Curriculum Guide BELMONT HILL SCHOOL 2021-2022
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BELMONT HILL
SCHOOL
Curriculum Guide
2021-2022
Updated March 5, 2021Contents
Curricular Vision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Credit and Promotion Requirements . . . . . . . . . . . . . . . . . . . . . . 2
Diploma Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Grading System and Honor List . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Cum Laude Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Required Courses and Subject Sequences . . . . . . . . . . . . . . . . 4-5
Elective Opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
Course Descriptions
Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Classics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Inquiry Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Senior Humanities Courses . . . . . . . . . . . . . . . . . . . . . . . 25
History and Social Studies . . . . . . . . . . . . . . . . . . . . . . . . 26
Mathematics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Modern Foreign Languages . . . . . . . . . . . . . . . . . . . . . . 34
Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Signature Sixth Courses . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Ethics, Independent Study, Health . . . . . . . . . . . . . . . . . . . . . . . . 49Curricular Vision Values
• Character, Empathy, and Resil-
Belmont Hill School strives to give its iency
students a rigorous program of study • Leadership and Teamwork
that provides a firm grounding in • Lifelong Love of Learning
skills, values, and vital content while • A Process-Oriented Approach to
also including curricular and peda- Education
gogical innovation that will make its • Global Citizenship and Environ-
students well prepared to thrive in mental Sustainability
the complex, fast-changing world in
which they live today and will work Knowledge
tomorrow. At Belmont Hill, we believe that
content forms the basis of a 21st
The curriculum provides our stu- century education anchored in
dents with a modernized liberal arts imparting key skills and values to
education rooted in traditional and our boys.
innovative coursework. It includes
required classes in the humanities, A firm understanding of grammar
arts, sciences, and mathematics along and vocabulary, combined with a
with a rich elective program across focus on writing throughout the
the disciplines. curriculum, enables our boys to
communicate skillfully across
Transcending particular courses or multiple platforms. Grounding our
disciplines, the curriculum is de- math and science courses in founda-
signed to foster intellectual curiosity, tional content provides Belmont Hill
growth, and a love of learning. It students with the requisite knowl-
aims to develop distinctive qualities edge to do meaningful work in
of mind and to pass on essential science labs and maker spaces.
skills, values, and knowledge to our Furthermore, rich content in the arts,
boys. humanities, classics, and modern
languages equips students with the
context and cultural understanding
required to analyze the world
Skills, Values, Knowledge through an empathic lens.
Skills Thus, we empower our teachers to
• Analyzing and Synthesizing expose their students to content they
Information deem fundamental to their respec-
• Problem Solving, and Critical tive fields and to leverage that
Thinking content to reinforce skills and values
• Writing and Research essential to our boys’ success both at
• Collaboration and Communication and beyond Belmont Hill.
Across Multiple Platforms
• Interdisciplinary Learning
• Adaptability, Design, and
Creativity
1Credit and Promotion semester or year-long courses
during the final quarter of the
Requirements academic year to undertake a
Senior Project. Successful com-
Each student in Forms I-V is expected pletion of such a project (with a
to carry a program of study equivalent grade of Pass) shall then become
to five full courses. Beginning in Form a requirement for Graduation.
III, one credit is awarded for every full
year course and one half credit for 3. Algebra 2A or Algebra 2, and
every semester-length course com- Geometry A or Geometry.
pleted with a grade of D- or above.
Students in Form VI may reduce their 4. English must be studied in each
programs to four courses during one semester. In Forms V and VI,
semester. Enrollment in six courses in semester-length elective courses
any given semester requires special chosen must include English 15
permission. and three courses drawn from
To be promoted to the next form, a the groups English 16-20 and
student must complete the year with 21-33, two from one group and
no grades of F, no more than two full one from the other.
credits at D level, and with enough
credits to graduate by taking no more 5. Completion of the third level of
than five courses in each of the one foreign language, either
ensuing years. modern or classical. Those who
enter in Form I are expected to
study both Latin and a modern
language.
Diploma Requirements 6. 1 1/2 years of History in Forms
A diploma is awarded to those in V and VI.
Form VI who have completed the
following: 7. Two year-long courses drawn
from Biology, Chemistry, Physics,
1. 18 1/2 units of credit in the last 4 AP Environmental Science,
years. 1 full year’s study = 1 unit Advanced Marine Biology,
Geology/ Astronomy.
No more than 6 of these credits
may be D’s. 8. A semester course in Art History,
Music Appreciation, or an
No credit is given for a course Advanced level participatory art.
repeated to raise a D. Music Composition, Music
Technology, or Theory of Jazz
No credit is given for an F. may satisfy either a participatory
or appreciation requirement, but
2. At least 4 1/2 units of credit in the not both.
senior year. Of these, no more than
2 may be D’s and none may be F. 9. A semester course in participa-
With the approval of the Senior tory arts, numbered Art 31-46.
Projects Committee, a student in
Form VI may withdraw from one 10. The carving and finishing of a
or more designated second wooden panel to be permanently
displayed at the School.
2Grading System and Cum Laude Society
the Honor List The Belmont Hill chapter of the Cum
Laude Society, established in 1928,
A is given for academic work of
annually may elect for membership
excellence. B is an honor grade and C
in this national independent school
a college-certifying grade. D is a
honor society Sixth Formers of good
minimal passing grade, suggesting the
character who stand in the top fifth
need for supplemental work before
moving ahead in the subject. F is a of their class in academic achieve-
ment.
failing grade, and courses in which it
is given earn a student no credit.
The school posts Honor and High Summary of Courses
Honor lists at the conclusion of the
Courses labeled f are given in the
first semester and academic year. In
Fall semester only.
the computation of honor standing,
Courses labeled s are given in the
passing grades are assigned a point
Spring semester only.
value in the range of D- (1) to A+ (12).
Courses labeled A are for especially
To qualify for the High Honor list, a
capable students.
student must earn an average in a four
Ordinarily, no course will be given
or five course program of 10 or above,
for fewer than ten students except
with no D’s or F’s. To qualify for the
arts courses and advanced courses in
Honor list, a student must earn an
language or mathematics.
average in a four or five course
program between and including 8.8
A summary of required courses and
and 9.99 with no D’s or F’s.
subject sequences appears on pages
4-5. A listing of elective opportuni-
A Certificate is awarded at
ties follows on pages 6-7.
