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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

What Do Catholic Teenagers Sing?

Fr. David Friel · August 20, 2017

RIESTLY ministry is incredibly varied. In just over six years, priesthood has taken me to soccer sidelines, finance council meetings, Penance services, block parties, middle-of-the-night deathbeds, prison visits, Pre-K classrooms, gravesides, beef-and-beers, two World Youth Days, countless Communion calls, crime scenes, and much, much more.

Amidst all the variety, one thing that has been a constant for me as a priest has been involvement in youth & young adult ministry. This continuous connection to young people has, for me, been welcome. It has also given me a perspective on the Church’s approach to youth ministry that is both enthusiastic and critical.

I would like to expound upon that part of my perspective which is critical. Allow me to do so by means of a story.

This summer, I had the opportunity to participate in a wonderful program for high school-aged boys and girls. All of the nearly 100 participants were Catholic, and their commitment to the faith could be described as above average. They hailed from across the United States, and they represented a wide assortment of educational backgrounds, including public/charter schools, Catholic/Christian schools, and homeschooling. Their talents and interests were as diverse as one might expect in a group of 100 teenagers.

Something interesting happened during a Mass that was celebrated during this youth program. All the teenagers were present, along with a handful of adults, and there were a number of priests concelebrating.

After Communion, the main celebrant of the Mass invited the other priests to join him in singing the Salve Regina. This invitation was accompanied by a lengthy, nearly apologetic explanation to the teenagers of what they were about to hear. Assuming that the young people would know none of the Latin, he encouraged them to follow along by praying the Hail, Holy Queen in their hearts.

The priest intoned the Salve Regina, and about half of the congregation sang along lustily.

After the final blessing, the person playing the guitar and leading the music invited everyone to sing the recessional hymn, Shine, Jesus, Shine. This invitation was accompanied by no further direction. Assuming that the young people would chime right in, the guitarist strummed a few chords and broke into the refrain.

No one but the guitarist and some of the priests even opened their mouths.

I interpret this experience as anecdotal evidence of something that I believe is generally true: the typical practicing Catholic teenager of today is more likely to know the Salve Regina than Shine, Jesus, Shine (or any number of other songs from a bygone era).

The point is that young people are often nowhere near where their priests, catechists, music ministers, and youth group leaders think they are. We would do well as a Church to admit that to ourselves and then work toward bridging the gap.

When the decision is made to sing something at Mass “for the kids” or to sing something that “the young people will like,” it is fair to question whether this is actually being done “for the kids” or rather for the ones promoting X, Y, or Z. It is time for the world of youth & young adult ministry to stop infantilizing young people. “Young” is not a synonym for shallow, frivolous, or stupid.

Instead of preparing liturgies for young people based on what we think (often erroneously) will be familiar or make them comfortable, we should be looking at our young people and asking ourselves what great things they are capable of learning, achieving, and contributing.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Catholic Youth Choirs Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

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    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

A hymn verse need not be a complete sentence, but it must have completed sense as a recognisable part of the complete sentence, and at each major pause there would be at least a “sense-pause.” Saint Ambrose and the early writers and centonists always kept to this rule. This indicates one of the differences between a poem and a hymn, and by this standard most of the modern hymns and the revisions of old hymns in the Breviary stand condemned.

— Fr. Joseph Connelly

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  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”

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