doc spelling corrections

[Edward Sanford Sutton, III]

  Is there anything to change about my patch submissions? Apply whichever 
patch segments are appropriate as usual.

  Resumed fixes such as 'barlines'='bar lines'. They need review anyways as 
some may mean the vertical line at the end of the measure while others should 
be changed to 'measure' itself.
  Should 'multi voice' changed back to 'multivoice'? Multi is usually treated 
as a prefix which should mean either one solid word, or hyphenated; It 
doesn't seem to match hyphenated conditions.
  Changed 'voltas' to 'volte'; this is the correct form of a plural 'volta' 
right?
  'rimshots' changed to 'rim shots'.
  Should 'sidestick' be side stick? (not patched)
  'pre-defined' changed to 'pre-defined'; prefixes should only be hyphenated 
when extra clarity is needed, such as  re-cover=cover again  versus  
recover=get well.  This wan't the case was it?
  'accomodated' replaced with 'accommodated'.
  'flavour' replaced with 'flavor'
  'mimick' replaced with 'mimic'
  'staffline' replaced with 'staff line'; it was spotted as both in the 
documention.
  'transcibed' replaced with 'transcribed'
  'latin' replaced with 'Latin'
  'greek' replaced with 'Greek'
  'accoustic' replaced with 'acoustic'
  'continous' replaced with 'continuous'
  'coloured' replaced with 'colored'
  'wich' replaced with 'which'
  'als' replaced with 'also'
   Both 'toplevel' and 'top level' are used similarly. Preference?
  'an variable' replaced with 'a variable'
  Under 'Internal music representation''s first bullet, it ends with 'Music 
expressionsexpressions.' instead of just "Music expressions.'. I don't know 
how this problem is caused as it is. (not patched)
  'bugreports' changed to 'bug reports'
  'pagenumbers' changed to 'page numbers'
  Is 'xdvik' a typo for 'xdvi' under point and click?
  'introction' changed to 'introduction'
  'quantise' changed to 'quantize'. USA versus UK issue.
  'kb' changed to 'KB'. Size did mean kilobyte rather than kilobit right?
  'MuseData', 'Mup', and 'ABC' naming changes made in convert.ly's 
documentation; ABC's webpage isn't consistent on their own product either.
  'html' references in lilypond-book not fixed; I wasn't sure which would 
break the file format. No more changes may be necessary
  'Scheme datatypes' present in internals.itely and tutorial.itely, but not 
changed for the same reason.
  Scheme functions documentation has spelling errors; is this documentation 
stored somewhere else?


Index: Documentation/user/converters.itely
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/converters.itely,v
retrieving revision 1.31
diff -u -3 -p -u -r1.31 converters.itely
--- Documentation/user/converters.itely 13 Feb 2004 00:57:15 -0000      1.31
+++ Documentation/user/converters.itely 29 Feb 2004 01:02:54 -0000
@@ -106,7 +106,7 @@ The following options are supported by m
 @item -a, --absolute-pitches
     Print absolute pitches.
 @item -d, address@hidden
-    Quantise note durations on @var{DUR}.
+    Quantize note durations on @var{DUR}.
 @item -e, --explicit-durations
     Print explicit durations.
 @item -h,--help
@@ -117,7 +117,7 @@ The following options are supported by m
 @item -o, address@hidden
     Write output to @var{file}.
 @item -s, address@hidden
-    Quantise note starts on DUR.
+    Quantize note starts on DUR.
 @item -t, address@hidden@var{NUM}/@var{DEN}
     Allow tuplet durations @address@hidden/@var{DEN}.
 @item -V, --verbose
@@ -170,7 +170,7 @@ etf2ly. Sequences of grace notes are end
 
 @cindex ABC
 
-ABC is a fairly simple ASCII based format. It is described at the abc site:
+ABC is a fairly simple ASCII based format. It is described at the ABC site:
 @quotation
 @uref{http://www.gre.ac.uk/~c.walshaw/abc2mtex/abc.txt}.
 @end quotation
@@ -214,7 +214,7 @@ into the current line of lyrics.
 @refbugs
 
 The ABC standard is not very ``standard''. For extended features
-(eg. polyphonic music) different conventions exist. 
+(e.g. polyphonic music) different conventions exist. 
 
