star trek voyager intro song

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Star Trek Voyager - Theme Song

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Theme (From "Star Trek: Voyager")

Nic raine , jerry goldsmith , prague philharmonic orchestra.

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Jerry Goldsmith

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring. more »

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Written by: Jerrald Goldsmith

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Star Trek Voyager Theme Song

The Star Trek Voyager Theme Song, created by Rick Berman, Michael Piller, and Jeri Taylor, is the melodic doorway to the cosmic adventures of the TV series that ran from January 16, 1995, to May 23, 2001. Stemming from Gene Roddenberry’s Star Trek legacy, the show introduced a captivating narrative of space exploration with a talented cast featuring Kate Mulgrew, Robert Beltran, Roxann Dawson, Jennifer Lien, Robert Duncan McNeill, Ethan Phillips, Robert Picardo, Tim Russ, Garrett Wang, and Jeri Ryan.

Crafted by the renowned composer Jerry Goldsmith , the theme music is a musical voyage in itself. It captures the essence of the unknown, setting the tone for the challenges faced by the crew of the starship USS Voyager as they navigate uncharted territories. Goldsmith’s composition became synonymous with the show, creating an emotional connection for viewers as they followed the crew’s journey back to Earth.

Hailing from the United States and presented in English, Star Trek: Voyager spanned seven seasons, offering a total of 172 episodes. Airing on UPN, the series carved its own niche in the Star Trek universe, introducing characters like Captain Kathryn Janeway, played by Kate Mulgrew, and the enigmatic Seven of Nine, portrayed by Jeri Ryan.

The Voyager Theme Song, woven into the fabric of the series, became a recognizable and integral part of the viewing experience. It accompanied the crew’s encounters with new species, the challenges of the Delta Quadrant, and the friendships forged in the vastness of space. Through the harmonies composed by Jerry Goldsmith, the theme song encapsulated the spirit of exploration and unity that defines the enduring appeal of Star Trek: Voyager.

Star Trek Voyager Theme Song Video

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Theme from Star Trek

The "Theme from Star Trek " (originally scored under the title "Where No Man Has Gone Before" [1] and also known informally as the " Star Trek Fanfare ") is the instrumental theme music composed for Star Trek: The Original Series by Alexander Courage . First recorded in 1964 , it is played in its entirety during the opening title sequences of each episode. It is also played over the closing credits, albeit without its signature opening fanfare.

During the opening credits, the theme's opening fanfare is accompanied by the now-famous "Space: the final frontier" monologue spoken by William Shatner (with the exception of the pilot episodes, " The Cage " and " Where No Man Has Gone Before "). Throughout the opening credits, the theme is punctuated at several points by the USS Enterprise flying towards and past the camera. These "fly-bys" are accompanied by a "whoosh" sound effect created vocally by Courage himself. (Documentary: Music Takes Courage: A Tribute to Alexander Courage )

• 1 Conception and original use
• 2 Vocalization and lyrics
• 3 Later use
• 4 Other recordings and uses
• 5 External link

Conception and original use [ ]

Creator Gene Roddenberry originally approached composer Jerry Goldsmith to write the theme for Star Trek . Goldsmith, however, had other commitments and instead recommended Alexander Courage. ( Star Trek: The Motion Picture (The Director's Edition) commentary)

Courage was not a science fiction fan, referring to the genre as "marvelous malarkey." He thus saw the theme he was writing as "marvelous malarkey music." Courage composed, orchestrated and conducted the theme in one week. He drew inspiration from a Richard A. Whiting song he heard on the radio as a child called "Beyond the Blue Horizon". This song had a drawn-out tune with a steady, fast-paced beat underneath it, which Courage emulated when composing the theme. (Documentary: Music Takes Courage )

The theme used in " The Cage " – the unaired first pilot – featured a wordless melody line by soprano Loulie Jean Norman supported by electronic underpinnings. When a second pilot was ordered and the series was picked up, Norman's vocalizations were dropped from the theme.

The first season of The Original Series used two versions of the theme. On the original NBC and syndicated runs, five episodes – "Where No Man has Gone Before", the second pilot, along with " The Man Trap ", " Charlie X ", " The Naked Time ", and " Mudd's Women " – used a mixed electronic/orchestral arrangement for the opening credits, with the main melody line created electronically and accompanied by more traditional instrumentation, including a flute and an organ for both the opening and closing themes. When the series was remastered for video in the early 1980s, only "Where No Man Has Gone Before" retained this version of the theme over both the opening and closing credits, while the opening was restored to the other four episodes and placed on five others when the series was remastered again for DVD release. The closing credits for the other nine episodes, however, used a version that had only an orchestral arrangement. The mixed arrangement was first heard on " The Corbomite Maneuver " (the tenth episode aired, although it was the second episode produced), after which the show opened with the orchestral-only arrangement.