Commencement to special or visiting
students in Form VI as evidence of
attendance.
Diploma Designations
At the conclusion of the Form VI year,
a Cum Laude diploma is awarded for
a cumulative academic average for
Forms IV-VI between 8.8-9.9 on the
12-point Honor List scale.
A Magna cum laude diploma is
awarded for a cumulative academic
average for Forms IV-VI between
10.0-10.49.
A Summa cum laude diploma is
awarded for a cumulative academic
average for Forms IV-VI of 10.5 or
above.
3SUMMARY OF SUBJECT SEQUENCES ––
ENGLISH MATHEMATICS HISTORY SCIENCE
ANCIENT
Form PRE-ALGEBRA/ FORM I
I ENGLISH I GREECE
PRE-ALGEBRA A SCIENCE
(Gr. 7) AND ROME
2nd - 4th Quarters 1st - 3rd Quarters
U.S. INTRODUCTORY
ALGEBRA 1/ PHYSICAL
II ENGLISH 2 GOVERNMENT
SCIENCE
(8) ALGEBRA 1A f or s
f or s
(Returning Students)
MIDDLE EAST CONCEPTUAL
ENVIRONMENTAL PHYSICS
AND CHINA SCIENCE INTRO ENGINEERING
COMPUTR SCI. 1
GEOMETRY/ f or s f or s
III f or s
ENGLISH 3
(9) GEOMETRY A Facing
(New Students)
Conceptual Physics
ENVIRONMENTAL
History SCIENCE
Intro Engineering
Computr Sci. 1
s f or s f or s
one semester required
Two year-long
20th Cent. 20th Cent courses in
laboratory science
IV ALGEBRA 2/ World f World s
in Forms IV-VI
(10) ENGLISH 4 ALGEBRA 2A required, drawn from
EUROPE
IN THE Biology
WORLD AP Biology
(usually Form IV)
Chemistry
Am. Literature U.S. AP Chemistry
Intro to
V f Pre-Calculus, HISTORY / (usually Form V)
(11) Pre-Calculus A Adv. Earth Science,
AP U.S.
or Pre-Calculus HISTORY Adv. Marine Bio, Adv.
One Course Exercise Phisiology,
each semester (usually Form V or VI)
selected from AP Environmental
English Electives Statistics, Science
One Semester Physics, AP Physics
Calculus
(usually Form VI)
VI AP Calculus AB History Elective
(12) AP Calculus BC
Inquiry AP Computer Science
AP Statistics Principles
Linear Algebra AP Computer Science A
Acceleration in Mathematics and Modern Language sequences may be possible, depending upon testing results at time of entrance.
4Required courses listed in BOLDFACE type.
See also Diploma Requirements, page 2.
LANGUAGES ARTS OTHER
CLASSICAL MODERN
FIRST FORM
CHINESE, HEALTH
LATIN ALPHA FRENCH or FIRST FORM ART
1st Quarter
SPANISH
1st Quarter
LATIN GAMMA CHINESE, ART, MUSIC HEALTH
or GAMMA A FRENCH or AND
Required for
SPANISH 1 PERFORMANCE
returning students
Elective at appropriate CHINESE 1 or 2,
level for returning students HEALTH/ETHICS*
FRENCH 1 or 2
(fall only or full year)
or
(full year) SPANISH 1, 1A, 2 One
LATIN 1, 2 or 2A or 2A semester
For students not taking For students not course
French, Spanish or Chinese taking Latin required
in Forms
III-VI
CHINESE 2 or 3, One HEALTH
LATIN 2, 2A, 3 or 3A FRENCH 2 or 3 semester
For students not selected from
or course
taking French, Spanish required in
or Chinese
SPANISH 2, 2A, 3 Acting
Forms IV-VI Independent
or 3A Ceramics
Study
Digital Video
Drawing
Forms III-VI
selected from
Music Technology
Photography Art History
LATIN CHINESE 3 or 4 Woodworking MusicAppreciation
3, 3A, 3-4 or AP FRENCH 3, AP or Cs MusicComposition Theory of Jazz
SPANISH 3, 3A, Theory of Jazz Adv. Ceramics
AP or Cs Music Technology Adv. Woodworking
Advanced Digital
Form III Only Video
B-Flats Adv. Paintng and
Jazz Band Drawing
LATIN
CHINESE 4 or 4A, TYSK
3-4, AP, or 5 5, or 5A
FRENCH AP or %
GREEK 1
*These courses meet for just a portion of the year and are taken in addition to the regular 5-course program.
5Elective Opportunities FORMS IV-VI
Art History
Full year courses are indicated by *.
Latin: 3-4*, AP Latin*, 5
All other listings are one-semester
Chinese: 4, 4A, 5, 5A
courses. Before registration each
spring, students French: AP Language*
Spanish: 4*, AP Language*, AP
learn which electives will be offered
each semester. Literature*
Intro Pre-Calculus
Linaer Algebra
Multivariable Calculus
FORM III only AP Calculus AB*
AP Calculus BC*
Latin 1* (new students) Pre-Calculus*/Pre-Calculus A*
Chinese*, French*, or Spanish* AP Statistics*
Facing History and Calculus
Conceptual Physics Statistics
Computer Science 1 Linear Algebra
Introduction to Engineering Advanced Earth Science
Advance Marine Biology
Biology*/ AP Biology*
FORMS III-VI Chemistry*/AP Chemistry*
Computer Science 1
Acting Advanced Marine Biology
Ceramics
Digital Video
Music Technology FORMS V and Vl
Drawing and Painting English Electives
Photography African-American Literature
Woodworking Comedy
Advanced Ceramics Contemporary Literature
Advanced Photography Creative Writing
Advanced Woodworking Faulkner and the Southern Tradi-
Advanced Digital Video + Film tiomThe Hero in Literature
Advanced Drawing and Painting Gothic Literature
B-Flats Inner Voyages
Jazz Band Literature and Social Justice
Music Technology Modern American Literature
Music Composition Non-Fiction Writing
Theory of Jazz Page and the Stage
Independent Stud Science Fiction
Shakespeare
FORM IV only Science Electives
Advanced Science Research*
20th Century World History F or S AP Computer Science Principles*
AP Modern European History* AP Computer Science A*
Advanced Earth Science
Advanced Marine Biology
Advanced Elective in Exercise and
Phisiology
6FORM VI only
Advanced Elementary Greek
History Electives
Advanced Macroeconomic Theory
and 21st Century Conflict
International Relations
World Religions
Global Economics
American Politics and Policy
The History of South Africa
Humanities Courses
Native American Studies
Advanced African American
Studies
Science Electives
AP Environmental Studies*
Physics*
AP Physics*
AP Physics C
Biomedical Engineering (6th Course)
INQUIRY COURSES
Advanced Narrative Writing
Breaking Down the 4th Wall: Explor-
ing Contemporary Culture Through
Film, Music and Writing
God, Man & Myth
Impact and Legacy
Literature and Film
Maine Coast
Pathways to Justice
Statistical Revolution in Sports
Advanced Science Research
Immigration Today
7Courses of Instruction ing arts based elective in either the
winter or spring season. Students in
Form II must choose one season of
Arts visual art activity or one season of
performing art activity (fall, winter or
The purpose of the Arts Department at spring) during the course of the year.
