The democratic and pedestrian character of the new Mass itself seems to invite the ditties that pass for hymns these days.

Then suddenly the Roman liturgy disappeared as we knew it.

Record stores have whole sections devoted to the chant.

Inaudible prayers, particularly of the Canon, which at first don't seem to have anything to do with music, end up being a very important part of the aesthetic of the traditional structure of the Mass.

But nowadays hymns are the norm, because people don't have much else to sing.

All you hear Catholics turning out these days are pop versions of the old Protestant anthems.

It would be difficult to discover the truth about the universe if we refused to consider anything that might be true.

You can count on one hand the number of Novus Ordo churches in this country that feature a fully Catholic music program of any quality, consistent with the Roman rite tradition.

When the truth is that there would be no great Western music, and certainly no decent choral repertoire, without the Catholic faith.

Music had always been the handmaid of the Roman liturgy.

As for sacred polyphony, there is no reason to be afraid of it.

Catholic liturgical music, it would seem, is everywhere but in the Catholic Church itself.

Once the Mass is restored to its rightful place, we will again see choirs being developed.

The tunes, rhythms, and messages are drawn mainly from secular culture.

The democratic and pedestrian character of the new Mass itself seems to invite the ditties that pass for hymns these days.

At St. Francis de Sales in Atlanta, we do not have an organ. We do not have rehearsals during the week. We do not have a professional choir.

And this speaks to the larger problem that no one wants to talk about: the restoration of the Roman rite is a precondition for a long-term fix for the problem.

The pastor of a parish will typically have no education in the chant or in music, and he will hire the first music director who walks through the door.

You can read about it all you want, but there is no substitute for just doing it.

There's nothing stupider than bursting into song for seven seconds and then falling silent again.

For two thousand years, the Church has guided the development of music, carefully legislating to fuse artistic talent and aesthetic beauty with the demands of the Faith.

Participation is easily obtained with Latin chant.

Ironically, we live in times that are awash in authentic sacred music.

It bothers me when I hear it in a car commercial or some such. But for the most part, it's better than seeing sacred music relegated to the scrap heap.

Even Catholic parishes today are not wanting for talent. But no serious singer or organist will get anywhere near the typical music program, at least if he wants to retain his self-respect.

Thus the slogan should be reversed: Catholics taught the world what music is supposed to sound like, and, more importantly, what it is supposed to mean.

Never have so many recordings of the great Masses and motets been in wider circulation.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.