From: Graham Percival <graham@percival-music.ca>
Date: Sat, 20 May 2006 04:12:30 +0000 (+0000)
Subject: Replace @cindex @code => @funindex
X-Git-Tag: release/2.9.6~21
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=0baaa9035314d2b881ececf8c1dc5b72093b26fc;hp=f47687228960b3930f851f1757828458a0991262;p=lilypond.git

Replace @cindex @code => @funindex
---

diff --git a/ChangeLog b/ChangeLog
index 607445feb7..ee3afe6695 100644
--- a/ChangeLog
+++ b/ChangeLog
@@ -4,6 +4,8 @@
 	update framework for command index.  DOC WRITERS: use @funindex
 	instead of @cindex @code{}.
 
+	* Documentation/user/ various: replace @cindex @code{} => @funindex
+
 2006-05-19  Han-Wen Nienhuys  <hanwen@lilypond.org>
 
 	* lily/beam.cc (set_stem_lengths): trigger 'beaming callback, in
diff --git a/Documentation/user/advanced-notation.itely b/Documentation/user/advanced-notation.itely
index cf36c6b5ae..5c667ea854 100644
--- a/Documentation/user/advanced-notation.itely
+++ b/Documentation/user/advanced-notation.itely
@@ -75,9 +75,9 @@ The @code{\markup} is described in more detail in
 
 @refcommands
 
-@cindex @code{\fatText}
+@funindex \fatText
 @code{\fatText},
-@cindex @code{\emptyText}
+@funindex \emptyText
 @code{\emptyText}.
 
 
@@ -157,7 +157,7 @@ Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
 @cindex segno on bar line
 @cindex fermata on bar line
 @cindex bar lines, symbols on
-@cindex @code{\mark}
+@funindex \mark
 
 The @code{\mark} command is primarily used for
 @ref{Rehearsal marks},
@@ -450,7 +450,7 @@ The following commands can all be used inside @code{\markup @{ @}}.
 
 @cindex font selection
 @cindex font magnification
-@cindex @code{font-interface}
+@funindex font-interface
 
 By setting the object properties described below, you can select a
 font from the preconfigured font families.  LilyPond has default
@@ -613,7 +613,7 @@ individual parts.
 @cindex Rests, multi measure
 @cindex Rests, full measure
 @cindex whole rests for a full measure
-@cindex @code{R}
+@funindex R
 
 Rests for one full measure (or many bars) are entered using `@code{R}'.  It
 is specifically meant for full bar rests and for entering parts: the rest
@@ -735,7 +735,7 @@ Metronome settings can be entered as follows
 
 In the MIDI output, they are interpreted as a tempo change.  In the
 layout output, a metronome marking is printed
-@cindex @code{\tempo}
+@funindex \tempo
 @lilypond[quote,ragged-right,verbatim,fragment]
 \tempo 8.=120 c''1
 @end lilypond
@@ -785,7 +785,7 @@ further away from the staff.
 @subsection Rehearsal marks
 
 @cindex Rehearsal marks
-@cindex @code{\mark}
+@funindex \mark
 
 To print a rehearsal mark, use the @code{\mark} command
 
@@ -856,7 +856,7 @@ Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
 
 @cindex Bar numbers
 @cindex measure numbers
-@cindex @code{currentBarNumber}
+@funindex currentBarNumber
 
 Bar numbers are printed by default at the start of the line.  The
 number itself is stored in the @code{currentBarNumber} property, which
@@ -1106,7 +1106,7 @@ during an octavation bracket.
 @node Different editions from one source
 @subsection Different editions from one source
 
-@cindex @code{\tag}
+@funindex \tag
 @cindex tag
 
 The @code{\tag} command marks music expressions with a name.  These
@@ -2010,8 +2010,8 @@ emptymusic = {
 @cindex Invisible notes
 @cindex Transparent notes
 
-@cindex @code{\hideNotes}
-@cindex @code{\unHideNotes}
+@funindex \hideNotes
+@funindex \unHideNotes
 Hidden (or invisible or transparent) notes can be useful in preparing theory
 or composition exercises.
 
@@ -2081,7 +2081,7 @@ to be printed in a large font size.  To print with a larger font, see
 
 @refcommands
 
-@cindex @code{\setEasyHeads}
+@funindex \setEasyHeads
 @code{\setEasyHeads}
 
 
diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely
index 68b008973c..18a35a07f3 100644
--- a/Documentation/user/basic-notation.itely
+++ b/Documentation/user/basic-notation.itely
@@ -84,8 +84,8 @@ The note name @code{c} is engraved one octave below middle C.
 c1
 @end lilypond
 
-@cindex @code{'}
-@cindex @code{,}
+@funindex '
+@funindex ,
 
 The optional octave specification takes the form of a series of
 single quote (`@code{'}') characters or a series of comma
@@ -193,10 +193,10 @@ Program reference: @internalsref{LedgerLineSpanner},
 @cindex accidental, cautionary
 @cindex accidental, parenthesized
 @cindex reminder accidental
-@cindex @code{?}
+@funindex ?
 @cindex cautionary accidental
 @cindex parenthesized accidental
-@cindex @code{!}
+@funindex !
 
 Normally accidentals are printed automatically, but you may also
 print them manually.  A reminder accidental
@@ -261,8 +261,8 @@ For more information about chords, see @ref{Chord names}.
 @cindex Rests
 
 
-@cindex @code{\rest}
-@cindex @code{r}
+@funindex \rest
+@funindex r
 
 Rests are entered like notes with the note name @code{r}
 
@@ -299,8 +299,8 @@ Program reference: @internalsref{Rest}.
 @cindex Skip
 @cindex Invisible rest
 @cindex Space note
-@cindex @code{\skip}
-@cindex @code{s}
+@funindex \skip
+@funindex s
 
 An invisible rest (also called a `skip') can be entered like a note
 with note name `@code{s}' or with @code{\skip @var{duration}}
@@ -342,9 +342,9 @@ Program reference: @internalsref{SkipMusic}.
 @subsection Durations
 
 @cindex duration
-@cindex @code{\longa}
-@cindex @code{\breve}
-@cindex @code{\maxima}
+@funindex \longa
+@funindex \breve
+@funindex \maxima
 
 In Note, Chord, and Lyrics mode, durations are designated by numbers and
 dots: durations are entered as their reciprocal values.  For example, a
@@ -395,7 +395,7 @@ duration.  The default for the first note is a quarter note.
 @node Augmentation dots
 @subsection Augmentation dots
 
-@cindex @code{.}
+@funindex .
 
 To obtain dotted note lengths, simply add a dot (`@code{.}') to
 the number.  Double-dotted notes are produced in a similar way.
@@ -410,11 +410,11 @@ Dots are normally moved up to avoid staff lines, except in polyphonic
 situations.  The following commands may be used to force a particular
 direction manually
 
-@cindex @code{\dotsUp}
+@funindex \dotsUp
 @code{\dotsUp},
-@cindex @code{\dotsDown}
+@funindex \dotsDown
 @code{\dotsDown},
-@cindex @code{\dotsNeutral}
+@funindex \dotsNeutral
 @code{\dotsNeutral}.
 