Belmont Hill is to offer formalized and Participation in a year-long instrumental
individual instruction in studio arts, art program or theatrical production may
history and music. Departmental also satisfies the requirement. Annually,
courses are organized sequentially, and a list of activity choices will be pub-
a boy’s progress in any one of them is lished during the course selection
regularly evaluated. process.
The ultimate goal of the courses, ** Due to Covid protocol and a modified
separately and together, is to nurture a school schedule this requirement may be
boy’s own creative imagination and suspended
facility with arts materials and media, to
expand his sensory awareness, and to
instill in him an appreciation of beauty Art 31
as it is found in his own work and in CERAMICS
that of others. Forms III-VI
This course is designed to give an
Unless otherwise indicated, all arts introduction to work in clay. Hand
courses given above the Form II level building and wheel work are covered as
count fully toward the 18 1/2 units well as the proper application of simple
required for graduation and are taken glazes. With an emphasis on an
as a part of the regular course load. understanding of the relationship
between design and function, the
Courses marked with an asterisk (*) are coursework begins with the construction
taken in addition to the regular course load. of traditional pottery vessels and moves
towards a development of style. A final
* FIRST FORM ART project will take the place of an
This is a course required of all boys in examination.
Form I. It meets daily throughout the
first quarter serving as an introduction Art 32
to studio work at Belmont Hill. Foster- ADVANCED CERAMICS
ing active observation and creative Forms IV-VI
thinking, the course focuses on projects This course allows students an oppor-
in two and three-dimensional media tunity to further develop their skill in
with an introduction to specific skills in working with clay and the making of
drawing, painting and sculpting. Studio more challenging forms. Not only will
work draws upon s ubject matter from students be asked to make significant
other courses to help unify the learning works but they will also be required to
experience across disciplines. research both traditional and current
trends within the field of ceramic art.
FORM I AND II The course concludes with each student
ART, MUSIC AND PERFORMANCE displaying a related body of work. This
Students in Form I and II are required to class is open to students who com-pleted
participate in both visual and perform- Ceramics with a B- or better.
ing arts activities. Students in Form I
must choose to participate in a perform-
8improvisations, monologues, two-man
Art 33 and group scene work, text reading,
DRAWING AND PAINTING script analysis, and short role memoriza-
Forms III-VI tion. Final projects include public
per- formance and a written analysis of a
Many believe that drawing and painting play and one of the characters within
are specialized skills attainable only by that play.
the few, but all people can learn to draw
and paint with proper instruction, Art 41
allowing them to observe the world more WOODWORKING
closely and to envision the worlds they Forms III-VI
wish to create. This course breaks the
component lessons of drawing and paint- In addition to being an introduction to
ing: space and inter- space, light and the art of fine woodworking, the course
dark, coloration, and texture into serves to develop a sense of design and
component parts that can be mastered an awareness of the relationship of form
and added together to create a clear and and function. Students will design, plan,
expressive language. Students use pencil, and complete projects in wood, learning
charcoal, brush, and paint on projects in the care and use of various hand and
the studio and out on the campus to power tools. The aesthetics of design,
sharpen perception and develop expres- craftsmanship, and careful planning are
sive skills. Additional work in Google stressed in the course work and in evalu-
SketchUp allows students to draw and ation pro-cedures. Facilities limit the
model invented and imagined forms. class size to a maximum of 10 students.
Art 35 Art 41A
ADVANCED DRAWING ADVANCED WOODWORKING
AND PAINTING Forms IV-VI
Forms IV-VI
This course provides students with an
Open to students who have completed opportunity to further their experience
Drawing and Painting I, this course will with woodworking techniques. The
focus on further developing skills in material covered in class will include
perception and expression. While con- design criteria, drafting for wood-work-
tinuing to use the studio and campus as ing and advanced machine opera- tions
a focus, this course will encourage the and safety. The typical semester requires
development of an individual artistic
a student to design and construct a
voice and the production of a portfolio of
significant project of either furniture or
work.
sculpture primarily in wood. This class
Art 40 is open to students who completed
ACTING Woodworking with a grade of B or
Forms III-VI better.
A course that approaches acting via Art 43
acting technique, character develop-ment PHOTOGRAPHY
and script analysis. It makes no differ- Forms III-VI
ence whether students are experienced
actors and, indeed, a class of mixed A comprehensive course in introductory
experiences is best. The student, though, photography, students will learn the
must be willing to approach acting basics of camera operation, film devel-
seriously and with rigor, eager to learn opment and traditional silver printing in
by doing, and accepting of the belief that a wet darkroom. A SLR film cameras,
acting is ultimately a team endeavor not film, chemistry and paper will be
an individual one. Assignments include supplied by the department. Weekly
9shooting assignments on a range of boarding, script writing and camera
topics assure a breadth of experience skills, along with the use of iMovie
and a variety of techniques. Students editing software. Boys work in teams to
will also explore the world of digital create several video projects, including
photography on a personal camera of an independent project which may be
any format. Each student will work suitable for entry in film festivals held
toward the completion of a portfolio of across the country.
