* tex/GNUmakefile (TEX_FILES): add texinfo.cnf

[lilypond.git] / Documentation / user / introduction.itely

diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely
index 8a639e6f5d4c1247dc58d52850df982dffccf43f..153fc82da31d8f87ee334d12f00befed20467c24 100644 (file)
--- a/Documentation/user/introduction.itely
+++ b/Documentation/user/introduction.itely
@@ -1,5 +1,4 @@
-\version "2.3.16"
-@c -*-texinfo-*-
+@c -*- coding: latin-1; mode: texinfo; -*-
 @c This file is part of lilypond.tely
 
 @node Introduction
@@ -27,9 +26,9 @@ inked, the depressions caused by the cutting and stamping would hold
 ink.  An image was formed by pressing paper to the plate.  The
 stamping and cutting was completely done by hand.  Making a correction
 was cumbersome, if possible at all, so the engraving had to be perfect
-in one go.  Engraving was a highly specialized skill, a craftsman had
-to complete around five years of training before she could
-be a master engraver, and another five years of experience were
+in one go.  Engraving was a highly specialized skill; a craftsman had
+to complete around five years of training before earning the title of
+master engraver, and another five years of experience were
 necessary to become truly skilled.
 
 Nowadays, all newly printed music is produced with computers.  This
@@ -116,7 +115,7 @@ spot which fragment is which?
    \stemDown b'4 e''4 a'4 e''4 | \bar "||"
    \override Staff.NoteSpacing #'stem-spacing-correction = #0.0
    \override Staff.StaffSpacing #'stem-spacing-correction = #0.0
-   \stemBoth c'4 e''4 e'4 b'4 |
+   \stemNeutral c'4 e''4 e'4 b'4 |
    \stemDown b'4 e''4 a'4 e''4 |
 }
 @end lilypond
@@ -143,8 +142,8 @@ may seem academical.  But it is not.  In larger pieces with monotonous
 rhythms, spacing corrections lead to subtle variations in the layout
 of every line, giving each one a distinct visual signature.  Without
 this signature all lines would look the same, and they become like a
-labyrinth.  If the musician looks away once or has a lapse in her
-concentration, she will have lost her place on the page.
+labyrinth.  If a musician looks away once or has a lapse in
+concentration, they might lose their place on the page.
 
 Similarly, the strong visual look of bold symbols on heavy staff lines
 stands out better when music is far away from reader, for example, if
@@ -342,11 +341,11 @@ In the following example, we see how we start out with a plug-in for
 note heads, the @code{Note_heads_engraver}.
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 
 \score {
    \topVoice
-   \paper {
+   \layout {
    \context {
       \Voice
       \remove "Stem_engraver"
@@ -374,11 +373,11 @@ note heads, the @code{Note_heads_engraver}.
 Then a @code{Staff_symbol_engraver} adds the staff
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 
 \score {
   \topVoice
-  \paper {
+  \layout {
     \context {
       \Voice
       \remove "Stem_engraver"
@@ -405,11 +404,11 @@ Then a @code{Staff_symbol_engraver} adds the staff
 the @code{Clef_engraver} defines a reference point for the staff
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 
 \score {
   \topVoice
-  \paper {
+  \layout {
     \context {
       \Voice
       \remove "Stem_engraver"
@@ -434,11 +433,11 @@ the @code{Clef_engraver} defines a reference point for the staff
 and the @code{Stem_engraver} adds stems.
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 
 \score {
   \topVoice
-  \paper {
+  \layout {
     \context {
       \Voice
       \remove "Phrasing_slur_engraver"
@@ -466,7 +465,7 @@ time signature, and key signature, we get a complete piece of
 notation.
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 \score { \topVoice }
 @end lilypond
 
@@ -474,21 +473,25 @@ This system works well for monophonic music, but what about
 polyphony?  In polyphonic notation, many voices can share a staff.
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 \new Staff << \topVoice \\ \botVoice >> 
 @end lilypond
 
-In this situation, the accidentals and staff are shared, but the
-stems, slurs, beams, etc., are private to each voice.  Hence, engravers
-should be grouped.  The engravers for note heads, stems, slurs, etc., go
-into a group called `Voice context,' while the engravers for key,
-accidental, bar, etc., go into a group called `Staff context.'  In the
-case of polyphony, a single Staff context contains more than one Voice
-context.  
-Similarly, more Staff contexts can be put into a single Score context.
+In this situation, the accidentals and staff are shared, but the stems,
+slurs, beams, etc., are private to each voice.  Hence, engravers should
+be grouped.  The engravers for note heads, stems, slurs, etc., go into a
+group called `Voice context,' while the engravers for key, accidental,
+bar, etc., go into a group called `Staff context.'  In the case of
+polyphony, a single Staff context contains more than one Voice context.
+Similarly, more Staff contexts can be put into a single Score
+context. The Score context is the top level notation context.
+
+@seealso
+
+Program reference: @internalsref{Contexts}.
 
 @lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
 \score {
    <<
       \new Staff << \topVoice \\ \botVoice >>