Karangan Peribahasa

Peribahasa ‘Genggam bara api biar sampai jadi abu’ bermaksud membuat sesuatu perkara harus bersungguh-sungguh sehingga mencapai kejayaan. Peribahasa tersebut boleh dikaitkan dengan suatu peristiwa yang dialami oleh Cikgu Hanit. Beliau telah dilahirkan di Kampung Sungai Choh, Rawang, Selangor pada tahun 1937. Semasa usianya lapan tahun, bapanya telah meninggal dunia dan seterusnya beliau dibesarkan oleh ibunya bersama-sama dengan lima orang adik-beradik yang lain.

Sejak itu, beliau mulai mengerti kesusahan hidup yang terpaksa dipikul bersama abangnya. Beliau bersama abangnya mengerjakan kebun peninggalan arwah ayahandanya. Niatnya untuk melanjutkan pelajaran ke peringkat yang lebih tinggi terkandas disebabkan masalah kewangan yang ditanggung oleh keluarganya. Akhimya, dia mengambil keputusan untuk memohon menjadi guru. Ketika itu gaji permulaannya adalah RM50 sahaja. Wang sebanyak RM50 digunakan untuk membantu meringankan beban tanggungan ibunya. Sewaktu berusia 19 tahun, beliau telah bertemu jodoh dan akhimya berkahwin dengan seorang guru bemama Arbibah Abu Bakar. Mereka telah dikumiakan seramai 12 orang anak, tujuh orang lelaki, dan lima orang perempuan.

Apabila mengenangkan nasibnya yang tidak berupaya melanjutkan pelajaran ke peringkat yang lebih tinggi, beliau menanamkan cita-cita untuk memastikan setiap anak-anaknya berjaya dengan cemerlang dalam pelajaran. Beliau cukup prihatin dengan keperluan keluarganya dan sanggup bersusah payah demi menjamin kebahagiaan mereka sekeluarga. Cikgu Abu Hanit ini gigih berusaha untuk menambah pendapatan keluarga seperti menjual buah-buahan dan sayur-sayuran yang diperoleh di kebunnya yang seluas seekar di Serendah, Selangor. Selain itu, beliau sering membawa anak-anaknya menjala ikan di sungai bagi menambah sumber makanan seharian. Beliau turut membela ayam dan itik di sekitar rumahnya. Isterinya pula rajin menyediakan kuih-muih untuk jualan. Setiap pagi, sebelum pergi ke sekolah, kuih-muih ini akan dihantar oleh anak-anaknya di gerai-gerai makan.

Kehidupannya yang susah menyebabkan beliau berazarn untuk mengubah nasib anak-anaknya. Beliau telah memberikan pelajaran yang sempurna kepada anaknya. Baginya anak-anak adalah arnanah Tuhan. Tanggungjawab ibu bapa ialah menyempurnakan kehidupan anak-anak. Beliau seorang yang lembut tetapi tegas semasa mendidik anak-anak. Semuanya dididik dengan kasih sayang yang tidak berbelah bagi. Anak-anaknya dididik supaya mempunyai jadual waktu sendiri. Ada masa untuk belajar, masa membuat kerja sekolah, mengulang kaji pelajaran, berjemaah, mengaji, dan bermain. Mereka tahu tanggungjawab masing-masing dan semua ahli keluarga mesti patuh dengan peraturan dan hormat kepada orang yang lebih tua. Beliau menyediakan sebatang rotan untuk menakut-nakutkan anaknya agar tidak leka dengan tanggungjawab sebagai seorang anak. Sekiranya mereka membuat kesalahan di sekolah, beliau akan mengizinkan anak-anak untuk dirotan oleh guru. Beliau berpegang kepada prinsip ‘boleh merotan, tetapi jangan sarnpai mencederakan’.

Cabaran yang paling utarna ialah kekurangan wang bagi membayar yuran pengajian dan belanja persekolahan. Banyak keperluan seperti buku tarnbahan yang diminta oleh anaknya tidak dapat disediakan. Mereka hanya menggunakan buku-buku abang atau kakak mereka sebagai rujukan. Kejayaan anak-anaknya yang tua sebenarnya banyak memberi dorongan kepada anak-anaknya yang lain. Beliau bukan setakat berjaya membentuk anak-anaknya sehingga berjaya dalarn kerjaya masing- masing malahan beliau turut memberi sumbangan besar kepada masyarakat. Sebagai contoh, dia berjaya membangunkan Kampung Tok Pinang, Serendah.

Setelah mengharungi cabaran dalarn kehidupan, beliau kini boleh tersenyum bangga melihat anak-anaknya membesar dan telah berjaya dalam pelbagai bidang. Kejayaan anak-anaknya sebenarnya adalah berkat ketabahan, ketekunan, dan pengorbanan yang diberikan selarna ini. Semua anaknya telah berjaya melanjutkan pelajaran ke pusat pengajian tinggi di dalam dan di luar negara. Sekarang mereka berjaya dalam bidang masing-masing di seluruh negara, sarna ada di sektor awarn mahupun di sektor swasta. Anak perempuan sulungnya berusia 46 tahun bekerja sebagai seorang guru dan sedang melanjutkan pelajaran peringkat sarjana di Universiti Malaya, manakala yang bongsu baru sahaja menamatkan pengajian di peringkat sarjana dalam bidang perniagaan. Dua orang lagi anak perempuannya juga sedang melanjutkan pelajaran di peringkat sarjana di Amerika dan England.

Sekarang dia boleh mengutip buah dan hasilnya. Rumah besar yang didiarni kini adalah basil titik peluhnya dan sumbangan anak-anak. Semua anaknya berperibadi mulia dan tabu membalas jasa orang tua. Kini beliau sudah bersara dan tidak perlu lagi memerah keringat, namun masa lapangnya digunakan untuk berkebun di tanah seluas tiga setengah ekar.

Pemilihan Cikgu Abu Hanit sebagai ‘Tokoh Bapa Cemerlang’ merupakan kejayaan besar yang dicapainya dalarn mendidik anak-anak. Anak-anaknya kini berjaya menjawat jawatan sebagai peguam, pendakwa raya, ahli perniagaan, pengurus estet, eksekutif bank, dan ahli perniagaan. Dengan itu, pengorbanan beliau menjadi contoh kepada ibu bapa yang lain agar dapat mengetahui rahsia di sebalik kejayaan beliau mendidik anak-anak. Sesungguhnya ‘Anugerah Bapa Cemerlang’ dapat dianggap sebagai dorongan kepada seluruh ibu bapa untuk mengasuh anak-anak mereka menjadi warga yang berguna kepada diri sendiri, keluarga, masyarakat, agama, dan negara. Oleh itu, kejayaan beliau bersesuaian dengan peribahasa ‘genggam bara api, biar sampai jadi abu’

(Kamilia)

Kepentingan Pemakanan Seimbang

Makanan seimbang ialah pengambilan makanan yang cukup untuk keperluan tubuh badan. Manusia memerlukan makanan dan vitamin untuk pembesaran dan menjaga kesihatan. Media massa turut mempopularkan pemakanan seimbang menerusi pelbagai program dan penulisan artikel mengenai pemakanan yang sihat ini. Oleh itu, wujud pelbagai kebaikan daripada makanan seimbang ini.
Kepentingan pemakanan seimbang yang utama ialah sikap ini menjadikan pembesaran manusia itu lebih sempurna daripada aspek fizikal. Tubuh badan menerima semua keperluan zat yang diperlukan untuk membina tubuh badan yang kuat daripada keperluan fizikal manusia. Keupayaan fizikal yang ketara ini menjadikan seseorang manusia itu boleh menjalankan tugasnya dengan begitu baik dan sempurna. Jelaslah, pemakanan seimbang menjadikan fizikal manusia itu lebih baik berbanding manusia lain yang kurang menjaga aspek pemakanannya.
Selain itu, pemakanan yang seimbang menjadikan perkembangan mental seseorang itu terganggu pula. Kekurangan zat makanan yang tertentu boleh menjadikan mental seseorang itu tidak cukup cerdas atau mudah letih apabila cuba menyelesaikan sesuatu perkara yang dialami dalam kehidupan seseorang itu. Keadaan ini menjadikan seseorang itu gagal berfikir untuk menyelesaikan masalahnya dengan lebih efektif berbanding dengan individu yang seimbang aspek pemakanannya. Jadi, pemakanan seimbang menjadikan aspek mental manusia lebih stabil dan berdaya tahan.
Kemungkinan kepentingan pemakanan seimbang yang mudah difahami ialah makanan yang seimbang memberikan vitamin yang cukup kepada badan seseorang itu. Keperluan vitamin yang cukup ini menjadikan tubuh manusia itu lebih tahan untuk menghadapi sebarang jangkitan penyakit atau tidak mudah untuk jatuh sakit. Kesihatan manusia dikatakan perkara yang paling penting dalam kehidupan seseorang itu. Sesungguhnya, manusia yang mengamalkan pemakanan seimbang akan mempunyai kesihatan yang sihat sejahtera sahaja.

Malahan, pemakanan seimbang turut dikatakan mampu mengawal kadar obesiti masyarakat dunia. Salah satu aspek utama dalam pemakanan seimbang ialah manusia perlulah mengambil makanan dalam kuantiti yang kecil tetapi cukup khasiat yang diperlukan oleh badan. Pengawalan pemakanan sebegi menjadikan tubuh seseorang itu tidak terlalu gemuk dan memudahkan mereka untuk menjalankan pelbagai aktiviti terutama aktiviti senaman yang mampu menyihatkan badan pula. Oleh itu, obesiti mampu diatasi jika seseorang itu mempunyai diet pemakanan seimbang dalam hidupnya.
Kesimpulannya, kita perlu mengambil makanan yang seimbang kerana semua kepentingannya sudah dinyatakan tadi. Bukan sahaja individu tetapi masyarakat dan seterusnya negara akan menerima kesan positif daripada pemakanan yang baik ini. Jika masyarakat masih ingkar dan tidak mahu berubah sudah pasti jumlah pesakit penyakit kronik di negara ini akan bertambah pula. Ketika itu mungkin sudah terlewat untuk kita semua mengambil langkah pencegahannya. “Tepuk dada tanya selera”.
noorazleen idros

'ONE IS ONE AND ALL ALONE'

“One is One and All Alone” by Nicholas Fisk is a science fiction story, set in 2045. Themain character is Trish, an 11-year old girl who is the only child on a spaceship to Trion.Her father is the Executive Officer of the spaceship and her mother is in Trion helping to setup a space station. She will only meet her mother in mid January 2047.After three months, she feels lonely and bored as she does not have any real friends totalk to except her private, multi-functional diary: the VoicePrinter (VP). VP is an intelligentcomputer which keeps Trish entertained with its ability to perform many functions.Through her dialogue sessions with VP, Trish learns about clones and the cloningprocess. The idea of cloning fascinates Trish and she soon decides to create a clone tokeep her company in the spaceship Biolab without her father’s knowledge. She names her new identical twin “Clo” and initially it becomes her perfect friend and companion. Theyhave fun playing and sharing their time together.However, certain mannerism of Clo begins to irritate Trish as the clone behaves andthinks like her. Soon they start to argue and disagree with each other over trivial matters.The last straw happens one night when Clo starts referring to Trish’s mum as her mum andthis upsets Trish as she feels her privacy is being invaded.The next day, Trish opens up her diary and confides in VP that she does not like to be“swamped, invaded and taken over.” At that instant, she decides to dispose off Clo forever through the “DISPOSAL” hatch near her cabin.The story ends with a twist when it is Trish who is disposed by Clo. Clo then assumesTrish’s identity and Trish’s dad is not aware of the change at all. Clo then enjoys being “oneis one and all alone” and her new lease of life as Trish in the spaceship
-liyana zubir :)

“KASUT KELOPAK JANTUNG”

