($(outdir)/%.1): build man

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

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 3d65a2c2ca23e2b0668203605f81b6f9f90256e9..19158b3b132fe19f2fff44f50ddc8c408ee8e25a 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -2,9 +2,6 @@
 @settitle Music Glossary
 @setfilename music-glosssary.info
 
-@html
-<!--- @@WEB-TITLE@@=Music Glossary --->
-@end html
 
 @ifhtml
 This document is also available in @uref{music-glossary.ps.gz,gzipped
@@ -14,12 +11,28 @@ PostScript} and @uref{music-glossary.pdf,PDF}.
 @titlepage
 @title Music Glossary
 @author Christian Mondrup
-@author spanish by David Gonz@'alez
 @c License PD, BSD-ish, GNU GPL, GNU FDL?
 
-Copyright @copyright{} 1999--2002 by the authors
+Copyright @copyright{} 1999--2003 by the authors
+
+
+  Permission is granted to copy, distribute and/or modify this document
+  under the terms of the GNU Free Documentation License, Version 1.1
+  or any later version published by the Free Software Foundation,
+  without Invariant Sections.
+  
 @end titlepage
 
+
+
+@ignore
+@omfcreator Christian Mondrup
+@omfdescription Glossary of musical terms with translations
+@omftype user's guide
+@omfcategory Applications|Publishing
+@omflanguage English
+@end ignore
+
 @ifnottex
 @node Top
 @top
@@ -31,11 +44,14 @@ Copyright @copyright{} 1999--2002 by the authors
 @ifnottex
 Christian Mondrup
 @*
-spanish by Davi Gonz@'alez
-@*
-Copyright 1999-2002 by the authors
+Copyright 1999--2003 by the authors
 
-@c License PD, BSD-ish, GNU GPL, GNU FDL?
+
+  Permission is granted to copy, distribute and/or modify this document
+  under the terms of the GNU Free Documentation License, Version 1.1
+  or any later version published by the Free Software Foundation,
+  without Invariant Sections.
+  
 
 @*
 
@@ -61,7 +77,7 @@ Copyright 1999-2002 by the authors
 @end macro
 
 @ignore
-We don't use refs for Info:
+We do not use refs for Info:
 
    @w{@ar{}\word\}@c vs:
    @w{@ar{}@pxref{\word\}}@c
@@ -69,6 +85,7 @@ We don't use refs for Info:
 they look too intrusive (says Han-Wen).
 @end ignore
 
+
 @c arrowref
 @macro aref{word}
 @iftex
@@ -162,9 +179,9 @@ by a @aref{whole tone}, a flat lowers it by a semitone and a double
 flat lowers it by a whole tone. A natural cancels the effect of a previous
 accidental.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Voice.TextScript \set #'font-style = #'large
 \addlyrics
 \context Staff \notes\relative c'' {
   gis1 s s gisis s s ges s s geses s s g!
@@ -257,10 +274,10 @@ D: ambitus,
 NL: ambitus,
 DK: ambitus,
 S: ambitus,
-FI: ambitus, ääniala, soitinala,
+FI: ambitus, @"a@"aniala, soitinala,
 N: ?.
 
-The term ambitus denotes a range of pitches for a given voice a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
+The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
 
 @aitem{ancient minor scale}
 I: scala minore naturale,
@@ -272,8 +289,8 @@ S: ren mollskala,
 FI: luonnollinen molliasteikko,
 N: ?.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c'' {
 a1 b c d e f g a }
 @end lilypond
@@ -308,39 +325,39 @@ performed on the beat, after that mostly before the beat.  While the short
 a. is performed as a short note regardless of the duration of the main note
 the duration of the long a. is proportional to that of the main note.
 
-@lilypond[13pt]
+@lilypond
 \context Voice \notes\relative c'' {
 \key d \major
 \time 4/4
 
-\property Score.TextScript \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 <<d a fis>>4_"notation" r
-{ \property Voice.Stem \override #'flag-style = #""
+{ \property Voice.Stem \override #'flag-style = #'()
   \grace g16
   \property Voice.Stem \revert #'flag-style
    }
 fis8 e16 fis
-{ \property Voice.Stem \override #'flag-style = #""
+{ \property Voice.Stem \override #'flag-style = #'()
   \grace a16
   \property Voice.Stem \revert #'flag-style
   }
 g8 fis16 g |
 \cadenzaOn a4 \bar "||" \cadenzaOff }
 \notes\relative c'' {
-<<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
+<<d a fis>>4_"performance" r g16 ( fis) e fis a ( g) fis g |
 \cadenzaOn a4 \bar "||" \cadenzaOff }
 @end lilypond
 
