anetract Anatony of 6 Film Score: This dissertation ofscusses the souéerack score of = rajor notion picture from both a musical and technical viewpoint, More specificsily, St traces the musical steps involved in the production of the Parancunt fin Star Trek - The Motion Picture (2979) from the seore's conception whrough to its release both in ‘the cinena and on a soundtrack albun, Post-production processes such as recording and dubbing are discussed in general tems, os 4s the composer's role within the production team a6 4 whote, Im particular, the relationship of cosporer and director is invesesgated, ‘A blographical statement of Jerry Goldssith, the score's composer, is included, together with an sesetsnent of his musical contribution to the flim Star Trek . The Motion Picture. In the process of achieving this, the score 3 examined in terns of instrumentation and thematic design. To elucidate the latter, the score $s broker down into {ts component cues which sre scrutinized thonaticelly, as well as visually. Revelation of the stylistic sources synthesized into Goldsmith's highly eclectic musical Language occupies # fascinating ‘facet of this study of the score for Star Trek = The Notion Picture. References are made to nunercus works from the orchestral repertoire (in particular the symptonies of Vaughan-Millsans), as well as relevant scores by other film composers:Anatomy of « Fila Score ‘Star Trek - The Motion Picture Da ‘Cameron N. Patrice A thesis subaitted in partial fulfilinent lof the requirenents for the degree of Rachelor of Music with Honours university of Queensland Noverber, 1986contents Figures Tables Acknowledgements sopreviaeions chapter One 1. Introduction 11, Goldsmith Biography Chapter Tho 1. Conception of a Film and Birth of a Score IL. Plot Synoy Chapter Taree 1. Instrumentation 11, Thonatse Analysts hapeer Four Influences on the Evoluefon of Style chapter Five 1. Mechanics of Scoring » Film 11. The Soundtrack ATbus capeer Six 1. The Composer's Role as Part of the Filmmaking Team I. Conclusion w “i vi 4 20 6 102 a7 128 ast 138Appendix A. Appendix B Appendix C Appendix 0) “Appendix F Appendix F Bibliography Jerry Goldsmith: Filmography Star Trek - The Motlon Picture: Instrumentation Voughan-Wi11ians: Symphony No. 6 in © minor, Second morenent, bars 27-67 Voughan-Willisns: Sinfonia Ant Lea ‘Taind novenent: "Landscape," bars 1-45 Vaughen-Wi1lians: A London Symphony Fourth movenent, Epilogue, bars 174-191 Star Trek ~ The Wotion Picture: Soundtrack Album - Technics) Information 1s ua 155 19 1s10. a a Figures Enterprise Thene 1 Enterprise Quaver/Semiquaver Figure (E2) Mia's Thene Viger These 2 Viger V2-x Chords Viger Thene 5 Viger Thene 4 Viger Tene 5 Spock's Thene 1 Spock's Thene 2 Uingon Thene Television Series Thene 3 3 38 36 a 37 38Tables ‘vain Title” xningons™ Total Logie" ‘the Enterprise” "veaving Dry-dock "Weer Viger" "The Choud" vtger Flyover" The Force eld” "cane speck Walk" "systems Inoperative'™ ‘kidden Information "Inner Workings” "A Good Start™ "End Titles" 38 a 46 50 63 a 8 79 5 97 88 0 100 00Acknowledgements, 1 would 1ike £0 acknowledge the extensive help and advice cof ny supervisor Dr Phillip Bracanin in all stages of che preparation of eis thesis. My thanks also extend to ay parents for their financial support and Davie Marshall for his help in planning ay two research ‘trips to Los Angeles. 1m Los Angeles my appreciation extends to Tony and Linda Fox for their hospitality and Preston Neal Jones for his information on the making of Star Trek ‘The Motion Picture, From the Society for the Preservation of Film Music, T would 1ike to thank Mr Clifford McCarthy, Mr Steven Pickard, and in particular, Mr Willian Rosar for his advice and assistance in selecting this thesis topic. My thanks also to Mr Bob Bornstien and Mr Ken Mitchell of the Paranount Studios! Music Library for their help. T would also like to acknowledge the work of Stephen Phillips, Fiona Patrick an ay typist and brother, Christopher Patrick, in the presentation of this dissertation.Fis. Plee. cor-Ange cis. acl. Fa ns. coFag. cn. Cor. vaat vie, ve. De BD. om. sb. or Abbreviations fives piccolo oboes cor anglais clarirets bass clarinet assoons bassoons contre-bassoon coners-bassoon hors noms trumpets trombones ‘impart percussion ceteste harp Piano violins first viotins second violins viota teette double bass ass drum ceymbatChapter cue Introduction The art of combining soving pictures with musical tones is still a aysterious art. Describing its values and functions is rather like describing a peautiful woman - there's no way of doing it adequately. But no-one should be condemned for trying. ‘This statement by Tony Thomas in no way nullifies che subject of film mstc as a field of research worthy of serious investigation, The twentieth century bas seen the birth and growth of sound and msic in filns to a stage of aaturity which places then in the category of an art form of its ow. Film is a combination of the greatest of man's artistic achievenents; incorporating the visual, the dranatic and the musical into an art form of unparaltetied public acceptance and recognition. Te is a synthesis of components which individually may be artistically impressive but blended together, may form a creation that becomes 14 nore enbracing sensory experience. Not only does fim appeal in tems of sight and sound, but ft also delves deeper than purely audio-visual apprecistion, to Play on hunan emotion, Music's main function in a film is to enhance the narrative and visual aspects of the fila, aiding the realisation of enotional responses to the visuals, On a subeonscious 1 ony Thomas, Music for the Movies (South Brunswick: Barnes, 1973), p. 17.2 evel "susic may also prepare the enotional clinate of the other film components. It is this unique ability of music to influence ‘the audience subconsciously that makes it truly valuable to the cinema"? Alongside this enotional aspect, music builds a sense of continuity, providing a unifying link that joins unrelated visual ‘elenents together. "Moreover, music can complete the total picture and produce @ kind of dramatic truth, which the visual clenent is not always capable of doing." ‘There is a clichéd saying in Hollywood that while a bed score can't Kill & good picture, good score can't save a bad film, ‘This is undoubtedly true and provides just one of the pitfalls ‘that continually plague the truly excellent composers working in fin today. Jerry Goldsaith is one such composer, a nan whose film music career over the past three decades has been “almost astonishing for its consistence of quality, and for his ability to continually 4 devise new vays of making musical coment in fins Goldsnith's contritution to the 1979 film Star Trek - The Motion Picture is central to the discussion of this dissertation. do analysis of the score will be undertaken from a number of aifferent angles, so as to provide as complete an investigation las possible into the creation of the musical accompaniment for 2 roms, ps 16. 5 thomas, p. 16. 4 Tony Thomas, ed., Film Score: The View fron the Podius (South Brunswick: Barnes, 1878), p21.a film, tracing both its origins and development along the vouplicated journey to its cinematic release. 11, Goldsmith Biography Jerry Goldsmith is considered both within the film industry land by @ legion of loyal fans and novie-goers, to be one of the greatest composers of fil music to appear in the six decades since the birth of sound in the cinema. For over thirty years he has brought his skill and imagination to over one hundred films and a plethora of television productions. He has worked with almost every genre in notion pictures, earning one Oscar, fourteen Academy Award nominations, six Golden Globe nominations, four Enny awards and six Enay noninations along the way.