The fact is is that none of the theatrical feature film scores for Star Trek can hold a candle to the pastiche of music done when the original series first aired. In the post Star Wars era the John Williams Style retro-1930's militaristically themed approach became the standard for all sci-fi films no matter the tone or content and Star Trek was not immune to that. Even the beloved Jerry Goldsmith, who pioneered a more modernistic sound in his pre-1977 work gave in to this overbloated , overly melodramatic approach. His plodding, tasteless theme from STTMP that somehow became the post Original Series Anthem and was even used for the Next Generation TV theme (why couldn't they come up with something original for that?). Gone was that sense of humor and spontaneity that characterised the original series. Alexander Courage's theme and the musicians that followed it into the course of the original series had a clipping, JAZZ-BASED feel that was thrown out when the show made the transition to film. Ever notice how most of the incidental music in the original series was written around the 8 ascending notes of the original series fanfare. Sure they stuck the fanfare in at points starting in ST2, but ever notice how it feels just thrown in -- as if it's not organically connected to the rest of the score and attitude of the music? And the 3 times they used snippets of the orighinal Alexander Courage Main Title TV Theme (in STTMP, ST3 & ST4) it sounded fatally anachronistic? Gone was that clipping, snappy snese of living off the cuff, or the seat of your pants, while flying around space. Instead the music, not unlike the heavy handed, weighty constume design that started with ST2 (will people really need to wear that much junk in space? They didn't think so on the Original Series), felt as if it weighted the ST universe down. The worst offender of this was Rosenman's ST4 score, made tolerable only by the light-hearted writing, direction and performances in the film that successfullt recaptured the humorous side of the orginal series. Leonard Rosenman was always a minor, rather boring composer for film. His theme for the TV show "Combat" was probably his most memorable work and while his theme for the 1970's TV show "Marcus Welby, M.D." was good it was probably because the show's attitude mirrored the suburban, middle-class, almost numbed sense of musical banality that permeates Rosenman's style. Just compare his grating score to "Beneath The Planet Of The Apes" to Goldsmith's ingenious score for the original film in that series. Well, sorry, for ranting, but I've been waiting 25 years to say the above.>