 An appoggiatura may have more notes preceding the main note.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \key as \major
   \time 2/4
-  \property Score.TextScript \set #'font-style = #'large
+%  \property Score.TextScript \set #'font-style = #'large
   \grace { bes16 } as8_"notation" as16 bes as8 g |
-  \grace { [as16-( bes] } << c as >>4-)
-  \grace { [as16-( bes] } << c as >>4-) \bar "||"
+  \grace { as16[( bes] } << c as >>4-)
+  \grace { as16[( bes] } << c as >>4-) \bar "||"
   \grace { bes16 } as8_"performance" as16 bes as8 g |
   < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
     \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
@@ -359,7 +376,7 @@ S: arpeggio,
 FI: arpeggio, murtosointu,
 N: ?.
 
-@lilypond[13pt]
+@lilypond
 \notes \context PianoStaff <
   \context Staff = SA \relative c'' {
     \time 4/4
@@ -370,8 +387,8 @@ N: ?.
     \clef bass
     < \context Voice = va {
         \stemUp
-        r16 e8. () e4 r16 e8. () e4 |
-        r16 d8. () d4 r16 d8. () d4 }
+        r16 e8. ( e4) r16 e8. ( e4) |
+        r16 d8. ( d4) r16 d8. ( d4) }
       \context Voice = vb {
         \stemDown
         c2 c | c c } >
@@ -521,14 +538,14 @@ N: ?.
 Line connecting a series of notes (shorter than a quarter note).
 The number of beams determine the note value of the connected notes.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Voice.TextScript \set #'font-style = #'large
 \notes\relative c'' {
-  [g8_"1/8" g g g] s16
-  [g16_"1/16" g g g] s16
-  [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
-  [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
+  g8_"1/8"[ g g g] s16
+  g16_"1/16"[ g g g] s16
+  g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
+  g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
 @end lilypond
 
 @aitem{beat}
@@ -546,7 +563,7 @@ Note value used for counting, most often half-, fourth-, and eighth notes.
 The base counting value and the number of them per measure is indicated at
 the start of the music.
 
-@lilypond[13pt]
+@lilypond
 \key g \major
 \time 4/4
 \notes\relative c'' { g4 c b a | g1 \bar "||"}
@@ -572,13 +589,13 @@ Symbol at the start of a system connecting staves.  Curly braces are used
 for connecting piano staves, angular brackets for connecting parts in an
 orchestral or choral score.
 
-@lilypond[13pt]
+@lilypond
 \notes\context GrandStaff <
   \relative c''\context Staff = SA  { \clef treble g4 e c2 }
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \context StaffGroup <
 %  \property StaffGroup.minVerticalAlign = #12
   \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
@@ -626,8 +643,8 @@ N: ?.
 @aref{note value} twice as long as a whole note.  Mainly used
 in pre-1650 music.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c'' { g\breve }
 @end lilypond
 
@@ -656,10 +673,10 @@ N: ?.
 Clef symbol indicating the position of the central C.  Used on all note
 lines.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \property Score.Clef \override #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
+%\property Score.LyricText \set #'font-style = #'large
 \addlyrics
 \context Staff \notes\relative c' {
   \clef soprano c1 s s
@@ -755,9 +772,9 @@ and five-tone @emph{ninth} major chords are most often used as dominants
 third above the lower notes to define their quality as major or minor.  Such
 chords are denoted open chords
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Voice.TextScript \set #'font-style = #'large
 \addlyrics
 \context Staff \notes\relative c'' {
   <<g b d>>1 s s
@@ -787,8 +804,8 @@ N: ?.
 
 A scale consisting of all 11 @aref{semitone}s.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
 @end lilypond
 
@@ -887,7 +904,7 @@ N: ?.
 
 Melody moving in the narrow steps of the scale.
 
-@lilypond[13pt]
+@lilypond
 \key g \major \time 4/4
 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
 @end lilypond
@@ -1008,9 +1025,9 @@ N: crescendo.
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
 abbreviation ``cresc.''.
 
