TheSnail: Equality is an ideal of the Gradus and of 16th century European church music, but even there, some parts are more equal than others. Schweik's objection was commonplace in those times already; legend says it was being discussed in the Council of Trent. (They were mainly concerned about a comprehensible text.)

We have seen that there are many other styles of counterpoint, if we use the present-day notion (as I wrote above). Communication between church and folk music has always been more vivid than their exponents would admit, in Georgia (Caucasus) as much as in Georgia (USA).

I would like to modify Schweik's point: Don't apply excessive artistry to simple melodies, if you want to conserve its character. A well-conducted bass line and ditto harmony parts, however, rarely go amiss.