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

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.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

Concerning culture as a process, one would say that it means learning a great many things and then forgetting them; and the forgetting is as necessary as the learning.

No doubt Western civilization has in the past been full of wars and revolutions, and the national elements in our culture, even when they were ignored, always provided an unconscious driving force of passion and aggressive self-assertion.

The things that I draw on, and the world that I feel part of, aren't particularly youth culture.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

You're a Catholic in Italy when you're born, it's unthinkable to stop being Catholic. You just take the rules a lot more seriously, because it pervades your culture.

Sex and drugs were simply not discussed in our culture at that time.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

Lives have been altered in fundamental ways, and later, after they acquire a more complete understanding of what goals are actually attainable, many are left facing a lot of pain and frustration. And yet, there's no culture of complaint.

I've always been interested in the relationship between total external surround, culture, the political matrix, technology, etc., and the internal human consciousness.

Writing is about culture and should be about everything. That's what makes it what it is.

And there are so many people in the third world suffering so horribly right now, and we are so focused on ourselves and our culture that a lot of things are showing up in our culture that are making it impossible for us to focus on others. We're so self-focused.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Mr. Speaker, genocide is the most potent of all crimes against humanity because it is an effort to systematically wipe out a people and a culture as well as individual lives.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.

The question was heatedly debated of how much Western culture should be brought into China.

The whole drive of western culture, the part of it which is serious, is towards an extreme objectification. It's carried to the point where the human subject is treated almost as if it's dirt in the works of a watch.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.