-@lilypond[13pt]
+@lilypond
 \key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
+\notes\relative c'' { g4 \< a b c |  d1\! \bar "|." }
 @end lilypond
 
 @aitem{cue-notes}
@@ -1041,7 +1058,7 @@ styles.  Nowadays, they have survived only in special forms of musical
 notation such as via the editio vaticana dating back to the beginning
 of the 20th century
 
-@lilypond[13pt]
+@lilypond
 \score {
     \notes {
        \property Staff.Custos \set #'neutral-position = #4
@@ -1049,7 +1066,7 @@ of the 20th century
        \property Staff.Custos \set #'adjust-if-on-staffline = ##t
 
        \property Staff.Custos \set #'style = #'hufnagel
-       c'1^"Custos style = \#'hufnagel"
+       c'1
        \break << d' a' f''>>1
     }
     \paper {
@@ -1057,6 +1074,7 @@ of the 20th century
            \StaffContext
            \consists Custos_engraver
        }
+raggedright = ##t
     }
 }
 @end lilypond
@@ -1100,8 +1118,8 @@ N: ?.
 Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 
-@lilypond[13pt]
-\property Voice.TextScript \set #'font-style = #'large
+@lilypond
+%\property Voice.TextScript \set #'font-style = #'large
 \property Voice.TextScript \set #'font-shape = #'italic
 \key g \major \time 4/4
 \notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_"d.s." \bar "|." }
@@ -1120,10 +1138,10 @@ N: decrescendo.
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \key g \major \time 4/4
-  d4 \> c b a | \! g1 \bar "|."
+  d4 \> c b a |  g1 \! \bar "|."
 }
 @end lilypond
 
@@ -1158,10 +1176,10 @@ of a piano keybord are diatonic.
 The church modes are used in gregorial chant and pre baroque early music but
 also to some extent in newer jazz music.
 
-@lilypond[13pt,notime,linewidth=110mm]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime,linewidth=110mm]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \context Staff \notes\relative c' {
     c1 d
@@ -1173,10 +1191,10 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \context Staff \notes\relative c' {
     d1
@@ -1188,10 +1206,10 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c' {
     \property Voice.TextScript \set #'padding = #-4
@@ -1202,10 +1220,10 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c' {
     f1 g a
@@ -1217,10 +1235,10 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c'' {
     g1 a
@@ -1231,10 +1249,10 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c'' {
     a1
@@ -1251,10 +1269,10 @@ compositional music are primarily the major and the minor scales.  In the
 harmonic minor scale type an augmented second (A) occurs between the 6th and
 7th tone.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c' {
     c1 d
@@ -1266,10 +1284,10 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c'' {
     a1
@@ -1281,10 +1299,10 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c'' {
     a1
@@ -1296,10 +1314,10 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
   \notes\relative c'' {
     a1
@@ -1352,7 +1370,7 @@ N: ?.
 Melody moving in steps greater than those of the
 scale.  Opposite of @aref{conjunct movement}.
 
-@lilypond[13pt]
+@lilypond
 \key a \major
 \time 4/4
 \notes\relative c' {
@@ -1642,9 +1660,9 @@ N: ?.
 Two notes, intervals, or scales are enharmonic if they have different names
 but equal pitch.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
 \context Staff \notes\relative c'' {
   gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
@@ -1713,10 +1731,10 @@ an octave higher (for example bass recorder) while 8@w{ }below the clef
 symbol indicates playing an octave lower (for example on double bass
 @aref{strings}).
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \property Staff.Clef \override #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
+%\property Score.LyricText \set #'font-style = #'large
 \addlyrics
 \notes\relative c {
   \clef varbaritone
@@ -1755,7 +1773,7 @@ N: ?.
 
 Prolonged note or rest of indefinite duration.
 
-@lilypond[13pt]
+@lilypond
 \time 4/4
 \notes\relative c'' {
   a4 b c2^\fermata \bar "|."
@@ -1806,9 +1824,9 @@ Ornament at the end of the stem of a note used for notes with values
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   g8_"1/8" s8
   g16_"1/16" s8
@@ -1890,10 +1908,10 @@ first note of the scale), subdominant (S, the chord on the fourth note), and
 dominant (D, the chord on the fifth note).  Other are considered to be
 variants of the base chords.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
 \context Voice \notes\relative c'' {
   <<g e c >>1 << a f d >> << b g e >>
@@ -1929,10 +1947,10 @@ the notes must be played an octave higher while 8 below the clef symbol
 indicates playing or singing an octave lower (most tenor parts in choral
 scores are notated like that).
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \property Staff.Clef \set #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
+%\property Score.LyricText \set #'font-style = #'large
 \addlyrics
 \notes\relative c'' {
   \clef french
@@ -2049,7 +2067,7 @@ N: ?.
 Sequence of chords that terminate a musical phrase or
 section.  @aref{functional harmony}.
 
