Avoid empty table in documentation of `Global' context.

[lilypond.git] / Documentation / user / changing-defaults.itely

diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index d6ef0ae43d8f336bbe96a3c54fc74df9db58ce25..fb480d6d2a66f372b8d8c5389a41160e227d6844 100644 (file)
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -1,4 +1,12 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c -*- coding: utf-8; mode: texinfo; -*-

+@c This file is part of lilypond.tely
+@ignore
+    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+    When revising a translation, copy the HEAD committish of the
+    version that you are working on.  See TRANSLATION for details.
+@end ignore
+

 @node Changing defaults
 @chapter Changing defaults
 
 @node Changing defaults
 @chapter Changing defaults
 


@@ -6,7 +14,7 @@
 The purpose of LilyPond's design is to provide the finest output
 quality as a default.  Nevertheless, it may happen that you need to
 change this default layout.  The layout is controlled through a large
 The purpose of LilyPond's design is to provide the finest output
 quality as a default.  Nevertheless, it may happen that you need to
 change this default layout.  The layout is controlled through a large

-number of proverbial ``knobs and switches.''  This chapter does not
+number of proverbial @q{knobs and switches.}  This chapter does not

 list each and every knob.  Rather, it outlines what groups of controls
 are available and explains how to lookup which knob to use for a
 particular effect.
 list each and every knob.  Rather, it outlines what groups of controls
 are available and explains how to lookup which knob to use for a
 particular effect.


@@ -25,8 +33,8 @@ Program reference manual.
 That manual
 lists all different variables, functions and options available in
 LilyPond.  It is written as a HTML document, which is available
 That manual
 lists all different variables, functions and options available in
 LilyPond.  It is written as a HTML document, which is available

-@uref{http://@/lilypond@/.org/@/doc/@/v2.8/@/Documentation/@/user/@/
-lilypond@/-internals/,on@/-line},
+@c leave the @uref as one long line.
+@uref{http://@/lilypond@/.org/@/doc/@/stable/@/Documentation/@/user/@/lilypond@/-internals/,on@/-line},

 but is also included with the LilyPond documentation package.
 
 There are four areas where the default settings may be changed:
 but is also included with the LilyPond documentation package.
 
 There are four areas where the default settings may be changed:


@@ -46,16 +54,16 @@ Context: changing aspects of the translation from music events to
 notation.  For example, giving each staff a separate time signature.
 
 @item
 notation.  For example, giving each staff a separate time signature.
 
 @item

-Global layout: changing the appearance of the spacing, line
+Page layout: changing the appearance of the spacing, line

 breaks, and page dimensions.  These modifications are discussed
 breaks, and page dimensions.  These modifications are discussed

-in @ref{Global issues}.
+in @ref{Non-musical notation}, and @ref{Spacing issues}.

 @end itemize
 
 Internally, LilyPond uses Scheme (a LISP dialect) to provide
 infrastructure.  Overriding layout decisions in effect accesses the
 program internals, which requires Scheme input.  Scheme elements are
 introduced in a @code{.ly} file with the hash mark
 @end itemize
 
 Internally, LilyPond uses Scheme (a LISP dialect) to provide
 infrastructure.  Overriding layout decisions in effect accesses the
 program internals, which requires Scheme input.  Scheme elements are
 introduced in a @code{.ly} file with the hash mark

-@code{#}.@footnote{@ref{Scheme tutorial} contains a short tutorial
+@code{#}.@footnote{@ref{Scheme tutorial}, contains a short tutorial

 on entering numbers, lists, strings, and symbols in Scheme.}
 
 
 on entering numbers, lists, strings, and symbols in Scheme.}
 
 


@@ -146,7 +154,7 @@ cis' c'' cis'2 | c'' c'
 
 @item @code{modern-cautionary}
 @funindex modern-cautionary
 
 @item @code{modern-cautionary}
 @funindex modern-cautionary

-This rule is similar to @code{modern}, but the ``extra'' accidentals
+This rule is similar to @code{modern}, but the @q{extra} accidentals

 (the ones not typeset by @code{default}) are typeset as cautionary
 accidentals.  They are printed in reduced size or with parentheses
 @lilypond[quote,ragged-right,fragment,verbatim]
 (the ones not typeset by @code{default}) are typeset as cautionary
 accidentals.  They are printed in reduced size or with parentheses
 @lilypond[quote,ragged-right,fragment,verbatim]


