This essay entails a report of UC-Davis Symphony concert at the UC-Davis. It gives the historical perspective of the concert and reasons for its relative popularity. In addition, the essay establishes the performing force and the form exemplified in the UC-Davis Symphony concert. Further, it elucidates the texture and character that were prominent at the concert. According to the literature available, these concerts are organized annually in different regions of the world. The main aim of the concerts has always been to actively engage students in research in the arts, cultural studies and the humanities. In particular, this essay will focus on the musical aspect of the concert (C. H. Cope 1978).
The music performance included many singers of different vocal powers. Although, the large number presented the challenge of incoherence, the team integrated their voices quite properly, such that the musical content was both quite authentic. For instance, the team distributed themselves into soprano, tenor, alto and bass with each group sitting together, a distance from the rest. The tenors were seated next to the sopranos, such that their high pitched voices properly integrated. On the other side were the bass and the altos, who were also strategically seated, so that their voices remained coherent throughout the session. During the performance of the concert, the sopranos would start off and then the altos would later join. Eventually, the basses and the tenors would get into the mix, thereby creating a near perfect musical combination (H. Dane 1976).
The musical composition was divided into different sections, such that the singers would start with a line that will then be repeated after every stanza. The introductory line started in a low tone before raising the tone in readiness for the first stanza. When the singers finally got to the first stanza, the tone rose sharply thereby drawing the attention of the audience to the main message in the song. It was at the end of the first stanza that all other groups went silent except for the sopranos who sang the repeated line that had earlier started the song. The eventual emergence of the other voices gave a strong performance force to the whole song. This was repeated at the beginning of every new stanza where one voice would start and later joined by the others in unison (Small C. 1977).
The repeated line in the music gave the entire performance a homophonic characteristic, in that the line naturally drew the attention of the audience whenever it was sung. As such, the other parts of the musical composition had a mere purpose of accompanying or filling in the chords to make the composition more coherent and adequately appealing. However, this did not mean that the accompaniment parts of the music were not of melodic interest. In fact, it incorporated lots of the rules of well-written counterpoint that made them almost equally interesting. Nonetheless, it was clear from the singing that the two parts were not entirely independent melodic sections, as the rhythm was basically the same. Essentially, the composition was achieved in such a way that it purposely filled in the harmony (C. H. Cope 1978).