This BMIM x ADE 2024 panel features a discussion between Seiya Matsumiya and Christope Caurret, moderated by Amber Roner, on the topic of original music and bespoke music in advertising. The ‘Fresh Ideas from Abroad’ panel is a returning staple of the Buma Music in Motion subconference at Amsterdam Dance Event and broadens the horizon of Dutch music professionals, zooming in on the cutting-edge strategies that drive success abroad. What can we learn? Let Seiya Matsumiya and Christophe Caurret tell you.
Seiya Matsumiya is the founder and CEO of Black Cat White Cat Music, a company based in Tokyo, Japan, working primarily in the APAC advertising space. Christophe Caurret is Music Creative Director at Publicis in France, where he leads innovative music strategies for brands and campaigns. In addition to his work at Publicis, he is also an artist manager and a party organizer, blending his passion for music with creative and cultural events.
Trends in Original Music
Seiya Matsumiya: ‘I would say the trend in Japan is using a lot of domestic music. Typical Japanese commercials use a style of Japanese music that focuses on appealing to the masses. However, there are sectors where quality films and art pieces are preferred, allowing for more creative music. And that’s where we come in. Sometimes we’re working on jazz, sometimes we’re working on classical, then there’s hip-hop, and there’s anything and everything in between.’
Amber Roner asks if AI composing is big in Japan at the moment, and Matsumiya elaborates on how AI is involved in some of the processes, it’s not used widely in composition. ‘We refuse to go there, because we don’t want AI to take our jobs away’, giving hope to composers from around the globe.
In France, there is an increase in requests for original compositions, particularly in electronic music inspired by cinematographic music. Christophe Caurret: ‘Our market feels very bespoke. I tend to think in three cases: catalogue music, the original composition, and the use of processing tracks. I can definitely see more and more demand for original compositions, inspired by what we call score music.’
I can definitely see more and more demand for original compositions, inspired by what we call score music.
Working with Composers
Seiya Matsumiya explains that in Japan, composers are often selected through a process involving the director and the music agency, with a focus on finding the right fit for the project. ‘That feels typical for Japan. It’s very director oriented. Directors tend to have their craftsmanship mentality, where each idea is really precious and we really hone in on the direction. Then, we hire the composer and then we go through rounds and rounds of revisions to get it right.’
Christophe discusses his approach in France, which involves looking for composers who can bring a unique perspective to the project. He shares his way of working: ‘I feel you need to have a strong point of view if you want to put creativity on the table. I’m totally open each time to work with new directors of each project, and it does help if we work from a place of common ground. We need to have the same feeling about the creativity on the project, which entails a lot of discussion.’
I feel you need to have a strong point of view if you want to put creativity on the table.
Both panelists discuss specific examples of their work, including a campaign for Coach and a project for Lancome. These examples illustrate the importance of collaboration between the music agency, the director, and the composer in creating original music for advertising. They also highlight the opportunities for composers to work on exciting projects and to develop their skills and careers. Seiya Matsumiya explains that in Japan, music budgets are typically lower than in Europe or the US, but composers can still earn a good income through multiple projects. ‘The way we work is that we tell people we work with that some fees may be lower, but there will be more compositions, and more after that, and so on, which is quite nice in that sense.’
Define your creativity
The pair end on a high note: ‘Try to define your creativity. Take care of all the different steps of the job, and make sure that the creation, music direction, editing, and negotiations of the right to use are taken care of. We’re still working for brands, so art will sometimes be channeled into projects. Exciting projects.’