I think that Sousa’s arguments regarding recordings and copyright law are valid for a composer who is essentially watching technology rob him of the rights to his compositions. What at first reads like an old timer ranting on about “the new-fangled machinery of today” actually reveals itself to in its final pages to be an artist frustrated with a system that seems to cater to those wishing to make money off of someone’s work without compensation for that original artist. Sousa’s points about so called mechanical music (that it will completely decimate the amateur class of musician, no children will want to learn instruments, babies no longer hearing lullabies from their mothers) may not have come true in quite the way described, but today still sees large gray areas in copyright law and artistic rights. Though the way in which music yields a profit at the expense of the artist is not so much mechanical as digital these days, streaming, YouTube to mp3 converters, and yes the bygone days of Napster all are basically extensions of the problem Sousa describes in 1906. Even with all the talk of the “soul filling” power of music, at the end of the day (Sousa seems to imply) creators too would like a share of the profits.