ran a basic spell check and added a docx conversion to make that easier to export into something

Author: KyleDickersonComposer

Makefile

@@ -17,7 +17,7 @@ BIBTEX = biber
 MAKEGLOSSARIES = makeglossaries
 LATEX_FLAGS = -output-directory=$(OUTPUT_DIR) -interaction=nonstopmode
 
-.PHONY: clean open pdf
+.PHONY: clean docx open pdf require-pandoc
 
 pdf:
 	docker run --rm --platform linux/amd64 --pull missing \
@@ -38,6 +38,26 @@ pdf:
 			find . -maxdepth 1 -name "tmp*" -type f -delete 2>/dev/null; \
 			find . -maxdepth 1 -name "*.tmp" -type f -delete 2>/dev/null; \
 			echo "Build complete! Output: $(OUTPUT_DIR)/$(MAIN).pdf"'
+
+require-pandoc:
+	@command -v pandoc >/dev/null 2>&1 || { \
+		echo "pandoc is required for DOCX export."; \
+		echo "Install it with: brew install pandoc"; \
+		exit 1; \
+	}
+
+docx: pdf require-pandoc
+	@echo "Exporting $(OUTPUT_DIR)/$(MAIN).docx for Google Docs spell checking..."
+	cd $(OUTPUT_DIR) && pandoc \
+		--standalone \
+		--from=latex \
+		--to=docx \
+		--resource-path=.:.. \
+		--metadata=title:"The Barry Book" \
+		--output=$(MAIN).docx \
+		$(MAIN).tex
+	@echo "DOCX export complete! Output: $(OUTPUT_DIR)/$(MAIN).docx"
+
 open:
 	open $(OUTPUT_DIR)/$(MAIN).pdf
 

chapters/frontmatter/introduction/practice-or-theory.lytex

@@ -1,3 +1,3 @@
-Many composers of the past have been allergic to the term \emph{music theory}. We find evidence of this when Schoenberg says, ''...the usual music theorist has no practical skills at all -- he is no master'' \parencite[p. 7]{schoenberg2010theory}. The term \gls{musical-practitioner} is used regularly in this book to distinguish between those who \emph{think} about music, and those who have demonstrated \emph{great skill} in bringing it about. Often times when great musical practitioners speak, their words aren't directly recorded, and this leads to the creation of an \gls{oral-tradition}, which is distorted, diluted, and proliferated over time. This book is an \emph{attempt} to explain, reinforce, and clarify the oral tradition surrounding \BarryFull and his work.
+Many composers of the past have been allergic to the term \emph{music theory}. We find evidence of this when Schoenberg says, ''...the usual music theorist has no practical skills at all -- he is no master'' \parencite[p. 7]{schoenberg2010theory}. The term \gls{musical-practitioner} is used regularly in this book to distinguish between those who \emph{think} about music, and those who have demonstrated \emph{great skill} in bringing it about. Oftentimes when great musical practitioners speak, their words aren't directly recorded, and this leads to the creation of an \gls{oral tradition}, which is distorted, diluted, and proliferated over time. This book is an \emph{attempt} to explain, reinforce, and clarify the oral tradition surrounding \BarryFull and his work.
 
 For the purposes of this \emph{practically-oriented} text, we will define \gls{musical-theory} narrowly as any system that attempts to describe how music is experienced by the listener. This sits in strong contrast to our definition of \gls{musical-practice}, which is essentially anything a great musical practitioner says or does. We are giving this leeway to great practitioners of the past because they have, at the very least, demonstrated great musical ability. This ability though, doesn't guarantee that they will be able to adequately explain how they work their magic. But if we are careful, we can obtain great insights from them in regards to how music \emph{really} works.

chapters/frontmatter/introduction/project-overview.lytex

@@ -6,4 +6,4 @@ The Barry Book is a practical jazz textbook that intends to codify the \BarryFul
 \item This work uses \emph{best in class} document preparation and musical engraving software.
 \end{bookStyledList}
 
-The content of this textbook is designed serve music students at any level of ability. The \emph{fundamentals} chapters will be especially useful for students at the beginning of their musical journey. For best results, work through this text with a knowledgable teacher in private lessons.
+The content of this textbook is designed to serve music students at any level of ability. The \emph{fundamentals} chapters will be especially useful for students at the beginning of their musical journey. For best results, work through this text with a knowledgeable teacher in private lessons.

chapters/harmonic-concepts/classical-harmony/intro.lytex

@@ -2,13 +2,13 @@
 
 \section{What Does Classical Mean?}
 
-The intention for this chapter, and the next few, is to introduce and motivate the classical approach to creating music. Our approach will be to cover the most important things that any musical practicioner, and particularly paracticioners interested in \BarryFull, should understand about the methods used by classical composers. \Barry was particularly interested in the connection between classical music and bebop. And has said on many occassions that he doesn't see a distinction between classical composers and jazz musicians. This claim is mostly true, with a few caveats, but it does require non-trivial justification.
+The intention for this chapter, and the next few, is to introduce and motivate the classical approach to creating music. Our approach will be to cover the most important things that any musical practitioner, and particularly practitioners interested in \BarryFull, should understand about the methods used by classical composers. \Barry was particularly interested in the connection between classical music and bebop. And has said on many occasions that he doesn't see a distinction between classical composers and jazz musicians. This claim is mostly true, with a few caveats, but it does require non-trivial justification.
 
