{"id":38349,"date":"2017-10-05T08:38:09","date_gmt":"2017-10-05T13:38:09","guid":{"rendered":"https:\/\/praytellblog.com\/?p=38349"},"modified":"2017-10-06T06:13:50","modified_gmt":"2017-10-06T11:13:50","slug":"martin-luther-on-renaissance-choral-polyphony","status":"publish","type":"post","link":"https:\/\/praytellblog.com\/index.php\/2017\/10\/05\/martin-luther-on-renaissance-choral-polyphony\/","title":{"rendered":"Martin Luther on Renaissance Choral Polyphony"},"content":{"rendered":"

\u201cOutstanding in this art is this, that while one voice continues to sing its cantus firmus [main melodic motif]<\/em>, other voices at the same time cavort about the principal voice in a most wonderful manner with praise and jubilation, adorning the cantus firmus<\/em> with most lovely movements; they seem to present a kind of divine dance so that even those of our day who have only a most limited amount of sentiment and emotion gain the impression that there exists nothing more wonderful and beautiful.\u00a0Those who are not moved by this, are, indeed, unmusical and deserve to hear some dunghill poet or the music of swine.\u201d<\/p><\/blockquote>\n

(Walter Buszin, \u201cLuther on Music,\u201d\u00a0Musical Quarterly\u00a0<\/em>32 ([946], 82. Sound track: Kyrie\u00a0<\/em>from “Missa Pange Lingua” by Josquin des Prez [d. 1521]. Des Prez was a favorite Renaissance composer of Luther.)<\/h5>\n