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Dennis McCarthy (born July 3, 1945) is an American composer of television and film scores. His soundtrack credits include several entries in the Star Trek franchise, including underscores for The Next Generation, Deep Space Nine, Voyager, Enterprise, and the 1994 feature film Star Trek Generations.
He is a composer, arranger and keyboard player born in the United States who started out in the late 1960s when he was asked by the country singer-songwriter to perform the keyboards on his “Gentle On My Mind” and the Grammy Award winning “By the Time I Get to Phoenix”.
Dennis McCarthy (born 1945) is an American composer, mostly for TV shows and movies. He has composed music to several Star Trek shows, including Deep Space Nine, The Next Generation, Voyager and Enterprise; as well as to Dynasty, MacGyver, V: The Series and Parker Lewis Can't Lose. Sites: Wikipedia , Imdb. In Groups:
Emmy-winning film and television composer best known for his work with the Star Trek franchise. Read Full Biography. STREAM OR BUY: Active. 1960s - 2010s. Born. 1945. Genre. Stage & Screen, Classical. Styles. Soundtracks, Original Score, TV Soundtracks, Film Score. Articles. Staff Picks. Advanced Search. Remove Ads. 404 Error.
27 de jul. de 2015 · Published Jul 27, 2015. Exclusive Interview: Star Trek Composer Dennis McCarthy. By StarTrek.com Staff. Dennis McCarthy produced Brent Spiner’s semi-legendary album, Ol’ Yellow Eyes Is Back. And, oh yeah, he composed the main theme and music for Star Trek: Deep Space Nine, as well as music for The Next Generation, Voyager and Enterprise .
15 de mar. de 2016 · A conversation with longtime ‘Star Trek’ composer Dennis McCarthy. Airing originally in 1966, “Star Trek” — a pop-cultural milestone of the 20th century — set a precedent for storytelling, which posited an optimistic future of socio-political harmony as it relates to race, culture, religion, politics and economy.
Dennis McCarthy, a composer who had worked on The Next Generation, was given the task of composing for Star Trek Generations. Critic Jeff Bond wrote that while McCarthy's score was "tasked with straddling the styles of both series", it also offered the opportunity for the composer to produce stronger dramatic writing.
