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Copyright laws establish intellectual property rights in a broad range of fields, and are intended to foster the creation of new works. The rationale is that, by giving creators the exclusive right to control, distribute, and sell their work, copyrights allow them to capture the economic value of that work, thereby incentivizing its creation in the first place. But do copyrights actually achieve this aim? Do they spur the creation of new works? This paper explores that question through the lens of Italian opera in the 18th and 19th centuries. Opera was an extremely popular form of entertainment during this period, and, to produce one, the agent at a commissioning theater would identify a promising story, procure the accompanying text or libretto for the opera, and then hire a composer to create the musical score. In the absence of copyright laws, which were nonexistent in Italy at this time, composers were only paid for their initial composition. They had no legal right to demand addit
