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Key Information

Jun Miyake (Japanese: 三宅 純 Hepburn: Miyake Jun, January 7, 1958, in Kyoto) is a Japanese composer. His music (e.g., the songs "Lilies in the Valley" and "The Here and After") was used in the film Pina, nominated for the Academy Awards for Best Documentary Feature in January 2012. He has also been awarded by the German critic's award, Der Preis der deutschen Schallplattenkritik, as Best Album of the Year for his last three albums, Stolen from Strangers, Lost Memory Theatre act-1, and Lost Memory Theatre act-2.

Early life

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Miyake was born into a paradoxical household that shaped his artistic sensibility. His mother was a music enthusiast and introduced him to melodies. However, his father was a chemist and was staunchly against sounds of any kind. This contrast cultivated his fascination with music, particularly jazz, which he discovered at age 12. At this age, Miyake was drawn to the trumpet and pursued a passion for improvisation and dynamic sonic exploration.[1]

Career

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Discovered by Japanese jazz trumpeter Terumasa Hino, Miyake started his career as a jazz trumpet player, having studied at Berklee College of Music from 1976 to 1981. In 1981, he won the prize at the Massachusetts Artist Foundation award for his composition. Miyake’s early career saw him exploring jazz and contemporary music, building a reputation in Japan’s music scene. His artistry evolved significantly during the late 1990s, marked by a trilogy of albums released on Beams Records. These works combined elements of jazz improvisation with exotic and global influences, garnering critical praise.[2]

After returning to Tokyo, he became an influential artist, as well as a successful composer. Miyake has now released 17 solo albums, and has worked on films, documentaries, dances, advertisement, theatre pieces, and served as a producer for numerous artists. His main instruments include the trumpet, flugelhorn, melodica, piano, keyboard, fender rhodes, and programming.

In 1983, he released his first album "June Night Love", which includes two tracks used in the TDK TV commercial starring Andy Warhol. He then continued on to working for over 3000 TV commercials, which led to winning many awards, including Cannes advertisement film festival and the Digital Media Grands prix.

Miyake has worked closely with Pina Bausch for pieces including Rough Cut (2005), Vollmond (2006), Sweet Mambo (2008), Como El Musguito En La Piedra, Ay Si Si... (2009), which led to the film Pina by Wim Wenders; his tracks were featured in the essential scenes. This film was awarded by European Film Award 2011 as Best Documentary;[3] nominated for the Academy Awards 2012 as Best Documentary Feature,[4][4] and BAFTA 2012 as Best non-English language film. With Katsuhiro Otomo in 1995, he composed the soundtrack of the episode "Stink Bomb" for the anime Memories, where he uses a combination of jazz and funk to emphasize the film's chaotic and comedic nature.

He has also worked closely with Robert Wilson on White Town (2002), an homage to Arne Jacobsen at Bellevue Teatret in Copenhagen; Jean-Paul Goude who has done the artwork for Stolen from Strangers, Lost Memory Theatre act-1, Lost Memory Theatre act-2, Oliver Stone, and Philippe Decouflé, among others, as well as collaborations with artists such as Hal Willner, Arto Lindsay, Peter Scherer, Arthur H, Vinicius Cantuaria, Cosmic voice of Bulgaria, David Byrne, Grace Jones, Gavin Friday, Nina Hagen, Ron Carter, Michael Brecker, David Sanborn, Al Foster, Dhafer Youssef, Vincent Segal, Remi Kolpa Kopoul, Jean-Michel Jarre, and many others.

With his ability to blend the most seemingly disparate element of music, he has achieved much respect throughout the world. From 2005, he has set a base in Paris, actively working on several projects. He has been selected as "Man of 2009" by Galeries Lafayette Homme.

In 2016, he arranged the Japanese national anthem Kimigayo for 2016 Summer Olympics closing ceremony; composed the track "ANTHEM OUTRO" for the "ARIGATO FROM JAPAN" sequence, which became the topic of conversation.

In recent years, his has worked for film scores including The Translators, Norman- The Moderate Rise and Tragic Fall of a New York Fixer, An Artist of the Floating World, No Longer Human, No.9, Sanson, and Snow Country.

