From: jlowe <james.lowe@datacore.com>
Date: Wed, 12 Jan 2011 16:27:25 +0000 (+0000)
Subject: Doc: Couple of Typos and line break fixes
X-Git-Tag: release/2.13.47-1~65
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=de924bddd22886a0a67decbde45acd5da441bf6d;p=lilypond.git

Doc: Couple of Typos and line break fixes

To avoid problems in PDF output made sure no @code{} type contructs were
over 72 char line limit or fix if manually broken over two lines.
---

diff --git a/Documentation/notation/ancient.itely b/Documentation/notation/ancient.itely
index 2e30dbd46a..71ab7bfb09 100644
--- a/Documentation/notation/ancient.itely
+++ b/Documentation/notation/ancient.itely
@@ -101,7 +101,7 @@ such as the quilisma and the oriscus.
 used in the Medicaea (or Ratisbona) editions which were used prior
 to the Solesmes editions.  The most significant differences from
 the @emph{Vaticana} style are the clefs, which have
-downward-slanted strokes, and the noteheads, which are square and
+downward-slanted strokes, and the note heads, which are square and
 regular.
 
 @cindex Ratisbona, Editio
@@ -121,13 +121,13 @@ renaissance manuscripts and prints of mensural music:
 @itemize
 @item The @emph{Mensural} style most closely resembles the
 writing style used in late-medieval and early renaissance
-manuscripts, with its small and narrow, diamond-shaped noteheads
+manuscripts, with its small and narrow, diamond-shaped note heads
 and its rests which approach a hand-drawn style.
 
 @cindex mensural
 
 @item The @emph{Neomensural} style is a modernized and
-stylized version of the former: the noteheads are broader and the
+stylized version of the former: the note heads are broader and the
 rests are made up of straight lines.  This style is particularly
 suited, e.g., for incipits of transcribed pieces of mensural
 music.
@@ -145,7 +145,7 @@ larger note heads than the other mensural styles.
 
 @emph{Baroque} and @emph{Classical} are not complete styles
 but differ from the default style only in some details: certain
-noteheads (Baroque) and the quarter rest (Classical).
+note heads (Baroque) and the quarter rest (Classical).
 
 Only the mensural style has alternatives for all aspects of the
 notation.  Thus, there are no rests or flags in the Gregorian
@@ -153,7 +153,7 @@ styles, since these signs are not used in plainchant notation, and
 the Petrucci style has no flags or accidentals of its own.
 
 Each element of the notation can be changed independently of the
-others, so that one can use mensural flags, petrucci noteheads,
+others, so that one can use mensural flags, petrucci note heads,
 classical rests and vaticana clefs in the same piece, if one
 wishes.
 
@@ -234,8 +234,8 @@ mensural ligatures are supported for mensural music, and with
 certain limitations).  To use any of these styles, the default
 @code{Ligature_bracket_engraver} has to be replaced with one of the
 specialized ligature engravers in the @code{Voice} context,
-as explained in @ref{White mensural ligatures} and @ref{Gregorian
-square neume ligatures}.
+as explained in @ref{White mensural ligatures} and
+@ref{Gregorian square neume ligatures}.
 
 @seealso
 Music Glossary:
@@ -254,9 +254,9 @@ correctly align with ligatures.
 Accidentals must not be printed within a ligature, but instead need to
 be collected and printed in front of it.
 
-The syntax still uses the deprecated infix style @code{\[ music expr
-\]}.  For consistency reasons, it will eventually be changed to
-postfix style @code{note\[ ... note\]}.
+The syntax still uses the deprecated infix style
+@code{\[ music expr \]}.  For consistency reasons, it will eventually
+be changed to postfix style @code{note\[ ... note\]}.
 
 @c Alternatively, the file
 @c @file{gregorian-init.ly} can be included; it provides a scheme
@@ -276,9 +276,9 @@ postfix style @code{note\[ ... note\]}.
 @cindex custos
 @cindex custodes
 
-A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
-symbol that appears at the end of a staff.  It anticipates the pitch
-of the first note of the following line, thus helping the performer
+A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
+is a symbol that appears at the end of a staff.  It anticipates the
+pitch of the first note of the following line, thus helping the performer
 to manage line breaks during performance.
 
