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  1.  75
    L. B. Brown (2012). Further Doubts About Higher-Order Ontology: Reply to Andrew Kania. British Journal of Aesthetics 52 (1):103-106.
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  2. L. B. Brown (2011). Improvisation. In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge 59--69.
     
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  3.  40
    L. B. Brown (2011). Do Higher-Order Music Ontologies Rest on a Mistake? British Journal of Aesthetics 51 (2):169-184.
    Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...)
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  4.  4
    J. Dutch & L. B. Brown (1971). Continuous Trial Between- and Within-Subject Partial Reinforcement Effect. Journal of Experimental Psychology 91 (2):336.
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    L. B. Brown (1973). Paul Ramsey. The Patient as Person. Pp. Xxii + 283. £4·50.Catherine Lyons. Organ Transplants, the Moral Issues. Pp. 142. 90p. [REVIEW] Religious Studies 9 (1):114.
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  6. L. B. Brown (2005). Davies, Stephen, Themes in the Philosophy of Music. Australasian Journal of Philosophy 83 (1):125.
     
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  7. L. B. Brown (1973). No Title Available: REVIEWS. Religious Studies 9 (1):114-115.
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  8. L. B. Brown (1972). Paul Ramsey. The Patient as Person. Pp. Xxii + 283. £4·50.Catherine Lyons. Organ Transplants, the Moral Issues. Pp. 142. 90p. [REVIEW] Religious Studies 8 (2):187.
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  9. L. B. Brown (1989). The Psychology of Religious Belief. Religious Studies 25 (4):543-544.
     
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