During the COVID-19 pandemic, Miyake adopted remote recording techniques, collaborating with global musicians via home studios. He utilized Audiomovers for real-time recording in order to adapt to the environment. Despite the constraints of isolation, Miyake’s was able to compose "Undreamt Chapter" and maintained his reflective and universal qualities, showcasing commitment to creating art that resonates across contexts.[5]

In 2021, he has released his most recent solo album "Whispered Garden".

After coming back to Tokyo during the pandemic, Miyake decided on moving his base to New York in 2024. 

Major works

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Stolen From Strangers (2007) – This album earned the Grand Prix for the German Record Critics' Award in 2008, highlighting Miyake's ability to transcend genres. The record features a sophisticated interplay of jazz, world music, and modern orchestration, solidifying his place in the international music community.[2]

Pina (2011) – Miyake contributed to the soundtrack of Wim Wenders’ documentary Pina, which celebrates the legacy of choreographer Pina Bausch. His compositions played a significant role in the film’s emotional resonance, helping it achieve an Academy Award nomination for Best Documentary.[2]

Lost Memory Theatre Series (2013–2017) – The Lost Memory Theatre series explores themes of fragmented memories and dreamlike spaces. Memories are deeply personal to the composer, especially after the natural and nuclear disasters in Japan. The second installment, act-2, released to critical acclaim, features an innovative mix of Bulgarian symphonic strings, electronic elements, and poetic vocals by Lisa Papineau. Miyake’s evocative arrangements create a cinematic auditory experience, blurring the line between music and storytelling.[2] Wim Wenders says in the liner notes: "Jun’s Lost Memory Theatre is truly unique: it constantly produces that ‘Third Thing’ between music and imagery. You enter this space for the first time and you’re already addicted to it…"[6] Undreamt Chapter (2020) – This album was composed in response to the COVID-19 pandemic which reflected the tension and hope of the era.[5]

Theater and collaborations

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Miyake collaborated with theater director Robert Wilson in 2002 for a production celebrating architect Arne Jacobsen. This experience introduced him to the world of theater, where he admired Wilson’s meticulous focus on lighting and simplicity. Miyake credits Wilson’s productions, such as Woyzeck, for their seamless integration of visual, narrative, and musical elements, further inspiring his creative outlook.[1] A defining aspect of Miyake’s career is his association with choreographer Pina Bausch. Their collaboration began serendipitously when Bausch’s team contacted him about using one of his compositions. Over the years, their bond deepened as Miyake contributed to her performances, including the soundtrack for Vollmond. Bausch’s work profoundly influenced him, teaching him the power of emotional expression through movement and simplicity. Miyake describes her artistry as a source of beauty, love, and inspiration.[1]

Artistic philosophy

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Miyake has worked with renowned artists such as Arto Lindsay, David Byrne, and Nina Hagen. His collaborations span genres and disciplines, from theater and dance to film, showcasing his versatility and global appeal. His music has been described as "worldly without being too specific," inviting listeners to craft their own interpretations.[2]

On self-reflection, Miyake views music as "the art of time," crafting pieces that blend past and present to evoke "nostalgia at first sight." His process emphasizes emotional and sonic authenticity, often rejecting efficiency in favor of deep contemplation and timeless expression.[5] Jun Miyake continues to be a vital figure in contemporary music, celebrated for his cross-disciplinary collaborations and evocative soundscapes.

