* 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
-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.
 
@@ -973,7 +973,7 @@ music of the baroque era, has been one of the most popular polyphonic
 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
@@ -2665,7 +2665,7 @@ The briefest intelligible and self-contained fragment of a musical theme or
 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
@@ -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
-@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