 Custodes were frequently used in music notation until the
@@ -540,11 +540,10 @@ The mensural g clef is mapped to the Petrucci g clef.
 @cindex mensuration sign
 @cindex time signatures
 
-There is limited support for mensuration signs (which are similar to, but
-not exactly the same as time signatures).  The glyphs are hard-wired to
-particular time fractions.  In other words, to get a particular mensuration
-sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
-chosen according to the following table
+There is limited support for mensuration signs (which are similar to,
+but not exactly the same as time signatures).  The glyphs are hard-wired
+to particular time fractions.  In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
+@code{m} have to be chosen according to the following table
 
 @lilypond[quote,ragged-right]
 \layout {
@@ -633,8 +632,8 @@ Notation Reference:
 
 @knownissues
 Ratios of note durations do not change with the time signature.  For
-example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
-perfectum}) must be made by hand, by setting
+example, the ratio of 1@tie{}breve = 3@tie{}semibreves
+(@emph{tempus perfectum}) must be made by hand, by setting
 
 @example
 breveTP = #(ly:make-duration -1 0 3 2)
@@ -655,10 +654,11 @@ Use @code{\markup @{\musicglyph #"timesig.mensural68alt" @}} instead.
 
 @cindex note heads, ancient
 
-For ancient notation, a note head style other than the @code{default} style
-may be chosen.  This is accomplished by setting the @code{style} property of
-the @code{NoteHead} object to @code{baroque}, @code{neomensural},
-@code{mensural} or @code{petrucci}.
+For ancient notation, a note head style other than the
+@code{default} style may be chosen.  This is accomplished by setting
+the @code{style} property of the @code{NoteHead} object to
+@code{baroque}, @code{neomensural}, @code{mensural} or
+@code{petrucci}.
 
 The @code{baroque} style differs from the @code{default} style by:
 
@@ -667,11 +667,12 @@ The @code{baroque} style differs from the @code{default} style by:
 @item Using a square shape for @code{\breve} note heads.
 @end itemize
 
-The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
-the @code{baroque} style by:
+The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
+differ from the @code{baroque} style by:
 
 @itemize
-@item Using rhomboidal heads for semibreves and all smaller durations, and
+@item Using rhomboidal heads for semibreves and all smaller durations,
+and
 @item Centering the stems on the note heads.
 @end itemize
 
@@ -690,7 +691,8 @@ a'\maxima a'\longa a'\breve a'1 a'2 a'4 a'8 a'16 a'
 @end lilypond
 
 
-@ref{Note head styles}, gives an overview of all available note head styles.
+@ref{Note head styles}, gives an overview of all available note head
+styles.
 
 @seealso
 Music Glossary:
@@ -854,11 +856,11 @@ fis gis
 ais bis
 @end lilypond
 
-This will treat @emph{every} subsequent accidental as @emph{musica
-ficta} until it is unset with @code{\set suggestAccidentals =
-##f}.  A more practical way is to use @code{\once \set
-suggestAccidentals = ##t}, which can even be defined as a
-convenient shorthand:
+This will treat @emph{every} subsequent accidental as
+@emph{musica ficta} until it is unset with
+@code{\set suggestAccidentals = ##f}.  A more practical way is to
+use @code{\once \set suggestAccidentals = ##t}, which can even be
+defined as a convenient shorthand:
 
 @lilypond[quote,verbatim]
 ficta = { \once \set suggestAccidentals = ##t }
@@ -1249,12 +1251,13 @@ There are no rests in Gregorian chant notation; instead, it uses
 
 A @emph{divisio} (plural: @emph{divisiones}; Latin word for
 @q{division}) is a staff context symbol that is used to indicate
-the phrase and section structure of Gregorian music.  The musical meaning of
-@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
-can be characterized as short, medium, and long pause, somewhat like
-the breathmarks from @ref{Breath marks}.  The @emph{finalis} sign not
-only marks the end of a chant, but is also frequently used within a
-single antiphonal/responsorial chant to mark the end of each section.
+the phrase and section structure of Gregorian music.  The musical
+meaning of @emph{divisio minima}, @emph{divisio maior}, and
+@emph{divisio maxima} can be characterized as short, medium, and
+long pause, somewhat like the breath marks from @ref{Breath marks}.
+The  @emph{finalis} sign not only marks the end of a chant, but is
+also frequently used within a single antiphonal/responsorial chant
+to mark the end of each section.
 
