Just wanted to add that when I sing the song, I change the musical phrasing slightly on some lines to fit the natural rhythm of the lyric -- the way it would sound if spoken.

E.g., this verse:
"But such a tide as moving seems asleep,
Too full for sound or foam,
When that which drew from out the boundless deep
Turns again home.

The Hopeful Gospel Choir sing it with the same phrasing as the first verse, but that comes out:
But such a tide AS MOVing SEEMS aSLEEP,
...
When that which drew FROM OUT the BOUNDless DEEP
...

Not only is it a bit hard to understand the lyric when the emphasis is put in those places, but "tide as moving" sounds too much like "tight-ass moving." LOL

So I sing those lines like this:
But
such a tide as MOVing SEEMS aSLEEP,
...
When
that which drew from OUT the BOUNDless DEEP.
(This means singing the "But" in one line and the "When" in the other on the last beat of the preceding measure.)

Anyway, I think the song is easier to understand and sounds more natural when the phrasing is modulated for the natural rhythm of the poem instead of forcing all the lines into the same meter. (I guess, in a way, I'm saying that I don't think Rani Arbo's tune is as good a fit to the spoken poem as it could have been, pretty and catchy a melody as it is. But the poem can be made to fit that tune pretty well, with a little tweaking.)