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Er, have to respectfully disagree. Most of TNG, probably, I'll grant you that along with early DS9 and even maybe the first season or 2 of Voyager. But when you get to later Voyager and DS9 and Enterprise, there is truly some outstanding stuff there that is anything but low key.
One problem for a lot of us is the sheer number of episodes involved. The four spinoff series (TNG, DS9, VOY, and ENT) put together have 617 episodes. Quite a few of those, I saw only once each, and I'm not 100 percent sure I even saw every episode of ENTERPRISE.
Q: Were any of those 617 episodes tracked entirely with pre-existing music, or perhaps partially?
All of these episodes of the spin-off series had original scores commissioned for them.
Some shows did recycle a few cues from earlier scores, but 99% of the time, they had original scores.
Ford A. Thaxton
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To be honest, the amount of recognition a composer's STAR TREK music gets has less to do with how much the guy wrote or how good it is and more to do with how much the guy got heard.
In that sense, having your music re-used a lot may serve the recognition of one's music better.
Fred Steiner did not write the most music for STAR TREK, but because TOS has had 20 years more of repeats than any other series (and is possibly still the most-watched today, and it re-used lots of his music), his 'voice' may be the most heard, recognized and 'associated-with' voice of anyone apart from the original series' main theme.
I agree with everyone saying STAR TREK: TMP is the pinnacle of all STAR TREK musical achievements, but apart from the opening sequence (Main Theme and Klingon Battle), I think Goldsmith's TMP music has a relatively poor recognition rate with the viewing public at large. Certainly less recognition than some of the better known, oft-re-used original series music.
In that sense, some of the most famous music from TOS may be implanted as the most 'identiftied-with' and iconic of STAR TREK music.
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It's aesthetically and practically impossible to place the TV series, especially the early TOS with the movie scores, because they're different animals, with different requirements.
The OS was conceived still in the era of leitmotif/short stings/drama underlining TV music, and is very well crafted often for smaller ensembles. The movies required a bigger sound, and the later TV stuff was partially in the drone era.
As regards TOS, as regards taste, the early people like Fried, Steiner, Mullendore, Fielding, Kaplan would work for me, even if Courage's main title theme was a little cheesy (apart from the fanfare). Goldsmith was not engaged in the early TV projects, but he'd 've undoubtedly produced something in the same vein as said gents. Similarly, they'd have upped the scale had they been composing for the film versions.
And some of us do like the Rosenman.
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You need to read my whole post to understand the relevance of the comment.
And that point is he wrote the best score but he did NOT define STAR TREK music to the wider STAR TREK viewing public. It's the composers whose music they hear again-and-again that define it for them. That was the point of my post and that's why it's relevant to the point I was making.
To put it another way, if there is any music people really associate with their experience of STAR TREK, it's less likely to be Goldsmith's score for TMP and more likely to be that much re-used music in TOS.
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One little side benefit of this thread is that all the TMP accolades have spurred me to play it again. This is an evergreen, but one that seldom finds its way into my rotation. It's almost 34 years old now and has never sounded better-- especially if you splurged for the LLL edition, as I did.
STAR TREK music began with TOS and expanded to fill a whole world, but it's no exaggeration to say that it began again, rather than continued, with TMP.
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