diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely
index 543f6f9..b0a7da2 100644
--- a/Documentation/user/fundamental.itely
+++ b/Documentation/user/fundamental.itely
@@ -65,7 +65,9 @@ There are many variations of this basic pattern, but this
 example serves as a useful starting place.
 
 @funindex \book
address@hidden book
 @funindex \score
address@hidden score
 @cindex book
 @cindex score
 
@@ -103,6 +105,7 @@ LilyPond will interpret the file as though the music expression
 was wrapped up inside the commands shown above.
 
 @cindex implicit contexts
address@hidden contexts, implicit
 
 @strong{A word of warning!}  Many of the examples in the LilyPond
 documentation will omit the @code{\new Staff} and @code{\new Voice}
@@ -149,8 +152,11 @@ things, such as
 @end example
 
 @funindex \header
address@hidden header
 @funindex \layout
address@hidden layout
 @funindex \midi
address@hidden midi
 @cindex header
 @cindex layout
 @cindex midi
@@ -173,6 +179,10 @@ Notation Reference -- @ruser{Score layout}, and
 @ruser{Creating MIDI files}.
 
 @cindex scores, multiple
address@hidden book block, implicit
address@hidden implicit book block
address@hidden \book
address@hidden book
 
 You may code multiple @code{\score} blocks.  Each will be
 treated as a separate score, but they will be all combined into
@@ -192,6 +202,8 @@ your entire input code in a @code{\book} block implicitly.
 Every @code{\score} block is a separate chunk of music within a
 @code{\book} block.
 
address@hidden layout block, effect of location
+
 Every @code{\layout} block affects the @code{\score} or
 @code{\book} block in which it appears -- i.e., a @code{\layout}
 block inside a @code{\score} block affects only that @code{\score}
@@ -240,9 +252,12 @@ For a complete definition of the input format, see
 @subsection Score is a (single) compound musical expression
 
 @funindex \score
address@hidden score
 @cindex score
address@hidden Compound music expression
address@hidden Music expression, compound
address@hidden contents of a score block
address@hidden score block, contents of
address@hidden compound music expression
address@hidden music expression, compound
 
 We saw the general organization of LilyPond input files in the
 previous section, @ref{Introduction to the LilyPond file structure}.
@@ -286,7 +301,7 @@ it.  We @emph{do} need a singer and a piano, though.
   <<
     \new Staff = "singer" <<
     >>
-    \new PianoStaff = piano <<
+    \new PianoStaff = "piano" <<
     >>
   >>
   \layout @{ @}
@@ -328,7 +343,7 @@ staff: it contains an upper staff (right hand) and a lower staff
 (left hand).
 
 At this stage, we could start filling in notes.  Inside the curly
-braces next to @code{\new Voice = vocal}, we could start writing
+braces next to @code{\new Voice = "vocal"}, we could start writing
 
 @example
 \relative c'' @{
@@ -388,6 +403,7 @@ Notation Reference: @ruser{Structure of a score}.
 @subsection Nesting music expressions
 
 @cindex staves, temporary
address@hidden temporary staves
 @cindex ossias
 
 It is not essential to declare all staves at the beginning; they may
@@ -424,7 +440,7 @@ The ossia section may be placed above the staff
 as follows:
 
 @lilypond[verbatim,quote,ragged-right]
-\new Staff ="main" {
+\new Staff = "main" {
   \relative g' {
     r4 g8 g c4 c8 d |
     e4 r8
@@ -458,6 +474,8 @@ and @ruser{Ossia staves}.
 @subsection On the un-nestedness of brackets and ties
 
 @cindex brackets, nesting
address@hidden bracket types
address@hidden brackets, enclosing vs. marking
 
 You have already met a number of different types of bracket in
 writing the input file to LilyPond.  These obey different rules
@@ -488,20 +506,17 @@ between or across notes: ties (marked by a tilde, @code{~}),
 tuplets written as @code{\times x/y @address@hidden, and grace notes
 written as @address@hidden@}}.
 