SINOPSIS
Cerpen ini mengisahkan Cikgu Harun yang menerima bungkusan hadiah setiap tahun, terutamanya pada Hari Guru teringat semula peristiwa yang berlaku tiga puluh tahun dahulu sewakta beliau bertugas sebagai guru di kawasan pedalaman. Cikgu Harun sememangnya seorang guru yang tegas dalam soal keceriaan pelajar dan kelas. Beliau memarahi Ahmad yang tidak memakai kasut sekolah walaupun sudah tiga minggu sesi pesekolahan bermula. Di padang sekolah, Ahmad sekali lagi dimarahi Cikgu Harun kerana tidak membawa pakaian sukan. Oleh sebab itu, Cikgu Harun mendenda Ahmad dengan menyuruhnya mancari tali rafia untuk mengikat kelopak jantung pisang pada bahagian kakinya untuk dijadikan “kasut”. Ahmad merupakan murid yang patuh akan arahan gurunya terus mengikat kelopak jantung pisang. Dia berasa malu atas denda yang dikenakan oleh Cikgu Harun yang sebenarnya mahu Ahmad membeli kasut sekolah demi keselamatan kakinya. Selepas hari persekolahan tamat, Ahmad berlari ke rumah supaya kasut kelopak jantungnya tidak dikesan oleh kawan-kawan. Sejak hari itu, Ahmad tidak hadir ke sekolah. Cikgu Harun hairan akan perkara tersebut dan mengetahui bahawa Ahmad ingin berhenti sekolah. Cikgu Harun yang berasa kesal atas dendanya terhadap Ahmad pula mengambil keputusan untuk pergi ke rumah Ahmad untuk mengetahui perkara yang sebenar. Akhirnya, dia mengetahui bahawa Ahmad tinggal bersama ibunya yang uzur dan tua tidak mampu membeli kasut sekolah dan terpaksa mengambil upah memetik cili di kebun orang lain. Cikgu Harun yang tersentuh akan kedaifan Ahmad telah membelikannya sepasang kasut dan sepasang uniform sekolah. Ahmad yang berterima kasih atas pemberian Cikgu Harun telah belajar dengan gigih dan menjadi seorang pengurus besar di sebuah syarikat pengeluar kasut terkemuka. Sejak itu, Ahmad menghadiahkan kasut kepada Cikgu Harun sebagai membalas jasa gurunya, Cikgu Harun.

TEMA
Penghargaan seorang murid terhadap jasa guru yang ikhlas membantunya sewaktu murid itu miskin dengan menekankannya kepentingan memakai kasut.

PERSOALAN
1. Ketegasan guru di sekolah demi mendisiplinkan pelajar.
Buktiya, Cikgu Harun yang tegas menyebabkan Ahmad takut untuk merenung wajahnya tepat-tapat. Selain itu, Ahmad dimarahi Cikgu Harun kerana tidak memakai kasut dan tidak membawa pakaian sukan.
2. Keprihatinan guru terhadap masalah murid.
Buktinya, Cikgu Harun yang prihatin akan kemiskinan keluarga Ahmad telah membelikannya sepasang kasut dan sepasang uniform sekolah.
3. Keikhlasan murid membalas jasa guru.
Buktinya, walaupun Ahmad sudah besar dan berjawatan tinggi, namun dia tetapi mengingati jasa Cikgu Harun dengan menghadiahinya sepasang kasut pada setiap Hari Guru.
4. Kepentingan memakai kasut di sekolah.
Buktinya, Cikgu Harun tegas memastikan pelajar memakai kasut supaya muridnya tidak mengalami kecederaan kaki.
5. Penghargaan murid terhadap jasa guru.
Buktinya, setiap Hari Guru, Cikgu Harun akan menerima hadiah berupa kasut berjenama mahal daripada anak muridnya yang mengingati jasa gurunya itu walaupun sudah 30 tahun berlalu.



WATAK DAN PERWATAKAN
CIKGU HARUN
Cikgu Harun sudah bersara daripada pekerjaan guru. Beliau pernah mengajar di kawasan pedalaman 30 tahun yang lalu. Dia yang prihatin akan kebajikan murid telah menghadiahkan sepasang pakaian sekolah dan sepasang kasut kepada Ahmad. Beliau yang pernah bertegas dengan anak muridnya itu mendapat balasan baik daripada anak muridnya yang menghadiahinya sepasang kasut berjenama mahal pada setiap sambutan Hari Guru.
AHMAD
Ahmad merupakan seorang murid miskin yang tinggal di hujung kampung, kawasan pedalaman. Dia terpaksa mengambil upah memetik cili hanya untuk mengumpulkan wang demi membeli kasut sekolah lantaran ibunya yang tua dan uzur. Ahmad tidak pernah ponteng sekolah malah sentiasa mengikut arahan gurunya, Cikgu Harun. Walaupun Cikgu Harun mengarahkannya memakai “kasut” yang diperbuat daripada kelopak jantung pisang, dia tetap menurut perintah tersebut. Ahmad akhirnya menjadi seorang yang berjawatan tinggi di sebuah syarikat pengeluar kasut terkemuka di bandar masih mengingati jasa gurunya dengan menghadiahi Cikgu Harun sepasang kasut pada Hari Guru.

IBU AHMAD
Ibu Ahmad seorang wanita separuh umur yang sudah uzur. Dia tinggal bersama anaknya, Ahmad di sebuah pondok usang di hujung kampung. Walaupun miskin harta, ibu Ahmad amat menghormati tetamu kerana menjemput Cikgu Harun masuk ke rumah sementara menunggu Ahmad pulang ke rumah. Ibu Ahmad tidak bekerja lagi kerana sudah uzur. Oleh sebab itu, Ahmad terpaksa mengambil upah memetik cili demi menampung perbelanjaan keluarga di samping membeli kasut sekolah.

PLOT
PERMULAAN
1. Pada 16 Mei, Hari Guru, Cikgu Harun menerima sebungkus hadiah yang tidak dipos.
2. Cikgu Harus tahu benar pengirim hadiah itu dan bertanya kepada diri sendiri sama akan hadiah itu dihantar dengan ikhlas atau sindir atau kedua-duanya.

PERKEMBANGAN
1. Cikgu Harun mengingati peristiwa yang telah berlaku 30 tahun yang lalu apabila menerima bungkusan hadiah daripada salah seorang anak muridnya.
2. Cikgu Harun masih ingat bahawa dia pernah menegur Ahmad kerana tidak memakai kasut dan tidak membawa pakakian sukan ke sekolah.
3. Cikgu Harun telah mendenda Ahmad memakai “kasut” yang diperbuat daripada kelopak jantung pisang.
4. Ahmad berasa malu dan sedih. Dia terasa seperti disindir oleh Cikgu Harun dan banyak murid yang mengetawakannya.

PERUMITAN
1. Ahmad tidak hadir ke sekolah selama seminggu.
2. Kawan Ahmad menyampaikan khabar bahawa Ahmad ingin berhenti sekolah.
3. Cikgu Harun tersentuh dan berasa menyesal atas tindakannya mendenda Ahmad.
4. Cikgu Harun mengambil keputusan untuk pergi ke rumah Ahmad dan mendapati ibunya sudah uzur dan Ahmad bekerja sebagai pemetik cili untuk menampung kehidupan keluarga.

PUNCAK
1. Ahmad memberitahu punca sebenar dia tidak ke sekolah, yakni tidak mampu membeli kasut sekolah sebagaimana yang diarahkan oleh Cikgu Harun.
2. Cikgu Harun membuat keputusan untuk membelikannya sepasang kasut sekolah baharu dan sepasang pakaian sekolah baharu serta mengarahkan Ahmad supaya kembali ke sekolah.
3. Ahmad hanya mampu mengucapkan terima kasih atas bantuan Cikgu Harun.
PELERAIAN
1. Cikgu Harun sudah bersara tetapi jasanya tetap dikenang oleh Ahmad.
2. Ahmad menghadiahi Cikgu Harun sepasang kasut berjenama pada setiap Hari Guru.
3. Cikgu Harun sedar bahawa hadiah itu diberikan oleh Ahmad dengan hati yang ikhlas sebagaimana ditulis dalam surat yang disertai bersama bungkusan kasut itu. Amad sudah berjaya menjawat jawatan tinggi.

TEKNIK PLOT
1. Dialog – pertuturan antara watak yang dapat menghidupkan cerita.
Bukti: “Ahmad, mana kasut?” tanya Cikgu Harun dengan suara yang keras.

2. Monolog – watak bercakap sendiri tanpa didengar atau disedari oleh sesiapa.
Bukti: “Jauh juga rumah Ahmad,” bisik hati kecil Cikgu Harun.

3. Monolog dalaman – kata-kata seseorang watak di dalam hati yang tidak diketahui oleh sesiapa.
Bukti: Mana ada guru yang mahu muridnya gagal dalam pelajaran. Mana ada guru yang mahu murid-murid berhenti sekolah. Jika tidak ada murid, dari mana datangnya kerjaya seorang guru. Murid dan guru itu saling melengkapi. Kini, seorang murid hendak berhenti sekolah. Jika itu terjadi, negara akan kehilangan seorang warga yang berpendidikan. Cikgu Harun mula disapa penyesalan yang bukan sedikit ketika itu.

4. Kejutan – peristiwa yang tidak disangka-sangka oleh pembaca.
Bukti: Ahmad terkejut dengan kehadiran Cikgu Harun di rumahnya dan Cikgu Harun terkejut melihat Ahmad masih memakai “kasut” yang diperbuat daripada kelopak jantung pisang yang didenda oleh Cikgu Harun.

5. Saspens – peristiwa yang menimbulkan tanda tanya dalam kalangan pembaca
Bukti: Besok, tempat duduk Ahmad kosong. Cikgu Harun sedar bahawa Ahmad tidak datang. Selama ini, Ahmad tidak pernah ponteng sekolah. Dia rajin ke sekolah walaupun terpaksa berjalan tanpa kasut.
Hari berikutnya juga Ahmad tidak datang. Hari selepasnya pun begitu. Kini, seminggu sudah Ahmad tidak hadir. Cikgu Harun berasa ada sesuatu yang tidak kena. Dia cuba mendapatkan maklumat daripada murid-murid yang lain.

6. Pemerian – gambaran suasana atau keadaan oleh penulis.
Bukti: Sebaik sahaja sampai si sebuah rumah, tidak ada penghuni dilihat oleh Cikgu Harun dalam rumah yang layak disebut pondok itu. Cikgu Harun memandang sekeliling. Suasana sepi sekali. Dia pasti itulah rumah Ahmad seperti yang diberitahu oleh anak-anak muridnya yang lain.

7. Imbas kembali – teknik watak mengingati peristiwa yang sudah berlaku.
Bukti: Cikgu Harun mengingati peristiwa yang sudah berlaku lebih 30 tahun, kejadian beliau mendenda anak muridnya memakai “kasut” yang diperbuat daripada kelopak jantung pisang

LATAR TEMPAT
1. Rumah Cikgu Harun di bandar
Bukti: Cikgu Harun menerima bungkusan kasut baharu di rumahnya.

2. Kawasan pedalaman
Bukti: Cikgu Harun pernah bekerja sebagai guru di kawasan pedalaman lebih tiga puluh tahun yang lalu.

3. Bilik darjah
Bukti: Cikgu Harun pernah menegur Ahmad kerana tidak berkasut ke sekolah. Selain itu, Cikgu Harun juga bertanya kepada pelajar-pelajarnya tentang sebab Ahmad tidak hadir ke sekolah.
4. Padang sekolah
Bukti: Di kawasan padang, murid-murid melakukan aktiviti sukan dan bersenam kecuali Ahmad. Di situlah juga Ahmad didenda memakai “kasut” yang diperbuat daripada kelopak jantung pisang.

5. Rumah Ahmad
Bukti: Cikgu Harun pergi ke rumah Ahmad untuk menjenguknya dan mengenal pasti sebab dia tidak hadir ke sekolah.

6. Kebun sayur
Bukti: Ahmad bekerja sebagai pemetik cili di kebun sayur untuk menampung perbelanjaan keluarga.

7. Pekan
Bukti: Cikgu Harun pergi ke pekan untuk membeli sepasang kasut sekolah baharu dan sepasang uniform sekolah baharu kepada Ahmad supaya dia dapat ke sekolah semula.

