Make arguments like Context.GrobName accessible as symbol lists

Documentation/nl/learning/fundamental.itely

 @c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
 
 @ignore
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 @c Translator: Jan Nieuwenhuizen
 @c Translation checker:
 @c Translation checker committish:
 
-@c \version "2.17.5"
+@c \version "2.17.6"
 
 @node Fundamentele concepten
 @translationof Fundamental concepts
 @chapter Fundamentele concepten
 
 In het Leerboek hebben we gezien hoe je prachtig geprinte
 muziek maakt van een eenvoudig tekstbestand.  Dit hoofdstuk
 introduceert de achterliggende concepten en benodigde
 technieken voor het maken van ingewikkeldere partituren die
 er net zo mooi uitzien.
@@ skipping 794 matching lines @@
 \new Staff \relative c'' {
   \key aes \major
   <<  % Voice one
     { c2 aes4. bes8 }
   \\  % Voice two
     { aes2 f4 fes }
   \\  % No voice three
   \\  % Voice four
     {
       % Ignore these for now - they are explained in Ch 4
-      \once \override NoteColumn force-hshift = #0
+      \once \override NoteColumn.force-hshift = #0
       <ees c>2
-      \once \override NoteColumn force-hshift = #0.5
+      \once \override NoteColumn.force-hshift = #0.5
       des2
     }
   >> |
   <c ees aes c>1 |
 }
 @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
@@ skipping 26 matching lines @@
       c2 aes4. bes8
     }
   \\  % Voice two
     { \voiceTwoStyle
       aes2 f4 fes
     }
   \\  % No Voice three (we want stems down)
   \\  % Voice four
     { \voiceThreeStyle
       % Ignore these for now - they are explained in Ch 4
-      \once \override NoteColumn force-hshift = #0
+      \once \override NoteColumn.force-hshift = #0
       <ees c>2
-      \once \override NoteColumn force-hshift = #0.5
+      \once \override NoteColumn.force-hshift = #0.5
       des2
     }
   >> |
   <c ees aes c>1 |
 }
 @end lilypond
 
 
 Let us try to encode this music from scratch.  As we
 shall see, this encounters some difficulties.  We begin as
@@ skipping 1997 matching lines @@
         \new Voice @{
           \voiceOne
           \ManualOneVoiceOneMusic
         @}
         \new Voice @{
           \voiceTwo
           \ManualOneVoiceTwoMusic
         @}
       >>  % end ManualOne Staff context
       \new Staff = "ManualTwo" \with @{
-        \override VerticalAxisGroup
-          staff-staff-spacing.stretchability = 5
+        \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
       @} <<
         \keyTime
         \clef "bass"
         \new Voice @{
           \ManualTwoMusic
         @}
       >>  % end ManualTwo Staff context
     >>  % end PianoStaff context
     \new Staff = "PedalOrgan" <<
       \keyTime
@@ skipping 42 matching lines @@
         \new Voice {
           \voiceOne
           \ManualOneVoiceOneMusic
         }
         \new Voice {
           \voiceTwo
           \ManualOneVoiceTwoMusic
         }
       >>  % end ManualOne Staff context
       \new Staff = "ManualTwo" \with {
-        \override VerticalAxisGroup
-          staff-staff-spacing.stretchability = 5
+        \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
       } <<
         \keyTime
         \clef "bass"
         \new Voice {
           \ManualTwoMusic
         }
       >>  % end ManualTwo Staff context
     >>  % end PianoStaff context
     \new Staff = "PedalOrgan" <<
       \keyTime
@@ skipping 46 matching lines @@
 }
 @end lilypond
 
 However, you can also use these variables (also known as
 macros, or user-defined commands) for tweaks:
 
 @c TODO Avoid padtext - not needed with skylining
 @lilypond[quote,verbatim,ragged-right]
 dolce = \markup { \italic \bold dolce }
 
-padText = { \once \override TextScript padding = #5.0 }
+padText = { \once \override TextScript.padding = #5.0 }
 fthenp =_\markup {
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 }
 
 violin = \relative c'' {
   \repeat volta 2 {
     c4._\dolce b8 a8 g a b |
     \padText
     c4.^"hi there!" d8 e' f g d |
     c,4.\fthenp b8 c4 c-. |
@@ skipping 12 matching lines @@
 typing.  But they're worth considering even if you
 only use them once -- they reduce complexity.  Let's
 look at the previous example without any
 variables.  It's a lot harder to read, especially
 the last line.
 
 @example
 violin = \relative c'' @{
   \repeat volta 2 @{
     c4._\markup @{ \italic \bold dolce @} b8 a8 g a b |
-    \once \override TextScript padding = #5.0
+    \once \override TextScript.padding = #5.0
     c4.^"hi there!" d8 e' f g d |
     c,4.\markup @{
       \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p
     @}
     b8 c4 c-. |
   @}
 @}
 @end example
 
 @c TODO Replace the following with a better example  -td
 @c Skylining handles this correctly without padText
 
 So far we've seen static substitution -- when LilyPond
 sees @code{\padText}, it replaces it with the stuff that
 we've defined it to be (ie the stuff to the right of
 @code{padtext=}).
 
 LilyPond can handle non-static substitution, too (you
 can think of these as functions).
 
 @lilypond[quote,verbatim,ragged-right]
 padText =
 #(define-music-function
      (parser location padding)
      (number?)
    #{
-     \once \override TextScript padding = $padding
+     \once \override TextScript.padding = $padding
    #})
 
 \relative c''' {
   c4^"piu mosso" b a b |
   \padText #1.8
   c4^"piu mosso" d e f |
   \padText #2.6
   c4^"piu mosso" fis a g |
 }
 @end lilypond
@@ skipping 125 matching lines @@
   }
   \new Staff {
     \clef "bass"
     \time 2/4
     r4 d,8 f | gis4 c | b4 bes |
     a8 e f4 | g4 d | gis4 f |
   }
 >>
 @end lilypond