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I would like to hear most of those choices tackle Star Trek, however just one then,
1. Dominic Tronteri
I agree.
Of those on this list of 18 potential candidates to write for Star Trek, I'm biased towards Dominic Frontiere.
Frontiere's music for television, I say, is more expressive and resonant than his feature film work (much of which was written in pop music veins) - and Frontiere's creative peak was during the 1960s. If Frontiere is to be remembered at all in the future, then most likely it will be for his contributions to TV series. Star Trek was '60s TV - so if Dominic had written anything for ST then the result would have occurred whilst Frontiere was in his musical prime.
https://www.filmscoremonthly.com/board/posts.cfm?pageID=1&forumID=1&threadID=120955&archive=0
OnyaBirri actually created a thread citing Frontiere's episode scores for "Nightmare" and "The Mice" [from The Outer Limits] along with Courage's pilot music for ST's "The Cage" as examples of space-age bachelor-bad music.
Knowing how Courage's music for "The Cage" sounds, one could imagine also 'tracking' some of Frontiere's passages from "Nightmare" & "The Mice" into Roddenberry's pilot show.
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I can still see the Jobim theory fitting. The song was popular in Brazil long before Stan Getz and Astrud Gilberto made it super-famous. I haven't checked, but I think that might have been around the mid-'60s, so it MIGHT fit chronologically. Yes! As Zardoz spoketh, with Astrud doing the soprano voice!
As a (much later) footnote to this topic, I just now thought of 1966's The Deadly Affair with it's opening cue sung by Astrud Gilberto which illustrates how much the bossa nova permeated the mid-'60s zeitgeist. I can picture the bossa nova style being discussed as a possible musical direction for Star Trek during that Dec '64 meeting. It could have worked in a few of the early claustrophobic sexually-charged episodes produced by Roddenberry. Imagine Quincy Jones writing music for The Man Trap or Mudd's Women. After Gene L. Coon succeeded Roddenberry as line-producer, though, the more action orientated path the series traversed (location filming for battles with Klingons or the Gorn) would not find support in hedonistic mood music.
I'm glad, in hindsight, that fixations on bossa novas were short-lived and not pursued any further by Desilu's music dept. & Wilbur Hatch for ST.
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