LATAR MASA
1. Zaman moden
Bukti: Cikgu Harun sudah bersara dan tinggal di bandar pada zaman moden ini. Selain itu, Ahmad sudah menjadi pengurus besar di sebuah syarikat pengeluar kasut terkemuka.

2. 30 tahun yang lalu
Bukti: Cikgu Harun masih ingat bahawa dia pernah menegur Ahmad kerana tidak memakai kasut dan tidak membawa pakakian sukan ke sekolah. Cikgu Harun telah mendenda Ahmad memakai “kasut” yang diperbuat daripada kelopak jantung pisang. Ahmad berasa malu dan sedih. Dia terasa seperti disindir oleh Cikgu Harun dan banyak murid yang mengetawakannya.

3. Tempoh seminggu
Bukti: Selepas didenda oleh Cikgu Harun, Ahmad tidak hadir ke sekolah selama seminggu dan kawannya memberitahu Cikgu Harun bahawa Ahmad ingin berhenti sekolah.

4. Waktu pagi tiga minggu selepas sekolah dibuka
Bukti: Ahmad dimarahi oleh Cikgu Harun kerana tidak memakai kasut sekolah dan tidak membawa pakaian sukan untuk aktiviti pendidikan jasmani di padang.

5. Suatu petang selepas seminggu Ahmad tidak hadir ke sekolah.
Bukti: Cikgu harun pergi ke rumah Ahmad untuk mengetahui sebab dia mahu berhenti sekolah.

6. 16 Mei
Bukti: Cikgu Harun mendapat hadiah berjenama mahal daripada muridnya setiap sambutan Hari Guru.

7. Selepas sekolah tamat / tengah hari
Bukti: Ahmad yang malu selepas didenda memakai kasut kelopak jantung telah lari ke rumah.

LATAR MASYARAKAT
1. Masyarakat guru
Bukti: Cikgu Harun yang sudah bersara mengingati peritiwa yang berlaku lebih 30 tahun yang lalu.

2. Masyarakat pelajar
Bukti: Ahmad merupakan pelajar sekolah yang belajar dalam tahun tiga di kawasan pedalaman. Dia pernah dimarahi oleh Cikgu Harun kerana tidak memakai kasut ke sekolah dan tidak membawa pakaian sukan.
3. Masyarakat miskin
Bukti: Ahmad dan ibunya tinggal di sebuah pondok kecil kerana hidup dalam kesederhaan. Lagipun, Ahmad terpaksa mengambil upah memetik cili dalam usia yang muda.

4. Masyarakat yang mengenang jasa guru
Bukti: Ahmad seorang murid yang amat mengenang jasa Cikgu Harun. Setiap kali sambutan Hari Guru, dia akan menghantar bungkusan berisi kasut berjenama mahal untuk dihadiahkan kepada Cikgu Harun. Hal ini membuktikan bahawa dia amat menghargai jasa gurunya walaupun sudah berjaya dalam kehidupan.

5. Masyarakat yang tabah menghadapi kemiskinan
Bukti: keluarga Ahmad tabah menghadapi kemiskinan hidup. Dia dan ibunya tinggal di sebuah pondok di hujung kampung.

GAYA BAHASA
1. Paradoks – gabungan antara unsur positif dan negatif dalam satu ayat.
Bukti: Atau sindiran dan keikhlasan yang telah bergumpal menjadi satu.

2. Penggunaan ayat yang ringkas dan pendek.
Bukti: Soalan itu bukan yang pertama.
Waktu rehat Ahmad tidak keluar.
Dia tidak bercakap banyak.
Dia telah pun menduga.

3. Simile – unsur perbandingan secara langsung oleh penulis.
Bukti: -Suara anak kecil itu tidak mahu keluar bagai ada sesuatu yang tersengkang pada batang tenggoraknya.
-Ahmad pun datang terkebil-kebil, tertunduk-tunduk seperti ayam kalah menyabung.
-Ahmad memandang kosong ke wajah Cikgu Harun seperti mahu meminta sesuatu.
-Selepas sebelah, sebelah lagi dipasangkan seperti memakai kasut sekolah.
-Kadang-kadang dilihatnya Ahmad seperti lurus bendul.
-Ahmad berjalan macam lembu sakit kaki.
-Terasa ketika itu kasutnya macam kaki gajah yang untut dan tidak cantik. Seperti kaki ayam yang mencakar najis. Terasa kakinya seperti kaki monyet, kaki itik, dan kaki tiang rumahnya yang usang. Malah Ahmad terasa dirinya seperti tidak berkaki langsung.

4. Peribahasa – ungkapan menarik yang digunakan oleh pengarang
Buktinya: berkaki ayam, budak hingusan, lurus bendul, angkat muka, berkecil hati, dan separuh umur.

5. Personifikasi – penggunaan unsur kemanusiaan dalam unsur bukan manusia.
Bukti: Rasa bersalah mula mengerang perasaannya.

6. Sinkof – penggunaan singkatan kata
Buktinya: tak, dah, nak, ni

7. Repitasi – pengulangan kata.
Bukti: Mana ada guru yang mahu muridnya gagal dalam pelajaran. Mana ada guru yang mahu murid-murid berhenti sekolah.

8. Gaya bahasa dialog
Bukti: “Ahmad, mana kasut?” tanya Cikgu Harun dengan suara yang keras.
NILAI MURNI DAN PENGAJARAN
1. Nilai murni à Menghormati orang yang lebih tua
Pengajaran : Kita mestilah menghormati orang yang lebih tua dan yang lebih berpengalaman daripada kita.
Bukti: Ahmad amat menghormati Cikgu Harun dan tidak pernah mengingkari arahannya.

2. Nilai murni -Keinsafan
Pengajaran : Kita mestilah sedar akan kesilapan yang kita lakukan supaya tidak mengulanginya.
Bukti: Cikgu Harun sedar bahawa dendanya agak keterlaluan dan dia tersentuh dengan keputusan Ahmad yang mahu berhenti sekolah kerana tidak mampu membeli kasut sekolah.

3. Nilai muri -Keikhlasan
Pengajaran : Kita mestilah ikhlas semasa memberikan hadiah kepada seseorang.
Bukti: Cikgu Harun tahu bahawa anak muridnya, Ahmad ikhlas memberikannya hadiah berupa sepasang kasut berjenama demi menghargai jasa gurunya.

4. Nilai muri -Ketabahan
Pengajaran :Kita mestilah tabah menghadapi cabaran dalam kehidupan demi mematangkan diri.
Bukti: Ahmad dan ibunya tabah menghadapi kemiskinan dan dia sanggup mengambil keputusan untuk berhenti sekolah demi bekerja memetik cili untuk menampung perbelanjaan keluarga.

5. Nilai muri -Kesabaran
Pengajaran : Kita mestilah sabar menghadapi segala masalah dalam kehidupan.
Bukti: Cikgu Harun sabar menghadapi masalah anak muridnya, Ahmad yang tidak membawa kasut dan pakaian sukan.

6. Nilai muri -Kegigihan
Pengajaran : Kita mestilah gigih belajar supaya menjadi manusia yang berjaya.
Bukti: Ahmad gigih belajar tidak pernah ponteng sekolah walaupun miskin sehingga berjaya menjadi seorang pengurus besar syarikat kasut berjenama.

7. Nilai muri -Bertanggungjawab
Pengajaran :Kita mestilah memikul tugasan yang diberikan dengan penuh bertanggungjawab.
Bukti: Cikgu Harun seorang guru yang bertanggungjawab kerana dia memastikan semua anak muridnya memakai pakaian sekolah yang sesuai untuk menjalankan aktiviti bersenam di padang.

8. Nilai muri -Kesungguhan
Pengajaran : Kita mestilah belajar bersungguh-sungguh demi mengubah kehidupan keluarga yang miskin.
Bukti: Ahmad belajar bersungguh-sungguh sehingga berjaya menjawat jawatan tinggi dalam sebuah syarikat kasut berjenama.

9. Nilai muri -Baik hati
Pengajaran : Kita mestilah menghulurkan bantuan kepada sesiapa yang memerlukannya mengikut kemampuan kita demi mengurangkan beban mereka.
Bukti: Cikgu Harun membelikan Ahmad sepasang kasut sekolah dan sepasang uniform sekolah.
-liyana zubir :)

Contoh Karangan Pendapat : Isu Dadah

Apabila anda merdengar ungkapan “Enam Jahanam”, apakah yang
mungkin anda fikirkan ? Adakah itu judul sebuah filem klasik P. Ramlee atau
nama kumpulan penjenayah yang diburu oleh pihak polis ? Rupa-rupanya,
ungkapan itu merujuk kepada enam jenis dadah yang harus diberi perhatian
serius kerana penyalahgunaannya yang meluas – heroin, kokain, ecstasy,
kanabis, syabu dan morfin. Sewaktu melancarkan “Karnival Enam Jahanam”,
Perdana Menteri, Datuk Seri Abdullah Ahmad Badawi menyatakan bahawa isu
dadah di negara kitaberada pada tahap yang berbahaya. Oleh itu, kerajaan
mengisytiharkan dadah harus diperangi hingga ke akar umbi kerana dadah
merupakan musuh nombor satu negara.Apakah sebenarnya dadah ? Dadah yang
fungsi asalnya ialah bahan perubatan merupakan bahan kimia psikoaktif yang
mempunyai kesan ke atas sistem saraf pusat seperti menyebabkan keadaan
khayal, ketagihan dan gangguan tingkahlaku. Penyalahgunaanya yang
berterusan mendatangkan kerosakan kepada diri, keluarga, masyarakat dan
negara.
Pada akhir tahun 1960-an, negarakitamulaimengalamimasalah
dadahGolongan remajadipengaruhi oleh kebudayaan ‘hippie’ dan askar-askar
Amerikayangmelancong ke Pulau Pinang. Sebagai kesan daripada kedua
pengaruh tersebut, penagihan dadah telah merebak ke seluruh negara.
Golongan muda yang terlibat dalam penagihan dadah merupakan pemuda- pemudi harapan bangsa dan negaradan terjerumusnya mereka dalam alam khayalan ini mengakibatkanmereka bukan sahaja tidak berguna kepada masyarakatbahkan dirimereka sendiri. Memandangkanhakikat inilah, kerajaan telah mengambil sikap tegas terhadap pengedaran dadah, dan mengambillangkah-langkah yang perlu untuk melindungi rakyat termasuklah undang-undang yangamatketat. Tetapi, pengedaran dadah nampaknya tidak boleh diselesaikan dengan hanya peruntukan undang-undang seperti Akta Dadah
Berbahaya (Langkah-langkah Pencegahan Khas 1985) walaupun mereka yang
sabit kesalahan boleh dijatuhi hukuman mati mandatori.Oleh itu, kerajaan telah
melancarkan kempen antidadah di seluruh negara secara meluas. Namun demikian,tanggungjawab untuk memerangi dadah seharusnyakitapikul bersama. Tindakan pencegahan dadah yang berkesan memerlukan penglibatan semua golongan masyarakat. Pada zaman moden ini, golngan muda lebih bebas, terdedah kepada pengaruh asing dan mereka lebih mengutamakan pandangan rakan sebaya. Dengan ini, mereka mudah terlibat dengan kegiatan yang tidak sihat. Untuk disanjung oleh kawan, mereka
menunjukkan keberanian dengan menghisap rokok dan dadah. Sekali
merekabermula,makaamat sukar bagi mereka memberhentikan amalan
buruk ini.Masyarakat harus dididiksejak kecil lagi bahawa dadah itu najis,
benda yang kotor dan tidak boleh disentuh.Sekiranya kita berjaya menyemai
nilai ini dalamhatisanubarimereka, sebahagian daripada kejayaan
pencegahan dadah akan tercapai. Kitaharus sedar bahawa tindakan kita ke arah
matlamat mencegah penyalahgunaan dadah ini adalah untuk menyelamatkan
bukan sahaja keluarga kita sendiri bahkan generasi muda untukmewujudkan
satu bangsa yang bermaruah dan dihormati.
Sebahagian besar penagih-penagih dadah di negara kita terdiri daripada golongan remaja antara 15-29 tahun.Antarasebab-sebab utama
merekaini menjadi penagih ialah kerana keseronokan, sikap ingin tahu,
pengaruhpersekitaranterutamanya pengaruh rakan sebaya, tekanan emosi
disebabkan oleh sama ada kegagalan, tidak mendapat kasih sayangibubapa
atau kerana kemewahan. Hal ini menunjukkan, sekolah boleh memainkan
peranan penting dalam membasmi bencana dadah. Pada tahun 2005 ini,Agensi Antidadah Kebangsaan (AADK) telah melancarkan program pencegahan
penagihan dadah besar-besaran tahun ini dengan sasaran utama terhadap
golongan belia terutama pelajar sekolah. Program pencegahan merupakan usaha
terbaik bagi mengelak pertambahan jumlah penagih baru di negara ini. Menurut
laporan agensi itu, sehingga Oktober tahun 2004, daripada sejumlah 30,659
penagih dadah, sebanyak 15,292 orang adalah penagih baru manakala sebanyak
15,667 adalah penagih berulang. Data ini jelas menunjukkan kita perlu
bersungguh-sungguh dengan program pencegahan kerana program pemulihan
dan rawatan sukar menghalang penagih-penagih ini mengulangi kegiatan
mereka.
Kajian oleh Kementerian Kesihatan menunjukkan kegiatan penagihan
dadah lazimnya bermula dengan tabiat menghisap rokok. Ini kerana tabiat
ketagihan dihasilkan oleh unsur nikotin dalam rokok. Apabila merasakan rokok
tidak memberi kepuasan, mereka beralih kepada ganja dan sekiranya ganja juga
tidak memberi keseronokan, mereka akan beralih kepada heroin
dan morfin. Jelasnya, pencegahan tabiat merokok juga penting dalam memerangi
najis dadah kerana implikasinya terhadap dorongan untuk mendapatkan
dadah.Masyarakat harus sama-sama menyedari akan kesan pengambilan dadah.
Dengan berfikiran rasional,mereka tentu tidak sanggup menerima risikonya
yang menakutkan. Antara kesan-kesannya ialah mendapat penyakit meningitis,
penyakit jangkitan jantung, AIDS, Hepatitis B, C, dan D, kerosakan buah
pinggang, otot-otot badan mengecut dan berkemungkinan lumpuh. Kesan fizikal
pula ialah apabila sekiranya bekalan dadah tidak diperoleh mereka akan berasa
keluh-kesah, gian, dan amat menderita. Jelasnya mereka akan berperang dengan
kematian kerana terdedah dengan penyakit terutamanya penyakit AIDS yang amat digeruni. Kesimpulannya, kita harus bertekad dengan keazaman yang tinggi untuk
memerangi dadah. Najis dadah akan kita kuburkan dan wujudlah suasana dadah
sifar. Marilah kita sama-sama menghapuskan najis dadah yang
“menjahanamkan” masyarakat daripada terus hadir di Malaysia.Kita tiada
pilihan melainkan hanya satu slogan di hati dan di minda pada setiap masa iaitu
“Perangi Dadah Habis-Habisan”.
-liyana zubir :)