° Jerry (Jerrald) Goldsmith is one of few film composers to have actually been born in Los Angeles. Born on February 29, 1928 in an average tut confortable non-musical family, Goldsmith's father (a structural engineer) and mother, encouraged him to take piano lessons at the age of six. He displayed no unusual musical aptitude untill twelve years of age, when his skill as a pianist led his, parents to believe he might have a future as a musician. He was placed with the distinguished teacher and concert pianist Jacob Gimpel, with whom he remained during his teens, taking Lessons after school. It was through Gimpel that Goldsmith was able to 5 Jonathan Benair, "Jerry Goldsnith: A Study in Versatility" Variety, 2 May 1986, p. 11, § stony Thomas, a ieora: The View from the Pedlus (South Brunswick: Barnes, 1979), p. 219-meet many of the European musicians and composers who had left Europe because of the Nazi era, Anong them was composer Maria Castelnuovo-Tedesco, with whom young Goldsmith studied composition, ‘theory and counterpoint during his mid-teens. After completing his years of normal schooling at Dorsey High School, he enrolled in Los Angeles City College to study music further, and at the sane tine he attended classes on film ‘conposition given by Miklos Rozsa at the University of Southern california.” It was at Los Angeles City College that his musical interests changed direction, for he becane involved in the College's fine drana department as voice coach, acconpansst and assistant conductor for the opera and chorus, as well as writing incidental music for the department's plays.® Interest in musical drama and composition replaced the appeal of the concert stage and with ‘the "realization that performing required more technique and stamina than he felt he had,"® Goldsnith turned with relish to pursue his ambitions to become a composer. In 1950, at twenty-one and a newly-narried man (he has since re~ married), Goldsmith sought work in “anything that would give him access to music." He obtained a position as clerk/script-typist in the music department of Columbia Bresdcasting Systen's (CBS) 7 tomas, p. 221. 5 derek Etley, "The Film Composer: Jerry Goldsmith," Filns and Filming, 25 (Way 1979), p. 22. 8 tomas, p. 221. 20 cromae, pe 221.5 West Cosst headquarters in Hollywood, Los Angeles. As his interest in composition was gradually made know, the head of the music departaent, Lud Gluskin, took an interest in Goldsmith and invited him to join the studio susical workshop. After a couple of years hhe was piven assignments in radio and in tine was put in charge of providing music for radio series such as Ronance, Suspense, Escape and CES Radio Workshop. In these modest assignments, severely Limited by small budgets, Goldsmith often used combinations of only two instruments, playing either the plano, orgen or novachord hinsel®. In 1955, the chance cane to nove into television and Goldsnith started to work under contract as a composer for $150 a veek on the weekly hour-long nelodrana series Climax, which was the first live aranatic programe to cone fron the CBS Los Angeles studio. He vas required to write @ score .ch week, also nodest due to funding, and to perform it as Live accoapanisent. This called for a certain ‘amount of ad-1ibbing in order to meet the timings and to cover ‘errors in performance by the actors and the technicians. Further experience with live television cane in the forms of Studio One ‘and Playhouse 90, a one-and-a-hal£-hour-Long weekly show for which Goldsmith vas required'to produce 45 minutes of music per week. His tine in live television provided a major turning point in his career as well as "an education in scoring such as no aspiring coaposer today can possibly have, since all scoring now employed in television is pre-recorded." Geldsnith's move into filled television cane with the series 7) thomas, p. 221The Teilight Zone and Gunsmoke. His vork for the Thriller series ‘and The Man from U.N.C.LE. sarned him Euny avard nominations and his thene song "Three Stars Will Shine Tonight" fron Dr. Kildare was shit. Goldsmith did his first feature film score, Black Patch, in 1957, white still st CBS. In 1959 he scored tvo sinilarly modest features, City of Fear and Face of s Fugitive, with Studs Loni gan following the next year. It is interesting to note thet the pianist Goldsmith used in this score, which he calls his first grown-up" picture score, as none other than composer John Willians. This was one of the Iast films in which Williams worked as 2 session musician, prior to pursuing his om very successful career as 2 film composer, 1? Goldsmith left CBS in 1960 and was hired by Revue Studios where he scored the aforenentioned Thriller television series. To quote Tony Thomas: Thriller "furthered Goldsmith's reputation land made hin knom to the more important musical figures in Hollywood, such as veteran composer Alfred Newsan, who, - . « impressed with his work, . . . persuaded Universal to hire Goldenith for what would be his first important fi1m, Lonely Are ‘The Brave (1962)."" His quiet subtie score for John Huston's Freud, recorded in Rone that sane year, "registered him as @ distinct new force in the scoring fraternity. Alfred Newman brought Goldsnith to Twentieth-Century Fox in 1963 to score The Stripper, an event that marked the first » Eniey, p. 24. 15 thomas, p. 222. 14 cyonas, ps 222.of the composer's pictures with director Franklin Schaffner and the start of his long association with that studio. Mhen not working for Fox, where he helmed much of the studio's product during the late 1960's, Goldsmith was hired by other studios, such as Paranount for John Frankenheiner's Seven Days in May (2964) and MOM for A patch of Bie (1965).1% Jerry Goldsnith's full employment throughout the Sixties gives doubt to the laments about the Tack of work among film conposers. The decade vas, in truth, a slin one for most of the best establioned composers, firstly, because nany of the scores went to the more popular musicians Goldsnith, on the other hand, averaged four and five pictures a year, just as the veterans had done in the heyday af the big, studies. This was partly 1uek and partly being able to impress producers with « resarkably wide range of Rusieal telent. 16 It 4s this versatility that has helped hin successfully score movies in alnost every film genre, e.g. Kesterns (Black Patch Lonely Ave The Brave); Thrillers (The Boys From Brazii, Coma); Mysteries (Chinatown); Horror (Paycho IZ, the Quen trilogy): Tales of the Supernatural (Goltengetst 1 § IL, Twilight Zone - ‘The Movie); Science Fiction (Alien, Supergirl, Star Trek The Yotion Picture); Pertod Epics (Patton, Comedies (The Trouble with Angels, The Lonely Guy); Action Dramas The Wind and the Lien); (Banbo, Unler Fire); Fantasy (Legend) and aninated features (The Secret of NIMH). His tonal language runs the complete gamut *5 monas, p. 222. 38 tony Thomas, Music for the Movies (South Brunswick: Barnes, 1978), p. 208.fon nineteenth-century romanticism to serial music, quasi-jacz to totally electronic; and for this reason, his style is not always instantly recognizable Goldsaith's Acedeny Avard nominations include Freud (1962); ‘The Sand Pebbtes (1966); Planet of the Apes (1968); Papition (1575); Chinatown (1974); The wind and the Lion (1975); Patton (1970); ‘The Boys From Brazil (1978); Star Trek - The Motion Picture (1979), which was also nominated for a Golden Globo Award that sane years Poltergeist (1982); and Under Fire (1982). His only Oscar for best score was anarded for The nen (1976). In 1979, Goldsnith lost the Oscar for Stor Trek to Georges Delerue for A Lite! As for Goldsmith's concert works, there are very few, hardly surprising considering the consistently prodigious output vhich spans his film career. There exists a twelve-tone cantaca, Christus Apolo, with a text by Ray Bradbury, that has had to performances in Los Ange His ballet Othetlo, performed by the Australian Ballet in 1971, uses music from his highly innovative score for Planet of the Apes. A work for orchestra (the titte uninowm to the present author), has been performed by the St. Louis Symphony Orchestra with Leonard Slatkin conducting. There also exists an unfinished Cello Concerto, jarde work for cello ané four 7 fan abstract, quasi-serial avante-g aieferent groups of instruments, which makes use of capes.” *7 derek Elley, "The Film Composer: Jerry Goldsaith," Films and Filming, 25 (June 1979), p. 24.Chapter Two 1. Conception of a Film und Bisth of # Score The idea of making # Star Trek novie was born in the early 1970's, almost © decade before Star Trek - The Motion Picture was finally released. After the fabled N&C TV series was cancelled in 1969 (having survived three seasons and seventy-nine episodes), se was placed in syndication and re-run on television on 142 stations in the United States and in more than fifty foreign countries. Paranount, the studio responsible for Trek's creation, vas pleasantly surprised to discover that as the re-runs continued, the audience also grew. In fact, the audience was longer an the re-runs than it had been on the original network runs. Gene Roddenberry, the man responsible for creating the Star Trek universe and producing the series in 1966, approached Paramount with the idea of doing # movie, Initially the