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diff --git a/Master/texmf-dist/doc/fonts/tipa/00README b/Master/texmf-dist/doc/fonts/tipa/00README
new file mode 100644
index 00000000000..ce5cf078ca8
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/00README
@@ -0,0 +1,32 @@
+This directory contains TIPA documents.
+
+ - tipaman.tex ... A comprehensive manual of TIPA with a detailed list 
+                   of all the TIPA phonetic symbols.
+
+                   How to compile this manual:
+
+                   latex tipaman
+                   bibtex tipaman
+                   latex tipaman
+                   latex tipaman
+
+                   You also need to have `mflogo.sty'. Please look for
+                   a CTAN site if you don't have one.
+
+ - vowel.tex ...   A manual for the `vowel' package.
+
+8 Jan, 2002
+
+------------------------------------------------------------------
+Copyright 2002 FUKUI Rei
+
+This program may be distributed and/or modified under the
+conditions of the LaTeX Project Public License, either version 1.2
+of this license or (at your option) any later version.
+The latest version of this license is in
+  http://www.latex-project.org/lppl.txt
+and version 1.2 or later is part of all distributions of LaTeX 
+version 1999/12/01 or later.
+
+This program consists of all files listed in Manifest.txt.
+------------------------------------------------------------------
diff --git a/Master/texmf-dist/doc/fonts/tipa/Makefile b/Master/texmf-dist/doc/fonts/tipa/Makefile
new file mode 100644
index 00000000000..89c0589bb52
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/Makefile
@@ -0,0 +1,20 @@
+# Copyright 2002 FUKUI Rei
+# 
+# This program may be distributed and/or modified under the
+# conditions of the LaTeX Project Public License, either version 1.2
+# of this license or (at your option) any later version.
+# The latest version of this license is in
+#   http://www.latex-project.org/lppl.txt
+# and version 1.2 or later is part of all distributions of LaTeX 
+# version 1999/12/01 or later.
+# 
+# This program consists of all files listed in Manifest.txt.
+
+tipaman :
+	latex tipaman
+	bibtex tipaman
+	latex tipaman
+	latex tipaman
+
+clean :
+	rm -rf auto *~ *.aux *.log *.blg *.toc *.dvi
diff --git a/Master/texmf-dist/doc/fonts/tipa/README.TEXLIVE b/Master/texmf-dist/doc/fonts/tipa/README.TEXLIVE
new file mode 100644
index 00000000000..e744a1f0f98
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/README.TEXLIVE
@@ -0,0 +1,3 @@
+tipaface.pdf has regretfully been removed from TeX Live to save space.
+It is available on CTAN, e.g.,
+http://www.ctan.org/tex-archive/fonts/tipa/tipaface.pdf
diff --git a/Master/texmf-dist/doc/fonts/tipa/boxchar.sty b/Master/texmf-dist/doc/fonts/tipa/boxchar.sty
new file mode 100644
index 00000000000..efadd07fcec
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/boxchar.sty
@@ -0,0 +1,218 @@
+% boxchar.sty --- for displaying large scale character images.
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+% 2001/12/24 Rei Fukui
+
+% For extra huge size fonts, some modifications necessary to the *.fd
+% files.
+
+% Without the following, NFSS will complain because T3 and U/tipx
+% are not declared at this moment.
+
+{\fontencoding{T3}\selectfont
+ \fontencoding{U}\fontfamily{tipx}\selectfont}
+
+% Redefine several font commands. For xipa and xipx fonts, these
+% redefinitions are unnecessary.
+
+\DeclareFontShape{T3}{cmr}{m}{n}{%
+  <5> <6> <7> <8> tipa8
+  <9> tipa9
+  <10> <10.95> tipa10
+  <12> <14.4> tipa12
+  <17.28> <20.74> <24.88> tipa17
+  <25-> tipa10
+}{}
+\DeclareFontShape{U}{tipx}{m}{n}{%
+  <5> <6> <7> <8> tipx8
+  <9> tipx9
+  <10> <10.95> tipx10
+  <12> <14.4> tipx12
+  <17.28> <20.74> <24.88> tipx17
+  <25-> tipx10
+}{}
+
+% An extra huge size font for the MainItem.
+% Can be used with 10pt, 11pt, and 12pt texts.
+
+\def\ExHuge{%
+  \ifnum\@ptsize=0 % 10*1.2^9 = 51.5978
+    \fontsize{51.6}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=1 % 11*1.2^9 = 56.75758
+    \fontsize{56.758}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=2 % 12*1.2^9 = 61.91736
+    \fontsize{61.917}{\f@baselineskip}\selectfont
+  \fi\fi\fi}
+
+\def\ExHugeTipa{%
+  \ifnum\@ptsize=0 % 10*1.2^9 = 51.5978
+    \fontencoding{T3}\fontsize{51.6}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=1 % 11*1.2^9 = 56.75758
+    \fontencoding{T3}\fontsize{56.758}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=2 % 12*1.2^9 = 61.91736
+    \fontencoding{T3}\fontsize{61.917}{\f@baselineskip}\selectfont
+  \fi\fi\fi}
+
+% Another extra huge size font for the SubItem.
+% Can be used with 10pt, 11pt, and 12pt texts.
+
+\def\exHuge{%
+  \ifnum\@ptsize=0 % 10*1.2^8 = 42.998
+    \fontsize{43}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=1 % 11*1.2^8 = 47.298
+    \fontsize{47.298}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=2 % 12*1.2^8 = 51.5978
+    \fontsize{51.6}{\f@baselineskip}\selectfont
+  \fi\fi\fi}
+
+\def\exHugeTipa{%
+  \ifnum\@ptsize=0 % 10*1.2^8 = 42.998
+    \fontencoding{T3}\fontsize{43}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=1 % 11*1.2^8 = 47.298
+    \fontencoding{T3}\fontsize{47.298}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=2 % 12*1.2^8 = 51.5978
+    \fontencoding{T3}\fontsize{51.6}{\f@baselineskip}\selectfont
+  \fi\fi\fi}
+
+% Another extra huge size font for the SubItem.
+% Can be used with 10pt, 11pt, and 12pt texts.
+
+\def\exhuge{%
+  \ifnum\@ptsize=0 % 10*1.2^6 = 29.85984
+    \fontsize{29.86}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=1 % 11*1.2^6 = 32.845824
+    \fontsize{32.846}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=2 % 12*1.2^6 = 35.831808
+    \fontsize{35.832}{\f@baselineskip}\selectfont
+  \fi\fi\fi}
+
+\def\exhugeTipa{%
+  \ifnum\@ptsize=0 % 10*1.2^6 = 29.85984
+    \fontencoding{T3}\fontsize{29.86}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=1 % 11*1.2^6 = 32.845824
+    \fontencoding{T3}\fontsize{32.846}{\f@baselineskip}\selectfont
+  \else\ifnum\@ptsize=2 % 12*1.2^6 = 35.831808
+    \fontencoding{T3}\fontsize{35.832}{\f@baselineskip}\selectfont
+  \fi\fi\fi}
+
+% Produces a super huge image such that 10pt = 10cm.
+
+\def\SuperHuge{%
+  \fontsize{284.52756}{\f@baselineskip}\selectfont}
+
+\def\SuperHugeTipa{%
+  \fontencoding{T3}\fontsize{284.52756}{\f@baselineskip}\selectfont}
+
+
+% A huge size font for the SubSubItem.
+
+\def\hugeTipa{\huge\fontencoding{T3}\selectfont}
+
+% Macros for setting up character box size and margins.
+
+\newcommand\chaboxvmarginrate{.8}
+\newcommand\chaboxhmarginrate{.6}
+
+% Calculate various sizes for an IPA box.
+% global: \ch@rboxxheight, \ch@rboxht, \ch@rboxdp, \ch@rboxwd
+% Sizes can be changed by #1 (font size) and the above two values.
+
+
+\def\ipasetb@xsize#1#2{{%
+  \setbox\z@\hbox{#2{x}}%
+    \xdef\ch@rboxxheight{\the\ht\z@\relax}%
+    \dimen\z@\ht\z@ \dimen\@ne \chaboxvmarginrate\dimen\z@
+    \edef\ch@rboxvmargin{\the\dimen\@ne\relax}%
+    \dimen\z@\wd\z@ \dimen\@ne \chaboxhmarginrate\dimen\z@
+    \edef\ch@rboxhmargin{\the\dimen\@ne\relax}%
+  \setbox\z@\hbox{#2{l}}%
+    \dimen\z@\ht\z@ \advance\dimen\z@ \ch@rboxvmargin
+    \xdef\ch@rboxht{\the\dimen\z@\relax}%
+  \setbox\z@\hbox{#2{p}}%
+    \dimen\z@\dp\z@ \advance\dimen\z@ \ch@rboxvmargin
+    \xdef\ch@rboxdp{\the\dimen\z@\relax}%
+  \setbox\z@\hbox{#2{m}}%
+    \dimen\z@\wd\z@ \advance\dimen\z@ \ch@rboxhmargin
+    \xdef\ch@rboxwd{\the\dimen\z@\relax}}}
+
+\def\ptmxheight{128.0374pt\relax}
+
+\def\ipasetb@xsizevar#1#2{{%
+  \setbox\z@\hbox{#2{x}}%
+%    \xdef\ch@rboxxheight{\the\ht\z@\relax}%
+  \xdef\ch@rboxxheight{\ptmxheight\relax}%
+    \dimen\z@\ht\z@ \dimen\@ne \chaboxvmarginrate\dimen\z@
+    \edef\ch@rboxvmargin{\the\dimen\@ne\relax}%
+    \dimen\z@\wd\z@ \dimen\@ne \chaboxhmarginrate\dimen\z@
+    \edef\ch@rboxhmargin{\the\dimen\@ne\relax}%
+  \setbox\z@\hbox{#2{l}}%
+    \dimen\z@\ht\z@ \advance\dimen\z@ \ch@rboxvmargin
+    \xdef\ch@rboxht{\the\dimen\z@\relax}%
+  \setbox\z@\hbox{#2{p}}%
+    \dimen\z@\dp\z@ \advance\dimen\z@ \ch@rboxvmargin
+    \xdef\ch@rboxdp{\the\dimen\z@\relax}%
+  \setbox\z@\hbox{#2#1}%
+    \dimen\z@\wd\z@ \advance\dimen\z@ \ch@rboxhmargin
+    \xdef\ch@rboxwd{\the\dimen\z@\relax}}}
+
+\def\rigidframe{\let\ipasetb@xsize\ipasetb@xsizevar}
+
+\def\doubleframebox#1#2{%
+  \hbox{\fboxrule.8pt\fboxsep3pt\fbox{%
+    \fboxrule.4pt\fboxsep\z@\fbox{\symbolb@x{#1}{#2}}}}}
+
+\def\singleframebox#1#2{%
+  \hbox{\fboxrule.4pt\fboxsep\z@\fbox{\symbolb@x{#1}{#2}}}}
+
+% The main macro for displaying a large scale image of a character in
+% a framebox with the base and x-height lines indicated.
+% Note that the frame is not drawn by this macro.
+%
+%   Arguments:
+%     #1 = the character to display
+%     #2 = font size
+%
+% The result of this macro is an \hbox of which the width is
+% \ch@rboxwd and the height is \ch@rboxtotalht.
