MSMI 7:1 Spring 13

doi:10.3828/msmi.2013.2
Star trek and the
Musical depiction of the
alien other
tIM SuMMerS
Musical Depiction of the Alien Other
The multimedia franchise is an increasingly signifcant part of modern
media culture. This article is a case study in reading franchise music.
Star Trek spans forty-eight years and consists primarily of six television
series and twelve flms. These media texts share audiences, fctions and
even musical material. This rich site of musical investigation is explored
through considering the way in which music depicts alien Others.
First, to illustrate the varied, multifaceted, multi-authored space of
television series music, the franchises musical processes are considered
by examining contrasting strategies of the musical depictions of aliens
within the same series. Second, to explore the franchises musical space
over a broader span of time and variety of media, the evolution of
the music for one particular alien species over both flm and television
is traced from the 1960s to the early 2000s.
Star Trek uses music to articulate alterity in a variety of ways.
In some episodes/flms, difering degrees of alterity are musically
expressed, while in others, alien identities are created either through
generic musical signifers of the exoticised Other or through reference
to particular real-world identities (introducing an allegorical dimension
to the depiction). Composed source music also contributes to the
representation of an alien species. Musical depictions evolve as the
same aliens reoccur throughout the franchise with diferent narrative
roles to play, while the diferent media bring their own practices and
contexts to bear upon the musical depictions. The textually-grounded
musical analysis in this article demonstrates how franchise music can
be read.
In flm musicology, enquiry has traditionally focused on either single flms,
individual producers, directors or composers, or it has often been limited to
particular flm genres.
1
Of increasing signifcance in the cultural landscape,
1
The research here
presented was conducted
under the supervision of
Guido Heldt at Bristol
University, who provided
invaluable advice and
insight concerning the
topics discussed in this
article.
20
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
however, is the multimedia franchise. This article investigates music in
perhaps the prime example of such a franchise fction, one that extends
over both flm and television, and includes multiple composers, musical
strategies and discourses. Star Treks canonic media span forty-eight years,
consist of six television series and twelve flms,
2
and provide a rich site
for musical investigation. In order to successfully navigate this vast musical
landscape (whose very size is part of its appeal), a prominent feature of
the terrain must be selected for focus. Such a topic should be widespread
enough to allow exploration over diferent parts of the territory that
is, diferent franchise incarnations but must be sufciently specifc to
function as a coherent topic of investigation. Here, this exploration takes
the form of examining the way music depicts alien Others.
Science fctions (often allegorical) engagement with concerns such as
alterity and politics provides the potential for rewarding hermeneutic
investigation. The Star Trek universe features sustained encounters with
aliens of various types and narrative functions. This franchise also allows
for the consideration of how diferent composers have engaged with
particular types of alterity and the opportunity to trace the musical
depictions over the range of its media universe.
3
While television music is a growing area of academic interest,
4
the topic
has been isolated from flm music: Star Trek, however, both in general,
and in its music, permeates cross-media boundaries. In this context, flm
and television cannot be considered as entirely separate entities, since they
share audiences, fctions and even musical material. Franchises like Star
Trek allow for a more integrated discussion of screen media music that
does not segregate music for diferent media types: music across media
forms can be connected, compared and contrasted. Star Treks music,
and specifcally its articulation of alterity, is shaped by the constraints
and opportunities provided by the musical context of any one medium.
To explore music in the Star Trek universe, two aspects will be
investigated. First, to illustrate the varied, multifaceted, multi-authored
space of television series music, the franchises musical processes are
considered by examining contrasting strategies of the musical depictions of
aliens within the same series. Second, to explore the franchises musical
space over a broader span of time and variety of media, the evolution
of the music for one particular alien species over both flm and television
is traced from the 1960s to the early 2000s.
Star Trek uses music to articulate alterity in a variety of ways. In some
episodes/flms, difering degrees of alterity are musically expressed, while in
others, alien identities are created either through generic musical signifers
of the exoticised Other or through reference to particular real-world
identities (introducing an allegorical dimension to the depiction). Composed
2
The series are Star Trek
(1965 pilot, 19661969);
Star Trek: The Animated Series
(19731974); Star Trek: The
Next Generation (19871994);
Star Trek: Deep Space Nine
(19931999); Star Trek:
Voyager (19952001); and
Enterprise (20012005).
Eleven flms have had
theatrical releases, with the
twelfth currently awaiting
release. The flms and
television episodes form
the franchise canon
the works that ofcially
contribute to the fctional
universe, as distinct from
works of fan fction or
satellite texts that are
considered apocryphal.
Following the tradition of
Star Trek discourse, episode
names are contained in
inverted commas. Time
codes are from DVD
Region 2 releases and
musical examples are
transcriptions by the author
unless otherwise indicated.
3
This article follows on
from Robynn Stilwells
research on the X-Files
(2003), though the
specifcity and often agenda-
laden nature of Star Treks
Othering, along with the
size of the franchise space
make the substance of this
discussion a complementary
contrast to Stilwells
work. Jeremy Barham
has discussed the use of
Mahler in the episodes
Counterpoint (Voyager
1998) and has briefy
mentioned the alien music
heard in Virtuoso (Voyager
2000) as part of a discussion
on romanticism and utopia
in science fction screen
music (2008: 25560).
4
See, for example, Rodman
2010 and Deaville (ed.) 2011.
21
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
source music also contributes to the representation of an alien species.
Musical depictions of particular alien species can be seen to evolve as
the same aliens reoccur throughout the franchise with diferent narrative
roles to play and as the diferent media bring their own practices and
contexts to bear upon musical depiction.
Star Trek: The Original Series (TOS)
This investigation of the franchises music begins with the frst incarnation
of Star Trek the 1960s television series. A variety of musical representations
of aliens, and of strategies for such depictions, may be found within the
same franchise area, created and deployed by more than one composer.
It is important to recognise the multi-authored space that the music of
a franchise, even a single series or episode, may represent.
Of the original eighty episodes of Star Trek, only thrity-nine had music
written for those specifc episodes. As was typical for 1960s television,
episodes were scored in one of three ways, as composer Fred Steiner
relates (1983):
In a full score, the composer would write music for an episode
in a manner similar to scoring a movie.
In a tracked score, the music editor would create a score made
from cues or excerpts of cues originating either from music written
for particular previous episodes or music specifcally written by the
series composers as Star Trek library cues to suit generic situations.
In a composite score, newly written music would be supplemented
with either library cues or cues written for previous episodes.
So extensive was the reuse of cues that the audience learnt the signifers
of particular pieces. Additionally, composers would adopt and develop each
others themes and stylistically imitate one another in order to create a
homogenous musical soundworld for the series as a whole.
5
As well as the usual limitations of televisions budget and time, composers
were challenged to bring music to bear for the creation of the strange
new worlds, new life and new civilizations (as the opening voiceover
puts it) that the show sought to depict, but which was constrained by
the limited special efects available to 1960s television productions.
A Spectrum of Alterity
Perhaps the most informative example for revealing the musical strategies
utilised by Star Trek in depicting alien alterity is one in which a spectrum
5
For example, a theme
from Alexander Courages
The Man Trap (TOS
1966) score was used by
Fred Steiner in Charlie
X (TOS 1966) (Bond
1999: 17), while Gerald
Frieds Spock themes
were developed by other
composers, see fn. 11.
22
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
of alienness is created. The Cage, Star Treks 1965 pilot episode, centres
on the imprisonment of the starship Enterprises human Captain Pike
( Jefrey Hunter) by telepathically advanced aliens (Talosians) who, after an
Earth ship crashes on their planet, decide to cultivate a slave population
of humans to regenerate their planet. The Talosians plant illusions into
Pikes consciousness to coerce him (beginning initially with the fabrication
of human survivors from the crash). Pikes intended mate, Vina (Susan
Oliver), is in reality the sole survivor from the Earth ship and while
human, has had her appearance altered by the Talosians, and works to
assist them.
Music delineates diferent levels of alterity in the episode, both of
species and environment. These levels are, in order of increasing alterity:
the Enterprise/Captain Pike; the surface of the planet Talos; the human/
alien hybrid Vina; and the Talosian aliens, who, in stereotypical fashion,
are mind-controlling aliens. The diferentiation/association between levels
of alienness is articulated principally by musical timbre, orchestration
and motivic material.
In this full score, comprising entirely newly written music, Alexander
Courage scores the Enterprise and Pike with melodic material from the
Star Trek title fanfare (Figure 1), most often on horns, with slow moving
pedal tones in the low woodwinds (bass clarinet, contrabass clarinet). The
harmony is directional, foregrounding its contrapuntal construction; the
careful voice-leading provides a sense of stately control in the harmonic
intersections of the instrumental parts. A prime example of this scoring
is the Doctor Bartender cue (Figure 2) [05:24], which accompanies
Pikes confession to the doctor that he is tired of the strain of command.
Musically and dramatically, this scene reveals to the audience Pikes
private emotions: it serves to establish a humanness against which the
alien will later be contrasted. The cue features an oboe and clarinet duet
over a warm sonorous texture from low woodwinds and closely spaced
horns. These mellow sonorities, using seventh and ninth harmonies, are
associated with the Enterprise crew and are starkly diferent to the sonic
representation of the planet surface.
Figure 1: The horn fanfare from Star Treks main title theme.
(From composers sketch reproduced in Steiner 1985: 296.)
23
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Figure 2: Doctor Bartender cue opening: a slow, truncated variation on the
main title fanfare.
To characterise the planet surface, the episode uses an ingenious aural
trick. Scenes set on the surface are accompanied by a constant sound
efect which is produced by the local blue plant life. This sound is at
once static and in constant fux, featuring overlapping multiple glissandi
arches at diferent pitches and tempi, sounding similar to the micropoly-
phonic opening of Ligetis Atmospheres (1961).
6
The episode is at pains to
explain the source of the sound: Spock and Pike isolate elements of the
sound by stopping the vibration of individual plant leaves [11:59], thus
dissipating the mystery of the sound in favour of the logically alien
(Figure 3). The science fction genre of the series is here emphasised:
an ominous sound efect such as one might fnd in a horror flm is
explained as a natural part of an alien world.
Using musical instruments/musical sounds for diegetic sound efects
(such as the sound of the plant or the chimes that accompany the Talosians
automatic doors), creates a shared, instrumented musical middle ground
between score and sound efect, which ties the
scores descriptive power closer to the visual text.
Musical elements are tightly integrated into the
depiction of environment. Binding music closely
to the visual allows the narrative and descriptive
component of the non-diegetic musical sound
to be more explicitly interpreted by the viewer.
The character Vinas initial appearance
is accompanied by music that marks her as
diferent from the (illusionary) crash survivors
[13:16], who share melodic material and instru-
mental timbres with the Pike/Enterprise cues.
At this point in the episode, the script does not
betray Vina as alien, yet the score ostentatiously
indicates her diference to the audience. While
the music signifes diference it does not initially
indicate what this diference is: it may be her
6
The use of Ligetis piece
in Kubricks 2001: A Space
Odysseys would occur four
years later. Appropriately,
Alex Ross has described
Atmospheres as a seductive
threshold to an alien
world (2007: 467).
Figure 3: The musical fora of the planet Talos.
The plant vibrates, producing the sound
efect. When individual leaves are dampened,
elements of the soundscape stop.
24
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
femaleness in contrast to the men who surround her or something more
secretive in the narrative.
7
Figure 4: Vinas theme.
Vinas motif (Figure 4) immediately contrasts with the human-associated
material. It is accompanied by scattered percussion, foregrounding the
uncertainty surrounding the character through pointillistic textures. The
chromaticism contrasts with the heroic, assertive material for Pike. While
the harmonic context is secure, the swooping portamento fgures are
performed rubato, the uncertainty of their progress implying improvi-
sation. This music treads a fne line between instability and ambiguity
as an illustration of her persona. Such obvious musical signifcation is
typical of the clearly descriptive and narrative function of music in
the series.
Vinas theme is later repeated as a countermelody to the Talosians
material (Figure 5), hinting at collusion between the two [13:53]. Yet,
the low futes that often carry Vinas motif are close to the pastoral
soundworld of the Enterprise/Pike material the score demonstrates her
hybridity, held between two worlds. When her theme is repeated and
extended, a wordless soprano, as heard in the Star Trek main title theme,
joins the melody as Vina, siren-like, lures Pike into captivity.
8

