<P> 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 . "(The compilation) showed me what to stay away from, because I couldn't do James Horner (composer for The Wrath of Khan and The Search for Spock) as well as James Horner," he said . Since he was hired early on in production, Eidelman had an unusually long time to develop his ideas, and he was able to visit the sets during filming . 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 . </P> <P> 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 . 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 . Besides using percussion from around the world, Eidelman treated the choir as percussion, with the Klingon language translation for "to be, or not to be" ("taH pagh, taHbe") being repeated in the background . Spock's theme was designed to be an ethereal counterpart to the motif for Kirk and the Enterprise, aimed at capturing "the emotional gleam in the captain's eye". Kirk's internal dilemma about what the future holds was echoed in the main theme: "It's Kirk taking control one last time and as he looks out into the stars he has the spark again (...) But there's an unresolved note, because it's very important that he doesn't trust the Klingons . He doesn't want to go on this trip even though the spark is there that overtook him ." For the climactic battle, Eidelman starts the music quietly, building the intensity as the battle progresses . </P> <P> Dennis McCarthy, a composer who had worked on The Next Generation, was given the task of composing for Star Trek Generations . 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 . His opening music was an ethereal choral piece that plays while a floating champagne bottle tumbles through space . For the action scenes with the Enterprise - B, McCarthy used low brass chords and touches . Kirk was given a brass motif accented by snare drums (a touch verboten during The Next Generation), while the scene ends with a dissonant notes as Scott and Chekov discover Kirk has been blown into space . </P> <P> McCarthy expanded his brassy style for the film's action sequences, such as the battle over Veridian III and the crash - landing of the Enterprise . For Picard's trip to the Nexus, more choral music and synthesizers accompany Picard's discovery of his family . The film's only distinct theme, a broad fanfare, first plays when Picard and Kirk meet . The theme blends McCarthy's theme for Picard from The Next Generation's first season, notes from the theme for Star Trek: Deep Space Nine, and Alexander Courage's classic Star Trek fanfare . </P>

Who wrote the music for the original star trek