-@lilypond[13pt]
+@lilypond
 \notes\context PianoStaff <
   \context Staff = SA \relative c'' {
     \time 4/4
@@ -2058,7 +2076,7 @@ section.  @aref{functional harmony}.
     \partial 4 << c g e >>4 |
     << c a f >> << b g d >> << c g e >>2
   }
-  \property Score.LyricText \set #'font-style = #'large
+%  %\property Score.LyricText \set #'font-style = #'large
   \addlyrics
   \context Staff = SB \relative c {
     \clef bass
@@ -2087,9 +2105,9 @@ Tones sounding simultaneously.  Two note harmonies fall into the categories
 
 Consonances:
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \context Voice \notes\relative c'' {
   <<g g>>1_"unisone  " s
   <<g b>>_"third  " s
@@ -2103,9 +2121,9 @@ Consonances:
 
 Dissonances:
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \context Voice  \notes\relative c'' {
   <<g a>>1_"second  " s s
   <<g f'>>_"seventh  " s s
@@ -2146,10 +2164,10 @@ identical (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition
 of such two forms an octave.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
 \context Voice \notes\relative c'' {
   << g g >>1 s
@@ -2167,10 +2185,10 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
 \context Staff \notes\relative c'' {
   << g c >>^"perfect" s
@@ -2188,10 +2206,10 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \addlyrics
 \context Staff \notes\relative c'' {
   << gis f'! >>1^"dimin"  s
@@ -2222,9 +2240,9 @@ N: ?.
 
 The difference between an interval and an octave.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \context Staff \notes\relative c'' {
   << g  a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
   << g, b >>_"third  " s s << g' b, >>_"sixth  " s s \bar "||"
@@ -2316,8 +2334,8 @@ N: ?.
 
 A ledger line is an extension of the staff.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c'' { a,1 s c'' }
 @end lilypond
 
@@ -2332,21 +2350,21 @@ S: legato,
 FI: legato, sitoen,
 N: ?.
 
-To be performed without any perceptible interruption between the notes (a)
-unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
-@aref{staccato} (d).
+To be performed (a) without any perceptible interruption between the notes 
+unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
+(d) @aref{staccato}.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \addlyrics
 \context Staff \notes\relative c'' {
-  c4( d )e \bar "||"
+  c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"
-  c4-.( d-. )e-. \bar "||"
+  c4-.-( d-. e-.-) \bar "||"
   c4-. d-. e-. \bar "||"
 }
 \context Lyrics \lyrics {
-  \property Lyrics . LyricText \set #'font-style = #'large
+%  \property Lyrics . LyricText \set #'font-style = #'large
   a
   b "" ""
   c
@@ -2411,8 +2429,8 @@ N: longa.
 Note value: double length of @aref{breve}.
 @aref{note value}.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c'' {
   \property Voice.NoteHead \set #'style = #'mensural
   g\longa
@@ -2507,7 +2525,7 @@ harmony}, @aref{relative key}.
 @aitem{melisma}
 
 NL: melisma, 
-FI: melisma, laulettavan tavun sävelkuvio, 
+FI: melisma, laulettavan tavun s@"avelkuvio, 
 
 A melisma (plural: melismata) is a group of notes or tones sung on one
 syllable in plainsong
@@ -2535,14 +2553,14 @@ whether there are two, three or four units to the measure,
 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
 @emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common meter.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c' {
   \time 6/8
   \key f \major
@@ -2550,7 +2568,7 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
   c'8 c c c e16 d e c \bar "||"}
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \time 5/4
   \key g \major
@@ -2613,8 +2631,8 @@ N: ?.
 
