by Joseph Shieber. The German philosopher Albrecht Wellmer died earlier this month in Berlin, on September 13 at the age of A member of. Sept. Albrecht Wellmer was an assistant to Jürgen Habermas at the University of Frankfurt from to and later professor of philosophy at the. MOVING TO FRONT FROM SEPTEMBER UPDATED Trained and working in the Frankfurt School tradition, Professor Wellmer (who taugh.

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The German philosopher Albrecht Wellmer died earlier this month in Berlin, on September 13 at the age of Although Wellmer wrote both of his dissertions the Promotionsschrift and the Habilitationsschrift on topics in the philosophy of science, he soon turned to ethics and critical theoryand later to the study of the philosophy of language and the philosophy of music.

Albrecht Wellmer () – Daily Nous

Inhe was awarded the Theodor Adorno Prize by the city of Frankfurt. Infinitely less significant is that Wellmer also gave me my first job in philosophy, as a wissenschaftlicher Hilfsassistent — basically a teaching assistant — in the Institute for Hermeneutics in the philosophy department at the Free University of Berlin. I worked under him we,lmer toincluding serving as a teaching assistant for the lectures that were published in as Sprachphilosophie: Albrecth of the pleasures of being a teaching assistant for Wellmer was that I was allowed to participate in the invitation-only, biweekly discussion group that Wellmer held with his assistant professors, Ph.


Generally, probably about fifteen we,lmer or so attended those discussions. Wellmer was, himself, quite an accomplished pianist, and it was evident how important music was to him — an abiding interest that he shared with his dissertation director, Adorno. There is the distinction between composers and performers. Other philosophers focus more on performing: There are the questions of relevance: Why waste your time with that?

Philosophy as music: On the death of Albrecht Wellmer

But how will you earn a living? There are concerns that the field is overly focused on a too-narrow Western canon and that the major figures in the field lack an appropriate appreciation for the contributions of non-Western or other traditionally marginalized albfecht.

Finally, there is the fact that not everyone has an ear for it.

Some can hear the beauty and the pathos, the terror and the joy. Others just hear noise. For the lucky few for whom it has resonance, though, philosophy — like music — can be a source of consolation in dark and debased times. I albgecht that some philosophers were composers while others were performers.


It does so not in order so much to fraternize with them, but in order critically to engage with their algrecht and perceptions. In contrast, Wellmer suggests that music in fact opens itself to the world and — without sacrificing its autonomy or its historically situated compositional quality — finds a connection with the horizon of experience of contemporary listeners.

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