Nominated for an Oscar in 1980 for “best music, original score” for Star Trek: The Motion Picture, Jerry Goldsmith’s contribution to the success of the Star Trek franchise is by no means insignificant. The most recognizable element of this contribution is the main theme. Through its appearances and transformations in Star Trek: The Motion Picture, Goldsmith establishes the main theme by masterfully infusing it into the narrative. By examining the contexts and applications in which it appears throughout the film, we will get a complete picture of its narrative purposes.
THE MAIN THEME
Before discussing the contexts in which the theme appears, it would be beneficial to look at the theme in its normal form. The first thing we see is that it is structured in ABA form with each section being sixteen measures in length. Contrasting rhythmic and melodic figures help divide these sections into subsections, each communicating a particular aspect of the narrative.
Section A
Section A encapsulates the phrase, “to boldly go where no man has gone before”. The rising melodic figures in both subsections labeled 1, possessing large intervals, is reminiscent of Alexander Courage’s fanfare from the original television series. In Goldsmith’s version, however, the fanfare figure is part of the theme, not a prelude to it.
Both subsections labeled 2 move melodically in a step-wise manner with straightforward quarter-notes, ending with a triplet figure. There is hymn-like nobility here that emphasizes military pomp and unity of vision.
Section B
Section B, while retaining the energy of section A, is more lyrical. The melodic and rhythmic structures are similar to those of section A as well. There is a warmth and camaraderie infused in this section. One can envision a group of hardened naval officers with a pint in hand, swaying and singing the B section tune.
OCCURRENCES IN THE FILM (Director’s Cut)
The theme occurs many times throughout the film in both its normal form as well as in many permutations. We will examine the contexts and applications of significant occurrences in which it is heard to get a complete picture of its narrative purposes.
STARFLEET HEADQUARTERS
Immediately after Spock refuses to complete the act of purging all emotion on Vulcan, the scene changes to Starfleet Headquarters in San Fransisco. The Goldengate Bridge is in view as Captain Kirk’s shuttle whizzes by. The main theme in its normal form is heard in the same manner in which it was presented in the opening of the film: full of optimism and forward motion. The full compliment of the brass section leads the way with the A section of the theme. As the shuttle approaches a grand central station-like hustle and bustle, the B section is heard in a subdued variation with brief quotes of the A theme interjected. As Kirk is seen about to exit the shuttle, the grandiose A theme returns. Right away Goldsmith begins associating this theme with Starfleet and Captain Kirk.
APPROACHING THE ENTERPRISE
In this sequence, Goldsmith continues establishing the association of Captain Kirk to the main theme and adds the Enterprise. The occurrences of the theme in this sequence begin with variations and lightly orchestrated presentations. The accompaniment provides the mystery and anxiousness Kirk feels. As the sequence progresses, the thematic statements approach the fully orchestrated optimism heard in the main title.
The A theme is heard in a mysterious variation played by the celli and double basses supported by a light pulse of violins and flourishing woodwinds. This happens moments before Kirk transports to a space station where Scotty will take him to the Enterprise. The effect of this music is mysterious and floating.
As Kirk and Scotty leave the space station, the A section of the theme is heard in a solo trumpet. More mysterious accompaniment is heard. With all these mysterious accompaniments, Goldsmith is underscoring the tension felt regarding whether or not the Enterprise will be ready in time for launch.
Goldsmith cements Kirk’s association to the main theme as Kirk tells Scotty that he will be commanding the Enterprise. We hear the A section of the theme played by a dignified solo french horn. As they approach the Enterprise in dry dock, another variation of the theme is heard in a solo trumpet.
For the rest of the sequence there is no dialogue. Goldsmith brilliantly portrays the emotions of Captain Kirk as Scotty treats him to an opportunity to view the Enterprise from all angles. Goldsmith begins this tour with the celli playing the A section of the main theme as Kirk looks longingly at the Enterprise. The optimistic tone is replaced with love as Kirk sees the ship he commanded for 5 years. Woodwinds and strings flutter about the theme, signifying the anxious butterflies swelling up inside him. Goldsmith intensifies this feeling by adding the horns to the celli. At the moment Kirk and Scotty glance at each other Goldsmith gives the B theme to the violins. Violas in the background move quickly with continuous sixteenth notes possessing Goldsmith giddiness. Up to this point, we have only seen glimpses of the Enterprise due to the dry dock structure obscuring the view. Goldsmith gives us less than full orchestration of the theme to match the visual. It’s not until Kirk and Scotty are facing the Enterprise that we see it in full view. Goldsmith gives us a slow and majestic statement of the theme to again match the visual.
TRANSPORTER ACCIDENT AND KIRK’S CONFUSION
In this brief sequence, two applications of the theme present themselves in quick succession. In the first, the tragedy of losing two starfleet officers in a transporter malfunction, we hear the theme in an almost taps-like variation in the horns. Goldsmith informs us that these two officers died in the line of duty and underscores Kirk’s first act as captain: expressing condolences to the families of the dead officers. We hear this variation again in the horns as Kirk leaves the transporter room. He quickly processes what has happened then snaps back to reality, confused as to which corridor direction to go. This is the second application of the theme in this sequence which lower and lower in register. Instead of indicating giddiness as before, Goldsmith uses a pulsing woodwind accompaniment to show Kirk’s confusion.
SPOCK ENTERS THE BRIDGE
In this very brief statement of the first four notes of the theme, Goldsmith signals the completion of the reuniting of the original crew with warm and lush strings.
ALERT: CONDITION RED
Moments after Uhura informs Kirk that they are approaching the cloud we simultaneously see the red alert flashing and hear a vigorous variation of the main theme. Starting in the low strings and rising through the orchestra to the trumpets and punctuated with brassy punches, Goldsmith adds to the applications of the theme: battle readiness.
KIRK CATCHES SPOCK AFTER THE MIND MELD
The last time the theme was heard in its normal form was forty-eight minutes prior, when Spock entered the bridge on the Enterprise. Goldsmith subtlety reminds us of the theme with a solo trumpet as the unconscious, floating Spock floats to Kirk. Goldsmith creates the sense of relief that Spock is back safely. The last note of the phrase deviates from its expected resolution as Kirk realizes something is wrong with Spock. Both the sense of optimism and the deep friendship of Kirk and Spock are present in this moment. The supporting minor harmony and string ostinato is a reminder of their precarious situation.
AFTER DECKER UNITES WITH V-GER
The Enterprise serenely moves above earth after Decker unites with V-ger and then with Ilia. Goldsmith assigns the main theme to the celli and horns, as he had done previously when Kirk was seeing the Enterprise. We hear the same one note alteration given to the solo trumpet when Kirk catches Spock. This time, however, the harmony is major signaling that the danger is over. This is followed by a grandiose orchestration of the main theme, not heard since the APPROACHING THE ENTERPRISE sequence.
As Kirk, Spock, and McCoy provide closure to the adventure with a shared epilogue, we hear the theme as a music epilogue, peppering the final moments of the film.
CONCLUSION
Jerry Goldsmith has created a theme that captures the optimism of Star Trek. With masterful technique and creativity he has both established and solidified this new theme in Star Trek’s musical canon. Through many variations and permutations, Goldsmith’s theme provided a sense of nobility, comfort in tragedy, warmth of reunion, courage in the face of potential danger, and the relief of rescue. As we will see in this 14 part series on the themes of Star Trek films, this Star Trek theme, more than any other, appears most often.