舒曼的《帕格尼尼音樂會練習曲》Op.10是創作早期的作品，寫於1833年，幾經修改後發表於1835年，本組作品一共有六首，旋律取自帕格尼尼的《二十四首隨想曲》Op.1，表達出尊崇和效法帕格尼尼高超演奏技巧的心志。舒曼將本部作品命名為音樂會練習曲，和1833年所發表的《帕格尼尼練習曲》Op.3做區隔，舒曼表示Op.3是為了教育的目的而做，Op.10則是為了音樂會演出而創作的作品，以宣揚後者的藝術性。
李斯特在1830-40年間也做了同名作品《帕格尼尼大練習曲》，舒曼在評論中表示李斯特著重的是「技巧」，為「炫技的練習曲」，而自己的作品則是強調「詩意的表達」。
本曲是音樂會練習曲也是改編曲，本論文從曲式、節奏、旋律、和聲、織度上的特色著手為每一首做分析， 詮釋部份則分別就技巧、多層次的旋律線條處理、以及詩意的表達進行探討。

6 Concert Etudes after Paganini Caprices, Op.10 is one of Schumann’s early works, written in 1833, and published in 1835 after several revisions. Adapting from Paganini’s 24 Capricci for Solo Violin, Op. 1 for its melody, the 6 pieces it includes express the will to venerate and imitate Paganini’s tremendous performance technique. Schumann names the work Concert Etude to differentiate it from Etudes after Paganini Caprices, Op.3 in 1833. Op. 3 is a work for educational purpose, whereas Op. 10 is for concert performance, propagating its own artistic essence, Schumann says.
While Lizst makes a work in the same name Grandes études de Paganin in 1830-40, he makes it as a virtuoso etude, that technique is its emphasis. As for Schumann’s work, he himself says in a criticism that what his work accentuates is the poetic expression.
This music is a concert etude, as well as a transcription. The paper tends to analyze each piece of them from the characteristics in its form, rhythm, melody, harmony and texture, and interprets from the perspectives of technique, performance of melody flows in many layers, and poetic expression.

中文書目
朱健慧 譯。《偉大作曲家群像：舒曼》（Tim Dowley著）。台北：智庫，1995。

李斯特。《李斯特論白遼士與舒曼》(Berlioz and his HAROLD Symphony,1803-1869 ; Robert Schumann, 1810-1869)，張洪島等譯。台北：世界文物出版社，1994。

苦僧 譯。《舒曼：鋼琴音樂》（Joan Chissell著）。。台北：世界文物出版社，1997。

邵義強。《鋼琴與鋼琴音樂》。台北：全音出版。

-----------《古典音樂400年：浪漫樂派樂曲賞析二》。台北：錦繡，2000。

南西．瑞區（Nancy B.Reich）著，《克拉拉．舒曼》。陳秋萍、游淑峰譯，羅基敏編審。宜高文化，2003。

張海燕 譯。《魔鬼的顫音：舒曼的一生》（Peter F.Ostwal著）。高談文化，2006。

楊敦惠譯。《偉大作曲家羣像 : 帕格尼尼》（John Sugden著）。台北：智庫，1995。

中文期刊論文

朱象泰。「鋼琴練習曲初探：分類介紹與學習方法」《鋼琴音樂教育論文集》。雙木林出版社，1998。

蔡永凱碩士論文。《布拉姆斯與布梭尼改編巴哈夏康舞曲之炫技性》。國立台灣大學，2003。

英文書目
Donald J.Grout ”A History of Western Music 7th ed”. W. W. Norton & Company. New York. London,

Don Michael Randel. The Harvard Dictionary of Music. 4th ed. The Belknap Press of Harvard University Press. 2003.

Gillespie,John. Five Centuries of Keyboard Music: an Historical Survey of Music For Harpsichord And Piano. New York: Dover Publications,1972.

Hinson,Maurice. The pianist’s reference guide: bibliographical survey.

Larry R. Todd, ed. Nineteenth-Century Piano Music. New York : Routledge, 2004.

Maxwell, Carolyn . Schumann, solo piano literature : A comprehensive guide : annotated and evaluated with thematics. Boulder, Colo. : Maxwell Music Evaluation, c1984

Plantinga,Leon. Romantic music : a history of musical style in nineteenth-century Europe. New York : W.W. Norton, c1984

Stewart Gordon. A History of keyboard Literature:music for the piano and its forerunners. New York : Schirmer Books ; London : Prentice Hall International, c1996

Todd,R. Larry. Nineteenth-Century piano Music. New York : Routledge, 2004

Taylor,Ronald. Robert Schuman, His Life And Work. New York : Universe Books, 1982.

英文期刊
Evlyn Howard-Jones. Arrangements and Transcriptions. Oxford University press, Music & Letters, Vol.16, No.4 (Oct., 1935), pp.305-311.

Ganz,Peter Felix. The Development of The Etude for Pianoforte. Northwestern University, Ph.D.,1960

樂譜
Schumann,Robert. Paganini-Etuden Opus3-Opus10.Urtext：G. Henle Verlag, 1997.

Schumann,Clara. Piano Music of Robert Schumann SeriesⅠ. Dover Publications.

Paganini,Niccolo. 24 Caprices for violin solo,Opus1.全音出版社。

有聲資料
Jörg Demus. Robert Schumann : Complete Piano Works. CD (Membran Music 231752, 2009)