Vocalization and lyrics [ ]

For the second and third seasons , Loulie Jean Norman's wordless accompaniment was re-added to the theme. However, Norman's voice was made more prominent than it was for "The Cage".

When originally written (and as heard in "The Cage"), Courage had Norman's vocalizations and the various instruments mixed equally to produce a unique sound. According to Courage, however, Gene Roddenberry had it re-recorded with Norman's accompaniment at a higher volume above the instruments, after which Courage felt the theme sounded like a soprano solo. Roddenberry's version can be heard during the opening credits of each episode in the second and third seasons; Courage's version is heard during the closing credits.

Further souring the relationship between Roddenberry and Courage, Roddenberry wrote lyrics to the theme without Courage's knowledge – not in the expectation that they would ever be sung, but in order to claim a 50% share of the music's performance royalties. Although there was never any litigation, Courage commented that he believed Roddenberry's conduct was unethical, to which Roddenberry responded, " Hey, I have to get some money somewhere. I'm sure not going to get it out of the profits of Star Trek . " [2] Although the lyrics were never included on the series, they have been printed in several "TV Theme" songbooks over the years.

Later use [ ]

Portions of the Theme from Star Trek have been used in all 13 Star Trek feature films . Most of the Star Trek films' opening themes start by quoting the opening fanfare from Courage's theme, before seguéing into the film's own theme. However, there are multiple exceptions to this tradition. Star Trek: The Motion Picture did not use the fanfare at all in the opening or closing music, although a subdued version of the Theme from Star Trek was created by Courage at the request of the film's main composer, Jerry Goldsmith . [3] This arrangement of the theme was used for the " Captain's Log " cues. The theme was quoted again in Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home , most extensively in the final scenes.

Star Trek VI: The Undiscovered Country , scored by Cliff Eidelman , broke with the tradition again. The Theme from Star Trek did not appear in the opening music, although it was used towards the end. Star Trek Generations , scored by Dennis McCarthy , on the other hand, did use the fanfare in the opening credits (and extensively throughout the score) but it did not appear until the end of the main title music.

The score for Star Trek , composed by Michael Giacchino , again did not use the fanfare in the opening title music: instead, Giacchino subtly quoted the opening notes and various other Star Trek themes from past films throughout his score. For the end credits, a re-arranged version of the Theme from Star Trek , fully orchestrated and with The Page La Studio Voices accompanying the melody line, was used. This version was also used for the end credits of Star Trek Into Darkness and Star Trek Beyond .

The theme's opening fanfare was adapted by Dennis McCarthy as the opening for the Star Trek: The Next Generation theme (the remainder of which was an adaptation of Goldsmith's theme from Star Trek: The Motion Picture ). Courage's original theme can also be heard in the Star Trek: Deep Space Nine episode " Trials and Tribble-ations ", the Star Trek: Voyager episode " Shattered ", and the Star Trek: Enterprise series finale, " These Are the Voyages... "

Courage's theme was re-recorded for the remastered Star Trek episodes , with Elin Carlson emulating Norman's wordless vocalization.

Star Trek: Discovery composer Jeff Russo included Courage's fanfare at the end of the Discovery main titles. The theme returned in full at the end of the Season 1 finale, " Will You Take My Hand? ", playing over the closing credits after the USS Discovery intercepts a distress call from the USS Enterprise .

In the Star Trek: Strange New Worlds episode " Spock Amok ", at least a portion of the theme became diegetic (heard in the fictional universe) when a few notes of the fanfare could be heard on the PADD used to keep track of tasks for " Enterprise bingo ".

Other recordings and uses [ ]

TOS star Nichelle Nichols recorded a disco version of the theme. However, Nichols used different lyrics than those written by Gene Roddenberry. The late jazz musician Maynard Ferguson and his band also recorded a rendition of the song, a fusion version that was released on his 1977 album Conquistador . Ferguson's version was used as the opening theme for The Larry King Show on the Mutual Radio Network. The satirical rock band Tenacious D and the lounge band Love Jones recorded versions of the theme, as well, using Gene Roddenberry's lyrics.

