Gaudeamus igitur
Gaudeamus igitur ( Latin for 'Let's be happy!'), Also known as De brevitate vitae (Latin for 'About the brevity of life'), is a student song with Latin text and is considered the most famous traditional student song of the World. It is known in many European countries, in the Anglo-Saxon world, as well as in parts of Asia and Latin America. There are often translations into the respective national languages. There have also been various German-language versions since the 18th century.
The first text traces of this song can be found in the Middle Ages. In the following centuries, further references to this song appeared in the literature, which suggest that at least text passages must have been carried on in the oral tradition over a long period of time. Edited literarily by Christian Wilhelm Kindleben , the text appears in the first printed student songbook from 1781 and in the 19th century became a prominent part of student songbooks in the German-speaking area, but also in other countries.
The melody appeared in print for the first time in 1788 and has since been firmly linked to the text Gaudeamus igitur . Text and melody now form a unit and enjoy high esteem in academic circles in many countries around the world.
When Johannes Brahms was awarded an honorary doctorate from the University of Breslau in 1879 , he thanked him with the Academic Festival Overture , at the end of which he played the Gaudeamus igitur in the large orchestra.
song lyrics
Wording and translations
| Latin original
(Child life, 1781) |
Modern German translation
(Wikipedia) |
German post-poetry
|
Ancient Greek version |
|---|---|---|---|
|
|: Gaudeamus igitur |
So we want to be happy |
|: Let us, because we are still young, |
|: Φíλοι εὐϑυμώμεϑα |
|
|: Ubi sunt qui ante nos |
Where are those who were |
|: Tell me, where do you come across those who were |
|: Ποῦ εἰσίν, οἳ πρὸ ἡμῶν |
|
|: Vita nostra brevis est, |
Our life is short, |
|: Our lifetime is short, |
|: Βίος ἀνϑρώπων βραχύς, |
|
|: Vivat academia, |
Long live the academy, |
|: Bloom, you noble |
|: Ζήτω ἀκαδήμεια |
|
|: Vivant omnes virgines |
All girls should live, |
|: Pretty girls should live high like |
|: Ζαῖεν πᾶσαι παρϑένοι |
|
|: Vivat et res publica, |
Long live the state |
|: Happy state and town, |
|: Ζήτω καὶ πολιτεία, |
|
|: Pereat tristitia |
Down with sadness |
|: Sorrow and worry, flee now! |
|: Λύπη δὲ ἀπολύσϑω |
Explanations of words
- Muse throne , Musensohn : The Muses were in ancient times as the protectors of art and science, so that was a student in the 18th century as Musensohn referred, analogue is Muse throne , the university and the town of Muse , the university town.
- Nummos : Accusative plural of the Latin nummus "coin", here in the sense of "money", "financial support".
- Vivat , pereat,: High and vicious cries ( interjections )used mainly in the early modern period. Vivat is the 3rd person singular, subjunctive, present tense, active in Latin from vivere "to live", thus translated "long live ...!" (Still used today as "live high!"), Pereat the same grammatical form of Latin perire "Go under"; In the 18th century, Pereat was also a popular provocation among students for a rencontre, a spontaneous duel with fencing weapons.
- Boy : From the Latin bursarius , "resident of a Burse", a common term for a student in the 18th century.
melody
The song can be divided into three parts (see also song form ), whereby the harmony is kept simple. The first four bars use the three main functions tonic , subdominant and dominant . After repeating the first four bars, the following four are even limited to a harmonious oscillation between tonic and dominant. The last section (bars 9 to 12) is a bit more demanding in terms of harmony: bar 9 is probably most convincing with the tonic in the basic position or as a sixth chord on the 1st beat and with the subdominant with a substitute sixth (tones: es-gc) on the Harmonize 2nd and 3rd beat. In the interest of a cheap, i. H. Consistently increasing in whole or semitone steps, the bass melody follows in bar 10 after the tonic with a fifth in the bass or the unresolved fourth sentence of the dominant (tones: fbd) with chromatic bass leading the intermediate dominant in the form of the fifth chord (tones: f sharp-acd) or diminished Seventh chord (notes: f sharp-ac-es) in relation to the tonic parallel (notes: gbd). Bar 11 once again uses the subdominant with a substitute sixth - preferably after the tonic in the sixth chord position. The last bar closes in a formulaic manner and at the same time in melodically determined euphoria with the sixth fourth leading of the dominant, the dissolution of the two leading and the tonic. The feminine ending appears rather unusual, i. H. the placement of the closing tonic on a weak beat.