Discography

[edit]
  • 1983 – "JUNE NIGHT LOVE　(TDK RECORDS)
  • 1984 – "Especially Sexy　(TDK RECORDS)
  • 1988 – "TOKOSHIE no TENOHIRA　〈永遠乃掌 〉　(SWITCH RECORDS)
  • 1989 – Cycloid / Stokesia　(FUNHOUSE)
  • 1989 – "Gorilla original soundtrack"
  • 1991 – ONE (PONY CANYON)
  • 1991 – "Sublime&JUN MIYAKE / RECIENTE　(WEA MUSIC)
  • 1991 – "zans / La Party　(NIPPON COLUMBIA)
  • 1993 – "ENTROPATHY　〈星ノ玉ノ緒〉　(SONY RECORDS)
  • 1996 – "JUN MIYAKE CM TRACKS VOL.1　(SLC RECORDS)
  • 1996 – "JUN MIYAKE CM TRACKS VOL.2　(SLC RECORDS)
  • 1996 – 常夏乃憂ヒ JUN MIYAKE LIVE at CAY '95　(SAIDERA RECORDS)
  • 1997 – "Latinism Reversible　(TOKUMA JAPAN COMMUNICATIONS)
  • 1998 – "angels rondo" MUSIC for TAKAYUKI TERAKADO EXHIBITION　(TERAPIKA RECORDS)
  • 1998 – "PuPu the soundtrack (Little More records)"
  • 1999 – "Glam Exotica !　(BEAMS RECORDS)
  • 2000 – "Mondo Erotica !　(BEAMS RECORDS)
  • 2000 – "Innocent Bossa in the mirror　(BEAMS RECORDS/CONSIPIO RECORDS)
  • 2004 – "MASK DE 41 Original Soundtrack (Little More records)"
  • 2006 – "Kiba Original Soundtrack vol.1(Aniplex)"
  • 2007 – "Stolen from strangers　(drApe/P-VINE, enja-yellowbird)
  • 2007 – "Kiba Original Soundtrack vol.2(Aniplex)"
  • 2009 – "The Miraculous Mandarin (Parco)"
  • 2009 – "Vollmond music from the dance theater of Pina Bausch (VideoArts)"
  • 2010 – "Jeanne d'arc Soundtrack (Pony Canyon)"
  • 2010 – "Sublime&JUN MIYAKE / LUDIC (drApe/P-VINE, enja-yellowbird)
  • 2011 – Pina by Wim Wenders Soundtrack (Wenders Music)
  • 2013 – "Lost Memory Theatre act-1 (drApe/P-VINE, enja-yellowbird)
  • 2014 – "Woyzeck (Pony Canyon)
  • 2014 – "9 Days Queen (Pony Canyon)
  • 2014 – Lost Memory Theatre act-2 (drApe/P-VINE, enja-yellowbird)
  • 2017 – "Last Picture – Dairo Miyamoto (drApe/P-VINE, enja-yellowbird)
  • 2017 – "NORMAN: The Moderate Rise and Tragic Fall of a New York Fixer Original Soundtrack"
  • 2018 – "Lost Memory Theatre act-3 (drApe/P-VINE, enja-yellowbird)
  • 2019 – "COLOMENA / Kyoko Katsunuma & Jun Miyake (drApe/P-VINE)
  • 2019 – "An artist of floating world Original Soundtrack (drApe/P-VINE)
  • 2019 – "No Longer Human Original Soundtrack (drApe/P-VINE)
  • 2019 – 'Les Traducteurs Original Soundtrack (drApe/P-VINE)"
  • 2020 – Mémoires du Sapa Original Soundtrack (drApe/P-VINE)"
  • 2021 – "No.9 -Immortal Melody Soundtrack (e+ Music)"
  • 2021 – "Sanson Original Soundtrack (drApe/P-VINE)"
  • 2021 – "Whispered Garden (drApe/P-VINE, enja-yellowbird)
  • 2022 – "Snow Country Original Soundtrack (drApe/P-VINE) "
  • 2023-"Jeanne d'arc Soundtrack" (P-VINE)

Films

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Theater pieces

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jun Miyake

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Jun Miyake (born January 7, 1958, in , ) is a Japanese , trumpeter, arranger, and known for his eclectic work spanning , film scores, theater music, and commercial soundtracks. His compositions blend with orchestral elements, often featuring and , and he has released 17 solo albums since 1993, including Entropathy (1993) and Whispered Garden (2021). Miyake began his career as a trumpeter after being discovered by the legendary Japanese musician Terumasa Hino, and he later studied at in . Relocating to in 2005, he expanded into international film and theater, collaborating with directors like and choreographers such as , while also working with artists including and . His versatility extends to over 3,000 television commercials, for which he has received awards from the Cannes Lions International Festival of Creativity and the . Among his most acclaimed works is the original score for Wim Wenders' 2011 dance film Pina, which contributed to the film's European Film Academy Documentary – Prix ARTE win in 2011, its nomination for the Academy Award for Best Documentary Feature in 2012, and its nomination for the BAFTA Award for Best Film Not in the English Language in 2012. He has contributed music to films like Eat Pray Love (2010) and The Women (2008), and arranged the Japanese national anthem Kimigayo for the closing ceremony of the 2016 Summer Olympics in Rio de Janeiro. Since relocating his base to New York in 2024, Miyake has continued to compose for global projects, including scores for Snow Country (2022) and Jeanne d'Arc (2023).

