 Centrally, while we have a straightforward grasp on what it means to own an artwork or artifact, the idea of owning a story or style can seem relatively obscure, at least in a broadly Western context. Just as intellectual property law has developed to better account for ownership of intangibles, the introduction of intangible heritage into discussion of cultural property has seemed to require appeal to the category of intellectual property to account for the ownership of cultural heritage that takes the form of such entities as songs or styles (Nicholas &amp; Bannister 2004; entry on  intellectual property).  However, the application of an intellectual property framework to intangible cultural property has also generated objections. First, one might object that the intellectual property framework functions to commodify intangible cultural heritage, which can have a “tendency to freeze social life in time”, and thus offer an artificial and inappropriate approach to traditions and practices that are constantly changing (Brown 2005: 45). Second, general objections to the suitability of legal property protections for cultural heritage, whether tangible or intangible (discussed in  2.3),  will carry over to the use of an intellectual property framework for dealing with intangible heritage, either based on the idea that “culture” and “property” are inherently in tension with one another (Mezey 2007), or because the category of property (focused primarily on rights) is inadequate to capturing the breadth of cultural heritage and our duties with respect to it (Prott &amp; O’Keefe 1992). Third, the pull towards thinking of cultural heritage as universally valuable (discussed in  2.2)  is arguably stronger in the case of intangible heritage than in the case of material heritage. For example, if knowledge aspires to be free to all, then is it acceptable to restrict its flow, even for the sake of guarding against the exploitation of vulnerable indigenous communities (Brown 2005)? As discussed in  section 2.3,  one might again counter that indigenous claims are more often for participation than outright control or rights of excludability, and thus such tensions are resolved if one adopts an alternative model of property that does not rely on possession of all the rights that comprise the “bundle” of classic property rights (Carpenter, Katyal, &amp; Riley 2009: 1111–1112). Indeed, many objections to the use of intangible heritage move beyond the discourse of cultural property altogether, as discussed in  section 4  on cultural appropriation.