 Multiple tunes in one file cannot be converted.
 
@@ -264,13 +264,13 @@ distribution. pmx2ly cannot parse more r
 @node Invoking musedata2ly
 @section Invoking musedata2ly
 
address@hidden Musedata
address@hidden MuseData
 @cindex CCARH
 
-Musedata (see @uref{http://www.musedata.org/}) is an electronic library of
+MuseData (see @uref{http://www.musedata.org/}) is an electronic library of
 classical music scores, currently comprising about 800 composition
-dating from 1700 to 1825.  The music is encoded in so-called Musedata
-format.  musedata2ly converts a set of musedata files to one .ly file,
+dating from 1700 to 1825.  The music is encoded in so-called MuseData
+format.  musedata2ly converts a set of MuseData files to one .ly file,
 and will include a @code{\header} field if a @file{.ref} file is
 supplied. It is invoked as follows:
 
@@ -294,17 +294,17 @@ version information
 
 @refbugs
 
address@hidden converts only a small subset of musedata. 
address@hidden converts only a small subset of MuseData. 
 
 @node Invoking mup2ly
 @section Invoking mup2ly
 
-MUP (Music Publisher) is a shareware music notation program by Arkkra
+Mup (Music Publisher) is a shareware music notation program by Arkkra
 Enterprises.  Mup2ly will convert part of a Mup file to LilyPond
 format. It is invoked as follows:
 
 @cindex Music Publisher
address@hidden MUP
address@hidden Mup
 @cindex Arkkra
 
 @example
Index: Documentation/user/internals.itely
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/internals.itely,v
retrieving revision 1.72
diff -u -3 -p -u -r1.72 internals.itely
--- Documentation/user/internals.itely  27 Feb 2004 11:18:17 -0000      1.72
+++ Documentation/user/internals.itely  29 Feb 2004 01:03:03 -0000
@@ -678,7 +678,7 @@ foo = \foo * 2.0
 @end example
 
 When a variable is referenced in LilyPond syntax, the information it
-points to is copied.  For this reason, an variable reference must
+points to is copied.  For this reason, a variable reference must
 always be the first item in a block.
 
 @example
Index: Documentation/user/invoking.itexi
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/invoking.itexi,v
retrieving revision 1.72
diff -u -3 -p -u -r1.72 invoking.itexi
--- Documentation/user/invoking.itexi   23 Feb 2004 16:13:42 -0000      1.72
+++ Documentation/user/invoking.itexi   29 Feb 2004 01:03:03 -0000
@@ -88,7 +88,7 @@ Show version information.
 Be verbose. This prints out commands as they are executed, and more
 information about the formatting process is printed.
 @item --debug
-Print even more information. This is useful when generating bugreports.
+Print even more information. This is useful when generating bug reports.
 @item -w,--warranty
 Show the warranty with which GNU LilyPond comes. (It comes with 
 @strong{NO WARRANTY}!)
@@ -173,7 +173,7 @@ so you can add multiple packages using m
     Specify additional options for the address@hidden
 @code{\documentclass}. You can put any valid value here. This was
 designed to allow @code{lilypond} to produce output for double-sided
-paper, with balanced margins and pagenumbers on alternating sides. To
+paper, with balanced margins and page numbers on alternating sides. To
 achieve this specify @code{twoside}.
 