studio vas not interested, but after the success of Star Wars (a Twentieth Century Fox film) the Paranount executives vere convinced that there as an audience for « Trek f{lm. Roddenberry was given approval to produce a seripe, but studio executives turned it dom and called fn about fifteen different writers over a twelve-nonth period. ‘SeS11 unhappy with the seripts produced, Paramount called in Seience-Fiction novelist Tstae Asimov as technics! advisor on the film, to deteraine whether or not Roddenberry's unusual conceptue! ideas vere plausible enough for a movie. Asinoy was in agreenent with Roddenbessy's concept and eventually, after a collaboration with story-writer Alan Dean Foster and screenplay writer Harold Livingston, a seript was produced. The final parts of the soripthowever were constan-ly being reworked, even when shooting began ines ay 1978, Problems were far fron over though for producer Roddenberry nd dixector Robert Mise, There were casting hassles concerning rre-signing of the old erew-nenbers fron the TY series. The special effects produced by tel and Associates were dea 4 unacceptable within the time-span available to the production. A whole new effects team, headed by Douglas Trumbull (who worked on Close Encounters of the Third Kind) and John Dykstra (sho von an Oscar for his work on Star Mars) had to be engaged, losing six to nine onthe of production tine, Most sources confirm that Star Trek - ‘The Motion Picture's forty-txo alien dollar-plus budget was spent on the rushed visual effects. After a studio market study, the initial release Sete was changed from April 7, 1979, to Decenber 7 that sane year. Though it was known from the very beginning that Paramount had hired Jerry Goldsmith as cosposer for the film, this Docenber 7 deadline enforced a very strict schedule upon hia.” ‘The first parts of the film seen by Goldsnith were the Live faction shots, which he saw in May, 1979. As yet, none of the visual effects had teen completed, only test shots of the Cloud, ‘Spock's shuttle and the Enterprise in dry-dock.? Goldsmith's official starting date vas August 1 and when he first “spotted” the picture it war only sixty percent complete and not edited aren 2. wilson, "An Interview with Gene Roddenberry = ‘The Man behind the Myth,” Starlog, Nov. 1980, pp. 43-47 2 preston N. Jones, "Return to Tomorrow: The Fitning of Star Trek'= The Hotion Picture,” 1S, Oral history. on the mking of Star Trek ~The Motion Picture, p. 1856. All further references to EHS work, Felevant £6 His chapter, appear in the text.n due to the schedule problens caused by the special effects team changeover (p. 1557). Usually the composer works from a finished print of the film, On this occasion hovever, Goldsaith vas faced with long empty scenes, containing only a shot of card, on which vas typed the words "Special Effect," "Spectal Optical” or "Scene Missing." These would appear on the screen for the length of tie ‘the scene would eventually take (p. 1666). Goldsmith had to visit ‘Trumbull and Dykstra's workshops to see the miniatures for the special effects in order to gain a sense of the visual style they were aiming to produce (p. 1558). ‘The fact that T didn't have any film to look st nost of the time was very normal for seaence- Fiction. John (Willians] went through this on Star Mars, It's just one of those things that PERE Oh This Kind of picture." (p. 1495) To quote Robert Wise the director, the whole film suffered during production from this "pieceneal approach," for not only the music, but also the visual effects, sound effects and scripting were re-worked as the film advanced. None of the Viger sequences for example were completed until the final tho weeks ané Goldsmith ‘was continually plagued by problems caused by viewing loose, unrelated material and sequences without certain key scenes (p. 1358). For one period, there, T didn't leave the house for four weeks, One night a week, T'd go to Fex to record. Then I'd cone back and Start writing all over again. There'd be a little Bit of flim, I'd rin it on the Movieota I have upstairs, spot St = decide on the places T Holt needed music = and start in writing. 7 vas vorking from the work print as fast as it as cleared by editor and director. (p. 1584)ry Towards the end, composer and long-tine friend of Goldsmith's, Fred Steiner, was brought in to re-score original material in certain cues which had been re-cut, a3 Goldsnith himself was too pressed for tine completing the final reels. These decisions to re-cut certain scenes, sonetines made even during a recording session, did not help to ease the tine pressures and meant constant re-writing and re-orchestrating on the part of Goldsnith, Steiner and orchestrator Arthur Morton (p. 1609). Fred Steiner, incidentally, was responsible for many of the scores from the original Star Trek television series. Initial recording began around September 24, 1979, at the soundstage of Twentieth-Century Fox. This choice of location was rade necessary by the prominent inclusion in the score of & large pipe organ, rarely available in Hollywood's studios. Most of the conducting was done by another of Goldsmith's long-tine associates. Lionel Newnan, white the coaposer himself supervised the recording and mixing from inside the recording booth. Music features in cover seventy-five percent of the fiIm's soundtrack, sunning for sone one hundred minutes of the film's total two hours and ten minutes screening tine. Normally @ score of this leagth would only take ten sessions to record, but as Goldsaith often had only fone sequence to work with, not all of the tine in each session vas needed. Thus, the munber of scoring sessions ran to twenty- two, of which most were done at night. This meant that the sound and music editors were forced to operate on the basis of recording and dubbing one reel of film at a time, as soon as Gridsnith finished recording a segnent of the score (p. 1410). Under normal conditions, 4.e. working from a finished print1 of the film, che composer would have the score written and recorded in a tine-span of five to six weeks, But, due to the afore- mentioned "piecemeal approsch” to Star Trek production, Goldsmith was forced to stretch the score's developuent over a period of @ umber of months. Recording of the music soundtrack was completed at about two a.m, on tha morning of Friday, November 30. The final answer print with both the opticals and soundtrack completed was ready on the following Monday, December 3. This was the First time anyone saw the whole pleture in its complete form. It premiered on the ‘Thursday night and opened at 852 cinesss in nationside Anerican release a day later on Friday, Decenber 7 (p. 1675)- Of the experience, Goldsmith says: "It was 2 tremendous rain, enotionally and physically ©. -" (p. 1675). "This was ‘the hardest go T've ever had on a picture, but ultimately one of the most revarding.” (p- 1408) ‘Authough the file {s often criticized for being too Tong and slow-moving with too Buch emphasis on special effects, one can argue convincingly that the score is its finest single component. In scenes regarded 98 slow and stodgy, Goldsaith's epic musical score is credited for “sustaining the colossal production's enotion and monentum single-handedly.”> Despite the critics' not always favourable reviews, Star Trek = The Motion Picture was a box-office hit, earning $11.8 million on sts first weekend run, breaking the previous ‘three-day record of $10.4 million set by Warner Brothers Superman ~ The Movie. § san Maronie, "Interview: Jerzy Goldsnith," Stariog, Oct. 1981, p. 34,Star Trek ‘The Motion Picture 1s set two and a half years after the Enterprise and her famous crew have returned to Earth, having completed their five-year voyage of discovery across the galaxy, which is depicted ia the television series. The plot actually includes elenents of forn of the TV episodes: Cortomite Maneuv' ‘The Changeling; The Immunity syndrome and The Doomsday wachine; though the parallels are generally considered unintentional. Ail of the old crew are re-united: Captain Janes T. Kirk (Wiliam Shatner), recently promoted to the position of Admiral, fuleining Earth-bound duties high in the hierarchy of Starfleet. Mr Spock, the half-hunan, half-Valcan Fisst Officer and Science officer (Leonard Niney); Doctor Leonard ("sones") MeCoy, Chief Medical Officer (DeForest Kelley); Commander Montgomery (' corey") Scott, Chief Engineering Officer (Janes Doohan) ; Lieutenant Soanander Sulu, Helmsnan (George Takei); Lieutenant Comander Uhura, Communications Officer (Nichelle Nichols); Lieutenant Pavol Chekoy, Weapons Officer (Walter Koenig); Yeouan Janice Rend (Grace Lee Whitney); and Nurse Christine Chapel, now a doctor (vajet Barzets) ‘The old crew are joined on the bridge by two newcomers to the Enterprise: Captain Willard Decker, Executive Offscer (Stephen Collins) and the head-shaven Deltan navigator 1)ia (Persis Hhanbstts) Set in the twenty-third century, the film opens in deep space, here an enormous luminescent Cloud Turks senacingly in a sector of ‘the Klingon Empire, Three Klingon battle cruisers attack theas unidentified intruder, only to totelly dissppear, falling prey to 1 couple of blasts of energy, the Likes of which have never before ‘been encountered in this part of the galaxy. The bettle és wit essed by a deep space sonitoring station, Epsilon Nine, end the alert raised when st is discovered that the Cloud is on @ direct heading for Earth. The Cloud's existence at this stege is also Aiscovered by Speck, sho, while on Volcan undergoing « ritual supposed to purge Mm of any renaining human enotion, senses it 1 8 conselousness which reaches out across the void to touch his nid As face vould have in, the Enterprise is the only Federation starship within interception range and it £8 calfed out of orbital ary-dock above the Earth, where St hes just undergone eighteen months of complete re-designing and re-furbishing. With the new ‘equipment, including aew "sarp-drive" engines, completely untested {in action, Adnirel Janes T. Kirk takes over the helm fron the yyouxger Captain Wi11 Decker, vho és enbittered et ving his comand renoved, After a transporter malfunction, the Navigator and Science Officer are killed and the former position is filled only shortly before departure by a bald Deltan woman, Tia, who ‘had previously been involved in a relationship with Will Decker when the Captain as stationed on her hove planet. Learning of the Epsilon Nine station's destruction by the Cloud, which ignored 411 attempts at communication with it, the Enterprise departs, After s rather disastrous test of the new ‘engines at warp power which almost destroys the ship, the crew is Joined by Me Spock, who shuns his Yulean disciptines to #211 his old station as Science Officer aboard the Enterprise.With Spock's hetp, the engines are re-talanced and the Enterprise reaches the outer boundary of the enormous Cloud before 4st reaches the Soler Systen. The Cloud responds to the starship's arrival with @ volley of deadly energy bursts, but fortunately the new deflector shields prove strong enough to survive the initial onslaught, Deciding to maintain a strictly non-aggressive posture, the Enterpri subsequently allow the starship to proceed. Suspecting the transnits friendship messages to the Cloud, which existence of an alien vessel at the centre of the Cloud which is generating the energy field, Admiral Kirk orders the crew to take the Enterprise into che heart of the intrudex ‘Through the brilliant luminescence of the Cloud, an enormous alien vessel does ape As the Enterprise skins its surface, fan energy being, one of the aliens, enters the bridge, momentarily taking control of the ship's computer before consuming Ilia and atsappen st in a flash of eneray. ‘Ae this point, the ship {s siered by a tractor beam and ragged into s huge chamber in the depths of the gargantuan vessel No sooner is the Enterprise brought to a halt than a being appears fn T1ia's cabin bearing exact resenblance to the Deltan navigator, save for a gloving sensor on the creature's throat. The apparition reveals that it 4s indeed a robot probe from the alien vessel, sent by the mysterious V'ger, and has assuned the form of the Detean to communicate nore easily with the humans, or carbon units as it refers to them, aboard the Enterprise. Ins mutust agreenent to observe and record each other's functioning, Captain Decker, having know Ilia the closest, is given the job of trying to revive her thought and memory patterns, which Spock suspectsv smay have been duplicated slong with the rest of her physical ‘make-up, in an attempt vo control the probe and discover more about the origin and ideneity of Viger and the huge vessel in wich they are trapped. Meanwhile, Spock leaves the Enterprise in a stolen thruster ‘suit, with which he penetrates the next chamber of Viger's interior. Here he floats past images of planets, aoons, stars and galaxies, even the Epsilon Wine ststfon and the Klingon ships; all representatives of V'ger's joumey reduced to data patterns. Conciuding that they are trapped inside 1iving machine, Spock attempts a Vuloan mind-meld with an image of 11ia, and {s almost killed by whe avesone poxer of Viger's consciousness. After being rescued from space by Admiral Kirk, Spock 1s revived and reveals his discovery that Viger is everything they see around then: the alien ship, the Cloud, the probe; a living rachine, sent to Earth by a machine planet, looking for its crestor. Meanwhile, the plant craft in which the Enterprise floats ‘trapped, enters Earth orbit, its protective Clovd having dissipated. Viger enits a simple radio signal to the Creator but receives no answer. Dadueing thet the carbon unit (human) infestation of the planet must be interfering with the Creator's reply, Viger releases 1 munber of orbiting energy devices in preperation to wipe out alt Life on Earth. Kirk cunningly plays » gane of words with the utr Aopictl probe and reaches a bargain: he will only disclose ‘the reason why the Crestor has not ansvered if Viger withdraws the orbiting devices. Viger coupiles land on further refusal by Kirk to reveal the information to anything but Viger itself, thethe Enterprise is drawn into the very heart of the vessel isk arrer 16 4 secret count-dosm with Engineer Scott to total self-destruction of the ship and its crew as a final attempt to destroy Viger if negotiations fail. Entering an onygen/gravity envelope formed about the ship, Kirk, Spock, MeCoy, Decker and the Tila probe leave the Enterprise for Viger's central brain complex. Here the truth is discovered: Viger is An fact the deep space probe Voyager Siz, its middle letters obliterated by carbon scoring, lsvnched by NASA over three hundred years ago, its mission te leam all thet is learnable and to return thet information to its Crestor, Man. Apparently the probe travelled to the for side of the galaxy 4m a black hole and when it enexged, fell into the gravitational poll of 2 planet inhabited by Living machines, These machines recognized the vice as kindred and bufle an enormous space vesse1 ‘to bring it tack to Earth and fulfill its programming. On the return journey it anassed so mich knowledge that it achleved consciousness itself and Becane a Living entity. Now Viger had teamed all it could, reaching the boundaries of knowledge and logic, and was looking to evolve, To do so it needed a hunan quality; that uniquely human absiity to leap beyond logic into ed that the ‘the realms of enotion and inagination. It is rev only way it could achieve this would be through physics? union with a human, In a noble gesture, pronpted by his love for the dead Ilia, Decker volunteers to join with the probe; to have its knowledge transnitted to its Creator, Min, in person. In @ dazzling display of special effects, the two 1ife forms, human and living machine, meld together, consuning the entire alten vessel and creating # nev Life-form in the process, whichraduatly fades into another dimension: ‘The gellant crow of the U.S.S. fnterprise all survive, except for Ilia and pecker of course, and having saved Earth from the lien menace, set off into the void in search of new adventureChapter Three ‘The Score 1, instrumentation ‘The music for Star Trek - The Notion Picture was scored for ‘an enormous orchestra of approximately one hundred pieces. In his on-going quest to develop new tinbres and textures, Goldsnith uses ‘seny unconventional instrments, beth acoustic and electronic, as well as exploring sounds made on conventional orchestral énstruments using unconvertionsl playing techniques. ‘used around a core of fifty-four string players, the orchestra As of Mahlerian proportions. Goldsmith employs triple woodwinds, With the addition of electric alto flute, contrabass elerinet, enor saxophone and echoplex etectric bass flute (an instrument Which produces a low resonant flute sound followed by # series of echoes of diminéshing volume), The brass section contains four trumpets, four trombones, six horns and two tubes. Added to this are exo harps, four timpani, am electronic instrument called the “beam,” which produces the low percussive notes and glissand assoctated with the appearance of the Cloud, a Keyboard section consisting of nine different instruments and a battery of percussion, both tuned and untuned (see Appendix 8). First appearing in Laurence Rosenthal's score for Meteor (1979), the bean is on aluminiim bar or beam, from between ten ‘to twenty feet in length, supported on two savhorses. Narrow st one end and wider at the other, the instrument 1s strung with sets of wire strings in groups of two or three, with then serings in each set tuned either in unison er in octaves in the lower registers. It nas an extensive range, covering both bass and treble registers, the notes being marked by pieces of masking tape. Electronic pick-ups are plugged into each end, and the vibrations of the strings and bean coxbined are anplified, creating sone very unusual effects. I¢ is played by a mumber of di¢ferent sneans, The strings may be bowed with conventional cello or bass bow, or struck percussively with a cylinder or mellets. toather evhod of tone production entails stopping the strings with @ ‘padded horizontal Wooden board attached to a vertical handle. ‘This enables the player to locate different pitches and to produce overtone clusters. The performer, Craig Huxley, who dessimed and built his om instrument, was required to wear slippers during the ‘recording of the score at the Fox sound-stage to ensure that the sound of his fe0t as he ran along the instrument's length From note to note was not picked up and amplified.’ (Tt is interesting to add that by incredible coincidence, he also appeared in one of the early television episodes of Star Trek ss 2 child actor.) Dominating the orchestra's keyboard section is the Twentieth= Century Fox pipe organ, which featuces prosinently throughout the score. As well as to grand pianos, celeste and clavichord, Goldsmith uses an electric piano and four different synthesizers. Of the synthesizers, the (5-80 is a programabie polyphonic ‘analogue synthesizer designed ty Yanaha sround the aid-1970"s. 2 personat interview with Ken Mitchell, Paranount Studies, July 8, 1986:2 ‘This instrument is capable of menorizing up to thirty different synthetic sounds and has a velocity- and pressure-sensitive keyboard to reproduce pitched sounds. Tt is both a pexfantance and studio smchestzer, being capable of eight-note polyphony.” ‘The inserment designe in the score a8 "Serge," is a nodular analogue symthesizer, usutlly custom-built for 2 particular recording studio. 11 is a monophonic instrunent incapable of nesorized sounds, but through che use of patch cables, can produce ‘very conplex sound eftects.5 Like the C5-80, the OBK 1s another progrannable eight-note polyphonic analogue synthesizer, designed around the late seventies by Oberheim Electronics, Sultable for either performance or studio work, 4t Is capable of thirty-two sound menories.* Designed in the a 1970's by the American-based ARP company, he fourth synthesizer is a monophonic analogue recording-studio synthesizer know as the ARP 2600. This instrument is able to be operated with keyboard (for pitched soumds) or without (for sound effects). Sounds are created on this synthesizer by connecting nodules together using patch leads. Fach of these modules has a specific effect on the sound, The ARP 2600 has 2 stereo cutput suitable for spatial sound effects.” 2 personal interview with Ben Lancini, University of Queensland, October 9, 1986 3 Lancint interview * Lancini interview 5 Lancint interview2 Of the tuned percussion, @ few instruments are worthy of & note of explanation. The rub rods are a collection of upright aluniniun rods set up 1ike chines in tuned fashion. They are played by rubbing then with gerdening gloves covered in resin, which sets the column of alr in the tube vibrating, producing ‘a very high, shrill pitched note,® A portable box rither of Iungerian origin, the eimbalon nas up to thirty-five sets of strings divided by one or the ridges. The strings are struck with two mallets, the ends of nich are wrapped in cotton wool, in a playing style similar to that of the duleiner.” Unconventional orchestral instruments abound in the luntuned percussion section. In all, se took an average of five and sonetines six percussionists to handve the demands of Goldsmith's score. ‘The sit drum, classified by Sachs and Hornbostel as en {diophone percussion tube or pereussion vessel, is not a true run. It Ss made by cutting, buming or gouging 4 slit in the all of @ hollowed-out piece of wood, often with the two sides or 1ips of the elit carved to different thicknesses so that at east two pitches can be produced.® In the score for Star Trek - ‘The Motion Pleture, Goldsmith employs the technique of bouncing © wiecnen) interview 7 vcimbaion," New Grove Dictionary of Musical Instruments, ed, Stanley Sadie (Landon WneniTian, 1080), T, 370; hereafter” ited as NOM ® 14 Drum," MOOT, 111, 405,m4 rubber super-balls on the vod, probably to ensure maxiaur resonance fron the instrument. In terms of true drums, Goldsaith uses anong others, boobans, hich are @ series of snall tumble drums of Auerican design, ‘They consist of a drumhead secured to the top of an open ston of Dbanboo which acts as » tuned resonator. Pitch is governed by the frequency of the air colum in the resonator and by che ‘tension on the "hetd."" Soobans are played with the Fingers or ll-hesded drumsticks of varying textures.” Those instrunents referred to in the score as elephant drums are pitched African op drs. Of the next tuo instruments to be discussed, both rely on water a5 2 sound mediom, Water crotales are snall pitched cymbals with uptumed rims placed in water. When the cymbal {5 struck and the surrounding water consequently moved, a tone {s produced whieh moves eerily in pitch, usually in a downward glissando, The weterphone was Invented in 1967 by Richard Meters, who manufactured then in Californta.! Five different sizes are currently produced, of which Goldsnith uses two: a large and a ‘suall, with resonators ranging from sixteen to thirty-six centinetres in diameter, Made rom stainless steel and bronze, ‘the waterphone consists of an urn-shaped, water-filled bow resonator, the done-shsped top of which opens into a vertical ‘unstopped cylindrical tube. Around the edge of the dome are attached betveen twenty-five and thirty-five nesrly vertical ® James Blades, "“Boobans," NGIMT, 1, 251. Noowt, 111, 943. 2 ugh Davies, “waterphone,2 rods, Waich axe tuned in equal or unequal twelve-note oF micro- onal systems, depending on the sodel. These rods are played with 2 bow. Use of water in the resonator produces tinbre changes and gliszandi."! Angklungs, tuned bamboo sliding rattles from Indonesia, Feature ins number of cues throughout the film They consist of "two or three banboo tubes, . . . closed with node at the bottom. A tongue-shaped seguent is cut out of one side of each whe, the size of the segment deteraining the pitch... . The ‘tubes sit in snall troughs cut in the base of the square haboo: frane; attached to the narrow vertical tubes tied wich rattan, they side to and fro when shaken. 1? In the Star Trek score, ‘they are played with three or four in each hand (piccolo angklungs} and individually (low angkiungs). ‘The mixing bowls referred to in the score are stainless steel bowls, first used by Goldsmith in his innovative score for Planet ‘of the Apes (1968). When struck, the bowls produce “netallic IS ‘wanes. 11 pavies, "Waterphone,” p. 843. 1 yargaret J. Kartoni, "Angklung,” NODME, 1, 60. 