* Documentation/user/notation.itely (Ancient flags): Removed

[lilypond.git] / Documentation / user / music-glossary.tely

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 78c4f4880ae349ca2a3eb4912ad7156067f1e16a..f0998e110707fd92b3c4a3da51ed71d257f8edb9 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -717,8 +717,8 @@ S: kadens,
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of

-movement.  The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise.  Since
+movement.  The purpose of a cadenza is to give singers or players a chance to
+exhibit their technical skill and not the least their ability to improvise.  Since

 the middle of the 19th century, however, most cadences have been written down
 by the composer.
 
 the middle of the 19th century, however, most cadences have been written down
 by the composer.
 


@@ -973,7 +973,7 @@ music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 
 @lilypond[fragment,staffsize=11]
 composition methods.
 
 @lilypond[fragment,staffsize=11]

-\set Score.TimeSignature =\turnOff
+\override Score.TimeSignature #'break-visibility = #all-invisible

 \context PianoStaff <<
   \context Staff = SA \relative c' {
     \key bes \major
 \context PianoStaff <<
   \context Staff = SA \relative c' {
     \key bes \major


@@ -2665,7 +2665,7 @@ The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
 @lilypond[fragment]
 subject.
 
 @lilypond[fragment]

-\set Score.TimeSignature = \turnOff
+\override Score.TimeSignature #'break-visibility = #all-invisible

 %\override Score.TextScript #'font-style = #'large
 \relative c'' {
   \time 4/4
 %\override Score.TextScript #'font-style = #'large
 \relative c'' {
   \time 4/4


@@ -3494,9 +3494,9 @@ FI: sonaattimuoto.
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and

-@emph{recapitulation}.  In the exposition the composer introduces her musical
-ideas, consisting of a number of themes; in the development section she
-"develops" this material, and in the recapitulation she repeats the exposition,
+@emph{recapitulation}.  In the exposition the composer introduces some musical
+ideas, consisting of a number of themes; in the development section the composer
+"develops" this material, and in the recapitulation the composer repeats the exposition,

 with certain modificationsr.  The exposition contains a number of themes
 which fall into two groups, often called first and second subject.  Other
 melodies occurring in each group are considered as continuations of these
 with certain modificationsr.  The exposition contains a number of themes
 which fall into two groups, often called first and second subject.  Other
 melodies occurring in each group are considered as continuations of these