Early Life and Education

Childhood and Early Influences

Jun Miyake was born on January 7, 1958, in , . Although born in the culturally rich city of , known for its traditional arts and temples that foster an appreciation for refined , Miyake spent his formative years in , a coastal town near with its own historical influences and vibrant post-war youth culture. His family environment was marked by a father who strongly disliked noise, which contrasted with the expressive sounds that would soon captivate him. At around age 12, during sixth grade, Miyake had his first profound encounter with music when he heard at a friend's house, an experience that left him deeply shocked and ignited a lasting passion for the genre. From that moment, he immersed himself in jazz listening, drawing heavy influences that shaped his musical worldview through his high school years. This early exposure, amid Kamakura's blend of suburban tranquility and access to Tokyo's emerging scene, fueled his curiosity and self-directed exploration of the as his primary instrument. These initial musical encounters culminated in Miyake's decision to pursue music professionally during high school, where he began performing live as a jazz trumpeter and sought guidance from established figures like Terumasa Hino, setting the stage for his later studies at .

Studies at

Jun Miyake enrolled at the in in 1976, completing his studies in 1981. During this period, he immersed himself in the institution's renowned jazz programs, building on his early exposure to jazz through childhood influences in . His academic training centered on trumpet performance, , and composition, under the guidance of faculty who emphasized both technical proficiency and creative expression. Discovered by trumpeter Terumasa Hino prior to his enrollment, Miyake's time at Berklee allowed him to refine his trumpet technique and explore principles that would later shape his hybrid compositional styles blending with other genres. In Boston's vibrant music scene, Miyake engaged in early performances with student ensembles and local groups, fostering connections within the community that opened doors to initial professional engagements. These experiences, including collaborative sessions and settings, honed his improvisational skills and networked him with emerging musicians, setting the foundation for his post-graduation career trajectory.

Professional Career

Jazz Beginnings and Early Recordings

After graduating from , Jun Miyake returned to in 1981 and was soon discovered by renowned trumpeter Terumasa Hino, who mentored him and introduced him to professional circuits in . This pivotal connection launched Miyake's career as a trumpeter, where he quickly established himself through studio work and live performances, blending his Berklee-honed techniques with the vibrant scene of the early 1980s. Miyake's debut album, June Night Love, released in 1983 on TDK Records, marked his entry as a bandleader and showcased his trumpet prowess alongside fusion-infused arrangements featuring electric bass, keyboards, and rhythmic grooves inspired by American jazz standards. The following year, Especially Sexy (1984, also on TDK Records) expanded on this sound, incorporating a lineup of American fusion musicians like bassist Victor Bailey and drummer Poogie Bell, resulting in a polished blend of post-bop improvisation and funky rhythms that highlighted Miyake's compositional maturity. By 1988, Tokoshie no Tenohira (Switch Records) reflected a more introspective turn, with Miyake's flugelhorn leading ethereal tracks that fused jazz elements with subtle electronic textures. In the early 1990s, Miyake's Entropathy (1993, Sony Records) exemplified his evolving style, co-produced with renowned curator and featuring eclectic instrumentation such as harmonica blues and electro-swing influences, earning praise for its sophisticated yet accessible innovation. During this period, he also made notable guest appearances, including as a solo trumpeter with the Seigen Ono Ensemble at the 1993 , where his improvisational flair complemented the group's experimental framework. Additionally, Miyake took on production roles, scoring the 1987 drama Itoshi no Half Moon and contributing to over 3,000 television commercials, while co-producing tracks for artists like Vinicius Cantuaria and , solidifying his influence in Japan's and studio production circles.