15 twin Razelon, Snowing the Score (Nev York: Arco Publishing, 1995), p. 87.2% 11, Thematic Analzsis ‘The musical content of Star Trek - The Motion Picture comprises thirty-two different sections or "cues" of music. ‘There also exists an overture to the film, » concept quite unknown te modem cinens-goers, but as in the "Golden Age” of Hotiywood, studio executives considered a selection of susie ftom the film to be an important mood-setting device. ‘The overture fs based on I1ia's thene, arranged and orchestrated by Tan Fraser, Each cue is designated « number corresponding efther to the scene In which it first appears (e.g. "Spock Melk is desi nated 273, for the cue starts as Spock begins his space walk in scone 278), or the reel of film in which {t appears (e.g. "The ciowe, 4s designated 7-1, S.e., Reel 7, Part 1). The capital letter tthe cue in which the Enterprise first enters the Cloud, after a cue mumber indicates that the cue has been revised, Goldsnith's score for Star Trek is dram from six different eroupe of themes. Writing in an orchestrsl {diom which combines: both late-nineteenth and twentieth century styles, Goldsmith uses a very economical core of thematic ideas, developing them architecturally alongside the visual action in = synthesis of both Leitnotif and thene-ané-variation techniques. The following quotation describing Nagner's we of the leicnotif in such eple works as his Ring des Nibelungen, denonstrates sts zelevance to fL1m-scoring technique.” Grout suggests that: A leltmotif is 2 musical thene or notive associated vith a particular person, thing, or idea in the drama. The aesociation is ‘established by Sounding the leitnotif {usually in the orchestra) at the first appearance or nention of the object of feference, and by its repetition st each SGhsequent appearance or wention. Thos the Ieitmotif is a sort of musical Tabel - but it tg more than that: ie accunulates Significance ae it recurs sn new contexts itimay serve to recall the thought of its object in situations where the object itself is not present; it may be varied, developed, oF transformed In accord with the developments cf the plot; similarity fof motifs may sugges: an underlying Connection between the chjects t0 which they refer; notifs may be contrapuntelly combined; end, finally repetition of otifs is an cffective seans of msical nity, ass repetition of thenes ina symphony. ‘This same observation could be redirected at Goldsmith's score for Star Trek = The Motion Picture and it would be just as valid as it is for Wagner's Ring cycl Roy Prendergast describes the application of Leitmotifs in film as follows “The melodies or motifs of a ictenotif score can be restated in various forms each tine the character appears. Aiterations in the melody's ctaracter (eng. sinister, loving, excited) can Hive the Listeher sone indication of Ghat character's state of sind st any ™ nonald J. crout, A History of Western Music, Revised eaition (London! Ju: bent, 878) pees Ta2 particular point, This device can becone Yery valuable if the seene itself is bprotionally nevtral} the music can add Soneching not alzeady present on the Screen... Most composers working with leitnotif seores tend to treat the elodse netevial az variations, In other Nords, 4 motif varies and develops slong, Sue character or dramatic situation. 1S Naturally, there are many bed examples of this type of score, but these are balanced by the nunerous fine exampies of the Jele- rotif concept, where it is used in a highly subtie and unobtrusive manner. Goldsmith is a master craftenan in this particular field and che score for Star Trek - The Motion Picture is no exception ‘the first group of drantically-related thenes are those assoctated with the Enzerprise, and more indirectly, her crew and Starfleet, The-Entexprige thene, 2 full tune in its om right, 4s first heard in the opening titles of the film, as the rousing Main Title march, For the purposes of anslysis, the thene shall bbe divided up into its two major melodic components: Enterprise ‘thene 1(4) (£2(5)), and Enterprise theme 1(54) (E1(4i)) (see Figure 1). 35 poy M. Prendergast, Film Music: A Neglected Art (ew Yorks” Ww. Norton, 2077), p. 220-2» ai) Figure 1. Enterprise Thene 1. ‘This thene re-appears in various guises throughout the score, scconpanring those sections of the dram which concentrate specifleilly on the Enterprise or her erew. Hermonically, the first two bars represent an important chordal relationship which recurs in mnerous foras during the score. The transition of B-flat major in bar 1 to £ ninor in bar 2 (though played dn this case over @ fat pedal chord), can be thought of as a cadentiat figure consisting of major I going to minor V (see ample). ‘Example L. Enterprise Thene 1(i), bars 1 and 2. (811 musical exanpies fron the Star Trek at concert piteh)30 Another thenatic figure also recurs in the score in scenes, ‘relating to che Enterprise or Starfleet. It is a brief oscillating quaver/aeniquaver figure, featuring the domward intervaliic leap of a third, ftrst heard on the appearance of the Epsilon Nine station during the K2ingon sequence at the beginning of the film ‘Tals motif has the necessary shythnic momentun to form # good deal of tension in the score vhen it is required by the screen action Te shetl be designated Enterprise thene 2 (sen Figure 2). Pee Mipore 2. Entesprige Quaver/Soniquaver Figure (E2)- ‘The next major these {5 I1la's theme, alse know as the Star Trek Jove thene, referring to the relationship between Tia and Decker, It also consists of a tune divided up into two seotions, which shall be referred to as T1ia's theme (4) (1(4)) and 11la's theme (14) (1(44)) (see Figure 5). 14) i. 1a a oom re ——— Figure 5. T1ia's Theme,a ‘Tnis thone plays very important role in unifying certain aspects of the drama. Tt appears not only during romantic inter- tudes between Ilia and Decker, but also in sone of the Viger sequences, in darker sore sinister guise (see Figure 7). This type of thenstic transfornstion, another influence of Wagner and also Richard Strauss, relates to the psychological nake-up of the screen characters, a concept which shall be discussed more fully later in this chapter. ‘he lazgest and most complex thenatic group comprises those notifs pertaining to Viger, This category shall be divided into five different thenes or motif groups, sone of which are inter- related. ‘The first thene of the Viger group is not so much a signature ‘tune but signature sound and involves use of the bean. The bean does not play any particular repested set of notes or particular relodic representation. Instead it either features proninentiy in ‘the orchestral texture or is ust fon its own to accompany shots of ‘the Cloud or some other aspect of Viger, its grovling mnesrthly sound suggesting to the Listener both the alien presence of the intruder and a sense of enormous concealed power. Use of the bean shall be designated Viger thee 1 (VI). ‘The second of the Viger themes is mde up of two distinct ports. The first half, which shall be referred to as Viger thene 2(4) (V2(8)), consists of « repeated three-chord figure of which the ovter two second-inversion minor trieds are the same, with the middle chord, siailar in structure, being pitched # senttone lover in all voices, The second half of the thene, which shall bbe labelled Viger theae 2(43) (V2(Si)), 18 # four-chord figure characterized by & ainor V to major T perfect cadence (see Figure 4)2 wa wan Figure Viger Thene 2. So important are these last two chords within the structure of the score that they warrant mention as a thesatie sub-group of thelr om. They fora a motif which has both hemonfe and melodie ‘significance and appears nost often in the rhytinic relationship fof a short chord followed by a longer one. The haraontes of the chords hovever do not re in the same, Whilst always sncaining ‘he interval of # rising tone in the pper notes of the chords, Goldsnith souetines replaces the chordal figuration beneath. ALT chord motife of this nature shall be referred to under the collect= five title of Viger thene 2 - excerpt or V2-x (ste Figure 5). @ an ay a Higure $. Viger Vaox chords. In V2ex(i), Goldsnith maintains the relationship of ainor V to major I ae it oppesre originally ot the end of V2(44), tut reverses the order of the chords into a major T to minor V imperfect cadential relationship. ¥2-x(1) forms the basis of the passacagiia- ike figure used in "The Meld," cue 50 near the end of the film.3 Although order of the chords, {.