-Outside LilyPond, the conventional use of brackets requires
-the different types to be properly nested, like this,
address@hidden<< [ @{ ( .. ) @} ] >>}, with the closing brackets being
-encountered in exactly the opposite order to the opening
-brackets.  This @strong{is} a requirement for the three types of
-bracket described by the word @q{Encloses} in the table above --
-they must nest properly.
-However, the remaining brackets, described with the word
address@hidden in the table above together with ties and tuplets,
-do @strong{not} have to nest
-properly with any of the brackets.  In fact, these are not
-brackets in the sense that
-they enclose something -- they are simply markers to indicate
-where something starts and ends.
+Outside LilyPond, the conventional use of brackets requires the
+different types to be properly nested, like this, @code{<< [ @{ ( .. )
address@hidden ] >>}, with the closing brackets being encountered in exactly the
+opposite order to the opening brackets.  This @strong{is} a
+requirement for the three types of bracket described by the word
address@hidden in the table above -- they must nest properly.  However,
+the remaining brackets, described with the word @q{Marks} in the table
+above together with ties and tuplets, do @strong{not} have to nest
+properly with any of the brackets.  In fact, these are not brackets in
+the sense that they enclose something -- they are simply markers to
+indicate where something starts and ends.
 
 So, for example, a phrasing slur can start before a manually
 inserted beam and end before the end of the beam -- not very
@@ -549,26 +564,29 @@ of all LilyPond's concepts.
 @cindex polyphony
 @cindex layers
 @cindex multiple voices
address@hidden voices, multiple
 @cindex Voice context
 @cindex context, Voice
 @cindex simultaneous music
address@hidden music, simultaneous
 @cindex concurrent music
address@hidden music, concurrent
address@hidden voices vs. chords
address@hidden chords vs. voices
 
 The lowest, most fundamental or innermost layers in a LilyPond
 score are called @q{Voice contexts} or just @q{Voices} for short.
 Voices are sometimes called @q{layers} in other notation
 packages.
 
-In fact, a Voice layer or context is the only one which can
-contain music.  If a Voice context is not explicitly declared
-one is created automatically, as we saw at the beginning of
-this chapter.  Some instruments such as an
-Oboe can play only one note at a time.  Music written for
-such instruments is monophonic and requires just a single
-voice.  Instruments which can play more than one note at a
-time like the piano will often require multiple voices to
-encode the different concurrent notes and rhythms they are
-capable of playing.
+In fact, a Voice layer or context is the only one which can contain
+music.  If a Voice context is not explicitly declared one is created
+automatically, as we saw at the beginning of this chapter.  Some
+instruments such as an Oboe can play only one note at a time.  Music
+written for such instruments is monophonic and requires just a single
+voice.  Instruments which can play more than one note at a time like
+the piano will often require multiple voices to encode the different
+concurrent notes and rhythms they are capable of playing.
 
 A single voice can contain many notes in a chord, of course,
 so when exactly are multiple voices needed?  Look first at
@@ -649,6 +667,11 @@ separately, like this:
 @end lilypond
 
 
address@hidden voices, naming
address@hidden voices crossing brackets
address@hidden slurs crossing brackets
address@hidden ties crossing brackest
+
 This example has just two voices, but the same construct may be
 used to encode three or more voices by adding more back-slash
 separators.
@@ -730,6 +753,9 @@ user.
 See @ref{Visibility and color of objects} and
 @ref{Using variables for tweaks}.
 
address@hidden polyphony and relative note entry
address@hidden relative note entry and polyphony
+
 Polyphony does not change the relationship of notes within a
 @code{\relative @{ @}} block.  Each note is still calculated
 relative to the note immediately preceding it, or to the first
@@ -760,15 +786,14 @@ command at the start of each voice:
 \relative c' @{ noteE ... @}
 @end example
 
-Let us finally analyze the voices in a more complex piece of
-music.  Here are
-the notes from the first two bars of the second of Chopin's
-Deux Nocturnes, Op 32.  This example will be used at later
-stages in this and the next chapter to illustrate several
-techniques for producing notation, so please ignore for now
-anything in the underlying code which looks mysterious and
-concentrate just on the music and the voices -- the
-complications will all be explained in later sections.
+Let us finally analyze the voices in a more complex piece of music.
+Here are the notes from the first two bars of the second of Chopin's
+Deux Nocturnes, Op 32.  This example will be used at later stages in
+this and the next chapter to illustrate several techniques for
+producing notation, so please ignore for now anything in the
+underlying code which looks mysterious and concentrate just on the
+music and the voices -- the complications will all be explained in
+later sections.
 
 @c The following should appear as music without code
 @lilypond[quote,ragged-right]
@@ -792,12 +817,11 @@ complications will all be explained in later sections.
 }
 @end lilypond
 
-The direction of the stems is often used to indicate the
-continuity of two simultaneous melodic lines.  Here the
-stems of the highest notes are all pointing up and the
-stems of the lower notes are all pointing down.
-This is the first indication that more than one voice
-is required.
+The direction of the stems is often used to indicate the continuity of
+two simultaneous melodic lines.  Here the stems of the highest notes
+are all pointing up and the stems of the lower notes are all pointing
+down.  This is the first indication that more than one voice is
+required.
 
