same with those in Psalm 15:1-5, I must refer to that place for their particular illustration; though it is most likely that the two Psalm were composed on very different occasions. The first contains a general question relative to who shall be saved? This is more particular; and refers to the temple and tabernacle service, and who is fit to minister there.

INTRODUCTION TO PSALM 24
A Psalm of David. This psalm is thought by some of the Jewish writers (d) to have been wrote when the ark was brought from the house of Obededom to the city of David, and put into the place prepared for it by him, 2-Samuel 6:17; to which reference is supposed to be had in Psalm 24:7; or after that David had built an altar in the threshing floor of Araunah the Jebusite, and had knowledge of the hill Moriah, as the place where the sanctuary was to be built; called the hill of the Lord, and his holy place, Psalm 24:3; however, it was certainly written by David, under the inspiration of the spirit of God; and is a prophecy of Christ, and of the Gospel church, and describes the members of it.
(d) Aben Ezra & Kimchi.

(Psalm 24:1-6) Concerning the kingdom of Christ, and the subjects of that kingdom.
(Psalm 24:7-10) Concerning the King of that kingdom.

Preparation for the Reception of the Lord Who Is About to Come
Psalm 23:1-6 expressed a longing after the house of Jahve on Zion; Psalm 24:1-10 celebrates Jahve's entrance into Zion, and the true character of him who may enter with Him. It was composed when the Ark was brought from Kirjath Jearim to Mount Zion, where David had caused it to be set up in a tabernacle built expressly for it, 2-Samuel 6:17, cf. 2-Samuel 11:11, 1-Kings 1:39; or else, which is rendered the more probable by the description of Jahve as a warrior, at a time when the Ark was brought back to Mount Zion, after having been taken to accompany the army to battle (vid., Ps 68). Psalm 15:1-5 is very similar. But only Psalm 24:1-6 is the counterpart of that Psalm; and there is nothing wanting to render the first part of Psalm 24:1-10 complete in itself. Hence Ewald divides Psalm 24:1-10 into two songs, belonging to different periods, although both old Davidic songs, viz., Psalm 24:7-10, the song of victory sung at the removal of the Ark to Zion; and Psalm 24:1-6, a purely didactic song pre-supposing this event which forms an era in their history. And it is relatively more natural to regard this Psalm rather than Psalm 19:1-14, as two songs combined and made into one; but these two songs have an internal coherence; in Jahve's coming to His temple is found that which occasioned them and that towards which They point; and consequently they form a whole consisting of two divisions. To the inscription לדוד מזמור the lxx adds τῆς μιᾷs σαββάτου
(Note: The London Papyrus fragments, in Tischendorf Monum. i. 247, read ΤΗ ΜΙΑ ΤΩΝ ΣΑΒΒΑΤΩΝ. In the Hexaplarian text, this addition to the inscription was wanting.)
(= שׁל אחד בשׁבת, for the first day of the week), according to which this Psalm was a customary Sunday Psalm. This addition is confirmed by B. Tamı̂d extr., Rosh ha-Shana 31a, Sofrim xviii. (cf. supra p. 19). In the second of these passages cited from the Talmud, R. Akiba seeks to determine the reasons for this choice by reference to the history of the creation.
Incorporated in Israel's hymn-book, this Psalm became, with a regard to its original occasion and purpose, an Old Testament Advent hymn in honour of the Lord who should come into His temple, Malachi 3:1; and the cry: Lift up, ye gates, your heads, obtained a meaning essentially the same as that of the voice of the crier in Isaiah 40:3 : Prepare ye Jahve's way, make smooth in the desert a road for our God! In the New Testament consciousness, the second appearing takes the place of the first, the coming of the Lord of Glory to His church, which is His spiritual temple; and in this Psalm we are called upon to prepare Him a worthy reception. The interpretation of the second half of the Psalm of the entry of the Conqueror of death into Hades-an interpretation which has been started by the Gospel of Nicodemus (vid., Tischendorf's Evv. apocrypha p. 306f.) and still current in the Greek church, - and the patristic interpretation of it of the εἰς οὐρανοῦς ἀνάληψις τοῦ κυρίου, do as much violence to the rules of exegesis as to the parallelism of the facts of the Old and New Testaments.