This dissertation provides comprehensive performance perspectives for the interpretation of the published keyboard toccatas by Michelangelo Rossi (ca.1602-1656) in his collection, Toccate e Correnti d'Intavolatura d'Organo e Cimbalo (c. 1634). This document consults the following sources on keyboard practice in the early-Baroque period: Girolamo Diruta's Il Transilvano Dialogo Sopra Il Vero Modo Di Sonar Organi, & Istromenti da penna (1593); Adriano Banchieri's Conclusioni nel Suono dell'Organo (1609); Costanzo Antegnati's L'Arte Organica (1608); and the prefaces to Girolamo Frescobaldi's publications Toccate e Partite d'Intavolature di Cembalo, Libro Primo (first version 1615; second version 1615, 1616, 1628; and third version 1637), and Fiori Musicali (1635). These sources provide information on most aspects of keyboard—and specifically organ—playing in the decades leading up to, and at the time of, the initial publication of Rossi's toccatas: including the toccata as genre, Italian organs from the late-Renaissance/early-Baroque, registration, tempo, pedaling, fingering, articulation, and ornamentation. In addition to the performance perspectives, this dissertation also provides a new modern edition of the ten toccatas by Michelangelo Rossi. This edition is based on the 1657 Bologna facsimile. The goal of this edition is two-fold. First to present an accurate text of the facsimile and second to adjust certain beam-groupings, spacing on the staves, and the use of accidentals in a more modern sense.