This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.

This dissertation contains the first complete Latin-English translation of one of the most controversial music theory treatises of the fifteenth-century: the Musica Practica (Bologna, 1942) of Bartolomeo Ramos de Pareia. its title as well as its content illustrate the Renaissance transformation from the abstract mathematical approach of "musica speculativa" to that of an emphasis upon the everyday demands of the practicing musician. Although Ramos provides traditional explanations of the modes, counterpoint, "musica ficta," and white mensural notation, his innovations in temperament, solmization, mutation, and the gamut set this treatise apart from other ffifteenth-century music treatises. Ramos's rejection of traditional Pythagorean-Boethian-Guidonian explanations, coupled with his strong polemic criticisms of the auctoritas, resulted in a treatise that remained at the center of heated debate well into the sixteenth century.