mounted prints demonstrating mastery
of both the technical and artistic ele- Art 46
ments of making photographs. ADVANCED DIGITAL VIDEO
AND FILM
Art 44 Forms IV-VI
ADVANCED PHOTOGRAPHY
Forms IV-VI Advanced Digital Video and Film
Studies expands on the technical
Advanced Photography builds on the elements covered in Digital Video while
experiences learned in the introductory introducing students to the process of
photography class by exploring digital, viewing and analyzing films from a
large and medium format and alterna- technical and conceptual perspective.
tive processes in printing. Students utilize a number of techniques
Students will learn to scan and process to elevate the technical components of
film images into digital files, and will their work and begin to introduce a
develop more comprehensive photo deeper conceptual under-standing of
editing skills. Students should expect to how a film comes to fruition. Students
capture images daily, and will be will utilize resources, such as The
assessed on the body of work generated Criterion Collection, to expand their
and diversity of formats explored. A working knowledge of film and direc-
majority of the coursework focuses on a tors. Such resources will allow students
student’s ability to develop an artistic to isolate movements, thematic inspira-
and technically sound portfolio. tions, and connections to their own work
Most supplies for the course will be to provide them with a solid foundation
supplied by the department, but a of work that came before them. Students
personal DSLR camera is recommended. will engage in a number of individual
This class is open to students who have and collaborative assignments meant to
completed Photography I or have the challenge and force them to think
permission of the instructor. outside of the box. The class will
conclude with a final project, a short
Art 45 20-minute film directed and written in
DIGITAL VIDEO AND FILM their style of choice. A written statement
Forms III-VI will accompany this piece describing the
impetus behind their work along with
We live in an age where digital video is the direction and conceptual inspiration
everywhere: how does video affect the that allowed the piece to come together.
way we communicate, learn and form
opinions about the world? TV and Art 47
online video strive to shape our under- DIGITAL MUSIC PRODUCTION
standing of the world through story Forms III-VI
telling. In this class, students examine
different methods of communication This course covers the basics of music
through video and create stories of their technology, with particular focus on
own. The course introduces students to digital keyboards, MIDI, and computer
the basic principles and practices of music programs. In the first quarter,
video production. They learn story- students examine basic acoustics, the
10 istory of music technology, synthe-
h world. Still, without Beethoven and his
sizers, and microphone and speaker gang, would country, gospel, rock, and
design. In the second quarter we learn rap music even exist? With a pulse on
how to sequence music on a computer, today’s music and artists, this one-se-
record live sound, and create music for mester course journeys through the
films. Assignments and projects range development of musical genres and time
from the study of topics to the creation of periods including the middle ages
original music, and students are assessed (medieval), rock, orchestral and movie
based on quizzes, composition assign- music, baroque, gospel, rap, Motown,
ments, live recording projects, presenta- and country as well as music from
tions, and their participation in group around the world. On this journey,
projects. At the end of the course, historical and social connections will
students complete a final project utilizing provide insight into the personalities
what they have learned in the areas of and conditions that inspired and
live recording, computer sequencing, and continues to give life to this art form-
music production. MUSIC!
This course is designed for students of
Forms III-VI. No prior experience play- Music Composition
ing an instrument is neces-sary. Music Forms IV-VI
Technology fulfills one semester of the Designed to explore music from the
diploma requirement in arts as a ‘partici- inside out, this practical one-semester
patory’ course. course is an introduction to the fun-
damental materials and simple com-
Art History positional procedures of tonal music.
Forms IV-VI The development of basic musicianship
Through teacher led presentations, skills augments the study and practice of
readings, in-class discussions, on-line composing, including work on the
learning experiences and class visits to notating of music, on understanding and
major Boston Museum collections, originating rhythmic and harmonic
students are familiarized with the rich progressions and two-part counterpoint,
heritage of the visual arts in a variety of and ultimately, on the writing of original
forms from architecture and sculpture to music from an informed perspective.
drawing, painting, printmaking and Although helpful, prior study of music is
photography. A major goal of the course, not necessary for success in this course.
paralleling the historical survey, is the
development in the student of a basic Theory of Jazz, Rock and Blues
critical sense and an appreciation not Forms III–VI
only of the historical roles of the artist This course addresses the fundamentals
but also of how art becomes a reflection of music theory as they apply to jazz,
of the societies which produced it. After rock, and blues music. As an alternative
an examination of the elements of art, the to Music Composition, it teaches many
course embarks upon a chronological of the same ba sic lessons in scales,
study of art through the ages from Greek chords, keys, music notation, and
and Roman through recent work in the composition but examines them through
21st Century. the lens of the history of these specific
Music Appreciation: Roll Over Beethoven genres. Students learn how musicians
- is Rap Music? improvise over chords, interpret
Forms III-VI rhythms, and write melodies and chord
progressions. They also learn to con-
Contemporary popular music and the struct basic scales, intervals and chords.
rap/hip-hop culture and genre, in Supplemented with learning exercises
particular, seem to dominate the music and ear training, these lessons help stu-
11dents understand how to listen to, play, emphasizing accountability and
and compose music. Assignments and developing study skills in a way that is
tests involve analyzing melodies and uncommon in a 21st century classroom.
chord progressions, writing original Yet, few subjects do more than Latin to
tunes, and responding to questions promote 21st century educational goals,
regarding scales and chord functions. particularly those revolving around
Students will write entries in a listening critical thinking and problem solving.
journal in addition to the theory work. There is even a growing body of
literature that sees the study of Latin,
This course is designed for students of for some of the very reasons mentioned
variable levels of musicianship from above, as an excellent prerequisite for
Forms IV-VI and fulfills one semester of coding.
the diploma requirement in arts as an
“appreciation” course. Form III students The value of Latin, however, does not
may take this course with permission of lie entirely in the skills it helps to
the Department. No prior music theory develop. Latin offers students a
or playing experience is necessary. The rigorous interdisciplinary educational
course is highly recommended for experience and extraordinary content.
members of any of the school’s jazz or As students advance, they read Caesar,
rock ensembles. Cicero, Ovid, Vergil, Plato, Homer and
others - some of the most important
ART INDEPENDENT STUDY and influential authors in the history of
A student who wishes to pursue art Western Civilization, all primary
beyond the level offered in a regular or sources in their original languages.
