Other composers who contributed music to at least one episode include Don Davis, John Debney, Brian Tyler, George Romanis, Sahil Jindal, Andrea Datzman, and Kris Bowers.

The approach of Kirk and Scott to the drydocked Enterprise by shuttle lasted a ponderous five minutes due to the effect shots coming in late and unedited, requiring Goldsmith to maintain interest with a revised and developed cue.

[7]: 105  Meyer and producer Harve Bennett wanted the music for the sequel to go in a different direction but had not decided on a composer by the time filming began.

"[16] When asked about how he landed the assignment, the composer replied that "the producers loved my work for Wolfen, and had heard my music for several other projects, and I think, so far as I've been told, they liked my versatility very much.

[15] In keeping with the nautical tone, Meyer wanted music evocative of seafaring and swashbuckling, and the director and composer worked together closely, becoming friends in the process.

[19] The seven-note brass theme was echoplexed to emphasize the character's ruminations about the past while on Ceti Alpha V, but does not play fully until Reliant's attack on the Enterprise.

"[19] The difference in the short, French horn-based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during the battle sequences.

When writing music for The Wrath of Khan, Horner was aware he would reuse certain cues for an impending sequel; two major themes he reworked were for Genesis and Spock.

Because of this Nimoy turned to his friend Leonard Rosenman, who had written the music to, among other films, Fantastic Voyage, Ralph Bakshi's The Lord of the Rings, and two Planet of the Apes sequels.

[7]: 119 [23] Rosenman wrote an arrangement of Alexander Courage's Star Trek television theme as the title music for The Voyage Home, but Nimoy suggested that he write his own instead.

Nimoy intended the crew's introduction to the streets of San Francisco to be accompanied by something reminiscent of George Gershwin, but Rosenman changed the director's mind[7]: 131  and the scene was scored with a contemporary jazz fusion piece by Yellowjackets.

When Chekov flees detention aboard the aircraft carrier, Rosenman wrote a bright cue that incorporated classical Russian compositions, while the escape from the hospital was done in a baroque style.

Since many sounds familiar to Star Trek had already been established—the Bird of Prey's cloaking device, the transporter beam, et al.—Mangini focused on making only small changes to them.

[25] Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier; he chose Laurence Luckinbill to play the role of Sybok, and he hired Jerry Goldsmith to compose the film's score.

Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion.

The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.

[28] In conversations with Eidelman, Meyer mentioned that since the marches that accompanied the main titles for other Star Trek films were so good, he had no desire to compete with them by composing a bombastic opening.

[29] Eidelman's previous project had been creating a compilation of music from the past five Star Trek films, and he consciously avoided taking inspiration from those scores.

While the film was in early production Eidelman worked on electronic drafts of the final score, to placate executives who were unsure about using a relatively unknown composer.

[30] Eidelman stated that he finds science fiction the most interesting and exciting genre to compose for, and that Meyer told him to treat the film as a fresh start, rather than drawing on old Star Trek themes.

[29] Eidelman wanted the music to aid the visuals; for Rura Penthe, he strove to create an atmosphere that reflected the alien and dangerous setting, introducing exotic instruments for color.

Critic Jeff Bond wrote that while McCarthy's score was "tasked with straddling the styles of both series", it also offered the opportunity for the composer to produce stronger dramatic writing.

[7]: 159  When the Borg invade sickbay and the medical hologram distracts them, Joel wrote what critic Jeff Bond termed "almost Coplandesque" material of tuning strings and clarinet, but the cue was unused.

[7]: 156 In a break with Star Trek film tradition, the soundtrack incorporated two licensed songs: Roy Orbison's "Ooby Dooby" and Steppenwolf's "Magic Carpet Ride".

GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them".

The compact disc shipped with CD-ROM features only accessible if played on a personal computer,[36] including interviews with Berman, Frakes, and Goldsmith.

Insurrection opens with Alexander Courage's Star Trek: The Original Series fanfare, also introducing a six-note motif used in many of the film's action sequences.

The score opens with Alexander Courage's Star Trek: The Original Series fanfare, but quickly transitions into a much darker theme to accompany the conflict between the Reman and Romulan empires.

The score is book-ended with Goldsmith's theme from Star Trek: The Motion Picture, following a brief excerpt from the popular 1929 song "Blue Skies" by Irving Berlin.

[39] Giacchino admitted personal pressure in scoring the film, as "I grew up listening to all of that great [Trek] music, and that's part of what inspired me to do what I'm doing [...] You just go in scared.