Music is a powerful resource for human relating and the expression of meaning. From birth, infants are sensitive to music, explore vocal sounds in musical ways and have the ability to process music. Studies examining interactions between infants and their adult caregivers have discovered the fundamental musicality of these interactions, and the more musical these interactions, the more meaningful they tend to be. However, the potential of music functioning as a conduit for meaning expression, particularly in application to the education and care of young children, has largely been overlooked.

This chapter addresses the rights of company members to protect their own interests or those of the company. The chapter focuses on the rights of shareholders in a company limited by share capital, but the principles and rules discussed here apply equally to members of companies limited by guarantee. The legal protections and remedies discussed here can arise in a number of situations.

This chapter is concerned principally with the legal remedies that can be sought by minority shareholders. We will see that these are mainly found in the Corporations Act, but we begin by looking at the common law history behind the statutory provisions. Then we turn to the statute, the three main remedies being actions for oppression and unfairness, the statutory derivative action, and the winding up remedy. The chapter then looks at three other forms of legislative action: injunctive relief, access to company information, and the use of civil proceedings by ASIC.

This chapter discusses the broad concept of a market and financial markets. It then delves into the markets for shares (securities) and derivatives. Important actors in the financial markets are highlighted, such as the market operators (the ASX), intermediaries (such as stockbrokers), investors and the largest and most powerful of corporations—listed companies. The regulation of financial markets in chs 6CA and 7 of the Corporations Act is examined, beginning with the definitions of financial products (securities and derivatives). The licensing and supervision of financial markets is then considered: first, the licensing of markets themselves and their supervision through a system of rules—the Market Integrity Rules, the Operating Rules, and the Listing Rules.

This chapter then examines the interplay between certain listing rules and ch 6CA which requires disclosure by listed companies of material information to the market. We then consider the regulation of market misconduct under pt 7.10 of the Corporations Act. Finally, this chapter considers the public and private enforcement of the aforementioned obligations.

This chapter looks at the overall goals of generative syntax. It then moves on to a discussion of levels of adequacy for linguistic theory. This leads to a very brief discussion of the development of generative theory since its inception in the 1950s, up to its current version, known as the Minimalist Programme. Finally, we begin the discussion of hierarchy with an exposition of the X-bar theory of phrase structure and the notion of constituency tests as a probe for hierarchical structure.

The portrayal of infants and young children’s music-making tends to cast their music participation as a process of becoming, potentialities and efforts towards an adult ‘expert’ state of being musical. Such views can lead to a view of young children as deficient musicians, their music-making as inadequate, and a dismissal of the ways in which they use music in their world-making. Further, through a singular focus on the adult ‘expert’ musician, music education tends to be shaped to achieve that outcome instead of a perspective of music education as preparation for lifewide and lifelong engagement. The adult ‘expert’ view of music participation in adulthood is restricted to a particular form of participation that can disenfranchise and silence many adults’ active music. This chapter will explore what happens when we shift our focus from a perspective of young children’s music-making as becoming from ‘emulation of expert adult activity’ to a manifestation of their being, of their agency, identity work and world-making through embodied music and song-making.

In this final chapter we look at three main topics. First, we summarise and give an overview of the parameters we have seen in the preceding chapters, to some extent revising them as we go along. Second, we look at the theory of parameters and introduce the notion of parameter hierarchy. Third, we consider some future questions and directions for the theory.

This chapter introduces the theory of abstract Case. Case theory provides an account of what causes A-movement and predicts that many infinitival subject positions cannot be filled with overt arguments, although several types of infinitives have to be distinguished. This leads to a discussion of control phenomena and the movement theory of control.

This chapter begins by introducing the concept of corporate governance, and the regulatory role of directors’ duties. An appreciation of corporate governance methodologies gives context to the ‘hard law’ of directors’ duties. The chapter then considers who falls within the definition of director, the role of the director within the company, and how that role attracts legal and non-legal regulation. It also identifies who, beyond directors, can also be subject to directors’ duties. The chapter revisits the history of directors’ duties within Australian corporate law, building on the historical context provided by Chapter 1, and exploring the interrelationship between the duties applicable at common law, in equity, and according to statute. It concludes with the consequences of breach of the civil penalty provisions and options for exoneration and relief under the Corporations Act.

This chapter focuses on dance and learning in the early years, presenting a theoretical framework that reflects the changing Australian cultural context for dance. Building upon an earlier model for dance education, culturally responsive pedagogy is an inclusive approach to dance learning from birth to age eight. Key influences are introduced with attention given to aesthetic experiences, early dance relationships, ‘dance-play’, young children’s engagement with technology and the explosion of dance on screen. Consideration is given to established truths about dance and the emerging presence of Indigenous dance within dance education. Examples of dance artists in education settings, along with visual and transcribed examples, are provided, demonstrating how early years educators may support young children’s agency as critically responsive co-creative participants in dance.

Directors’ duties can be classified into two themes: duties in relation to care and skill, and duties in relation to loyalty and good faith. This chapter is the first of two chapters addressing the duties of loyalty and good faith. These duties fall into two categories: those concerned with the way in which directors exercise the powers and discretions vested in them, and those concerned with the standard of conduct expected from directors. This chapter will focus on the first category, which includes the duty to act bona fide in the best interests of the company and for proper purposes, its counterpart in s 181 of the Corporations Act, and the limitations on directors not to fetter the future exercise of their discretions.

This chapter starts with a discussion of the general law in relation to the duty to act bona fide in the best interests of the company and for proper purposes. The discussion examines how the law developed historically and how it exists today. It then considers s 181 of the Corporations Act, before moving to consider alternative approaches to this area of law, which demonstrate a development of the stakeholder approach to corporate theory.

The objective of this chapter is to define socio-dramatic play from a cultural-historical perspective and to describe how teachers can become co-players with children in their play. To do this we present case studies from research and a pedagogical toolbox to support children’s participation, learning and development. The chapter begins by outlining children’s socio-dramatic play using a cultural-historical perspective to focus on interactions in shared play. In socio-dramatic play, imagination and creativity are central as children create narratives together. Play creates conditions for children to express and construct meaning with others and to become co-players in a shared imagined world. Adults in early childhood settings traditionally support children’s play by planning, resourcing and observing, although their role as co-player is less understood.