In hopes that this is not too off-topic, because I know classical more than rock, here goes;
Federation pursuit ships advancing:
The frenetic second movement of the Shostakovich Symphony 10, the so-called "Musical Portrait of Stalin."
Fed soldiers storming down halls and kicking down doors, gunfire:
The same composer's third quartet, second movement, whose other movements contain themes of deep sorrow, mourning the fallen victims. The eighth quartet, of course, written autobiographically for the "Victims of War and Fascism."
To represent the Fed inexorable advance across the galaxy, conquering worlds:
By the same composer, there's the Bolero-style "Nazi Invasion" theme in his Symphony 7. Which grows on you, after a while.
Hmm. . . perhaps I should have called this thread Shostakovich and B7 . . . I recently read a book of his suggesting that he encoded dissident themes in his music, his string quartets being privately written for friends, being among his best known examples. He lived during the time of the Stalin terrors, and watched a lot of friends, relatives, die or disappear, thought he would be next. He slept fully clothed beside a packed suitcase. One never knew when they would come, but it was always at night. These fear themes came into his music, along with a grotesque humor, and even, at times, a transcendance (the passacaglio third movement in his third quartet, it breaks your heart).
ObB7, did music exist in anything other than a trite form, ala "Gold" in B7?
Jackie