+
+\def\symbolb@x#1#2{{%
+  \ipasetb@xsize{#1}{#2}\setbox\z@\hbox{#2{#1}}%
+  \dimen\z@\ch@rboxht \advance\dimen\z@ by\ch@rboxdp
+  \edef\ch@rboxtotalht{\the\dimen\z@}%
+  \hbox to\ch@rboxwd{\hsize\ch@rboxwd
+    \hss
+    \vbox to\ch@rboxtotalht{\offinterlineskip
+      \dott@dline{\ch@rboxxheight}{\patterni}
+      \dott@dline{\z@}{\patternii}
+      \dimen\z@\ch@rboxht \advance\dimen\z@ by-\ht\z@
+      \kern\dimen\z@
+      \hbox to\hsize{\hfil\box\z@\hfil}
+      \vss}%
+    \hss}}}
+
+% A macro for drawing a dotted line.
+
+\def\dott@dline#1#2{%
+  \dimen\z@\ch@rboxht \advance\dimen\z@ by-#1\relax
+  \vtop to\z@{\kern\the\dimen\z@
+    \hbox to\ch@rboxwd{\xleaders#2\hfil}\vss}}
+
+% Patterns used for dotted lines
+
+\def\patterni{\hbox to 2pt{% thin dotted line
+  \hfil\vrule width .5pt height .1pt depth .1pt \hfil}}
+
+\def\patternii{\hbox to 2pt{% thick dotted line
+  \hfil\vrule width .5pt height .15pt depth .15pt \hfil}}
+
+\endinput
diff --git a/Master/texmf-dist/doc/fonts/tipa/codelist.sty b/Master/texmf-dist/doc/fonts/tipa/codelist.sty
new file mode 100644
index 00000000000..b5494fc3402
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/codelist.sty
@@ -0,0 +1,125 @@
+% codelist.sty
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+% examples:
+%  \usepackage{codelist} % necessary in all cases in the preamble
+%
+%  \fonttable{cmr10}
+%
+%  \fonttablescaled{cmr10}{\magstep1}
+%
+%  \fonttable{\empty} % draw an empty code table for a font designer who
+%                     % wants to create a new font from scratch
+%                     % (see also \def\dummyfont below)
+
+%\topmargin -2cm
+%\textheight 24cm
+
+%\newcommand\dummyfont{cmr10} % for 128 empty boxes
+\newcommand\dummyfont{dcr1000} % for 256 empty boxes
+
+\tracinglostchars=0
+\newcount\@@m \newcount\@@n \newcount\@@p \newdimen\dim
+\newif\ifemptybox \emptyboxfalse
+
+\newcommand\fonttable[1]{%
+  \ifx\empty#1\font\testfont=\dummyfont % dummy
+    \emptyboxtrue\def\fontnamestring{empty font}%
+  \else\font\testfont=#1\def\fontnamestring{#1}\fi
+%  \leftline{{\small Test of {\itshape{\fontnamestring}}\unskip\ on \today}}
+%  \smallskip
+  \testfont \setbaselineskip
+  \ifdim\fontdimen6\testfont<10pt \rightskip=0pt plus 20pt
+  \else\rightskip=0pt plus 2em \fi
+  \spaceskip=\fontdimen2\testfont % space between words (\raggedright)
+  \xspaceskip=\fontdimen2\testfont \advance\xspaceskip by\fontdimen7\testfont
+  \f@nttable}
+
+\newcommand\fonttablescaled[2]{%
+  \ifx\empty#1\font\testfont=\dummyfont % dummy
+    \emptyboxtrue\def\fontnamestring{empty font}%
+  \else\font\testfont=#1 scaled #2\def\fontnamestring{#1}\fi
+%  \leftline{{\small Test of {\itshape{\fontnamestring}}\unskip\ on \today}}
+%  \smallskip
+  \testfont \setbaselineskip
+  \ifdim\fontdimen6\testfont<10pt \rightskip=0pt plus 20pt
+  \else\rightskip=0pt plus 2em \fi
+  \spaceskip=\fontdimen2\testfont % space between words (\raggedright)
+  \xspaceskip=\fontdimen2\testfont \advance\xspaceskip by\fontdimen7\testfont
+  \f@nttable}
+
+\newcommand\setbaselineskip{\setbox0=\hbox{\@@n=0
+    \loop\char\@@n \ifnum \@@n<255 \advance\@@n 1 \repeat}
+  \baselineskip=6pt \advance\baselineskip\ht0 \advance\baselineskip\dp0 }
+
+\newcommand\oct[1]{\hbox{\rm\'{}\kern-.2em\it#1\/\kern.05em}} % octal constant
+\newcommand\hex[1]{\hbox{\rm\H{}\tt#1}} % hexadecimal constant
+
+\def\setdigs#1"#2{\gdef\h{#2}% \h=hex prefix; \0\1=corresponding octal
+  \@@m=\@@n \divide\@@m by 64 \xdef\0{\the\@@m}%
+  \multiply\@@m by-64 \advance\@@m by\@@n \divide\@@m by 8 \xdef\1{\the\@@m}}
+
+\newcommand\testrow{\setbox0=\hbox{\penalty 1\def\\{\char"\h}%
+  \\0\\1\\2\\3\\4\\5\\6\\7\\8\\9\\A\\B\\C\\D\\E\\F%
+  \global\@@p=\lastpenalty}} % \@@p=1 if none of the characters exist
+
+\newcommand\oddline{\cr
+  \noalign{\nointerlineskip}
+  \multispan{19}\hrulefill&
+  \setbox0=\hbox{\lower 2.3pt\hbox{\hex{\h x}}}\smash{\box0}\cr
+  \noalign{\nointerlineskip}}
+
+\newif\ifskipping
+
+\newcommand\evenline{\loop\skippingfalse
+  \ifnum\@@n<256 \@@m=\@@n \divide\@@m 16 \chardef\next=\@@m
+  \expandafter\setdigs\meaning\next \testrow
+  \ifnum\@@p=1 \skippingtrue \fi\fi
+  \ifskipping \global\advance\@@n 16 \repeat
+  \ifnum\@@n=256 \let\next=\@endchart\else\let\next=\morechart\fi
+  \next}
+
+\newcommand\morechart{\cr\noalign{\hrule\penalty5000}
+  \chartline \oddline \@@m=\1 \advance\@@m 1 \xdef\1{\the\@@m}
+  \chartline \evenline}
+
+\newcommand\chartline{&\oct{\0\1x}&&\CHAR&&\CHAR&&\CHAR&&\CHAR&&\CHAR&&
+  \CHAR&&\CHAR&&\CHAR&&}
+
+%\newcommand\chartstrut{\lower6pt\vbox to18pt{}}
+\newcommand\chartstrut{\lower5.5pt\vbox to15pt{}}
+
+\newcommand\f@nttable{$$\global\@@n=0
+  \halign to\hsize\bgroup
+    \chartstrut##\tabskip0pt plus10pt&
+    &\hfil##\hfil&\vrule##\cr
+    \lower6.5pt\null
+    &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline}
+
+\newcommand\@endchart{\cr\noalign{\hrule}
+  \raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B&
+  &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup$$\par}
+
+\newcommand\CHAR{\setbox0=\hbox{\char\@@n}%
+  \ifdim\ht0>7.5pt\reposition
+  \else\ifdim\dp0>2.5pt\reposition\fi\fi
+  \ifemptybox\hbox{}\else \box0\fi
+  \global\advance\@@n 1 }
+
+\newcommand\reposition{\setbox0=\vbox{\kern2pt\box0}\dim=\dp0
+  \advance\dim 2pt \dp0=\dim}
+
+\newcommand\centerlargechars{
+  \newcommand\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}}}
+
+\endinput
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipa.bib b/Master/texmf-dist/doc/fonts/tipa/tipa.bib
new file mode 100644
index 00000000000..ca4986446fa
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipa.bib
@@ -0,0 +1,176 @@
+% tipa.bib
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+@article{Chao:ToneLetters,
+  author = "Chao, Yuen-Ren",
+  title = "A system of tone letters",
+  journal = "Le Ma\^itre Phon\'etique",
+  number = "30",
+  pages = "24--27",
+  year = 1933 }
+
+@book{Principles,
+  author = "IPA",
+  title = "The Principles of the International Phonetic Association",
+  publisher = "University College: London",
+  year = 1949 }
+
+@book{PSG:I,
+  author = "Pullum, Geoffrey K. and Ladusaw, William A.",
+  title = "Phonetic Symbol Guide",
+  publisher = "The University of Chicago Press",
+  note = "First Edition",
+  year = 1986 }
+
+@book{PSG:II,
+  author = "Pullum, Geoffrey K. and Ladusaw, William A.",
+  title = "Phonetic Symbol Guide",
+  publisher = "The University of Chicago Press",
+  note = "Second Edition",
+  year = 1996 }
+
+@article{IPA:KielConvention,
+  author = "IPA",
+  title = "{Report on the 1989 Kiel Convention}",
+  journal = "Journal of the International Phonetic Association",
+  volume = "19",
+  number = "2",
+  pages = "67--80",
+  year = 1989 }
+
+@article{Esling:IPAcoding,
+  author = "Esling, John",
+  title = "Computer coding of the {IPA}: Supplementary Report",
+  journal = "Journal of the International Phonetic Association",
+  volume = "20",
+  number = "1",
+  pages = "22--26",
+  year = 1990 }
+
+@article{IPA:Preview,
+  author = "IPA",
+  title = "{Preview of the IPA Handbook}",
+  journal = "Journal of the International Phonetic Association",
+  volume = "25",
+  number = "1",
+  pages = "1-48",
+  year = 1995 }
+
+@article{Pullum:Remarks,
+  author = "Pullum, Geoffrey K.",
+  title = "{Remarks on the 1989 revision of the International Phonetic
+          Alphabet}",
+  journal = "Journal of the International Phonetic Association",
+  volume = "20",
+  number = "1",
+  pages = "33--40",
+  year = 1990 }
+
+@article{IPA:FurtherReport,
+  author = "IPA",
+  title = "{Further report on the 1989 Kiel Convention}",
+  journal = "Journal of the International Phonetic Association",
+  volume = "20",
+  number = "2",
+  pages = "22--24",
+  year = 1990 }
+
+@book{Jones:Outline,
+  author = "Jones, Daniel",
+  title = "An Outline of English Phonetics",
+  publisher = "Cambridge: W.\ Heffer",
+  year = "1918, (9th edition) 1960" }
+
+@book{Ladefoged:Course,
+  author = "Ladefoged, Peter",
+  title = "A Course in Phonetics, Third Edition",
+  publisher = "Harcourt Brace Jovanovich College Publishers",
+  year = 1993 }
+
+@article{IPA:CouncilActions,
+  author = "IPA",
+  title = "{Council actions on revisions of the IPA}",
+  journal = "Journal of the International Phonetic Association",
+  volume = "23",
+  number = "1",
+  pages = "32--34",
+  year = 1993 }
+
+@article{Esling:ComputerCodes,
+  author = "Esling, John H. and Gaylord, Harry",
+  title = "Computer Codes for Phonetic Symbols",
+  journal = "Journal of the International Phonetic Association",
+  volume = "23",
+  number = "2",
+  pages = "83--97",
+  year = 1993 }
+
+@unpublished{SAMPA,
+  author = "Wells, John C.",
+  title = "Computer-coding the {IPA}: a proposed extension of {SAMPA}",
+  note = "Revised draft 1995 04 28",
+  year = 1995 }
+
+@unpublished{extIPA,
+  author = "ICPLA",
+  title = "{extIPA Symbols for Disordered Speech}",
+  note = "Revised to 1994",
+  year = 1994 }
+
+@unpublished{VoQS,
+  author = "Ball, Martin J. and Esling, John and Dickson, Craig",
+  title = "{VoQS: Voice Quality Symbols}",
+  note = "Revised to 1994",
+  year = 1994 }
+
+@book{Handbook,
+  author = "IPA",
+  title = "Handbook of the International Phonetic Association",
+  publisher = "Cambridge University Press",
+  year = 1999 }
+
+@book{Hottentot,
+  author = "Beach, D. M.",
+  title = "The Phonetics of the Hottentot Language",
+  publisher = "Cambridge: Heffner",
+  year = 1938 }
+
+@book{Trager,
+  author = "Trager, George L.",
+  title = "Phonetics: Glossary and Tables",
+  series = "Studies in Linguistics: Occasional Papers 6",
+  publisher = "Buffalo, N.Y.",
+  year = 1964 }
+
+@book{Sweet,
+  author = "Sweet, Henry",
+  title = "A Primer of Phonetics",
+  publisher = "Oxford: Clarendon Press",
+  note = "Third edition, revised",
+  year = 1906 }
+
+@incollection{Jones:Phoneme,
+  author = "Jones, Daniel",
+  title = "{The term `phoneme'}",
+  editor = "Jones, W. E. and Laver, J.",
+  booktitle = "Phonetics in Linguistics: A Book of Reading",
+  publisher = "London: Longman",
+  pages = "187--204",
+  year = 1973 }
+
+@book{Karlgren,
+  author = "Karlgren, Bernhard",
+  title = "{\'E}tude sur la phonologie chinoise",
+  publisher = "Leyde, Stockholm, and Gotembourg",
+  year = "1915--1926" }
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman.bbl b/Master/texmf-dist/doc/fonts/tipa/tipaman.bbl
new file mode 100644
index 00000000000..043952af211
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman.bbl
@@ -0,0 +1,100 @@
+\begin{thebibliography}{17}
+\expandafter\ifx\csname natexlab\endcsname\relax\def\natexlab#1{#1}\fi
+\expandafter\ifx\csname url\endcsname\relax
+  \def\url#1{{\tt #1}}\fi
+
+\bibitem[Ball et~al.(1994)Ball, Esling, and Dickson]{VoQS}
+Martin~J. Ball, John Esling, and Craig Dickson.
