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ABSTRACT. Bently explains how copyright law came to privilege some types of authorship. Mertens evaluates the Russian piracy problem in general, focusing on the legality of its new online music market. O’Brien and Fitzgerald explore the legality of engaging in the practices of mashing and remix of copyright material as a part of cultural existence and expression. Barron addresses and contests a particular narrative about the history of copyright law’s engagement with music. Carroll investigates how, when, and why music first came within copyright’s domain. Ian Condry points out that music is one of the key battlegrounds for power in the media. (pp. 121–125)

ION OLTETEANU
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Spiru Haret University

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