From: Graham Percival Date: Mon, 13 Sep 2004 18:19:38 +0000 (+0000) Subject: De-gender a few entires. X-Git-Tag: release/2.3.17~41 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=6411740a2dcb0f8027bb806dc8b43cc8903bc950;p=lilypond.git De-gender a few entires. --- diff --git a/ChangeLog b/ChangeLog index 2730a1fba1..9a4e46d5f2 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,6 +1,8 @@ 2004-09-13 Graham Percival - * 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 diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 78c4f4880a..6a12058c67 100644 --- 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