advanced course may create his own
direction in art study, by approval of the Latin Alpha and Latin Gamma
department chair and through sponsor-
ship by a member of the arts faculty. A Instruction in Latin begins in Form I.
written proposal to the Dean of Curricu- The first (Alpha) and second (Gamma)
lum outlining a direction and focus of years of study are devoted to the
study is required. acquisition of a strong foundation in
grammar and vocabulary indispensable
to all subsequent work. Our textbook is
supplemented with readings about
Classics Roman social history and several fun
The influence of Latin on English and Latin novellas which develop students’
the Romance languages is staggering. confidence and comfort in reading
The study of Latin therefore helps Latin. Accountability and study skills
students to become better readers and a are special points of emphasis.
more expressive writers & communica-
tors. It also aids them immeasurably in Advanced Latin Gamma
the study of Romance languages should This course is open to boys who have
they elect to pursue them in the future. displayed particularly strong aptitude
While these are perhaps the most for the study of Latin at the Alpha level.
obvious benefits of studying Latin, they It follows the syllabus of the regular
are not the best reasons for doing so. Gamma course but at an accelerated
pace. Students complete their text
The acquisition and benefits of Latin earlier in the year than the regular
relate more to the structure of the section and move on to authentic Latin
language than to its vocabulary. The prose, graffiti, and Medieval literature.
study of Latin helps to develop a
rigorous attention to detail, an intellec-
tual focus, and logic. It does so while
12Latin 1 Advanced Latin 3
New students entering Form II with This course is open to those students
limited or no prior exposure to Latin who have displayed a particularly
will enroll in Latin 1. It combines the strong aptitude for reading Latin at the
work normally done in the Alpha-Gam- second-year level, regular or advanced.
ma sequence and prepares students for The fall semester revolves around the
Latin 2. The text was designed in-house history and politics of the Late Roman
for this course in particular and incorpo- Republic. Students read Cicero’s First
rates articles that explore many aspects Oration Against Catiline and Quintus
of Roman culture. It is supplemented by Cicero’s Little Handbook of Electioneer-
several fun Latin novellas to develop ing. They also study Roman rhetoric.
reading facility. This course is open to In the spring, students read Ovid,
new students in Form III or Form IV Martial, the Vindolanda Tablets, and a
who wish to study Latin. selection of Medieval authors. They
will also learn sophisticated philologi-
Latin 2 cal research techniques and poetic
scansion. Finally, students compete in
This course combines rigorous grammar Holy Cross’ Manuscripts challenge and
review with translation and interpreta- gain some exposure to Ancient Greek.
tion of ancient texts. Selections from
Livy, Caesar, and other authors intro- Latin 4
duce the student to concepts of accurate
reading and critical analysis of seminal Students in Latin 4 will also study a
works of western literature. range of authors and styles. In the fall,
they study the Roman historian Livy.
Advanced Latin 2 In the spring they turn their attention to
Vergil, reading selections of the Aeneid
This course is open to boys who have in the original. Other works are often
displayed a particularly strong aptitude incorporated at the discretion of the
for Latin at the Gamma level, regular or teacher or by request of the students.
advanced. The course delves deeper in
Caesar’s Commentaries and studies a AP Latin 4
broader range of Latin authors than the This full-year course follows the
regular class. In the late spring the class Advanced Placement curriculum,
will read selections from Suetonius’ providing an in-depth reading of
Caligula as a means of gaining an Vergil’s great epic, the Aeneid, and a
introduction to both the literature and detailed look at Caesar’s Commentaries
the history of the early Empire. on the Gallic Wars. The goal of the
Latin 3 course is for students to continue to
develop their translating skills while at
Students in Latin 3 will study a range of the same time developing a critical eye
authors and styles. The fall semester is for Latin poetry. In addition to substan-
anchored by Cicero and the spring by tial reading in Latin, course time will be
Ovid, though numerous other works devoted to examining Vergil’s Homeric
will be incorporated at the discretion of models, studying literary criticism,
the teacher or by request of the students. mastering dactylic hexameter, and
Completion of Latin 3 satisfies the reading at sight. It is expected that all
language requirement, although students enrolled in Latin 4 (AP) will
students often elect to continue on to take the Advanced Placement exam in
Latin 4 or 4AP. May. The weeks following the AP will
be spent reading from Latin authors
chosen by the teacher and class.
13Latin 5 f • the ability to distinguish the literal
from the figurative
This course is offered to boys who have • the ability to distinguish fact from
completed Latin 3 or 4, and it is de- fiction
signed to give a broad exposure to a • the recognition and identification of
wide variety of authors and styles. point of view
Readings are selected from four areas: • the ability to recognize faulty
Lyric poetry and epigram (Catullus, reasoning
Horace, and Martial); philosophical and • the perception of cause-and-effect
scientific observation (Cicero’s De relationships
Senectute and the Elder Pliny’s Historia • the recognition of the different forms
Naturalis); and “lesser known” Latin and purposes of written expression
(including medieval works, the Bayeux • the development of a larger, more
tapestry, and music). varied vocabulary
As writers, students are encouraged
Advanced Elementary Greek and expected to seek proficiency in
This full year course is offered as an the following areas:
elective to Juniors and Seniors. An • the generating of ideas about an
extensive Latin background is necessary, assigned topic
as the course relies on the students’ • the expression of these ideas in
understanding of Latin to convey well-ordered paragraphs
linguistic concepts quickly. Students • the construction of sound sentences
begin with no Greek and will be reading and the use of varied syntax
Homer’s Odyssey, Book 9 by mid- • the correct application of the rules of
spring. Students will read New Testa- punctuation, grammar, spelling and
ment Greek by December and then capitalization
move on to selections from Aesop, • the control of diction and tone
Xenophon, Plato, Herodotus, and • the processes of drafting and
Homer. Students will also be introduced revising
to the basics of Greek Art and Architec- Since the early 1990s the English
ture. department has shifted away from
more conventional modes of instruction
English to discussion-based teaching around
The study of English focuses upon the Harkness tables.
examination of the uses of language and Discussion-based teaching counters
literature. Its primary goals are to de- derivative, “safe” thinking, encourag-
velop greater effectiveness in communi- ing students to derive answers for
cation, to encourage clear and logical themselves, to venture forth, and to
thought, and to promote a greater take the kinds of risks that promote
awareness of human values. To this end, intellectual growth and self-confidence.
the curriculum is organized around the The department believes that discus-
intellectual skills of reading, writing, sion-based teaching provides the most
speaking, listening, and thinking. effective forum for discourse and that
As readers, students are encouraged and the kind of verbalization that occurs in
expected to develop the following skills: it encourages a deeper level of under-
• the sound comprehension of ideas standing, something qualitatively better
expressed in the various forms of than the learning that occurs in teacher-
writing centered classrooms. Teachers in the
• the ability to recognize implications department seek to be more the “guide
and to make inferences on the side” than the “sage on the
stage.”