 To use divisiones, include the file @file{gregorian.ly}.  It
 contains definitions that you can apply by just inserting
@@ -1330,8 +1333,8 @@ Installed Files:
 
 In addition to the standard articulation signs described in
 section @ref{Articulations and ornamentations}, articulation signs
-specifically designed for use with notation in @emph{Editio
-Vaticana} style are provided.
+specifically designed for use with notation in
+@emph{Editio Vaticana} style are provided.
 
 @lilypond[quote,ragged-right,verbatim]
 \include "gregorian.ly"
@@ -1509,7 +1512,7 @@ Another main category of notes in Gregorian chant is the so-called
 liquescent neumes.  They are used under certain circumstances at
 the end of a syllable which ends in a @q{liquescent} letter, i.e.
 the sounding consonants that can hold a tone (the nasals, l, r, v,
-j, and their diphtong equivalents).  Thus, the liquescent neumes
+j, and their diphthong equivalents).  Thus, the liquescent neumes
 are never used alone (although some of them can be produced), and
 they always fall at the end of a ligature.
 
@@ -1517,11 +1520,11 @@ Liquescent neumes are represented graphically in two different,
 more or less interchangeable ways: with a smaller note or by
 @q{twisting} the main note upwards or downwards.  The first is
 produced by making a regular @code{pes} or @code{flexa} and
-modifying the shape of the second note: @code{\[ a \pes \deminutum
-b \] }, the second by modifying the shape of a single-note neume
-with @code{\auctum} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
-\descendens a \] }.
+modifying the shape of the second note:
+@code{\[ a \pes \deminutum b \] }, the second by modifying the shape
+of a single-note neume with @code{\auctum} and one of the direction
+markers @code{\descendens} or @code{\ascendens}, e.g.,
+@code{ \[ \auctum \descendens a \] }.
 
 @noindent
 Special signs
@@ -1552,7 +1555,7 @@ In addition to the note signs, @file{gregorian.ly} also defines the
 commands @code{\versus}, @code{\responsum}, @code{\ij},
 @code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
 corresponding characters, e.g., for use in lyrics, as section
-markers, etc.  These commands use special unicode characters and
+markers, etc.  These commands use special Unicode characters and
 will only work if a font is used which supports them.
 
 
@@ -1561,9 +1564,9 @@ will only work if a font is used which supports them.
 The following table shows a limited, but still representative pool
 of Gregorian ligatures, together with the code fragments that
 produce the ligatures.  The table is based on the extended neumes
-table of the 2nd volume of the Antiphonale Romanum (@emph{Liber
-Hymnarius}), published 1983 by the monks of Solesmes.  The first
-column gives the name of the ligature, with the main form in
+table of the 2nd volume of the Antiphonale Romanum
+(@emph{Liber Hymnarius}), published 1983 by the monks of Solesmes.
+The first column gives the name of the ligature, with the main form in
 boldface and the liquescent forms in italics.  The third column
 shows the code fragment that produces this ligature, using
 @code{g}, @code{a}, and @code{b} as example pitches.
@@ -2472,7 +2475,7 @@ In many cases, @code{\set Score.timing = ##f} will give good
 results.  Another alternative is to use @code{\CadenzaOn} and
 @code{\CadenzaOff}.
 
-To remove the barlines, the radical approach is to @code{\remove}
+To remove the bar lines, the radical approach is to @code{\remove}
 the Bar_engraver from the Staff context.  Again, one may want to
 use @code{\override BarLine #'transparent = ##t} instead, if an
 occasional barline is wanted.
@@ -2558,8 +2561,8 @@ syllable groups clearly apart, usually also the subdivisions of a
 longer melisma.  One way to achieve this is to use a fixed
 @code{\time}, e.g., 1/4, and let each syllable or note group fill
 one of these measures, with the help of tuplets or shorter
-durations.  If the barlines and all other rhythmical indications
-are made transparent, and the space around the barlines is
+durations.  If the bar lines and all other rhythmical indications
+are made transparent, and the space around the bar lines is
 increased, this will give a fairly good representation in modern
 notation of the original.
 