@@ -184,7 +192,7 @@ accidentals typeset as cautionaries.
 @item no-reset
 @funindex no-reset accidental style
 This is the same as @code{default} but with accidentals lasting
 @item no-reset
 @funindex no-reset accidental style
 This is the same as @code{default} but with accidentals lasting

-``forever'' and not only until the next measure
+@q{forever} and not only until the next measure

 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
 #(set-accidental-style 'no-reset)
 c1 cis cis c
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
 #(set-accidental-style 'no-reset)
 c1 cis cis c


@@ -192,7 +200,7 @@ c1 cis cis c
 
 @item forget
 This is sort of the opposite of @code{no-reset}: Accidentals
 
 @item forget
 This is sort of the opposite of @code{no-reset}: Accidentals

-are not remembered at all---and hence all accidentals are
+are not remembered at all -- and hence all accidentals are

 typeset relative to the key signature, regardless of what was
 before in the music
 
 typeset relative to the key signature, regardless of what was
 before in the music
 


@@ -355,6 +363,28 @@ In 4/4 time signature, this means that automatic beams could end only on
 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
 3/8, has passed within the measure).
 
 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
 3/8, has passed within the measure).
 

+If any unexpected beam behaviour occurs, check the default automatic beam
+settings in @file{scm/@/auto@/-beam@/.scm}
+for possible interference, because the beam
+endings defined there will still apply on top of your own overrides. Any
+unwanted endings in the default vales must be reverted for your time
+signature(s).
+
+For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
+with
+
+@example
+%%% revert default values in scm/auto-beam.scm regarding 12/8 time
+#(revert-auto-beam-setting '(end * * 12 8) 3 8)
+#(revert-auto-beam-setting '(end * * 12 8) 3 4)
+#(revert-auto-beam-setting '(end * * 12 8) 9 8)
+
+%%% your new values
+#(override-auto-beam-setting '(end 1 8 12 8) 3 8)
+#(override-auto-beam-setting '(end 1 8 12 8) 7 8)
+#(override-auto-beam-setting '(end 1 8 12 8) 10 8)
+@end example
+

 @cindex automatic beam generation
 @cindex autobeam
 @funindex autoBeaming
 @cindex automatic beam generation
 @cindex autobeam
 @funindex autoBeaming


@@ -371,6 +401,18 @@ beaming should be switched off with @code{\autoBeamOff}.
 @funindex \autoBeamOn
 @code{\autoBeamOn}.
 
 @funindex \autoBeamOn
 @code{\autoBeamOn}.
 

+@commonprop
+
+Beaming patterns may be altered with the @code{beatGrouping} property,
+
+@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
+\time 5/16
+\set beatGrouping = #'(2 3)
+c8[^"(2+3)" c16 c8]
+\set beatGrouping = #'(3 2)
+c8[^"(3+2)" c16 c8]
+@end lilypond
+

 
 @refbugs
 
 
 @refbugs
 


@@ -394,6 +436,8 @@ This section describes what contexts are, and how to modify them.
 * Layout tunings within contexts::  
 * Changing context default settings::  
 * Defining new contexts::       
 * Layout tunings within contexts::  
 * Changing context default settings::  
 * Defining new contexts::       

+* Aligning contexts::           
+* Vertical grouping of grobs::  

 @end menu
 
 
 @end menu
 
 


@@ -401,7 +445,7 @@ This section describes what contexts are, and how to modify them.
 @subsection Contexts explained
 
 When music is printed, a lot of notational elements must be added to the
 @subsection Contexts explained
 
 When music is printed, a lot of notational elements must be added to the

-input.  For example, compare the input and output of the following example:
+output.  For example, compare the input and output of the following example:

 
 @lilypond[quote,verbatim,relative=2,fragment]
 cis4 cis2. g4
 
 @lilypond[quote,verbatim,relative=2,fragment]
 cis4 cis2. g4


@@ -592,8 +636,8 @@ To have it interpreted at the @context{Score} or @context{Staff} level use
 these forms
 
 @example
 these forms
 
 @example

-\context \applyOutput #'Score #@var{function}
-\context \applyOutput #'Staff #@var{function}
+\applyOutput #'Score #@var{function}
+\applyOutput #'Staff #@var{function}

 @end example
 
 @end itemize
 @end example
 
 @end itemize


@@ -652,7 +696,7 @@ R1*2
 Contexts are hierarchical, so if a bigger context was specified, for
 example @context{Staff}, then the change would also apply to all
 @context{Voice}s in the current stave.  The change is applied
 Contexts are hierarchical, so if a bigger context was specified, for
 example @context{Staff}, then the change would also apply to all
 @context{Voice}s in the current stave.  The change is applied

-`on-the-fly', during the music, so that the setting only affects the
+@q{on-the-fly}, during the music, so that the setting only affects the

 second group of eighth notes.
 
