De-gender a few entires.

diff --git a/ChangeLog b/ChangeLog
index 2730a1fba1f38ed2508cb634495e7971f7b52509..9a4e46d5f29b4830f5b2746600ae57c1cf3a39fe 100644 (file)
--- a/ChangeLog
+++ b/ChangeLog
@@ -1,6 +1,8 @@
 2004-09-13  Graham Percival  <gperlist@shaw.ca>
 
-       * scm/scripts.scm: change behaviour of slur and accent.
+       * scm/script.scm: change behaviour of slur and accent.
+
+       * Documentation/user/music-glossary.tely: de-gender a few entires.
 
 2004-09-13  Mats Bengtsson  <mabe@drongo.s3.kth.se>
 

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 78c4f4880ae349ca2a3eb4912ad7156067f1e16a..6a12058c6737bdc3fa8c5bb69906501aa5b6ba79 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.
 
@@ -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