罗伯特·舒曼（Robert Schumann，1810—1856）作为作曲家，在浪漫主义时期扮演着重要角色。他以其著名的钢琴套曲《童年情景》而闻名于世。本文以《童年情景》为研究对象，从三个方面展开研究：其一，从分析和研究作品创作结构框架入手，更深入地了解其结构特点，并深入理解舒曼的创作思维；其二，结合音乐创作特点，探讨实际演奏中所应用的技巧。同时，在演奏过程中探索力度、速度、触键以及踏板运用等方面的问题，进一步提升演奏技巧。其三，对比来自不同风格和国籍的三位演奏家在同一作品上呈现出的不同个性诠释，以期为相关演奏者及研究者提供借鉴。三位演奏家分别是法国钢琴家阿尔弗雷德·科尔托、俄裔美国钢琴家弗拉基米尔·霍洛维茨以及智利钢琴家克劳迪奥·阿劳。在对舒曼钢琴套曲《童年情景》的演奏风格进行深入剖析时，演奏流派的比较研究提供了理解作品多样性与演绎丰富性的重要视角。流派间的对比不仅揭示了各自独特的演奏理念、技术特色和审美趋向，还反映了不同文化背景下的艺术诠释差异。本文从个性诠释角度出发，深入探讨该作品可能存在的各种演奏方式，在提升自身音乐审美水平的同时，以期弥补当前相关研究的空白。

Robert Schumann (1810-1856) was an important figure in the Romantic period as a composer. He is known worldwide for his famous piano suite, "Childhood Scenes." This paper takes "Childhood Scenes" as the research object and conducts research from three aspects: Firstly, by analyzing and studying the structural framework of the work, a deeper understanding of its structural features and a deeper insight into Schumann's creative thinking is gained. Secondly, by combining music creation features, the techniques used in actual performance are discussed. At the same time, issues such as dynamics, tempo, touch, and pedal application are explored in the performance process to further enhance performance skills. Thirdly, by comparing the different individual interpretations presented by three performers of different styles and nationalities on the same work, this paper aims to provide reference for relevant performers and researchers. The three performers are French pianist Alfred Cortot, Russian-American pianist Vladimir Horowitz, and Chilean pianist Claudio Arrau. In the in-depth analysis of the playing style of Schumann's piano suite "Childhood Scenes," the comparative study of playing styles provides an important perspective for understanding the diversity and richness of the work's interpretation. The comparison between different schools reveals not only their unique performance philosophy, technical features, and aesthetic trends, but also the artistic interpretation differences under different cultural backgrounds. Starting from the perspective of individual interpretation, this paper deeply explores various possible playing methods of the work, aiming to enhance its own level of musical aesthetics while filling the current research gap.