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Crosby,
Stills, Nash and Young
Lesson for Music Classes, Grades 7-12
Lesson 3 of 3
Exploration of Live vs. Recorded
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Note to Teachers: The
programs viewed in conjunction with these lesson plans may include
references, consistent with the eras portrayed, to substance abuse,
violent acts, and topics of a sexual and/or political nature. Because
this may be considered inappropriate for classroom use in some
communities, you are encouraged to review the programs before presenting
them to your students, and if necessary, choose those sections
that enhance your lesson and are acceptable for use in your classroom.
Objectives
- Students will compare and contrast the live performances
of Crosby, Stills, Nash and Young in 2000 with past recordings made
around the 1960s.
- Students will objectively critique the commercial appeal of the songs,
solo vs. group.
National Standards for Music Education
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines
outside the arts.
9. Understanding music in relation to history and culture.
Materials
- VHS VCR Player
- Television
- Audio playback equipment
- VH1 Storytellers: Crosby, Stills, Nash and Young Taped
Program (aired for VH1 Music Studio 1/7/03 4:00 AM EST)
- “Woodstock, 3 days of peace, music...and love” Documentary,
1970 (Optional)
- Web-based lesson materials
- Pencils/Pens and paper (students)
- Copies of “Critique Sheets”, three of each
per student
- Teacher selected recordings from the following Crosby,
Stills, Nash, and Young albums and members’ solo albums (see
Supplemental Resources):
CSNY: Crosby, Stills and Nash, Déjà vu, So
Far, Four Way Street, Carry On, Looking Forward
David Crosby: If I Could Only Remember My Name, King Biscuit
Flower Hour, Live
Stephen Stills: Manassas, Stephen Stills
Graham Nash: Songs for Beginners, Songs for Survivors, Wild Tales
Neil Young: After the Gold Rush, Harvest, Harvest Moon, Decade
Prior Knowledge:
-Students are familiar with the musical terms used in this
lesson and understand the basics of melody and rhythm.
-Students are comfortable with the process of critiquing music and
music performances.
Procedures
1. Lead students in a discussion of the influence of technological
advances on recorded music. Ask students if they have ever seen a
live performance by a group or individual that didn’t “measure
up” to their studio recordings of the same music? Due to advances
in recording technology, voices can essentially be “created” through
technology, and “fixed” to a point where it is impossible
for the artist to successfully replicate the recording live. Even
in the 1960s, the technology used by CSNY in the recording studio
led some to accuse that their live performances wouldn’t hold
up. However, they proved themselves at their performance at Woodstock,
showing the critics that they were able to harmonize clearly and
beautifully without the aid of technology. If possible, show a clip
from the actual Woodstock Documentary.
2. Distribute “critique sheets” to each student (available
at end of lesson). Students should have six peace signs, three each
for recordings and three each for live performances. Suggest that students
envision themselves as judges in 1960s and present day versions of “American
Idol.” They should be objective, honest, and candid with their
critique. Explain to students that over time, the musical quality of
certain artists either remains strong or subsequently fades, so they
should evaluate the performances not just on the basis of live vs.
studio, but also as musicians in their early years vs. seasoned musicians.
Students should critique each element out of four in order to maintain
an equal rubric.
3. Show VH1 Storytellers: Crosby, Stills, Nash and Young, “Helplessly
Hoping”, “Our House”, and “Guinnevere” segments.
After each segment is viewed, play the teacher selected studio recording
of the same song, dating from the 1960s (i.e. “Helplessly Hoping” video
segment followed by “Helplessly Hoping” audio recording; “Our
House” video, “Our House” audio; etc.). Students
should make notes on their critique sheets about the four musical elements
for each version of the songs they watch and hear.
4. 4. Lead students in a discussion of their critique sheets and a
comparison of the live versus studio recordings. Are the studio recordings
comparable to the live performances? Are any differences in the quality
of the performances due to the versions being live vs. studio, or due
to the older age of the musicians? Although answers are likely to vary,
most will come to the following conclusions:
“
Helplessly Hoping”: Video vs. audio - holds up
“Our House”: Video vs. audio - tempo drags
“Guinnevere”: Video vs. audio - holds up, even better now
Overall, CSNY’s talent is still very evident in their live performances.
What elements have not changed over the years? Ask students to discuss whether
the members’ voices and musicianship have changed since their 1960s recordings. 5.
Lead students in a review of the folk music genre and the importance of
lyrics and instrumentation to this style of music. How have the guitar playing
techniques and compositional and vocal styles of Crosby, Stills, Nash and
Young made them such an influential group within this genre (they brought
defined harmony and true meaning to the music of the1960s, 1970s, and on
into today). Have students discuss why CSNY and their music might appeal
to multiple generations.
Extensions:
1. Time Period Project - Have students listen to CSNY’s “Teach
Your Children.” Lead them in a discussion of the original meaning of
the song. What did society and its people want to teach their children? Ask
students to interview a parent, family member, or friend with children about
what morals and ideals they try to pass on to their children. What would
they, the students, teach their own children? How is it the same/different
from the 1960s compared to present day? Have students prepare a short report
on their interviews and observations, and share as a class if desired.
2. Compare/contrast the solo repertoire of each band member. What direction
did each person take? What personal strengths are apparent in their work,
and which elements of CSNY are evident as well? Objectively, is the music
of the same caliber as the collective CSNY sound?
Studio Version
Live Version
Supplemental Resources:
National
Standards for Music Education
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire
of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines
outside the arts.
9. Understanding music in relation to history and culture.
These standards-based materials are provided through
a partnership with MENC: The National Association for Music Education.
This lesson plan was created by MENC member Amy Rosenthal, Vocal
Music, Cayuga Elementary, Lake Grove, NY.
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