Figure 5: The Talosians theme.
Compared with Vinas motif, the Talosians material is more metrically
regular, implying the imposition of mechanisation; the chromatic lower
part determinedly descends with little regard for contextual harmonic
constraints [13:36]. The harmonic underpinning of this passage is wayward
the pitch-by-pitch unfolding continually betrays any consistent harmonic
7
Susan McClary
has discussed how
chromaticism has often
been employed as part
of the depiction of exotic
female sexual excess (1991:
esp. Chapters 3 and 4).
Such use of chromaticism
has been taken up as
part of the Classical
Hollywood scoring
lexicon (Kalinak 1992:
12021).
8
The resulting timbre is
similar to the theremin,
a staple of science fction
music. The use of the
textless (especially female)
voice as a realisation
of the supernatural has
precedent in art music,
such as in Lyra Celtica by
John Foulds; Debussys
sirens in Nocturnes;
Neptune in Holsts Planets;
the chorus of Ravels
Daphnis et Chlo; or Kaitos
accompanying chorus in
dIndys Fervaal.
25
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13

P
i
k
e
/
E
n
t
e
r
p
r
i
s
e

V
i
n
a

T
a
l
o
s
i
a
n
s

T
r
e
n
d

I
n
c
r
e
a
s
i
n
g

a
l
t
e
r
i
t
y



R
h
y
t
h
m

R
e
g
u
l
a
r

m
e
t
r
i
c

p
h
r
a
s
e
s
,

b
u
t

w
i
t
h

e
x
p
r
e
s
s
i
v
e

r
u
b
a
t
o

I
r
r
e
g
u
l
a
r
/
u
n
c
e
r
t
a
i
n
/
g
e
s
t
u
r
a
l
;

m
o
t
i
f

r
e
p
e
a
t
e
d
,

s
o

r
h
y
t
h
m

b
e
c
o
m
e
s

p
r
e
d
i
c
t
a
b
l
e

V
e
r
y

r
e
g
u
l
a
r
,

p
o
s
s
i
b
l
y

m
e
c
h
a
n
i
z
e
d

T
r
e
n
d

R
e
m
o
v
a
l

o
f

h
u
m
a
n

e
x
p
r
e
s
s
i
v
i
t
y

o
f

r
u
b
a
t
o



H
a
r
m
o
n
y

9
t
h

c
h
o
r
d
s

f
r
o
m

t
i
t
l
e
.

S
o
m
e

c
o
m
p
l
e
x

c
h
o
r
d
s

w
i
t
h

a
d
d
e
d

2
n
d
s
/
7
t
h
s
/
9
t
h
s

(
n
o
t

h
a
r
s
h
l
y

d
i
s
s
o
n
a
n
t
)
,

c
l
e
a
r

a
n
d

d
i
r
e
c
t
i
o
n
a
l

H
a
r
m
o
n
i
c

f
r
a
m
i
n
g

p
r
o
v
i
d
e
d

l
i
k
e

i
m
p
r
o
v
i
s
a
t
i
o
n

U
n
c
e
r
t
a
i
n

h
a
r
m
o
n
i
c

g
r
o
u
n
d

p
i
t
c
h
-
t
o
-
p
i
t
c
h

a
t
t
e
m
p
t
s

t
o

n
d

t
o
n
a
l

g
e
o
g
r
a
p
h
y


T
r
e
n
d

L
a
c
k

o
f

s
e
n
s
e

o
f

h
a
r
m
o
n
i
c

g
e
o
g
r
a
p
h
y
/
f
u
n
c
t
i
o
n
/
d
i
r
e
c
t
i
o
n
;

i
n
c
r
e
a
s
i
n
g
l
y
,

t
h
e

t
o
n
i
c

a
p
p
e
a
r
s

m
o
b
i
l
e



M
e
l
o
d
i
c

C
o
n
t
o
u
r

S
t
r
i
d
e
n
t
,

h
e
r
o
i
c
,

c
l
e
a
r

d
i
r
e
c
t
i
o
n
a
l

c
o
n
t
o
u
r

C
h
r
o
m
a
t
i
c
,

b
u
t

f
r
a
m
e
d

b
y

h
a
r
m
o
n
y

f
o
r

s
t
a
b
i
l
i
t
y

U
n
c
e
r
t
a
i
n

m
e
l
o
d
i
c

d
i
r
e
c
t
i
o
n

i
r
r
e
g
u
l
a
r

r
e
p
e
a
t

o
f

m
e
l
o
d
i
c

m
a
t
e
r
i
a
l
.

T
r
e
n
d

D
e
c
r
e
a
s
i
n
g

c
l
a
r
i
t
y

o
f

m
e
l
o
d
i
c

s
t
r
u
c
t
u
r
e

a
n
d

s
e
n
s
e

o
f

p
e
r
i
o
d
s
/
p
h
r
a
s
i
n
g



T
i
m
b
r
e

M
e
l
l
o
w

t
e
x
t
u
r
e
s

e
m
p
h
a
s
i
z
e
d
:

c
l
a
r
i
n
e
t
s
,

h
o
r
n
s
,

u
t
e
,

h
i
g
h

o
b
o
e

S
o
p
r
a
n
o
,

d
o
u
b
l
e
d

u
t
e
s
,

s
o
m
e

e
l
e
c
t
r
o
n
i
c

i
m
p
o
r
t
,

g
u
i
t
a
r

E
l
e
c
t
r
o
n
i
c
s
,

u
n
k
n
o
w
n

s
o
u
n
d
s

H
e
c
k
e
l
p
h
o
n
e


(
u
n
u
s
u
a
l

i
n
s
t
r
u
m
e
n
t
,

b
u
t

s
o
m
e

r
e
l
a
t
i
o
n

t
o

k
n
o
w
n

t
i
m
b
r
e

o
f

t
h
e

o
b
o
e
)


T
r
e
n
d

I
n
c
r
e
a
s
i
n
g

m
e
t
a
l
l
i
c

t
i
m
b
r
e
s

a
n
d

e
l
e
c
t
r
o
n
i
c

i
n
s
t
r
u
m
e
n
t
s
.