Transition to Film and Theater Composition

In the late 1990s, following his established career as a trumpeter and , Jun Miyake began transitioning toward composing for visual and formats, starting with music. He entered this field by creating scores for television commercials, ultimately composing music for over 3,000 such projects, which earned him accolades including awards at the Lions International Festival of Creativity and the Grands Prix. This shift allowed Miyake to apply his compositional versatility—honed through early albums that explored improvisational structures—to more structured, narrative-driven formats, while broadening his palette to include electronic and orchestral elements. By the early 2000s, Miyake expanded into theater and , marking a pivotal expansion of his work. His initial collaborations included scoring Robert Wilson's production The White Town in 2002, followed by contributions to Pina Bausch's (2005) and Vollmond (2006), as well as Philippe Découflé's pieces in 2005 and 2007. These projects built a foundation for larger-scale endeavors, emphasizing Miyake's ability to integrate live performance with cinematic and fostering his reputation for creating immersive, emotionally resonant atmospheres. A notable milestone in this transition came in 2016, when Miyake arranged the Japanese national anthem "Kimigayo" for the closing ceremony of the Summer Olympics in Rio de Janeiro, including the composition of "ANTHEM OUTRO" for the "ARIGATO FROM JAPAN" segment. Around this period, his early film compositions, such as the score for The Women (2008) directed by Diane English, exemplified his stylistic evolution by blending jazz improvisation with world music influences and lush orchestration to underscore themes of personal transformation.

International Residences and Recent Projects

Jun Miyake maintained his primary base in following his graduation from , where he began his career as a jazz trumpeter and composer. In autumn 2005, he relocated to to pursue European collaborations, establishing a new creative hub that facilitated work on international and theater projects. The prompted Miyake to return temporarily to , where he adapted to remote composition methods amid global lockdowns. This period of isolation and influenced his work, culminating in the piece Undreamt Chapter, a theme track for TOKION that captured themes of anxiety, , and post-pandemic hope through virtual collaboration with musicians like drummer Hideo Yamaki and engineer Philippe Avril. In 2024, Miyake relocated his base to New York, reflecting broader post-pandemic shifts toward renewed international mobility and opportunities in the U.S. music scene. This move built on his earlier transitions into film composition, which had opened doors to global partnerships. Among his recent projects in 2025, Miyake composed the score for a new advertisement released in October, blending orchestral elements with contemporary subtlety. He also provided music for a theater piece directed by Akira Kasai, continuing his engagement with innovative Japanese .

Notable Works

Film Scores

Jun Miyake's transition to film composition built upon his extensive experience in , where he created scores for over 3,000 TV commercials for brands including Cartier, , , and , earning awards such as the Cannes Lions International Festival of Creativity. This background honed his ability to craft emotionally resonant music under tight constraints, paving the way for his contributions to feature films and documentaries that blend orchestral depth with contemporary textures. A pivotal work in Miyake's filmography is his score for ' 2011 documentary Pina, a tribute to choreographer that received an Academy Award nomination for Best Documentary Feature, a European Film Award, and a BAFTA. Miyake composed key tracks including "Lilies in the Valley," an ethereal piece featuring swelling strings and subtle electronic pulses, and "The Here and After," which integrates jazz-inflected with Lisa Papineau's vocals to evoke themes of loss and renewal. These compositions enhance the film's 3D dance sequences by mirroring Bausch's expressive movements with fluid, narrative-driven soundscapes that fuse acoustic warmth and digital innovation. Miyake also contributed to Ryan Murphy's 2010 adaptation of , starring , where his track "Rain Forest" provides a lush, introspective underscore during scenes of spiritual exploration in . This piece exemplifies his use of layered strings and ambient to heighten emotional introspection, drawing from harmonies to convey cultural displacement and inner journey. His international portfolio extends to other films such as The Women (2008), Norman: The Moderate Rise and Tragic Fall of a New York Fixer (2016), An Artist of the Floating World (2019), (2019), (2022), Oxygen Station (2023), and Some Body Comes into the Light (2023), where he consistently employs strings for melodic intimacy, for atmospheric tension, and elements to underscore human complexity and narrative emotion.

