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Wilhelm Heinse (1746-1803) et la musique

Abstract : Music stands at the function of Wilhelm Heinse's aesthetic thought and literary creation and makes them coherent. Setting the author's writings against the musical and intellectual background of his time, allows us to realize how familiar he is with the issues concerning musical aesthetics and also to perceive the remarkable nature of his approach. Heinse defends italian opera as a model, in comparison with his compatriots who reject it. An examination of Heinse's writings shows that his musical aesthetics is in line with the traditional principle of imitation and the theory of passions ; but his symbolics on tuning and keys stems from his own organicist philosophy of nature. Heinse finds in opera as a genre both dramatic requirements and apology of the mere beauty of sound. He is indeed clearly torn between his musical sensitiveness and his convictions as a writer for whom words prevail. Because of the linguistic means he used to render musical experience as well as of the narrative processes of his musical novel Hildegard von Hohenthal, Heinse appears as a transition writer : standing in the vanguard of the literary and philosophical enhancement of music initiated by the aesthetics of emotion, and yet a defender of the primary of opera as intelligible, and thus quite representative of the 18 th century trend of thought
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Sylvie Le Moël. Wilhelm Heinse (1746-1803) et la musique. Littératures. Université Paul Verlaine - Metz, 1993. Français. ⟨NNT : 1993METZ003L⟩. ⟨tel-01775423⟩

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