變奏曲曲式的發展主要是從巴洛克時期以夏康(Chaccone)和帕薩卡亞(Passacaglia)這兩種舞曲做為代表性的變奏曲曲式；於古典時期則多以標準的「主題與變奏」形式為變奏曲的曲式，全曲通常會保持著相當的統一性；至十九世紀浪漫時期的作曲家對於變奏曲的結構要求又不同於古典時期，不論於曲式、結講、調性、和聲、以及節奏各方面都作了更大、自由的發揮空間。 浪漫時期作曲家舒曼，以其天生在音樂方面的才賦以及對變奏曲結構的創新思考，使他在變奏曲的創作以不傾向於強調表現音樂的表面化、裝飾性，更不以「發展」為各變奏樂段的重要目標；他著重於提昇變奏曲的內涵表現層次，並呈現節奏、旋律線的多元化。本文以舒曼鋼琴變奏曲「克拉拉主題即興曲」作品五作分析與研究，並從其一八三二年和一八五○年前後兩版的差異、特色做比較，以確實地瞭解到舒曼鋼琴變奏曲的特質與內涵，進而探討出最適當的舒曼變奏曲彈奏詮釋。

The early piano variations were derived from the Baroques Chaconne and Passacaglia. Beginning form the Classical period, such variations were replaced by the unique “theme and Variations”. In the 19th century, the Romantic composers’ attitude toward the structure of variations was different form what was common in the Classical period, namely, they sought much more liberty in different forms, structures, melodies, harmonies and rhythms. After studying some variations of famous contemporary composers, Robert Schumann did not focus his won musical talent on the appearance, decoration or development of variations, but on the improvement of the contents and varieties. This article is a comprehensive research into the background and courses of changes of the piano variations created by Schumann, basing on a study of the “Impromptus űber ein Thema von Clara wieck Op.5” (Impromptu on a Theme of Clara Wieck Op.5). it compares the differences and characteristics between its versions published in 1832 and 1850 and the interpretation of the said work by different famous players. Readers now have the opportunity to understand the very important meaning and features of Schumann’s piano variations.