Music theorists have only recently, following groundbreaking work by Quinn, recognized the potential for the DFT on pcsets, initially proposed by Lewin, to serve as the foundation of a theory of harmony for the twentieth century. This paper investigates pcset "arithmetic" – subset structure, transpositional combination, and interval content – through the lens of the DFT. It discusses relationships between interval classes and DFT magnitudes, considers special properties of dyads, pcset products, and generated collections, and suggest methods of using the DFT in analysis, including interpreting DFT magnitudes, using phase spaces to understand subset structure, and interpreting the DFT of Lewin's interval function. Webern's op. 5/4 and Bartok's String Quartet 4, iv, are discussed.