 @funindex \unset
 second group of eighth notes.
 
 @funindex \unset


@@ -728,7 +772,7 @@ Translation @arrow{} Tunable context properties.
 
 Notation contexts (like @code{Score} and @code{Staff}) not only
 store properties,
 
 Notation contexts (like @code{Score} and @code{Staff}) not only
 store properties,

-they also contain plug-ins called ``engravers'' that create notation
+they also contain plug-ins called @q{engravers} that create notation

 elements.  For example, the @code{Voice} context contains a
 @code{Note_head_engraver} and the @code{Staff} context contains a
 @code{Key_signature_engraver}.
 elements.  For example, the @code{Voice} context contains a
 @code{Note_head_engraver} and the @code{Staff} context contains a
 @code{Key_signature_engraver}.


@@ -844,9 +888,9 @@ The syntax for this is
 
 Here @var{name} is the name of a graphical object, like @code{Stem} or
 @code{NoteHead}, and @var{property} is an internal variable of the
 
 Here @var{name} is the name of a graphical object, like @code{Stem} or
 @code{NoteHead}, and @var{property} is an internal variable of the

-formatting system (`grob property' or `layout property').  The latter is a
+formatting system (@q{grob property} or @q{layout property}).  The latter is a

 symbol, so it must be quoted.  The subsection @ref{Constructing a
 symbol, so it must be quoted.  The subsection @ref{Constructing a

-tweak} explains what to fill in for @var{name}, @var{property}, and
+tweak}, explains what to fill in for @var{name}, @var{property}, and

 @var{value}.  Here we only discuss the functionality of this command.
 
 The command
 @var{value}.  Here we only discuss the functionality of this command.
 
 The command


@@ -874,8 +918,8 @@ within the current @context{Staff}.  After the command is interpreted
 all stems are thickened.
 
 Analogous to @code{\set}, the @var{context} argument may be left out,
 all stems are thickened.
 
 Analogous to @code{\set}, the @var{context} argument may be left out,

-causing it to default to @context{Voice}, and adding @code{\once} applies
-the change during one timestep only
+causing the default context @context{Voice} to be used.  Adding
+@code{\once} applies the change during one timestep only.

 
 @lilypond[quote,fragment,verbatim,relative=2]
 c4
 
 @lilypond[quote,fragment,verbatim,relative=2]
 c4


@@ -910,7 +954,7 @@ affects settings that were made in the same context.  In other words, the
 \revert Staff.Stem #'thickness
 @end example
 
 \revert Staff.Stem #'thickness
 @end example
 

-Some tweakable options are called ``subproperties'' and reside inside
+Some tweakable options are called @q{subproperties} and reside inside

 properties.  To tweak those, use commands of the form
 
 @c leave this as a long long
 properties.  To tweak those, use commands of the form
 
 @c leave this as a long long


@@ -961,8 +1005,8 @@ from the music in the @code{\layout} block,
 @}
 @end example
 
 @}
 @end example
 

-Here @code{\Staff} takes the existing definition for context @context{Staff} from the
-identifier @code{\Staff}.
+The @code{\Staff} command brings in the existing definition of the
+staff context so that it can be modified.

 
 The statements
 @example
 
 The statements
 @example


@@ -1057,11 +1101,10 @@ These settings are defined within a @code{\context} block inside a
 @}
 @end example
 
 @}
 @end example
 

-In the following discussion, the example input shown should go on the
-@dots{} in the previous fragment.
+In the following discussion, the example input shown should go in place
+of the @dots{} in the previous fragment.