 The main caveat worth mentioning is that the classical system is based on counterpoint and thoroughbass, while \Barry's system is based on functional harmony and chromaticism. The reason why \Barry's method, or any jazz method, can't be considered to be contrapuntal is because of the static quality of the bass lines. It goes without saying that thoroughbass is bass-oriented. But the greater point is that there is always a \emph{pure relationship}, as C.P.E Bach calls it, between the outer voices \parencite[pg. 177, par. 38]{cpeEssay}. This means that the contrapuntal relationship between the melody and the bass are of primary importance. If you don't want to take C.P.E Bach's word for it, dear reader, you will find evidence for this principle in any chorale composed by J.S. Bach.
 
 % Have a chorale example that demonstrates principle here of strong outer voices.
 
-In making this distinction, we aren't saying that all jazz bass lines are poor quality. The point is that if you remove things like approach notes, and filler notes from jazz bass lines, a simple outline of the chords will be revealed. Obviously, the better the jazz bassist, the more beautiful the bass line will be. But, if you look at J.S. Bach's harmonizations of chorale melodies, you will notice that a core principle is that every added line should be able to stand alone as a melody. This is the heart of what counterpoint means. Or at least, that is the position that the Bach takes on the matter.
+In making this distinction, we aren't saying that all jazz bass lines are poor quality. The point is that if you remove things like approach notes, and filler notes from jazz bass lines, a simple outline of the chords will be revealed. Obviously, the better the jazz bassist, the more beautiful the bass line will be. But, if you look at J.S. Bach's harmonizations of chorale melodies, you will notice that a core principle is that every added line should be able to stand alone as a melody. This is the heart of what counterpoint means. Or at least, that is the position that Bach takes on the matter.
 
 % Attach a video here playing each line in sequence then together from my site of a chorale.
 

references.bib

@@ -1,46 +1,46 @@
 @book{schoenberg1969structural,
-  author = {Schoenberg, Arnold},
-  title = {Structural Functions of Harmony},
-  editor = {Stein, Leonard},
-  publisher = {W. W. Norton},
-  location = {New York},
-  year = {1969},
-  isbn = {978-0-393-00478-6}
+	author = {Schoenberg, Arnold},
+	title = {Structural Functions of Harmony},
+	editor = {Stein, Leonard},
+	publisher = {W. W. Norton},
+	location = {New York},
+	year = {1969},
+	isbn = {978-0-393-00478-6},
 }
 
 @book{schoenberg2010theory,
-  author = {Schoenberg, Arnold},
-  title = {Theory of Harmony},
-  shorthand = {Schoenberg, Theory of Harmony},
-  translator = {Carter, Roy E.},
-  foreword = {Frisch, Walter},
-  publisher = {University of California Press},
-  location = {Berkeley},
-  edition = {100th anniversary},
-  year = {2010},
-  isbn = {978-0-520-26608-7}
+	author = {Schoenberg, Arnold},
+	title = {Theory of Harmony},
+	shorthand = {Schoenberg, Theory of Harmony},
+	translator = {Carter, Roy E.},
+	foreword = {Frisch, Walter},
+	publisher = {University of California Press},
+	location = {Berkeley},
+	edition = {100th anniversary},
+	year = {2010},
+	isbn = {978-0-520-26608-7},
 }
 
 @reference{randel2003harvard,
-  editor = {Randel, Don Michael},
-  title = {The Harvard Dictionary of Music},
-  edition = {4},
-  publisher = {Belknap Press of Harvard University Press},
-  location = {Cambridge, MA},
-  year = {2003},
-  isbn = {0-674-01163-5}
+	editor = {Randel, Don Michael},
+	title = {The Harvard Dictionary of Music},
+	edition = {4},
+	publisher = {Belknap Press of Harvard University Press},
+	location = {Cambridge, MA},
+	year = {2003},
+	isbn = {0-674-01163-5},
 }
 
 @book{cpeEssay,
-  author = {Bach, Carl Philipp Emanuel},
-  title = {Essay on the True Art of Playing Keyboard Instruments},
-  origtitle = {Versuch {\"u}ber die wahre Art das Clavier zu spielen},
-  shorthand = {CPE Essay},
-  translator = {Mitchell, William J.},
-  editor = {Mitchell, William J.},
-  publisher = {W. W. Norton},
-  location = {New York},
-  date = {1949},
-  origdate = {1753/1762},
-  isbn = {978-0-393-09716-0}
+	author = {Bach, Carl Philipp Emanuel},
+	title = {Essay on the True Art of Playing Keyboard Instruments},
+	origtitle = {Versuch {\"u}ber die wahre Art das Clavier zu spielen},
+	shorthand = {CPE Essay},
+	translator = {Mitchell, William J.},
+	editor = {Mitchell, William J.},
+	publisher = {W. W. Norton},
+	location = {New York},
+	date = {1949},
+	origdate = {1753/1762},
+	isbn = {978-0-393-09716-0},
 }