Kata Nama Arah

1. Kata nama arah ialah kata yang digunakan untuk menunjukkan hala atau kedudukan sesuatu.
2. Beberapa contoh kata nama arah ialah atas, bawah, depan, hujung, sudut, tepi, dan sebagainya.
3. Kata nama arah biasanya diletakkan sebelum frasa nama dan selepas kata sendi. Contohnya: di depan, ke atas, dari bawah, sudut bilik
Ayat contoh :
(a) Tuangkan air itu ke dalam baldi.
(b) Lelaki yang berdiri di luar pagar itu abanga saya.
(c) Kami tinggal di sebelah Kampung Sentosa.
(Isdatul Asyifa)

Kata Ganti Tunjuk

1. Kata ganti tunjuk ialah kata yang digunakan untuk mmenunjukkan sesuatu atau seseorang.
2. Ada dua kata ganti tunjuk iaitu ini dan itu.
3. Kata ganti tunjuk bertugas sebagai:
(a) penanda kata nama. Misalnya :
Buku ini ... (Buku adalah kata nama)
Perkara itu ... (Perkara adalah kata nama)
(b) subjek. Misalnya :
Ini pen saya.
itu Menara Berkembar Petronas.
(c) sebagai predikat dalam bentuk ayat songsang. Misalnya :
Inilah pen saya.
itulah Menara Berkembar Petronas.
(d) sebagai penentu belakang iaitu diletakkan di belakang kata nama. Misalnya :
Pisau ini sangat tajam.
Mereka tinggal di kampung itu.
(Isdatul Asyifa)

Martin Cooper

Martin Cooper (lahir pada 1928 di Chicago, Illinois) diiktiraf sebagai bapa telefon bimbit (berbeza dari telefn kereta).[1] Cooper merupakan CEO dan pengasas ArrayComm, syarikat yang terlibat dalam kerja-kerja menyelidik teknologi antena pintar dan memperbaik rangkaian tanpa wayar. Cooper juga merupakan Pengarah Korporat Penyelidikan dan Pembangunan Motorola. Martin Cooper menerima ijazah sarjana muda (Bachelor) dalam Kejuruteraan Elektrik pada 1950 dan ijazah sarjana (Master) pada 1957 dari Institut Teknologi Illinois.

Pada 1995, Cooper menerima Anugerah Wharton Infosys Business Transformation atas sumbangan beliau dalam bidang rekacipta dan kommunikasi. Cooper juga merupakan seorang ahli Mensa.[2]

Martin Cooper juga tersenarai dalam 10 Majikan Terbaik oleh majalah Red Herring.

Panggilan telefon bimbit pertama dunia
Paten "Radio telephone system" (sistem radio telefon) difailkan atas name Cooper pada 17 Oktober 1973.[3]

Beliau diiktiraf sebagai pereka telefon bimbit pertama dan juga orang pertama yang membuat panggilan telefon bimbit yang mengagumkan orang awam di New York pada 3 April 1973. Panggilan tersebut ditujukan kepada pesaing beliau, ketua penyelidikan, Dr. Joel S. Engel, Bell Labs, sekaligus membuka mata pelbagai pihak dan menyebabkan peralihan pasaran fundamental teknologi dan komunikasi. Ini adalah kerana visi beliau untuk mewujudkan komunikasi peribadi tanpa wayar, berbeza dengan telefon selular kereta pada masa itu. Cooper kemudiannya mendedahkan bahawa beliau telah memperoleh inspirasi untuk melakukan penyelidikan telefon bimbit itu menerusi watak Captain Kirk yang menggunakan alat komunikasi yang dipanggil "communicator" dalam rancangan televisyen terkenal Star Trek.

[nugra]

Sejarah pendaratan Jepun di Tanah Melayu

Pendaratan Jepun di Tanah Melayu berlaku secara sepantas kilat. Tempoh antara waktu konvoi Jepun berlepas dari Saigon, Indochina Perancis menuju ke arah selatan pada 6 Disember 1941 sehingga pendaratannya di Kota Bharu, Kelantan pada 8 Disember 1941 cuma mengambil masa tiga hari. Mitos keunggulan ketenteraan British di Timur Jauh dimusnahkan dalam tempoh 69 hari sewaktu Singapura, yang merupakan pusat pangkalan Tentera British di Timur Jauh, melutut kepada kekuatan pihak Jepun pada 15 Februari 1942.
Pesawat A6M Zero tentera laut Jepun dari Flotia Udara ke-22 di Lapangan Terbang Kota Bharu selepas penawanannya.
Isi kandungan
[sorokkan]

1 6 Disember 1941
2 7 Disember 1941
3 8 Disember 1941
3.1 Pendaratan Jepun di Kota Bharu
4 9 Disember 1941
4.1 Serangan udara RAF
4.2 Jepun berjaya mendarat
5 Turutan Masa
6 Rujukan

[sunting] 6 Disember 1941

Pada hari Sabtu, 6 Disember 1941, pegawai-pegawai Tentera Laut Amerika Syarikat, yang membawa perutusan penting, masuk ke persidangan di Manila, Filipina antara Laksamana Thomas C. Hart, pegawai pemerintah Angkatan Asia Amerika Syarikat (U.S. Asiatic Fleet), dan Laksamana Sir Thomas Phillips, pemerintah Tentera Laut British, Timur Jauh.

Sebuah pesawat peninjau Lockheed Hudson Australia yang berpangkalan di lapangan terbang Tanah Melayu terjumpa konvoi Jepun yang berlepas dari Saigon, Indochina Perancis. Komander pesawat tersebut, Pegawai Penerbangan Ramshaw, melaporkan pada mulanya hanya tiga buah kapal belayar, diikuti selepas itu oleh sekurang-kurangnya 25 buah kapal pengangkut lain. Angkatan itu diiringi oleh sebuah kapal tempur, lima buah penjajap dan tujuh buah kapal pembinasa (Ramshaw tersilap melaporkan kapal penjajap berat sebagai kapal tempur). Pada pendapatnya, kapal-kapal tersebut tengah menuju ke arah Thailand yang berkecuali, atau ke Tanah Melayu.

Ini merupakan isyarat yang amat jelas kepada kedua-dua laksamana bahawa perang akan meletus. Kedua-dua laksamana itu bertindak dengan segera. Empat buah kapal pembinasa Amerika Syarikat di Balikpapan menerima arahan agar belayar ke laut lepas, sementara Laksamana Muda Arthur E.F. Palliser dan Panglima Besar Phillips menerima arahan agar memerintah HMS Repulse untuk membatalkan pelayarannya ke Darwin, Australia, dan kembali ke Singapura secepat mungkin. Lebih banyak perutusan mengenai konvoi Jepun tiba. Pesawat British diperintahkan agar melakukan lebih banyak penerbangan peninjauan lanjut, tetapi pihak Jepun bernasib baik pada hari itu kerana cuaca buruk menghalang pesawat British daripada berlepas. Pada pukul 7 petang, angkatan penjajahan Jepun bertukar arah dan belayar ke utara menujui Teluk Siam.
[sunting] 7 Disember 1941

Pasukan penyerang utama Jepun bagi penjajahan Tanah Melayu, Tentera Ke-25 di bawah pimpinan Leftenan Jeneral Tomoyuki Yamashita, telah belayar daripada Pelabuhan Samah di Pulau Hainan pada 4 Disember 1941. Kapal tambahan yang membawa lebih banyak tentera bergabung dengan konvoi dari Saigon, Indochina Perancis. Pada kedua-dua hari 6 dan 7 Disember, pesawat Lockheed Hudson yang diterbangkan oleh Skuadron No.1 RAAF, Kota Bharu, dan Skuadron No.8 RAAF, Kuantan, menjumpai dan cuba mengekori kapal-kapal ini.