@@ -2630,8 +2633,8 @@ TBC
 
 @c TODO Add text
 @c try Till Rettig
-@c Add example of white noteheads:
-@c In the french baroque some composers used white noteheads in slow pieces,
+@c Add example of white note heads:
+@c In the french baroque some composers used white note heads in slow pieces,
 @c mainly in 3/2-time.  A quarter looks there like a eighth with a white
 @c notehead.  (Franz-Rudolf Kuhnen)
 
diff --git a/Documentation/notation/changing-defaults.itely b/Documentation/notation/changing-defaults.itely
index aaf17246d0..b66e52b35b 100644
--- a/Documentation/notation/changing-defaults.itely
+++ b/Documentation/notation/changing-defaults.itely
@@ -2916,7 +2916,7 @@ default setting of this property:
 @end multitable
 
 The example below shows the use of the vector form to control the
-visibility of barlines:
+visibility of bar lines:
 
 @lilypond[quote,verbatim,relative=1,ragged-right]
 f4 g a b
diff --git a/Documentation/notation/contemporary.itely b/Documentation/notation/contemporary.itely
index c2aed76005..ff62d6b9c1 100644
--- a/Documentation/notation/contemporary.itely
+++ b/Documentation/notation/contemporary.itely
@@ -106,7 +106,7 @@ notation of rhythm in contemporary music.
 
 @item Feathered beams are addressed in @ref{Feathered beams}.
 
-@item Mensurstriche barlines (barlines between staves only) are
+@item Mensurstriche bar lines (bar lines between staves only) are
 addressed in @ref{Grouping staves}.
 
 @end itemize
diff --git a/Documentation/notation/fretted-strings.itely b/Documentation/notation/fretted-strings.itely
index 0ea8ea61e2..ab6f7ba54b 100644
--- a/Documentation/notation/fretted-strings.itely
+++ b/Documentation/notation/fretted-strings.itely
@@ -55,13 +55,14 @@ tablature.  Sometimes the two types are combined, and it is
 especially common in popular music to use chord diagrams above
 a staff of traditional notation.  The guitar and the banjo are
 transposing instruments, sounding an octave lower than written.
-Scores for these instruments should use the @code{"treble_8"} clef (or
-@code{\transposition c} to get correct MIDI output).
+Scores for these instruments should use the @code{"treble_8"} clef
+(or @code{\transposition c} to get correct MIDI output).
 Some other elements pertinent to fretted string instruments
 are covered elsewhere:
 
 @itemize
-@item Fingerings are indicated as shown in @ref{Fingering instructions}.
+@item Fingerings are indicated as shown in
+@ref{Fingering instructions}.
 
 @item Instructions for @notation{Laissez vibrer} ties
 as well as ties on arpeggios and tremolos can be found in
@@ -251,10 +252,11 @@ minimumFret is 0.
 
 @funindex \tabChordRepetition
 
-Chord constructs can be repeated by the chord repetition symbol @code{q}.
-To use this feature in combination with tablature, @code{\tabChordRepetition}
-is provided.  It preserves the string information explicitly given within
-chord constructs so repeated chords get identical tablature representations.
+Chord constructs can be repeated by the chord repetition symbol
+@code{q}. To use this feature in combination with tablature,
+@code{\tabChordRepetition} is provided.  It preserves the string
+information explicitly given within chord constructs so repeated chords
+get identical tablature representations.
 
 @lilypond[quote,verbatim]
 \tabChordRepetition
@@ -862,8 +864,8 @@ Fingering indications can be included in the fret-diagram-terse markup string.
 >>
 @end lilypond
 
-Other fret diagram properties must be adjusted using @code{\override} when using
-the fret-diagram-terse markup.
+Other fret diagram properties must be adjusted using
+@code{\override} when using the fret-diagram-terse markup.
 