The catchy melody begins with two quarts - intervals , then used mainly Sekundschritte (26 times) and some third intervals (7 times). The final melodic climax is formed with three sixths (twice ascending in bars 9 and 11 and once descending in the last bar).
The frequently used puncturing gives the song a rhythmic swing. While bars 1 to 4 and 5 to 8 are very similar (bars 5-8 is a variant of bars 3 and 4), the four final bars with their extended harmony, the sixth jumps and the continuous quarters stand out clearly. The increase towards the end of the song is underlined by the only now reached top notes ( it in bars 9 and 11 and f in bar 12).
The song can be found a cappella - with a simple triad accompaniment - or in a polyphonic setting, as in the following example.
The harmonics are slightly different here compared to the example above. The subdominant in measure 2 is extended by the sequence S - S maj7 and the associated minor parallel. In measure 4, the subdominant S 7 is inserted for dominant D 7 .
- Measure 1 - 4: | T | S - S maj7 - Sp | D 7 - S 7 - D 7 | T |
Lore history
Relation to antiquity
The title of the song De brevitate vitae has been known since ancient times as the title of a philosophical treatise by the Roman writer Lucius Annaeus Seneca (4 BC - 65 AD), who adhered to the philosophical school of the Stoa . In his treatise “On the brevity of life” Seneca conveyed that life only seems too short to those people who do not use their lifespan sensibly, but waste their time. Since the university education in modern times also included the intensive examination of ancient literature, it can be assumed that Seneca's writing was known to the students at the time.
Traces in the Middle Ages
The oldest evidence of individual passages Lyric found in a unanimous conductus entitled Scribere proposui ( "I have made me to write"), which in a manuscript from 1267 in the Bibliothèque Nationale in Paris is preserved. This manuscript was probably written in England and contains several French texts as well as some leaves with songs, probably English compositions. Scribere proposui offers close textual parallels in stanzas II and III to stanzas II and IV of Kindleben's version, but the formulation Gaudeamus igitur does not appear yet. The structure of the verse is also different, and the melody reproduced in the manuscript bears no resemblance to the one sung today.
Scribere proposui
[…]
II
Vita brevis breviter in brevi finietur;
mors venit velociter et neminem veretur;
omnia mors perimit et nulli miseretur.
Surge, surge, vigila, semper esto paratus!
[…]
IV
Ubi sunt, qui ante nos in hoc mundo fuere?
Venies ad tumulos, si eos vis videre:
Cineres et vermes sunt, carnes computruere.
Surge, surge, vigila, semper esto paratus!
Modern translation
[…]
II
Life is short, its brevity will end in a short time;
Death comes quickly and has no respect for anyone;
everything is destroyed by death and has no mercy on anyone.
Get up, get up, be vigilant, be ready at all times!
[…]
IV
Where are they who were in this world before us?
Come to the graves if you want to see them:
they are ashes and worms, their flesh is rotten.
Get up, get up, be vigilant, be ready at all times!
The question in the fourth stanza is a common motif in medieval poetry when it comes to the transience of life. See also: Ubi sunt .
Traces in the early modern times
August Heinrich Hoffmann von Fallersleben wrote in his treatise on the song Gaudeamus igitur from 1872 that he had "in a handwriting of the 16th century" under the title Hymnus Paranymphorum io io io io a song of mockery about the marriage of Martin Luther in 1525 found, where he asked himself whether “the same thing could not have been composed to the melody of Gaudeamus igitur ”. The handwriting and the text are otherwise no longer known. According to Faller's life, it was a song with 54 lines, divided into (therefore 18) stanzas each with three trochaic four-headers , the last of which is catalectical (with the missing unstressed final syllable). The song is preceded by two verses with a metrically unclear structure that can only be forcibly interpreted as a trochaeus, which are apparently intended to be repeated like a refrain at the beginning of each stanza:
Hymn Paranymphorum io io io io
Gaudeamus cum iubilo
Dulces Lutheriaci
Noster pater hic Lutherus
Nostre legis dux Sincerus
Nuptam ducit hodie
Qui cum sacer Sacra Iunctus
Que docebat est perfunctus
Et confecit omnia
[...]