 @seealso
@@ -427,7 +427,7 @@ Program reference: @internalsref{Dots}, and @internalsref{DotColumn}.
 
 @cindex tuplets
 @cindex triplets
-@cindex @code{\times}
+@funindex \times
 
 Tuplets are made out of a music expression by multiplying all durations
 with a fraction
@@ -459,17 +459,17 @@ Tuplets may be nested, for example,
 
 @refcommands
 
-@cindex @code{\tupletUp}
+@funindex \tupletUp
 @code{\tupletUp},
-@cindex @code{\tupletDown}
+@funindex \tupletDown
 @code{\tupletDown},
-@cindex @code{\tupletNeutral}
+@funindex \tupletNeutral
 @code{\tupletNeutral}.
 
 
 @commonprop
 
-@cindex @code{tupletNumberFormatFunction}
+@funindex tupletNumberFormatFunction
 @cindex tuplet formatting
 
 The property @code{tupletSpannerDuration} specifies how long each
@@ -542,11 +542,11 @@ made invisible.
 
 @refcommands
 
-@cindex @code{\stemUp}
+@funindex \stemUp
 @code{\stemUp},
-@cindex @code{\stemDown}
+@funindex \stemDown
 @code{\stemDown},
-@cindex @code{\stemNeutral}
+@funindex \stemNeutral
 @code{\stemNeutral}.
 
 
@@ -593,7 +593,7 @@ website for more information.
 
 @cindex Relative
 @cindex Relative octave specification
-@cindex @code{\relative}
+@funindex \relative
 
 Octaves are specified by adding @code{'} and @code{,} to pitch names.
 When you copy existing music, it is easy to accidentally put a pitch
@@ -729,7 +729,7 @@ the output of the piece.
 
 @cindex Transpose
 @cindex transposition of pitches
-@cindex @code{\transpose}
+@funindex \transpose
 
 A music expression can be transposed with @code{\transpose}.  The
 syntax is
@@ -809,8 +809,8 @@ you must put @code{\transpose} outside of @code{\relative}, since
 @subsection Bar check
 
 @cindex Bar check
-@cindex @code{barCheckSynchronize}
-@cindex @code{|}
+@funindex barCheckSynchronize
+@funindex |
 
 Bar checks help detect errors in the durations.  A bar check is
 entered using the bar symbol, `@code{|}'.  Whenever it is encountered
@@ -835,8 +835,8 @@ durations.  Incorrect durations often completely garble up the score,
 especially if the score is polyphonic, so a good place to start correcting
 input is by scanning for failed bar checks and incorrect durations.
 
-@cindex @code{|}
-@cindex @code{pipeSymbol}
+@funindex |
+@funindex pipeSymbol
 
 It is also possible to redefine the meaning of @code{|}.  This is done
 by assigning a music expression to @code{pipeSymbol},
@@ -869,8 +869,8 @@ is processed.
 @subsection Skipping corrected music
 
 
-@cindex @code{skipTypesetting}
-@cindex @code{showLastLength}
+@funindex skipTypesetting
+@funindex showLastLength
 
 When entering or copying music, usually only the music near the end (where
 you
@@ -996,7 +996,7 @@ such as key signatures, clefs and time signatures.
 @node Clef
 @subsection Clef
 
-@cindex @code{\clef}
+@funindex \clef
 
 The clef indicates which lines of the staff correspond to which
 pitches.  The clef is set with the @code{\clef} command
@@ -1099,7 +1099,7 @@ Program reference: @internalsref{Clef}.
 @subsection Key signature
 
 @cindex Key signature
-@cindex @code{\key}
+@funindex \key
 
 The key signature indicates the tonality in which a piece is played.  It
 is denoted by a set of alterations (flats or sharps) at the start of the
@@ -1112,16 +1112,16 @@ command
 @code{\key} @var{pitch} @var{type}
 @end example
 
-@cindex @code{\minor}
-@cindex @code{\major}
-@cindex @code{\minor}
-@cindex @code{\ionian}
-@cindex @code{\locrian}
-@cindex @code{\aeolian}
-@cindex @code{\mixolydian}
-@cindex @code{\lydian}
-@cindex @code{\phrygian}
-@cindex @code{\dorian}
+@funindex \minor
+@funindex \major
+@funindex \minor
+@funindex \ionian
+@funindex \locrian
+@funindex \aeolian
+@funindex \mixolydian
+@funindex \lydian
+@funindex \phrygian
+@funindex \dorian
 @cindex church modes
 
 Here, @var{type} should be @code{\major} or @code{\minor} to get
@@ -1169,7 +1169,7 @@ Program reference: @internalsref{KeyCancellation},
 
 @cindex Time signature
 @cindex meter
-@cindex @code{\time}
+@funindex \time
 
 Time signature indicates the metrum of a piece: a regular pattern of
 strong and weak beats.  It is denoted by a fraction at the start of the
@@ -1254,7 +1254,7 @@ Automatic beaming does not use the measure grouping specified with
 @cindex partial measure
 @cindex measure, partial
 @cindex shorten measures
-@cindex @code{\partial}
+@funindex \partial
 
 Partial measures, such as an anacrusis or upbeat, are entered using the
 
@@ -1296,7 +1296,7 @@ a2 g2
 @subsection Bar lines
 
 @cindex Bar lines
-@cindex @code{\bar}
+@funindex \bar
 @cindex measure lines
 @cindex repeat bars
 
@@ -1345,9 +1345,9 @@ connected between different staves of a StaffGroup
 
 @commonprop
 
-@cindex @code{whichBar}
-@cindex @code{repeatCommands}
-@cindex @code{defaultBarType}
+@funindex whichBar
+@funindex repeatCommands
+@funindex defaultBarType
 
 The command @code{\bar }@var{bartype} is a short cut for doing
 @code{\set Timing.whichBar = }@var{bartype}.  Whenever @code{whichBar}
@@ -1377,8 +1377,8 @@ Examples: @inputfileref{input/@/test,bar@/-lines@/.ly},
 @subsection Unmetered music
 
 @cindex cadenza
-@cindex @code{\cadenzaOn}
-@cindex @code{\cadenzaOff}
+@funindex \cadenzaOn
+@funindex \cadenzaOff
 
 Bar lines and bar numbers are calculated automatically.  For unmetered
 music (cadenzas, for example), this is not desirable.  To turn off
@@ -1551,7 +1551,7 @@ This section deals with notation that affects groups of notes.
 @subsection Ties
 
 @cindex tie
-@cindex @code{~}
+@funindex ~
 
 A tie connects two adjacent note heads of the same pitch.  The tie in
 effect extends the length of a note.  Ties should not be confused with
@@ -1616,17 +1616,17 @@ for example, to tie a tremolo to a chord. For example,
 @refcommands
 
 
-@cindex @code{\tieUp}
+@funindex \tieUp
 @code{\tieUp},
-@cindex @code{\tieDown}
+@funindex \tieDown
 @code{\tieDown},
-@cindex @code{\tieNeutral}
+@funindex \tieNeutral
 @code{\tieNeutral},
-@cindex @code{\tieDotted}
+@funindex \tieDotted
 @code{\tieDotted},
-@cindex @code{\tieDashed}
+@funindex \tieDashed
 @code{\tieDashed},
-@cindex @code{\tieSolid}
+@funindex \tieSolid
 @code{\tieSolid}.
 