+\newblock {VoQS: Voice Quality Symbols}.
+\newblock Revised to 1994, 1994.
+
+\bibitem[Beach(1938)]{Hottentot}
+D.~M. Beach.
+\newblock {\em The Phonetics of the Hottentot Language}.
+\newblock Cambridge: Heffner, 1938.
+
+\bibitem[Chao(1933)]{Chao:ToneLetters}
+Yuen-Ren Chao.
+\newblock A system of tone letters.
+\newblock {\em Le Ma\^itre Phon\'etique}, \penalty0 (30):\penalty0 24--27,
+  1933.
+
+\bibitem[Esling and Gaylord(1993)]{Esling:ComputerCodes}
+John~H. Esling and Harry Gaylord.
+\newblock Computer codes for phonetic symbols.
+\newblock {\em Journal of the International Phonetic Association}, 23\penalty0
+  (2):\penalty0 83--97, 1993.
+
+\bibitem[ICPLA(1994)]{extIPA}
+ICPLA.
+\newblock {extIPA Symbols for Disordered Speech}.
+\newblock Revised to 1994, 1994.
+
+\bibitem[IPA(1949)]{Principles}
+IPA.
+\newblock {\em The Principles of the International Phonetic Association}.
+\newblock University College: London, 1949.
+
+\bibitem[IPA(1989)]{IPA:KielConvention}
+IPA.
+\newblock {Report on the 1989 Kiel Convention}.
+\newblock {\em Journal of the International Phonetic Association}, 19\penalty0
+  (2):\penalty0 67--80, 1989.
+
+\bibitem[IPA(1990)]{IPA:FurtherReport}
+IPA.
+\newblock {Further report on the 1989 Kiel Convention}.
+\newblock {\em Journal of the International Phonetic Association}, 20\penalty0
+  (2):\penalty0 22--24, 1990.
+
+\bibitem[IPA(1993)]{IPA:CouncilActions}
+IPA.
+\newblock {Council actions on revisions of the IPA}.
+\newblock {\em Journal of the International Phonetic Association}, 23\penalty0
+  (1):\penalty0 32--34, 1993.
+
+\bibitem[IPA(1995)]{IPA:Preview}
+IPA.
+\newblock {Preview of the IPA Handbook}.
+\newblock {\em Journal of the International Phonetic Association}, 25\penalty0
+  (1):\penalty0 1--48, 1995.
+
+\bibitem[IPA(1999)]{Handbook}
+IPA.
+\newblock {\em Handbook of the International Phonetic Association}.
+\newblock Cambridge University Press, 1999.
+
+\bibitem[Jones(1973)]{Jones:Phoneme}
+Daniel Jones.
+\newblock {The term `phoneme'}.
+\newblock In W.~E. Jones and J.~Laver, editors, {\em Phonetics in Linguistics:
+  A Book of Reading}, pages 187--204. London: Longman, 1973.
+
+\bibitem[Karlgren(1915--1926)]{Karlgren}
+Bernhard Karlgren.
+\newblock {\em {\'E}tude sur la phonologie chinoise}.
+\newblock Leyde, Stockholm, and Gotembourg, 1915--1926.
+
+\bibitem[Pullum and Ladusaw(1986)]{PSG:I}
+Geoffrey~K. Pullum and William~A. Ladusaw.
+\newblock {\em Phonetic Symbol Guide}.
+\newblock The University of Chicago Press, 1986.
+\newblock First Edition.
+
+\bibitem[Pullum and Ladusaw(1996)]{PSG:II}
+Geoffrey~K. Pullum and William~A. Ladusaw.
+\newblock {\em Phonetic Symbol Guide}.
+\newblock The University of Chicago Press, 1996.
+\newblock Second Edition.
+
+\bibitem[Trager(1964)]{Trager}
+George~L. Trager.
+\newblock {\em Phonetics: Glossary and Tables}.
+\newblock Studies in Linguistics: Occasional Papers 6. Buffalo, N.Y., 1964.
+
+\bibitem[Wells(1995)]{SAMPA}
+John~C. Wells.
+\newblock Computer-coding the {IPA}: a proposed extension of {SAMPA}.
+\newblock Revised draft 1995 04 28, 1995.
+
+\end{thebibliography}
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman.pdf b/Master/texmf-dist/doc/fonts/tipa/tipaman.pdf
new file mode 100644
index 00000000000..1e8c630b731
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman.pdf
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman.sty b/Master/texmf-dist/doc/fonts/tipa/tipaman.sty
new file mode 100644
index 00000000000..6196921b449
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman.sty
@@ -0,0 +1,379 @@
+% tipaman.sty
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+% tipaman.sty for TIPA Manual
+
+\usepackage{mflogo}
+\usepackage[tone,extra]{tipa}
+\usepackage{tipx}
+\usepackage{codelist}
+\usepackage{boxchar}
+\usepackage{natbib}
+\bibpunct{(}{)}{;}{a}{,}{,}
+
+%\@twosidefalse
+%\@mparswitchfalse
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% What follows is a format I used recently.
+% Book size is approximately b5, with crop marks indicated
+% on a a4 size of paper.
+%
+%\usepackage[cam,axes,a4center]{crop}
+%\setlength\topmargin {22mm}
+%\setlength\headheight{4mm}
+%\setlength\headsep   {9mm}
+%\setlength\footskip{11mm}
+%\if@compatibility \setlength\maxdepth{5\p@} \else
+%\setlength\maxdepth{.5\topskip} \fi
+%\setlength\textwidth{126mm}
+%\setlength\textheight{187mm}
+%\setlength\paperheight {257mm}
+%\setlength\paperwidth  {182mm}
+%\@twosidetrue
+%\@mparswitchtrue
+%\setlength\oddsidemargin   {28mm}
+%\setlength\evensidemargin  {28mm}
+%\addtolength\topmargin{-1in}
+%\addtolength\oddsidemargin{-1in}
+%\addtolength\evensidemargin{-1in}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\footnotesep.8\baselineskip
+\addtolength{\skip\footins}{2pt}
+
+% to use float materials more easily
+\renewcommand{\topfraction}{1}
+\renewcommand{\bottomfraction}{0}
+\renewcommand{\textfraction}{0}
+
+\newif\ifmainitem 
+\newif\iftimes \timesfalse
+
+{\newcommand\@@ptm@@@{ptm}%
+ \ifx\rmdefault\@@ptm@@@ \global\timestrue\fi}
+
+\newskip\tipamanhskipamount
+\tipamanhskipamount 1em plus .2em minus .6em
+\def\tipamanhskip{\hskip\tipamanhskipamount}
+
+\def\ip@item#1#2#3#4#5#6#7{{\leavevmode
+  \hbox to \textwidth{%
+    \setbox\z@\singleframebox{#1}{\hugeTipa}\dimen\z@\ht\z@
+    \dimen\@ne\hsize \advance\dimen\@ne-\wd\z@ \advance\dimen\@ne-1.5em
+    \setbox\@ne\hbox{\vbox{%\hsize=1.5em
+      \edef\symcode{\ifx\empty#7\empty Macro\else#7\fi}%
+      \ifmainitem\else\edef\symcode{\underline{\symcode}}\fi
+      \hbox to\z@{\hss\scriptsize\textit{\symcode} }}}
+    \setbox\tw@\hbox{\vbox{\hsize=\the\dimen\@ne
+      {\large #2}%
+      \ifx\empty#3\empty\else
+        \tipamanhskip\textit{Usage}: #3\fi\par
+      \ifx\empty#5\empty\textit{Input}: \texttt{#4}\else
+      \textit{Input1}: \texttt{#4}\quad\textit{Input2}: \texttt{#5}\fi\par
+      \textit{Sources}: #6
+      }}%
+    \dimen\@ne\dimen\z@ \advance\dimen\@ne-\ht\@ne
+    \dimen\tw@\dimen\z@ \advance\dimen\tw@-\ht\tw@
+    \raise\dimen\@ne\hbox{\unhbox\@ne}\unhbox\z@\hfill
+    \raise\dimen\tw@\hbox{\unhbox\tw@}%
+    }\par\medskip}}
+
+\def\ipaitem{\mainitemtrue\ip@item}
+\def\ipxitem{\mainitemfalse\ip@item}
+
+\def\usage{\@ifstar{\nonipausage}{\ipausage}}
+\def\nonipausage{Usage: }
+\def\ipausage{{\itshape IPA usage:} }
+\def\ipaall{IPA '49--'96}
+\def\ipaold{IPA '49, '79}
+\def\ipanew{IPA '89--'96}
+\def\psg#1{\PSG\ p.\#1}
+
+\def\tbs{{\ttfamily\char'134}}
+\def\tbi{{\ttfamily\char'173}}
+\def\tbii{{\ttfamily\char'175}}
+\def\ttilde{{\ttfamily\char'176}}
+\def\tcircum{{\ttfamily\char'136}}
+\def\TT#1{\tbi #1\tbii}
+\def\TD#1#2{\tbs #1\tbi #2\tbii}
+\def\Td#1#2{\texttt{\TD{#1}{#2}}}
+\def\Tt#1{\texttt{\tbs #1}}
+
+\def\PSG{\textsl{PSG}}
+\def\Handbook{\textsl{Handbook}}
+\def\New{\textbf{\textsf{New!}}}
+
+\newcount\excnt
+\def\@inout{i}
+\def\yitem{\if i\@inout
+ \item[{\itshape Input\/}:]\def\@inout{o}\else
+ \par\nobreak\item[{\itshape Output\/}:]\def\@inout{i}\fi}
+
+\newenvironment{tipaexample}{%
+  \begin{list}{}{\excnt=1%
+  \setlength\labelsep{1em}%
+  \setlength\labelwidth{5em}%
+  \setlength\leftmargin{6.5em}%
+  \setlength\parsep{0pt}}}%
+  {\end{list}}
+
+\def\xitem{\if i\@inout
+ \item[{\itshape Input \the\excnt\/}:]\def\@inout{o}\else
+ \par\nobreak\item[{\itshape Output \the\excnt\/}:]\def\@inout{i}%
+ \global\advance\excnt by1\fi}
+
+\def\labelenumi{(\theenumi)}
+\newenvironment{Quote}{\begin{quote}}{\end{quote}}
+
+\let\mc\multicolumn
+
+\newskip\sloppyspaceamount
+\newcommand\sloppyspace{\setbox0\hbox{ }%
+  \sloppyspaceamount=\wd0 plus 2\wd0 minus .5\wd0
+  \hskip\sloppyspaceamount}
+
+
+%
+% Below are modifications of LaTeX default styles.
