On the music for star trek

The tensions between utopian dreams and dystopian anxieties permeate science fiction as a genre, and nowhere is this tension more evident than in Star Trek. This book breaks new ground by exploring music and sound within the Star Trek franchise across decades and media, offering the first sustained look at the role of music in shaping this influential series. The chapters in this edited collection consider how the aural, visual, and narrative components of Star Trek combine as it constructs and deconstructs the utopian and dystopian, shedding new light on the series’ political, cultural, and aesthetic impact. Considering how the music of Star Trek defines and interprets religion, ideology, artificial intelligence, and more, while also considering fan interactions with the show’s audio, this book will be of interest to students and scholars of music, media studies, science fiction, and popular culture.

Since the early days of motion picture production, film scores have helped define our emotional and aesthetic perception of stories on screen--particularly with space movies and television. The music from The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, Star Trek, Battlestar Galactica and others has helped define the public's awareness of space almost as much as the films themselves. In some cases, they have redefined the norms of film music. Star Wars not only revived the popularity of orchestral film scores but also helped stimulate an increased public interest in classical orchestral music around the world. This work explores the music and the composers who have helped define the sound of space for over a century, transforming how we perceive space and even inspiring greater interest in space exploration. This book also details how music has been performed and played in space since the early days of the "space race."

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com While all media are part of intermedial networks, video games are often at the nexus of that network. They not only employ cinematics, embedded books, and in-world television screens for various purposes, but, in our convergence culture, video games also play a vital role in allowing players to explore transmedia storyworlds. At the same time, video games are frequently thematized and remediated in film, television, and literature. Indeed, the central role video games assume in intermedial networks provides testament to their significance in the contemporary media environment. In this volume, an international group of contributors discuss not only intermedial phenomena in video games, but also the intermedial networks surrounding them. Intermedia Games-Games Inter Media will deepen readers' understanding of the convergence culture of the early twenty-first century and video games' role in it.

Music is a central component of video games. This book provides methods and concepts for understanding how game music works.

The music for science fiction television programs, like music for science fiction films, is often highly distinctive, introducing cutting-edge electronic music and soundscapes. There is a highly particular role for sound and music in science fiction, because it regularly has to expand the vistas and imagination of the shows and plays a crucial role in setting up the time and place. Notable for its adoption of electronic instruments and integration of music and effects, science fiction programs explore sonic capabilities offered through the evolution of sound technology and design, which has allowed for the precise control and creation of unique and otherworldly sounds. This collection of essays analyzes the style and context of music and sound design in Science Fiction television. It provides a wide range of in-depth analyses of seminal live-action series such as Doctor Who, The Twilight Zone, and Lost, as well as animated series, such as The Jetsons. With thirteen essays from prominent contributors in the field of music and screen media, this anthology will appeal to students of Music and Media, as well as fans of science fiction television.

When it premiered on NBC in September 1966, Star Trek was described by its creator, Gene Roddenberry, as “Wagon Train to the stars.” Featuring a racially diverse cast, trips to exotic planets, and encounters with an array of alien beings who could be either friendly or hostile, the program opened up new vistas for television. Along with The Twilight Zone and The Outer Limits, Star Trek represented one of the small screen’s rare ventures into science fiction during the 1960s. Although the original series was a modest success during its three-year run, its afterlife has been nothing less than a cultural phenomenon. To celebrate the show’s debut fifty years later, it’s time to reexamine one of the most influential programs in history. In Gene Roddenberry’s Star Trek: The Original Cast Adventures, Douglas and Shea T. Brode present a collection of essays about the series and its various incarnations over the years. Contributors discuss not only the 1960s show but also its off-shoots, ranging from novels and graphic novels to toys and video games, as well as the films featuring Captain Kirk, Mr. Spock, and the rest of the Enterprise crew. Essays address the show’s religious implications, romantic elements, and its role in the globalization of American culture. Other essays draw parallels between the series and the Vietnam War, compare Star Trek II to Milton’s Paradise Lost, posit Roddenberry as an auteur, and consider William Shatner as a romantic object. With its far-reaching and provocative essays, this collection offers new insights into one of the most significant shows ever produced. Besides television and film studies, Gene Roddenberry’s Star Trek—a companion volume to The Star Trek Universe—will be of interest to scholars of religion, history, gender studies, queer studies, and popular culture, not to mention the show’s legions of fans.