 But the real need for multiple voices arises when notes
 which start at the same time have different durations.
@@ -859,6 +883,8 @@ enter the music of the first bar in three voices:
 @end lilypond
 
 @cindex stem down
address@hidden voices and stem directions
address@hidden stem directions and voices
 @cindex stem up
 
 The stem directions are automatically assigned with the
@@ -907,12 +933,17 @@ Notation Reference: @ruser{Multiple voices}.
 @subsection Explicitly instantiating voices
 
 @funindex \voiceOne
address@hidden voiceOne
 @funindex \voiceTwo
address@hidden voiceTwo
 @funindex \voiceThree
address@hidden voiceThree
 @funindex \voiceFour
address@hidden voiceFour
 @funindex \oneVoice
address@hidden oneVoice
 @funindex \new Voice
address@hidden Voice contexts, creating
address@hidden voice contexts, creating
 
 Voice contexts can also be created manually
 inside a @code{<< >>} block to create polyphonic music, using
@@ -952,6 +983,9 @@ Both of the above would produce
 >>
 @end lilypond
 
address@hidden voices, reverting to single
address@hidden reverting to a single voice
+
 The @code{\voiceXXX} commands set the direction of stems, slurs,
 ties, articulations, text annotations, augmentation dots of dotted
 notes, and fingerings.  @code{\voiceOne} and @code{\voiceThree}
@@ -1029,7 +1063,7 @@ permitting a phrasing slur to be drawn over them.
 
 @cindex nesting music expressions
 @cindex nesting simultaneous constructs
-
address@hidden nesting voices
 @cindex voices, temporary
 @cindex voices, nesting
 
@@ -1091,11 +1125,17 @@ as here:
 @subsubheading Note columns
 
 @cindex note column
address@hidden note collisions
address@hidden collisions, notes
 @cindex shift commands
 @funindex \shiftOff
address@hidden shiftOff
 @funindex \shiftOn
address@hidden shiftOn
 @funindex \shiftOnn
address@hidden shiftOnn
 @funindex \shiftOnnn
address@hidden shiftOnnn
 
 Closely spaced notes in a chord, or notes occurring at the same
 time in different voices, are arranged in two, occasionally more,
@@ -1114,7 +1154,7 @@ chords of the voice should be shifted if a collision
 would otherwise occur. By default, the outer voices (normally
 voices one and two) have @code{\shiftOff} specified, while the
 inner voices (three and four) have @code{\shiftOn} specified.
-When a shift is applied, Voices one and three are shifted to
+When a shift is applied, voices one and three are shifted to
 the right and voices two and four to the left.
 
 @code{\shiftOnn} and @code{\shiftOnnn} define further shift
@@ -1141,6 +1181,8 @@ expressions -- notes and lyrics.
 
 @funindex \new Lyrics
 @funindex \lyricsto
address@hidden lyricsto
address@hidden Lyrics
 @cindex Lyrics context, creating
 @cindex lyrics, linking to voice
 
@@ -1173,6 +1215,7 @@ explicitly.
 @cindex lyrics and beaming
 @cindex beaming and lyrics
 @funindex \autoBeamOff
address@hidden autoBeamOff
 
 The automatic beaming which LilyPond uses by default works well
 for instrumental music, but not so well for music with lyrics,
@@ -1181,8 +1224,11 @@ melismata in the lyrics.  In the example above we use the command
 @code{\autoBeamOff} to turn off the automatic beaming.
 
 @funindex \new ChoirStaff
address@hidden ChoirStaff
 @funindex \lyricmode
address@hidden lyricmode
 @cindex vocal score structure
address@hidden choir staff
 
 Let us reuse the earlier example from Judas Maccabæus to
 illustrate this more flexible technique.  We first recast
@@ -1227,13 +1273,16 @@ SopTwoLyrics = \lyricmode {
 }
 @end lilypond
 
-This is the basic structure of all vocal scores.  More staves may
-be added as required, more voices may be added to the staves,
-more verses may be added to the lyrics,
-and the variables containing the music can easily be placed
-in separate files should they become too long.
+This is the basic structure of all vocal scores.  More staves may be
+added as required, more voices may be added to the staves, more verses
+may be added to the lyrics, and the variables containing the music can
+easily be placed in separate files should they become too long.
 