Roy Orbison was a Star Trek fan and often opened his concerts with his band jamming to theme. [4]

The 1992 Paramount Pictures comedy Wayne's World was the first non- Trek film to use Courage's theme. In the film, the character of Garth Algar (played by Dana Carvey ) whistles the theme while he and Wayne Campbell ( Mike Myers ) lie on the hood of Wayne's car, looking up at the stars. When Garth finishes the tune, he tells Wayne, " Sometimes I wish I could boldly go where no one's gone before. But I'll probably just stay in Aurora. " The theme can also be heard in the films Muppets from Space (1999, starring F. Murray Abraham ) and RV (2006, starring Robin Williams and featuring Brian Markinson ).

At the 2005 Primetime Emmy Awards, TOS star William Shatner and opera singer Frederica von Stade performed a live version of the theme, with Shatner reciting the opening monologue and von Stade singing the wordless melody line.

In 2009, the theme was used as the wake-up call for the crew of mission STS-125 aboard Space Shuttle Atlantis .

For the 2021 inauguration of US President Joe Biden , acclaimed cellist Yo-Yo Ma played the fanfare of the theme as a prelude to his performance of another song significant to Star Trek , " Amazing Grace ". [5]

External link [ ]

• Theme from Star Trek at Wikipedia
• 1 Daniels (Crewman)

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Star trek: picard subtly reused voyager’s theme tune perfectly.

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Star Trek: Voyager's Original Plan Would Have Delayed Seven of Nine's Introduction

“that pissed me off”: enterprise actor gives his honest take on star trek: discovery’s finale twist, game of thrones' 6-year-old daenerys targaryen plot hole is made a lot worse by house of the dragon.

Star Trek: Picard honored one of its predecessors, Star Trek: Voyager , by evoking its much loved theme song. Star Trek: Picard has been a surprising well of knowledge for Voyager fans; Seven Of Nine is set to play a prominent role after being introduced in "Stardust City Rag," which also saw the grisly death of a minor character from the series.

After thwarting her attempts to exact murderous vengeance against an intergalactic arms dealer who chopped up her friend for parts, Jean-Luc Picard and Seven Of Nine have a conversation that surely set the hearts of Trek fans aflutter. Picard and Seven are the most prominent ex-Borg characters in all of Star Trek , though they had never met before this episode. They didn't have much time to get acquainted when Seven surprisingly boarded the La Sirena, as Picard hastily enlisted her to help him track down Bruce Maddox , the cyberneticist who created the twin androids Dahj and Soji Asha from bits of the late Lieutenant Commander Data's engrams.

Related: Star Trek: Every Android Brent Spiner Played (& What Happened To Them)

Yet in a quiet moment after all the action, Seven has an uncharacteristically vulnerable moment with Picard. She asks Picard if he felt he had regained his humanity after his assimilation, to which he replied he did. Seven specifies, asking Picard if he felt he'd recovered all  of his humanity, which he's forced to admit he does not. It's a tender moment for what seems to be two ships passing in the night, as Seven goes off to pursue her prey and Picard rushes off to the Borg Artifact to save Soji. And as Seven steps atop the La Sirena's transporter pad, a brief section of the  Voyager  theme song can be heard.

The suitably soaring original theme song was composed by the late Jerry Goldsmith. Goldsmith didn't score Star Trek: The Original Series, yet he's probably composed more memorable Star Trek themes than any other single person. His epic score for Star Trek: The Motion Picture was famously reused as the theme song to Star Trek: The Next Generation , and he would go on to score three of the four TNG films.

Voyager rarely ranks at the top of fans' favorites lists - it suffered from notoriously inconsistent quality and a thin supporting cast over its seven seasons - but the theme song is an all-timer. It seems a sure thing Seven will be crossing Picard's path again; there's no way they could tease a major Borg connection like Seven without a bigger payoff. Yet even if this were the last fans saw of Seven on Star Trek: Picard , her exit sounded suitably mighty.

Next: Star Trek Theory: Romulans Hate Androids Because They Themselves ARE Artificial

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• Star Trek: Voyager (1995)
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Sorting “Star Trek: Voyager” Characters into Their Hogwarts Houses

by Laurie Beckoff · Published June 7, 2024 · Updated May 8, 2024

Star Trek: Voyager sent its crew where no one had gone before: the Delta Quadrant. Far from home and manned by a crew from both Starfleet and the Maquis resistance – plus a few new friends – Voyager explored uncharted territory, forcing the characters to adapt to new situations with little guidance. What Hogwarts Houses do they belong in?