I cuculla vale papa
Vale prior custos abba
Cum obedientia
Ite vota preces hore
Vale timor cum pudore
Vale conscientia
Modern translation
Let us
rejoice , dear Luther disciples!
Luther, our father here, the
serious leader of our faith , is bringing
home a bride today.
He, who as a saint (consecrated priest) connected with a saint (nun),
has fully accomplished what he always taught and completed
everything.
[…]
Go there, monk's hood, farewell Pope,
farewell prior, custodian, abbot,
and obedience with you!
Go there your prayers, intercessions and prayers of the hours,
farewell fear of God and with you the feeling of shame,
farewell conscience!
Significant textual matches cannot be determined, since the matching Gaudeamus is ultimately shaped by a traditional liturgical formula (Gaudeamus omnes) that can be seen in the background of both songs . The meter also shows only a distant similarity, since in Gaudeamus igitur the two rhymed four-part trochaes are not closed by a four-part catalectic trocha, but by an akatalectic trochaic three-part . Since the older text is not completely available, it cannot be assessed whether the development of the content from the ironically jubilant “Gaudeamus” (“jubilation” that Luther has now followed his doctrine against celibacy) at the beginning to the sarcastic “Vale ”Of the end is reminiscent of the distantly similar structure of Gaudeamus igitur (“ Gaudeamus ”-“ Vivat ”-“ Pereat ”).
In contrast , a German song clearly related to Gaudeamus igitur , Brothers let's be funny , was probably composed by Johann Christian Günther around 1717 and was first printed without music in one of the posthumous collections of Günther's poems. The song is sung on a minor variant of the melody (according to the songbook, which was written “before 1717”). The fourth lead on the heavy time part in measure 2, as well as the omitted, but essential after 1600 third in the final chord , also speak for an earlier origin or a deliberately archaic setting of the melody .
Brethren, let us be merry,
Because the spring goes on,
And the sunshine of youth
transfigures Our leaves;
Grave and grave do not wait;
Whoever breaks the roses now,
'The wreath has been given to him.
The oldest version of the text written in Latin, which is at least similar to today's, is in a handwritten student hymnbook written between 1723 and 1750. The book is now in the Berlin State Library (formerly the State Library of Prussian Cultural Heritage, previously the West German Library in Marburg). According to Raimund Lang, the melody has existed since 1736.
In the Latin dissertation Dissertatio de norma actionum studiosorum seu by the Burschen-Comment , the oldest known report on special student customs in the German-speaking area, published in 1780, there is a clear reference to the song. The introduction says:
“Dum relinquimus academias, relinquimus quoque iura nostra. "Hic Rhodus, hic saltandum!" "Gaudeamus itaque, Burschii dum sumus!" Utamur nostris iuribus, praerogativis, immunitatibus! "
A certain Christian Friedrich Gleiß, who was born in 1752 and registered for law in Erlangen in 1772, is suspected to be the author of the literature. He died in 1784.
In a German version from 1798 published under the pseudonym Nikolaus Balger, the following translation is available:
“By leaving university, we are also leaving our rights. So what we want to do must be done soon. Gaudeamus itaque, juvenes, dum sumus! Let us use our rights, privileges and freedoms! "
Today's version is in print
The Latin version of Gaudeamus igitur , which is most commonly used today, can be found in Christian Wilhelm Kindleben's book Studentenlieder , published in Halle (Saale) in 1781 , together with an adaptation in German .
Kindleben had studied theology in Halle and then led an unsteady literary life with changing positions in different cities. With his literary publications he made himself partly unpopular. His way of life was considered too offensive for a theologian.
Obviously, the orally transmitted student songs in the 18th century were still characterized by burlesque to obscene content, which prompted Kindleben to adapt the text for publication in print and to remove all offensive passages. He wrote specifically about Gaudeamus igitur in his songbook:
- I have felt compelled to remelt this old fellows song because the poetry, as in most songs of this kind, was very bad; however, it has retained its ancient reputation, although some verses have been left out altogether, which offended prosperity, and which, according to academic law, may not be publicly sung.
He tried to forestall an expected censorship, but had obviously underestimated the outrage that he triggered with the publication of the then socially frowned upon student songs. In addition, Kindleben published its student lexicon at the same time , which dealt with the explanation of contemporary student language .