¢-, major to minor of minor to rajor, may change as just illustrated, Goldsnith alnays keeps the harmonic felationship and rising interval between the highest notes of the chords constant. ‘Aigo played in « short-long configuration, the third of the Viger thenes, 1ike the V2-4 watifs, 1s a two-chord figure. The harmonies, however, are different to those An any of the V2-x combinations. Its opening chord is ¢ minor criad with an aed raised seventh on top. The Toot then drops characteristic major ‘third to form a root position minor chord with the top note of the second chord and the Flattened third of the first chord remaining exactly the sane due to enharmonic equivalence. TMs chordal motif shall be designated Viger thene 5 (V5) (see Figure 6) vs Figure 6. Viger Theme 3. As mentioned earlier, the fourth thene relating to Viger is ‘a transformation of 11ia's thene. This thene shall be referred to as Vie "5 thone 4 or V4 (see Figure 7) “ Figure 7. Viger Thene «.From this these, the most prosinently-used portion is the characteristic rising six-note scale with which it opens (che first six notes of the harmonic minor sale). Certain of the interysilie relationships of the following notes can also be traced back to Mia's theme (see Exaupie 2). The note after the top note of the seale is a semitone lover as in I(1). This note forns the first of a three-note group which festures, in 1(4), the drep of a ninor third before retuming to the sane note. In V4 however, Goldsaith snverts this Figure, raising the central note a ainor ehird before returning to the pitch of the first and rising « senitone to once again reach a long held note that acts ar a "hone" note, around which the melody Line weaves. Example 2. Comparison of 1(8) and v4 a reed ye ne ntetceae Ww ars nine and ten of V4 also form a perfect intervallic inversion of bars three, four and five of I(4) ina sinilars manner to that Just discussed. The note values in the two themes differ however (5 Example 2). ‘This type of thematic inter-relation is expertly ured by Goldsaith in unifying those elenents of the drama which have sone ccomection, in this case, the iaportance of Ilia within the frane- ork of the Viger concept and her relationship to Decker and the Enterprise crev. By cresting the V4 thene from Tlla's thene, Goldsaith suggests musically the transformation of her character fron flesh-and-blood to ite more sinister robot double, while st4ll maintaining the original musical Link between the Deltan and her Jinan lover. In a sense, he has found a may of tying the love aspect of I1ia and Decker's relationship inte the lenyer structure of Viger's relationship with mankind, ~~ tio seemingly disparate sspects of the story which merge together eventually to form the climax of the file, vhere living machine and human, Viger and its creator, join Jato one through Decker's love for Ilia. The final but no less important Viger thene, is the triplet qaver ostinato which 4s introduced when the Enterprise enters ‘the Cloud for the flzst tine, Exemplifying the concept of netodization of hersmny, this notif consists of an axpeggisted form of a minor tried with an added raised seventh - - the first chord of thene VS. This triplet figure shail be referred to as Vigor theme § (V5) (see Figure 8) ws Figure 8. Viger Thene 8.% ‘The fourth thenatic group on which the score is based, centres ‘around the Vulcan, Mr Spock, Goldsmith devised for him a long thene played by the muted string section in octaves, enploying no Woreto or dynamic changes and with each note bowed separately. In effect, these non-espressive unisons, played without reference to a regular metrical beat, poreray a sense of enotiontess calm logic, a perfect musical representation of Spock's psychological iake-up, This thene shell be designated Speck's theme 1 or Si (see Figure 9). st Figure 9. Spock's Thene 1. Used whenever Spock senses Viger's consciousness, the thene inbues the brief touching of minds with a certain mystique through its quisi-religious honophonic nature During the fourteenth cue in the score, "Spock's Arrival,” vinere Spock \nexpectedly re-joins the Enterprise erev, a short ‘three-chord figure appears, first introduced by the tvo herps. ‘This motif, quite jovial in character, underlines the resctions fof the unsuspecting hunan crew as Spock first boards the ship. Tt does not appesr snyahere else in the score, but for the purposes lof analysis, shall be refersed to as Spock's thene 2 (S2) (see Figure 10).a FSgure 10. Spock's Thene 2, Made up of only one thene, che fifth of the leltnotif groups is used for the KLingon batcle scene at the beginning of the lm Consisting of a felling sequence of rising fifths, st {s renini- scant of the cry of a battle hom, thus sulting very well the war-iike necure of the Klingons and the scene in general. This ‘hone shail be denoted by the term Kiingon thene or the letter ve" (see Figure 11). Gp =, 4. 4 is Figure 11. KLingon Thene. As with motif §2, the Klingon thene appears in only one cue fn the entire score, ‘The sixth and final thematic group is thet derived from the rain title of the Star television series. Originally written by Alexander Courage, the decfsion to include references to it in the score for Star Trek - The Motion Picture cane fron producer Gene Roddenberry and divector Robert Wise. Goldsmith was not at 11 happy about having to include it in the score and so left it3s 0 Courage, who is also a close friend and orchestrator of Gold- snith's, to arrange Lt. Mise decided to add it discreetly under the Captain's Logs, sere tt would be as inconspicuous x3 possubie, ® Tt consists of tvo eight-bar sections, the First half of which shall bbe referred to as Television thene (4), or TV(A), and the second half, Television thene (14), oF TV(L4) (see Figure 12). may wan Figure 12. Television Series Theme Essentially repetition of che sane material, this these appears ‘three tines in the score, as cues 11, 15 and 22. In eve 11 (scene 121), it only appears as TV(4), but in the Latter cues, it exists an ats fut form: v(i) and (44), both times. For the purposes of the following anslysis, the larger cuss vill be broken dom into tible form using the appropriate syxbotic ‘representations for each theme, This fornat will facilitate an easier over-all view of Goldsnith's use of the thenes and thet development. 18 preston N._ Jones, “Return to Tosorrow: The Filning of Star Trek ~ The Notion Pleture," TS, Oral history on the making of Star ‘Trek + The Motion Pleture, pp. 1476-78,so Gue A (Het) = Main Tiele™ ‘The opening cur of the film is the ‘Main Title" march, based solely on the Enterprise thenes: E1(S) and E1(4S). With no necessary synchronization points other than the opening and closing of the piece (shich must coinetde with the beginning and end of the title sequence), Goldsmith is granted a freedom of formal structure that does not present itself again until the end titles of the fitm, Ne organizes his use of the thenes into « compound ternary struc- ture, 4 1a, bs at, BY, a!" (see Table 1 below). The Jovd fan- ike character of the ‘Main Title” sets the mood for vhat is to follow - = a sweeping action-packed space adventure. ‘TABLE 1 (UE 1 (0-1) - "MAIN TITLE" = THEMATIC BREAKDOW 41, Introdvetion - £1(4) fragnents - strings 2. EG) 9.2 - tnmpets 3. EGS) x 2 - homs/viotas 4. EG) - trumpets 5. ELC) x 2 - strings 6. ELGG) - steings/erumpets HT Que 2 (2-1) ~ MeLEngons" Folloving segue with s cue overlap, whereby the end of the ‘first eve and the start of the next are mixed together by the ‘recording engineer, 7 the Klingon battle sequence begins with a 17 savie Hagen, Scoring for Filus: 4 Complete Text (New York: Criterion tate Corp, 1971), pr TES:40 shot of the Cloud accompanied by a sustained string chord (the last chord of cue 1 which is gradually faded out), notes on the water~ ‘phone, overtone clusters on the beam and mblings from the thunder sheet. [As the Klingon battle crufsers cone into view on the screen, Goldsnith starts a relentfess quaver ostinato of accented string plzzicato and double bass col-Legno bow strokes, To this is added ‘the sound of the Large and medium slit-druns hit with super balls, conbined with the peculiar timbre produced by mallets hitting the retallic frane inside the grand piano. This texture is punctuated bby sharp taps on the piccolo angkiungs, played by a percussionist holding at Least three or four in each hand (see Example 5(a)) Example 3(8).°KLingons,"" bar 1 cotta Sittin bes angi ver the whythnic drive of this quaver ostinato, the Klingon motif (K) te First introduced, played by oboes, cor angbassoons and tenor saxophone in unison. This notif is relterated any tines during the cue, usually whenever Klingon ship Features prominently in the screen action, Each time thene K appears, the orchestration is varied slightly building toe full brass rendition fof the motif when only the Flagship of the KLingon fleet remains to battle the Cloud (see Table 2, section 11). Occasionally @ statenent of the motif is accompanied by fragnentary interjections of the opening interval of a perfect fifth (see Example (00). Example 5(b). "KLingons" excerpt Wands First use of the V2(4) motif in the score appears in this ‘cue, played by horns, trombones and tubes (see Example 5(€)) Example 5(c). "Klingons" excerpt ‘As stated earlier in the chapter, the Enterprise quaver/ seniquaver figure (£2) {s also introduced during this cue, whenever the Epsilon Nine station features on-screen.Goldsaith exploys use of some very avante-garde orchestrai textural effects to underscore such events as energy bolts bursting from the Cloud. To achieve this hysterically busy orchestral sound, he uses a combination of techniques. Section 10 of Table 2 represents an excellent exauple. The woodwinds are instructed to play rapid sextuplets on the highest note on the instrunent. The brass players reverse their nouthpieces and blow air through their instrament while ellcking the Keys a5 rapidly as possible. High note-clusters are £6 ured in the harps, combined with the strings sounding their highest notes. To this texture, Goldsmith adds the sound of the bean bowed across its bridge, water chines and water- phones, a5 well as two synthesizers: the OBK and the Serge, play- ng programed effects and filtered white sound. Of the resulting feacophony of soun it could be said that a nore appropriate sound image would be difficult to Snagine. ‘ante 2 (UE 2 (1-2) ~ "RLINGONS" - THEMATIC BREAKDON 1. Vi (beam) 2. Quaver ostinato ~ strings: Kx 2 - winds: K fragnents ~ winds 3. VE (bean) + VS/V2(4) = lower brass 4. Quiver ostinato - strings: K - muted homs/erumpets| 5. Quaver ostinato; XK (augnented) - tubas: K - horns/tmampets 6. Quaver ostinato; K fragnents ~ trunpets/vinds 7. Vi (beam) + miscellaneous orchestral texture 8. 