F
a
m
i
l
i
a
r
i
t
y

o
f

k
n
o
w
n

i
n
s
t
r
u
m
e
n
t
s

f
a
d
e
s




T
a
b
l
e

1
:

E
x
p
r
e
s
s
i
o
n
s

o
f

a
l
t
e
r
i
t
y

a
n
d

m
u
s
i
c
a
l

t
r
e
n
d
s
.
26
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
context for the listener. Further attempts to comprehend the passages
musical organisation are hampered by the slow tempo (which challenges
a sense of melodic direction), chromaticism and the irregular repetition
pattern. The harmonic dislocation gives a sense of obtuse logicality: there
is a logical process at work in the chromatic lower line, but the unceasing
descent marks its alienness. In terms of timbre, the motif is more alien
than Vinas motif, thus very alien in comparison to the Pike/Enterprise
material. By using echoplexed guitar and the Heckelphone,
9
a more alien
timbre is created as the familiar guitar and oboe here appear mutated:
the former by sonic manipulation, the latter by the Heckelphone timbre.
The increasing electronic element, in the form of the bass guitar and
electric organ, is subtle but nevertheless afecting. From these levels of
musically diferentiated alterity, it is possible to construct a spectrum of
how musical elements articulate the alienness of characters in the episode
(see Table 1).
From Alterity to Orientalism
In one sequence in The Cage, the musical depiction of alterity develops
beyond denoting measured Otherness into a fully-fedged Orientalist
caricature. The Talosians telepathically generate scenarios designed to
encourage Pike and Vina to mate. In one such illusion, Vina appears
as an alien slave, in an obvious reference to the clichd Orientalist
image of a harem [43:18] (Figure 6). Vina, accompanied by musicians,
dances increasingly provocatively until Pike, overcome, fees the room.
This sequence resonates with Strausss Salome (1905) and in a similar
way to the opera, music which has already
capitalised on exoticism, does so to an even
greater degree, to the extent of achieving a
near-parodic tone. A variation on Vinas theme
is used for the sequence (Figure 7), heard in the
double reeds, accompanied by gong strikes and
bells. An accompanying electric guitar relates
Vina to the Talosians, under whose control she
remains. The ubiquitous use of parallel fourths
is vulgar and extreme. As the dance progresses,
octave doubling is added, with more closely
repeated fragments and powerful percussion,
until the intensity overwhelms Pike. Just as the
already-alien Vinas skin tone has turned green,
so the music has become exotic within a frame
of exoticism.
9
The Heckelphone is a
double reed instrument,
similar to a bass oboe, but
with a large globular bell
and a wide conical bore
(Bate and Finkelman
2013).
Figure 6: Vina, transformed into an Orion
slave girl, performing her seductive dance.
27
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Figure 7: Vinas motif exoticised into the dance music.
If, like the rest of the illusion, the music (to which the image gives
some concession of diegetic sourcing) is created by the Talosians, this could
be read as another expression of their alienness: music that is supposed
to attract Pike to Vina produces the opposite result, demonstrating the
lack of understanding of the efect of music on the human by the aliens.
Ironically, the aliens themselves have manufactured exoticist music.
The spectrum of musical alterity in The Cage is used to articulate
the relative alienness of characters in the episode. Television demands
immediate and clearly communicative musical signifcation, as The Cage
exemplifes. Music from The Cage became part of the series music
library, but when the cues were subsequently reused out of their original
narrative context, this overall spectrum of alterity was dissolved. The
music was mixed and matched with other cues from other composers
and was heard in new episode contexts, to accompany a wide variety of
alien characters. In this reuse, the music for aliens in The Cage thus
came to stand as a signifer of alienness itself.
Alien Identities and Hybridity
The Cage sets up a spectrum of musical alterity, anchored by a defnition
of the human and based upon musical features concerning timbre,
harmony, melodic contour and rhythmic regularity. The treatment of
aliens in the score of The Cage is relatively simple, but more complex
issues concerning hybridity and species identity (read in allegorical terms
as racial identity) are musically evident in other episodes.
10
One such
episode is Amok Time (1967).
This episode from Series 2 centres on the Enterprises Mr Spock
(Leonard Nimoy), who is half-Human and half-Vulcan. The Vulcan
way of life is one of total logic suppressing emotions and acting
with dispassionate rationality. Elements of the Vulcans ancient culture,
which was extremely emotional and violent, still survive in the traditional
rituals. Vulcans experience an intense mating season which makes them
emotionally unstable. In the episode, Spock begins to lose control of
10
Nichelle Nichols,
who portrayed Star
Treks African-American
communications ofcer,
reads the character
of Spock as being an
allegory of children with
mixed racial heritage
(1994: 138). An explicit
articulation of this issue
would not have survived
the censor, though science
fctions apparent chrono-
logical distance allows the
treatment of such topics
through allusion.
28
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
his emotions as a result of this mating period and returns to planet
Vulcan. On arriving, his betrothed wife (TPring, played by Arlene
Martel) manipulates ritual law to force Captain Kirk (William Shatner)
and Spock to fght to the death so she is free to marry the man she
really loves (another Vulcan). Kirk fakes death, Spock is ritually free and
both return to the Enterprise.
Amok Time uses similar criteria of musical alterity to those identifed
in The Cage. In the case of a television series, as viewers return week
after week to hear musical alterity expressed in a particular way, audience
members learn to recognise and interpret music by these same musical
criteria of alienness. This facilitates a more complex musical signifcation of
alterity as viewers become attuned to this dimension of a musical identity.
Spocks status as half-human and half-Vulcan is matched by the two
distinctive musical subjects with which he is accompanied (Figures 8
and 9).
11
Figure 8: Spocks theme A.Bass guitar [3:58].
Figure 9: Spocks theme B.Bass guitar [4:58].
12
The A theme is heard when Spock is seen to be violent or irrational.
The intervals are irregular and angular: tritones and gestures that extend
over the range of major sevenths furnish the motif with a kind of
uncontrolled lashing out gesture that correlates directly with Spocks
emotional and physical state.
The latter, predominant motif (B), which serves as Spocks main theme,
is heard when Spock is being more openly emotional, honest, calm or
shown in a more sympathetic manner. The episodes composer, Gerald
Fried, described his construction of motif B as follows:
[Spock] struggled to express emotion, so I picked an instrument where
emotion is a struggle to express, like the bass guitar. So I wrote a
lyrical theme but played it with a plunky instrument, which I felt
somehow might match Spocks inability to be emotionally accessible.
(interviewed in Bond 1999: 78)
11
Theme B became a
recurring motif for Spock,
used in both tracked and
newly written scores:
Is There in Truth No
Beauty? [frequent use,
4:50 etc.] (1968, score
by George Duning, not
tracked); The Paradise
Syndrome [26:08]
(1968, score by Fried,
not tracked), A Private
Little War [16:36] (1968,
tracked), Journey to
Babel [2:03+] (1967,
tracked). Season 3s
library included library
versions of Spock-related
music from Amok Time
(Bond 1999: 545).
12
Steiner (1985: 302)
reproduces a score excerpt
from later in the episode
[13:36] which notates the
theme diferently. Due
to the practicalities of
playing this motif on the
bass guitar, the above
fgure is a more accurate
representation of the
theme as heard.
29
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Spocks B motif is often accompanied by an ostinato in high reed
instruments (Figure 10), which contrasts heavily with the timbre, range
and style of Spocks B melody. This has the efect of emphasising, through
contrast, what Fried refers to as the lyrical properties of the B motif.
Figure 10: Ostinato accompaniment to Spocks theme B: oboe and fute
[4:51].
While both of Spocks themes are harmonically transient and gestural,
comparing reductive outlines of the melodies reveals how they attempt to
portray an erratic and a stable Spock respectively (Figures 11 and 12).
Figure 11: Spocks theme A reduction.
Figure 12: Spocks theme B reduction.
Interpreted under the same concepts of musical alienness that were
made explicit in The Cage, Spocks A theme is more alien, while the
B theme is comparatively human. In this way, the A motif is seen to
speak for, and denote, his alien properties, while B does the same for
the human component of his hybrid status.
The motifs are deployed to align certain actions and emotional states
of the character with the human, while others are associated with
the alien. At emotional moments, such as following Kirks death and
during the nurses expression of her unrequited love for Spock, Spocks
B theme is heard in timbres such as a high-register cello. This gives
the impression of yearning as the cellos timbre strains for the highest
notes, human-ising his motif from the picked electric bass timbre to
the bowed cello. As well as scoring (and identifying) the emotions that
Spock attempts to express, the B motif simultaneously signifes that in
doing so, Spock is striving to become more human through integrating
emotional expression into his personality and behaviour. When Spock
is violent, emotionally unstable and erratic, the A motif sounds in the
electric guitar, denoting these actions as alien. Spocks hybridity is thus,
through music, used as a site to defne the human, redefning human
30
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
only through what are perceived as the positive aspects of the species,
shifting the undesirable (though, in truth, equally human) properties
onto the alien Other.
Throughout the franchise, Star Trek discusses what it means to be
human, mostly by using non-human characters such as Spock or the
robot Data (Brent Spiner in Star Trek: The Next Generation) and claiming
their humanness, based not upon biological essentialism, but upon a