14A discussion-based teaching culture conjunction with the literature comes
heightens boys’ awareness of discussion language learning, with gram-mar and
dynamics, methods of preparation, and vocabulary studied from separate
attendant alterations in their thinking workbooks but always with an eye to
about their individual responsibilities for application in the student’s own writing.
what occurs during any given class time. Texts include:
The Diary of Anne Frank, Goodrich
Middle School English The Pearl, Steinbeck
Forms l-III The House on Mango Street, Cisneros
The Call of the Wild, London
The emphasis lies in the development of Heroes, Gods, and Monsters of the Greek
orderly, concise expository writing and Myths, Evslin
informed reading. The reading in the A Midsummers Night’s Dream,
lower forms is chosen to balance contem- Shakespeare
porary with traditional reading selections Warriors Don’t Cry, Melba Pattilo
and to promote an introduction to each
of the principal literary genres. English 2
Given in conjunction with the reading, Form II
the writing assignments are frequent and English 2 continues much of the skill
emphasize conventional English usage. development in grammar, mechanics,
Additionally, students are introduced to syntax, and vocabulary begun in English
the skills necessary for the acquisition of 1. Additionally, students read a wider
a larger active vocabulary: efficient use of range of literary genres, applying an
the dictionary, recognition of context expanding variety of learned terms and
clues, familiarity with common Latin and methods to their literary analyses.
Greek roots and affixes, and the methodi- Producing clear, correct, engaging prose
cal study of new words drawn from both remains the goal of writing assign-men-
vocabulary resources and the course ts. While brief narrative, descrip-tive,
texts and reflective pieces are written, exposi-
tory composition, particularly as a
English 1 response to readings, receives special
Form I attention. Students learn or refine the use
of thesis statement, paragraph unity, and
English in the First Form presents idea development in work produced
students with a rich and varied array of both in and out of class. Students learn,
literature and language experiences. The as well, to write in drafts and to share
theme for the course is the hero. What work with class-mates. As in English 1,
characteristics do heroes have? What do poetry is read and recited but with a
we value in ourselves and in others? The fuller view of poetic language and
short stories, poems, myths, and selected devices. Other texts include:
novels challenge readers to look beyond A Raisin in the Sun, Hansberry
mere events into the dimensions of voice, Fahrenheit 451, Bradberry
tone, theme, character, and style. Exposi Maus, Spiegelman
tory writing responses to literature move Bible Stories
from the book report format to more To Kill a Mockingbird, Lee
analytical, interpretive pieces and must The Lord of the Flies, Golding
show evidence of organization, critical The Outsiders, Hinton
thinking skills, sound mechanics, and a Julius Caesar, Shakespeare
sense of style. The readings may also Membean.com (vocabulary)
serve as inspiration for creative writing,
in which character development, plot, English 3
sentence structure, or attention to detail Form III
might be the focus of an exercise. In close
15This class emphasizes and builds on significant literature and to prose
writing, discussing, and close reading expression that is clear, convincing and
skills. Our goal is to continue to develop accurate, electives continue to em-pha-
critical thinking as we tie reading and size student responsibility for the
writing to Form III themes: Leadership, effective integration of their thinking,
Responsibility and Empathy. As in reading, and writing, especially about
Forms I and II, students read and write literature. Students tackle increasingly
about several literary genres, including challenging material as they proceed
nonfiction and poetry, that introduce through each course, discovering the
them to different voices and perspec- deliberate tools and techniques authors
tives. We continue to study vocabulary use to manipulate readers. Each course
throughout the year, as well as to gives students the opportunity to flex
address grammatical issues as they arise their independent thinking and question-
in student writing. Although we ing skills, and to develop and recognize
emphasize the turn to analytical writing their own critical resources. Require-
as the course continues, we mix person ments are described as follows:
al/imaginative essays with analysis
throughout, concluding the course with Introduction
a longer Autobiographical Profile. The junior-senior program provides a
Books include: The World’s Best Short core curriculum that ensures a wide
Stories, ed. James Daley; The Odyssey by exposure to genre and period, balances
Homer; The Catcher in the Rye by J.D. broad-based and specialized approaches
Salinger; Romeo and Juliet by Shakes- to literature, and supports the principle
peare; and True Grit by Charles Portis, of election with few constraints. The
The absolutely True Diary of a Part Time program allows students to round out
Indian by Sharon Alexie, and Their Eyes their literary experience, shoring up areas
Were Watching God by Zora Neale that may need extra attention, opening
Hurston. new vistas or allowing for further
concentration in a particular area of
English 4 interest. In guiding choices, the depart-
Form IV ment wants students to look ahead,
planning their pathways through the
As a transition between Middle School
requirements carefully and deliberately.