 @item orientation
Index: Documentation/user/lilypond-book.itely
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/lilypond-book.itely,v
retrieving revision 1.60
diff -u -3 -p -u -r1.60 lilypond-book.itely
--- Documentation/user/lilypond-book.itely      16 Feb 2004 02:28:56 -0000      
1.60
+++ Documentation/user/lilypond-book.itely      29 Feb 2004 01:03:03 -0000
@@ -30,7 +30,7 @@ This procedure may be applied to address@hidden
 documents.  A tutorial on using lilypond-book is in @ref{Integrating
 text and music}.  For more information about address@hidden
 @uref{http://www.ctan.org/tex-archive/info/lshort/english/,The not so
-Short Introduction to LaTeX} provides a introction to using address@hidden
+Short Introduction to LaTeX} provides a introduction to using address@hidden
 
 
 
@@ -227,7 +227,7 @@ music fragments:
   \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
 @end lilypond
 
-For inline pictures, use @code{<lilypond ... />} syntax, eg.
+For inline pictures, use @code{<lilypond ... />} syntax, e.g.
 @example
 Some music in <lilypond a b c/> a line of text.
 @end example
@@ -407,7 +407,7 @@ address@hidden commands that change margins an
 Only the first @code{\score} of a LilyPond block is processed.
 
 @c CHECKME--FIXME
-The size of a music block is limited to 1.5 kb, due to technical
+The size of a music block is limited to 1.5 KB, due to technical
 problems with the Python regular expression engine.  For longer files,
 use @code{\lilypondfile}.
 
Index: Documentation/user/lilypond.tely
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/lilypond.tely,v
retrieving revision 1.77
diff -u -3 -p -u -r1.77 lilypond.tely
--- Documentation/user/lilypond.tely    27 Feb 2004 14:29:29 -0000      1.77
+++ Documentation/user/lilypond.tely    29 Feb 2004 01:03:03 -0000
@@ -24,8 +24,8 @@ Distributions will want to install lilyp
 * etf2ly: (./lilypond/lilypond)Invoking etf2ly.          Importing Finale.
 * abc2ly: (./lilypond/lilypond)Invoking abc2ly.          Importing ABC.        
  
 * pmx2ly: (./lilypond/lilypond)Invoking pmx2ly.          Importing PMX.
-* musedata2ly: (./lilypond/lilypond)Invoking musedata2ly.        Importing 
Musedata.
-* mup2ly: (./lilypond/lilypond)Invoking mup2ly.          Importing MUP. 
+* musedata2ly: (./lilypond/lilypond)Invoking musedata2ly.        Importing 
MuseData.
+* mup2ly: (./lilypond/lilypond)Invoking mup2ly.          Importing Mup. 
 @end direntry
 
 
Index: Documentation/user/literature.itely
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/literature.itely,v
retrieving revision 1.16
diff -u -3 -p -u -r1.16 literature.itely
--- Documentation/user/literature.itely 13 Feb 2004 00:57:16 -0000      1.16
+++ Documentation/user/literature.itely 29 Feb 2004 01:03:03 -0000
@@ -67,7 +67,7 @@ The G.Schirmer/AMP Manual of Style and U
 
 This manual specifically focuses on preparing print for publication by
 Schirmer. It discusses many details that are not in other, normal
-notation books. It als gives a good idea of what is necessary to bring
+notation books. It also gives a good idea of what is necessary to bring
 printouts to publication quality.
 
 @item Stone 1980
Index: Documentation/user/refman.itely
===================================================================
RCS file: /cvsroot/lilypond/lilypond/Documentation/user/refman.itely,v
retrieving revision 1.454
diff -u -3 -p -u -r1.454 refman.itely
--- Documentation/user/refman.itely     27 Feb 2004 11:18:17 -0000      1.454
+++ Documentation/user/refman.itely     29 Feb 2004 01:03:03 -0000
@@ -1101,7 +1101,6 @@ of bar lines can be forced with the @cod
 @end lilypond
 
 The following bar types are available:
-
 @lilypond[fragment,relative,raggedright,verbatim]
 c4
 \bar "|" c
@@ -1115,12 +1114,11 @@ c4
 \bar "|." c
 \bar ":" c
 @end lilypond
-
 For allowing line breaks, there is a special command,
 @example
   \bar "empty"
 @end example 
-This will insert an invisible bar line, and allow linebreaks at this
+This will insert an invisible bar line, and allow line breaks at this
 point.
 