Theater and Dance Collaborations

Jun Miyake has established a significant presence in contemporary theater and dance through his compositions, often blending electronic elements with live instrumentation to create immersive soundscapes that enhance narrative and movement. His work emphasizes thematic depth, drawing on motifs of memory, transformation, and human emotion to support choreographic visions. A cornerstone of Miyake's contributions lies in his long-term collaboration with the renowned choreographer and the Tanztheater . Beginning in the mid-2000s, he provided original music for several key productions, including Rough Cut (2005), (Full Moon, 2006), Bamboo Blues (2007), and Sweet Mambo (2008). For Vollmond, Miyake's score incorporated contributions from artists like and the Alexander Balanescu Quartet, featuring tracks such as "Lilies of the Valley" that evoke lunar mystery and emotional intensity through layered strings and ambient textures. These pieces highlight his approach to integrating live instrumentation—such as and percussion—with pre-recorded elements to mirror the fluid, repetitive dynamics of Bausch's dance language. Following Bausch's death in 2009, Miyake participated in tribute performances, including concerts in (2013), (2013), and (2013), where his compositions were performed live alongside archival footage. Miyake's theater collaborations extend to innovative directors like Robert Wilson, with whom he worked on The White Town (2002) in , a production honoring architect that fused minimalist visuals with Miyake's atmospheric . This partnership continued in subtler forms, such as the 2014 "Image Maker" in , where Miyake's music underscored Wilson's interdisciplinary explorations of . In parallel, Miyake has forged a sustained creative bond with Japanese theater director Akira Shirai, composing scores for productions including Jeanne d'Arc (2010), No.9 - Immortal Melody (2015 and revived in 2021), and Sanson (2021). These works often employ thematic soundscapes that evolve with the dramatic arc, using live orchestral elements to heighten psychological tension and historical resonance. The soundtrack for Jeanne d'Arc, originally released in 2010, was reissued in 2024 by P-Vine Records, 13 years later, allowing renewed access to its evocative blend of choral motifs and instrumental solos that capture Joan of Arc's spiritual journey. Across these collaborations, Miyake's methodology prioritizes symbiotic relationships between sound and performance, where live instrumentation—frequently featuring his own playing—interacts dynamically with dancers and actors to forge cohesive thematic environments. This technique, refined through years of international residencies, underscores his role in bridging with staged arts, creating auditory landscapes that amplify the visceral impact of movement and dialogue.

Solo Albums and Collaborations

Jun Miyake has released 17 solo albums throughout his career, showcasing his evolution as a and trumpeter. His early works, such as the 1983 debut June Night Love, rooted in , featured collaborations with prominent musicians and emphasized rhythmic interplay between and ensemble arrangements. Over time, Miyake's solo output shifted toward more experimental and atmospheric soundscapes, incorporating elements of , electronics, and surreal textures, as evident in albums like Entropathy (1993), which blended improvisational with structures. Key solo releases highlight this stylistic progression. Stolen from Strangers (2007) marked a pivotal moment, integrating global influences and vocal elements into a cinematic , reflecting Miyake's growing interest in thematic depth drawn from and theater. The Lost Memory Theatre series further exemplified his turn to memory-themed experimental pieces: act-1 (2013) explored fragmented recollections through layered instrumentation and subtle dissonance, while act-2 (2014) expanded on these motifs with more introspective, piano-driven compositions. His most recent solo album, Whispered Garden (2021), continues this trajectory, evoking ethereal gardens via delicate trumpet lines and ambient electronics, underscoring a mature phase of contemplative . In addition to solo endeavors, Miyake has engaged in notable collaborations that extend his artistic reach. The live album Pneuma (2024), recorded during sessions in 2016 and 2017, unites him with vocalist , drummer Tatsuhisa Yamamoto, and bassist Hitoshi Watanabe, reinterpreting Miyake's compositions in a live, improvisational context that fuses , and ambient elements. By 2023, Miyake's overall , encompassing solo releases, compilations, and joint projects, totaled 33 albums, demonstrating his prolific output across genres. These works collectively trace his journey from jazz fusion foundations to innovative, memory-infused explorations, often influenced by his compositional experiences in film and theater.

Awards and Recognition

Film and Documentary Awards

Jun Miyake received significant recognition for his contributions to the soundtrack of the 2011 documentary Pina, directed by , which celebrated the work of choreographer . His compositions, including tracks like "Lilies of the Valley," formed a core element of the film's score, blending minimalist orchestration with emotional depth to complement the 3D dance sequences. The film itself won the European Film Award for Best Documentary in 2011, highlighting the integral role of Miyake's music in its critical and artistic success. In 2012, Pina earned a nomination for the Academy Award for Best Documentary Feature, further underscoring the impact of Miyake's score on the film's international acclaim. Additionally, the film was nominated for the Not in the English Language that year. These accolades marked a pivotal moment in Miyake's shift toward prominent film composition roles. Miyake's earlier work in commercial scoring also garnered awards, notably multiple wins at the and the for his music in over 3,000 television advertisements. These victories, spanning various years in the and , recognized his innovative use of in short-form , often incorporating and electronic elements to evoke narrative intensity. The combined prestige of these , , and commercial honors significantly elevated Miyake's international profile, establishing him as a sought-after composer for cross-cultural projects and opening doors to collaborations in and beyond.

