The Musical Score of Star Trek
For my active listening film activity, I chose Star Trek: The Motion Picture. The film was produced by Gene Roddenberry and directed by Robert Wise; the director of another science fiction classic released earlier with Bernard Herrmann as composer on The Day The Earth Stood Still. Jerry Goldsmith composed and conducted this lovely euphonic score for a visually stunning movie. Music Editor Kenneth Hall finely tunes the soundtrack with precision. Goldsmith’s musical score for Star Trek: The Motion Picture, would eventually be nominated for “Best Original Score” at the 1979 Academy Awards. The score lost to Georges Delerue’s A Little Romance. Goldsmith provides Star Trek with a new theme song, that would later become the theme song for the famous spin off series. A full 90 piece orchestra, with brass chorale, kicks off the memorable main title at the start of the film. This isn’t the last time we hear the main title. We hear it again in the beginning of the film after we see Spock, when the first appearance of Starfleet headquarters in San Francisco and of Captain Kirk in the movie arrives. The final time we hear it again is in the end titles. It would seem the profound heroic motif song represents the epitome of Starfle
One thing I’ve noticed about this film is that a few characters have a distinct melody that either follows them around, or defines them. The first one being the film’s most beautiful track, the famous “Ilia’s Theme”. This love theme is first used in the film’s overture. Which I find weird as they stopped this fad a decade earlier with movies like 2001: A Space Odyssey. The second time we hear this is at 1: 25. The character of Ilia, the ship’s navigator, is not only clearly present, but plays more prominently when she is the full focus. The music fades in and out when she enters and exits. The theme seems to follow her. The second character with a theme of their own is the alien entity known as Vejur. Unlike the first character mentioned, the theme for this character defines it. Usually a sound effect is used when the character appears onscreen. The character invokes the unsettling brass of the dark and unknown. Having already made a trademark of peppering his scores with a variety of unusual sound effects, Goldsmith once again came up with an even more startling sounds to represent Vejur. Assisted by Craig Huxley, they had developed an instrument called “The Blaster Beam”. Highly polished artillery shell casings were used to create the spectacularly unearthly sounds with motorized magnets on an instrument 15 feet long. This is heard in the background of scenes where Vejur is the deep focus of the movie. The last characters with a melody are the Klingons. Although they appear in the beginning of the film and never make a second appearance, a tune is c
Some topics in this essay:
Jerry Goldsmith,
Beam” Highly,
Captain Kirk’s,
Ilia’s Theme,
Blaster Beam,
Star Trek,
Kirk Scotty,
Vejur Unlike,
Captain Kirk,
Space Odyssey,
main title,
theme song,
jerry goldsmith,
star trek,
star trek motion,
captain kirk,
musical score,
beginning film,
kenneth hall,
editor kenneth,
motion picture,
music editor kenneth,
editor kenneth hall,
trek motion picture,
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Approximate Word count = 1064
Approximate Pages = 4 (250 words per page double spaced)
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