Definition of a Music Director
Source- WikipediaA music director may be the director of an orchestra, the director of music for a film, the director of music at a radio station, the head of the music department in a school, the coordinator of the musical ensembles in a university, college, or institution (but not usually the head of the academic music department), the head bandmaster of a military band, the head organist and choirmaster of a church, or an Organist and Master of the Choristers (a title given to a Director of Music at a Cathedral, particularly in England).
Styles
While some directors specifically music video directors stick to certain styles or to genres there are directors such as Shane Drake who don't stick to either.
The visual style of Shane Drake is affected a large amount by the artist of which he is shooting for, he genuinely seems to love to come up with a concept for the video, however if it doesn’t suit the artist and reveal a certain truth, he says “it will fall flat”. He will look at what the band or artist means and how they wish to be perceived in the video and in general and goes with that. Shane states that favourite video is Pearl Jam’s, Jeremy. “It was such an honest introspection into the heart and soul of the song, and captured the emotional qualities of the lyrics so magnificently in a way that very few videos are able to do.” this served as his inspiration.
On the flip side of the coin is Chris Cunningham. He uses a particular style throughout his work. I have found that he has a fascination with abnormalities including human distortion and alienation as this can be seen in videos like Rubber Johnny in particular. He also appears to have a large amount of knowledge about technology and this can be seen in his creation of Bjork as a robot in the music video- All is full of love. Recurring themes which I notice in Chris's style was the use of light and dark, as a lot of his videos seem to put across a feeling of entrapment or depression but then he also goes to the other end of the spectrum in the sense, with his use of artificial lighting, which is exaggerated in particular in Bjork’s All is full of love.