2 ~ violas/cellt 9. (K+ winds + K fragnents ~ strings) x 2; V2(i) - home.4“ 10. Miscelleneous orchestral texture: K fragnents ~ trumpet: Mi (bees) 1. k~ furl brass 12. Bridge passage repeated quaver ostinato 15. K fragments ~ homs/tronbones/tubs over niscellaneous orchestral texture (including Vi - been) 34, 2+ celli/oassi 15. V5 - full orchestra (including VI - beas) IIT, Cue § (28-8) - "Total Logie" Following the filn's second cue with only the slightest break, this particular cue underscores the scenes of Mi Spock on Yulean, about to undergo the Kolinahr discipline before his Masters. Its ‘purpose is to purge him of all human enotion. However, Spock senses Viger's consciousness reaching out to the human part of his wind Fe shuns the discipline and decides to re-join the Enterprise crew, in order to leam more about Viger, The scene then changes fro ‘the planet Vulcan to Starfleet headquarters on Earth, where Adatral Kirk mtkes final preparations to leave for the Exerprise, Beginning with very dark orchestral texture, the cut!s open- ing {8 made up of Low note-clusters from both harps (one Plsying a1) ‘waturals and the other all flats) end the two pianos (vith one ‘Pianist striking the lovest strings with a bass drum stick), tromotos froa the low angkiunge and rumblings from the thunder sheet. coldsuith intermupts ibis texture when Spock suddenly gazes wp at ‘the heavens, his meditation clouded by something unseen. It is revesled later in the scene that he sensed Viger"s consciousness lat this moment, an event underlined as it happened by use of the ‘wean and the chordal motif V2-x(iit) (seo Example 4(2)).Example 4(a). "Total Logie” excerpt. os rgon ‘This ie an excellent example of Goldsnith's ability to depict, ‘hrough ute of leftaotifs, the emotional and psychological aspects of a character in scenes with no dialogue or neutral facial expressions. Spock's theme $1 ts introduced in tAis cue as the Vulcan approaches the rituat ground vhere hés Masters shall grant him the attainnent of Hotinahe. Unison strings are accompanied by Tow anghlung ‘trenote, plano snd harp clusters and the reverberant knocks of super balls on slit-druns similar to the opening of the cue. This sccoppaninent, vith ite strange subdued percussion sounds, conjures ‘yp mental images of ang associations with non-Western traditional native rituals, providing an effective back-érop for this ancient alien ceremony. ‘Viger invades Spock's mind once agsin as he Aneels before the igh Master T'sai. Goldentth punctuates chis event in a siniler ‘manner to before with the beax and chord aotif V2-x(114). During the repest of Si which follows, © four-note figure 4s introduced as a small rhythmic counter-notif to the nore sustained Line of Spock's theme. Pisyed in octaves by the clarinets, bassoons, C5-80 synthesizer and flutter-tongued flute, this figure reveals itself as 4 permutation of the intervallic relationships in bars 4 and § of the Enterprise thene 1(8) (see xampie 4(0))-4s Example 400). SQ)! ELC), bars 4-5. 4)(LL): "Total Logic" excerpt, 54 £1(4) permutation bier bes ae. A reiterated chordal figure comprised of a superimposition of the two chords constituting the VS aotif accompanies the end of the Vulcan scene (see Example 4(c)) Example 4(c) S(G9! V5 chords SCE): Moral Logic! excerpt, VS chord contination ‘The two superimposed chords are contrasted by different orchestration: the d-flat sforzando chord played by the string section, while the instrumentation of the s-ainor triad comprises choos, organ, C5-80 synthesizer and auted hors. Reprisal of the Enterprise thenes 1(4) and 1(4) accompanies ‘the scone change to Starfieet's San Francisco hesdquerters. AS Kink's airtram lends, Goldsmith weaves the score frou both full and fragnented statements of E1(i) and E1(ii). The musie climaxes4“ into a full brass rendition of F1(1) as the camera rooms into a close-up of the Adniral's face (see Exaupie 4(4)) Example 4(d). "Total Logic" excerpt. <)> 1h Tas. Kets a TBE 3 (CE $ (28-9) = "TOTAL LOGIC” - THEMATIC BREAIDOMY 1. W(beum) + V2-x(L4t) - organ/oboes/horns 2. Stix 2 - strings 5. Wi@Oeun) + V2-x(4S4) - organ/oboes/homs 4. 51x 2 - strings 5. V3 combination (see Example 4(c)) ~ strings/winds 6. E14) ~ terumpets 7. ELC) feagnents ~ strings/winds; EL) Fragment - homs: EICHA) fragments strings/winds 8. e1G1) ~ full brassIV, Cue 4 (38) - "Floating office" Scene 58 opens with an exterior view of the Centroplex space station vhich houses the aduinistration of Sterfieet's orbital ‘dockyard, high above the earth. Beneath fluttering wind and “string figurations, Goldsnith rises # long neendoring tune in the ‘coll, festuring a sinter melodic contour in bars 6, 7, 8 and 9, to that of the First three bars of EI(4) (see Example 5). Example 5. "Floating Office" excerpt. ‘he violins then take over the melodie interest in» tine aistinguished by the leap of a sixth, This intervallic jump, characceristically occurring over to notes of reietively small ahythnic value, fs a reference to the siatlerly-comtoured metotic aeap’in bar two of EI(D)- V. Cue 5 (40BR) - "The Entexpeten! When faced vith the task of creating a particularly long piece of music, sich as the five minutes and fifty-six seconds required for this cue (the sequence where Engineer Scott shuttles Admiral Kirk to the Enterprise while it auaits in orbitel éry-doek) , Goldsnith approaches the problem from © symphonic viewpoint ‘Taking the Enterprise thene and the Enterprise oseilsting quaver/ seniquaver figure as his basic material, he produces s totally integrated piece of symphonic music. Varying the thenes to suit,a the character of the visual inates, he expertly manages to maintain rmisical interest and momentum in a scene contsining 1ittle dialogue and spares sound effects, ‘The cue opens with the £2 figure in the lover strings. This forms a rhythnie sccompaninent for the sole trumpet which plays ‘the first three bars of E1(4) (see Example 6(0) Example 6(4). "The Enterprise” excerpt. Fs. H S A plaintive horn solo, also based on £1(4), soon follows, acconpenied quietly by herp and string trenolo (see Bample 6(8)) Example 6(0). "The Enterprise” excerpt. lone of the loveliest varistions of the Enterprise thene accompanies shots of the tiny shuttle moving stovly about the huge starship's graceful form, Played by the ‘colli, E1(3) is accompanied by shimering string trenoto (see Exanple 6(0)(1)) ‘Teking over for the second section of the thene E1(ii), the violins0 are accompanied by Nooduinds, harps and a floxing counter-nelody sn the violas (see Example 6(c)(4i)). The effect is very pasteral, nbuing the scene with sense of peace and calm as Kirk gazes ‘upon his ship for the first time since returning to Earth over two and a half years ago. In this guise the thene is alnost transformed into love these, expressing the bond between Kirk and his beloved Enterprise then Kirk finally sees a view of the neviy re-furbished Enterprise head-on, the misie surges into @ full-orchestral rerdition of the Enterprise thene. A counter-nelody is played by a solo trumpet as the strings teke up F1(14) (see Example 6(€)) Example ((). "The Enterprise” excerpt. Towards the ond of the cue, the Enterprise quaver/seniquaver figure becomes increasingly nore prominent, forming a treble -sccoupaninent to 2 sweeping version of F1(s) in the viotins (see Example 6(¢)), before being adopted by the whole orchestra for a ‘ertumphant finish.