 First C below the 440 Hz A.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \property Staff.Clef \set #'full-size-change = ##t
 \notes\relative c' {
   \clef bass c1 s
@@ -2704,9 +2722,9 @@ N: ?.
 The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
-@lilypond[13pt]
+@lilypond
 \property Score.TimeSignature \override #'style = #'()
-\property Score.TextScript \set #'font-style = #'large
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
   \key g \major
@@ -2742,7 +2760,7 @@ S: flertaktspaus,
 FI: usean tahdin mittainen tauko,
 N: ?.
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   a1
   \property Score.skipBars=##t R1*3
@@ -2836,9 +2854,9 @@ higher note value.  The longest duration normally used is called @emph{brevis},
 but sometimes (mostly in pre baroque music) the double length note value
 @emph{longa} is used.
 
-@lilypond[13pt,notime]
-\property Score.TextScript \set #'font-style = #'large
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+%\property Score.TextScript \set #'font-style = #'large
+\property Score.automaticBars = ##f
 \notes\relative c'' {
   \property Voice.NoteHead \override #'style = #'mensural
   g\longa_"longa" g\breve_"breve"
@@ -2847,9 +2865,9 @@ but sometimes (mostly in pre baroque music) the double length note value
   g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.TextScript \set #'font-style = #'large
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+%\property Score.TextScript \set #'font-style = #'large
+\property Score.automaticBars = ##f
 \notes\relative c'' {
   r\longa_"longa" r\breve_"breve"
   r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
@@ -2859,12 +2877,12 @@ but sometimes (mostly in pre baroque music) the double length note value
 An augmentation dot after a note multiplies the duration by one and a
 half.  Another dot adds yet a fourth of the duration.
 
-@lilypond[13pt]
-\property Score.TextScript \set #'font-style = #'large
+@lilypond
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
-  g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
-  g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
+  g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
+  g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
 @end lilypond
 
 Alternatively note values may be subdivided by other ratios.  Most common is
@@ -2872,8 +2890,8 @@ subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
 dotted notes are also frequently used.
 
-@lilypond[13pt]
-\property Score.TextScript \set #'font-style = #'large
+@lilypond
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   \time 4/4
   \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
@@ -2881,7 +2899,7 @@ dotted notes are also frequently used.
 }
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \notes\relative c'' {
   \time 3/4
   \times 3/2 {g4_"duplets" g} |
@@ -2924,10 +2942,10 @@ middle of the 19th century and onwards the trill is performed with the main
 note first while in the music from the preceding baroque and classic periods
 the upper note is played first.
 
-@lilypond[13pt]
+@lilypond
 <
   \context Staff = sa {
-        \property Score.TextScript \set #'font-style = #'large
+%        \property Score.TextScript \set #'font-style = #'large
     \notes\relative c'' {
       c2._"pre-1850"  b4\trill | c1 \bar "||"
       c2._"post-1850" b4\trill | c1 \bar "||"
@@ -2943,10 +2961,10 @@ the upper note is played first.
 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
 @emph{prall} (inverted mordent).
 
-@lilypond[13pt]
+@lilypond
 <
   \context Staff = sa {
-        \property Score.TextScript \set #'font-style = #'large
+%        \property Score.TextScript \set #'font-style = #'large
     \notes\relative c'' {
       a4_"turn" b\turn c2 \bar "||"
       g4_"mordent" a b\mordent a \bar "||"
@@ -2954,9 +2972,9 @@ Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
     }
   }
   \notes\relative c'' {
-    a4 [c16 b a b] c2
-    g4 a [b16 a b8] a4
-    e'4 [e32 d e d ~ d8] c2
+    a4 c16[ b a b] c2
+    g4 a  b16-[ a b8] a4
+    e'4 e32[ d e d ~ d8] c2
   }
 >
 @end lilypond
@@ -3217,9 +3235,9 @@ N: ?.
 @aref{major} and @aref{minor} @aref{key}
 with the same @aref{key signature}.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c' {
   \key es \major
   es1_"e flat major" f g as bes c d es
@@ -3227,9 +3245,9 @@ with the same @aref{key signature}.
 }
 @end lilypond
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c' {
   \key es \major
   c1_"c minor" d es f g a! b! c \bar "||"
@@ -3247,7 +3265,7 @@ S: repris,
 FI: toisto,
 N: ?.
 