 
@@ -1691,17 +1691,17 @@ be achieved in LilyPond by setting @code{doubleSlurs},
 
 @refcommands
 
-@cindex @code{\slurUp}
+@funindex \slurUp
 @code{\slurUp},
-@cindex @code{\slurDown}
+@funindex \slurDown
 @code{\slurDown},
-@cindex @code{\slurNeutral}
+@funindex \slurNeutral
 @code{\slurNeutral},
-@cindex @code{\slurDashed}
+@funindex \slurDashed
 @code{\slurDashed},
-@cindex @code{\slurDotted}
+@funindex \slurDotted
 @code{\slurDotted},
-@cindex @code{\slurSolid}
+@funindex \slurSolid
 @code{\slurSolid}.
 
 @seealso
@@ -1734,11 +1734,11 @@ You cannot have simultaneous phrasing slurs.
 
 @refcommands
 
-@cindex @code{\phrasingSlurUp}
+@funindex \phrasingSlurUp
 @code{\phrasingSlurUp},
-@cindex @code{\phrasingSlurDown}
+@funindex \phrasingSlurDown
 @code{\phrasingSlurDown},
-@cindex @code{\phrasingSlurNeutral}
+@funindex \phrasingSlurNeutral
 @code{\phrasingSlurNeutral}.
 
 
@@ -1801,8 +1801,8 @@ Program reference: @internalsref{Beam}.
 @subsection Manual beams
 
 @cindex beams, manual
-@cindex @code{]}
-@cindex @code{[}
+@funindex ]
+@funindex [
 
 In some cases it may be necessary to override the automatic beaming
 algorithm.  For example, the autobeamer will not put beams over rests
@@ -1818,8 +1818,8 @@ and end point with @code{[} and @code{]}
 
 @commonprop
 
-@cindex @code{stemLeftBeamCount}
-@cindex @code{stemRightBeamCount}
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
 
 Normally, beaming patterns within a beam are determined automatically.
 If necessary, the properties @code{stemLeftBeamCount} and
@@ -1848,7 +1848,7 @@ c16[ c c c c c c c]
 \set Score.beatLength = #(ly:make-moment 1 8)
 c16[ c c c c c c c]
 @end lilypond
-@cindex @code{subdivideBeams}
+@funindex subdivideBeams
 
 @noindent
 For more information about @code{make-moment}, see
@@ -1857,7 +1857,7 @@ For more information about @code{make-moment}, see
 Line breaks are normally forbidden when beams cross bar lines.  This
 behavior can be changed by setting @code{allowBeamBreak}.
 
-@cindex @code{allowBeamBreak}
+@funindex allowBeamBreak
 @cindex beams and line breaks
 @cindex beams, kneed
 @cindex kneed beams
@@ -1879,7 +1879,7 @@ texts and accidentals.
 @node Grace notes
 @subsection Grace notes
 
-@cindex @code{\grace}
+@funindex \grace
 @cindex ornaments
 @cindex grace notes
 @cindex appoggiatura
@@ -1947,7 +1947,7 @@ every eighth grace note
    \new Staff { c4 \grace { g8[ b] } c4 } >>
 @end lilypond
 
-@cindex @code{\afterGrace}
+@funindex \afterGrace
 
 If you want to end a note with a grace, use the @code{\afterGrace}
 command.  It takes two arguments: the main note, and the grace notes
@@ -2236,23 +2236,23 @@ Examples: @inputfileref{input/@/regression,finger@/-chords@/.ly}.
 @subsection Dynamics
 
 @cindex Dynamics
-@cindex @code{\pppp}
-@cindex @code{\ppp}
-@cindex @code{\pp}
-@cindex @code{\p}
-@cindex @code{\mp}
-@cindex @code{\mf}
-@cindex @code{\f}
-@cindex @code{\ff}
-@cindex @code{\fff}
-@cindex @code{\ffff}
-@cindex @code{\fp}
-@cindex @code{\sf}
-@cindex @code{\sff}
-@cindex @code{\sp}
-@cindex @code{\spp}
-@cindex @code{\sfz}
-@cindex @code{\rfz}
+@funindex \pppp
+@funindex \ppp
+@funindex \pp
+@funindex \p
+@funindex \mp
+@funindex \mf
+@funindex \f
+@funindex \ff
+@funindex \fff
+@funindex \ffff
+@funindex \fp
+@funindex \sf
+@funindex \sff
+@funindex \sp
+@funindex \spp
+@funindex \sfz
+@funindex \rfz
 
 Absolute dynamic marks are specified using a command after a note
 @code{c4\ff}.  The available dynamic marks are @code{\ppppp},
@@ -2266,9 +2266,9 @@ c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
 @end lilypond
 
-@cindex @code{\<}
-@cindex @code{\>}
-@cindex @code{\!}
+@funindex \<
+@funindex \>
+@funindex \!
 
 A crescendo mark is started with @code{\<} and terminated with
 @code{\!} or an absolute dynamic.  A decrescendo is started with
@@ -2360,11 +2360,11 @@ dashed line showing their extent.  To surpress printing this line, use
 
 @refcommands
 
-@cindex @code{\dynamicUp}
+@funindex \dynamicUp
 @code{\dynamicUp},
-@cindex @code{\dynamicDown}
+@funindex \dynamicDown
 @code{\dynamicDown},
-@cindex @code{\dynamicNeutral}
+@funindex \dynamicNeutral
 @code{\dynamicNeutral}.
 
 
@@ -2437,9 +2437,9 @@ is printed as a stemless note head in parentheses.
 @refcommands
 
 @code{\startTrillSpan},
-@cindex @code{\startTrillSpan}
+@funindex \startTrillSpan
 @code{\stopTrillSpan}.
-@cindex @code{\stopTrillSpan}
+@funindex \stopTrillSpan
 
 
 @seealso
@@ -2451,7 +2451,7 @@ Program reference: @internalsref{TrillSpanner}.
 @subsection Glissando
 
 @cindex Glissando
-@cindex @code{\glissando}
+@funindex \glissando
 
 A glissando is a smooth change in pitch.  It is denoted by a line or a
 wavy line between two notes.  It is requested by attaching
@@ -2481,7 +2481,7 @@ Printing text over the line (such as @emph{gliss.}) is not supported.
 
