「幻想曲」最初以自由即興之風格及多段落架構為主，到十九世紀結合奏鳴曲曲式和特性小品之創作手法，在演進過程中，「幻想曲」包含之長導奏、慢板中段素材及即興式素材始終扮演重要角色，就各個作曲家的創作特色發展，更呈現出幻想曲的多樣化。
本文將研究蕭邦三首標有「幻想」標題之作品，一共分為五個部分做論述：第一、前言，第二、鍵盤幻想曲之歷史淵源概述，第三、蕭邦《即興幻想曲》作品六十六，第四、蕭邦《幻想曲》作品四十九，第五、蕭邦《幻想波蘭舞曲》作品六十一，詳盡探討蕭邦之「幻想」風格。

Fantasie was firstly comprised of free improvisatory type and
multi-section structure. In the 19th century, the formal structure of sonata and character pieces were combined into the Fantasie. In the process of its evolution, the introduction, slow mid-section, and improvisatory elements which Fantasie includes always play important roles. However, Fantasie varied with different characteristics of individual composers.
This paper focuses on three works titled “Fantasy” from Chopin. It includes five chapters: the first chapter is the introduction. The second chapter is about the historical development of Fantasie in keyboard works. In the third chapter to the fifth chapter Chopin’s Fantaisie-Impromptu Op. 66, Fantasie Op. 49, and Polonaise-Fantaisie Op. 61, and fantastic features of Chopin will be discussed in details.

前言

鍵盤「幻想曲」之歷史淵源概述

蕭邦《即興幻想曲》（Fantaisie-Impromptu）作品六十六

蕭邦《幻想曲》（Fantasie）作品四十九

蕭邦《幻想波蘭舞曲》（Polonaise-Fantaisie）作品六十一

結論

Kallerg, Jeffrey. “Chopin’s Last Style.” Journal of the American Musicological Society (Summer1985): 264-315.

Samson, Jim. Chopin Studies. Cambridge: Cambridge University Press, 1988.

Oster, Ernst. “The Fantaisie-Impromptu: A Tribute to Beethoven”, in Aspects of Schenkerian Theory, pp.189-207, ed. by David Beach. New Haven: Yale University Press, 1983.