 Indeed, Foss, OUP, and a number of composers at first declined to join or support the Performing Right Society, fearing that its fees would discourage performance in the new media.Later years would show that, to the contrary, these forms of music would prove more lucrative than the traditional venues of music publishing.Whatever the Music Department's growth in quantity, breadth of musical offering, and reputation amongst both musicians and the general public, the whole question of financial return came to a head in the 1930s.