 @cindex Arpeggio
 @cindex broken chord
-@cindex @code{\arpeggio}
+@funindex \arpeggio
 
 You can specify an arpeggio sign (also known as broken chord) on a
 chord by attaching an @code{\arpeggio} to a chord
@@ -2529,13 +2529,13 @@ in both staves and set
 @refcommands
 
 @code{\arpeggio},
-@cindex @code{\arpeggioUp}
+@funindex \arpeggioUp
 @code{\arpeggioUp},
-@cindex @code{\arpeggioDown}
+@funindex \arpeggioDown
 @code{\arpeggioDown},
-@cindex @code{\arpeggioNeutral}
+@funindex \arpeggioNeutral
 @code{\arpeggioNeutral},
-@cindex @code{\arpeggioBracket}
+@funindex \arpeggioBracket
 @code{\arpeggioBracket}.
 
 
@@ -2576,7 +2576,7 @@ The easiest way to enter fragments with more than one voice on a staff
 is to enter each voice as a sequence (with @code{@{...@}}), and combine
 them simultaneously, separating the voices with @code{\\}
 
-@cindex @code{\\}
+@funindex \\
 
 @lilypond[quote,verbatim,fragment]
 \new Staff \relative c' {
@@ -2776,24 +2776,24 @@ for example
 
 @refcommands
 
-@cindex @code{\oneVoice}
+@funindex \oneVoice
 @code{\oneVoice},
-@cindex @code{\voiceOne}
+@funindex \voiceOne
 @code{\voiceOne},
-@cindex @code{\voiceTwo}
+@funindex \voiceTwo
 @code{\voiceTwo},
-@cindex @code{\voiceThree}
+@funindex \voiceThree
 @code{\voiceThree},
-@cindex @code{\voiceFour}
+@funindex \voiceFour
 @code{\voiceFour}.
 
-@cindex @code{\shiftOn}
+@funindex \shiftOn
 @code{\shiftOn},
-@cindex @code{\shiftOnn}
+@funindex \shiftOnn
 @code{\shiftOnn},
-@cindex @code{\shiftOnnn}
+@funindex \shiftOnnn
 @code{\shiftOnnn},
-@cindex @code{\shiftOff}
+@funindex \shiftOff
 @code{\shiftOff}: these commands specify in what chords of the current
 voice should be shifted.  The outer voices (normally: voice one and
 two) have @code{\shiftOff}, while the inner voices (three and four)
@@ -2864,7 +2864,7 @@ for repetitions.
 @subsection Repeat types
 
 @cindex repeats
-@cindex @code{\repeat}
+@funindex \repeat
 
 The following types of repetition are supported
 
@@ -2909,7 +2909,7 @@ repeats.  The syntax is
 @end example
 
 If you have alternative endings, you may add
-@cindex @code{\alternative}
+@funindex \alternative
 @example
 \alternative @{
   @var{alternative1}
@@ -3006,7 +3006,7 @@ example by setting @code{Score.measurePosition} or entering
 @subsection Repeats and MIDI
 
 @cindex expanding repeats
-@cindex @code{\unfoldRepeats}
+@funindex \unfoldRepeats
 
 With a little bit of tweaking, all types of repeats can be present
 in the MIDI output.  This is achieved by applying the
@@ -3046,7 +3046,7 @@ percent repeats).  For example,
 @node Manual repeat commands
 @subsection Manual repeat commands
 
-@cindex @code{repeatCommands}
+@funindex repeatCommands
 
 The property @code{repeatCommands} can be used to control the layout of
 repeats.  Its value is a Scheme list of repeat commands.
@@ -3125,7 +3125,7 @@ Example files: @inputfileref{input/@/regression,chord@/-tremolo@/.ly},
 @subsection Tremolo subdivisions
 
 @cindex tremolo marks
-@cindex @code{tremoloFlags}
+@funindex tremoloFlags
 
 Tremolo marks can be printed on a single note by adding
 `@code{:}[@var{number}]' after the note.  The number indicates the
diff --git a/Documentation/user/changing-defaults.itely b/Documentation/user/changing-defaults.itely
index a3e97c6920..58a5945ec8 100644
--- a/Documentation/user/changing-defaults.itely
+++ b/Documentation/user/changing-defaults.itely
@@ -84,7 +84,7 @@ beams are automatically displayed.
 Common rules for typesetting accidentals have been placed in a
 function.  This function is called as follows
 
-@cindex @code{set-accidental-style}
+@funindex set-accidental-style
 @example
 #(set-accidental-style 'STYLE #('CONTEXT#))
 @end example
@@ -132,7 +132,7 @@ used by one musician (e.g., a conductor) then
 should be used instead.
 
 @item modern
-@cindex @code{modern} style accidentals
+@funindex modern style accidentals
 This rule corresponds to the common practice in the 20th century.  This rule
 prints the same accidentals as @code{default}, but temporary
 accidentals also are canceled in other octaves.  Furthermore,
@@ -145,7 +145,7 @@ cis' c'' cis'2 | c'' c'
 @end lilypond
 
 @item @code{modern-cautionary}
-@cindex @code{modern-cautionary}
+@funindex modern-cautionary
 This rule is similar to @code{modern}, but the ``extra'' accidentals
 (the ones not typeset by @code{default}) are typeset as cautionary
 accidentals.  They are printed in reduced size or with parentheses
@@ -154,14 +154,14 @@ accidentals.  They are printed in reduced size or with parentheses
 cis' c'' cis'2 | c'' c'
 @end lilypond
 
-@cindex @code{modern-voice}
+@funindex modern-voice
 @item modern-voice
 This rule is used for multivoice accidentals to be read both by musicians
 playing one voice and musicians playing all voices.  Accidentals are
 typeset for each voice, but they @emph{are} canceled across voices in
 the same @internalsref{Staff}.
 
-@cindex @code{modern-voice-cautionary}
+@funindex modern-voice-cautionary
 @item modern-voice-cautionary
 This rule is the same as @code{modern-voice}, but with the extra
 accidentals (the ones not typeset by @code{voice}) typeset
@@ -170,19 +170,19 @@ as cautionaries.  Even though all accidentals typeset by
 some of them are typeset as cautionaries.
 
 @item piano
-@cindex @code{piano} accidentals
+@funindex piano accidentals
 This rule reflects 20th century practice for piano notation.  Very similar to
 @code{modern} but accidentals also get canceled
 across the staves in the same @internalsref{GrandStaff} or
 @internalsref{PianoStaff}.
 
 @item piano-cautionary
-@cindex @code{#(set-accidental-style 'piano-cautionary)}
+@funindex #(set-accidental-style 'piano-cautionary)
 Same as @code{#(set-accidental-style 'piano)} but with the extra
 accidentals typeset as cautionaries.
 