set of qualities and attributes that comprise the human. Through this
process, the human and humanity are (re)defned as the most highly
valued qualities of the species:
Star Trek defnes humanity not by static primordial essences but by a
dynamic question for self-transcendence. It is the act of seeking and
questioning, the assertion of freedom, the free expression of compassion
and sacrifcial love, and the refusal to be bound by biology or chauvinism
or custom or worship or fear or hate or compulsion that defnes the
human.
(Wagner and Lundeen 1998: 61, emphasis in original)
The dual Spock themes illustrate how Star Treks overall agenda concerning
the defnition of the human is similarly enacted through the musical score.
Intertextuality and Orientalism
Alien identities in Star Trek are also created through musical intertexual
allusion, as is the case with TPring (Spocks betrothed wife) in Amok
Time. TPring is presented as a scheming mastermind, prepared to
sacrifce Spock and/or Kirk for her own gain. It is appropriate, then,
given the similarity of characters, that her motif imitates Salomes dance
from Strausss opera of the same name, complete with tambourine
accompaniment (Figures 13 and 14).
Figure 13: TPrings theme.
Intertextual links are a common way of musicalising the alien (and this is
discussed further below), though in TPrings case, the citation additionally
admits typical Orientalist musical techniques. Musical Orientalism is also
found in the depiction of Vulcan society.
31
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Vulcan culture is depicted using traditional Orientalist signifers. The
Vulcans were clearly constructed from Orientalist stereotypes, outftted
with mysterious mental powers and mystical philosophies and rituals,
encased in stylised Orientalia (Dariotis 2008: 66). Vulcan society is
dominated by gongs and bells, both in Amok Time and Star Trek III
(1984). Such iconography is part of the depiction of the Vulcans as a
historical and Oriental Other.
The ritual fght between Kirk and Spock is accompanied by a musical
cue which is bombastic and presented at a high volume in the sound
mix (Figure 15). Frieds own words concerning the composition of this
cue underline the choice of a primitivist style, [The Vulcans] went back
to their primal roots, so that made it easy; I was able to write a kind
of ethnic aboriginal ceremony. (Fried interviewed in Bond 1999: 78.)
The fght cue draws on typical Orientalist and Primitivist musical
styles to present the cultural activity as alien, but it is simultaneously
shaped by the demands of television music. The cue echoes Stravinskys
Sacre du Printemps and Khachaturians Sabre Dance the former trading
heavily in primitivism, the latter in Orientalism. In using such obvious
signifers of alterity, even the alien parts of Spocks identity are shown
to be less Other than the Vulcan culture.
Frieds ferocious tutti homophony moves in parallel motion, split into
two separate harmonic layers (Figure 16). Fried makes these layers exactly
alike, displaced by a semitone and moving in semitone motion. Four chords
are used, covering eleven pitch classes. The movement maintains a sense
of direction, period and arrival, although through its chromatic stasis,
it does not function as a harmonic progression in any emphatic sense.
The passage is heard as a single melody, multiply harmonised; thus,
resolution is in melodic conclusion not tonal resolution. Along with
the modular phrase assembly of the cue, this harmonic construction is
linked to the demands of television. Composers needed to write so as
Figure 14: Salomes Dance, authors reduction, bb. 338.
32
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
to allow for the easy re-editing and reuse of cues in future episodes.
A harmonic resolution would require a progression and presumably be
synchronised with an on-screen dramatic conclusion or development.
Such structural defnites would hinder its use in tracking (which typically
involved extracting and repeating fragments of cues). Here, resolution
of melodic period does not require harmonic resolution. Fried writes a
long, fercely dissonant cue in a way to be palatable for a TV audience:
the interspersed monophonic passages provide harmonic relief and a
tonal anchor, while emphasising a melodically-privileged listening strategy.
Frieds orchestration employs rising tonic-dominant fgures in the horns,
which imports a ritualistic/rustic element to the cue. These fgures are
closely recorded, giving the impression of the pitches sonically lurching
Figure 15: Ancient Battle cue, transcribed and reduced from composers
sketch in Bond 1999: 21.
Figure 16: Reduction of Figure 15, b. 4.
33
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
towards the listener, resonating with the fghting motions on-screen. This
is a cue that attempts to captivate and engage the viewer/listener (a
task far more crucial to television than cinema, which takes place in a
distraction-free environment) in providing an exaggerated aural spectacle
to amplify the rather limited visual component of the action.
The discussion of musical alterity in the original series of Star Trek has
considered only one site of the franchise, but nevertheless illustrates the
variety of processes and strategies found within this domain. The Cage
reveals the musical foundations upon which notions of alienness and
humanness in this music rest, and it uses these to create a spectrum
of alterity, while Amok Time deals with hybridity of identity and
involves strategies of musical alien identity that rely on intertextuality
and Orientalism. Amok Time also uses music to advance the ideological
outlook of the series as a whole. Having examined diferent techniques
and methods of alterity within one franchise site (and how these strategies
interact and impact upon one another from episode to episode) it is now
appropriate to consider the musical depiction of a particular alien species
over the chronological span of the entire franchise.
The Klingons
The Klingons form one of Star Treks prized traditions. Music plays an
important part in constructing this fctional species, both through dramatic
score and source cues. Tracing the Klingons musical depiction through
the franchise illustrates the shifts in development of their identity as it
evolves between and across media.
The Original Series (19661969)
In the frst Star Trek series, the Klingons serve as recurring villains, with
a clear contemporary political allegory. The Klingons, positioned as the
Soviets[,] are evil, dark and underhanded. They are a totalitarian and
imperialist regime who deem battle glorious (Bernardi 1998: 5051).
This association resonates with the musical depiction of the Klingons to
greater and lesser extents across the franchise.
Klingons frst appeared in Errand of Mercy (1967), an entirely tracked
episode. No coherent or original musical identity is given to the Klingons,
though they are often accompanied by cues written for aliens in earlier
episodes, such as the Romulan theme from Balance of Terror (1966)
or the robot named Ruk in What Are Little Girls Made Of ? (1966).
Thus the Klingons are musically designated as generically alien from
the signifcation of alterity reproduced in the pre-existing cues. Some cues
34
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
written for particular aliens (such as the Romulans or Ruk), not only
serve the depiction of the characters for which they were created, but, as
the cues are used repeatedly throughout the series to accompany newly
introduced aliens, come to stand as signifers of the alien more generally.
The frst music specifcally written for the Klingons occurs in Fridays
Child (1967). The Klingons receive a motif (Figure 17), which is fragmen-
tarily prefgured when the word Klingon is mentioned [1:25], and a
Klingon frst seen [2:07]. It is heard in full when a Klingon is confronted
[3:42]. The motif is mostly heard in low-register piano octaves, doubled
with lower strings and later transformed into a tutti rendition for dramatic
climaxes [20:15]. In a brass-heavy version [26:50], it is accompanied by
double-stopped, grinding low string sforzando incisions.
Figure 17: Klingon motif from Fridays Child.
The Klingon motif demonstrates musical alien-ating techniques identifed
above as typical of TOS: harmonic dislocation is created by using all
twelve chromatic pitches, as a tone-row. The angularity of the melody
combines serial hermeticism with visceral gestures enhanced by marcato,
dry timbres. The low register occupies a masculine vocal range and
contributes a less distinct sense of pitch it is more sonically mysterious,
while the percussive element demonstrates the militaristic dimension of
the Klingons identity. The Fridays Child score was used extensively
for tracking, including use in subsequent episodes featuring the Klingons
(such as A Private Little War 1968), transferring the particular musical
alien identity from one episode to another.
The second TOS episode with Klingon-specifc music is Elaan of
Troyius (1968). In this episode, the Klingons are seen infrequently, but
occasionally show themselves to attack the Enterprise. The Klingons are
given a short motif, heard mainly in unison brass (Figure 18).
Figure 18: Klingon motif from Elaan of Troyius.
While the Fridays Child motif is not reprised here, the Elaan of
Troyius material also characterises the Klingons in this series. This
motifs fanfare gestures emphasise the militaristic qualities of the Klingons,
35
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
while the whole tone harmonic profle lends a distinctly elusive air to
this aggressive and unpredictable theme, perhaps as a depiction of the
elusive Klingons in Elaan of Troyius.
The motif is sounded with, or to imply, the Klingons presence. In
being articulated viscerally in powerful instrumentation, the motif acts as
a potent auditory expression of the Klingons role and presence in the
episode. The music seems anchored to their identity as much as any other
aspect of their diegetic incarnation. The emphasis on brass instruments
prefgures a later Klingon musical association developed in other media.
Star Trek Films
The Motion Picture (TMP) (1979)
Star Trek has not only existed on the small screen. Eleven Star Trek feature
flms have been released into cinemas over thirty years, with a twelfth
awaiting release at the time of writing. Klingons feature in many of these
flms. They appear briefy at the beginning of the frst flm, Star Trek:
The Motion Picture (1979). This flm introduced the revamped Klingon