With these two publications of his student songs and his student lexicon , which he edited during a stay in his old university town Halle, he obviously overtaxed the tolerance of his contemporaries. The prorector of the University of Halle had him expelled from the city and the edition of the two works confiscated. Today only a few original copies have survived.
The melody sung today by Gaudeamus igitur appeared for the first time in print in 1788 in the book Songs for Friends of Sociable Joy , published in Leipzig. Here, however, the melody accompanies the German text Brothers let's be funny . The melody was then transferred analogously to the Latin text. Music and Latin text subsequently formed an inseparable unit, so that the melody has since been given the same importance as the text.
Development into the world's most important student song
Later there were numerous adaptations and modernizations of the song, which - probably due to their current time references - could not prevail in the long term and were forgotten. The Latin text of Kindleben was based on centuries of oral tradition and was therefore more timeless. With only minor changes, it was incorporated into the newly emerging Kommers books in the 19th century , which were now used as song books in the student pub . For example in the Tübinger Commersbuch from 1813, in the Neue Allgemeine Commersbuch von Halle from 1816 and in the Berliner Commersbuch from 1817.
In the first half of the century it was mainly revolutionary and rebellious occasions on which the song was sung. The song was heard on New Year's Eve 1828/29 when students rioted through the streets of Göttingen. Richard Wagner reported in his autobiography Mein Leben about a scene during his studies in Leipzig in the early 1830s. After some students were arrested during a street riot, several groups of students gathered to march towards the police prison and free their fellow students. He mentioned that the students had intoned Gaudeamus igitur and that he was impressed by the seriousness of the scene.
After 1848 the conception of the song changed rapidly. Not only did it become an integral part of the canon of songs by German students ( General German Kommersbuch ), it was also extremely valued due to its age. In the second half of the century, the traditional student culture of the German-speaking area established itself as an important element of the state. The song Gaudeamus igitur became an academic anthem , increasingly sung or performed at official academic ceremonies.
The popularity of the original Latin version of Kindleben also extended abroad. In 1888, on the occasion of the 800th anniversary of the University of Bologna , the song was declared a “student anthem”. On the only surviving sound recording of the German Chancellor Otto von Bismarck , at the age of 74, he quotes from Gaudeamus igitur in addition to other songs in 1889 .
The song is also echoed in modern media such as film and television. It is also used in film music . At the end of the Jules Verne film The Journey to the Center of the Earth (original title: Journey to the Center of the Earth ) (1959), for example, Professor Oliver Lindenbrook ( James Mason ) , who has returned home happily, is igitur from the students of his university with the song Gaudeamus celebrated. The piece can also be heard at the end of the film Dr. med. Job Prätorius from 1965 with Heinz Rühmann. As the German musicologist Ulrich Wünschel (Berlin) noted in May 2008, “Gaudeamus igitur” is also used in the soundtrack to INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (“A Whirl Through Academe”, 2:40).
The song is sung today mainly by student associations in Germany, Austria and Switzerland, as well as in most of the eastern and western neighboring countries. At the Catholic University of Leuven in Belgium the song is the official program item at the opening of the academic year, where it is sung in the presence of the rector.
The song can be heard at graduation ceremonies at some US colleges and universities. It is also part of the repertoire of the student choir at Yale University , which publishes recordings on sound carriers.
The Baltic student song and folklore festival was founded in 1956 and opened with a procession during which the “student anthem ” Gaudeamus igitur was sung. A few years later the festival was renamed Gaudeamus . It took place for the 15th time, 50 years after the first event in Tartu in summer 2006. With this festival, the academic youth of the Baltic countries acknowledge their national traditions, which have been preserved over the period of Soviet rule.
The German "Kultliederbuch" Das Ding , according to the publisher "the bestseller among all songbooks", lists Gaudeamus igitur with melody, lyrics and guitar chords alongside other "400 cult hits from rock, pop, folk and Schlager" as "Songs, everyone knows and can sing along ".
In the world bestseller “Dynasty” by Robert Elegant , a business and family novel in Hong Kong and China, the offspring of a Chinese-English family whistled a melody to himself in 1927: “He realized that the tune was 'Gaudeamus igitur', an unconscious echo of music appreciation courses in Hong Kong under the Jesuits. ”(Glasgow, Fontana / Collins 1977, p. 377).