 @item no-reset
-@cindex @code{no-reset} accidental style
+@funindex no-reset accidental style
 This is the same as @code{default} but with accidentals lasting
 ``forever'' and not only until the next measure
 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
@@ -224,9 +224,9 @@ problematic notes.
 @node Setting automatic beam behavior
 @subsection Setting automatic beam behavior
 
-@cindex @code{autoBeamSettings}
-@cindex @code{(end * * * *)}
-@cindex @code{(begin * * * *)}
+@funindex autoBeamSettings
+@funindex (end * * * *)
+@funindex (begin * * * *)
 @cindex automatic beams, tuning
 @cindex tuning automatic beaming
 
@@ -357,7 +357,7 @@ In 4/4 time signature, this means that automatic beams could end only on
 
 @cindex automatic beam generation
 @cindex autobeam
-@cindex @code{autoBeaming}
+@funindex autoBeaming
 @cindex lyrics
 
 If beams are used to indicate melismata in songs, then automatic
@@ -366,9 +366,9 @@ beaming should be switched off with @code{\autoBeamOff}.
 
 @refcommands
 
-@cindex @code{\autoBeamOff}
+@funindex \autoBeamOff
 @code{\autoBeamOff},
-@cindex @code{\autoBeamOn}
+@funindex \autoBeamOn
 @code{\autoBeamOn}.
 
 
@@ -473,7 +473,7 @@ create them by hand.  There are three commands that do this.
 The easiest command is @code{\new}, and it also the quickest to type.
 It is prepended to a music expression, for example
 
-@cindex @code{\new}
+@funindex \new
 @cindex new contexts
 @cindex Context, creating
 
@@ -506,7 +506,7 @@ However, this user specified name is only used if there is no other
 context already earlier with the same name.
 
 
-@cindex @code{\context}
+@funindex \context
 
 @item
 Like @code{\new}, the @code{\context} command also directs a music
@@ -603,7 +603,7 @@ these forms
 @subsection Changing context properties on the fly
 
 @cindex properties
-@cindex @code{\set}
+@funindex \set
 @cindex changing properties
 
 Each context can have different @emph{properties}, variables contained
@@ -655,7 +655,7 @@ example @context{Staff}, then the change would also apply to all
 `on-the-fly', during the music, so that the setting only affects the
 second group of eighth notes.
 
-@cindex @code{\unset}
+@funindex \unset
 
 There is also an @code{\unset} command,
 @example
@@ -754,7 +754,7 @@ It can be useful to shuffle around these plug-ins.  This is done by
 starting a new context with @code{\new} or @code{\context}, and
 modifying it,
 
-@cindex @code{\with}
+@funindex \with
 
 @example
 \new @var{context} \with @{
@@ -1125,7 +1125,7 @@ Put together, we get
 @}
 @end example
 
-@cindex @code{\accepts}
+@funindex \accepts
 Contexts form hierarchies.  We want to hang the @context{ImproVoice}
 under @context{Staff}, just like normal @code{Voice}s.  Therefore, we
 modify the @code{Staff} definition with the @code{\accepts}
@@ -1138,7 +1138,7 @@ command,
 @}
 @end example
 
-@cindex @code{\denies}
+@funindex \denies
 The opposite of @code{\accepts} is @code{\denies},
 which is sometimes needed when reusing existing context definitions.
 
@@ -1224,7 +1224,7 @@ properties.  To tweak those, use commands in the form
 @cindex finding graphical objects
 @cindex graphical object descriptions
 @cindex tweaking
-@cindex @code{\override}
+@funindex \override
 @cindex internal documentation
 
 We demonstrate how to glean this information from the notation manual
@@ -1507,7 +1507,7 @@ Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
 @node Objects connected to the input
 @subsection Objects connected to the input
 
-@cindex @code{\tweak}
+@funindex \tweak
 
 In some cases, it is possible to take a short-cut for tuning graphical
 objects. For objects that result directly from a piece of the input,
diff --git a/Documentation/user/global.itely b/Documentation/user/global.itely
index e7fbdec20a..77f91cd7aa 100644
--- a/Documentation/user/global.itely
+++ b/Documentation/user/global.itely
@@ -201,7 +201,7 @@ be entered:
 @node Including LilyPond files
 @subsection Including LilyPond files
 
-@cindex @code{\include}
+@funindex \include
 @cindex including files
 
 A large project may be split up into separate files.  To refer to another
@@ -489,7 +489,7 @@ Note that the music expression must come before the @code{\header}.
 }
 @end lilypond
 
-@cindex @code{printallheaders}
+@funindex printallheaders
 @noindent
 You may change this behavior (and print all the headers when defining
 @code{\header} inside @code{\score}) by using
@@ -509,22 +509,22 @@ variables in the @code{\paper} block.  The init file
 @file{ly/titling-init.ly} lists the default layout.
 
 @table @code
-@cindex @code{bookTitleMarkup}
+@funindex bookTitleMarkup
 @item bookTitleMarkup
   This is the title put over an entire @code{\book} block.  Typically,
   it has the composer and the title of the piece
 
-@cindex @code{scoreTitleMarkup}
+@funindex scoreTitleMarkup
 @item scoreTitleMarkup
   This is the title put over a @code{\score} block within a
 @code{\book}.  Typically, it has the name of the movement (@code{piece}
 field).
 
-@cindex @code{oddHeaderMarkup}
+@funindex oddHeaderMarkup
 @item oddHeaderMarkup
   This is the page header for odd-numbered pages.
 
-@cindex @code{evenHeaderMarkup}
+@funindex evenHeaderMarkup
 @item evenHeaderMarkup
   This is the page header for even-numbered pages.  If unspecified,
   the odd header is used instead.
@@ -532,11 +532,11 @@ field).
   By default, headers are defined such that the page number is on the
   outside edge, and the instrument is centered.
 
-@cindex @code{oddFooterMarkup}
+@funindex oddFooterMarkup
 @item oddFooterMarkup
   This is the page footer for odd-numbered pages.
 
-@cindex @code{evenFotterMarkup}
+@funindex evenFotterMarkup
 @item evenFooterMarkup
   This is the page footer for even-numbered pages.  If unspecified,
   the odd header is used instead.
@@ -591,7 +591,7 @@ This section deals with the display of music on physical paper.
 
 @cindex paper size
 @cindex page size
-@cindex @code{papersize}
+@funindex papersize
 
 To change the paper size, there are two commands,
 @example
@@ -642,7 +642,7 @@ Setting the paper size will adjust a number of @code{\paper} variables
 LilyPond will do page layout, set margins, and add headers and
 footers to each page.
 
-@cindex @code{annotate-spacing}
+@funindex annotate-spacing
 @cindex Spacing, display of properties
 
 To graphically display the dimensions of properties that may
@@ -662,62 +662,62 @@ All units dimensions are measured in staff spaces. The pairs
 The default layout responds to the following settings in the
 @code{\paper} block.
 
-@cindex @code{\paper}
+@funindex \paper
 
 @quotation
 @table @code
-@cindex @code{first-page-number}
+@funindex first-page-number
 @item first-page-number
 The value of the page number of the first page.  Default is@tie{}1.
 
-@cindex @code{printfirst-page-number}
+@funindex printfirst-page-number
 @item printfirst-page-number
 If set to true, will print the page number in the first page.  Default is
 false.
 
-@cindex @code{print-page-number}
+@funindex print-page-number
 @item print-page-number
 If set to false, page numbers will not be printed.
 