physiognomy, language and spaceships that were subsequently used
throughout the franchise.
13
To match this overhaul, a new musical identity
was forged in Jerry Goldsmiths score that would be similarly prolifc. The
Klingons are musically introduced while their spaceships are on-screen,
before they are seen in the fesh. The accompaniment material for the
opening cue [00:04:33] is a fundamental element of the musical identity: a
sprightly march, marking each quaver. The strings play open ffths, pizzicato
in upper strings, col legno in lower. Goldsmith subsequently introduces
high-pitched angklungs: tuned Javanese bamboo percussion instruments.
Within moments, a distinctive soundworld is created for the aliens. The
main Klingon melody follows [00:04:48] (Figure 19). Elements of prior
musical depiction can be heard in this newly established theme: the brass
timbres and harmonic motion of this material are reminiscent of Elaan
of Troyius, while the percussive Fridays Child score is also echoed here.
Figure 19: The frst appearance of the Klingon Motif, transcribed with
reference to the descriptions of the composers sketch in Wrobel (2002).
13
While, in TOS, the
Klingon make-up simply
consisted of darkened skin
colour with bushy facial
hair, from TMP onwards,
elaborate latex-moulded
ridged foreheads were
used. For the flm, new
models were created for
the Klingon spaceships
and the aliens were heard
to speak in a non-English
language.
36
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
However, the Klingons are not the villains in this flm, and serve as
a rustic Other with which the main antagonist of the flm (a mysterious
technological alien) is contrasted. The melodic identity uses ffth intervals
to mark this primitive-ness of the Klingons, as well as invoking a military
signal with heraldic associations to describe the bellicose qualities of the
aliens. The music establishes a distinctive alien identity against which the
technological alien Other is (musically and otherwise) contrasted. In a
flm context more extensive and more unusual instrumental resources
are available for the score and, unlike the scoring strategy for the
television series, no consideration has to be given to the reuse of musical
material in tracking: the Klingon musical identity is distinct, specifc and
memorable, and does not need to prioritise the unspecifcally alien in
order to facilitate easy reprise in future non-Klingon contexts, as might
be required by music written for a television episode.
Star Trek III (1984)
Unlike in TMP (1979), the Klingons, absent from Star Trek II (1982),
serve as the primary antagonists of the third flm (1984). James Horners
Klingon themes do not quote Goldsmith, but feel the infuence of his
material and bear a resemblance to motifs from TOS. First heard at
00:08:38, a pulsing percussion beat (on clackers and a light metallic
tapping, punctuated by anvil-like instruments and boobams, reminiscent of
the Klingon theme accompaniment in TMP) holds a brooding low brass
ostinato (Figure 20) in place. A non-brass horn, probably a rams horn
shofar, enters on a stable pitch only to fall away in a descending glissando.
The shofar is traditionally used in Jewish religious services, implying an
ancient, ritualistic association. In Star Trek V (1989), Goldsmith would in
turn borrow this addition to the musical identity.
Figure 20: Horners Klingon theme ostinato accompaniment.
The main Klingon motif is played in the high brass, frst as an isolated
cell and then expanded into the theme proper (Figures 21 and 22).
Figure 21: Klingon motivic cell [00:09:02].
37
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Figure 22: Klingon cell sequenced as theme [00:09:33]. Note how this motif
reprises the augmented-ffth framework (F, C-sharp, F) and whole tone
scale from the Klingon material in Elaan of Troyius.
As in previous depictions, the material emphasises militarism, but
without the strident gestures of Goldsmiths theme. These are not noble
Klingons, but evil villains: the motif is a slippery ornamented single
pitch that does not invoke an heraldic fanfare (as in Goldsmiths material).
The musical signifcation attached to the Klingons is made clear when
Horner reuses this theme for the eponymous creatures in his Aliens (1986)
score, forging an intertextual alien musical identity in the process.
Star Trek V (1989)
When Jerry Goldsmith returned to scoring Star Trek, the musical material
from the frst flm came with him. Klingons feature extensively in Star
Trek V, but their alien identity is eroded over the course of the flm as
the humans and Klingons unite in the face of another alien of greater
alterity.
Goldsmiths Klingon theme manifests itself for their frst appearance
[00:23:00], albeit in a faster tempo. The theme is embellished with
alterations in orchestration and rhythmic variations. An instrument
resembling a shofar is added to the Klingon material, playing a brief
ascending fgure over the theme, approximating tonic, fourth and ffth
scale degrees.
As the Klingons alterity is dissolved, so their musical identity is
de-Othered. At the climax of the flm, the Klingons aid the humans
and the two species are equated as fundamentally similar. The Klingons
appear with their theme in full at 1:30:40, with antiphonal imitation in
the upper strings. From this statement, it is subsequently rhythmically
augmented [1:31:12], heard in soli double reeds (in a crotchet, dotted
minim rhythm), repeated into rising sequences [1:33:10] and set in solo
clarinet with triadic major harmonic support from strings [1:33:40]. This
is followed by statements in the soft woodwinds with an upper string
countermelody [1:33:49]. The material is de-alienated progressively as the
Klingons are nullifed as a threat and shown to be more human: it
becomes harmonically secure; unusual or harsh timbres are eliminated;
and strident orchestration is softened. For the Klingons fnal appearance
in the movie [1:35:36], the theme does not sound at all.
38
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
Through the development of the Klingon musical material over the
course of Star Trek V, at least one reviewer felt Goldsmith to have
compromised the Klingon motif: [The] lighthearted variation on the
Klingon theme only goes to further belittle these characters, who sufer
massive indignation from their comedic on-screen antics. (Hirsch 1999:
559) The thematic development mirrors and accentuates the depiction of
the Klingons on-screen (Hirsch even asserts that the variations further
belittle[s] the Klingons). This keenly felt response to the treatment of their
thematic material reveals the extent to which these musical elements are
understood by viewers as part of the franchises depiction of the Klingons.
Star Trek VI (1991)
Star Trek VI is an allegory for the end of the Cold War: the crumbling
Klingon Empire is forced to consider peace with the Federation in
order to survive. In this flm they occupy the narrative role of acting
as allegorical representatives of the USSR. The force of this allegory
drives composer Clif Eidelmans music much more than a reliance on
any previous musical incarnation of the Klingons. Eidelman says:
I brought the Klingons right into the main title my Klingon theme
is very diferent from the past Klingon themes. Ive literally taken
Goldsmiths Klingon theme and put it up to the Klingons in Star Trek
VI and it works horribly, because the Klingons are not warlike in this
movie Its a diferent situation.
(Eidelman quoted in Altman 1993: 10)
Eidelman is aware of how the Klingons musical identity has to be
altered for the allegory at hand. As Wagner and Lundeen comment, Star
Trek employs its own racial constructs in various ways depending on the
narrative contexts A given identity may be set within diferent semiotic
structures depending on the story-telling context. (1998: 1667) The music
brings to bear its own semiotic and aesthetic forces in the same manner.
Two musical ghosts stand behind Eidelmans Overture (main title
theme, Figure 23), the openings of both Stravinskys Firebird (1910, rev.
1945) and the frst movement of Shostakovichs Tenth Symphony (1953).
For many listeners, both the music of Stravinsky and Shostakovich might
stand as representative of archetypal Russian music. These intertextual
references frmly establish from the outset the allegorical function of the
Klingon identity in this flm.
Eidelman introduces another aspect of the species into the musical
depiction through the inclusion of a chorus that chants Shakespeare in
Klingon. This distinct sonic articulation of alterity (through an unintel-
ligible language) is most evident when wrongly convicted humans enter
39
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
a prison [00:55:05] and the chorus comments taH pagh, taH be (To be,
or not to be). The percussive language is brought into the domain of
the score as part of their musical voice.
To maintain continuity of identity, Eidelman retains some elements of
earlier musical depictions of the Klingons, such as high-pitched drums,
unusual woodwind instruments (overblown screaming ffe, giant pipe,
bass fute) [00:27:20] (DVD Special Features), waterphones [00:34:30],
low drums and metallic sound-elements (cymbal scrapes) [00:27:34], and
a tonic-dominant rising brass fgure [00:28:00]. By repositioning the
Klingon musical identity, Eidelman parallels the flm in rendering the
Klingons as familiar, but in a new narrative role. Not so much revisionist
as multidimensional, the music ensures that character fdelity is retained
while telling a new, signifcant story.
Later Films
Eidelmans Klingon music was the last distinct musical identity for these
aliens to feature in the flms: no signifcant musical material is constructed
for the Klingons in the latter fve flms, although, in his score for Star
Trek: First Contact (1996), Goldsmith briefy cites his Klingon theme upon
the introduction of the Enterprises resident Klingon, Worf (Michael Dorn)
[00:09:29+], as a sort of musical cameo. Even if these musical identities
were not being sounded in the cinema, however, music for Klingons was
being developed in a diferent medium.
Figure 23: Star Trek VIs Overture (from audio transcription and
composers sketches in DVD Special Features).
40
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
Television Series (19872005)
Both the The Next Generation (TNG) and Deep Space Nine (DS9) television
series regularly featured episodes concerning Klingons. Just as particular