 
 

-First the context's name is defined.  Instead of @context{Voice} it
-will be called @context{ImproVoice},
+First it is necessary to define a name for the new context:

 
 @example
 \name ImproVoice
 
 @example
 \name ImproVoice


@@ -1075,14 +1118,15 @@ giving the new context an alias @context{Voice},
 \alias Voice
 @end example
 
 \alias Voice
 @end example
 

-The context will print notes, and instructive texts
+The context will print notes and instructive texts, so we need to add
+the engravers which provide this functionality,

 
 @example
 \consists Note_heads_engraver
 \consists Text_engraver
 @end example
 
 
 @example
 \consists Note_heads_engraver
 \consists Text_engraver
 @end example
 

-but only on the center line,
+but we only need this on the center line,

 
 @example
 \consists Pitch_squash_engraver
 
 @example
 \consists Pitch_squash_engraver


@@ -1172,15 +1216,56 @@ Then the output at the start of this subsection can be entered as
 @end example
 
 
 @end example
 
 

+@node Aligning contexts
+@subsection Aligning contexts
+
+New contexts may be aligned above or below exisiting contexts.  This
+could be useful in setting up a vocal staff (@ref{Vocal ensembles}) and
+in ossia,
+
+@cindex ossia
+@findex alignAboveContext
+@findex alignBelowContext
+
+@lilypond[quote,ragged-right]
+ossia = { f4 f f f }
+\score{
+  \relative c' \new Staff = "main" {
+    c4 c c c
+    <<
+      \new Staff \with {alignAboveContext=main} \ossia
+      { d8 f d f d f d f }
+    >>
+  }
+}
+@end lilypond
+
+
+@node Vertical grouping of grobs
+@subsection Vertical grouping of grobs
+
+The VerticalAlignment and VerticalAxisGroup grobs work together.
+VerticalAxisGroup groups together different grobs like Staff, Lyrics,
+etc. VerticalAlignment then vertically aligns the different grobs
+grouped together by VerticalAxisGroup. There is usually only one
+VerticalAlignment per score but every Staff, Lyrics, etc. has its own
+VerticalAxisGroup. 

 
 
 @node The \override command
 
 
 @node The \override command

-@section The \override command
+@section The @code{\override} command

 
 In the previous section, we have already touched on a command that
 changes layout details: the @code{\override} command.  In this section,
 
 In the previous section, we have already touched on a command that
 changes layout details: the @code{\override} command.  In this section,

-we will look in more detail at how to use the command in practice.
+we will look in more detail at how to use the command in practice.  The
+general syntax of this command is:
+
+@example
+\override @var{context}.@var{layout_object} #'@var{layout_property} = #@var{value}
+@end example

 
 

+This will set the @var{layout_property} of the specified @var{layout_object},
+which is a member of the @var{context}, to the @var{value}.

 
 @menu
 * Constructing a tweak::        
 
 @menu
 * Constructing a tweak::        


@@ -1188,7 +1273,8 @@ we will look in more detail at how to use the command in practice.
 * Layout interfaces::           
 * Determining the grob property::  
 * Objects connected to the input::  
 * Layout interfaces::           
 * Determining the grob property::  
 * Objects connected to the input::  

-* \set vs. \override::          
+* Using Scheme code instead of \tweak::  
+* \set versus \override::       

 * Difficult tweaks::            
 @end menu
 
 * Difficult tweaks::            
 @end menu
 


@@ -1204,7 +1290,7 @@ Commands which change output generally look like
 @end example
 
 @noindent
 @end example
 
 @noindent

-This means that we must determine these bits of information:
+To construct this tweak we must determine these bits of information:

 
 @itemize
 @item the context: here @context{Voice}.
 
 @itemize
 @item the context: here @context{Voice}.


@@ -1213,7 +1299,7 @@ This means that we must determine these bits of information:
 @item a sensible value: here @code{3.0}.
 @end itemize
 
 @item a sensible value: here @code{3.0}.
 @end itemize
 

-Some tweakable options are called ``subproperties'' and reside inside
+Some tweakable options are called @q{subproperties} and reside inside

 properties.  To tweak those, use commands in the form
 
 @example
 properties.  To tweak those, use commands in the form
 
 @example


@@ -1227,10 +1313,17 @@ properties.  To tweak those, use commands in the form
 @funindex \override
 @cindex internal documentation
 
 @funindex \override
 @cindex internal documentation
 

+For many properties, regardless of the data type of the property, setting the
+property to false ( @code{##f} ) will result in turning it off, causing
+Lilypond to ignore that property entirely.  This is particularly useful for
+turning off grob properties which may otherwise be causing problems.
+

 We demonstrate how to glean this information from the notation manual
 and the program reference.
 
 
 We demonstrate how to glean this information from the notation manual
 and the program reference.
 