Captain Kathryn Janeway – Gryffindor

Even when she perhaps should, Captain Janeway is loath to abandon her principles. She insists on adhering to Federation values and procedures even when far from Federation space. Sometimes that means making sacrifices, but she’s willing to put herself on the line to do what she believes is right. A starship captain has to make difficult choices, even when her decisions may be unpopular (but she was right about Tuvix). Janeway’s got a knack for leadership, and all she has to say is “do it.” Somebody get this woman some coffee!

Commander Chakotay – Hufflepuff

Janeway’s first officer is more willing to entertain the idea of giving up on making it home and settling in the Delta Quadrant. While the captain is all determination, Chakotay looks to make the best of a bad situation. As a former Starfleet officer as well as Maquis resistance leader, he’s often responsible for making sure everyone can work together, which can be quite the task. Luckily, Chakotay is fair-minded, having joined the Maquis because he thought their cause was just. He’s also deeply loyal and devoted to his captain, both professionally and personally.

Lieutenant Commander Tuvok – Ravenclaw

It’s difficult to find a Vulcan who isn’t a Ravenclaw. Tuvok, like most of his species, values logic above all else. This comes through in both his work as chief security officer and his leisure time, which he spends on pursuits such as meditation and the logic game kal-toh. His wisdom comes from both logic and experience. He is over a century old and has had a long Starfleet career, including teaching at the Academy, as well as a life back on his home planet, where he raised a family, showing a willingness to try new things.

Lieutenant B’Elanna Torres – Gryffindor

As a half-Klingon and former resistance fighter, B’Elanna never backs down from a challenge. She knows her way around a warp core and dares anyone to disagree with her expert opinion. Don’t get into a fight with her unless you’re prepared to be both physically and emotionally destroyed – but that aggression comes from passion and a lifetime of fighting prejudice.

Lieutenant Tom Paris – Gryffindor

Pilots love action, and Tom Paris is no exception. He’s always eager to try a risky new maneuver but isn’t the best at following orders, even getting a temporary demotion for his disobedience, though his intentions were noble. He’s confident, adventurous, and quite the charmer, winning the heart of perhaps Voyager ‘s toughest nut to crack, Chief Engineer B’Elanna Torres.

Ensign Harry Kim – Hufflepuff

Poor Harry – always an ensign, never a lieutenant, even after seven years of loyal service. Only a Hufflepuff could be so overlooked! He’s usually a by-the-book kind of officer, eager to please and willing to put in the work, often on night shifts, which give him the rare chance of being the commanding officer. It’s not power he’s after but a chance to prove his worth. When he does stray from the line of duty, he often gets in more trouble than others since the captain expects so much of him.

The Doctor – Ravenclaw

The Doctor is a true Renaissance man – or hologram, rather. In addition to his programmed medical prowess, he excels at art and music and is always looking to broaden his creative and emotional horizons. Sometimes, he becomes a little too engrossed in his own pursuits, unaware that his audience isn’t quite as invested.

Seven of Nine – Slytherin

Severed from the Borg collective and still learning about her own humanity, Seven can’t help but strive for perfection. She’s hyper-focused on her goals, often forgoing rest and nourishment unless absolutely necessary. Always seeing herself as a member of a collective, she aims to provide exemplary service to Voyager and its crew.

Neelix – Hufflepuff

He loves cooking, looks out for everyone, and makes friends wherever he goes – he’s a Puff ! Neelix is Voyager ‘s resident social butterfly (Talaxian), and even stoic Tuvok is not immune to his charms. There’s a reason he serves as the ship’s morale officer – he wants to put smiles on everyone’s faces.

Kes – Hufflepuff

Kes always cares for others, right down to her departure from Voyager , when she uses her transformation to help the ship progress on its long journey. In her time on board, she serves as the Doctor’s assistant, stepping in where more hands are needed, often with a better bedside manner. She also oversees the plants in the airponics bay (basically Herbology). At only a few years old – as a member of a race that only lives until nine – and having been rescued by Neelix, Kes has a natural innocence and instinct to help others.

How did the Sorting Hat do?

Laurie Beckoff

My Harry Potter journey began in 2000 when I was six and continued through a bachelor's thesis and master's dissertation on medievalism in the series. I'm a Gryffindor from New York City with a passion for theatre, fantasy, Arthurian legend, and science fiction.

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