 @cindex fret-diagram-verbose markup
 @cindex capo
@@ -960,8 +962,8 @@ capo will be the lowest fret in the fret diagram.
 >>
 @end lilypond
 
-All other fret diagram properties must be adjusted using @code{\override}
-when using the fret-diagram-verbose markup.
+All other fret diagram properties must be adjusted using
+@code{\override} when using the fret-diagram-verbose markup.
 
 @ignore
 The following example shows the three fret-diagram markup
@@ -1012,8 +1014,9 @@ and color of dots.
 @funindex fret-diagram-interface
 
 The graphical layout of a fret diagram can be customized according to
-user preference through the properties of the @code{fret-diagram-interface}.
-Details are found at @rinternals{fret-diagram-interface}.  For a fret diagram
+user preference through the properties of the
+@code{fret-diagram-interface}. Details are found at
+@rinternals{fret-diagram-interface}.  For a fret diagram
 markup, the interface properties belong to @code{Voice.TextScript}.
 
 @snippets
@@ -1294,10 +1297,10 @@ mychords = \chordmode{
 @end lilypond
 
 The graphical layout of a fret diagram can be customized according to
-user preference through the properties of the @code{fret-diagram-interface}.
-Details are found at @rinternals{fret-diagram-interface}.  For a
-predefined fret diagram, the interface properties belong to
-@code{FretBoards.FretBoard}.
+user preference through the properties of the
+@code{fret-diagram-interface}. Details are found at
+@rinternals{fret-diagram-interface}.  For a predefined fret diagram,
+the interface properties belong to @code{FretBoards.FretBoard}.
 
 @snippets
 
@@ -1409,8 +1412,8 @@ Sometimes the fretboard calculator will be unable to find
 an acceptable diagram.  This can often be remedied by
 manually assigning a note to a string.  In many cases, only one
 note need be manually placed on a string; the rest of
-the notes will then be placed appropriately by the @code{FretBoards}
-context.
+the notes will then be placed appropriately by the
+@code{FretBoards} context.
 
 @cindex fret diagrams, adding fingerings
 @cindex fingerings, adding to fret diagrams
@@ -1468,9 +1471,10 @@ as in the TabStaff context.  See @ref{Custom tablatures} for
 information on the @code{stringTunings} property.
 
 The graphical layout of a fret diagram can be customized according to
-user preference through the properties of the @code{fret-diagram-interface}.
-Details are found at @rinternals{fret-diagram-interface}.  For a
-@code{FretBoards} fret diagram, the interface properties belong to
+user preference through the properties of the
+@code{fret-diagram-interface}. Details are found at
+@rinternals{fret-diagram-interface}.  For a @code{FretBoards} fret
+diagram, the interface properties belong to
 @code{FretBoards.FretBoard}.
 
 
diff --git a/Documentation/notation/text.itely b/Documentation/notation/text.itely
index d9f82d886f..159db9703d 100644
--- a/Documentation/notation/text.itely
+++ b/Documentation/notation/text.itely
@@ -140,8 +140,9 @@ default; to enable it, use
 
 Some performance indications, e.g., @notation{rallentando} or
 @notation{accelerando}, are written as text and are extended over
-multiple notes with dotted lines.  Such objects, called @qq{spanners},
-may be created from one note to another using the following syntax:
+multiple notes with dotted lines.  Such objects, called
+@qq{spanners}, may be created from one note to another using the
+following syntax:
 
 @lilypond[verbatim,quote,relative=2]
 \override TextSpanner #'(bound-details left text) = "rit."
@@ -411,8 +412,8 @@ syntax called @qq{markup mode}.
 @cindex syntax, markup
 
 The markup syntax is similar to LilyPond's usual syntax: a
-@code{\markup} expression is enclosed in curly braces @code{@{
-@dots{} @}}.  A single word is regarded as a minimal expression,
+@code{\markup} expression is enclosed in curly braces
+@code{@{@dots{} @}}.  A single word is regarded as a minimal expression,
 and therefore does not need to be enclosed with braces.
 
 Unlike simple @qq{quoted text} indications, @code{\markup} blocks may
@@ -754,7 +755,8 @@ a,-\markup { \halign #2 poco }
 @noindent
 Some objects may have alignment procedures of their own, and therefore
 are not affected by these commands.  It is possible to move such
-markup objects as a whole, as shown for instance in @ref{Text marks}.
+markup objects as a whole, as shown for instance in
+@ref{Text marks}.
 