Pada 7 Disember, bot terbang PBY Catalina dari Skuadron No. 205 RAF yang diketuai oleh Pegawai Penerbangan Bedell, ditembak jatuh oleh pesawat Jepun semasa cuba memantau kemajuan angkatan Jepun. Pegawai Penerbangan Bedell dan anak-anak kapalnya menjadi korban Pihak Berikat pertama dalam peperangan menentangi Empayar Jepun. Pada pukul 10.00 malam., konvoi penjajahan Jepun berpecah ke arah kedudukan pendaratan yang telah diatur sebelumnya. Peperangan di Pasifik hampir bermula.
[sunting] 8 Disember 1941
Leftenan-Jeneral Yamashita, Komander tentera Jepun ke-25
Leftenan-Jeneral Percival, Pegawai Jeneral Pemerintah Tanah Melayu pada masa penjajahan Jepun pada Disember 1941

Pada pukul 10.30 petang, persidangan ketua Pemerintah Tanah Melayu (Malaya Command) diadakan di Bilik Perang Pangkalan Tentera Laut di Singapura. Marsyal Udara Sir Robert Brooke-Popham, pegawai pemerintah kesemua pasukan British di Timur Jauh, teragak-agak untuk melancarkan Operasi Matador — penawanan Thailand Utara. Beliau memutuskan untuk melewatkan operasi tersebut, sekurang-kurangnya bagi malam itu. Ini kerana sekiranya beliau silap, ini akan mencetuskan perang dengan Thailand. Sebaliknya sekiranya beliau terbukti benar, tentera Thailand masih mungkin menentang kemaraan tentera British, dan persiapan logistik tentera British untuk bergerak masih belum bersedia sepenuhnya. Sejurus selepas tengah malam pada 7/8 Disember, sekumpulan pengawal India di Kota Bharu ternampak tiga bayangan besar, kapal pengangkut IJN: Awajisan Maru, Ayatosan Maru, dan Sakura Maru berlabuh sekitar 3 kilometer dari pantai Kota Bharu. Kapal-kapal tersebut membawa sekitar 5,200 orang askar daripada Detasmen Takumi, diketuai oleh Mejar Jeneral Hiroshi Takumi yang berada di atas kapal pengangkut IJN Awajisan Maru. Sebahagian besar daripada mereka merupakan bekas perajurit, yang pernah melalui beberapa bulan latihan lasak dan pertempuran di dalam hutan China. Tentera tersebut terdiri daripada:

Rejimen Infantri Ke-56 (Kolonel Yoshio Nasu, di atas kapal pengangkut IJN Sakura Maru)
sepasukan daripada Rejimen Meriam Gunung Ke-18 (Leftenan Kolonel Katsutoshi Takasu)
Rejimen Kejuruteraan Ke-12 (Leftenan Kolonel Ichie Fujii)
Divisyen Unit Isyarat Ke-18
satu kompeni Rejimen Pengangkutan Ke-12
satu kompeni Divisyen Unit Perubatan Ke-18
Hospital Lapangan No. 2 daripada Divisyen Unit Perubatan Ke 18.

Mereka diiringi oleh angkatan pengiring yang kuat (Pasukan Penjajah Kota Bharu) di bawah pemerintahan Laksamana Muda Shintaro Hashimoto. Pasukan Penjajah Kota Bharu terdiri daripada penjajap ringan Sendai, kapal pembinasa Ayanami, Isonami, Shikinami, dan Uranami, kapal penyapu periuk api No. 2 dan No. 3, serta pemburu kapal selam No. 9.
Meriam yang digunakan oleh tentera Jepun semasa Perang Dunia II di Tanah Melayu.

Beberapa saat kemudian, pengawal pantai mendengar peluru meriam berterbangan di atas kepala mereka. Perang Dunia II di Pasifik telah bermula, semasa pesawat Jepun dari kapal induk Nagumo masih lagi dalam perjalanan bagi menyerang Pearl Harbor. Pesawat pendarat mulai dilepaskan sebaik sahaja kapal pengangkut berlabuh. Angin yang kuat dan laut bergelora menyukarkan operasi dan beberapa kapal kecil terbalik dan menyebabkan beberapa tentera Jepun lemas. Sungguhpun berhadapan dengan kesukaran sedemikian pada jam 12.45 pagi, gelombang pertama kapal pendarat yang mengangkut tentera di bawah pimpinan Kolonel Masu menghala ke pantai dalam empat baris. Briged Infantri India Ke-8 yang diketuai oleh Brigadier B.W. Key, sebahagian Divisyen Infantri British-India Ke-9, merupakan pasukan pertahanan utama di Kota Bharu, disokong oleh Pasukan Meriam Gunung Ke-21 yang terdiri daripada empat laras meriam katak 3.7 inci (Mejar J.B. Soper). Sebatalion Dogras Ke-3/17 bertanggungjawab mengawal sepuluh batu perbatasan Pantai Dasar Sabak yang termasuk dalam matlamat pendaratan Jepun. Tentera tersebut telah memasang periuk api dan kawat duri serta membina beberapa kubu kecil. Mereka disokong oleh Pasukan Meriam Lapangan Ke-73 daripada Rejimen Lapangan Ke-5, bersebelahan dengan lapangan terbang. Inilah detik-detik permulaan bagi Penjajahan Jepun di Tanah Melayu.
[sunting] Pendaratan Jepun di Kota Bharu

Sejurus selepas tengah malam, tentera Jepun bergerak ke arah pantai yang dipertahankan oleh pasukan India British yang mengawal pantai. Pasukan meriam British mula membedil sepanjang kawasan persisiran pantai dan laut sewaktu telah jelas bahawa tentera Jepun sudah memulakan pendaratan mereka. Tembakan suar menerangkan kawasan pendaratan Jepun dan unit Dogra mula menembak ke arah pesawat pendarat sebaik sahaja pesawat itu diterangi suar. Usaha pertahanan dilakukan bersungguh-sungguh oleh unit Dogras tetapi mereka menghadapi tentangan yang sengit.

Kubu mesingan (MG) di pantai digunakan dengan berkesan terhadap tentera Jepun yang mula mendarat di pantai dan membunuh ramai askar Jepun termasuk komander batalionnya, Mejar Nakamura, yang mengetuai orang-orangnya menyerbu kedudukan musuh. Kolonel Masanobu Tsuji menulis dalam bukunya mengenai Kempen Tanah Melayu: "Kubu-kubu kecil musuh yang disediakan dengan teliti bertindak dengan ganas dan sepenuh kekuatan sehinggakan orang-orang kami terbaring di pantai, separuh dalam air, separuh di pantai, tidak dapat mengangkat kepala mereka". Tidak sehingga tentera Jepun memusatkan serangan mereka terhadap dua buah kubu kecil dan parit pertahanan sokongan yang menguasai kawasan pendaratan, barulah mereka menguasai tempat mendarat.

Dalam pertempuran secara berhadapan, tentera Jepun berjaya menumpaskan tentera India British yang bertahan kawasan penting ini. Semasa pertempuran ini berlaku, gelombang penyerang kedua tersangkut di pantai terbuka dihujani tembakan meriam British yang mengakibatkan jumlah korban yang teruk. Bagaimanapun, sebaik sahaja kubu kecil telah dimusnahkan, pasukan ini mampu bergerak ke hadapan dan membolosi kedudukan Dogra. Walaupun membuat serangan balas, kedudukan supai India tidak dapat dipertahankan lagi dan pasukan pertahanan mula berundur.
[sunting] 9 Disember 1941
[sunting] Serangan udara RAF

Setelah diberitahu mengenai kehadiran pasukan penjajah beberapa batu di utara landasan pesawat mereka, pegawai kanan tentera udara di Kota Bharu meminta kebenaran untuk melancarkan serangan. Apabila telah jelas bahawa tentera Jepun mula mendarat, Skuadron Hudsons No. 1 mula berlepas untuk mengebom pesawat pengangkut. Gelombang pertama, yang terdiri daripada tujuh buah pesawat dan diketuai oleh Leftenan Penerbangan Lockwood, melakukan serangan pertama sekitar 02.10 pagi.
Lockheed Hudson Mk V

Leftenan Penerbangan O.N. Diamond Skuadron No. 1 memilih kapal pengangkut terbesar dan mengebom junam. Menurutnya, dua butir bom 250 paun dilepaskan dalam serangan pertamanya tepat kena, dan dalam serangan kedua, baki dua butir bomnya turut mengenai pesawat tersebut sebelum pesawatnya terkena tembakan dan terbakar. Kapal itu ialah kapal pengangkut IJN Awajisan Maru (9,794 tan) yang merupakan kapal Jepun yang pertama bagi semua saiz yang ditenggelamkan dalam Perang Dunia II. Skuadron No. 1 RAAF terus melakukan pengeboman. Sejumlah 17 serangan dilancarkan, mendarat, mengisi bom dan berlepas kembali sehingga 05.00 pagi. Kapal pengiring tentera Jepun melepaskan tembakan anti pesawat yang sengit, menembak jatuh sekurang-kurangnya dua pesawat Lockheed Hudson itu dan merosakkan tiga yang lain.

Salah sebuah pesawat yang rosak yang dipandu oleh Leftenan Penerbangan Leighton-Jones dilaporkan menjunam tepat ke sebuah pesawat pendarat yang berisi sarat. Walaupun menerima tembakan anti pesawat yang hebat, anggota Hudson melancarkan serangan mereka dengan penuh bersemangat. Kesemua kapal pengangkut dilaporkan dihujani peluru dengan beberapa buah terbakar. Kolonel Masanobu Tsuji, pegawai di bawah Ibu Pejabat Yamashita, menggambarkan laporan yang beliau menerima daripada Kota Bharu: "Tidak lama kemudian, pesawat musuh dalam formasi dua dan tiga mula menyerang kapal pengangkut kita, yang mulai berasap dan terbakar". Menjelang 04.30 pagi komander pengiring, bimbang dengan jumlah kerosakan yang dilakukan oleh RAAF, mengemukakan permohonan untuk berundur.

Mejar Jeneral Takumi membantah dan berjaya menegaskan bahawa beliau perlu memperkukuhkan tenteranya di pantai dan hanya pada pukul 06.00 (pagi), kedua-dua kapal pengangkut dan pengiring berundur ke utara. Awagisan Maru ditinggalkan marak terbakar dan ditakdirkan menjadi kapal Jepun pertama ditenggelamkan dalam peperangan, terlalu rosak untuk belayar. Kira-kira jam 02:00 pagi pada 8 Disember, lapangan terbang Kuantan menerima isyarat bahawa tentera Jepun cuba mendarat di Kota Bharu. Skuadron No. 8 membentukkan empat penerbangan tiga buah Hudson dengan penerbangan pertama pada jam 06.30 pagi.

Pesawat Hudson yang dikendalikan oleh Leftenen Penerbangan G. Hitchcock menyerang kapal pengangkut IJN, tetapi dilitupi asap pada 08.00 pagi disebabkan sebahagian daripadanya rosak, ditembusi empat puluh tiga butir peluru tetapi kembali ke Kuantan dengan selamat. Leftenen Penerbangan "Spud" Spurgeon dalam A16-41 mengebom kapal tetapi terpaksa mendarat hempas di Kota Bahru, akibat kerosakan pesawat Hudsonnya. Leftenen Penerbangan Russell Bell pula mengalami kerosakan hidraulik, akibat terkena peluru pada pesawat Hudson A16-81nya dan menerbang ke Seletar daripada Kota Bharu. Daripada 12 buah pesawat dalam serangan ini, lima rosak dengan satu mendarat hempas di Kota Bharu.
[sunting] Jepun berjaya mendarat

Pada masa ini, pesawat pejuang tentera Jepun yang sebelum ini sibuk melindungi pendaratan utama di Thailand, mulai sampai dan serangan lanjut oleh RAF Blenheims, terbukti sukar. Juga menjelang waktu pagi di sebalik usaha Skuadron No. 1, tentera Jepun berjaya mendaratkan pasukan penjajah mereka. Pada pukul 10:30 pagi, pasukan Jepun akhirnya tiba ke Kota Bahru.

Setibanya waktu pagi, Mejar Jeneral H. Takumi berjaya mendaratkan sejumlah tiga batalion penuh. Brigadier Key cuba menyerang balas dengan segala kekuatannya tetapi apabila gagal, beliau mulai berundur. Apabila telah menjadi jelas bahawa pada waktu siang lapangan terbang tempatan tidak dapat dipertahankan, Key, yang telah diperintahkan untuk berjuang pertempuran penafian (battle of denial ), bukannya sehingga titisan darah terakhir memohon, dan menerima kebenaran untuk berundur.

Tentera Jepun yang disokong oleh tentera yang baru mendarat, memaksa tentera India British berundur sehingga ke kawasan Kuala Lipis dan maju ke utara untuk menawan bandar Kota Bharu pada jam 2 petang pada 9 Disember.

Kedua pihak mengalami korban yang besar semasa pertempuran. Tidak terdapat rekod korban British, tetapi pastinya besar. Rekod korban Jepun berbeza dengan banyaknya. Louis Allen menyebut sumber Jepun meletakkannya sebagai 500 orang. Daripada ini, 150 dialami oleh tentera masih dalam kapal pengangkut, sedangkan baki 350 semasa perjalanan singkat ke pantai atau semasa di pantai. Sementara itu pula, Kolonel Tsuji menulis dalam bukunya bahawa 320 orang askar Jepun terkorban serta 538 orang tercedera dalam pertempuran itu dan menggelarkan Kota Bharu sebagai "salah satu kawasan pertempuran yang paling ganas dalam Kempen Tanah Melayu".