-@cindex @code{paper-width}
+@funindex paper-width
 @item paper-width
 The width of the page.
 
-@cindex @code{paper-height}
+@funindex paper-height
 @item paper-height
 The height of the page.
 
-@cindex @code{top-margin}
+@funindex top-margin
 @item top-margin
 Margin between header and top of the page.
 
-@cindex @code{bottom-margin}
+@funindex bottom-margin
 @item bottom-margin
 Margin between footer and bottom of the page.
 
-@cindex @code{left-margin}
+@funindex left-margin
 @item left-margin
 Margin between the left side of the page and the beginning of the music.
 
-@cindex @code{line-width}
+@funindex line-width
 @item line-width
 The length of the systems.
 
-@cindex @code{head-separation}
+@funindex head-separation
 @item head-separation
 Distance between the top-most music system and the page header.
 
-@cindex @code{foot-separation}
+@funindex foot-separation
 @item foot-separation
 Distance between the bottom-most music system and the page footer.
 
-@cindex @code{page-top-space}
+@funindex page-top-space
 Distance from the top of the printable area to the center of the first
 staff. This only works for staves which are vertically small. Big staves
 are set with the top of their bounding box aligned to the top of the
 printable area.
 
-@cindex @code{ragged-bottom}
+@funindex ragged-bottom
 @item ragged-bottom
 If set to true, systems will not be spread vertically across the page.  This
 does not affect the last page.
@@ -725,19 +725,19 @@ does not affect the last page.
 This should be set to true for pieces that have only two or three
 systems per page, for example orchestral scores.
 
-@cindex @code{ragged-last-bottom}
+@funindex ragged-last-bottom
 @item ragged-last-bottom
 If set to false, systems will be spread vertically to fill the last page.
 
 Pieces that amply fill two pages or more should have this set to
 true.
 
-@cindex @code{system-count}
+@funindex system-count
 @item system-count
 This variable, if set, specifies into how many lines a score should be
 broken.
 
-@cindex @code{between-system-space}
+@funindex between-system-space
 @item between-system-space
 This dimensions determines the distance between systems.  It is the
 ideal distance between the center of the bottom staff of one system
@@ -746,7 +746,7 @@ and the center of the top staff of the next system.
 Increasing this will provide a more even appearance of the page at the
 cost of using more vertical space.
 
-@cindex @code{between-system-padding}
+@funindex between-system-padding
 @item between-system-padding
 This dimension is the minimum amount of white space that will always
 be present between the bottom-most symbol of one system, and the
@@ -756,33 +756,33 @@ Increasing this will put systems whose bounding boxes almost touch
 farther apart.
 
 
-@cindex @code{horizontal-shift}
+@funindex horizontal-shift
 @item horizontal-shift
 All systems (including titles and system separators) are shifted by
 this amount to the right. Page markup, such as headers and footers are
 not affected by this. The purpose of this variable is to make space
 for instrument names at the left.
 
-@cindex @code{after-title-space}
+@funindex after-title-space
 @item after-title-space
 Amount of space between the title and the first system.
 
-@cindex @code{after-title-space}
+@funindex after-title-space
 @item before-title-space
 Amount of space between the last system of the previous piece and the
 title of the next.
 
-@cindex @code{between-title-space}
+@funindex between-title-space
 @item between-title-space
 Amount of space between consecutive titles (e.g., the title of the
 book and the title of a piece).
 
-@cindex @code{printallheaders}
+@funindex printallheaders
 @item printallheaders
 Setting this to #t will print all headers for each \score in a
 \book.  Normally only the piece and opus \headers are printed.
 
-@cindex @code{systemSeparatorMarkup}
+@funindex systemSeparatorMarkup
 @item systemSeparatorMarkup
 This contains a markup object, which will be inserted between
 systems.  This is often used for orchestral scores.
@@ -903,7 +903,7 @@ titles.
 
 @cindex font size, setting
 @cindex staff size, setting
-@cindex @code{layout} file
+@funindex layout file
 
 To set the global staff size, use @code{set-global-staff-size}.
 
@@ -1035,18 +1035,18 @@ use fonts. These are the ones supporting the
 
 The following commands set @code{fontSize} for the current voice:
 
-@cindex @code{\tiny}
+@funindex \tiny
 @code{\tiny},
-@cindex @code{\small}
+@funindex \small
 @code{\small},
-@cindex @code{\normalsize}
+@funindex \normalsize
 @code{\normalsize}.
 
 
 @node Score layout
 @subsection Score layout
 
-@cindex @code{\layout}
+@funindex \layout
 
 While @code{\paper} contains settings that relate to the page formatting
 of the whole document, @code{\layout} contains settings for score-specific
@@ -1329,10 +1329,10 @@ These durations may also be customized.  If you set the
 this sets the base duration for spacing.  The maximum duration for this
 base (normally an 8th), is set through @code{base-shortest-duration}.
 
-@cindex @code{common-shortest-duration}
-@cindex @code{base-shortest-duration}
-@cindex @code{stem-spacing-correction}
-@cindex @code{spacing}
+@funindex common-shortest-duration
+@funindex base-shortest-duration
+@funindex stem-spacing-correction
+@funindex spacing
 
 Notes that are even shorter than the common shortest note are
 followed by a space that is proportional to their duration relative to
@@ -1430,10 +1430,10 @@ No work-around exists for decreasing the amount of space.
 @cindex page breaks
 @cindex breaking pages
 
-@cindex @code{indent}
-@cindex @code{line-width}
-@cindex @code{ragged-right}
-@cindex @code{ragged-last}
+@funindex indent
+@funindex line-width
+@funindex ragged-right
+@funindex ragged-last
 
 @c Although line-width can be set in \layout, it should be set in paper
 @c block, to get page layout right.
@@ -1510,8 +1510,8 @@ This makes the following 28 measures (assuming 4/4 time) be broken every
 @refcommands
 
 @code{\break}, and @code{\noBreak}.
-@cindex @code{\break}
-@cindex @code{\noBreak}
+@funindex \break
+@funindex \noBreak
 
 @seealso
 
@@ -1561,9 +1561,9 @@ piece in several movements), use @code{breakbefore} in the header.
 
