Music
This is one of the few Star Trek episodes for which original music was written; in this case a full score, by Sol Kaplan. Writer James Lileks notes that the music cues for this episode are "intended to belong together, and that’s one of the reasons the episode works like few others: it has a unique symphonic score. Played start to finish, it holds together." Jeff Bond notes, "Although he wrote only two scores for the series, New York composer Sol Kaplan's music was tracked endlessly throughout the show's first two seasons." Both Lileks and Bond point out similarities between this music and John Williams' award-winning score for Jaws a decade later. The music for this episode was collected, along with the score for "Amok Time," on the second release from Crescendo Records of music from the series: the first release other than the music from the pilot episodes.
Read more about this topic: The Doomsday Machine (Star Trek: The Original Series)
Famous quotes containing the word music:
“I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.”
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“Always, however brutal an age may actually have been, its style transmits its music only.”
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“As if, as if, as if the disparate halves
Of things were waiting in a betrothal known
To none, awaiting espousal to the sound
Of right joining, a music of ideas, the burning
And breeding and bearing birth of harmony,
The final relation, the marriage of the rest.”
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