Revised text and music
In the years from 1813 to 1815 there were various attempts to replace the old song with a "more contemporary" one. The best-known of these new versions of Gaudeamus igitur came from Leipzig professor Wilhelm Traugott Krug , who wrote his poem after receiving news of the fire in Moscow in 1812, Napoleon's first major defeat. In his book Meine Lebenreise , Leipzig 1825, he reports on page 178:
"The first thing I did now was to take my old, already half-rusted lyre from the wall to vent my soul, which was overflowing with all kinds of feelings, in the following double = little song."
After printing both texts, Latin and German, he continued:
“At that time, of course, this poem was not allowed to be printed, much less could be given out under my name. It was only circulated in individual copies without a name. Because the French ruled Leipzig until the spring of 1813. - The French knew my attitudes. - They would have shot me to death if they had known that I was the author of that poem. "
| Latin version | German version |
|---|---|
|
Gaudeamus igitur, |
Cheers, Germany's young brood |
|
Ubi sunt, qui antea |
Says, where are those who once called themselves |
|
Deus iustos protegit |
God protects how long he dwells, |
|
Vigeat Germania! |
|
|
Pereant qui contra fas |
Who, like lions, |
|
Vita nostra brevis est, |
Our life is short, it will |
|
Moriamur igitur |
So let us |
The great importance of the song can also be seen in the fact that the text and melody provided the model for numerous adaptations and new compositions, especially during the 19th century.
It is reported that Jena students sang the verses of the robber song (4th act, 5th scene) and the Gaudeamus igitur during performances of Schiller's drama Die Räuber . The robber song with the beginning of the text We lead a free life was also sung to a modified melody version of Gaudeamus igitur . This version in turn inspired another counterfacture , published in 1850 and characterized by the revolutionary ideas of this era .
As early as the first third of the 19th century, the Dresden court composer Friedrich Schneider published a festival overture for large orchestra in D major, op. 84, with the C. Brüggemann publishing house in Halberstadt, entitled Gaudeamus igitur .
Bedřich Smetana used the Gaudeamus igitur in the second march of the Three Revolutionary Marches of 1848, which were originally composed only for piano .
Franz Liszt , who was very popular with German students, has arranged the song at least three times over the course of decades. In 1843 he composed a paraphrase with the title Gaudeamus! Chanson d'étudiants (German: "Gaudeamus! Student song"). In 1870 he was commissioned to write a composition on the occasion of the 100th anniversary of the Jena Music Academy, for which he wrote a humoresque and a dramatic dialogue a hundred years ago . Gaudeamus igitur used the melody in both pieces . The paraphrase and the humoresque were recorded for sound carrier by the Australian pianist Leslie Howard in 1995 and are still available today.
When Johannes Brahms received an honorary doctorate from the University of Breslau, he composed the Academic Festival Overture op.80, which was premiered in 1881 , in which motifs of various student songs such as We had built a stately house , Fox song (What comes there from the heights) , all silent, Hear, I sing the song of songs , and Gaudeamus igitur contrapuntal be processed. The melody quote from Gaudeamus igitur formed the grand finale in the finale.
Even Johann Strauss (son) used op in his student-Polka. 263 tunes quotes from Gaudeamus Igitur.
In the second half of the 19th century there were also occasional additions with new compositions, in which each stanza of the Latin song was preceded by a new stanza in German with a new melody. These new texts should update the old stanzas and place them in the light of a new time.
For example, in 1885 Adolf Katsch (text) and Adolf Schlieben (melody) wrote an extension of the song entitled Hundert Semester . The content of the new song is about an old academic who on the morning of his 70th birthday, i.e. after a hundred semesters, remembers his student days by using the Latin song to visualize the individual aspects of student life. Gaudeamus igitur is praised as “the song of songs”. This extension is also to this day in the Kommers books and is still sung. The beginning is:
When I lay asleep tonight,
sweet dreams,
shimmering in the splendor of youth , lured
me into distant rooms.
Crass little fox I sat slim
in the bar again,
And in full choir
the song of the songs sounded loud:
Gaudeamus igitur,
iuvenes dum sumus ...
There are also modern arrangements for dance orchestra or in Dixieland sound. An example is the Paul Godwin dance orchestra (Franz Baumann, Paul Godwin Ensemble: Gaudeamus igitur, Grammophon 21587) .
A humorous version can be found in Karl May , in Der Geist des Llano estakado , when Hobble-Frank sings:
Gaudeamus, hedgehog cure,
Juvenal chews humus!