writers would frequently script such episodes, specifc composers (Ron
Jones and David Bell) were often assigned to Klingon stories (Bond 1999:
169, 190). Unlike 1960s television, each episode of Star Trek since 1987
has featured a newly written score. With multiple composers writing for
the aliens, a coherent, but multidimensional and evolving musical identity
was created for the Klingons. Each composer interpreted and defned
this identity in their own way.
Ron Joness score for Heart of Glory (1988) marks the frst signifcant
musical depiction of Klingons in TNG.The score is infused with Goldsmiths
Klingon material, which is melodically developed. Although in 1988,
Horners evil Klingon music provided a more recent Klingon identity,
Goldsmiths theme is more appropriate for TNGs depiction of Klingons.
While Paramount Television provided (for a television series) a generous
budget for the music of The Next Generation, the more limited fnancial
resources available to television productions in comparison with flm
demanded that Jones use a smaller orchestra than Goldsmith, resulting
in a noticeably thinner texture. Jones develops Goldsmiths material by
countering the rising ffth with a descending ffth beginning a semitone
above the end of the ascending ffth. A second fgure is heard in a higher
register, again beginning with Goldsmiths rising ffth, this time continuing
with another rising ffth beginning on a semitone higher than the end of
the frst interval. Jones reports that the development was shaped by his
use of an alphorn, which had a limited choice of pitches (interviewed in
Bond 1999: 181). This new variation on Goldsmiths theme would fnd
signifcant use in later scores. I have termed this motif X in its two
forms: X
1
(descending) and X
2
(ascending) (Figures 24 and 25).
Figure 24: Figure X
1
: descending.
Figure 25: Figure X
2
: ascending.
TNGs Klingons are diferent from those of the flms or TOS: they are
allies of the Federation and are carefully culturally textured, in comparison
41
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
to being basic villains or allegory-heavy characters. Correspondingly, the
music seeks to move from a barbaric primitivism to a more pastoral
primitivism through instrumentation such as the alphorn, a traditional
Western musical marker of rustic/romantic primitivism. Motivically, the
archaic elementary character of the ffth is combined with the alienating
strangeness of the semitone interval, shifting the musical identity.
The format of the television series allows space for the development
of a fctional species and, with this evolution, musical depiction also
can change. Just as Star Treks narrative intertextuality operates between
television and flm, so the musical intertexuality clearly fows between
the two media as musical material from flm is cited and developed
in television episodes. Joness second season Klingon episodes elaborate
his Klingon theme variations, based around motif X. In A Matter of
Honor (1989), X is placed in sequence [13:28], treated in retrograde
[17:35], verticalised into block chords, made into an ostinato motif [27:00]
and harmonised with parallel ffths [17:35+]. A minor third element is
introduced [19:00], later integrated to extend X
1
by continuing with
another rising ffth fgure at a distance of a minor third below the last
[41:09]. Sometimes, X is fragmented into three-note units, across the
rising gesture [27:00]. With such basic motivic material, a huge variety
of variations becomes possible.
These musical variations are often dramatically motivated. The more
similar these The Next Generation Klingons are seen to be to those in The
Motion Picture (1979), the closer the music is to direct citation of the flm
score. This is most clearly illustrated when time-trapped Klingons from
The Motion Picture-era are encountered in The Emissary (1989) or when
the Klingons in A Matter of Honor [27:54], like those in the opening
moments of The Motion Picture, prepare to engage in inter-ship combat.
The thematic variations in Ron Joness The Next Generation scores are not
limited to simply describing how similar, or how diferent, the on-screen
Klingons are to the Klingons in TMP. Jones uses the theme for a variety
of expressive functions. In The Emissary, for example, he presses the
Klingon material into service as a cantabile love theme for a romance
between Klingons [17:03] (Figure 26).
Figure 26: Love theme from The Emissary [19:45].
42
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
However, Jones was not the only composer who wrote for Klingons. Sins
of the Father (1990), scored by Dennis McCarthy, references established
thematic material [00:57], though does not employ Joness motivic web.
McCarthys style of extended, non-repetitive melodic strands over sustained
textures lends itself well to integrating the rising ffth or Joness X
1
motif
into the melody. These strands are frequently harmonised by parallel ffths.
McCarthys low-brass, open ffth sustained harmonic support provides a
textural-timbral fabric that also evokes Klingon-ness from previous flm
and TV scores. Goldsmiths material lives on through the incorporation
of low brass/horn timbres and open ffth intervallic choices, but the alien
identity is expressed in a diferent fashion to its motivic incarnation in
Joness work.
In Jay Chattaways Klingon scores (such as Birthright 1993) no
dominant Klingon theme is forthcoming, merely Klingon-sounding
material. Chattaway maintains emphasis on low brass, open ffth harmonic
underpinning and, at times, rising ffth intervals [e.g. Birthright Part
II 36:02]. Chattaway was not unaware of past Klingon-associated
music; rather, he interpreted the precedent diferently from Jones. He
comments, We wouldnt know what Klingons heritage would sound like
without Jerrys wild sonorities of Klingon music and percussive qualities
( Jerry Goldsmith: A Tribute). Chattaways choice of language reveals his
understanding of their musical identity in terms of timbre and harmony,
rather than through melodic motifs.
Joness motif-centred scoring style contrasted with that of Chattaway
and McCarthy, and he engages in a style of obvious musical narration
that is largely absent in the scores of other composers (such as musically
pre-empting the Klingons plot involvement in Reunion (1990), mere
seconds into the episode [00:17]). Jones was ultimately dismissed from The
Next Generation due to creative diferences with the producers concerning his
approach to scoring and, in particular, the degree to which it contrasted
with the other composers music (Bond 1999: 170). The level of musical
variation appropriate within a single television series would seem, therefore,
to have limits.
References to real-world Earth musical culture are also used as part
of the depiction of the fctional Klingons. The representation of Klingon
culture draws infuence from several Earth traditions, including Norse
myths, which appears not only in the use of the lur-like alphorn and
a concomitant emphasis on the low brass,
14
but also through allusion
to Wagner. Diegetically performed Klingon opera, such as Aktuh and
Maylota (recalling the duo-titled Tristan and Isolde) is abrasive and sung
with extreme ferocity, as in the popular caricature of Wagnerian opera
(heard in Unifcation II [TNG 1991], see later). For Blood Oath (DS9
14
The lur is a traditional
Scandinavian instrument,
similar to the alphorn and
features in Nordic sagas
(Vollsnes et al. 2009). The
alphorn also has associ-
ations as an established
musical (romantic) topos
of pastoral simplicity/
rusticity.
43
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
1994), Gtterdmmerung was played on set during shooting, to infuse an
operatic mood to the proceedings (Erdmann 2000: 132). Regarding The
Sword of Kahless (DS9 1995), composer David Bell has said, I saw
these characters as very Wagnerean [sic] so I used Wagner opera
vocabulary in the orchestrations, and I actually used Wagner tubas in
the score (Erdmann 2000: 291). Bell continued to employ Wagner tubas
for Klingon episodes, such as Sons of Mogh (DS9 1996) and using
additional low brass performers on Soldiers of the Empire (DS9 1997)
(ibid.). Bells Wagner opera vocabulary seems to fnd voice primarily in
the placing of melodic material in low registers (a rarity for post-1987
Star Trek scores) [Sword of Kahless: 19:57, 28:00, 42:20]. Such orches-
tration provides weighty expansiveness, monumentalising the proceedings
in a similar way to operatic practice. In Soldiers of the Empire, the
underscore even appears to accompany the singing of Klingon-language
diegetic songs as one would expect in a musical or opera flm [15:58,
38:55].
In the frst season of Star Treks prequel series, Enterprise (20012005),
the Klingons are not accompanied by their known musical identity:
they have not yet grown into the role with which we are familiar.
Neither Velton Ray Bunchs score for Marauders (Enterprise 2002), nor
McCarthys for Sleeping Dogs (Enterprise 2002) contain motivic material
from previous Klingon incarnations and the open ffth, low brass emphasis
is less musically prominent.
The episode Judgement (Season 2, 2003), however, indicates a change
in scoring strategy. This episode parallels the flmic presentation of
Klingons in Star Trek VI (1991) by including scenes set in the same
locations and environments as the 1991 flm. Bunchs score pays homage
to that of Eidelman: the Klingon world is given a recurring motif (played
in low strings, later adding brass), which is frst heard before the opening
credits, and used in variation throughout the episode (Figure 27). Bunch
also uses the marcato low string accents, the weaving and winding solo
upper string lines [07:28+] and the tremolo string sequences [09:00], which
feature in Eidelmans score.
Figure 27: Teaser cue from Judgment, introducing the main Klingon motif
for the episode.
44
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
A signifcant musical presence is appropriate for scenes imitating those
from theatrical flm, to approach the same aesthetic. The music connects
the two incidents and casts the Klingons into their familiar roles, evoking
the Klingon musical identity to a much greater degree than earlier in
the prequel series.
Later episodes of Enterprise, such as Afiction (2005) and Divergence
(2005) (scored by Bunch and Chattaway respectively) begin to create a
musical proto-identity as they present a coherent soundworld for the
Klingons, emulating Judgement. Low brass chordal swells featuring open
ffth spacings are prominent [Afiction, 22:57+] and pitch selections
