Merge pull request #1789 from pratim-vv/usersGuide-text-corrections

fixed spelling and other syntax

Author: mscuthbert

documentation/source/usersGuide/usersGuide_02_notes.ipynb

@@ -312,7 +312,7 @@
     "\n",
     "Some of the available formats will be listed below; the most important ones for now are the output formats (since music21 will figure out inputs automatically).  They are `braille`, `lilypond`, `midi`, `musicxml`, `scala`, `text`, and `vexflow`.\n",
     "\n",
-    "Some formats have sub-formats, for instance both `musicxml` and `lilypond` have a `.png` subformat which converts directly to a `.png` file.  To use that, call `.show(\"musicxml.png\")`.\n",
+    "Some formats have sub-formats; for instance, both `musicxml` and `lilypond` have a `.png` subformat which converts directly to a `.png` file.  To use that, call `.show(\"musicxml.png\")`.\n",
     "\n",
     "Some formats have abbreviations also, so `musicxml` is also `xml`, `lilypond` is `lily`, and (for ease of typing), `text` is `t`."
    ]
@@ -778,7 +778,7 @@
    "cell_type": "markdown",
    "metadata": {},
    "source": [
-    "MIDI input and output is handled in the same was other formats. Simply call the\n",
+    "MIDI input and output is handled in the same way as other formats. Simply call the\n",
     ":func:`music21.converter.parse` function on the desired file path or URL.\n",
     "\n",
     "Remember (or learn if you haven't yet), that MIDI has no information about enharmonic spelling (C# and Db are the same), and that detecting the lengths of notes can be difficult.  `Music21` does very well with MIDI files that were created in notation software or sequencing software, but has a harder time handling MIDI files created by recording live input.  For those files, we suggest converting the MIDI files in software such as Finale that has a more sophisticated MIDI to MusicXML conversion routine."

documentation/source/usersGuide/usersGuide_03_pitches.ipynb

@@ -44,7 +44,7 @@
     "\n",
     "This user's guide will cover more about the corpus's basic features.  This\n",
     "chapter focuses on music21's tools for extracting useful metadata - titles,\n",
-    "locations, composers names, the key signatures used in each piece, total\n",
+    "locations, composers' names, the key signatures used in each piece, total\n",
     "durations, ambitus (range) and so forth.\n",
     "\n",
     "This metadata is collected in *metadata bundles* for each corpus. The *corpus*\n",

documentation/source/usersGuide/usersGuide_04_stream1.ipynb

@@ -1261,7 +1261,7 @@
     "collapsed": true
    },
    "source": [
-    "So, how does it know what the key is?  The key analysis routines are a variation of the famous (well at least in the small world of computational music theory) algorithm developed by Carol Krumhansl and Mark A. Schmuckler called probe-tone key finding.  The distribution of pitches used in the piece are compared to sample distributions of pitches for major and minor keys and the closest matches are reported.  (see http://rnhart.net/articles/key-finding/ for more details).  `Music21` can be asked to use the sample distributions of several authors, including Krumhansl and Schmuckler's original weights:"
+    "So, how does it know what the key is?  The key analysis routines are a variation of the famous (well at least in the small world of computational music theory) algorithm developed by Carol Krumhansl and Mark A. Schmuckler called probe-tone key finding.  The distribution of pitches used in the piece is compared to sample distributions of pitches for major and minor keys and the closest matches are reported.  (see http://rnhart.net/articles/key-finding/ for more details).  `Music21` can be asked to use the sample distributions of several authors, including Krumhansl and Schmuckler's original weights:"
    ]
   },
   {

documentation/source/usersGuide/usersGuide_06_stream2.ipynb

@@ -775,7 +775,7 @@
    "source": [
     "This is fun information to know about, but it's only here that the real research begins.  What about these pieces makes them special?  Well, BWV 111 was a cantata that was missing its chorale, so this has been traditionally added, but it's not definitively by Bach (the same chorale melody in the St. Matthew Passion has a Picardy third).  In fact, when we show the Chorale iterator later, it is a piece automatically skipped for that reason. BWV 248 is the Christmas oratorio (in the `music21` corpus twice, with and without continuo).  It definitely is a minor triad in the original manuscript, possibly because it does not end a section and instead goes back to the chorus da capo.\n",
     "\n",
-    "But what about the remaining seven examples?  They all have BWV numbers above 250, so they are part of the settings of chorales that were not connected to cantatas, sometimes called \"orphan chorales.\"  Their possible use (as composition exercises? as studies for a proposed second Schemelli chorale aria collection?) and even their authenticity has been called into question before.  But the data from the `music21` collection argues against one hypothesis, that they were parts of otherwise lost cantatas that would have been similar to the existing ones.  No surviving cantata ends like these chorales do, so the evidence points to the idea that the orphan chorales were different in some other way than just being orphans, either as evidence that Bach's style had changed by the time he wrote them, or that they are not by Bach."
+    "But what about the remaining seven examples?  They all have BWV numbers above 250, so they are part of the settings of chorales that were not connected to cantatas, sometimes called \"orphan chorales.\"  Their possible use (as composition exercises? as studies for a proposed second Schemelli chorale aria collection?) and even their authenticity have been called into question before.  But the data from the `music21` collection argues against one hypothesis, that they were parts of otherwise lost cantatas that would have been similar to the existing ones.  No surviving cantata ends like these chorales do, so the evidence points to the idea that the orphan chorales were different in some other way than just being orphans, either as evidence that Bach's style had changed by the time he wrote them, or that they are not by Bach."
    ]
   },
   {
@@ -1905,7 +1905,7 @@
     }
    },
    "source": [
-    "So it looks like neither the gap-fill hypothesis or the regression to the mean hypothesis are sufficient in themselves to explain melodic motion in this repertory.  In fact, a study of the complete encoded works of Palestrina (replace 'trecento' with 'palestrina' in the search and remove the limitation of only looking at the first 20, and wait half an hour) showed that there were 19,012 relevant instances, with 3817 followed by a unison, but 7751 exhibiting gap-fill behavior and only 7444 following regression to the mean, with a difference of 2.1%.  This shows that regression to the mean cannot explain all of the reversion after a leap behavior that is going on in this repertory.  I'm disappointed because I loved this article, but it'll come as a relief to most teachers of modal counterpoint."
+    "So it looks like neither the gap-fill hypothesis nor the regression to the mean hypothesis are sufficient in themselves to explain melodic motion in this repertory.  In fact, a study of the complete encoded works of Palestrina (replace 'trecento' with 'palestrina' in the search and remove the limitation of only looking at the first 20, and wait half an hour) showed that there were 19,012 relevant instances, with 3817 followed by a unison, but 7751 exhibiting gap-fill behavior and only 7444 following regression to the mean, with a difference of 2.1%.  This shows that regression to the mean cannot explain all of the reversion after a leap behavior that is going on in this repertory.  I'm disappointed because I loved this article, but it'll come as a relief to most teachers of modal counterpoint."
    ]
   },
   {