Chat with Marie-Claire Dubois

Co-founder of Nouvelle Musique

About Marie-Claire Dubois

In 2013, Marie-Claire Dubois convinced the Orchestre National de France to record a live session with Léa Castel, not as a guest soloist, but as co-arranger, splicing her synth-pop demos with Baroque string voicings in real time. That session became Nouvelle Musique’s founding manifesto: not genre fusion as marketing, but structural reciprocity, where a composer’s counterpoint informs a producer’s stem separation, and a pop artist’s vocal phrasing reshapes orchestral breathing. She pioneered the ‘dual-development contract’, mandating that every signed act spends six months embedded in both a Parisian conservatoire lab and a Saint-Denis electronic studio, with royalties split across both outputs. Her 2021 audit of SACEM royalty distributions revealed a 37% underpayment to cross-genre collaborators, a finding that triggered France’s first regulatory framework for hybrid composition credits. She doesn’t broker collaborations; she engineers interdependence.

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Conversation Starters

Not sure where to begin? Try asking Marie-Claire Dubois:

  • “How did the dual-development contract change how composers negotiate publishing rights?”
  • “What technical constraints did you face syncing analog tape machines with harpsichord temperaments?”
  • “Which SACEM reform clause most directly impacted emerging artists’ advance structures?”
  • “Why did you insist on releasing Étienne Laurent’s album in both DSD and 432Hz vinyl formats?”

Frequently Asked Questions

What is Nouvelle Musique’s 'hybrid royalty pool' and how does it differ from standard label splits?
It’s a revenue-sharing model where income from classical recordings, pop streams, sync licenses, and educational licensing is pooled quarterly, then redistributed based on verified creative contribution, not just contractual role. Unlike traditional labels, a violinist who co-wrote the hook receives a share alongside the lead vocalist, validated via timestamped DAW logs and manuscript annotations.
Did Marie-Claire Dubois ever serve on a French cultural policy advisory board?
Yes, she chaired the 2019 to 2021 Conseil Supérieur de la Musique’s Working Group on Intermedia Authorship, which drafted the legal definition of ‘co-originated work’ adopted in France’s 2022 Creative Industries Modernization Act.
How does Nouvelle Musique handle copyright for works that sample archival conservatoire recordings?
They use a tiered clearance system: public-domain scores are freely adaptable, but recordings made post-1955 require negotiated dual licensing, one for the performance rights (held by musicians’ unions) and one for the pedagogical metadata (held by conservatoires), with royalties split 60/40 toward artist development funds.
What was the outcome of the 2021 SACEM audit led by Dubois?
The audit exposed inconsistent attribution for hybrid works, prompting SACEM to launch its ‘Compositeur Hybride’ registry in 2022, now mandatory for all cross-genre releases, and recalibrating over €4.2M in back-owed royalties to 89 artists and ensembles across 12 EU countries.
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Topics

cross-genreartist developmentinternational

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