Music Album Awards

Jun Miyake's innovative have garnered significant recognition from European critics, particularly through the German Record Critics' Award (Der Preis der deutschen Schallplattenkritik), which honors outstanding musical recordings based on artistic quality, repertoire value, presentation, and . His 2007 Stolen from Strangers received the Grand Prix of this award in 2008, as well as Best Album of the Year accolades from French and German music magazines, praising its genre-blending fusion of , , and elements. Subsequent works in the Lost Memory Theatre series further solidified Miyake's reputation for multimedia-infused compositions. The album Lost Memory Theatre act-1 (2013) was awarded the Grand Prix by the German Record Critics' Award in 2014, while act-2 (2015) earned the same honor in 2015, with critics highlighting the series' evocative soundscapes that evoke theatrical narratives and emotional depth. His 2021 album Whispered Garden also received the Grand Prix in a subsequent year, along with Best Album of the Year selections from European music magazines. These awards underscore Miyake's ability to create albums that function as immersive sonic experiences, often incorporating multimedia aspects to expand beyond traditional jazz boundaries. While specific Digital Media Grands Prix recognitions are more commonly associated with his advertising compositions, his album projects have similarly been lauded for their innovative digital integrations in European critical circles.

Artistic Philosophy and Style

Core Artistic Principles

Jun Miyake conceptualizes music as the "art of time," a medium that captures the fluid and subjective nature of temporality to evoke profound emotional resonance. In his view, time in music can stretch a single moment into eternity or compress extended durations into fleeting impressions, allowing compositions to transcend linear progression and immerse listeners in layered emotional experiences. This principle underscores his emphasis on temporal flow, where sounds are orchestrated to mirror the irregularities of human perception and feeling, fostering a deep connection between the auditory and the introspective. Central to Miyake's ethos is a steadfast commitment to authenticity, prioritizing personal integrity and timeless universality over transient commercial imperatives. He seeks to cultivate music that endures beyond fads, blending diverse genres—such as jazz, classical, and global folk elements—without compromising their essence, to produce hybrid works that reflect contemporary realities while achieving cross-dimensional appeal. This approach ensures his creations remain personally resonant, as he aims to produce pieces he himself would continually revisit, resisting dilution for market-driven trends. Miyake's philosophy extends to themes of and loss, particularly evident in his Lost Memory Theatre series, which he envisioned as a personal space for reclaiming fragmented recollections. He crafted these works to serve as triggers for awakening obscured memories, exploring how the past continually renews itself and the future carries an inherent , thereby transforming loss into a generative force for emotional and artistic renewal. Rather than evoking mere , the series layers memory fragments to form narratives, inviting listeners to reconstruct their own histories through the music. In collaboration, Miyake advocates for , viewing partnerships as mutual explorations where each participant's input elevates the whole, rather than one element serving another. His work with figures like exemplified this, as he integrated her conceptual keywords—such as "in sorrow but smiling"—into compositions, allowing her choreography to amplify the music's emotional depth while his scores informed her movements, resulting in a symbiotic enhancement of both art forms.