English and the electives, English 4
Student inquiry is invited, especially
seeks to improve reading techniques, to
from boys as they are just entering the
develop further skills in expository
program.
writing and in public speaking, to
encourage sound inductive reasoning,
and to broaden students’ literary
AMERICAN LITERATURE
experience. Texts include:
Of Mice and Men, Steinbeck Echoing Jefferson’s appeal for social
Macbeth, Shakespeare renewal with each generation, Ralph
Handmaid’s Tale, Atwood Waldo Emerson wrote in “The American
The Great Gatsby, Fitzgerald Scholar”: “Each age…must write its own
Tale of Two Cities, Charles Dickens books.” We’ve included Emerson in this
Three Theban Plays: Antigone, Oedipus course, and continue to value his appeal,
the King, Oedipus at Colonus even while we work toward a balance
Here, Bullet, Turner between the ideas comprising the
traditional works of American literature
and those from other diverse, contending
ELECTIVES FORMS V and VI voices. As a nation of immigrants, we
have many traditions from contributing
Designed to introduce students to
cultures, and each group’s literary
16traditions both influenced the traditional how an audience’s re-sponse to a
canon and reflect its unique perspective. production is generated through both
We begin with some of the established language and action.
classics in order to identify founda-tional As part of their coursework, students
themes, then we examine how those will perform one monologue, one
themes and literary language evolved two-person scene, and one group scene.
over the years. We open up, through Through this work, students will
reading, writing and dis-cussing, explore how to interpret dialogue, how
different interpretations of our American to block a scene, and how to use
traditions. Many of the books read in this language and action to create charac-
course share a concern with American ters. Students will explore characters’
history (and the material covered in U.S. motivations by writing character
History and AP U.S. History). Early read- studies, write scene study responses,
ings typically include selections from and write close reading responses about
Emerson’s essays and Thoreau’s Walden; specific scenes that they study. To
Hawthorne’s The Scarlet Letter; Frederick culminate their work in this course,
Douglass’s Narrative; short stories by students will revise and then perform
Poe, Stephen Crane, and Charlotte one or more of their previous acting
Perkins Gilman; and poems by Walt studies in front of an audience at the
Whitman and Emily Dickinson. Huckle- end of the semester.
berry Finn is the final book in the course.
Potential Texts:
THE PAGE AND THE STAGE Tartuffe, Moliere
Page and Stage is a single-semester Death of a Salesman, Miller
junior year elective that fulfills both a Our Town, Wilder
student’s art appreciation requirement The Cherry Orchard, Chekhov
and his English requirement. It offers Rozencrantz and Guildenstern Are Dead,
students the opportunity to explore Stoppard
plays both as literature and as perfor- Art, Reza
mance. Over the course of the semester, Someone Who’ll Watch Over Me,
students will read plays from a variety of McGuinness
different time periods and genres, Journey’s End, Sherriff
including some plays in translation, The Piano Lesson, Wilson
discuss these plays in depth, and then Angels in America, Kushner
bring sections of these plays to life
through on-you-feet exercises and scene THE HERO IN LITERATURE
studies. This courses focuses on different
The central question guiding our conceptions of heroism. Class discus-
explora-ration will be how characters are sions ex- plore both the heroic qualities
created on the page and how these in literature and the social context in
characters are brought to life on stage. By which it occurs through assignments in
exploring the simple inquiry question of fiction and non-fiction. While the focus
“who is this character,” we will consider of the course is litera- ture, class
how characters can be perceived and discussions also ex- plore film, painting,
created in a variety of different ways. sculpture, and the con- ceptions of the
heroic in popular culture.
In a more general sense, the class will
also explore how plays function differ- LITERATURE AND SOCIAL JUSTICE
ently from other types of litera-ture, how
dialogue and inter-pretation of dialogue Arresting and original language, new
create character, how set- ting and ideas, classic ideas from a new perspec-
lighting influence character-ization, and tive, characters who live and breathe
– these are the gifts of literature, which
17 inspire us and change us in terms ofhow we live in the world and how we thinking and questioning skills, and to
interact with people in our lives and far develop a critical, analytical framework
away around the world. This course asks for the better understanding and
students to consider topics of both appreciation of Shakespeare’s dramatic
timeless and contemporary concerns, narratives and poetry. Discussions in-
such as immigration, sexual assault, volve artistic, linguistic, structural, and
applications of scientific knowledge, race, dramatic explorations: considerations of
and gender, and to explore deeply how figurative language, prosodic tech-
accomplished authors present their ideas niques, linguistic ‘play’ by association,
and questions. Students will interpret and staging.
literature, debate theories, and hopefully Rich in traditions of Renaissance
embrace and adopt some ideas and thought, the course offers a study of
attitudes about the social contract. selected canonical plays with their
Student-led discussion, imitative writing, historical, literary, philosophical and
and college-essay writing accompany political contexts. Selected ‘inter-preta-
traditional analytical writing. tions’ of Shakespeare’s works include
Principal texts may include the film versions by Olivier, Jacobi, Branagh,
following: McKellen, Zeffirelli, Kozintsev, Kuro-
Frankenstein by Mary Shelley, On Beauty sawa, and Peter Brook, and the dramatic
by Zadie Smith, The Piano Lesson by re-castings of Stoppard, Harwood,
August Wilson, Tess of the D’Urbervilles by Madden, and Verdi. Students prepare
Thomas Hardy, The Lone Ranger and Tonto critical essays in conjunction with their
Fistfight in Heaven by Sherman Alexie, reading, and take a comprehensive, writ-
Drown by Junot Diaz, Short stories by ten final examination. Choice of texts
Flannery O’Connor and others varies: Romeo and Juliet, Richard II, I
Poetry Henry IV, Henry V, Hamlet, Othello, King
The class also views selected films. Lear, Measure for Measure, Antony and
Cleopatra, The Tempest, Twelfth Night, and
Macbeth. as well as a variety of poetry
COMEDY and shorter fiction.
This course examines a broad field of
literature and film in western culture
with a primary focus on comedy and CREATIVE WRITING
additional study in satire. Students focus This course is for students who want to
on literary and theatrical works that write stories, poems, and drama, and are
provoke “serious laughter” directed ready to examine closely the building
toward imbalances in social or political blocks of good writing. Using a wide
power, foolish behavior in the realm of range of examples, from master writers
human relationships, and ironies in the as well as past student work, the class
human condition. Class meetings utilize investigates and tries out specific
group discussion, response to dramatic elements of fiction (such as character,
works, and student performances of setting, dialogue, and point of view) and
poetry and theatrical scenes. Writing of poetry (such as image, metaphor,
assignments in the course include lineation, and rhythm).
analysis of literature, reactions to perfor-
mances, and the creation of original In weekly exercises designed to engage
comic pieces in narrative and dramatic the imagination and to keep in shape as
script. writers, students experiment with
different techniques and forms. In
addition to closely analyzing distinct
SHAKESPEARE styles of writing – from Robert Brown-
ing to Billy Collins; from Virginia Woolf
This course gives students the oppor to Michael Cunningham – students
tunity to develop their independent 18workshop each other’s poems and In August, and The Sound and the Fury.
stories in order to understand and Other major works include Flannery
artfully manipulate reader reactions O’Connor’s The Violent Bear It Away,
and, ultimately, to revise more con- Robert Penn Warren’s Brother To
sciously. Emphasis is on devotion to Dragons: A Tale in Verse and Voices, Jean
reading, learning to read like a writer, Toomer’s Cane, and representative
and the revising process. The perfor- pieces by Eudora Welty, Carson
mance aspect includes acting scenes McCullers, Katherine Anne Porter,
from both original and professional Allen Tate, Peter Taylor, and Zora Neale
scripts and performing original stand- Hurston.
up comedy.