in both scores concentrate on the frst, second, minor third and ffth
degrees of the scale. There are similarities between the music of these
Enterprise episodes and those of TOS, such as the percussion-driven and
highly rhythmic cues, and soloistic woodwind writing (such as the bass
clarinet at 11:57 in Afiction).
The prequel series, both musically and generally, articulates a Klingon
identity that gradually develops back toward the more familiar depictions
of these aliens. The underscore, however, is not the only music used to
characterise the Klingons.
Source Music
Given the importance of music in human cultures, the omission of music
in a depiction of an alien culture would be curious. In this way, alien
music may be harnessed in the service of realism. The cultural output
of an alien species is part of the way the viewer understands the aliens.
Klingon source music generally constitutes either Klingon opera or
drinking/battle/story songs. Such songs feature intermittently in post-1987
Star Trek. One drinking song, shown in Figure 28, is heard in episodes
of diferent series. This reprise provides textual unity across television
series and assists in the creation of a persistent, coherent culture in the
franchise universe. Songs also serve a semi-ritual function, for example,
The Klingon Warriors Anthem (Soldiers of the Empire, DS9 1997) is
sung before a ship enters battle (Figure 29). This song originated in the
videogame Star Trek: Klingon (1996), before being inducted into the ofcial
franchise lore through inclusion in a television episode. The music uses
simple repeated gestures and is sung in an impassioned, rowdy manner.
Both songs are in variation form, with repeated phrases, giving a folk
music quality to the pieces. The Klingon songs feed into a depiction
that cultivates a historical and pastoral/rustic image of them.
Klingon opera is frst heard in Unifcation II (TNG) where excerpts
from Aktuh and Maylota are sung. The accompaniment consists of
45
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
synthesised repeated minor triads in low registers, while the vocal lines are
often indefnite in pitch and contain ferocious vaulting intervallic gestures,
a kind of extreme bel canto combined with Sprechstimme. A complexity is
brought to the depiction of Klingon music, however, when the Klingon
opera duet heard in Looking for parMach in All the Wrong Places
(DS9 1996) is of a very diferent musical style. Described in the script as
a Klingon La Boheme [sic] (Kindya et al. 1999), the music is similar
to Puccinis style in its bel canto, cantabile melodies, harmonic modulation
scheme and grandiose non-synthesised orchestration. The accompaniment
resembles the non-diegetic underscoring used in Klingon episodes an
emphasis on low brass, timpani and open ffth harmonic spacing.
A Klingon street opera is seen in Firstborn (TNG 1994), in which
members of the audience enter the performance space and sing traditional
refrains as responses to the principal performers. The vocal phrases are
accompanied by drums, synthesised bass pedal notes, didgeridoo-like
instruments and a marimba sound. The rusticity and ritual central to
the Klingon identity are emphasised in this depiction.
Klingon instruments accompany singing (the concertina and guitar:
Melora (DS9 1993, Playing God (DS9 1994)) or rituals (the wedding
drums in You Are Cordially Invited (DS9 1997)). The choice of
instruments associated with folk music again emphasises the rustic
dimension of the Klingon identity.
Vocal musical genres provide the opportunity to display the Klingon
language. While the aliens are usually heard speaking in English (through
the dramatic device of a universal translator) at times of cultural intimacy,
Figure 28: Klingon drinking song from The Way of the Warrior (DS9 1995),
also heard in Barge of the Dead (Star Trek: Voyager 1999).
Figure 29: Klingon warriors anthem.
46
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
the audience experiences the aliens directly, speaking Klingon, as though
through human ears. This privileged site of alien explicitness perhaps
tempers the dangerously too-human folk signifers: some elements of
diegetic music are foregrounding alterity (language, unfamiliar ritual
formats), while others correspond with human music (genre, orchestration,
musical construction, social function).
In a franchise media entity, repeated reference to, and exposition of, the
musical activity of an alien species helps to create a sense of continuity of
this alien identity when the musical practices and even particular songs are
seen to recur from one episode/season/series to another. Such consistency
and recurrence rewards viewers who recognise such repeated references,
giving them a sense of satisfaction as a privileged, knowledgeable viewer
consumer familiar with the fctional universe. Diegetic music also serves
to depict aliens, here mainly through invoking folk music traditions to
reinforce the rustic and historical dimension of the species.
By tracing the musical depiction of the Klingons through the franchise,
points of both stability and change over the breadth of Star Trek have been
observed. The Klingons have received musical treatment involving tracked
and newly written music; scores for flm and television; source music and
dramatic score; musical traditions created, sustained, revised, developed
and ignored; interactions with various diferent media; direct musical
depiction of the alien and a more distanced perspective; musical citation
and allusion; and all over a range of musical genres that includes vocal and
instrumental music. This music draws infuence from in-franchise musical
history and out-of-universe music, and is tempered by the contextual
demands of the media form for which it was written. It also functions
in a variety of ways for the changing purposes and role of the Klingons
across the Star Trek megatext.
Conclusions
Investigating Star Trek not only illuminates the complexities of the
multimedia franchise as a musically signifcant entity, but also how the
varying demands of this form impact upon the music created for the
subsidiary components of the franchise. Here, these factors have been
explored through the way in which the musically Other is constructed,
invoked and manipulated.
The article has shown how diferent media contexts impact upon the
music written for the franchise. Such contexts determine the musical
strategies, resources, sources and even styles. The media franchise universe
is formed from constellations of texts, in which individual episodes
create seasons, which constitute series, of which several may populate a
47
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
franchise, along with other media like flms and games. These texts are
not equidistant from one another: the halves of a two-part episode are
(usually) more closely bound to each other than to an episode in another
season or another series, or a flm, or another media format. Diferent
dimensions of intertextual links exist, as topics, aliens, characters and
events recur throughout the franchise space. Ron Jones was removed from
The Next Generation in part because his music did not stylistically blend
with those of the others working on the series. His experience testifes
to the necessity of appropriate musical homogeneity and the limits of
diference within certain constellations of the franchise.
Yet, while the discrete nature of the units that make up the franchise
admits the variety of musical approaches observed above, it is the overall
connectedness of a franchise universe and the links, both musical and
otherwise, between franchise components that are perhaps most fascinating,
particularly given that at least a proportion of the audience follows a
franchise from episode to episode and from one medium to another.
Audience members fnd connections through the multi-author, multi-
discourse, multimedia entity. It is this balance of diference, evolution
and unity that characterises the franchise and makes it a challenging
and rewarding object of musical inquiry.
The nature of television production, to take one example, impacts on
the music for this medium whether in constructing cues to facilitate
tracking; in the priority of music in a medium that has to capture
and keep its audience; in compensating for a lack of visual spectacle;
or in its limited scoring resources. A multi-composer corpus of music
dilutes individual composer identities. It evolves musically over franchise
components, constructing a soundworld that continually redefnes itself
in relation to both production and dramatic factors, and the viewing
audience. A prolonged audience relationship is rich with possibilities and
in Star Trek, we see the deployment of particular learnt signifers, both
of scoring strategy and specifc musical material, for the purposes of
communicating with the (loyal) viewer.
Music is a major component of the way in which the otherworldliness
of aliens is portrayed to the viewers. As I have established, it is possible to
trace the creation and evolution of a particular alien musical identity over
the course of multiple episodes and more than one medium, written by
several composers, and then altered and moulded as the particular episodes
narrative requires. A franchise facilitates musical evolution and development
in a way unavailable to media texts limited to only one media form.
Timbre appears particularly signifcant for the creation of Other
soundworlds and spectra of alterity, though the project of musically depicting
an alien occurs on all musical levels, including diegetic music. The techniques
48
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
of conveying alterity reveal the categories of music alienness. Arguably, the
creation of any Other is a political act. In Star Trek, which involves itself
with political issues through direct allegory and through other means, the
processes of depicting the Other are closely related to the ideological agenda
of the episodes. We have observed musical Othering related to hybridity
(Spock), political allegory (Klingons as Soviets), Orientalism and the musical
defnition of the human (The Cage).
Inevitably, the music in a franchise as long running and textually
prolifc as Star Trek cannot be wholly accounted for here. However, the
textually grounded approach to musical analysis ofered in this article
and the wide range of franchise examples analysed, has demonstrated a
method by which music for a franchise might begin to be read.