Musical Influences and Techniques

Jun Miyake's musical style is deeply rooted in his early training as a trumpeter, having been discovered by the renowned musician Terumasa Hino and subsequently studying at . This foundation informs his trumpet and flugelhorn performances, which often serve as melodic anchors in his compositions, blending improvisational elements with broader sonic palettes. His work frequently fuses these roots with traditions, incorporating rhythms and motifs from global sources such as Latin American and Asian folk influences, while integrating strings for lush, emotive textures and for atmospheric depth. This hybrid approach creates layered soundscapes that transcend boundaries, as seen in albums like Stolen from Strangers (2007), where acoustic brass intertwines with programmed beats and ethnic percussion. Miyake's orchestration techniques emphasize innovative arrangements that juxtapose disparate elements into cohesive wholes, often employing sophisticated and dynamic shifts to evoke emotional narratives. He favors hybrid ensembles that combine traditional instruments—like , , and strings—with electronic processing and unconventional voices, enabling fluid transitions between live and studio-crafted layers in both recorded and performance settings. For instance, in live performances such as those for Lost Memory Theatre, he assembles groups featuring tenor sax, , , , and , allowing for spontaneous interactions that highlight his multi-instrumental prowess on and programming. These ensembles underscore his commitment to versatility, drawing on global collaborators to produce recordings and concerts that feel both intimate and expansive. Significant influences on Miyake's sonic narratives stem from his collaborations with choreographer and filmmaker , shaping his approach to music as a storytelling medium intertwined with movement and visuals. For Bausch's productions like Vollmond and Bamboo Blues, Miyake crafted scores that mirror the raw, expressive intensity of her dance, using brass lines and electronic swells to underscore themes of human vulnerability and ritual. Similarly, his contributions to Wenders' 2011 documentary Pina, including tracks like "Lilies of the Valley," integrate jazz-inflected trumpet with orchestral and elements to narrate Bausch's legacy through immersive, cinematic sound design, earning a European Film Award for the soundtrack. These partnerships have refined Miyake's technique of building auditory landscapes that enhance non-musical narratives, prioritizing evocative over conventional .

References

  1. https://www.discogs.com/artist/89149-Jun-Miyake
  2. https://www.junmiyake.com/biographyenglish
  3. https://olympicceremonies.wordpress.com/2016-tokyo-presentation-at-rio-closing-ceremony/
  4. https://www.allaboutjazz.com/musicians/jun-miyake-%25E4%25B8%2589%25E5%25AE%2585-%25E7%25B4%2594/
  5. https://www.arban-mag.com/article/3840
  6. https://www.asahi.com/articles/ASR6G5TT2QCJULOB00B.html
  7. https://www.bluenote.co.jp/jp/artists/jun-miyake/2016_11/
  8. https://rateyourmusic.com/list/JerryLovesJazz/the-rym-rough-guide-to-japanese-jazz/3/
  9. https://whitenoiserecords.org/products/jun-miyake-whispered-garden
  10. https://www.imdb.com/name/nm0594378/
  11. https://www.dustygroove.com/item/193218/Jun-Miyake:Especially-Sexy-Japanese-paper-sleeve-edition
  12. https://www.discogs.com/release/26574437-Jun-Miyake-Especially-Sexy
  13. http://www.enjajazz.de/yeb-7706.htm
  14. https://www.a-train.com/junmiyake.html
  15. https://tokion.jp/en/s/series-tokinooto-vol1-jun-miyake/
  16. https://www.junmiyake.com/news
  17. https://www.imdb.com/title/tt1440266/soundtrack/
  18. https://www.junmiyake.com/pina
  19. https://www.imdb.com/title/tt0879870/soundtrack/
  20. https://www.pina-bausch.de/en/plays/7/full-moon
  21. https://www.discogs.com/release/2842766-Various-Vollmond-Music-From-The-Dance-Theatre-Of-Pina-Bausch
  22. https://www.japantimes.co.jp/culture/2009/09/25/music/miyake-score-taps-the-exotic/
  23. https://www.junmiyake.com/news/page/2
  24. https://anywherestore.p-vine.jp/en/products/pcd-18910
  25. https://www.discogs.com/artist/89149-Jun-Miyake?type=Releases&subtype=Albums&filter_anv=0
  26. https://www.europeanfilmawards.eu/efa-movie/pina/
  27. https://www.bbc.com/news/entertainment-arts-16590913
  28. https://www.buddemusic.com/roster/jun-miyake
  29. https://www.enjarecords.com/wordpress/produkt/lost-memory-act-2/
  30. https://www.prestomusic.com/jazz/products/8682976--lost-memory-theatre-act-3
  31. https://www.schallplattenkritik.de/en/annual-awards/long-list/long-list-of-annual-awards-2015
  32. https://www.ele-king.net/interviews/003381/
  33. https://metropolisjapan.com/jun-miyake/
  34. https://junmiyake.net/music
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