+%
+% Chapter head
+
+\renewcommand\chapter{%
+  \if@openright\cleardoublepage\else\clearpage\fi
+  \thispagestyle{empty}%
+  \global\@topnum\z@
+  \@afterindentfalse
+  \secdef\@chapter\@schapter}
+\def\@chapter[#1]#2{%
+  \ifnum \c@secnumdepth >\m@ne
+    \if@mainmatter
+      \refstepcounter{chapter}%
+      \typeout{\@chapapp\space\thechapter.}%
+      \addcontentsline{toc}{chapter}%
+        {\protect\numberline{\thechapter}#1}%
+    \else
+      \addcontentsline{toc}{chapter}{#1}%
+    \fi
+  \else
+    \addcontentsline{toc}{chapter}{#1}%
+  \fi
+  \chaptermark{#1}%
+  \addtocontents{lof}{\protect\addvspace{10\p@}}%
+  \addtocontents{lot}{\protect\addvspace{10\p@}}%
+  \if@twocolumn
+    \@topnewpage[\@makechapterhead{#2}]%
+  \else
+    \@makechapterhead{#2}%
+    \@afterheading
+  \fi}
+\def\@makechapterhead#1{%
+%  \vspace*{50\p@}%
+  \vspace*{5\p@}%
+  {\parindent \z@ \raggedright \normalfont
+    \ifnum \c@secnumdepth >\m@ne
+      \if@mainmatter
+%        \huge\bfseries \@chapapp\space \thechapter
+        \huge\bfseries \huge\@chapapp\space \thechapter%
+        \par\nobreak
+        \vskip 10\p@
+        \rule[.5ex]{\textwidth}{.8pt}
+        \vskip 10\p@
+      \fi
+    \fi
+    \interlinepenalty\@M
+    \huge \bfseries #1\par\nobreak
+    \vskip 40\p@
+  }}
+\def\@schapter#1{\if@twocolumn
+    \@topnewpage[\@makeschapterhead{#1}]%
+  \else
+    \@makeschapterhead{#1}%
+    \@afterheading
+  \fi}
+\def\@makeschapterhead#1{%
+%  \vspace*{50\p@}%
+  \vspace*{5\p@}%
+  {\parindent \z@ \raggedright
+    \normalfont
+    \interlinepenalty\@M
+    \huge \bfseries  #1\par\nobreak
+    \vskip 40\p@
+  }}
+
+%
+% heading.
+%
+
+\newcommand\clearemptydoublepage{%
+  \newpage{\pagestyle{empty}\cleardoublepage}}
+
+\def\ps@headings{%
+    \def\@oddfoot{\hfil\thepage\hfil}%
+    \def\@evenfoot{\hfil\thepage\hfil}%
+    \def\@evenhead{\hfil\slshape\leftmark}%
+    \def\@oddhead{{\slshape\rightmark}\hfil}%
+    \let\@mkboth\markboth
+  \def\chaptermark##1{%
+    \markboth {%\MakeUppercase{%
+      \ifnum \c@secnumdepth >\m@ne
+        \if@mainmatter
+          \@chapapp\ \thechapter. \ %
+        \fi
+      \fi
+      ##1}{}}%
+  \def\sectionmark##1{%
+    \markright {%\MakeUppercase{%
+      \ifnum \c@secnumdepth >\z@
+        \thesection. \ %
+      \fi
+      ##1}}}
+
+\pagestyle{headings}
+
+
+%
+% Commands for specimen.
+%
+
+\newcount\codecnt
+\newcommand\tipaallchars[1]{{%
+  \hrule width \textwidth \par\medskip
+  \noindent\font\test=#1\test
+  \codecnt=0 \loop \char\the\codecnt\sloppyspace
+    \ifnum\codecnt<255 \advance\codecnt by 1 \repeat
+  \par\medskip\hrule width \textwidth}}
+
+\newcommand\tipxallchars[1]{{\par\medskip\sloppy
+  \noindent\font\test=#1\test
+  \codecnt=0 \loop \char\the\codecnt\sloppyspace
+    \ifnum\codecnt<8 \advance\codecnt by 1 \repeat
+  \codecnt=32 \loop \char\the\codecnt\sloppyspace
+    \ifnum\codecnt<73 \advance\codecnt by 1 \repeat
+  \codecnt=80 \loop \char\the\codecnt\sloppyspace
+    \ifnum\codecnt<86 \advance\codecnt by 1 \repeat
+  \codecnt=112 \loop \char\the\codecnt\sloppyspace
+    \ifnum\codecnt<123 \advance\codecnt by 1 \repeat
+  \par\medskip\hrule width \textwidth}}
+
+\newcommand\sampletexti[1]{\begin{flushleft}#1
+  D@ "nO;T "wInd @nd D@ "s2n w@ dIs"pju;tIN wItS w@z D@ "str6Ng5,
+  wEn @ "tr\ae vl5 keIm @"l6N "r\ae pt In @ "wO:m "kloUk. DeI
+  @"gri:d D@t D@ "w2n hu; f3;st s@k"si;dId In "meIkiN D@ "tr\ae vl5
+  teIk hIz "kloUk 6f SUd bI k@n"sId@d "str6Ng@ D@n DI "2D@.
+\end{flushleft}}
+
+\newcommand\sampletextii[1]{\begin{flushleft}#1
+  la bi:z e l sOlE:j s@ dispytE, Sak\~{\oe} asyr\~A k il etE l ply
+  fO:r, k\~At iz \~O vy \~{\oe} vwajaZ\oe:r ki s av\~AsE, \~AvlOpe
+  d\~A s\~O m\~Ato. i s\~O t\~Obe dakO:r, k@ s@lyi ki arivE
+  l pr@mje a fEr ote s\~O m\~Ato o vwajaZ\oe:r, s@rE rgarde kOm
+  l ply fO:r.
+\end{flushleft}}
+
+\newcommand\sampletextiii[1]{\begin{flushleft}#1
+  "PaInst St\;RIt@n zI\c{c} "nOKtvInt PUnt "zOn@, "ve:\;R fOn Pi;n@n
+  "baId@n vo:l d5K "StEKk5\;R@ vE:\;R@, PAls PaIn "vAnd5\;R5K, de:K
+  PIn PaIn@n vAKm@n "mAnt@l g@"hYlt va:K, d@s ve:g@s da:"he:K ka:m.
+  zi; vUKd@n "PaIni\c{c}, dAs "de:Kje:nIg@ fy:K d@n "StEKk5\;R@n
+  gElt@n zOlt@, de:K d@n "vAnd5\;R5K "tsvIN@n vyKd@, zaIn@n "mAnt@l
+  "PAptsu;ne:m@n.
+\end{flushleft}}
+
+\newcommand\sampletextiv[1]{\begin{flushleft}#1 \let\H\textcrh
+  marra S Samsi wi r ri:\H\ ka:nu bi jitxanPum Pinhu l PaPwa fi:hum.
+  u baQde:n Sa:fu ra:gil sa:ji\H\ gaj mim baQi:d mitlaffaQ bi
+  Qaba:ja tPi:la. fa ttafaPum Qala Pin illi jixalli:h jiPlaQ il
+  Qaba:ja fi l Pawwal jiku:n huwwa PaPwa mit ta:ni.
+\end{flushleft}}
+
+\newcommand\sampletextv[1]{\begin{flushleft}#1
+  upepo ulikuwa uki\!biSana na \*fua kuwa nani mweNe Nguvu kupita
+  mwenziwe, mara akapita masafiri alijekuwa amevaa \*fu\!ba. walipatana
+  kuwa atakajemvua \*fu\!ba kwanza msafiri ndije mweNe Nguvu.
+\end{flushleft}}
+
+\newcommand\bseries{\fontseries{b}\selectfont}
+\newcommand\rmtipa{\renewcommand\rmdefault{cmr}\renewcommand\sfdefault{cmss}}
+\newcommand\rmxipa{\renewcommand\rmdefault{ptm}\renewcommand\sfdefault{phv}}
+
+\newcount\rotatetextcnt \rotatetextcnt=0
+
+\newcommand\sampletext{%
+ \edef\@rotatetextcnt{\the\rotatetextcnt }%
+ \ifcase\@rotatetextcnt\def\@sampletext{\sampletexti}\or
+  \def\@sampletext{\sampletextii}\or\def\@sampletext{\sampletextiii}\or
+  \def\@sampletext{\sampletextiv}\or\def\@sampletext{\sampletextv}\fi
+ \global\advance\rotatetextcnt by 1
+ \ifnum\the\rotatetextcnt=5 \global\rotatetextcnt=0 \fi
+ \@sampletext}
+
+
+\newcommand\commr[1]{\par\bigskip\begin{flushright}#1\end{flushright}}
+\newcommand\comml[1]{\par\bigskip\begin{flushleft}#1\end{flushleft}}
+
+\newcommand\betacomment{\commr{%
+  For instance,\\
+  the Greek letters included in the International Alphabet\\
+  are cut in roman adaptations. Thus, since the ordinary shape of \\
+  the Greek letter $\beta$ does not harmonise with roman type,\\
+  in the International Phonetic Alphabet it is given the form \textipa{B}.\\
+  (\emph{Principles}, 1949, p.~1)}}
+
+\newcommand\thetacomment{\commr{%
+  ... And of the two form of Greek theta, $\theta$ and $\vartheta$,\\ 
+  it has been necessary to choose the first (in vertical form),\\
+  since the second cannot be made to harmonise with\\
+  roman letters. (\emph{Principles}, 1949, p.~2)}}
+
+\newcommand\Sweet{\comml{%
+  \textsc{Phonetics} is the \textbf{science} of speech-sounds.\\
+  From a practical point of view it is the \textbf{art} of producing\\
+  speech-sounds and recognizing them by ear.\par\medskip
+  (Henry Sweet, \emph{A Primer of Phonetics}, 1906; Boldface by
+  Sweet)}}
+
+\newcommand\IPAshape{\comml{%
+  The non-roman letters of the International Phonetic Alphabet\\
+  have been designed as far as possible to harmonise well with \\
+  the roman letters. The Association does not recognise\\
+  makeshift letters; It recognises only letters which have been\\
+  carefully cut so as to be in harmony with the other letters.\par\medskip
+  (\emph{The Principles of the International Phonetic Association}, 1949)}}
+
+\newcommand\upsiloncomment{\commr{%
+    Some phoneticians refer to Upsilon by the name \emph{Bucket},\\
+    but it looks more like an urn to us.\par\medskip
+    (\emph{PSG}, 1996, p.~185)\par\bigskip
+
+    ....................\\
+    ....................\\
+    O Attic shape! Fair attitude! with brede\\
+    Of marble men and maidens overwrought,\\
+    With forest branches and the trodden weed;\\
+    Thou, silent form, dost tease us out of thought\\
+    As doth eternity: Cold Pastoral!\\
+    When old age shall this generation waste,\\
+    Thou shalt remain, in midst of other woe\\
+    Than ours, a friend to man, to whom thou say'st,\\
+    ``Beauty is truth, truth beauty, ---that is all\\
+    Ye know on earth, and all ye need to know.''\par\medskip
+    (John Keats, \emph{Ode on a Grecian Urn})}}
+
+\endinput
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: "tipaman"
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman.tex b/Master/texmf-dist/doc/fonts/tipa/tipaman.tex
new file mode 100644
index 00000000000..94a194189d2
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman.tex
@@ -0,0 +1,45 @@
+% tipaman.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\documentclass[a4paper]{book}
+%\documentclass[b5paper]{book}
+
+% Uncomment the following three lines if you want to compile this manual
+% by using Times Roman and XIPA.
