In Star Trek: First Contact (1996), Jerry Goldsmith continues his creative contribution to the Star Trek franchise. Having already composed the scores for Star Trek The Motion Picture (1979) and Star Trek 5: The Final Frontier (1989), he would go on to score Star Trek: Insurrection (1998) and Star Trek: Nemesis (2002). Composing the scores for five of the 10 Star Trek films then, Goldsmith is single-handedly responsible for the expansive and optimistic orchestral sound of the Star Trek universe that all other Star Trek composers have employed. Goldsmith took a different approach than John Williams did with Star Wars, however. Williams created a catalog of themes for individual characters, while Goldsmith captured the vast expanse of space and the essence of the thinking and philosophy of Star Trek, namely the unity and appreciation of all cultures. As we will see, Goldsmith acknowledged cultural unity in the cue entitled Search For The Borg. The Borg represent a force that cannot be reasoned with, whose purpose is to wipeout individually by assimilation. This cue musically encapsulates the idea of different people coming together to defeat a common enemy.
ANATOMY OF THE SEQUENCE
The cue is scored for a sequence of eight scenes in which two search parties, lead by Captain Picard and Lieutenant Commander Worf, cautiously approach deck 16 of the Enterprise where the invading Borg are located. In this narrative, Goldsmith highlights the characteristics of Picard and Worf regarding their respective tactical and cultural dispositions towards combat situations. Picard is a refined and seasoned star fleet officer who approaches situations critically. Worf, on the other hand, is a warrior at heart and would prefer to engage in battle. Goldsmith effortlessly moves back and forth between this dichotomy with a musical narrative that emphasizes each character’s perspective.
The first five scenes of this sequence are a relatively quick back and forth between Picard and Worf. This is followed by 2 scenes where both search parties enter deck 16 from the deck above. A brief exchange of dialogue occurs between Picard and Data when they discover evidence of the Borg. We return to a final scene of Worf and his search party silently moving through a corridor also containing evidence of the Borg. The cue abruptly ends when Dr. Crusher pops out of a wall panel.
There is a larger form at work here, since the eight scene sequence can be divided into 3 larger sections: Searching, Deck 16, and Searching. The Searching sections bookend the sequence and contain a forward moving and uninterrupted musical narrative with no dialogue. The middle section is the complete opposite, allowing for a brief exchange of dialogue with the score moving to the background.
Before we go any further in the analysis I want to make clear that my conclusions and analysis is purely my own.
Figure 1 - Cue Map
While the music in the A sections flows uninterrupted, the B section music catches more of the action by highlighting certain moments. For example, when Commander Data reaches down to the hatch to open it, the music takes on a more sinister and disjointed character. Additionally, when Picard drops down to deck 16, the music resumes a conservative forward motion that is quickly interrupted once again with a more disconnected musical moment. This time, however, capturing the eeriness of the Borg presence. What Goldsmith has done, then, is to musically coordinate with the larger sections of the film sequence while at the same time acknowledging the scene changes within those larger sections.
SECTION A: SEARCHING
This cue appears roughly thirty minutes into the film and takes advantage of musical material that has already been established. For example, a reserved, unemotional, and calculating eighth note figure has already been heard numerous times by this point in the film, almost always associated with Picard’s tactical disposition. Additionally, a very brief and sinister four note motif has been established to signify the Borg. Most noticeable is a rhythmic marcato figure that has, to this point, underscored the Enterprise crews’ planning and pursuit of the Borg.
PICARD’S MUSIC
Being the longest of the three sections of this sequence, the music in the first A section (Searching) is used to both establish the mood of the situation and provide insight into the dispositions of Picard and Worf. As already mentioned, the music for Picard is a reserved, unemotional, and calculating eighth note figure, indicating his tactician approach to the situation.
Figure 2 - Picard's music @ 0:12
We are introduced to the calculating eighth note concept earlier in the film moments after the Borg ship is destroyed, just after launching a small pod. There’s no mistaking this music for Picard’s tactical insight.
Figure 3 - Temporal Wake cue: calculating eighth-note figure
Even earlier in the film we hear this concept as Picard listens to the fleet of Federation ships engaging the Borg in battle.
Figure 4 - Star fleet engages the Borg @ 0:22
Notice in figures 1 and 2, that the intervals of a major 3rd, perfect 4th, and major 6th are used, while figure 3 shows minor and major seconds and minor 3rds. The larger intervals depict Picard in command and tactical situations, while the smaller intervals reflect Picard’s internal turmoil regarding his own assimilation experience with the Borg as he develops an Ahab complex. It is interesting to note that Goldsmith does not use a specific theme for Picard, but instead employs a rhythmical concept. This gives him the freedom to more accurately capture the specific description of Picard’s mind set at any given point.
This concept is developed through a variety of permutations throughout the film to this point, coming to its fullest and most obvious statement in Deck 16.
WORF’S MUSIC
For those moments when Worf is seen leading his search party, we hear a different kind of music. Contrasting the unemotional and calculating music for Picard, Worf’s music is highly evocative. It depicts Worf’s effort to temporarily suppress his warrior instincts to leap into battle. We hear a dynamic swell as the horns execute a slow, arpeggiated fanfare. Another point of contrast from Picard’s music is found in the rhythm. While Picard’s music possesses a forward momentum, symbolizing his active and analytical mind, Worf’s music is essentially a series of long tones.