Lihat juga: Penjajahan Jepun di Tanah Melayu



Rencana utama: Turutan Masa Kempen Penaklukan Jepun Di Tanah Melayu



Rencana daripada Tapak web Kempen Hindia Timur Belanda 1941-1942 yang diterjemahkan oleh Yosri dengan kebenaran.

Kategori: Sejarah Malaysia | Perang Dunia Kedua

[nugra]

The School of Mathematical and Computer Sciences (MACS) at Heriot-Watt is at the forefront of education in these fundamentally important disciplines. It brings together the departments of Actuarial Mathematics and Statistics, Computer Science and Mathematics, within which are offered a wide variety of taught courses and an array of relevant and innovative research options.

MACS has an excellent reputation and is highly rated for the quality of its research and teaching. In addition, the School has myriad links to international industry and offers excellent pathways into the many fascinating careers open to Mathematics and Computer Science specialists. The community of high-quality postgraduate students numbers some 300, over half of whom are from outside the UK. Their range of interests varies in line with the many courses and research disciplines on offer. For example, some of the School's leading edge research projects are helping to explain:

how genetic testing may impact upon the insurance industry;
how computers can recognise human emotions through the acoustics of speech;
why Britain's red squirrel population is declining in the face of the invading grey squirrel;
how epidemics spread in human, plant and animal populations

The taught postgraduate courses and research disciplines are listed by department. Click on a link on the left for more details.
[nugra]

Kata Ganti Tempat

1. Kata ganti tempat ialah kata yang digunakan untuk menggantikan kata nama tempat.
2. Ada tiga saja kata ganti tempat, iaitu sana, sini dan situ.
Contoh ayatnya ;
(a) sana - Tolong letakkan kotak itu di sana.
(b) sini - Di sinilah tempat saya dilahirkan.
(c) situ - Di situ ada sebuah pondok usang.
(Isdatul asyifa)

Nutrition > 2.5 (Reabsorption of Water and Defaecation)

Reabsorption of water :)
1. The main function of the large intestine is to reabsorb water.
2. The substances that enter the large intestine consist of water and undigested food substances like cellulose from the fibre of vegetables and fruits.
3. Water is reabsorbed from these undigested food substances.

Defaecation :)
1. Undigested food in the large intestine is expelled as faeces through the process of defaecation.
2. Faeces that reach the rectum are made up of undigested food substances. The faeces accumulate in the rectum.
3. When the rectum is full of faeces, it undergoes peristalsis and assisted by abdominal contractions, will push the faeces through the anus to be expelled.
4. If an individual has problem in passing motion, he or she is said to be constipated.
5. Constipation occurs due to lack of water and roughage in the diet.
(isdatul asyifa)

biography of schubert serenade

Biography
[edit] Early life and education

Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music.
The house in which Schubert was born, today Nussdorfer Strasse 54, in the 9th district of Vienna.

At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At 7, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble.

Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize". Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper.

Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and theory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father's birthday in 1813), and his first symphony (D. 82).

Mass No. 2 in G, D. 167
Kyrie
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Gloria
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Credo
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Sanctus
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Benedictus
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Agnus Dei
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Performance by the MIT Concert Choir
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[edit] Teacher at his father's school

At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father's school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817.

In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibach, Schubert sent Grob's brother Heinrich a collection of songs, which were retained by her family into the 20th century.

One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. Some scholars, such as Maynard Solomon, have suggested that Schubert was erotically attracted to men, a thesis that has at times been heatedly debated.
[edit] Supported by friends

Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another." During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.

In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving, his work.

In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.

Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay was relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. Marie and Karoline both being his piano students, and the original score of "Marche Militaire" being a piano duet, lend credence to this view. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet.

The tight circle of friends that Schubert surrounded himself with was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian secret police, who were suspicious of any type of student gatherings. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently banned from Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language". While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" and "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.

He was nicknamed "Schwämmerl" by his friends, which Gibbs describes as translating "Tubby" or "Little Mushroom". "Schwammerl" is Austrian (and other) dialect for mushroom; the umlaut makes it a diminutive.

The Wanderer Fantasy D. 760
I. Allegro con fuoco
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II. Adagio
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III. Presto
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IV. Allegro
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Performed by Daniel Blanch. Courtesy of Musopen
[edit] Musical maturity

The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on June 14, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on August 21. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received. That month, he composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein.

Piano sonata in B♭, D. 960 (composed in 1828)
1. Molto moderato
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2. Andante sostenuto
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3. Scherzo. Allegro vivace con delicatezza
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4. Allegro, ma non troppo
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Performed by Randolph Hokanson
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The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. In 1822, Alfonso und Estrella was refused, partly owing to its libretto.Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe.Die Verschworenen (The Conspirators, D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man's gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert's music - especially not the instrumental works - as so little of it was printed or performed in the composer's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed, "Truly, the spark of divine genius resides in this Schubert!" but what would have come of it if he had recovered we can never know.
Schubert in 1825 (watercolor by Wilhelm August Rieder)

In the autumn of 1822, Schubert embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it is also remarkable that he didn't mention it to any of his friends even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving here.
[edit] Last years and masterworks

In 1823 Schubert, in addition to Fierrabras, also wrote his first song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller. This series, together with the later cycle "Winterreise" (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder.[citation needed] He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis first appeared.

In the spring of 1824 he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise (D. 818) for piano duet and the String Quartet in A minor (D. 804).

It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet. His friend Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:

In love with a Countess of youthful grace,
—A pupil of Galt's; in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother

Despite his preoccupation with the stage, and later with his official duties, he found time during these years for a significant amount of composition. He completed the Mass in A flat (D. 678) and, in 1822, began the "Unfinished Symphony" (Symphony No. 8 in B minor, D. 759). Why the symphony was "unfinished" has been debated endlessly without resolution. In 1824, he wrote the variations for flute and piano on "Trockne Blumen", from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument.

Ellens dritter Gesang (Ave Maria), D. 839
Play sound
Performed by Dorothea Fayne (voice) and Uwe Streibel (piano)

The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in Upper Austria, where he was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains Ellens dritter Gesang (D. 839), a setting of Adam Storck's German translation of Scott's hymn from The Lady of the Lake, which is widely, though mistakenly, referred to as "Schubert's Ave Maria". It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer. In 1825, Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), and began the "Great" C major Symphony (Symphony No. 9, D. 944), which was completed the following year.
Schubert in 1827 (oil on canvas, by Anton Depauly)

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years was relatively uneventful, and is little more than a record of his compositions. In 1826, he dedicated a symphony (D. 944, that later came to be known as the "Great") to the Gesellschaft der Musikfreunde and received an honorarium in return. In the spring of 1828, he gave, for the first and only time in his career, a public concert of his own works, which was very well received. The compositions themselves are a sufficient biography. The String Quartet in D minor (D. 810), with the variations on "Death and the Maiden", was written during the winter of 1825–1826, and first played on 25 January 1826. Later in the year came the String Quartet in G major, (D. 887, Op. 161), the "Rondeau brillant" for piano and violin (D. 895, Op. 70), and the Piano Sonata in G (D. 894, Op. 78) (first published under the title "Fantasia in G"). To these should be added the three Shakespearian songs, of which "Hark! Hark! the Lark" (D. 889) and "An Sylvia" (D. 891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.

In 1827, Schubert wrote the song cycle Winterreise (D. 911), a colossal peak of the art of art song ("remarkable" was the way it was described at the Schubertiades), the Fantasia for piano and violin in C (D. 934), the Impromptus for piano, and the two piano trios (the first in B flat (D. 898), and the second in E flat, D. 929); in 1828 the Mirjams Siegesgesang (Song of Miriam, D. 942) on a text by Franz Grillparzer, the Mass in E-flat (D. 950), the Tantum Ergo (D. 962) in the same key, the String Quintet in C (D. 956), the second Benedictus to the Mass in C, the last three piano sonatas, and the collection of songs published posthumously as Schwanengesang ("Swan-song", D. 957). This collection, while not a true song cycle, retains a unity of style amongst the individual songs, touching depths of tragedy and of the morbidly supernatural which had rarely been plumbed by any composer in the century preceding it. Six of these are set to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony No. 9 (D. 944) is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825 - that work, once considered lost, now is generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828. This was a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for most of his larger-scale works during his lifetime. In the last weeks of his life, he began to sketch three movements for a new Symphony in D (D. 936A).

Impromptu in B♭ D. 935 No. 3
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This Impromptu is a theme and variations based on a theme from Rosamunde. Performed by Randolph Hokanson.

The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the 'beyond'. He reaches extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles. For example, the song Der Doppelgänger reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death - a stark and visionary picture in sound and words that had been prefigured a year before by "Der Leiermann" (The Hurdy-Gurdy Man) at the end of Winterreise - and yet the composer is able to touch repose and communion with the infinite in the almost timeless ebb and flow of the String Quintet and his last three piano sonatas, moving between joyful, vibrant poetry and remote introspection. Even in large-scale works he was sometimes using increasingly sparse textures; Newbould compares his writing in the fragmentary Tenth Symphony (D.936A), probably the work of his very last two months) with Mahler's use of folksong-like harmonics and bare soundscapes. Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter.
[edit] Final illness and death
Franz Schubert memorial by Karl Kundmann in Vienna's Stadtpark

In the midst of this creative activity, his health deteriorated. The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis. By the late 1820s Schubert's health was failing and he confided to some friends that he feared that he was near death. In the late summer of 1828, the composer saw court physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon. Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it). At the beginning of November he again fell ill, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Schubert died in Vienna, at age 31, on November 19, 1828, at the apartment of his brother Ferdinand. The last musical work he had wished to hear was Beethoven's String Quartet No.14 in C sharp minor, Op. 131; his friend, violinist Karl Holz, who was present at the gathering, 5 days before Schubert's death, commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing". It was next to Beethoven, whom he had admired all his life, that Schubert was buried by his own request, in the village cemetery of Währing.

In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof, where they can now be found next to those of Johann Strauss II and Johannes Brahms. The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust.
[edit] Music
See also: List of compositions by Franz Schubert

Schubert wrote almost 1000 works in a remarkably short career. The largest number (over 600) of these are songs. He wrote seven complete symphonies, as well as the two movements of the "Unfinished" Symphony, a complete sketch (with partial orchestration) of a ninth, and arguable fragments of a 10th. There is a large body of music for solo piano, including 21 complete sonatas and many short dances, and a relatively large set of works for piano duet. There are nearly 30 chamber works, including some fragmentary works. His choral output includes six masses. He wrote only five operas, and no concertos.
[edit] Style and reception

In July 1947 the twentieth-century composer Ernst Krenek discussed Schubert's style, abashedly admitting that he at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as Bach or Beethoven". Krenek wrote that he reached a completely different assessment after close study of Schubert's songs at the urging of friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional molds; on the contrary he was a thinking artist with a keen appetite for experimentation."

That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the second movement of the String Quintet, where he modulates from C major, through E major, to reach the tonic key of C♯ major. It also appears in unusual choices of instrumentation, as in the Arpeggione Sonata or the unconventional scoring of the Trout Quintet. If it not infrequently led Schubert up blind alleys, resulting in fragmentary works, it also enabled him to create music unlike anything that had come before, such as his two song cycles of unprecedented scope.[citation needed]

The Arpeggione Sonata, D. 821
I. Allegro Moderato
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2. Adagio and 3. Allegretto
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Performed by Hans Goldstein (cello) and Clinton Adams (piano)

While he was clearly influenced by the Classical sonata forms of Beethoven and Mozart (his early works, among them notably the 5th Symphony, are particularly Mozartean), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his 9th Symphony was described by Robert Schumann as running to "heavenly lengths". His harmonic innovations include movements in which the first section ends in the key of the subdominant rather than the dominant (as in the last movement of the Trout Quintet). Schubert's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end.[citation needed]

It was in the genre of the Lied, however, that Schubert made his most indelible mark. Plantinga remarks, "In his more than six hundred Lieder he explored and expanded the potentialities of the genre as no composer before him." Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of Romantic nationalism. Among Schubert's treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade and Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in Gretchen and the furious and ceaseless gallop in Erlkönig. Also of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. The Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved".Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. [...] Schubert created a new epoch with the Lied. [...] All other songwriters have followed in his footsteps."