+%\usepackage{times}
+%\renewcommand\ttdefault{cmtt}
+
+\usepackage{tipaman}
+
+\begin{document}
+\frontmatter
+\include{tipaman0}
+\clearemptydoublepage
+\tableofcontents
+\clearemptydoublepage
+\mainmatter
+\include{tipaman1}
+\clearemptydoublepage
+\include{tipaman2}
+\clearemptydoublepage
+\include{tipaman3}
+\clearemptydoublepage
+\include{tipaman4}
+
+\end{document}
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: t
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman0.tex b/Master/texmf-dist/doc/fonts/tipa/tipaman0.tex
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+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman0.tex
@@ -0,0 +1,51 @@
+% tipaman0.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\thispagestyle{empty}
+
+\vspace*{\stretch{2}}
+
+\begin{center}
+\renewcommand\sfdefault{cmss}
+{\Huge \textsf{\textbf{TIPA Manual}}}
+\par\vspace{1cm}
+{\huge \textsf{\textbf{Version 1.3}}}
+\par\vspace{5cm}
+{\huge \textsf{\textbf{Rei Fukui}}}
+\par\vspace{1cm}
+{\LARGE \textsf{\textbf{Graduate School of Humanities and\\[4mm] Sociology}}}
+\par\vspace{.5cm}
+{\LARGE \textsf{\textbf{The University of Tokyo}}}
+\par\vspace{1cm}
+{\Large \textit{fkr@l.u-tokyo.ac.jp}}
+\par\vspace{1cm}
+{\LARGE \textsf{\textbf{25 March 2004}}}
+\end{center}
+
+\vspace*{\stretch{2}}
+
+\newpage
+\thispagestyle{empty}
+
+\vspace*{\stretch{2}}
+
+\Sweet
+\IPAshape
+
+\vspace*{\stretch{2}}
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: "tipaman"
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman1.tex b/Master/texmf-dist/doc/fonts/tipa/tipaman1.tex
new file mode 100644
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+% tipaman1.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\chapter{Introduction}
+
+\tipa{}\footnote{\tipa{} stands for \emph{\TeX\ IPA} or \emph{Tokyo
+    IPA}. The primary ftp site in which the latest version of \tipa{}
+  is placed is \texttt{ftp://tooyoo.L.u-tokyo.ac.jp/pub/TeX/tipa}, and
+  also it is mirrored onto the directory \texttt{fonts/tipa} of the
+  CTAN archives.} is a system for processing IPA (International
+Phonetic Alphabet) symbols in \LaTeX. It is based on
+\tsipa{}\footnote{\tsipa{} was made in 1992 by Kobayashi Hajime, Fukui
+  Rei and Shirakawa Shun. It is available from a CTAN archive.
+
+  One problem with \tsipa{} was that symbols already included in
+  \texttt{OT1}, \texttt{T1} or Math fonts are excluded, because of the
+  limitation of its 128 character encoding. As a result, a string of
+  phonetic representation had to be often composed of symbols from
+  different fonts, disabling the possibility of automatic inter-word
+  kerning, and also too many symbols had to be realized as macros.}
+but both \MF{} source codes and \LaTeX{} macros have been thoroughly
+rewritten so it can be considered as a new system.
+
+Among many features of \tipa{}, the following are the new features 
+as compared with \tsipa{} or any other existing systems for processing
+IPA symbols.
+
+\begin{itemize}
+\itemsep0pt
+\item A new 256 character encoding for phonetic symbols
+  (`\texttt{T3}'), which includes all the symbols and diacritics found
+  in the recent versions of IPA and some non-IPA symbols.
+\item Complete support of \LaTeXe.
+\item A variety of font styles including roman, slanted, bold, bold
+  extended, sans serif and typewriter.
+\item Easy input method in the IPA environment.
+\item Extended macros for accents and diacritics.\footnote{These
+    macros are now defined in a separate file called
+    `\texttt{exaccent.sty}' in order for the authors of other
+    packages to be able to make use of them. The idea of separating
+    these macros from other ones was suggested by Frank Mittelbach.}
+\item A flexible system of macros for `tone letters'.
+\item An optional package (\texttt{vowel.sty}) for drawing vowel
+  diagrams. This package can be used independently from the \tipa{}
+  package.\footnote{Documentation is also made separately in
+    `\texttt{vowel.tex}' so that no further mention will be made
+    here.}
+\item A slightly modified set of fonts that go well when used with
+  Times Roman and Helvetica fonts.
+\end{itemize}
+
+
+\section{Installation}
+
+\subsection{Basics}
+
+In a CTAN site or any other sites that have a copy of the \tipa{}
+package, the directory structure of \tipa{} looks as follows.
+
+\begin{quote}
+  \verb|sty| --- containing \verb|*.sty|, \verb|*.fd|, \verb|*.def|
+  files.\\
+  \verb|mf | --- containing \MF{} source files.\\
+  \verb|tfm| --- containing font metric files.\\
+  \verb|doc| --- containing document files.\\
+  \verb|dvips| --- containing tipa.map file.\\
+  \verb|type1| --- containing PostScript type1 fonts.
+\end{quote}
+
+If you are using a recent set of \LaTeX2e distribution, all you need
+to do is basically only two things.
+
+\begin{itemize}
+\item Copy all the files in the \verb|sty| directory into an
+  appropriate place.
+\item Copy all the files in the \verb|mf| directory into an
+  appropriate place.
+\end{itemize}
+
+In the case of a popular Unix-like OS, the actual installation
+procedure will look like the following.
+
+(\verb|$texmf| stands for your \TeX{} system directory; %$
+\verb|/usr/local/share/texmf|, for example).
+
+\begin{quote}
+  \verb|mkdir $texmf/tex/latex/tipa| %$
+    --- create a directory for style files.\\
+  \verb|cp sty/* $texmf/tex/latex/tipa| %$
+    --- copy all the files in \verb|sty|.\\
+  \verb|mkdir $texmf/fonts/source/fkr| %$
+    --- create a directory for\\
+  \verb|mkdir $texmf/fonts/source/fkr/tipa| %$
+    \hspace{1em}  mf files.\\
+  \verb|cp mf/* $texmf/fonts/source/fkr/tipa| %$
+    --- copy all the \verb|mf| files.\\
+  \verb|mktexlsr| --- update the kpathsea database.
+\end{quote}
+
+If you are using Windows or Mac, follow the equivalent steps: i.e.,
+create a directory/folder for style files and copy the contents of the 
+\tipa{} \verb|sty| directory/folder; then, create a directory/folder
+for \MF{} source files and copy the contents of the 
+\tipa{} \verb|mf| directory/folder.
+
+If you are going to run \tipa{} on the basis of \texttt{pk} files, all 
+other things such as \texttt{tfm} files and \texttt{pk} files will be
+generated automatically. That's all for the installation.
+
+You may optionally copy all the \texttt{tfm} files into an appropriate
+directory which \TeX{} and device driver programs can find. This will
+save time for the automatic font generation.
+
+\begin{quote}
+  \verb|mkdir $texmf/fonts/tfm/fkr| \\%$
+  \verb|mkdir $texmf/fonts/tfm/fkr/tipa| \\%$
+  \verb|cp tfm/* $texmf/fonts/tfm/fkr/tipa| %$
+\end{quote}
+
+If your \TeX{} system is not equiped with the automatic font
+generation mechanism, you may have to create and install \texttt{pk}
+files by yourself. For example:
+
+\begin{quote}
+  (generate pk font files; please ask someone how to do this.)\\
+  \verb|mkdir $texmf/fonts/pk/ljfour/fkr|\\ %$
+  \verb|mkdir $texmf/fonts/pk/ljfour/fkr/tipa|\\ %$
+  \verb|cp *pk $texmf/fonts/pk/ljfour/fkr/tipa| %$
+\end{quote}
+
+
+\subsection{Installing Type1 fonts}\label{sec:pdf}
+
+If you want to create a PDF document, you need to install Type1 fonts.
+First, copy the contents of the directories \texttt{dvips} and
+\texttt{type1} onto appropriate directories. For example:
+
+\begin{quote}
+  \verb|cp dvips/tipa.map $texmf/dvips/config|\\ %$
+  \verb|mkdir $texmf/fonts/type1/fkr|\\ %$
+  \verb|mkdir $texmf/fonts/type1/fkr/tipa|\\ %$
+  \verb|cp type1/* $texmf/fonts/type1/fkr/tipa|\\ %$
+  \verb|mktexlsr| --- update the kpathsea database.
+\end{quote}
+
+Then, edit config files for your device driver. In the case
+of \texttt{dvips}, edit \texttt{config.ps} and/or \texttt{config.pdf},
+for example, and insert a line containing:
+
+\begin{quote}
+  \texttt{p +tipa.map}
+\end{quote}
+
+There are several ways to make PDF documents. The author of this
+document usually uses \texttt{dvips}. For example:
+
+\begin{quote}
+  \texttt{dvips -Ppdf tipaman}
+\end{quote}
+
+\noindent will produce \texttt{tipaman.ps}. In this case, \texttt{config.pdf}
+has to be modified as explained above. Then, by using Acrobat
+Distiller (this is not free software), you can convert it to a PDF
+file. Alternatively, you can use free software such as
+\texttt{dvipdfm}, \texttt{dvipdf}, \texttt{pdflatex}, and so on.
+
+In the case of \texttt{pdflatex}, for example, you have to copy the file
+\texttt{tipa.map} onto the following directory.
+
+\begin{quote}
+  \verb|$texmf/pdftex/config|%$
+\end{quote}
+
+Then, edit \texttt{pdftex.cfg} and insert a line containing:
+
+\begin{quote}
+  \texttt{map +tipa.map}
+\end{quote}
+
+
+\section{\tipa{} font families}
+
+This version of \tipa{} includes two families of IPA fonts,
+\texttt{tipa} and \texttt{xipa}. The former family of fonts is for
+normal use with \LaTeX, and the latter family is intended to be used
+with `\texttt{times.sty}'(PSNFSS). They all have the same \texttt{T3}
+encoding as explained in the previous section.