Gaugamela, inventory,
plum boom is Prunus.
Miss Menke provided the Gaudeamus igitur melody for television and radio advertising for the Berentzen company with the text "Come to us, come out into the country, here Berentzen is being distilled" .
In the second half of the 20th century, Gaudeamus igitur was also referred to at academic celebrations . The Swiss composer Norbert Moret (1921–1998) wrote a symphony pour une fête académique (“Symphony for an academic celebration”) for the centenary of the University of Friborg in 1990 , which was premiered in the auditorium. Two musical themes were processed in the symphony: the melody of Gaudeamus igitur and the Te Deum . As with Brahms, the composition was related to the award of an honorary doctorate.
In Austria, the Gaudeamus Igitur, referred to as the university anthem in this case, is sung at most graduations, regardless of the influence of the student associations at the respective university.
literature
- Gaudeamus igitur. Let's be happy. Historical student songs , compiled, edited and commented by Günter Steiger and Hans-Joachim Ludwig, 1st edition Leipzig (GDR) 1986, 3rd edition, Leipzig (GDR) 1989 ISBN 3-370-00018-0
- Ubi sunt, qui ante nos In mundo fuere? Selected Latin student songs, drinking songs, love songs and other songs from the fourteenth to eighteenth centuries from various sources, with new German translations, historical introduction, explanations, additions and an illustration. A study of the history of literature, at the same time a song book by Adolf Pernwerth von Bärnstein . Wuerzburg 1881.
- Hoffmann von Fallersleben : Gaudeamus igitur - a study. Halle 1872 ( gdz.sub.uni-goettingen.de Facsimile).
- Robert Keil, Richard Keil: German student songs of the seventeenth and eighteenth centuries. Lahr 1861.
- Christian Wilhelm Kindleben , Christian Friedrich Bernhard Augustin, student language and student song in Halle a hundred years ago. Reprint of the Idiotikon der Burschenssprache from 1795 and the student songs from 1781. An anniversary edition for the University of Halle-Wittenberg presented by the German Evening in Halle. Reprint of the original edition from 1894, Fly Head Verlag, Halle (Saale) 1990, ISBN 3-910147-00-3 .
- Wilhelm Traugott Krug : My journey through life. Described by URCEUS in six stations for the instruction of the youth and for the entertainment of the elderly. Along with Franz Volkmar Reinhard's letters to the author. Baumgärtner, Leipzig 1825.
- Raimund Lang : Ergo cantemus! Texts and materials for the student song. SH-Verlag, Cologne, 2001, ISBN 3-89498-112-1 .
- Hermann Leupold: Ubi sunt sunt qui ante nos in hoc mundo fuere? Origin and history of the Gaudeamus igitur. Volume 7. Once and Now 1962, pp. 5-44.
- Hermann Schauenburg, Moritz Schauenburg (Hrsg.): General German Kommersbuch. Edition D., Morstadt Druck + Verlag, 162nd edition, January 2004 (first edition 1858), ISBN 3-88571-249-0 .
- Christoph Weyer: Gaudeamus igitur - Searching for traces , in: Akademische Blätter , Heft II / 2020, S. 34ff.
- Peter Wiesmann: Ubi iam fuere - study on the genesis of the academic anthem "Gaudeamus igitur" . Chur 1972.
Web links
- Gaudeamus igitur for download in MP3 format
- Postings on Volksliederarchiv.de
- Older, harder minor version
- Song text with the oldest evidence from the 13th century
- MP3 version of Brahms opus 80 on the University of Seville website
- XV Baltic Students' Song and Dance Festival Gaudeamus 2006 ( Memento from February 13, 2013 in the web archive archive.today )
- "Gaudeamus-Ball" of the Catholic Corporations of Munich in the Deutsches Theater
Individual evidence
- ↑ Gisela Probst-Effah: "Gaudeamus igitur" - A contribution to the German student song ( Memento from September 28, 2007 in the Internet Archive )
- ^ Student language and student song in Halle a hundred years ago (reprint of the edition from 1894). Flyhead publishing house, Halle 1990, ISBN 3-910147-00-3 .
- ↑ Johann Christian Christoph Rüdiger: Selection of good drinking songs, or tones of joy and wine, to be played at a friendly meal - collected from the best poets . Hendel, Halle 1795
- ↑ The beggar musician . Published by the Bettelmusikant editorial team (Reinhold Brumberger, Claus Scheifele, Carl Maderner). Voggenreiter Verlag, Bonn-Bad Godesberg, new edit. 1997 edition. ISBN 3-8024-0086-0 . P. 169.
