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Also Sprach Zarathustra, Op. 30 - Strauss

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Music throughout "The Great Gatsby" is almost like an accompaniment that supports Jay Gatsby any time when he trys to convey a symbolic and themeatic message. In three particular songs throughout the book, Gatsby's words, character, and dreams are represented through music. It connects Gatsby with his identity as an American and the culture of the Roaring Twenties.

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Music throughout "The Great Gatsby" is almost like an accompaniment that supports Jay Gatsby any time when he trys to convey a symbolic and themeatic message. In three particular songs throughout the book, Gatsby's words, character, and dreams are represented through music. It connects Gatsby with his identity as an American and the culture of the Roaring Twenties.

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"Ain't We Got Fun?" (Van & Schenck, 1921)

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Lyrics relative to book:

..."Every morning,

Every evening,

Ain't we got fun?

Not much money,

Oh, but honey,

...

There's nothing surer,

The rich get richer and the poor get children.

In the meantime,

In between time,

Ain't we got fun!"

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Composers: Taymond B. Egan, Gus Khan, and Richard Whiting
Popularized by Van and Schenck Musical-Comedy Team

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This song is like a conclustion to the long day that Gatsby spent with Daisy for the first time in five years. Just as Nick described it, "It was the hour of a profound human change and excitement was generating on the air" (Ch. 5 pg. 101). The history of the song itself depicts life during the 1920's, especailly since it was #1 on the Billboard Charts in 1921. The song "celebrates the significant social and economic changes that occurred in the United States during the Roaring Twenties" ("Ain't We Got Fun?") With this relevance in mind, the audience can better understand Fitzgerald's purpose as to why he would include such a piece into his story. It is fitting in such a way that it relays the general mood of Gatsby, that a change right then and there was taking place in his life as he sat next to Daisy while listening to that song. Ironically, the message in the song portrays the idea that even though a married couple may be poor, their love brings them fun and fulfillment into their life. On the other hand, in the book, Gatsby and Daisy are both rich and are having an affair, but what lacks is the inconsistency of a fulfilling love. "Daisy tumbled short of his [Gatsby's] dreams" whereas Gatsby "had thrown himself into it with a creative passion" (101).

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Composer: Felix Mendelssohn
Popularized when first performed in 1842 in Potsdam for the Shakespeare play A Midsummer Night's Dream. Followed up by its use in the wedding of Queen Victoria's oldest daughter, Vivtoria, to Frederick William IV of Prussia.

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Mendelssohn A Midsummer Night's Dream - Wedding March

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This instrumental pieced was composed originally as an incidental (accompanying but not a major part of something) to the Shakespeare play, "A Midsummer Night's Dream". The music is played by an orchestra.

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At the moment considered to be the climax of "The Great Gatsby", the truth unravels when Tom and Gatsby speak frankly and heatedly regarding their love for Daisy. This scene takes place on a hot day at the Plaza Hotel. Nick, Jordan, Daisy, Tom, and Gatsby gather in a suite just above the Ballroom floor. For Tom, his suspicions of Gatsby having a secret relationship with his wife has caused him to nearly interrogate Gatsby until he can get to the bottom of it. As he begins to do so, chords from Mendelssohn's Wedding March begin to play from the Ballroom below. The presence of this song alludes to the importance of marriage, yet ironically becomes an "incidental" to Tom's scolding of those who in their cultural time, believe that marriage has become insignificant. He implies that "nowadays people begin by sneering at family life and family institutions and next they'll throw everything overboard and have intermarriage" (Ch. 7 pg. 137). Tom's inference about the beliefs of the 1920's culture, which may appear correct, has come to effect his own personal life. Thus the mood of this scene is depicted by the subliminal detail of the "muffled and suffocating chords...drifting up on hot waves of air" which symbolize the toll on the moral of marriage itself (139).

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'Vladimir Tostoff's Jazz History of the World'

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'Vladimir Tostoff's Jazz History of the World'

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What sets this particular song apart from any other piece of music in the book is that it is not actually a real song. During the scene when it is performed, Nick is standing amongst the guests at his first Gatsby party. The orchestra leader announced the song “at the request of Mr. Gatsby” and with which it “attracted so much attention at Carnegie Hall” (Ch. 3 pg. 54). Nick describes the unique mood of this moment as he states, “the nature of Mr. Tostoff’s composition eluded me, because just as it began my eyes fell on Gatsby, standing alone on the marble steps and looking from one group to another with approving eyes” (Ch. 3 pg. 54). The theoretical intent for this song was to symbolize a "sensation". In, the book, the orchestra leader described the song's reputation as "a big sensation", thus while it is being performed, it gives a backdrop to Gatsby on the marbel steps whose taking in a sight that to him may seem as a "sensational" accomplishment. Another theoretical reason behind Fitzgerald's creation of the song, derives from the real 1921 history of Fitzgerald's time. That year, the sensational song was a symphonic piece entitled Also Sprach Zarathustra, composed by Richard Strauss and was scheduled to be performed in Carnegie Hall. This was roughly the same time period being alluded to from the orchestra leader in the book when referencing "Vladimir Tostoff's Jazz History of the World['s]" sensational performance in Carnegie Hall. The last reason was that the song reflects the “jazzing” (vulgarization) and “sensational” impact of the 1920’s culture. It's overpowering chords "eludes" listeners like Nick almost like an entrancement by the direction of Gatsby himself.