Schubert's compositional style progressed rapidly throughout his short life. The loss of potential masterpieces caused by his early death at 31 was perhaps best expressed in the epitaph on his large tombstone written by the poet Franz Grillparzer, "Here music has buried a treasure, but even fairer hopes."

Schubert's chamber music continues to be popular. In a poll of classical music listeners announced in October 2008, the ABC in Australia found that Schubert's chamber works dominated the field, with the Trout Quintet coming first, followed by two of his other works.

The New York Times music critic, Anthony Tommasini, who ranked Schubert as the fourth greatest composer wrote, "Four? Schubert. You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone — including the haunting cycle “Winterreise,” which will never release its tenacious hold on singers and audiences — Schubert is central to our concert life.... Schubert’s first few symphonies may be works in progress. But the “Unfinished” and especially the Ninth Symphony are astonishing. The Ninth paves the way for Bruckner and prefigures Mahler.".
[edit] Posthumous history of Schubert's music
Interior of museum at Schubert's birthplace, Vienna, 1914

Some of his smaller pieces were printed shortly after his death, but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers. Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major symphony (the "Great", D. 944) and took it back to Leipzig, where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. The most important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove (widely known for the Grove Dictionary of Music and Musicians) and Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde incidental music, some of the Masses and operas, some of the chamber works, and a vast quantity of miscellaneous pieces and songs. This led to more widespread public interest in Schubert's work.
Posthumous lithograph by Joseph Kriehuber

From the 1830s through the 1870s, Franz Liszt transcribed and arranged a number of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived." Schubert's symphonies were of particular interest to Antonín Dvořák, with Hector Berlioz and Anton Bruckner acknowledging the influence of the "Great" Symphony.

In 1897, the publisher Breitkopf & Härtel released a critical edition of Schubert's works, under the general editing of Johannes Brahms, enabling a wider dissemination of his music. In the 20th century, composers such as Benjamin Britten, Richard Strauss, and George Crumb either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.
[edit] Numbering of symphonies

Confusion arose quite early over the numbering of Schubert's symphonies, in particular the "Great" C Major Symphony. George Grove, who rediscovered many of Schubert's symphonies, assigned the following numbering after his 1867 visit to Vienna:

* Number 7: E major D. 729 (completely sketched but not completely scored by Schubert, with multiple historic and modern completions)
* Number 8: B minor Unfinished D. 759
* Number 9: C major Great D. 944

Breitkopf & Härtel, when preparing the 1897 complete works publication, originally planned to only publish complete works (which would have given the Great number 7), with "fragments", including the Unfinished and the D. 729 sketch, receiving no number at all. When Johannes Brahms became general editor of that project, he assigned the following numbers:

* Number 7: C major Great
* Number 8: B minor Unfinished
* no number: E major D. 729


Examples of Works for violin and piano
Rondeau brillant, D. 895, Op. 70
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Fantasia in C major, D. 934
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Performed by Denes Zsigmondy (violin) and Annaliese Nissen(piano)
Problems listening to these files? See media help.

Some of the disagreement continued into the 20th century. George Grove in his 1908 Dictionary of Music and Musicians, assigned the Great as number 10, and the Unfinished as number 9. (It is unclear from his article which symphonies, fragmentary or otherwise, are numbers 7 and 8.) However, the Unfinished is now generally referred to as number 8 in the English-speaking world, with the Great at number 9. Number 10 is generally acknowledged to be the D. 936a fragment, for which a completion by Brian Newbould exists. The 1978 revision to the Deutsch catalog leaves D. 729 without a number (in spite of numerous completions), and assigns number 7 to the Unfinished and number 8 to the Great. As a consequence, generally available scores for the later symphonies may be published using conflicting numbers.

Grove and Sullivan also suggested that there may have been a "lost" symphony. Immediately before Schubert's death, his friend Eduard von Bauernfeld recorded the existence of an additional symphony, dated 1828 (although this does not necessarily indicate the year of composition) named the "Letzte" or "Last" symphony. Brian Newbould believes that the "Last" symphony refers to a sketch in D major (D. 936A), identified by Ernst Hilmar in 1977, and which was realised by Newbould as the Tenth Symphony. The fragment was bound with other symphony fragments (D. 615 and D. 708a) that Schubert had apparently intended to combine.
[edit] Commemorations

In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognizing Schubert as the creator of the art song, and one of Austria's favorite sons.Karlsruhe saw the first production of his opera Fierrabras.

In 1928, Schubert week was held in Europe and the United States to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory". The winning entry was Kurt Atterberg's sixth symphony.

In 1977, the German electronic band Kraftwerk recorded a tribute song called "Franz Schubert", which can be found on the album Trans-Europe Express.
[edit] Catalogue

Since relatively few of his works were published in Schubert's lifetime, only a small number of them have opus numbers assigned, and, even in those cases, the sequence of the numbers does not give a good indication of the order of composition. In 1951, musicologist Otto Erich Deutsch published a "thematic catalogue" of Schubert's works that lists his compositions numerically by their composition date.

* Catalogue by Deutsch number: D 1 to 500 — D 501 to 998
* List of compositions by Franz Schubert — by musical genre
* Wikipedia articles about Schubert's compositions

[edit] Notes

1. ^ Rita Steblin, "Franz Schubert – das dreizehnte Kind", Wiener Geschichtsblätter, 3/2001, pp. 245–265.
2. ^ Wilberforce (1866), p. 2 "the school was much frequented"
3. ^ a b Duncan (1905), p. 3
4. ^ Gibbs (2000), p. 25
5. ^ Maurice J. E. Brown, The New Grove Schubert, ISBN 0-393-30087-0, pp. 2–3
6. ^ Wilberforce (1866), p. 3
7. ^ a b Gibbs (2000), p. 26
8. ^ Duncan (1905), pp. 5–7
9. ^ a b Duncan (1905), p. 7
10. ^ Gibbs (2000), p. 29
11. ^ a b Duncan (1905), p. 9
12. ^ Frost, p. 9
13. ^ Duncan (1905), p. 10
14. ^ a b Duncan (1905), pp. 13–14
15. ^ Erich Benedikt, "Notizen zu Schuberts Messen. Mit neuem Uraufführungsdatum der Messe in F-Dur", Österreichische Musikzeitschrift 52, 1-2/1997, p. 64
16. ^ Steblin
17. ^ Gibbs (2000), p. 39
18. ^ a b c Newbould (1999), p. 64
19. ^ Newbould (1999), p. 40
20. ^ Gibbs (1997), p. 108
21. ^ Solomon, M. (1989) Franz Schubert and the peacocks of Benvenuto Cellini. 19th-Century Music, 12:193–206.
22. ^ Schubert: Music, Sexuality, Culture. 19th-Century Music, 1993, 17:3–101.
23. ^ Duncan (1905), p. 26
24. ^ McKay, p. 56
25. ^ Gibbs (2000), p. 44
26. ^ Newbould (1999), p. 66
27. ^ Duncan (1905), pp. 90–93
28. ^ a b Newbould (1999) pp. 69–72
29. ^ Gibbs (2000), p. 59
30. ^ Newbould (1999), p. 235
31. ^ Gibbs (2000), p. 67
32. ^ Gibbs (2000), p. 68
33. ^ Hadow, William Henry (1911). "Franz Schubert". Encyclopedia Britannica. 24. London, New York: The Encyclopedia Britannica Company. pp. 380.
34. ^ a b Austin (1873), pp. 46–47
35. ^ Wilberforce (1866), pp. 90–92
36. ^ Wilberforce (1866), p. 25
37. ^ Newbould (1999), p. 173
38. ^ Gibbs (1997), p. 228
39. ^ Gibbs (2000), p. 111
40. ^ Thayer, pp. 299–300
41. ^ Newbould (1999), p. 215
42. ^ Newbould (1999), p. 210
43. ^ Newbould (1999), p. 218
44. ^ Duncan (1905), p. 99
45. ^ Newbould (1999), pp. 221–225
46. ^ Emmons, p. 38
47. ^ Newbould (1999), p. 228
48. ^ Newbould (1999), p. 254
49. ^ Newbould (1999), pp. 265–266
50. ^ Smith & Carlson, p. 78
51. ^ Newbould (1999) pp. 261–263
52. ^ Newbould (1999) pp. 270–274
53. ^ Gibbs (1997), p. 202
54. ^ a b c Newbould (1999), p. 385
55. ^ Newbould (1999) ibid, and comments in the liner notes to the cd recording issued on Hyperion Records
56. ^ Schonberg, p. 130
57. ^ Brian Newbould, Schubert: The Music and the Man, UCLA Press, 1997, discusses Schubert's medical history and his death; leans toward Schubert's contracting syphilis in 1822 and dying from it, while judging the evidence not quite conclusive.
58. ^ Brian Newbould, 1999, on the medical evidence
59. ^ Newbould ibid
60. ^ Gibbs (2000), pp. 168–169
61. ^ Deutsch O.E. Schubert: Memoirs by his friends, p. 300. London, 1959.
62. ^ a b Duncan (1905), pp. 79–80
63. ^ Gibbs (2000), p. 197
64. ^ Ewen, p. 384
65. ^ Lev.
66. ^ Gammond (1982), p. 117
67. ^ Gammond (1982), pp. 76–81
68. ^ Brown, p. 630
69. ^ Plantinga, Leon (1984). Romantic Music: A History of Musical Style in Nineteenth-Century Europe. Norton. pp. 117. ISBN 0393951960.
70. ^ Plantinga, pp. 107–117
71. ^ Swafford, p. 211
72. ^ Gammond (1982), pp. 153–156
73. ^ Dvořák, Century Illustrated, July 1894, pp. 344–345
74. ^ Gammond (1982), p. 143, discussing in particular his chamber music
75. ^ Duncan (1905), p. 80
76. ^ "The Classical Music Chamber Music 100". Australian Broadcasting Co.. http://www.abc.net.au/classic/classic100/chamber/100list.htm. Retrieved 2010-08-24.
77. ^ NYtimes.com
78. ^ a b Kreissle, pp. 297–332, in which Grove recounts his visit to Vienna.
79. ^ Gibbs (2000), pp. 61–62
80. ^ See e.g. Kreissle, p. 324, where Grove describes current (1860s) interest in Schubert's work, and Gibbs (1997), pp. 250–251, describing the size and scope of the 1897 Schubert centennial commemorations.
81. ^ Liszt (1989), p. 144
82. ^ a b Newbould (1999), pp. 403–404
83. ^ Lindmayr, p. 56
84. ^ Grove (1908), pp. 320–328
85. ^ 1978 Deutsch Catalog
86. ^ See references below for citations containing different numbers for the Unfinished Symphony.
87. ^ Rodenberg, p. 118
88. ^ Musical Times, February 1897, p. 113
89. ^ Gibbs (1997), p. 318
90. ^ a b "Schubert Ecstasy". Time. 3 December 1928. http://www.time.com/time/magazine/article/0,9171,928288,00.html. Retrieved 8 April 2009.
91. ^ Trans-Europe Express track listing

[edit] References
Wikisource has original text related to this article:
Franz Schubert

* Kreissle von Hellborn, Heinrich (1865). Franz Schubert. Carl Gerold's Sohn. http://www.google.de/books?id=QbwTAAAAYAAJ. The first significant biography of Schubert. This edition is available at German Google Books. English translations and abridgements of this biography from the 1860s are available at Google Books. The second volume is notable in that it contains Sir George Grove's description of the trip to Vienna in which he recovered a number of Schubert's works.
* Kreissle von Hellborn, Heinrich; Wilberforce, Edward (translator) (1866). Franz Schubert, a musical biography, from the German (abridged). http://books.google.com/?id=zEgBAAAAQAAJ. (roughly, volume 1 of Kreissle)
* Kreissle von Hellborn, Heinrich; Coleridge, Arthur Duke (translator); Grove, George (appendix) (1869). The Life of Franz Schubert, Vol. 2. Longmans, Green, and Co. http://books.google.com/?id=hpcPAAAAYAAJ. (roughly, volume 2 of Kreissle)