 

+
+

 @node Navigating the program reference
 @subsection Navigating the program reference
 
 @node Navigating the program reference
 @subsection Navigating the program reference
 


@@ -1291,6 +1384,14 @@ second bit of information listed under @b{See also} in the Notation
 manual.
 @end ignore
 
 manual.
 @end ignore
 

+@ifnothtml
+The programmer's reference is available as an HTML document.  It is
+highly recommended that you read it in HTML form, either online or
+by downloading the HTML documentation.  This section will be much more
+difficult to understand if you are using the 
+PDF manual.
+@end ifnothtml
+

 Follow the link to @internalsref{Fingering}.  At the top of the
 page, you will see
 
 Follow the link to @internalsref{Fingering}.  At the top of the
 page, you will see
 


@@ -1299,8 +1400,8 @@ Fingering objects are created by: @internalsref{Fingering_engraver} and
 @internalsref{New_fingering_engraver}.
 @end quotation
 
 @internalsref{New_fingering_engraver}.
 @end quotation
 

-By clicking around in the program reference, we can follow the
-flow of information within the program, following links like this:
+By following related links inside the program reference, we can follow the
+flow of information within the program:

 
 @itemize @bullet
 
 
 @itemize @bullet
 


@@ -1358,7 +1459,7 @@ The page for @code{Fingering} lists the definitions for the
 @end quotation
 
 @noindent
 @end quotation
 
 @noindent

-which means that the number will be kept at a distance of at least 0.6
+which means that the number will be kept at a distance of at least 0.5

 of the note head.
 
 
 of the note head.
 
 


@@ -1402,13 +1503,13 @@ This object supports the following interfaces:
 
 Clicking any of the links will take you to the page of the respective
 object interface.  Each interface has a number of properties.  Some of
 
 Clicking any of the links will take you to the page of the respective
 object interface.  Each interface has a number of properties.  Some of

-them are not user-serviceable (``Internal properties''), but others
+them are not user-serviceable (@q{Internal properties}), but others

 can be modified.
 
 We have been talking of @emph{the} @code{Fingering} object, but actually it
 does not amount to much.  The initialization file (see
 @ref{Default files})
 can be modified.
 
 We have been talking of @emph{the} @code{Fingering} object, but actually it
 does not amount to much.  The initialization file (see
 @ref{Default files})

-@file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
+@file{scm/@/define@/-grobs@/.scm} shows the soul of the @q{object},

 
 @example
 (Fingering
 
 @example
 (Fingering


@@ -1510,7 +1611,7 @@ Fingering_engraver is part of contexts: @dots{} @internalsref{Voice}
 @funindex \tweak
 
 In some cases, it is possible to take a short-cut for tuning graphical
 @funindex \tweak
 
 In some cases, it is possible to take a short-cut for tuning graphical

-objects. For objects that result directly from a piece of the input,
+objects.  For objects that result directly from a piece of the input,

 you can use the @code{\tweak} function, for example
 
 @lilypond[relative=2,fragment,verbatim,ragged-right]
 you can use the @code{\tweak} function, for example
 
 @lilypond[relative=2,fragment,verbatim,ragged-right]


@@ -1522,7 +1623,7 @@ you can use the @code{\tweak} function, for example
 >4-\tweak #'padding #10 -.
 @end lilypond
 
 >4-\tweak #'padding #10 -.
 @end lilypond
 

-As you can see, properties are set directly in the objects directly,
+As you can see, properties are set in the objects directly,

 without mentioning the grob name or context where this should be
 applied.
 
 without mentioning the grob name or context where this should be
 applied.
 


@@ -1530,8 +1631,8 @@ This technique only works for objects that are directly connected to
 an @internalsref{event} from the input, for example
 
 @itemize @bullet
 an @internalsref{event} from the input, for example
 
 @itemize @bullet

-@item note heads, caused by chord-pitch (i.e., notes inside a chord).
-@item articulation signs, caused by articulation instructions.
+@item note heads, caused by chord-pitch (i.e., notes inside a chord)
+@item articulation signs, caused by articulation instructions

 @end itemize
 
 It notably does not work for stems and accidentals (these are caused
 @end itemize
 
 It notably does not work for stems and accidentals (these are caused


@@ -1547,12 +1648,58 @@ to output, so
 @end example
 
 @noindent
 @end example
 
 @noindent

-will not change color.  See @ref{Displaying music expressions} for
+does not change color.  See @ref{Displaying music expressions}, for

 details.
 
 
 details.
 