 @refcommands
 
-@cindex @code{\pageBreak}
+@funindex \pageBreak
 @code{\pageBreak}
-@cindex @code{\noPageBreak}
+@funindex \noPageBreak
 @code{\noPageBreak}
 
 
@@ -1601,7 +1601,7 @@ and texts are entered with a @code{\markup} block,
 @}
 @end example
 
-@cindex @code{\book}
+@funindex \book
 
 The movements and texts are combined together in a @code{\book} block,
 like
@@ -1809,7 +1809,7 @@ The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
 @subsection MIDI instrument names
 
 @cindex instrument names
-@cindex @code{Staff.midiInstrument}
+@funindex Staff.midiInstrument
 
 The MIDI instrument name is set by the @code{Staff.midiInstrument}
 property.  The instrument name should be chosen from the list in
@@ -1832,7 +1832,7 @@ instrument is used.
 @node Displaying LilyPond notation
 @section Displaying LilyPond notation
 
-@cindex @code{\displayLilyMusc}
+@funindex \displayLilyMusc
 Displaying a music expression in LilyPond notation can be
 done using the music function @code{\displayLilyMusic}.  For example,
 
diff --git a/Documentation/user/instrument-notation.itely b/Documentation/user/instrument-notation.itely
index cb8bce0db7..a59988ddd5 100644
--- a/Documentation/user/instrument-notation.itely
+++ b/Documentation/user/instrument-notation.itely
@@ -229,7 +229,7 @@ In this manual: @ref{Laissez vibrer ties}
 @cindex staff switching
 @cindex cross staff
 
-@cindex @code{followVoice}
+@funindex followVoice
 
 Whenever a voice switches to another staff, a line connecting the notes
 can be printed automatically.  This is switched on by setting
@@ -253,9 +253,9 @@ Program reference: @internalsref{VoiceFollower}.
 
 @refcommands
 
-@cindex @code{\showStaffSwitch}
+@funindex \showStaffSwitch
 @code{\showStaffSwitch},
-@cindex @code{\hideStaffSwitch}
+@funindex \hideStaffSwitch
 @code{\hideStaffSwitch}.
 
 
@@ -413,11 +413,11 @@ Modifiers can be mixed with additions
 @end lilypond
 
 @cindex modifiers, in chords.
-@cindex @code{aug}
-@cindex @code{dim}
-@cindex @code{maj}
-@cindex @code{sus}
-@cindex @code{m}
+@funindex aug
+@funindex dim
+@funindex maj
+@funindex sus
+@funindex m
 
 Since an unaltered 11 does not sound good when combined with an
 unaltered 3, the 11 is removed in this case (unless it is added
@@ -426,7 +426,7 @@ explicitly)
 \chordmode { c:13 c:13.11 c:m13 }
 @end lilypond
 
-@cindex @code{/}
+@funindex /
 
 An inversion (putting one pitch of the chord on the bottom), as well
 as bass notes, can be specified by appending
@@ -434,7 +434,7 @@ as bass notes, can be specified by appending
 @lilypond[quote,ragged-right,fragment,verbatim]
 \chordmode { c1 c/g c/f }
 @end lilypond
-@cindex @code{/+}
+@funindex /+
 
 A bass note can be added instead transposed out of the chord,
 by using @code{/+}@var{pitch}.
@@ -526,7 +526,7 @@ Klaus Ignatzek (see @ref{Literature list}).  It can be tuned through the
 following properties
 
 @table @code
-@cindex @code{chordNameExceptions}
+@funindex chordNameExceptions
 @item chordNameExceptions
 This is a list that contains the chords that have special formatting.
 
@@ -555,14 +555,14 @@ For an example of tuning this property, see also
 @cindex exceptions, chord names.
 
 
-@cindex @code{majorSevenSymbol}
+@funindex majorSevenSymbol
 @item majorSevenSymbol
 This property contains the markup object used for the 7th step, when
 it is major.  Predefined options are @code{whiteTriangleMarkup} and
 @code{blackTriangleMarkup}.  See
 @inputfileref{input/@/regression,chord@/-name@/-major7@/.ly} for an example.
 
-@cindex @code{chordNameSeparator}
+@funindex chordNameSeparator
 @item chordNameSeparator
 Different parts of a chord name are normally separated by a
 slash.  By setting @code{chordNameSeparator}, you can specify other
@@ -576,21 +576,21 @@ separators, e.g.,
 }
 @end lilypond
 
-@cindex @code{chordRootNamer}
+@funindex chordRootNamer
 @item chordRootNamer
 The root of a chord is usually printed as a letter with an optional
 alteration.  The transformation from pitch to letter is done by this
 function.  Special note names (for example, the German ``H'' for a
 B-chord) can be produced by storing a new function in this property.
 
-@cindex @code{chordNoteNamer}
+@funindex chordNoteNamer
 @item chordNoteNamer
 The default is to print single pitch, e.g., the bass note, using the
 @code{chordRootNamer}.  The @code{chordNoteNamer} property can be set
 to a specialized function to change this behavior.  For example, the
 base can be printed in lower case.
 
-@cindex @code{chordPrefixSpacer}
+@funindex chordPrefixSpacer
 @item chordPrefixSpacer
 The ``m'' for minor chords is usually printed right after the root of
 the chord. By setting @code{chordPrefixSpacer}, you can fix a spacer
@@ -619,13 +619,13 @@ chart}.  Turning on these styles is described in the input file
 
 @refcommands
 
-@cindex @code{\germanChords}
+@funindex \germanChords
 @code{\germanChords},
-@cindex @code{\semiGermanChords}
+@funindex \semiGermanChords
 @code{\semiGermanChords}.
-@cindex @code{\italianChords}
+@funindex \italianChords
 @code{\italianChords}.
-@cindex @code{\frenchChords}
+@funindex \frenchChords
 @code{\frenchChords}.
 
 
@@ -746,7 +746,7 @@ cases you should use @code{\lyricsto} and @code{\lyricmode}.
 @subsection Entering lyrics
 
 @cindex lyrics
-@cindex @code{\lyricmode}
+@funindex \lyricmode
 @cindex punctuation
 
 Lyrics are entered in a special input mode.  This mode is introduced
@@ -777,7 +777,7 @@ opening brace is not balanced
 \lyricmode @{ twinkle@}
 @end example
 
-@cindex @code{\property}, in @code{\lyricmode}
+@funindex \property, in @code{\lyricmode
 @noindent
 Similarly, a period which follows an alphabetic sequence is included in
 the resulting string.  As a consequence, spaces must be inserted around
@@ -786,7 +786,7 @@ property commands
 \override Score . LyricText #'font-shape = #'italic
 @end example
 
-@cindex @code{_}
+@funindex _
 @cindex spaces, in lyrics
 @cindex quotes, in lyrics
 
@@ -873,7 +873,7 @@ Lyrics are printed by interpreting them in the context caleld
 @end example
 
 @cindex automatic syllable durations
-@cindex @code{\lyricsto}
+@funindex \lyricsto
 @cindex lyrics and melodies
 
 This will place the lyrics according to the durations that were
@@ -1024,8 +1024,8 @@ A complete example of a SATB score setup is in section
 @refcommands
 
 @code{\melisma}, @code{\melismaEnd}
-@cindex @code{\melismaEnd}
-@cindex @code{\melisma}
+@funindex \melismaEnd
+@funindex \melisma
 
 @seealso
 
@@ -1887,7 +1887,7 @@ are printed as tablature, by using @internalsref{TabStaff} and
 }
 @end lilypond
 
-@cindex @code{minimumFret}
+@funindex minimumFret
 @cindex fret
 
 When no string is specified, the first string that does not give a
@@ -2972,17 +2972,17 @@ Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
 
 @refcommands
 
-@cindex @code{\virgula}
+@funindex \virgula
 @code{\virgula},
-@cindex @code{\caesura}
+@funindex \caesura
 @code{\caesura},
-@cindex @code{\divisioMinima}
+@funindex \divisioMinima
 @code{\divisioMinima},
-@cindex @code{\divisioMaior}
+@funindex \divisioMaior
 @code{\divisioMaior},
-@cindex @code{\divisioMaxima}
+@funindex \divisioMaxima
 @code{\divisioMaxima},
-@cindex @code{\finalis}
+@funindex \finalis
 @code{\finalis}.
 