 In scores with many staves, a @code{\bar} command in one staff is
@@ -1614,7 +1612,7 @@ instead.
 @item modern-voice
 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} cancelled across voices in
+typeset for each voice, but they @emph{are} canceled across voices in
 the same @internalsref{Staff}.
 
       @cindex @code{modern-voice-cautionary}
@@ -1628,7 +1626,7 @@ some of them are typeset as cautionaries
 @item piano
       @cindex @code{piano} accidentals
       20th century practice for piano notation. Very similar to
-      @code{modern} but accidentals also get cancelled
+      @code{modern} but accidentals also get canceled
       across the staves in the same @internalsref{GrandStaff} or
       @internalsref{PianoStaff}.
 
@@ -1689,7 +1687,7 @@ voices in the same staff share accidenta
 
 @item laziness
 
-                        Over how many barlines the accidental lasts.
+                        Over how many bar lines the accidental lasts.
                               If @var{laziness} is @code{-1} then the 
accidental is forget
                         immediately, and if @var{laziness} is @code{#t} then 
the accidental
                               lasts forever.
@@ -2010,7 +2008,7 @@ put them up:
 Other symbols can be added using the syntax
 @address@hidden@var{name}, e.g. @code{c4\fermata}. Again, they
 can be forced up or down using @code{^} and @code{_},
-eg.
+e.g.
 
 @lilypond[verbatim,fragment,relative=2]
   c\fermata c^\fermata c_\fermata
@@ -2301,7 +2299,7 @@ A score that starts with an @code{\grace
 note end up on different staves.
 
 Grace note synchronization can also lead to surprises. Staff notation,
-such as key signatures, barlines, etc. are also synchronized. Take
+such as key signatures, bar lines, etc. are also synchronized. Take
 care when you mix staves with grace notes and staves without, for example,
 
 @lilypond[relative=2,verbatim,fragment]
@@ -2472,7 +2470,7 @@ output, and entering repetitive music.
 
 @item volta
 This is the normal notation: Repeats are not written out, but
-alternative endings (voltas) are printed, left to right.
+alternative endings (volte) are printed, left to right.
 
 @ignore
 @item fold
@@ -2967,7 +2965,7 @@ Internals: @internalsref{DrumStaff}, @in
 Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
 work for @internalsref{DrumVoices}.
 
-Because general MIDI does not contain rimshots the sidestick is used
+Because general MIDI does not contain rim shots, the sidestick is used
 for this purpose instead.
 
 @node Piano music
@@ -3995,7 +3993,7 @@ alteration. The transformation from pitc
 function.  Special note names (for example, the German ``H'' for a
 B-chord) can be produced by storing a new function in this property.
 
-The pre-defined variables @code{\germanChords},
+The predefined variables @code{\germanChords},
 @code{\semiGermanChords} set these variables.
 
 
@@ -4152,7 +4150,7 @@ formatting functions.
 @cindex bar lines, symbols on
 
 The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a barline. Use @code{\markup} to
+segno and fermatas on a bar line. Use @code{\markup} to
 to access the appropriate symbol:
 
 @lilypond[fragment,verbatim,relative=1]
@@ -4171,7 +4169,7 @@ that behavior:
 @cindex fermatas
 @cindex coda
 @cindex segno
address@hidden barlines, putting symbols on 
address@hidden bar lines, putting symbols on 
 
 @seealso
 
@@ -4287,7 +4285,7 @@ For example, consider  a piece written i
 this piece is a  little too low for its performer, it can be
 transposed up to E major with
 @example
- \tranpose d e @dots{}
+ \transpose d e @dots{}
 @end example
 
 Consider a part  written for violin (a C instrument). If
@@ -4715,8 +4713,8 @@ Many graphical objects provide a @code{s
 @ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
 rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
 signatures}.  By manipulating such a grob property, the typographical
-appearance of the affected graphical objects can be accomodated for a
-specific notation flavour without need for introducing any new
+appearance of the affected graphical objects can be accommodated for a
+specific notation flavor without need for introducing any new
 notational concept.
 
