Explores the concepts of space and place within composition studies.

Racing Translingualism provides both theoretical and pedagogical reconsiderations of the translingual approach to language diversity by addressing the intersections of race and translingualism. This collection extends the disciplinary conversations about translingualism by foregrounding the role race and racism play in the construction and maintenance of language differences. In doing so, the contributors examine the co-naturalization of race and language in order to theorize a race-conscious translingual praxis. The book begins by offering generative critiques of translingualism, centering on the ways in which the approach’s democratic orientation to language avoids issues of race, language, and power and appeals to colorblind racist tropes of equal opportunity. Following these critiques, contributors demonstrate the important intersections of race and translingualism by drawing upon voices typically marginalized by monolingual language ideologies and pedagogies. Finally, Racing Translingualism concludes by attending to the pedagogical implications of a race-conscious translingual praxis in writing and literacy education. Making the case for race-conscious, rather than colorblind, theories and pedagogies, Racing Translingualism offers a unique take on how translingualism is theorized and practiced and moves the field forward through its direct consideration of the links between language, race, and racism. Contributors: Lindsey Albracht, Steven Alvarez, Bethany Davila, Tom Do, Jaclyn Hilberg, Bruce Horner, Aja Martinez, Esther Milu, Stephanie Mosher, Yasmine Romero, Karen Rowan, Rachael Shapiro, Shawanda Stewart, Brian Stone, Victor Villanueva, Missy Watson

The Routledge Companion to Teaching Music Composition in Schools: International Perspectives offers a comprehensive overview of teaching composing from a wide range of countries around the world. Addressing the current state of composition pedagogy from primary to secondary school levels and beyond, the volume explores issues, including different curricular and extracurricular settings, cultural aspects of composing, aesthetics, musical creativity, the role of technology, and assessment. With contributors from over 30 countries, this volume encompasses theoretical, historical, empirical, and practical approaches and enables comparisons across different countries and regions. Chapters by experienced educators, composers, and researchers describe in depth the practices taking place in different international locations. Interspersed with these chapters, interludes by the volume editors contextualize and problematize the teaching and learning of composing music. The volume covers a range of contexts, including formal and informal, those where a national curriculum is mandated or where composing is a matter of choice, and a range of types, styles, and genres of musical learning and music-making. Providing a wide-ranging and detailed review of international approaches to incorporating music composition in teaching and learning, this volume will be a useful resource for teachers, music education researchers, graduate and undergraduate students, and all those working with children and young people in composing music.

Leading a burgeoning self-critical moment in composition studies and writing program administration, Postcomposition is a fundamental reconsideration of the field that attempts to shift the focus away from pedagogy and writing subjects and toward writing itself. In this forceful and reasoned critique of many of the primary tenets and widely accepted institutional structures of composition studies, Sidney I. Dobrin delivers a series of shocks to the system meant to disrupt the pedagogical imperative and move beyond the existing limits of the discipline. Dobrin evaluates the current state of composition studies, underscoring the difference between composition and writing and arguing that the field's focus on the administration of writing students and its historically imposed prohibition on theory greatly limit what can be understood about writing. Instead he envisions a more significant approach to writing, one that questions the field's conservative allegiance to subject and administration and reconsiders writing as spatial and ecological. Using concepts from ecocomposition, spatial theory, network theory, complexity theory, and systems theory, Postcomposition lays the groundwork for a networked theory of writing, and advocates the abandonment of administration as a useful part of the field. He also challenges the usefulness of rhetoric in writing studies, showing how writing exceeds rhetoric. Postcomposition is a detailed consideration of how posthumanism affects the field's understanding of subjectivity. It also tears at the seams of the "contingent labor problem." As he articulates his own frustrations with the conservatism of composition studies and builds on previous critiques of the discipline, Dobrin stages a courageous-and inevitably polemical-intellectual challenge to the entrenched ideas and assumptions that have defined composition studies.

A study of the many different ways ancient Jewish scribes changed, or rewrote, the sacred and authoritative traditions they inherited.