The fundamental difference between the role of a composer and of a musical director in a television or film production is that the composer writes arrangements based on an overall artistic prompt provided by the main series director, while the musical director decides when and where the music is utilized during a particular visual sequence in the show or movie. The individual making the music paints a picture with sound, while the director uses that picture to evoke an emotional response at critical points of a story.
For a four years, spanning from Fresh PreCure to Smile PreCure, the franchise relied on composer Yasuharu Takanashi’s signature style of high-energy rock infused with orchestrals marks one of the primary stylistic stamps of the PreCure franchise during the Deluxe era. His magnum Opus was the score he wrote for Suite PreCure, but has since been replaced by Hiroshi Takaki. Takaki brings a new style to the table, which, when combined with a very strong musical directorial contribution from long-time Toei staffer Sayaka Mizuno, creates a brand new aural signature to the franchise, starting with what has essentially become my favourite aspect of Dokidoki: the flexibility and utility of its score.