 @cindex hymn structure
address@hidden SATB structure
address@hidden vocal scores with multiple verses
address@hidden multiple vocal verses
address@hidden verses, multiple vocal
 
 Here is an example of the first line of a hymn with four
 verses, set for SATB.  In this case the words for all four
@@ -1403,6 +1452,7 @@ refrainwordsB = \lyricmode {
 
 @cindex book, example of using
 @funindex \book
address@hidden book
 
 However, although this is an interesting and useful exercise to
 help you to understand how sequential and simultaneous blocks work,
@@ -1514,15 +1564,13 @@ For example, the effect of an accidental is limited
 to a single staff, while a bar line must be synchronized across
 the entire score.
 
-Within LilyPond, these rules and bits of information are grouped
-in @emph{Contexts}.  We have already met the
address@hidden context.
-Others are the @code{Staff} and @code{Score} contexts.
-Contexts are hierarchical to reflect the hierarchical nature of
-a musical score.
-For example: a @code{Staff} context can contain many
address@hidden contexts, and a @code{Score} context can
-contain many @code{Staff} contexts.
+Within LilyPond, these rules and bits of information are grouped in
address@hidden  We have already met the @code{Voice} context.
+Others are the @code{Staff} and @code{Score} contexts.  Contexts are
+hierarchical to reflect the hierarchical nature of a musical score.
+For example: a @code{Staff} context can contain many @code{Voice}
+contexts, and a @code{Score} context can contain many @code{Staff}
+contexts.
 
 @quotation
 @sourceimage{context-example,5cm,,}
@@ -1570,21 +1618,20 @@ Notation Reference: @ruser{Contexts explained}.
 @subsection Creating contexts
 
 @funindex \new
address@hidden new
 @cindex new contexts
 @cindex creating contexts
 @cindex contexts, creating
 
-There can be only one top level context: the
address@hidden
-context.  This is created with the @code{\score} command,
-or, in simple scores, it is created automatically.
+There can be only one top level context: the @code{Score} context.
+This is created with the @code{\score} command, or, in simple scores,
+it is created automatically.
 
-For scores with only one voice and one staff, the
address@hidden and @code{Staff} contexts may be left to be
-created automatically, but for more complex scores it is
-necessary to create them by hand.
-The simplest command that does this is @code{\new}.
-It is prepended to a music expression, for example
+For scores with only one voice and one staff, the @code{Voice} and
address@hidden contexts may be left to be created automatically, but for
+more complex scores it is necessary to create them by hand.  The
+simplest command that does this is @code{\new}.  It is prepended to a
+music expression, for example
 
 @example
 \new @var{type} @var{music-expression}
@@ -1665,8 +1712,11 @@ context to distinguish it from other contexts of the same type,
 
 Note the distinction between the name of the context type,
 @code{Staff}, @code{Voice}, etc, and the identifying name of a
-particular instance of that type, which can be any sequence of letters
-and digits invented by the user.  The identifying name is used to
+particular instance of that type, which can be any sequence of letters 
+invented by the user.  Digits and spaces can also be used in the 
+identifying name, but then it has to be placed in quotes,
+i.e. @code{\new Staff = "MyStaff 1" @var{music-expression}}.
+The identifying name is used to
 refer back to that particular instance of a context.  We saw this in
 use in the section on lyrics, see @ref{Voices and vocals}.
 
@@ -1688,10 +1738,10 @@ Fortunately, for most scores it is not necessary to know about
 more than a few, and for simple scores you do not need to know
 about any.
 
-Engravers live and operate in Contexts.
-Engravers such as the @code{Metronome_mark_engraver}, whose
-action and output apply to the score as a whole, operate in
-the highest level context -- the @code{Score} context.
+Engravers live and operate in Contexts.  Engravers such as the
address@hidden, whose action and output apply to the
+score as a whole, operate in the highest level context -- the
address@hidden context.
 
 The @code{Clef_engraver} and @code{Key_engraver} are to be
 found in every @code{Staff} Context, as different staves may require
@@ -1757,7 +1807,7 @@ by modifying the action of Engravers.
 
 @seealso
 
-Internals reference: @rinternals{Engravers and performers}.
+Internals reference: @rinternals{Engravers and Performers}.
 