Final portfolios of best work include:
short stories, a children’s story, poetry, a NONFICTION WRITING
one-act play or stand-up comedy Based in the school’s computer lab, this
routine, and a writer’s statement. writing course explores the world of
Short readings may include the play factual writing through over forty
Topdog/Underdog by Suzan Lori-Parks, assignments of 1-2 pages and a fifteen
stories by Raymond Carver and others, page final project. For example, in any
and poetry by Mary Oliver and others. week, students might be asked to write
abut a process in sports, an important
FAULKNER AND relative, or an encounter with death.
THE SOUTHERN TRADITION The class focuses on writing as a
process that includes careful observa-
As an historical interpreter of the South,
tion, rhetorical invention, and thorough
William Faulkner (1897-1962) reflects
editing. Students organize their work
historical fact in his fiction: the unlawful
electronically as the basis for learning
appropriation of Indian land; the
how to edit. Each class also constructs
systematic and institutionalized oppres-
its own electronic writing text by
sion of blacks as an integral function of
compiling an on-line manual. Readings
Southern economy during and even
by authors like E.B. White, John
after slavery; the high-minded appeal to
McPhee, Joan Didion, Tom Wolfe,
honor, loyalty, and courage even in the
Edward Hoagland, Mark Kramer,
face of the racism and prejudice that
Susan Orlean, and Ted Conover show
corrupted these high-minded values; the
effective prose models and writing
guilt, shame, and hypocrisy that
strategies.
accompanied the division between
practice and principle; the implacable
resistance of the Southerner to outside
MODERN AMERICAN LITERATURE
interference or criticism (especially from
the North); the pride in the Confederacy While the study of American Literature
and the bitterness and shame that some often explores how, in Emerson’s
Southerners still feel over its defeat. The words, “An institution is the length-
work of many Southern authors is ened shadow of one man,” Modern
equally steeped in this history. The American Literature will focus on the
details of their stories – the particular chorus of voices that move outside of
characters, the variant scenes, the life the realm of the single Canonical
stories– are all fictional, but all rooted in author. By focusing on the marginal
the permanent truths which com-prise voices that both singularly and collec-
the South’s history and character. tively lend themselves to the richness,
diversity, and complexity of contempo-
The Faulkner fiction includes: “Tomor-
rary American identity, students will
row,” “Barn Burning,” “An Odor of
draw comparisons between the texts
Verbena,” The Bear, As I Lay Dying, Light
that they read during the previous
19semester in American Literature. In texts outside of class. The course’s
addition, they will draw parallels graded work will consist of crafting
between the texts that they will read this analytical, personal, and creative essays;
semester and the world around them. By developing and delivering group pre-
exploring a variety of texts – prose and sentations; and working to create a
poetry, fiction and nonfiction, print and culminating video project in which
film – this course seeks out what is students dive into crafting a gothic text
uniquely American in a spectrum of of their own.
writers’ constructions of and commen- Primary Texts
tary on class, race, and gender in
modern America. While American Frankenstein. Shelley
Literature courses often explore litera- The Shining. Stephen King
ture chronologically, Modern American A Good Man is Hard to Find. Flannery
Literature will place texts in dialogue O’Connor
based on shared themes and topics. –“A Good Man is Hard to Find”
Over the course of the semester, stu- –”The River”
dents will consider what it means to be a –”The Life You Save May Be Your Own”
part of what we as a society traditionally –”A Late Encounter with the Enemy”
label as “American” and also what it American Gothic Tales. Ed. Joyce Carol
means to live outside of these traditional Oates
notions of identity. –“Masque of the Red Death.” Poe, Edgar
Allan
GOTHIC LITERATURE –“The Yellow Wallpaper.” Gilman,
Charlotte Perkins
By considering texts from the Victorian –“Afterward.” Wharton, Edith
Gothic tradition, the American Gothic –“A Rose for Emily.” Faulkner, William
tradition, and the Southern Gothic tra- –“The Lovely House.” Jackson, Shirley
dition, Gothic Literature explores how March Break Independent Reading
texts both old and new construct fear Project
and shock in order to frighten their
readers. Students will work to consider Secondary Texts (considered in short
both where and how the sensations of selections)
horror, suspense, and shock are created Skin Shows: Gothic Horror and the Technol-
within texts. Moreover, by considering ogy of Monsters. Halberstam, Judith
the evolution of specific types of mon- Gothic America. Goddu, Teresa A.
strosity, for example vampires in The Cambridge Companion to Gothic
literature, Gothic Literature will root Fiction. Hogle, Jerrold.
itself in a consideration of how mon- “The Uncanny.” Freud, Sigmund
strosity ultimately rests upon the Film Texts
stereotypes that lie at the center of how
Poltergeist.
society defines its collective identity. By
Alien.
considering monsters as a form of
otherness, the course will show how fear INNER VOYAGES
and horror are not organic reactions to
what we read and see but rather learned Spiritual identity is one of the most
qualities that reflect stereotypes and personal, perplexing issues mankind has
beliefs instill within us begin as children. to face. Questions of spirituality and
At its core, Gothic Literature will religion cut to the core of what it means
examine how what we fear is what we to be human. Because it is such an
have been taught to fear by exploring intensely personal issue, people deal
the distance and difference between with it in many completely different
acceptable social norms and monstrosity. ways. In analyzing the works read
In addition to studying print texts, throughout the course, we are provided
students will view a number of film with myriad examples of the powerful
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