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Interestingly this is not real song! Fitzgerald created it in his story... & why:

Theoretical connection to Richard Strauss' symphonic piece, Also Sprach Zarathustra. His song was originally composed and performed in 1896 in Frankfurt Germany. It was scheduled to be performed in Carnegie Hall in 1921 but was rearranged to be performed at the Metroploitan Opera House in November of that same year.

Theoretical connection to the "jazzing" of the 1920's culture: some connect the vulgarity and overwhelming influence of the culture to be symbolized throught the "sensation" of this song. Thus the song and what it represents is thought to reflect the mark it has made on the history of the world.

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Composers / Songwriters:  Patrick Monahan, Espen Lind, and Amund Bjorklund
Performed by: the band Train
Album: California 37
Released: 2012

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Lyrics:
"On the other side of a street I knew
Stood a girl that looked like you
...
Oh I swear to ya, I'll be there for ya
This is not a drive by
...
When you move me everything is groovy
...
On the other side of a downward spiral
My love for you went viral
And I loved you every mile you drove away
But now here you are again
So let's skip the "how you been"
And get down to the "more than friends" at last"

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In correlating the song Drive By with Ain't We Got Fun, the message is the same and reflects the irony of Gatsby and Daisy's relationship. In the book reletive to when the song is played, Gatsby finds himself sitting next to Daisy for the first time after their five year seperation, being "consumed with wonder at her presnece" (Ch. 5 pg. 97). This feeling can be associated with Train's lyrics of:
"On the other side of a street I knew,
Stood a girl that looked like you,
...
When you move me everything is groovy".
In fact, Daisy was on the other side of the water from Gatsby's mansion! As Gatsby tries to "repeat the past" and create the same love passion he and Daisy had in years past, it seems like Gatsby is trying to say (in the lyrics of Train):
"And I loved you every mile you drove away,
But now here you are again,
So let's skip the "how you been",
And get down to the "more than friends" at last".
The flaw in Gatsby's passion is that it becomes
"...a downward spiral", just as Train puts it. Thus, this song ties along with the message in Ain't We Got Fun, that love is meant to last and is simply "not a drive by" attempt.

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Walt Disney Theme Song:                          When You Wish Upon A Star

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Walt Disney Theme Song:                          When You Wish Upon A Star

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Composers: Bruno Mars, Philip Lawrence, Ari Levine, and Philip Martin II Lawrence
Album: Doo-Wops & Hooligans
Release: 2010
Popularized by the "Furt" episode of Glee aired in November 2010.

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Lyrics:
"It's a beautiful night,
we're looking for something dumb to do
Hey baby, I think I wanna marry you
...
If we wake up and you want to break up
That's cool
No I won't blame you
It was fun girl"

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The lyrics from Bruno Mars' song, Marry You, relate to the context of Medelsshohn's 'Wedding March" when played durning Tom's heated scolding on the 1920's view of marriage. In relating the cutural influence of Marry You in the modern day, it implies a similar perspective that people in the 1920's did about marriage. In describing "the portentous chords of Mendelssohn's Wedding March from the ballroom", Fitzgerald denotes a message of hopeful and lasting love relationships (Ch. 7 pg. 134). The irony is that above that ballroom floor, the love relationships between married and non-married couples are teetering and practically falling apart. In correlation with Bruno Mars' song lyrics, the message impressed is that marriage, for some people who are "looking for something dumb to do", is often taken up as a "fun", short-term activity. Thus we see that cultural influences in the book and in the modern day take toll on the traditional views of marriage and eventually can cause it to be "thrown[n] ... overboard" just as Tom describes and just as it happened in the end for Gatsby (Ch. 7 pg 137).

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The scene which features Gatsby’s greatness with the most grand effect appears during the performance of the song, ‘Vladimir Tostoff’s Jazz History of the World’. In the modern day, such a song associates closely to the awe inspiring symphonic piece of the Walt Disney theme song, or otherwise known as When You Wish Upon A Star. In this scene, Gatsby's ambitious dreams are identified and characterized by Nick’s description of how the music “eluded” him and as his “eyes fell on Gatsby” it is clear how much it pleased Gatsby that he could look out to see “one group to another with approving eyes” (Ch. 3 pg. 54). This fulfilling moment for Gatsby shows how much he wanted to bring pleasure into the lives of others, while bringing pleasure into his own. For every film produced by Disney, the theme song, When You Wish Upon A Star, has a "sensational" effect to it as it's bright and elaborate chords presented a prelude before a story begins. Thus it displays the hopeful idea of imagination and dreams, just like Gatsby always strove for, whether or not he dreamed or accomplished it.

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By: Lauren Bulloch

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Original Composer: Leigh Harline and Ned Washington
Original Release: 1940
Popularized by its first appearance in the 1940 film Pinocchio, when it was voiced by actor, Cliff Edwards, as Jiminy Cricket. It won the 1940 Academy Award for Best Original Song. Eventhough Disney has a license to the song, it does not have the rights to it.

Arrangement: Lexi Walker & Lyceum Philharmonic at American Heritage
Album: Wishes & Dreams
Release: 2016
Popularized by her famous YouTube Feed and performance with Lyceum Philharmonic at Best of State, Utah.

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Lyrics:
...
"When you wish upon a star
Makes no difference who you are
Anything your heart desires will come to you

If your heart is in your dream
No request is too extreme
When you wish upon a star
As dreamers do"