拉威尔的“编舞音诗”《圆舞曲》(La Valse)背后的“模板”是小约翰·施特劳斯的圆舞曲，作曲家充满原创性的“模仿”将这种属于19世纪轻音乐的体裁升华为20世纪初的一部极具个性的经典之作。文章通过探究和分析拉威尔《圆舞曲》与“模板”之间在曲式结构、主题材料、和声手法、布局谋篇等方面的联系，以此来窥探拉威尔在实现对维也纳圆舞曲“神化”的同时，又如何将其“魔鬼化”为“幻想的、致命的螺旋”。

The “models”behind Ravel’s choreographic poem La Valse were Johann Strauss' Waltzes.The composer's original“imitation”elevated this genre of 19th-century commercial music into a classic work with unique personality in the early 20th century.By examining and analyzing the connections between Ravel's La Valse and the “models” in terms of musical structure,thematic materials,harmonic techniques,and overall design, this article explores how Ravel realized the “apotheosis”of the Viennese Waltz while also“demonized”it into a “fantastic,fatal spiral.”