The second portion of this dissertation demonstrates how STAR TREK’s conflicting social stances resonate through its soundtrack, especially regarding race and gender.
Understanding the means by which the soundtrack was integrated into the show not only provides new insight into the television production practices of the sixties and the politics of representation present in the administration of STAR TREK, but also exposes the ideological foundations of the series’ treatment of identity and difference. Through extant interviews, letters, sketch scores, cue sheets, and contracts, this dissertation reveals the roles of several key figures as well as the processes they imagined and implemented in creating STAR TREK’s soundscape and musical score. First, it explores the pragmatics of soundtrack production within the series using primary source material from archives across the United States, including the collections of series’ creator Gene Roddenberry and series’ composers Alexander Courage, Fred Steiner, Gerald Fried, Jerry Fielding, Sol Kaplan, and George Duning. STAR TREK was what Michel Foucault called rupture or break, simultaneously promoting social change while protecting old power structures. Though this science fiction program aspired to a liberal stance, championing core tenets of the Civil Rights and Women’s Movements, it nevertheless reinforced the dominant position of the white, heterosexual male in the United States’ social hierarchy. AbstractThe original television series STAR TREK (1966–69) enacted the social turmoil of the American sixties, as long-existing power structures struggled with progressive ideas, illuminating charged social and political tensions.
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