-@lilypond[13pt]
+@lilypond
 \key g \major
 \time 4/4
 \notes\relative c'' {
@@ -3345,9 +3363,9 @@ Names and symbols used in harmonic analysis to denote tones of the scale as
 roots of chords.  The most important are degrees I = tonic (T), IV =
 sub@-do@-mi@-nant (S) and V = dominant (D).
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.LyricText \set #'font-style = #'large
 %\property Lyrics.minVerticalAlign = #8
 \addlyrics
 \context Staff \notes\relative c' {
@@ -3409,8 +3427,8 @@ tones on the piano keyboard -- including black and white keys -- is a
 semitone.  An octave may be divided into 12@w{ }semitones.
 @aref{interval}, @aref{chromatic scale}.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c'' { g1 gis s a bes s b! c }
 @end lilypond
 
@@ -3621,7 +3639,7 @@ N: ?.
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 notehead.
 
-@lilypond[13pt]
+@lilypond
 \key d \major
 \time 4/4
 \notes\relative c'' {
@@ -3661,10 +3679,10 @@ N: ?.
 Vertical line above or below a @aref{note head} shorter than a
 whole note.  @aref{beam}.
 
-@lilypond[13pt,notime]
+@lilypond[notime]
 \property Score.autoBeaming = ##f
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c'' {
   g2_"1/2" g' s16
   g,4_"1/4" g' s16
@@ -3798,12 +3816,12 @@ with a regularly recurrent accent on the first beat of each group.  Any
 deviation from this scheme is felt as a disturbance or contradiction between
 the underlaying (normal) pulse and the actual (abnormal) rhythm.
 
-@lilypond[13pt]
+@lilypond
 \time 4/4
 \notes\relative c' {
   \partial 4
   d8 dis |
-  e c'4 e,8 c'4 e,8 c' ( | ) c2
+  e c'4 e,8 c'4 e,8 c' ( |  c2)
 }
 @end lilypond
 
@@ -3946,7 +3964,7 @@ A method of indicating an accompaniment part by the bass notes only, together
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 
-@lilypond[13pt]
+@lilypond
 \context GrandStaff <
   \context Staff = lh \notes\relative c'' {
     \time 4/4
@@ -3967,7 +3985,7 @@ with figures designating the chief @aref{interval}s and
     es8 c d bes c as bes16 as g f | es4
   }
   \context Lyrics \lyrics {
-    \property Lyrics . LyricText \set #'font-style = #'Large
+%    \property Lyrics . LyricText \set #'font-style = #'Large
     \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
     < { "" "6" "" "4" "" "6" "" "" "6" "4" }
       { "" ""  "" "2" "" ""  "" "" ""  "2" } >
@@ -3990,8 +4008,8 @@ A curved line, identical in appearance with the @aref{slur}, which
 connects two succesive notes of the same pitch, and which has the function of
 uniting them into a single sound equal to the combined durations.
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
+@lilypond[notime]
+\property Score.automaticBars = ##f
 \notes\relative c'' { g2 ~ g4. }
 @end lilypond
 
@@ -4051,7 +4069,7 @@ N: ?.
 Shifting a melody up or down in pitch, while keeping the same
 relative pitches.
 
-@lilypond[13pt]
+@lilypond
 \context Staff {
   \time 3/4
   \notes\relative c'' {
@@ -4061,7 +4079,7 @@ relative pitches.
 }
 @end lilypond
 
-@lilypond[13pt]
+@lilypond
 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {
@@ -4101,9 +4119,9 @@ the same tone, produced by a rapid up-and-down movement movement of the bow
 a @aref{chord}, usually in the distance of a third
 (@aref{interval}).
 
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
+@lilypond[notime]
+\property Score.automaticBars = ##f
+%\property Score.TextScript \set #'font-style = #'large
 \notes\relative c' {
   e2:32_"a"
   f:32 [ e8:16 f:16 g:16 a:16 ] s4
@@ -4232,12 +4250,12 @@ N: ?.
 Initial note(s) of a melody occurring before the first bar
 line.  @aref{measure}, @aref{meter}.
 
-@lilypond[13pt]
+@lilypond
 \key f \major
 \time 4/4
 \notes\relative c' {
   \partial 4 f4 | bes4. a8 bes4 c |
-  bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
+  bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
 @end lilypond
 
 @aitem{voice}
@@ -4471,7 +4489,7 @@ ais @tab ais @tab Ais @tab ais
 The Harvard Dictionary of Music, London 1944.  Many more or less literal
 quotes from its articles have been included into the item explanation texts.
 
-Hugo Riemanns Musiklexicon, Berlin 1929
+Hugo Riemanns Musiklexicon, Berlin 1929.
 
 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.