 
@@ -4778,7 +4776,7 @@ the @code{baroque} style in that it uses
 notes and all smaller durations.  Stems are centered on the note
 heads.  This style is in particular useful when transcribing mensural
 music, e.g. for the incipit.  The @code{mensural} style finally
-produces note heads that mimick the look of note heads in historic
+produces note heads that mimic the look of note heads in historic
 printings of the 16th century.
 
 The following example demonstrates the @code{neo_mensural} style:
@@ -4895,7 +4893,7 @@ ancient accidentals.   Supported styles 
 from the @code{default} style only in that the quarter rest looks like
 a horizontally mirrored 8th rest.  The @code{neo_mensural} style suits
 well for e.g. the incipit of a transcribed mensural piece of music.
-The @code{mensural} style finally mimicks the appearance of rests as
+The @code{mensural} style finally mimics the appearance of rests as
 in historic prints of the 16th century.
 
 The following example demonstrates the @code{neo_mensural} style:
@@ -4962,8 +4960,8 @@ modern style mensural C clef @tab
 @code{clefs-petrucci_c5}
 
 @tab
-petrucci style mensural C clefs, for use  on different  stafflines
-(the examples shows the 2nd staffline C clef).
+petrucci style mensural C clefs, for use  on different  staff lines
+(the examples shows the 2nd staff line C clef).
 
 @tab
 @code{petrucci_c1}
@@ -5122,7 +5120,7 @@ editions (other than those of Petrucci)'
 @emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
 
 Petrucci used C clefs with differently balanced left-side vertical
-beams, depending on which staffline it is printed.
+beams, depending on which staff line it is printed.
 
 @seealso
 
@@ -5160,7 +5158,7 @@ select ancient flags.  Besides the @code
 
 Note that the innermost flare of each mensural flag always is
 vertically aligned with a staff line.  If you do not like this
-behaviour, you can set the @code{adjust-if-on-staffline} property of
+behavior, you can set the @code{adjust-if-on-staffline} property of
 grob @internalsref{Stem} to @code{##f}.  Then, the vertical position
 of the end of each flare is different between notes on staff lines and
 notes between staff lines:
@@ -5176,7 +5174,7 @@ notes between staff lines:
 @end lilypond
 
 There is no particular flag style for neo-mensural notation.  Hence,
-when typesetting e.g. the incipit of a transcibed piece of mensural
+when typesetting e.g. the incipit of a transcribed piece of mensural
 music, the default flag style should be used.  There are no flags in
 Gregorian Chant notation.
 
@@ -5248,7 +5246,7 @@ select ancient time signatures.  Support
 @code{neo_mensural} and @code{mensural}.  The above table uses the
 @code{neo_mensural} style.  This style is appropriate e.g. for the
 incipit of transcriptions of mensural pieces.  The @code{mensural}
-style mimicks the look of historical printings of the 16th century.
+style mimics the look of historical printings of the 16th century.
 
 @inputfileref{input/test,time.ly} gives an overview over all available
 ancient and modern styles.
@@ -5287,7 +5285,7 @@ music is subject to change.
 @cindex custos
 @cindex custodes
 
-A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
 symbol that appears at the end of a staff.  It anticipates the pitch
 of the first note(s) of the following line and thus helps the player
 or singer to manage line breaks during performance, thus enhancing
@@ -5297,7 +5295,7 @@ Custodes were frequently used in music n
 century.  Nowadays, they have survived only in a few particular forms
 of musical notation such as contemporary editions of Gregorian chant
 like the @emph{editio vaticana}.  There are different custos glyphs
-used in different flavours of notational style.
+used in different flavors of notational style.
 