Bibliography
Books, Articles and Scores
Altman, Mark A.(1992) Clif Eidelman: Scoring Star Trek VI: The Undiscovered
Country, Film Score Monthly, 1/23: 910.
Barham, Jeremy (2008) Scoring Incredible Futures: Science-Fiction Screen
Music, and Postmodernism as Romantic Epiphany, The Musical Quarterly,
91 (34): 24074.
Barrett, Michle and Duncan Barrett (2001) Star Trek: The Human Frontier.
Cambridge: Polity Press.
Bate, Philip and Michael Finkelman (2013) Heckelphone, in Grove Music Online.
Oxford Music Online, retrieved from http://www.oxfordmusiconline.com/
subscriber/article/grove/music/12655 (accessed 3 March 2013).
Bernardi, Daniel (1998) Star Trek and History: Race-ing Toward a White Future.
New Brunswick, New Jersey and London: Rutgers University Press.
Bond, Jef (1999) The Music of Star Trek: Profles in Style. Los Angeles, California:
Lone Eagle.
Born, Georgina and David Hesmondhalgh (2000) Introduction: On Diference,
Representation, and Appropriation in Music, in Georgina Born and David
Hesmondhalgh (eds) Western Music and Its Others. Berkeley: University of
California Press, pp. 358.
Burlingame, Jon (1996) TVs Biggest Hits: The Story of Television Themes from
Dragnet to Friends. New York: Schirmer Books.
Dariotis, Wei Ming (2008) Crossing the Racial Frontier: Star Trek and
Mixed Heritage Identities, in Lincoln Geraghty (ed.) The Infuence of Star
49
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Trek on Television, Filmand Culture. Jeferson, North Carolina: McFarland and
Company, pp. 6381.
Deaville, James (ed.) (2011) Music in Television: Channels of Listening. New York:
Routledge.
Donnelly, Kevin (2005) The Spectre of Sound. London: BFI Publishing.
Erdmann, Terry J.with Paula M.Block (2000) Star Trek: Deep Space Nine
Companion. New York: Pocket Books.
Hayward, Philip (ed.) (2004) Of the Planet: Music, Sound and Science Fiction Cinema.
Eastleigh, UK: John Libbey.
Hirsch, David (1999) Star Trek V: The Final Frontier, in Didier C.Deutsch (ed.)
MusicHound Soundtracks, 2nd edn. Canton, Michigan: Visible Ink Press,
p. 559.
Kalinak, Kathryn (1992) Settling the Score: Music and the Classical Hollywood Film.
Madison, Wisconsin: University of Wisconsin Press.
McClary, Susan (1991) Feminine Endings: Music, Gender and Sexuality. Minneapolis:
University of Minnesota Press.
Neal, Christopher (2008) Marching Out of Step: Music and Otherness in
the Firefy/Serenity Saga, in Rhonda V.Wilcox and Tanya R.Cochran (eds)
Investigating Firefy and Serenity: Science Fiction on the Frontier. London and New
York: I.B.Tauris, pp. 19198.
Nichols, Nichelle (1994) Beyond Uhura: Star Trek and Other Memories. New York:
G.P.Putnam.
Pounds, Micheal C.(1999) Race in Space: The Representation of Ethnicity in Star
Trek and Star Trek: The Next Generation. Lanham, Maryland and London:
The Scarecrow Press.
Rodman, Ronald (2010) Tuning In: American Narrative Television Music. Oxford:
Oxford University Press.
Ross, Alex (2007) The Rest is Noise: Listening to the Twentieth Century. London:
Fourth Estate.
Shostakovich, Dmitri (1955) Symphony No. 10, Op. 93. Paris: Le Chant du Monde;
London: Boosey and Hawkes; and New York: Leeds Music.
Steiner, Fred (1983) Keeping Score of the Scores: Music for Star Trek, The
Quarterly Journal of the Library of Congress, 40/1: 415.
(1985) Music for Star Trek: Scoring a Television Show in the Sixties, in Iris
Newsom (ed.) Wonderful Inventions: Motion Pictures, Broadcasting, and Recorded
Sound at the Library of Congress. Washington: Library of Congress,
pp. 287309.
Stilwell, Robynn J.(2003) The sound is out there: score, sound design, and
exoticism in The X-Files, in Allan F.Moore (ed.) Analyzing Popular Music.
Cambridge: Cambridge University Press, pp. 6079.
Strauss, Richard, Salome (1981[1905]) Full Score. New York: Dover Publications.
50
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
Stravinsky, Igor (1982 [1945]) The Firebird: Ballet Suite for Orchestra. London:
Eulenburg.
Tagg, Philip (2000) KOJAK Fifty Seconds of Television Music: Towards the Analysis of
Afect in Popular Music. New York: The Mass Media Scholars Press Inc.
Vollsnes, Arvid O., Reidar Sevg and Jan-Petter Blom, Norway, in Grove Music
Online. Oxford Music Online, retrieved from http://www.oxfordmusiconline.
com/subscriber/article/grove/music/20101 (accessed 27 April 2009).
Wagner, Jon and Jan Lundeen (1998) Deep Space and Sacred Time: Star Trek in the
American Mythos. Westport, Connecticut and London: Praeger.
Wrobel, Bill (2002) Star Trek: The Motion Picture Music by Jerry Goldsmith: Score
Analysis Film Score Rundowns (http://www.flmscorerundowns.net), retrieved
from http://www.flmscorerundowns.net/goldsmith/startrek.pdf (accessed 6
October 2008).
DVD/CD-ROM Sources
Jerry Goldsmith: A Tribute on Star Trek: First Contact: Special Edition DVD,
Paramount Pictures, (2005).
Kindya, Kimberly A.and Elizabeth Braswell (Producers) (1999) Star Trek:
Deep Space Nine Companion: A Series Guide and Script Library. New York:
Simon and Schuster Interactive.
Star Trek: Klingon (1996) video game, Simon and Schuster, USA.
Film Sources
Aliens (1986) motion picture, Brandywine Productions, distributed by 20th
Century Fox, USA.
Star Trek: The Motion Picture (1979) motion picture, Paramount Pictures, USA.
Star Trek II: The Wrath of Kahn (1982) motion picture, Paramount Pictures, USA.
Star Trek III: The Search for Spock (1984) motion picture, Paramount Pictures,
USA.
Star Trek V: The Final Frontier (1989) motion picture, Paramount Pictures, USA.
Star Trek VI: The Undiscovered Country (1991) motion picture, Paramount Pictures,
USA.
Star Trek: First Contact (1996) motion picture, Paramount Pictures, USA.
Television Sources
Afiction: Star Trek: Enterprise (2005) television programme, Paramount
Television, USA.
Amok Time: Star Trek (1967) television programme, Desilu Productions, NBC,
USA.
Balance of Terror: Star Trek (1966) television programme, Desilu Productions,
NBC, USA.
51
Tim Summers Musical Depiction of the Alien Other
MSMI 7:1 Spring 13
Barge of the Dead: Star Trek: Voyager (1999) television programme, Paramount
Television, USA.
Birthright, Part I: Star Trek: The Next Generation (1993) television programme,
Paramount Television, USA.
Birthright, Part II: Star Trek: The Next Generation (1993) television programme,
Paramount Television, USA.
Blood Oath: Star Trek: Deep Space Nine (1994) television programme, Paramount
Television, USA.
The Cage: Star Trek (1965) television programme (pilot episode), Desilu
Productions, NBC, USA.
Charlie X: Star Trek (1966) television programme, Desilu Productions, NBC, USA.
Counterpoint: Star Trek: Voyager (1998) television programme, Paramount
Television, USA.
Divergence: Star Trek: Enterprise (2005) television programme, Paramount
Television, USA.
Elaan of Troyius: Star Trek (1968) television programme, Desilu Productions,
NBC, USA.
The Emissary: Star Trek: The Next Generation (1989) television programme,
Paramount Television, USA.
Errand of Mercy: Star Trek (1967) television programme, Desilu Productions, NBC,
USA.
Firstborn: Star Trek: The Next Generation (1994) television programme, Paramount
Television, USA.
Fridays Child: Star Trek (1967) television programme, Desilu Productions, NBC,
USA.
Heart of Glory: Star Trek: The Next Generation (1988) television programme,
Paramount Television, USA.
Is There in Truth No Beauty?: Star Trek (1968), television programme, Desilu
Productions, NBC, USA.
Journey to Babel: Star Trek (1967) television programme, Desilu Productions,
NBC, USA.
Judgement: Star Trek: Enterprise (2003) television programme, Paramount
Television, USA.
Looking for parMach in All the Wrong Places: Star Trek: Deep Space Nine (1996)
television programme, Paramount Television, USA.
The Man Trap: Star Trek (1966) television programme, Desilu Productions, NBC,
USA.
A Matter of Honor: Star Trek: The Next Generation (1989) television programme,
Paramount Television, USA.
Marauders: Star Trek: Enterprise (2002) television programme, Paramount
Television, USA.
52
Tim Summers Musical Depiction of the Alien Other
7:1 Spring 13 MSMI
Melora: Star Trek: Deep Space Nine (1993) television programme, Paramount
Television, USA.
The Paradise Syndrome: Star Trek (1968) television programme, Desilu Productions,
NBC, USA.
Playing God: Star Trek: Deep Space Nine (1994) television programme, Paramount
Television, USA.
A Private Little War: Star Trek (1968) television programme, Desilu Productions,
NBC, USA.
Reunion: Star Trek: The Next Generation (1990) television programme, Paramount
Television, USA.
Sins of the Father: Star Trek: The Next Generation (1990) television programme,
Paramount Television, USA.
Sleeping Dogs: Star Trek: Enterprise (2002) television programme, Paramount
Television, USA.
Soldiers of the Empire: Star Trek: Deep Space Nine (1997) television programme,
Paramount Television, USA.
Sons of Mogh: Star Trek: Deep Space Nine (1996) television programme, Paramount
Television, USA.
The Sword of Kahless: Star Trek: Deep Space Nine (1995) television programme,
Paramount Television, USA.
Unifcation II: Star Trek: The Next Generation (1991) television programme,
Paramount Television, USA.
Virtuoso: Star Trek: Voyager (2000) television programme, Paramount Television,
USA.
The Way of the Warrior: Star Trek: Deep Space Nine (1995) television programme,
Paramount Television, USA.
What Are Little Girls Made Of?: Star Trek (1966) television programme, Desilu
Productions, NBC, USA.
You Are Cordially Invited: Star Trek: Deep Space Nine (1997), television programme,
Paramount Television, USA.