 
 @node Modifying context properties
@@ -1767,7 +1817,9 @@ Internals reference: @rinternals{Engravers and performers}.
 @cindex context properties, modifying
 @cindex modifying context properties
 @funindex \set
address@hidden set
 @funindex \unset
address@hidden unset
 
 Contexts are responsible for holding the values of a number of
 context @emph{properties}.  Many of them can be changed to
@@ -1831,6 +1883,9 @@ value before the @code{t} or @code{f}, and before @emph{value}
 in the @code{\set} statement.  So when a Boolean is being
 entered you need to code two hash signs, e.g., @code{##t}.
 
address@hidden properties operating in contexts
address@hidden setting properties within contexts
+
 Before we can set any of these properties we need to know
 in which context they operate.  Sometimes this is obvious,
 but occasionally it can be tricky.  If the wrong context
@@ -1862,7 +1917,7 @@ further action took place.  This is not an error, and no error
 message is logged in the log file.
 
 Similarly, if the property name is mis-spelt no error message is
-produced, and clearly the expected action cannot be performed.  If
+produced, and clearly the expected action cannot be performed.  In
 fact, you can set any (fictitious) @q{property} using any name you
 like in any context that exists by using the @code{\set} command.  But
 if the name is not known to LilyPond it will not cause any action to
@@ -1956,6 +2011,7 @@ general way by using the very powerful @code{markup} command.
 @unnumberedsubsubsec Setting context properties with @code{\with}
 
 @funindex \with
address@hidden with
 @cindex context properties, setting with \with
 
 Context properties may also be set at the time the context is
@@ -1990,6 +2046,8 @@ like this:
 Properties set in this way may still be changed dynamically using
 @code{\set} and returned to their default value with @code{\unset}.
 
address@hidden fontSize, default and setting
+
 The @code{fontSize} property is treated differently.  If this is
 set in a @code{\with} clause it effectively resets the default
 value of the font size.  If it is later changed with @code{\set},
@@ -1998,6 +2056,10 @@ this new default value may be restored with the
 
 @unnumberedsubsubsec Setting context properties with @code{\context}
 
address@hidden context properties, setting with \context
address@hidden \context
address@hidden context
+
 The values of context properties may be set in @emph{all} contexts
 of a particular type, such as all @code{Staff} contexts, with a single
 command.  The context type is identified by using its
@@ -2047,10 +2109,14 @@ Internals Reference:
 @subsection Adding and removing engravers
 
 @cindex engravers, adding
address@hidden adding engravers
 @cindex engravers, removing
address@hidden removing engravers
 
 @funindex \consists
address@hidden consists
 @funindex \remove
address@hidden remove
 
 We have seen that contexts each contain several engravers, each
 of which is responsible for producing a particular part of the
@@ -2142,6 +2208,7 @@ the notes in all the voices on that staff:
 @subsubheading Changing all contexts of the same type
 
 @funindex \layout
address@hidden layout
 
 The examples above show how to remove or add engravers to
 individual contexts.  It is also possible to remove or add
@@ -2208,6 +2275,7 @@ But what if you want something that isn't covered there?  Read on.
 @subsection Soprano and cello
 
 @cindex template, modifying
address@hidden modifying templates
 
 Start off with the template that seems closest to what you want to end
 up with.  Let's say that you want to write something for soprano and
@@ -2483,17 +2551,16 @@ accompaniment which is not derived automatically from the vocal parts.
 The variables holding the music and words for the vocal parts are
 fine, but we shall need to add variables for the piano reduction.
 
-The order in which the contexts appear in the ChoirStaff of
-the template do not correspond with the order in the vocal
-score shown above.  We need to rearrange them so there are
-four staves with the words written directly underneath the
-notes for each part.
-All the voices should be @code{\voiceOne}, which is
-the default, so the @code{\voiceXXX} commands should be removed.
-We also need to specify the tenor clef for the tenors.
-The way in which lyrics are specified in the template has not yet
-been encountered so we need to use the method with which we are
-familiar.  We should also add the names of each staff.
+The order in which the contexts appear in the ChoirStaff of the
+template do not correspond with the order in the vocal score shown
+above.  We need to rearrange them so there are four staves with the
+words written directly underneath the notes for each part.  All the
+voices should be @code{\voiceOne}, which is the default, so the
address@hidden commands should be removed.  We also need to specify
+the tenor clef for the tenors.  The way in which lyrics are specified
+in the template has not yet been encountered so we need to use the
+method with which we are familiar.  We should also add the names of
+each staff.
 
 Doing this gives for our ChoirStaff:
 
@@ -2653,6 +2720,9 @@ lower = \relative c, {
 @subsection Building a score from scratch
 
 @cindex template, writing your own
address@hidden example of writing a score
address@hidden writing a score, example
address@hidden score, example of writing
 
 After gaining some facility with writing LilyPond code, you
 may find that it is easier to build a score from scratch