 @syntax
 
@@ -5385,10 +5383,10 @@ supported are @code{vaticana}, @code{med
 If the boolean property @code{adjust-if-on-staffline} is set to
 @code{#t} (which it is by default), lily typesets slightly different
 variants of the custos glyph, depending on whether the custos, is
-typeset on or between stafflines.   The glyph will
+typeset on or between staff lines.   The glyph will
 optically fit well into the staff, with the appendage on the right of
 the custos always ending at the same vertical position between two
-stafflines regardless of the pitch.  If you set
+staff lines regardless of the pitch.  If you set
 @code{adjust-if-on-staffline} to @code{#f}, then
 a compromise between both forms is  used.
 
@@ -5420,7 +5418,7 @@ Examples: @inputfileref{input/regression
 @cindex divisiones
 @cindex finalis
 
-A @emph{divisio} (plural: @emph{divisiones}; latin word for
+A @emph{divisio} (plural: @emph{divisiones}; Latin word for
 `division') is a staff context symbol that is used to structure
 Gregorian music into phrases and sections.  The musical meaning of
 @emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
@@ -5475,7 +5473,7 @@ Examples: @inputfileref{input/test,divis
 In musical terminology, a ligature is a coherent graphical symbol that
 represents at least two distinct notes.  Ligatures originally appeared
 in the manuscripts of Gregorian chant notation roughly since the 9th
-century as an allusion to the accent symbols of greek lyric poetry to
+century as an allusion to the accent symbols of Greek lyric poetry to
 denote ascending or descending sequences of notes.  Both, the shape
 and the exact meaning of ligatures changed tremendously during the
 following centuries: In early notation, ligatures were used for
@@ -7407,14 +7405,14 @@ support for contemporary notation in Lil
 
 In musical terminology, a @emph{cluster} denotes a range of
 simultaneously sounding pitches that may change over time.  The set of
-available pitches to apply usually depends on the accoustic source.
-Thus, in piano music, a cluster typically consists of a continous range
+available pitches to apply usually depends on the acoustic source.
+Thus, in piano music, a cluster typically consists of a continuous range
 of the semitones as provided by the piano's fixed set of a chromatic
 scale.  In choral music, each singer of the choir typically may sing an
 arbitrary pitch within the cluster's range that is not bound to any
 diatonic, chromatic or other scale.  In electronic music, a cluster
 (theoretically) may even cover a continuous range of pitches, thus
-resulting in coloured noise, such as pink noise.
+resulting in colored noise, such as pink noise.
 
 Clusters can be denoted in the context of ordinary staff notation by
 engraving simple geometrical shapes that replace ordinary notation of
@@ -7424,7 +7422,7 @@ shape of the note head rather than by th
 the note symbol.  In contrast, the shape of a cluster geometrically
 describes the development of a range of pitches (vertical extent) over
 time (horizontal extent).  Still, the geometrical shape of a cluster
-covers the area in wich any single pitch contained in the cluster would
+covers the area in which any single pitch contained in the cluster would
 be notated as an ordinary note.  From this point of view, it is
 reasonable to specify a cluster as the envelope of a set of notes.
 
@@ -8499,7 +8497,7 @@ spacing. This is controlled with @code{s
 property in @internalsref{NoteSpacing}, which are generated for every
 @internalsref{Voice} context. The @code{StaffSpacing} object
 (generated at @internalsref{Staff} context) contains the same property
-for controlling the stem/barline spacing. The following example
+for controlling the stem/bar line spacing. The following example
 shows these corrections, once with default settings, and once with
 exaggerated corrections:
 
@@ -8645,7 +8643,7 @@ point.
 @cindex regular line breaks
 @cindex four bar music. 
 
-For linebreaks at regular intervals  use @code{\break} separated by
+For line breaks at regular intervals  use @code{\break} separated by
 skips and repeated with @code{\repeat}:
 @example
 <<  \repeat unfold 7 @{