Goliard songs, Latin secular songs disseminated primarily by the goliards—wandering students and clerics—of 12th- and 13th-century Europe. At that time, although vernacular song traditions were emerging in all the European languages, it was the Latin songs that traveled, and their manuscript sources are still spread across western Europe. The largest and best known collection of goliard songs is the so-called Carmina Burana manuscript at Munich. It was written in Bavaria in the late 13th century, but many of its songs are also to be found in, for instance, the important Cambridge Songbook written in England some 200 years earlier. (In the 20th century German composer Carl Orff wrote a secular oratorio, also called Carmina Burana, based on songs from that collection.)

The subject matter of the songs varies, ranging from political and religious satire to love songs of an unusual directness and to songs of drinking and riotous life. Songs of the latter sort involve the most characteristically goliardic elements: complaints of defrocked clergy, self-pitying cries of homeless scholars, unashamed panegyrics of hedonism, and dauntless denials of Christian ethics.

Present knowledge of medieval poetry and music suggests that all the poems were intended for singing, even though only a few are provided with music in the manuscripts. The music is normally notated in neumes—a kind of musical shorthand that can be read only by comparison with another version of the tune, fully written out. In musical style the amorous songs are similar to those of the trouvères (a school of French poets that flourished from the 11th to the 14th century); in several cases the same melody appears in both repertories. For the most part, however, the goliardic songs are cast in a more straightforward metrical form, are set in a more syllabic style, and have a more repetitive structure than their counterparts in the trouvère tradition.

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