Philip Letts [5]Philip Edward Letts [1]
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  1.  48
    The Property Theory of Musical Works.Philip Letts - 2018 - Journal of Aesthetics and Art Criticism 76 (1):57-69.
    The property theory of musical works says that each musical work is a property that is instantiated by its occurrences, that is, the work's performances and playings. The property theory provides ontological explanations very similar to those given by its popular cousin, the type/token theory of musical works, but it is both simpler and stronger. However, type/token theorists often dismiss the property theory. In this essay, I formulate a version of the property theory that identifies each type with a unique (...)
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  2. Primitive Humour.Philip Letts & J. Routledge, Andrew - manuscript
    This article examines the question ‘what is humour?’ In section 1, we set out default realist presuppositions about the question. In section 2, we characterize a broadly Moorean approach to answering the question. In section 3, we introduce popular response-dependence assumptions about humour and express puzzlement about their popularity. In section 4, we present extant answers to our question: superiority theory; relief theory; play theory; laughter-dispositional theory; and incongruity theory. We find each wanting, subjecting incongruity theory, in particular, to sustained (...)
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    Is Moruzzi's Musical Stage Theory Advantaged?Philip Letts - 2020 - Journal of Aesthetics and Art Criticism 78 (3):357-362.
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  4.  55
    Against Kania’s Fictionalism About Musical Works.Philip Letts - 2015 - British Journal of Aesthetics 55 (2):209-224.
    Andrew Kania has attempted to argue for nihilistic fictionalism about musical works. This view combines an error theory about musical work discourse with the proposal that musical work discourse has a non-alethic value which warrants continued participation in it. In this paper, I argue that Kania fails to establish either component of nihilistic fictionalism. First, I elaborate and reject Kania’s attempt to establish fictionalism on the basis of a methodological proposal he calls ‘descriptivism’. I argue that the methodology is unpopular, (...)
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  5.  52
    Types, Tokens, and Talk About Musical Works.Julian Dodd & Philip Letts - 2017 - Journal of Aesthetics and Art Criticism 75 (3):249-263.
    It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...)
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