+
+\begin{itemize}
+\item \texttt{tipa}
+  \begin{description}
+  \item[Roman:]
+    \texttt{tipa8}, \texttt{tipa9}, \texttt{tipa10}, \texttt{tipa12},
+    \texttt{tipa17}
+  \item[Slanted:]
+    \texttt{tipasl8}, \texttt{tipasl9}, \texttt{tipasl10},
+    \texttt{tipasl12}
+  \item[Bold extended:]
+    \texttt{tipabx8}, \texttt{tipabx9},
+    \texttt{tipabx10}, \texttt{tipabx12}
+  \item[Bold extended Slanted:] \texttt{tipabs10}
+  \item[Sans serif:]
+    \texttt{tipass8}, \texttt{tipass9}, \texttt{tipass10},
+    \texttt{tipass12}, \texttt{tipass17}
+  \item[Sans serif Bold extended:] \texttt{tipasb10}
+  \item[Sans serif Slanted:] \texttt{tipasi10}
+  \item[Bold:] \texttt{tipab10}
+  \item[Typewriter Text:]
+    \texttt{tipatt8}, \texttt{tipatt9}, \texttt{tipatt10},
+    \texttt{tipatt12}
+  \item[Typewriter Text Slanted:] \texttt{tipats10}
+  \end{description}
+\item \texttt{xipa}
+  \begin{description}
+  \item[Roman:] \texttt{xipa10}
+  \item[Slanted:] \texttt{xipasl10}
+  \item[Bold:] \texttt{xipab10}
+  \item[Bold Slanted:] \texttt{xipabs10}
+  \item[Sans serif Bold:] \texttt{xipasb10}
+  \item[Sans serif Slanted:] \texttt{xipasi10}
+  \end{description}
+\end{itemize}
+
+All these fonts are made by \MF{}, based on the Computer Modern font
+series. In the case of the \texttt{xipa} series, parameters are
+adjusted so as to look fine when used with Times Roman (in the cases
+of \texttt{xipa10}, \texttt{xipasl10}, \texttt{xipab10}) and Helvetica
+(in the case of \texttt{xipass10}).
+
+
+\clearemptydoublepage
+\chapter{TIPA Encoding}
+
+\section{Selection of symbols}\label{sec:selection}
+
+\subsection{IPA symbols}
+
+When the first version of \tipa{} (version 1.0) was released, the
+selection of IPA phonetic symbols was made based on the following
+works.
+
+\begin{itemize}
+\item \emph{Phonetic Symbol Guide} \citep{PSG:I}.
+\item The official IPA charts of '49, '79, '89 and '93 versions.
+\item Articles published in the
+  \emph{JIPA}\footnote{\emph{Journal of the International Phonetic
+      Association.}}, such as \cite{IPA:KielConvention},
+  \cite{IPA:FurtherReport}, \cite{Esling:ComputerCodes},
+  \cite{IPA:CouncilActions}, and so on.
+\item An unpublished paper by J.\ C.\ Wells:
+ ``Computer-coding the IPA: a proposed extension of SAM\-PA'' \citep{SAMPA}.
+\item Popular textbooks on phonetics.
+\end{itemize}
+
+More specifically, this first version tried to incorporate all the
+symbols and diacritics defined in the '79, '89 and '93 versions of IPA
+and some non-IPA symbols. And in the case of the '49 version of
+IPA, as was described in the \textit{Principles} \citep{Principles},
+there were too many obsolete symbols and only those symbols that had
+had some popularity at least for some time or for some group of people
+were included.
+
+Then, soon after the first release, several important works were
+published.
+
+\begin{itemize}
+\item The second edition of \emph{Phonetic Symbol Guide}
+  \citep{PSG:II}. (henceforth abbreviated as \PSG.)
+\item The official IPA chart of '96 version.
+\item ``Preview of the IPA Handbook'' \citep{IPA:Preview}.
+\item \emph{Handbook of the International Phonetic Association}
+  \citep{Handbook}. (henceforth abbreviated as \Handbook.)
+\end{itemize}
+
+The differences between '93 and '96 versions of IPA are very
+few. However, the second edition of \PSG\ contains much more symbols
+than before.
+
+The current version of tipa{} (version 1.1) is a result of an effort
+to increase the number of symbols as much as possible and to cover
+almost all the symbols included in \PSG.  However, the 256 character
+encoding (see next section for detail) used in \tipa{} has been
+already filled with symbols assigned in the first release. Therefore,
+it was necessary to create a set of new auxiliary fonts to include
+new symbols, and the new set of fonts is now called \tipx{}.
+
+It should be also noted that \tipa{} includes all the necessary
+elements of `tone letters', enabling all the theoretically possible
+combinations of the tone letter system. This system was devised by
+Yuen-Ren Chao \citep{Chao:ToneLetters} and it is now admitted as an
+official way of representing tones in the recent publication of the
+International Phonetic Association.
+
+But the treatment of tone letters is quite insufficient in that only a
+limited number of combinations is allowed. This is apparently due to
+the fact that there has been no `portable' way of combining symbols
+that can be used across various computer environments. Therefore
+\TeX's productive system of macro is an ideal tool for handling a
+system like tone letters.
+
+In the process of writing \MF{} source codes for \tipa{} phonetic
+symbols there have been many problems besides the one with the
+selection of symbols.  One such problem was that sometimes the
+exact shape of a symbol was unclear.  For example, the shapes of the
+symbols such as \textstretchc\ (Stretched C), and \textctj\ (Curly-tail J)
+differ according to sources. This is partly due to the fact that the
+IPA has been continuously revised for the past few decades, and partly
+due to the fact that different ways of computerizing phonetic symbols
+on different systems have resulted in a diversity of the shapes of
+phonetic symbols.
+
+Although there is no definite answer to such a problem yet, it seems
+to me that it is a privilege of those working with \MF{} to have a
+systematic way of controlling the shapes of phonetic symbols.
+
+\subsection{Non-IPA symbols}
+
+Besides IPA symbols, \tipa{} also contains symbols that are useful for
+the following areas of phonetics and linguistics.
+
+\begin{itemize}
+\itemsep0pt
+\item Symbols used in the American phonetics. (e.g., \textturncelig,
+  \textsce, \textscomega, \textlambda, etc.)
+\item Symbols used in the historical study of Indo-European languages.
+  (e.g., \textthorn, \textwynn, \texthvlig, \textcommatailz,
+  \textsoftsign, \texthardsign, and accents such as \textipa{\'=a},
+  \textipa{\.'e}, etc.)
+\item Symbols used in the phonetic description of languages in East Asia.
+  (e.g., \textlhtlongi, \textvibyi, \textctd, \textctn, \textctt, etc.)
+\item Diacritics used in `ExtIPA Symbols for Disordered
+  Speech' \citep{extIPA} and `VoQS (Voice Quality Symbols)' \citep{VoQS}.
+  (e.g., \bibridge{n}, \subdoublevert{f}, \crtilde{m}, etc.)
+\end{itemize}
+
+
+\section{Encoding}
+
+\begin{table}[t]
+\begin{center}\tabcolsep1em
+\def\zerobox#1{\hbox to0pt{\hss #1\hss}}
+\def\MCL#1#2{\multicolumn{#1}{|c|}{#2}}
+\begin{tabular}{|c|c|c|c|c|c|c|c|c|}
+\hline
+  &{\it'0}&{\it'1}&{\it'2}&{\it'3}&{\it'4}&{\it'5}&{\it'6}&{\it'7}\\
+\hline
+  {\it'00x}& \MCL{8}{} \\
+           & \MCL{8}{Accents and diacritics} \\
+  {\it'04x}& \MCL{8}{} \\
+\hline
+  {\it'05x}& \MCL{8}{Punctuation marks} \\
+\hline
+  {\it'06x}& \MCL{8}{Basic IPA symbols I (vowels)} \\
+\cline{4-9}
+  {\it'07x}& \MCL{2}{} & \MCL{6}{Diacritics, etc.} \\
+\hline
+  {\it'10x}& \MCL{8}{} \\
+           & \MCL{8}{Basic IPA symbols II} \\
+           & \MCL{8}{} \\
+\cline{5-9}
+  {\it'13x}& \MCL{3}{} & \MCL{5}{Diacritics, etc.} \\
+\hline
+  {\it'14x}& \MCL{1}{\zerobox{Punct\kern-.1em.}} & \MCL{7}{} \\
+\cline{2-2}
+           & \MCL{8}{Basic IPA symbols III} \\
+           & \MCL{8}{(lowercase letters)} \\
+\cline{8-9}
+  {\it'17x}& \MCL{6}{} & \MCL{2}{\zerobox{Diacritics}}\\
+\hline
+  {\it'20x}& \MCL{8}{} \\
+           & \MCL{8}{Tone letters and other suprasegmentals} \\
+  {\it'23x}& \MCL{8}{} \\
+\hline
+  {\it'24x}& \MCL{8}{} \\
+           & \MCL{8}{Old IPA, non-IPA symbols} \\
+  {\it'27x}& \MCL{8}{} \\
+\hline
+  {\it'30x}& \MCL{8}{} \\
+           & \MCL{8}{Extended IPA symbols} \\
+\cline{8-9}
+  {\it'33x}& \MCL{6}{} & \MCL{2}{\zerobox{Germanic}}\\
+\hline
+  {\it'34x}& \MCL{8}{} \\
+           & \MCL{8}{Basic IPA symbols IV} \\
+\cline{8-9}
+  {\it'37x}& \MCL{6}{} & \MCL{2}{\zerobox{Germanic}}\\
+\hline
+\end{tabular}
+\end{center}
+\caption{Layout of the {\tt T3} encoding}\label{tab:TIPAenc}
+\end{table}
+
+
+The 256 character encoding of \tipa{} is now officially called the
+`\texttt{T3}' encoding.\footnote{In a discussion with the \LaTeXe{}
+  team it was suggested that the 128 character encoding used in WSUIPA
+  would be referred to as the \texttt{OT3} encoding.} In deciding this
+new encoding, care is taken to harmonize with other existing 
+encodings, especially with the \texttt{T1} encoding. Also the easiness
+of inputting phonetic symbols is taken into consideration in such a
+way that frequently used symbols can be inputted with small number of
+keystrokes.
+
+Table~\ref{tab:TIPAenc} shows the layout of the \texttt{T3} encoding.
+
+The basic structure of the encoding found in the first half of the
+table (character codes \texttt{'000-'177}) is based on normal text
+encodings (ASCII, \texttt{OT1} and \texttt{T1}) in that sectioning of
+this area into several groups, such as the section for accents and
+diacritics, the section for punctuation marks, the section for
+numerals, and the sections for uppercase and lowercase letters, is
+basically the same with these encodings.
+
+Note also that the \texttt{T3} encoding contains not only phonetic
+symbols but also usual punctuation marks that are used with phonetic
+symbols, and in such cases the same codes are assigned as the normal
+text encodings. However, it is a matter of trade-off to decide which
+punctuation marks are to be included. For example `:' and `;' might
+have been preserved in \texttt{T3} but in this case `:' has been
+traditionally used as a substitute for the length mark `\textipa{:}' so
+that I decided to exclude `:' in favor of the easiness of inputting the
+length mark by a single keystroke.
+
+The encoding of the section for accents and diacritics is closely
+related to \texttt{T1} in that the accents commonly included in
+\texttt{T1} and \texttt{T3} have the same encoding.
+
+The sections for numerals and uppercase letters are filled with
+phonetic symbols that are used frequently in many languages, because
+numerals and uppercase letters are usually not used as phonetic
+symbols. Also, the assignments made here are used as the `shortcut
+characters', which will be explained in section~\ref{sec:OrdinarySymbol}.
+
+As for the section for uppercase letters in the usual text encoding, a
+series of discussion among the members of the \texttt{ling-tex}
+mailing list revealed that there seem to be a certain amount of
+consensus on what symbols are to be assigned to each code. For example,
+they were almost unanimous for the assignments such as \textipa{A} for
+\texttt{A}, \textipa{B} for \texttt{B}, \textipa{D} for \texttt{D},
+\textipa{S} for \texttt{S}, \textipa{T} for \texttt{T}, etc. For more
+details, see table~\ref{tab:shortcut}.