[edit] Nineteenth and early 20th-century scholarship

* Austin, George Lowell (1873). The Life of Franz Schubert. Shepard and Gill. ISBN 0404128564. OCLC 4450950. http://books.google.com/?id=Ka4NAAAAYAAJ.
* Duncan, Edmondstoune (1905). Schubert. J.M. Dent. ISBN 1443782793. OCLC 2058050. http://books.google.com/?id=CldMAAAAMAAJ.
* Dvořák, Antonín (July 1894). "Franz Schubert". Century Illustrated Magazine (Cairns Collection of American Women Writers) 48 (3). OCLC 4279873. http://books.google.com/?id=qHcAAAAAYAAJ.
* Frost, Henry Frederic (1915). Schubert. Scribner. OCLC 45465176. http://books.google.com/?id=npc5AAAAIAAJ.
* Grove, George; Fuller-Maitland,John Alexander (1908). Grove's Dictionary of Music and Musicians, volume 4. Macmillan. OCLC 407077. http://books.google.com/?id=FBsPAAAAYAAJ.
* Rodenberg, Julius; Pechel, Rudolf (1900). Deutsche Rundschau, volume 102 (Jan–Mar 1900). Gebrüder Paetel. OCLC 1566444. http://books.google.com/?id=7UEVAAAAYAAJ.
* Thayer, Alexander Wheelock; Krehbiel, Henry E.;Deiters, Hermann; Riemann, Hugo (1921). The Life of Ludwig Van Beethoven: vol 3. The Beethoven Association. OCLC 422583. http://books.google.com/?id=rRkUAAAAYAAJ.
* Musical Times. 38. Novello. February 1897. OCLC 1608351. http://books.google.com/?id=aco7mI9EM50C&pg=PA242&dq=Mottl+Fierrabras#PPA113,M1.
* Chisholm, Hugh, ed (1911). "Schubert, Franz Peter". Encyclopædia Britannica (Eleventh ed.). Cambridge University Press.
* "Franz Schubert". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.

[edit] Modern scholarship

* Brown, A. Peter (2002). The Symphonic Repertoire. Indiana University Press. ISBN 9780253334879.
* Deutsch, Otto Erich; et al. (1978). Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge. Bärenreiter. ISBN 9783761805718.
* Emmons, Shirlee; Lewis,Wilbur Watkin (2006). Researching the Song: A Lexicon. Oxford University Press US. ISBN 9780195152029.
* Ewen, David (2007). Composers of Yesterday. READ BOOKS. ISBN 9781406759877.
* Gammond, Peter (1982). Schubert. Methuen. ISBN 0-413-46990-5.
* Gibbs, Christopher H. (2000). The Life Of Schubert. Cambridge University Press. ISBN 0-521-59512-6.
* Gibbs, Christopher H. [ed.] (1997). The Cambridge Companion to Schubert. Cambridge University Press. ISBN 9780521484244.
* Lev, Ray (1947). Album notes for Franz Schubert — Piano Sonata no. 15 in C Major (Unfinished); Allegretto in C Minor — Ray Lev, Pianist [78 RPM]. United States: Concert Hall Society (Release B3).
* Lindmayr-Brandl, Andrea (2003) (in German). Franz Schubert: Das fragmentarische Werk. Franz Steiner Verlag. ISBN 9783515082501. http://books.google.com/?id=cUgvGaSYCJ8C.
* Liszt, Franz; Suttoni, Charles (translator, contributor) (1989). An Artist's Journey: Lettres D'un Bachelier ès Musique, 1835–1841. University of Chicago Press. ISBN 0226485102. http://books.google.com/?id=bXpPOj-Y7nkC.
* Newbould, Brian (1999). Schubert: The Music and the Man. University of California Press. ISBN 0-520-21957-0.
* Schonberg, Harold C (1997). The Lives of the Great Composers. W. W. Norton. ISBN 9780393038576. http://books.google.com/?id=VawrK1CRFJgC.
* Smith, Jane Stuart; Carlson, Betty; Schaeffer, Francis A (1995). The Gift of Music: Great Composers and Their Influence. Good News Publishers. ISBN 9780891078692.
* Steblin, Rita (1998). "Schubert's Relationship with Women: An Historical Account". In Newbould, Brian. Schubert Studies. Ashgate. pp. 159–182. ISBN 9781859282533.
* Steblin, Rita (1998). "In Defense of Scholarship and Archival Research: Why Schubert's Brothers Were Allowed to Marry". Current Musicology 62: 7–17.
* Swafford, Jan (1992). The Vintage Guide to Classical Music. Vintage Books. ISBN 0-679-72805-8.
* "Trans-Europe Express track listing". http://www.discogs.com/Kraftwerk-Trans-Europe-Express/release/1631474. Retrieved 2009-04-09.

[edit] Symphony numbers

The following citations illustrate the confusion around the numbering of Schubert's late symphonies. The B minor Unfinished Symphony is variously published as Number 7 and Number 8, in both German and English. All of these editions appeared to be in print (or at least somewhat readily available) in 2008.

* Schubert, Franz (1996) (in German). Symphony, No 7, D 759, B Minor, "Unfinished". Bärenreiter. OCLC 39794412. German-language publication of the Unfinished Symphony score as Number 7.
* Schubert, Franz (2008). Symphony No. 7 in B Minor D 759 Unfinished Symphony. Eulenburg Audio+Score Series. Eulenburg. ISBN 978-3795765293. English-language publication of the Unfinished Symphony score as Number 7.
* Schubert, Franz; Reichenberger, Teresa (1986) (Paperback). Symphony No. 8 in B minor, D. 759 Unfinished. ISBN 978-3795762780. English-language publication of the Unfinished Symphony score as Number 8.

[edit] Further reading

Otto Erich Deutsch, working in the first half of the 20th century, was probably the preeminent scholar of Schubert's life and music. In addition to the catalog of Schubert's works, he collected and organized a great deal of material about Schubert, some of which is still in print.

* Deutsch, Otto Erich; Wakeling, Donald R. (1995). The Schubert Thematic Catalogue. Courier Dover Publications. ISBN 9780486286853.
* Deutsch, Otto Erich; Blom, Eric (translator) (1977). Schubert: A Documentary Biography. Da Capo Press. ISBN 9780306774201.
* Deutsch, Otto Erich (1998). Schubert: Memoirs by His Friends. Oxford University Press. ISBN 9780198164364.
* Schubert, Franz; Deutsch, Otto Erich; Savile, Venetia (translator) (1928). Franz Schubert's Letters and Other Writings. A. A. Knopf. ISBN 0836952421. OCLC 891887.
* Kahl, Willi (1938). Verzeichnis des Schrifttums über Franz Schubert 1828-1928. Bosse Regensburg.
* Hilmar, Ernst. Bausteine zu einer neuen Schubert-Bibliographie vornehmlich der Schriften von 1929 bis 2000. Teil I: Alphabetische Ordnung nach Autoren. In: Schubert durch die Brille No. 25, (2000), p. 95-303 (Supplements and Index in No. 26, 27). Hans Schneider Tutzing.
* Gerlich, Thomas (2001ff.). Schubert-Bibliographie (since 1999). In: Schubert : Perspektiven. Steiner Stuttgart.

Elizabeth Norman McKay and Brian Newbould have done a great deal of research on the life and music of Schubert in recent years, including scholarly journal articles and books. Newbould made a completion of Schubert's fragmentary 10th symphony.

* McKay, Elizabeth Norman (1991). Franz Schubert's music for the theatre. H. Schneider. ISBN 978-3795206642.
* McKay, Elizabeth Norman (1996). Franz Schubert: A Biography. Oxford University Press. ISBN 9780198166818.
* Newbould, Brian (1997). Schubert: The Music and the Man. University of California Press. ISBN 9780520219571.
* Newbould, Brian (1998). Schubert Studies. Ashgate. ISBN 9781859282533.
* Newbould, Brian (1992). Schubert and the Symphony: A New Perspective. Toccata Press. ISBN 9780907689263.
* Newbould, Brian (2003). Schubert the Progressive: History, Performance Practice, Analysis. Ashgate. ISBN 9780754603689.

Additional readings (sources from German Wikipedia article):

* Walther Dürr, Andreas Krause (ed.): Schubert-Handbuch. Metzler, Stuttgart 1997, ISBN 3-476-01418-5
* Ernst Hilmar: Verzeichnis der Schubert-Handschriften in der Musiksammlung der Wiener Stadt- und Landesbibliothek. Kassel u. a. 1978 (Catalogus Musicus 8).
* Ernst Hilmar, Margret Jestremski (ed.): Schubert-Enzyklopädie. 2 Bände. Hans Schneider, Tutzing 2004, ISBN 3-7952-1155-7
* H.-J. Hinrichsen: Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmu­sik Franz Schuberts. Tutzing 1994
* Elizabeth Norman McKay: Franz Schubert's Music for the Theatre. Foreword by Claudio Abbado. (Veröffentlichungen des IFSI, 5), Tutzing 1991
* Christian Pollack (ed.): Franz Schubert: Bühnenwerke. Kritische Gesamtausgabe der Texte. Tutzing 1988
* Ernst Hilmar, Otto Brusatti (ed., mit einer Einleitung von Walter Obermaier): Franz Schubert. Ausstellung der Wiener Stadt- und Landesbibliothek zum 150. Todestag des Komponisten. Katalog. Wien 1978.
* Ernst Hilmar: Schubert. Graz 1989
* Till Gerrit Waidelich (ed., together with R. Hilmar-Voit, A. Mayer): Franz Schubert. Dokumente 1817–1830. Erster Band: Texte. Programme, Rezensionen, Anzeigen, Nekrologe, Musikbeilagen und andere gedruckte Quellen (Veröffentlichungen des IFSI, 10/1), Tutzing 1993
* Ernst Hilmar (ed.): Franz Schubert. Dokumente 1801–1830. Erster Band. Addenda und Kommentar. (Veröffentlichungen des IFSI, 10/2), Tutzing 2003
* Ernst Hilmar (ed.): Schubert durch die Brille. Mitteilungen des Internationalen Franz Schubert Instituts. Wien/Tutzing 1988–2003
* Hans-Joachim Hinrichsen, Till Gerrit Waidelich (ed.): Schubert : Perspektiven Stuttgart 2001ff. ISSN 1617-6340 (content since 2001)

[edit] External links
Wikimedia Commons has media related to: Franz Schubert

* The Lied and Arts Song Texts Page
* Franz Schubert discography at MusicBrainz
* Franz Schubert at the Internet Broadway Database
* Franz Schubert at the Internet Movie Database
* Catalogue of Works by Franz Schubert
* Digital reproductions of score manuscripts and letters by Franz Schubert
* Notes on Franz Schubert by pianist Bart Berman
* The Schubert Institute (UK), detailed time-line, biography, work list and (flawed) family tree
* The Schubert Society of the USA
* The Franz Schubert Society of Victoria
* Franz-Schubert-Institut in Baden bei Wien
* Works by or about Franz Schubert in libraries (WorldCat catalog)

[edit] Recordings and MIDI files

* Schubertsongs.com – free Recordings of all works by Schubert for voice and piano (mp3)
* Schubert cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.

[edit] Sheet music

* Kreusch-sheet-music.net Schubert's Piano Works
* Shubertline.co.uk about 250 of Schubert's Songs (Schubertline edition)
* Free scores by Franz Schubert in the International Music Score Library Project
* Free scores by Franz Schubert in the Choral Public Domain Library (ChoralWiki)
* Free scores by Franz Schubert in the Werner Icking Music Archive (WIMA)
* Works by Franz Schubert at Project Gutenberg
* Schubert's Sheet Music by Mutopia Project
* Lieder sheet music

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Name Schubert, Franz Peter
Alternative names
Short description Austrian composer
Date of birth January 31, 1797
Place of birth Vienna, Austria
Date of death November 19, 1828
Place of death Vienna, Austria

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