 

-@node \set vs. \override
-@subsection \set vs. \override
+@node Using Scheme code instead of \tweak
+@subsection Using Scheme code instead of @code{\tweak}
+
+The main disadvantage of @code{\tweak} is its syntactical
+inflexibility.  For example, the following produces a syntax error.
+
+@example
+F = \tweak #'font-size #-3 -\flageolet
+
+\relative c'' @{
+  c4^\F c4_\F
+@}
+@end example
+
+@noindent
+With other words, @code{\tweak} doesn't behave like an articulation
+regarding the syntax; in particular, it can't be attached with
+@samp{^} and @samp{_}.
+
+Using Scheme, this problem can be circumvented.  The route to the
+result is given in @ref{Adding articulation to notes (example)},
+especially how to use @code{\displayMusic} as a helping guide.
+
+@example
+F = #(let ((m (make-music 'ArticulationEvent
+                          'articulation-type "flageolet")))
+       (set! (ly:music-property m 'tweaks)
+             (acons 'font-size -3
+                    (ly:music-property m 'tweaks)))
+       m)
+ 
+\relative c'' @{
+  c4^\F c4_\F
+@}
+@end example
+
+@noindent
+Here, the @code{tweaks} properties of the flageolet object
+@samp{m} (created with @code{make-music}) are extracted with
+@code{ly:music-property}, a new key-value pair to change the
+font size is prepended to the property list with the
+@code{acons} Scheme function, and the result is finally
+written back with @code{set!}.  The last element of the
+@code{let} block is the return value, @samp{m} itself.
+
+
+@node \set versus \override
+@subsection @code{\set} vs. @code{\override}

 
 We have seen two methods of changing properties: @code{\set} and
 @code{\override}.  There are actually two different kinds of
 
 We have seen two methods of changing properties: @code{\set} and
 @code{\override}.  There are actually two different kinds of


@@ -1570,7 +1717,7 @@ this.  Context properties are modified with @code{\set}.
 There is a special type of context property: the element
 description. These properties are named in @code{StudlyCaps}
 (starting with capital letters).  They contain the
 There is a special type of context property: the element
 description. These properties are named in @code{StudlyCaps}
 (starting with capital letters).  They contain the

-``default settings'' for said graphical object as an
+@q{default settings} for said graphical object as an

 association list.  See @file{scm/@/define@/-grobs@/.scm}
 to see what kind of settings there are.  Element descriptions
 may be modified with @code{\override}.
 association list.  See @file{scm/@/define@/-grobs@/.scm}
 to see what kind of settings there are.  Element descriptions
 may be modified with @code{\override}.


@@ -1591,7 +1738,7 @@ is more or less equivalent to
 
 The value of @code{context} (the alist) is used to initalize
 the properties of individual grobs.  Grobs also have
 
 The value of @code{context} (the alist) is used to initalize
 the properties of individual grobs.  Grobs also have

-properties, named in scheme style, with
+properties, named in Scheme style, with

 @code{dashed-words}.  The values of grob properties change
 during the formatting process: formatting basically amounts
 to computing properties using callback functions.
 @code{dashed-words}.  The values of grob properties change
 during the formatting process: formatting basically amounts
 to computing properties using callback functions.


@@ -1673,16 +1820,20 @@ one.  For example, if using this with @code{Hairpin},
 
 
 @item Some objects cannot be changed with @code{\override} for
 
 
 @item Some objects cannot be changed with @code{\override} for

-technical reasons. Examples of those are @code{NonMusicalPaperColumn}
+technical reasons.  Examples of those are @code{NonMusicalPaperColumn}

 and @code{PaperColumn}.  They can be changed with the
 and @code{PaperColumn}.  They can be changed with the

-@code{\outputProperty} function, which works similar to @code{\once
-\override}, but uses a different syntax,
+@code{\overrideProperty} function, which works similar to @code{\once
+\override}, but uses a different syntax.

 
 @example
 
 @example

-\outputProperty
+\overrideProperty

 #"Score.NonMusicalPaperColumn"  % Grob name
 #'line-break-system-details     % Property name
 #'((next-padding . 20))         % Value
 @end example
 
 #"Score.NonMusicalPaperColumn"  % Grob name
 #'line-break-system-details     % Property name
 #'((next-padding . 20))         % Value
 @end example
 

+Note, however, that @code{\override}, applied to
+@code{NoteMusicalPaperColumn} and @code{PaperColumn}, still works as
+expected within @code{\context} blocks.
+

 @end itemize
 @end itemize