+
+\begin{table}[t]
+\begin{center}
+\let\:\texttt \let\;\textipa
+\begin{tabular}{l|cccccccccc}
+\hline
+\textit{ASCII}&\:: &\:; &\:" & & & & & & &\\
+\textit{TIPA} &\;: &\;; &\;" & & & & & & &\\
+\hline
+\textit{ASCII}&\:0 &\:1 &\:2 &\:3 &\:4 &\:5 &\:6 &\:7 &\:8 &\:9\\
+\textit{TIPA} &\;0 &\;1 &\;2 &\;3 &\;4 &\;5 &\;6 &\;7 &\;8 &\;9\\
+\hline
+\textit{ASCII}&\:@ &\:A &\:B &\:C &\:D &\:E &\:F &\:G &\:H &\:I\\
+\textit{TIPA} &\;@ &\;A &\;B &\;C &\;D &\;E &\;F &\;G &\;H &\;I\\
+\hline
+\textit{ASCII}&\:J &\:K &\:L &\:M &\:N &\:O &\:P &\:Q &\:R &\:S\\
+\textit{TIPA} &\;J &\;K &\;L &\;M &\;N &\;O &\;P &\;Q &\;R &\;S\\
+\hline
+\textit{ASCII}&\:T &\:U &\:V &\:W &\:X &\:Y &\:Z &\:| &  &\\
+\textit{TIPA} &\;T &\;U &\;V &\;W &\;X &\;Y &\;Z &\;| &  &\\
+\hline
+\end{tabular}
+\end{center}
+\caption{\tipa{} shortcut characters}\label{tab:shortcut}
+\end{table}
+
+The encoding of the section for numerals was more difficult than the
+above case. One of the possibilities was to assign symbols based on the
+resemblance of shapes. One can easily think of assignments such as
+\textipa{3} for \texttt{3}, \texthtb{} for \texttt{6}, etc. But the
+resemblance of shape alone does not serve as a criteria for all the
+assignments. So I decided to assign basic vowel symbols to this
+section.\footnote{This idea was influenced by the above mentioned
+  article by J.\ C.\ Wells \citep{SAMPA}.} Fortunately the resemblance
+of shape is to some extent maintained as is shown in
+table~\ref{tab:shortcut}.
+
+The encoding of the section for lowercase letters poses no problem
+since they are all used as phonetic symbols. Only one symbol, namely
+`\textipa{g}', needs some attention because its shape should be
+`\textipa{g}', rather than `g', as a phonetic symbol.\footnote{%
+  However, it was declared that these two symbols are equivalent in
+  the most recent version of the IPA.  Anyway, alternative shape
+  `\textg' is preserved in another section and can be used as
+  \texttt{\tbs textg}. }
+
+The second half of the table (character codes \texttt{'200-'377}) is
+divided into four sections. The first section is devoted to the
+elements of tone letters and other suprasegmental symbols.
+
+Among the remaining three sections the last section \texttt{'340-'377}
+contains more basic symbols than the other two sections. This is a
+result of assigning the same character codes as latin-1 (ISO8859-1)
+and T1 encodings to the symbols that are commonly included in \tipa{},
+latin-1 and T1 encoded fonts.\footnote{This is based on a suggestion
+  by J\"org Knappen.} These are the cases of \ae{}, \o, \oe{}, \c{c}
+and \textthorn. And within each section, symbols are arranged largely
+in alphabetical order.
+
+For a table of the \texttt{T3} encoding, see Appendix
+\ref{sec:FontLayout}.
+
+
+
+\clearemptydoublepage
+\chapter{Usage}
+
+\section{Declaration of \tipa{} package}
+
+In order to use \tipa{}, first declare \texttt{tipa.sty} package at
+the preamble of a document.
+
+\begin{verbatim}
+    \documentclass{article}
+    \usepackage{tipa}
+\end{verbatim}
+
+If you want to use an additional set of phonetic symbols, declare
+\texttt{tipx.sty} after the declaration of \texttt{tipa.sty}.
+
+\begin{verbatim}
+    \documentclass{article}
+    \usepackage{tipa}
+    \usepackage{tipx}
+\end{verbatim}
+
+\subsection{Encoding options}
+
+The above declaration uses \texttt{OT1} as the default text encoding. If 
+you want to use \tipa{} symbols with \texttt{T1}, specify the option
+`\texttt{T1}'.
+
+\begin{verbatim}
+    \documentclass{article}
+    \usepackage[T1]{tipa}
+\end{verbatim}
+
+If you want to use a more complex form of encoding, declare the use of
+\texttt{fontenc} package by yourself and specify the option
+`\texttt{noenc}'. In this case the option `\texttt{T3}', which represents
+the \tipa{} encoding, must be included as an option to the
+\texttt{fontenc} package. For example, if you want to use \tipa{} and
+the University Washington Cyrillic (\texttt{OT2}) with the \texttt{T1}
+text encoding, the following command will do this.
+
+\begin{verbatim}
+    \documentclass{article}
+    \usepackage[T3,OT2,T1]{fontenc}
+    \usepackage[noenc]{tipa}
+\end{verbatim}
+
+By default, \tipa{} includes the \texttt{fontenc} package internally but 
+the option \texttt{noenc} suppresses this.
+
+\subsection{Using \tipa{} with PSNFSS}
+
+In order to use \tipa{} with \texttt{times.sty}, declare the use of
+\texttt{times.sty} before declaring \texttt{tipa} packages.
+
+\begin{verbatim}
+    \documentclass{article}
+    \usepackage{times}
+    \usepackage{tipa}
+\end{verbatim}
+
+Font description files \texttt{t3ptm.fd} and \texttt{t3phv.fd} 
+are automatically loaded by the above declaration.
+
+This manual can be typeset with Times Roman and \textsf{XIPA} fonts by
+uncommenting a few lines that appear near the top of the file
+\texttt{tipaman.tex}.
+
+\subsection{Other options}\label{sec:otheroptions}
+
+\tipa{} can be extended by the options \texttt{tone}, \texttt{extra}.
+
+If you want to use the optional package for `tone letters', add
+`\texttt{tone}' option to the \verb|\usepackage| command that declares
+\texttt{tipa} package.
+
+\begin{verbatim}
+    \usepackage[tone]{tipa}
+\end{verbatim}
+
+And if you want to use diacritics for extIPA and Vo\-QS, specify
+`\texttt{extra}' option.
+
+\begin{verbatim}
+    \usepackage[extra]{tipa}
+\end{verbatim}
+
+Finally, there is one more option called `\texttt{safe}', which is used
+to suppress definitions of some possibly `dangerous' commands of
+\tipa.
+
+\begin{verbatim}
+    \usepackage[safe]{tipa}
+\end{verbatim}
+
+More specifically, the following commands are suppressed by declaring
+the \texttt{safe} option.  Explanation on the function of each command
+will be given later.
+
+\begin{itemize}
+\itemsep0pt
+\item \verb|\s| \quad Equivalent to \verb|\textsyllabic|; maybe harmless
+  but too short for a control sequence name.
+\item \verb|\*| \quad Already defined in plain \TeX;  however, many consider
+  its redefinition harmless.
+\item \verb+\|+, \verb|\:|, \verb|\;|, \verb|\!| \quad Already defined in
+  \LaTeX; these redefinitions are obviously the most dangerous
+  ones. However, remedies are prepared even in `unsafe' mode.
+  There is a command called \verb|\Vert| which has the same meaning as 
+  \verb+\|+ and can be used in `unsafe' mode. For the remaining three
+  commands, \tipa{} provides commands called \verb|\tipamedspace|,
+  \verb|\tipathickspace| and \verb|\tipanegthinspace| which retain the
+  meanings of \verb|\:|, \verb|\;| and \verb|\!|, respectively, even in
+  the `unsafe mode'.
+\end{itemize}\label{unsafemode}
+
+Despite the above `remedies', you may sometimes want to use the above
+commands with their original names in the `unsafe' mode. In such
+cases, a command called \texttt{\tbs tipasafemode} can be used. For
+example:
+
+\begin{tipaexample}
+  \yitem
+    \verb+\textipa{[\!b] [\:r] [\;B]}\quad{\tipasafemode+\\
+    \verb+  $ a\:a\quad b\;b\quad c\!c\quad\| $}\quad+\\
+    \verb+\textipa{[\!b] [\:r] [\;B] (back again!)}+
+  \yitem
+    \textipa{[\!b] [\:r] [\;B]}\quad
+    {\tipasafemode $ a\:a\quad b\;b\quad c\!c\quad\| $}\quad
+    \textipa{[\!b] [\:r] [\;B] (back again!)}
+\end{tipaexample}
+
+As is shown in this example, \texttt{\tbs tipasafemode} must be used
+within a group. Otherwise, the meanings of \tipa{}'s special macros
+are lost.
+
+Finally, more than one options can be specified at the same
+time, by separating a comma. For example:
+
+\begin{verbatim}
+    \usepackage[tone,extra,safe]{tipa}
+\end{verbatim}
+
+\section{Input commands for phonetic symbols}
+\subsection{Ordinary phonetic symbols}\label{sec:OrdinarySymbol}
+
+\tipa{} phonetic symbols can be inputted by the following two ways.
+
+\begin{enumerate}
+\itemsep0pt
+\item Input macro names in the normal text environment.
+\item Input macro names or \emph{shortcut characters} with\-in the
+  following groups or environment.
+  \begin{itemize}
+  \item \verb|\textipa{...}|\footnote{I personally prefer a slightly
+      shorter name like \texttt{\tbs ipa} rather than \texttt{\tbs
+        textipa} so that I usually put a command \texttt{\tbs let\tbs
+        ipa\tbs textipa} somewhere in my style file. However, this
+      command was named after the general convention of \LaTeXe. The
+      same can be said for all the symbol names beginning with
+      \texttt{\tbs text}.}
+  \item \verb|{\tipaencoding ...}|
+  \item \verb|\begin{IPA} ... \end{IPA}|
+  \end{itemize}
+  (These groups and environment will be henceforth referred to as the
+  \textsl{IPA environment}.)
+\end{enumerate}
+
+A shortcut character refers to a single character that is assigned to
+a specific phonetic symbol and that can be directly inputted by an
+ordinary keyboard. In \tipa{} fonts, the character codes for numerals
+and uppercase letters in the normal ASCII encoding are assigned to such
+shortcut characters, because numerals and uppercase letters are
+usually not used as phonetic symbols.  Additional shortcut
+characters for symbols such as \ae{}, \oe{}, \o{} may also be used if
+you are using a T1 encoded font and an appropriate input system for
+it.
+
+The following pair of examples show the same phonetic transcription of 
+an English word that are inputted by the above mentioned two input methods.
+
+\begin{tipaexample}
+  \xitem
+    \verb|[\textsecstress\textepsilon kspl\textschwa|\\
+    \verb|\textprimstress ne\textsci\textesh\textschwa n]|
+  \xitem {[\textsecstress\textepsilon kspl\textschwa\textprimstress
+    ne\textsci\textesh\textschwa n]}
+  \xitem \verb|\textipa{[""Ekspl@"neIS@n]}|
+  \xitem \textipa{[""Ekspl@"neIS@n]}
+\end{tipaexample}
+
+It is apparent that inputting shortcut characters in the IPA
+environment is far easier than inputting lengthy symbol names in the
+normal text environment.
+
+Moreover, although the outputs of the above examples look
+almost the same, they are \textsl{not\/} identical, exactly
+speaking. This is because in the IPA environment automatic kerning
+between neighboring symbols is enabled, as is illustrated by the
+following pair of examples.
