How would your treatment of property interests in Afghani
music (including the birdsongs) differ if you were to apply a rule analogous
to the riparian rights rule for water, or a rule analogous to the appropriation
rule for water?
Be prepared to flesh out your your ideas for the Afghani
music regime and apply them to specific (hypothetical) Afghani musical works
and sound recordings.
Think about how your system should define evidence sufficient
to
a. show the "metes and bounds" (boundaries)
of the property interests it recognizes, and
b. show authorization or transfer by the rights holder