- ↑ Seneca: De brevitate vitae / On the brevity of life. Reclam, Ditzingen, 1977, ISBN 3-15-001847-1
- ↑ “But the greatest loss of life is brought about by postponing it. You just let the existing day pass and steal from the present because you put yourself off to what's coming later. The greatest obstacle in life is the expectation that is directed towards the next day and loses today. ” In the original: “ Maxima porro vitae iactura dilatio est: illa primum quemque extra diem, illa eripit praesentia dum ulteriora promittit. Maximum vivendi impedimentum est exspectatio, quae pendet ex crastino, perdit hodiernum. ” - De Brevitate Vitae IX, 1
- ↑ “It is not little time that we have, but a lot of time that we do not use.” - Originally: “Non exiguum temporis habemus, sed multum perdidimus.” De Brevitate Vitae I, 3
- ^ Hans Tischler: Another English Motet of the 13th Century , in: Journal of the American Musicological Society, 1967 (20), pp. 274-279; thereafter it is MS Paris, Bibliothèque Nationale, fonds français 45.408, with the Ternio on fol. 116–121, where the piece in question appears.
- ^ Hoffmann von Fallersleben: Gaudeamus igitur - A study. Schwetschke, Halle, 1872, p. 1 Gaudeamus igitur ( Memento from July 9, 2012 in the web archive archive.today ).
- ↑ Walther Hensel: The upright flag. Bärenreiter-Verlag, 1941, p. 53.
- ^ Gaudeamus igitur - reflections on a student song. In: ad marginem issue 76, 2004. Online under “Gaudeamus igitur” - reflections on a student song
- ↑ Diether de la Motte: Harmony . Bärenreiter-Verlag, 176, 8th edition 1992, ISBN 3-423-04183-8 , p. 18.
- ↑ Günther's version on www.volksliedarchiv.de
- ↑ Raimund Lang: Ergo Cantemus! Texts and materials for the student song. SH-Verlag, Cologne, 2001, ISBN 3-89498-112-1 , p. 26.
- ↑ Christian Friedrich Gleiß (attributed to), Dissertatio de norma actionum studiosorum seu by the fellow-Comment edita abphia rerum bursicosarum experientissimo eodemque intrepido horribilique Martiali Schluck Raufenfelsensi. o. O. [Erlangen], 1780.
- ↑ Nikolaus Balger (translator and commentator), Vom Burschen-Comment. A dissertation in Latin edited by Martialis Schluck, an old famous player from Raufenfels. Translated into standard German and provided with some explanatory notes , o. O. [Jena] 1798.
- ↑ Sensational sound recordings - this is how Bismarck sounded! on one day ( Spiegel Online ) from January 31, 2012.
- ^ Richard Wagner: My life. 1813-1868. List, 1994, ISBN 3-471-79153-1 .
- ↑ Die goliardia 'in Italy Traditional student life between German inspiration and Mediterranean way of life ( Memento from February 5, 2007 in the Internet Archive )
- ↑ Ludwig Erk, Franz Magnus Böhme: Deutscher Liederhort , Volume 3. Leipzig, 1894, Olms, 1988 (reprint of the edition from Leipzig 1893–1894), ISBN 3-487-04443-9 , p. 492.
- ↑ Selection of German songs with monophonic and polyphonic tunes . 7th edition Leipzig 1850, p. 132.
- ↑ List of works in the Findbuch Hofkapelle Rudolstadt, Thuringian State Archives Rudolstadt ( Memento from 7 December 2008 in the Internet Archive ) (PDF file; 743 kB)
- ^ Three Revolutionary Marches ( Memento from September 28, 2007 in the Internet Archive )
- ^ Smetana, March of the Prague Student Legion on Studentika Mailing and Printing
- ↑ Paul Godwin title on www.78record.de (PDF file; 1.5 MB)
- ↑ karl-may-stiftung.de ( Memento from December 6, 2010 in the Internet Archive )
- ↑ Site officiel de l'Etat de Friborg ( Memento of September 29, 2007 in the Internet Archive )
- ↑ Gaudeamus igitur. Let's be happy. Historical student songs ( Memento from July 24, 2007 in the Internet Archive )