 @cindex text, vertical alignment
 @cindex vertical text alignment
@@ -1398,9 +1400,9 @@ left braces; right braces may be obtained by rotation, see
 @ref{Rotating objects}.
 
 Three families of text fonts are made available: the @emph{roman}
-(serif) font, that defaults to New Century Schoolbook, the @emph{sans}
-font and the monospaced @emph{typewriter} font -- these last two
-families are determined by the Pango installation.
+(serif) font, that defaults to New Century Schoolbook, the
+@emph{sans} font and the monospaced @emph{typewriter} font -- these
+last two families are determined by the Pango installation.
 
 Each family may include different shapes and series.  The following
 example demonstrates the ability to select alternate families, shapes,
diff --git a/Documentation/notation/vocal.itely b/Documentation/notation/vocal.itely
index c69d3daec7..7549cfeed5 100644
--- a/Documentation/notation/vocal.itely
+++ b/Documentation/notation/vocal.itely
@@ -1072,8 +1072,8 @@ Notation Reference:
 @cindex Spacing lyrics
 @cindex Lyrics, increasing space between
 
-To increase the spacing between lyrics, set the @code{minimum-distance}
-property of @code{LyricSpace}.
+To increase the spacing between lyrics, set the
+@code{minimum-distance} property of @code{LyricSpace}.
 
 @lilypond[relative=1,verbatim,quote,ragged-right]
 {
@@ -1689,7 +1689,8 @@ text = {
 
 Names of singers can also be added.  They are printed at the start of
 the line, just like instrument names.  They are created by setting
-@code{vocalName}.  A short version may be entered as @code{shortVocalName}.
+@code{vocalName}.  A short version may be entered as
+@code{shortVocalName}.
 
 @lilypond[ragged-right,quote,verbatim,relative=2]
 \new Voice {
@@ -1843,10 +1844,11 @@ within the lyrics by setting the @code{associatedVoice} property:
 @end lilypond
 
 @noindent
-The text for the first stanza is set to the melody called @q{lahlah}
-in the usual way, but the second stanza is set initally to the
-@code{lahlah} context and is then switched to the @code{alternative}
-melody for the syllables @q{ran} to @q{sau} by the lines:
+The text for the first stanza is set to the melody called
+@q{lahlah} in the usual way, but the second stanza is set initally
+to the @code{lahlah} context and is then switched to the
+@code{alternative} melody for the syllables @q{ran} to @q{sau} by
+the lines:
 
 @example
 \set associatedVoice = "alternative" % applies to "ran"
@@ -2063,8 +2065,8 @@ Snippets:
 @node Lead sheets
 @unnumberedsubsubsec Lead sheets
 
-Lead sheets may be printed by combining vocal parts and @q{chord mode};
-this syntax is explained in @ref{Chord notation}.
+Lead sheets may be printed by combining vocal parts and
+@q{chord mode}; this syntax is explained in @ref{Chord notation}.
 
 @snippets
 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
@@ -2126,7 +2128,7 @@ For information about @code{ChoirStaff} and @code{PianoStaff} see
 @ref{Grouping staves}.
 
 @item
-Shape noteheads, as used in Sacred Harp and similar notation, are
+Shape note heads, as used in Sacred Harp and similar notation, are
 described in @ref{Shape note heads}.
 
 @item
@@ -2806,7 +2808,7 @@ Bar lines can also be removed on a staff-by-staff basis:
 
 To remove bar lines from just a section of music treat it as a
 cadenza.  If the section is long you may need to insert dummy
-barlines with @code{\bar ""} to show where the line should break.
+bar lines with @code{\bar ""} to show where the line should break.
 
 @lilypond[verbatim,quote,relative=2]
 a4 b c2 |
@@ -3193,7 +3195,8 @@ commands at the end of each line.
 @node Ancient vocal music
 @subsection Ancient vocal music
 
-Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+Ancient vocal music is supported, as explained in
+@ref{Ancient notation}.
 
 @c TODO