 @seealso
@@ -4042,35 +4042,35 @@ ligatures can be created.
 
 The following head prefixes are supported
 
-@cindex @code{\virga}
+@funindex \virga
 @code{\virga},
-@cindex @code{\stropha}
+@funindex \stropha
 @code{\stropha},
-@cindex @code{\inclinatum}
+@funindex \inclinatum
 @code{\inclinatum},
-@cindex @code{\auctum}
+@funindex \auctum
 @code{\auctum},
-@cindex @code{\descendens}
+@funindex \descendens
 @code{\descendens},
-@cindex @code{\ascendens}
+@funindex \ascendens
 @code{\ascendens},
-@cindex @code{\oriscus}
+@funindex \oriscus
 @code{\oriscus},
-@cindex @code{\quilisma}
+@funindex \quilisma
 @code{\quilisma},
-@cindex @code{\deminutum}
+@funindex \deminutum
 @code{\deminutum},
-@cindex @code{\cavum}
+@funindex \cavum
 @code{\cavum},
-@cindex @code{\linea}
+@funindex \linea
 @code{\linea}.
 
 Head prefixes can be accumulated, though restrictions apply.  For
 example, either @code{\descendens} or @code{\ascendens} can be applied
 to a head, but not both to the same head.
 
-@cindex @code{\pes}
-@cindex @code{\flexa}
+@funindex \pes
+@funindex \flexa
 Two adjacent heads can be tied together with the @code{\pes} and
 @code{\flexa} infix commands for a rising and falling line of melody,
 respectively.
@@ -4160,7 +4160,7 @@ usually printed over the note.
 Support for such suggested accidentals is included, and can be
 switched on by setting @code{suggestAccidentals} to true.
 
-@cindex @code{suggestAccidentals}
+@funindex suggestAccidentals
 
 @lilypond[verbatim,fragment,relative=1]
 fis gis
diff --git a/Documentation/user/invoking.itely b/Documentation/user/invoking.itely
index b99eef82e5..6e23569449 100644
--- a/Documentation/user/invoking.itely
+++ b/Documentation/user/invoking.itely
@@ -359,7 +359,7 @@ Note that @var{path/to} will generally be @code{/Applications/}.
 @section Updating with @command{convert-ly}
 
 @cindex Updating a LilyPond file
-@cindex @code{convert-ly}
+@funindex convert-ly
 
 The LilyPond input syntax is routinely changed to simplify it or improve
 it in different ways.  As a side effect of this, the LilyPond interpreter
diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely
index d2ec268961..1b2e52aeca 100644
--- a/Documentation/user/lilypond-book.itely
+++ b/Documentation/user/lilypond-book.itely
@@ -151,7 +151,7 @@ Larger examples can be put into a separate file, and introduced with
 @cindex texinfo
 @cindex latex
 @cindex texinfo
-@cindex @code{texi}
+@funindex texi
 @cindex html
 @cindex documents, adding music to
 
@@ -233,7 +233,7 @@ heuristic algorithm can fail easily; in such cases it is necessary to
 use the @code{line-width} music fragment option.
 
 @cindex titling and lilypond-book
-@cindex @code{\header} in La@TeX{} documents
+@funindex \header in La@TeX{} documents
 
 Each snippet will call the following macros if they have been defined by
 the user:
diff --git a/Documentation/user/programming-interface.itely b/Documentation/user/programming-interface.itely
index 000a0d9f1e..f58517ee62 100644
--- a/Documentation/user/programming-interface.itely
+++ b/Documentation/user/programming-interface.itely
@@ -401,8 +401,8 @@ to create complicated music functions.
 @subsection Displaying music expressions
 
 @cindex internal storage
-@cindex @code{\displayMusic}
-@cindex @code{\displayLilyMusic}
+@funindex \displayMusic
+@funindex \displayLilyMusic
 
 When writing a music function it is often instructive to inspect how
 a music expression is stored internally.  This can be done with the
@@ -1067,7 +1067,7 @@ be used to set text in small caps.  See
 @subsection Context evaluation
 
 @cindex calling code during interpreting
-@cindex @code{\applyContext}
+@funindex \applyContext
 
 Contexts can be modified during interpretation with Scheme code.  The
 syntax for this is
@@ -1093,7 +1093,7 @@ current bar number on the standard output during the compile:
 
 
 @cindex calling code on layout objects
-@cindex @code{\applyOutput}
+@funindex \applyOutput
 
 
 The most versatile way of tuning an object is @code{\applyOutput}.  Its
diff --git a/Documentation/user/scheme-tutorial.itely b/Documentation/user/scheme-tutorial.itely
index 6fa1caa717..80e02c3f7e 100644
--- a/Documentation/user/scheme-tutorial.itely
+++ b/Documentation/user/scheme-tutorial.itely
@@ -3,7 +3,7 @@
 @node Scheme tutorial
 @appendix Scheme tutorial
 
-@cindex @code{#}
+@funindex #
 @cindex Scheme
 @cindex GUILE
 @cindex Scheme, in-line code
@@ -25,8 +25,8 @@ LilyPond input.
 @item Booleans
 Boolean values are True or False.  The Scheme for True is @code{#t}
 and False is @code{#f}.
-@cindex @code{##t}
-@cindex @code{##f}
+@funindex ##t
+@funindex ##f
 
 @item Numbers
 Numbers are entered in the standard fashion,
@@ -124,7 +124,7 @@ number or a string.  It is entered as
 #'twentyFour
 @end example
 
-@cindex @code{#'symbol}
+@funindex #'symbol
 @cindex quoting in Scheme
 
 The quote mark @code{'} prevents the Scheme interpreter from substituting
diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely
index b6a21558b2..495c2a381a 100644
--- a/Documentation/user/tweaks.itely
+++ b/Documentation/user/tweaks.itely
@@ -189,7 +189,7 @@ used to apply generic tweaks.
 
 @itemize @bullet
 
-@cindex @code{padding}
+@funindex padding
 @item The @code{padding} property can be set to increase
 (or decrease) the distance between symbols that are printed
 above or below notes.  This applies to all objects with
@@ -218,7 +218,7 @@ is handled in the @code{Score} context, property changes in the
 @code{Voice} context will not be noticed.  For more details, see
 @ref{Constructing a tweak}.
 
-@cindex @code{extra-offset}
+@funindex extra-offset
 @item The @code{extra-offset} property moves objects around
 in the output; it requires a pair of numbers.  The first number
 controls horizontal movement; a positive number will