Figure 5 - Worf’s Music - first phrase
Figure 6 - Worf’s Music - second phrase
Unlike much of the other musical material in this cue, this particular motif is heard for the first time here and fits perfectly into the catalog of thematic and motivic material already established in First Contact. From the opening moment of the film, Goldsmith reminds us of the vastness of space and its exploration with the familiar Star Trek fanfare, followed by what is arguably the most beautiful of all the Star Trek main themes. Both the fanfare and main theme are arpeggiated and communicate larger ideas. The fanfare is an optimistic call to explore. The main theme points to the historic meeting of two different worlds, Vulcan and Earth, who forge a continuing and beneficial relationship, memorializing the essence of Star Trek. With Worf’s music, Goldsmith attaches the bigger idea of Klingon honor and dignity. Worf embodies the battle driven characteristics of his culture and Goldsmith captures this in a simple yet noble manner.
While having established Worf’s Klingon heritage, Goldsmith simultaneously provides a rhythmic reminder that Worf is a Star Fleet officer. He does this by undergirding Worf’s music with the march like figure already heard whenever the Enterprise crew is in action.
Figure 7 - March-like rhythm
It’s first occurrence takes place as the Enterprise arrives at the battle with the Borg ship and as the bridge crew determines their next move.
(7:21)
In the Deck 16 cue, Goldsmith uses a single snare drum, sounding off in the distance, for the Enterprise rhythm, to ensure we understand that Worf’s Klingon heritage is currently taking precedent. The rhythm is absent from Picard’s music, which seems counter intuitive since he exemplifies, more than Worf, the experienced Star Fleet officer.
Figure 8 - A Section of cue
SECTION B: DECK 16
We come to the next section in which the music takes a more “in the moment” approach. In the A section, the music played through a succession of back and forth scenes without acknowledging any specific action. Here, in the B section, the music is synchronized to key moments while also providing the narrative. For example, the moment Data grabs the hatch handle and opens it to enter deck 16, we hear an already established motif that is clearly associated with the Borg. Goldsmith is telling us that the search parties are about to enter into the presence of the Borg. Once on deck 16, the music takes on a more atmospheric and tension building role. Data discovers evidence of the Borg and his own anxiety increases. Goldsmith uses a motif for Locutus here (heard at the beginning of the film during Picard’s nightmare) as part of a more musically aleatoric landscape.
THE BORG’S MUSIC
The Borg motif characterizes their primal nature. They are motivated by the singular purpose of assimilation, and their emotional detachment makes it impossible to reason with them. Goldsmith uses the perfect fifth interval for its ability to manifest a primal power. The repetition in the motif points to the unrelenting nature of the Borg. The fourth and final perfect fifth signifies capture and assimilation. The motif, then, is a brief summary of the Borg and their objective. As has been mentioned, this motif was established early in the film, first appearing the moment the Enterprise bridge crew begins listening to Star Fleet’s battle with the Borg.
Figure 9 - Borg motif #1
(5:01)
This is not the only motif Goldsmith composed for the Borg in First Contact, however. In fact, he seems to favor the four note motif concept for them. The first time this motif is heard is in a dramatic statement, instilling fear at the sight of the massive cube shaped Borg ship. Like the first motif, it is musically simple, but possesses greater meaning. An arpeggiated minor chord spanning an octave, it is another example of an expansive melody or motif that reminds us of the vastness of space, formidable enemies, and larger ideas.
Figure 10 - Borg motif #2
(6:21)
Figure 11 - Beginning of the B section with the hit points for Data, Worf, and Picard
LOCUTUS’ MUSIC
Goldsmith uses the Locutus motif, a descending minor second (from the opening scene of the film), here to heighten the terror of the Borg’s presence. The Enterprise crew is one step closer to being assimilated, just as Picard once was. Goldsmith would use this same motif again a year later (1997) in his score for The Edge to portray the menacing Kodiak bear. In First Contact, we hear it in conjunction with aleatoric music meant to signal the uneasiness Data is feeling before he disengages his emotion chip. A clear connection between the motif at the beginning of the film and in Search For The Borg is justifiable. This is because in both instances, assimilation is in view; Picard in the past, the Enterprise crew in the future.
Figure 12 - Comparison of Locutus’ motif with the bear motif in The Edge
Locutus - 3:28
The Bear motif from The Edge 0:22
FINAL SECTION A: SEARCHING
As Picard and his team begin advancing through the Borg controlled corridors of deck 16, we rejoin Worf and his team moving cautiously through another section of deck 16. The Enterprise rhythm from before returns. Assuming a more prominent place, the snare drum is reinforced by the timpani. Instead of the fanfare from before, we hear another motif.
Figure 13 - Another Worf motif
Upon closer examination, we can see two possible functions for this motif: another, albeit hidden, statement of the Locutus motif, or the continuation of the last fanfare phrase from the end of the first section A. Notice that the first and last notes are essentially the Locutus motif. Although not obvious, it is feasible.
Figure 14 - Locutus motif within Worf motif
This entire sequence serves as a transition as the Borg, a once distant danger, have become an immediate threat. Goldsmith takes us from a tense search to being in the belly of the whale, so to speak, and does it with such finesse we are not even aware of it happening.
CONCLUSION
During the 1 minute and 29 second sequence involving eight consecutive scenes, Goldsmith identifies thirteen different moments to highlight, including descriptions and action. Goldsmith's genius and craft is on display as his music effortlessly moves back and forth between a dichotomous effort of different tactical perspectives, while at the same time acknowledging key moments in the action containing no dialogue. Goldsmith proves once again that he is a master storyteller through music.
Deck 16 Scene