圓舞曲流行於十九世紀的歐洲，當時雖因圓舞曲較開放的舞蹈方式，而有反彈聲浪，但並不減少民眾對圓舞曲之喜愛。因著圓舞曲舞蹈之興盛，吸引十九世紀許多作曲家之關注，為圓舞曲創作不同類型之音樂作品，如管絃樂、歌劇、芭蕾舞劇、鋼琴獨奏等，然大部分還是以提供舞蹈伴奏的作品為主。浪漫樂派鋼琴獨奏曲最重要作曲家之一—弗雷德里克‧弗朗索瓦‧蕭邦（Frédéric François Chopin, 1810–1849），相當關注當時圓舞曲之熱潮，並有機會接觸維也納式之圓舞曲音樂，但並不全然同意這些作品。他的鋼琴《圓舞曲》以傳統圓舞曲之元素為基礎，但加入其對圓舞曲之創新手法，如：運用多樣的速度與表情變化及使用馬厝卡舞曲元素等，使樂曲有別於其他圓舞曲作曲家之作品，且脫離舞廳成為音樂會之曲目。
本文內容除前文及結語之外，共分為三個部份論述，第一部分探討圓舞曲起源與發展及鋼琴圓舞曲之歷史發展；第二部分先探討蕭邦之生平及其鋼琴音樂，進而闡述蕭邦與圓舞曲之關係；第三部分為蕭邦《圓舞曲》之剖析，探討蕭邦圓舞曲之創作背景，及藉由分析《圓舞曲》之創作手法，進而瞭解蕭邦在其圓舞曲作品中之傳承與創新。

Waltz was a popular dance in 19th century European Society. Because of the open dance form, the waltz was againest by some coservative people, yet favored by most of the others. Of course, it caught a lot of attention of composers at the time that produced many different types of waltz, such as for orchestra, opera, ballet and for piano solo. Most of those works were made for dancing. Frédéric François Chopin, one of the most important solo piano works composers in Romantic era, paid attention to the popularity of waltz. He was quite familiar with the Viennese waltz but not entirely agreed with it. Chopin developed his waltz with his own way, such as varied speed, varied expression and the flavor of mazurka. However, Chopin still kept the traditional waltz spirit in his writing. In these case, Chopin made his works different from other composers and treated his waltz become the content of concert programs.
Besides introduction and conclusion, this research includes three parts. In the first discourse, the history and development of waltz and piano waltz are discussed. In the second discourse, the life of Chopin and his piano music are presented, also further discussing the relationship between Chopin and waltz. In the third discourse, the historical background of Chopin’s waltz is investigated. Then by analyzing how Chopin created the waltz, lead us to understand Chopin's innovation and creativity in his waltz.

前言 ------ 1
圓舞曲
圓舞曲之歷史起源與發展 ------ 2
鋼琴圓舞曲之歷史發展 ------ 6
蕭邦之生平
蕭邦之生平及其鋼琴音樂 ------ 14
蕭邦與圓舞曲 ------ 18
蕭邦《圓舞曲》之創作背景與分析
蕭邦《圓舞曲》之創作背景 ------ 22
蕭邦《圓舞曲》之創作手法 ------ 41
結語 ------ 51
參考文獻 ------ 52

西文
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中文
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梁嘉珍。 〈融合波蘭舞曲與抒情即興特質的幻想曲：蕭邦《幻想波蘭舞曲》之研究與詮釋〉。 台灣：國立交通大學音樂研究所，2008。
朱玫勳。 〈蕭邦馬厝卡舞曲之探討〉。 台灣：東吳大學音樂研究所演奏組碩士論文，2003。
賴品真。 〈浪漫時期的四首鋼琴敘事曲：蕭邦、布拉姆斯、葛利格、佛瑞敘事曲〉。 台灣：國立藝術學院音樂學系音樂碩士班，2000。

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