+
+\begin{tipaexample}
+  \xitem \verb|v\textturnv v w\textsca w |
+         \verb|y\textturny y [\textesh]|
+  \xitem v\textturnv v w\textsca w y\textturny y [\textesh]
+  \xitem \verb|\textipa{v2v w\textsca w yLy [S]}|
+  \xitem \textipa{v2v w\textsca w yLy [S]}
+\end{tipaexample}
+
+In the next example, \emph{Input 2} is far better theen \emph{Input 1}, 
+for the same reason.
+
+\begin{tipaexample}
+  \xitem \verb|[\textipa{S}]|
+  \xitem [\textipa{S}]
+  \xitem \verb|\textipa{[S]}|
+  \xitem \textipa{[S]}
+\end{tipaexample}
+
+Therefore, it is recommended to use \texttt{\tbs textipa} or other IPA
+environments as much as possible.
+
+Table~\ref{tab:shortcut} shows most of the shortcut characters that
+can be used in the IPA environment, together with the corresponding
+characters in the ASCII encoding.
+
+
+\begin{table}
+\begin{center}\tabcolsep1em
+\begin{tabular}{llc}
+\hline
+  \emph{Symbol name}  & \emph{Macro name}  & \emph{Symbol}\\
+\hline
+  Turned A            & \verb|\textturna|      & \textturna  \\
+  Glottal stop        & \verb|\textglotstop|   & \textglotstop \\
+  Right-tail D        & \verb|\textrtaild|     & \textrtaild \\
+  Small capital G     & \verb|\textscg|        & \textscg \\
+  Hooktop B           & \verb|\texthtb|        & \texthtb \\
+  Curly-tail C        & \verb|\textctc|        & \textctc \\
+  Crossed H           & \verb|\textcrh|        & \textcrh \\
+  Old L-Yogh ligature & \verb|\textOlyoghlig|  & \textOlyoghlig \\
+  Beta                & \verb|\textbeta|       & \textbeta \\
+\hline
+\end{tabular}
+\end{center}
+\caption{Naming of \tipa{} symbols}\label{tab:naming}
+\end{table}
+
+\subsection{Naming of phonetic symbols}
+
+Every \tipa{} phonetic symbol has a unique symbol name, such as
+\textsl{Turned A, Hooktop B, Schwa}. Also each symbol has a
+corresponding macro name, such as \verb|\textturna|, \verb|\texthtb|,
+\verb|\textschwa|. The naming was made based on the literature listed
+in section~\ref{sec:selection}.  Among them, \PSG{} is particularly
+important because it gives several explicit principles on naming. As
+an example, the three terms `turned', `inverted' and `reversed' are
+distinguished in the following way (p.\ xxvii):
+
+\begin{quote}
+\begin{description}\itemsep0pt
+\item[Turned] rotated by 180 degrees (e.g., \textipa{t} vs. \textipa{\*t})
+\item[Inverted] vertical mirror image (e.g., \textipa{\;R} vs. \textipa{K})
+\item[Reversed] horizontal mirror image (e.g., \textipa{P} vs. \textipa{Q})
+\end{description}
+\end{quote}
+
+The name used as a control sequence is usually an abbreviated form of
+the corresponding symbol name with a prefix \verb|\text|. The
+conventions used in the abbreviation can be summarized as follows.
+
+\begin{itemize}
+\itemsep0pt
+\item Suffixes and endings such as `-ive', `-al', `-ed' are omitted.
+\item `right', `left' are abbreviated to \texttt{r}, \texttt{l} respectively.
+\item For `small capital' symbols, prefix \texttt{sc} is added.
+\item A symbol with a hooktop is abbreviated as \texttt{ht}...
+\item A symbol with a curly-tail is abbreviated as \texttt{ct}...
+\item A `crossed' symbol is abbreviated as \texttt{cr}...
+\item A ligature is abbreviated as ...\texttt{lig}.
+\item For an old version of a symbol, prefix \texttt{O} is added.
+\end{itemize}
+
+Note that the prefix \texttt{O} (old) should be given in uppercase
+letter.
+
+Table~\ref{tab:naming} shows some examples of correspondence between
+symbol names and control sequence names.
+
+\subsection{Ligatures}
+
+Just like the symbols such as ``, '', --, ---, fi, ff are realized as
+ligatures by inputting \verb|``|, \verb|''|, \verb|--|, \verb|---|,
+\verb|fi|, \verb|ff| in \TeX{}, two of the \tipa{} symbols, namely
+\textsl{Secondary Stress} and \textsl{Double Pipe}, and double
+quotation marks\footnote{Although \tipa{} fonts do not include the
+  symbols `` and '', a negative value of kerning is automatically
+  inserted between ` and `, ' and ', so that the same results can be
+  obtained as in the case of the normal text font.} can be inputted as
+ligatures in the IPA environment.
+
+\begin{tipaexample}
+  \yitem \verb+\textipa{" "" | || `` ''}+
+  \yitem \textipa{" "" | || `` ''}
+\end{tipaexample}
+
+\subsection{Special macros {\tt\tbs*}, {\tt\tbs;}, {\tt\tbs:} and
+  {\tt\tbs!}}\label{sec:specialmacros}
+
+\tipa{} defines {\tt\tbs*}, {\tt\tbs:}, {\tt\tbs;} and {\tt\tbs!} as
+special macros in order to easily input phonetic symbols that do not
+have a shortcut character explained above.  Before explaining how to
+use these macros, it is necessary to note that these macros are
+primarily intended to be used by linguists who usually do not care
+about things in math mode. And they can be `dangerous' in that they
+override existing \LaTeX{} commands used in the math mode. So if you
+want to preserve the original meaning of these commands, declare the
+option `\texttt{safe}' at the preamble.
+(However, \tipa{} provides cammands called \verb|\tipamedspace|,
+\verb|\tipathickspace| and \verb|\tipanegthinspace|, having the same
+meanings as {\tt\tbs:}, {\tt\tbs;} and {\tt\tbs!}, respectively. These
+can be used even in `unsafe' mode.)
+
+
+The macro \verb|\*| is used in three different ways.  First, when this
+macro is followed by one of the letters f, k, r, t or w, it results in
+a turned symbol.\footnote{This idea was pointed out by J\"org
+  Knappen.}
+
+\begin{tipaexample}
+  \yitem \verb|\textipa{\*f \*k \*r \*t \*w}|
+  \yitem \textipa{\*f \*k \*r \*t \*w}
+\end{tipaexample}
+
+Secondly, when this macro is followed by one of the letters j, n, h,
+l or z, it results in a frequently used symbol that otherwise has no
+easy way to input.
+
+\begin{tipaexample}
+  \yitem \verb|\textipa{\*j \*n \*h \*l \*z}|
+  \yitem \textipa{\*j \*n \*h \*l \*z}
+\end{tipaexample}
+
+Thirdly, when this macro is followed by letters other than the above
+cases, they are turned into the symbols of the default text font. This
+is useful in the IPA environment to select symbols temporarily from
+the normal text font.
+
+\begin{tipaexample}
+  \yitem \verb|\textipa{\*A dOg, \*B k\ae{}t, |
+    \verb|ma\super{\*{214}}}|
+  \yitem \textipa{\*A dOg, \*B k\ae{}t, ma\super{\*{214}}}
+\end{tipaexample}
+
+The remaining macros {\tt\tbs;}, {\tt\tbs:} and {\tt\tbs!} are
+used to make small capital symbols, retroflex symbols, and implosives
+or clicks, respectively.
+
+\begin{tipaexample}
+  \yitem \verb|\textipa{\;B \;E \;A \;H \;L \;R}|
+  \yitem \textipa{\;B \;E \;A \;H \;L \;R}
+  \yitem \verb|\textipa{\:d \:l \:n \:r \:s \:z}|
+  \yitem \textipa{\:d \:l \:n \:r \:s \:z}
+  \yitem \verb|\textipa{\!b \!d \!g \!j \!G \!o}|
+  \yitem \textipa{\!b \!d \!g \!j \!G \!o}
+\end{tipaexample}
+
+\subsection{Punctuation marks}
+
+The following punctuation marks and text symbols that are
+normally included in the text encoding are also included in the
+\texttt{T3} encoding so that they can be directly inputted in the IPA
+environment.
+
+\begin{tipaexample}
+ \yitem \verb|\textipa{! ' ( ) * + , - . / = ? [ ] `}|
+ \yitem \textipa{! ' ( ) * + , - .\ / = ? [ ] `}
+\end{tipaexample}
+
+All the other punctuation marks and text symbols that are not included
+in \texttt{T3} need to be inputted with a prefix \verb|\*| explained in
+the last section when they appear in the IPA environment.
+
+\begin{tipaexample}
+ \yitem
+   \verb|\textipa{\*; \*: \*@ \*\# \*\$ \*\& \*\% \*\{ \*\}}|
+ \yitem \textipa{\*; \*: \*@ \*\# \*\$ \*\& \*\% \*\{ \*\}}
+\end{tipaexample}
+
+\subsection{Accents and diacritics}
+
+Table~\ref{tab:accent} shows how to input accents and diacritics in
+\tipa{} with some examples. Here again, there are two kinds of input
+methods; one for the normal text environment, and the other for the
+IPA environment.
+
+\begin{table}
+\begin{center}\tabcolsep1em
+\def\TblShrt#1{\hbox to 2em{#1\hss}}
+\def\TblMvRt#1{\kern 2em #1}
+\begin{tabular}{llc}
+\hline
+\textit{Input in the normal}& \textit{Input in the IPA} & \textit{Output} \\
+\textit{text environment}   & \textit{environment}      & \\
+\hline
+\TblShrt{\Tt{'a}}               & \TblMvRt{\Tt{'a}}        &\textipa{\'a} \\
+\TblShrt{\Tt{"a}}               & \TblMvRt{\Tt{"a}}        &\textipa{\"a} \\
+\TblShrt{\Tt{~a}}               & \TblMvRt{\Tt{\ttilde a}} &\textipa{\~a} \\
+\TblShrt{\Td{r}{a}}             & \TblMvRt{\Td{r}{a}}      &\textipa{\r{a}}\\
+\TblShrt{\Td{textsyllabic}{m}}  & \TblMvRt{\Td{s}{m}}      &\textipa{\s{m}}\\
+\TblShrt{\Td{textsubumlaut}{a}} & \TblMvRt{\Tt{"*a}}       &\textipa{\"*a}\\
+\TblShrt{\Td{textsubtilde}{a}}  & \TblMvRt{\Tt{\ttilde*a}} &\textipa{\~*a}\\
+\TblShrt{\Td{textsubring}{a}}   & \TblMvRt{\Tt{r*a}}       &\textipa{\r*a}\\
+\TblShrt{\Td{textdotacute}{e}}  & \TblMvRt{\Tt{.'e}}       &\textipa{\.'e}\\
+\TblShrt{\Td{textgravedot}{e}}  & \TblMvRt{\Tt{`.e}}       &\textipa{\`.e}\\
+\TblShrt{\Td{textacutemacron}{a}}& \TblMvRt{\Tt{'=a}}      &\textipa{\'=a}\\
+\TblShrt{\Td{textcircumdot}{a}} & \TblMvRt{\Tt{\tcircum.a}}&\textipa{\^.a}\\
+\TblShrt{\Td{texttildedot}{a}}  & \TblMvRt{\Tt{\ttilde.a}} &\textipa{\~.a}\\
+\TblShrt{\Td{textbrevemacron}{a}}& \TblMvRt{\Tt{u=a}}      &\textipa{\u=a}\\
+%\Td{}{a}                    & \Tt{}              &\textipa{}\\
+\hline
+\end{tabular}
+\end{center}
+\caption{Examples of inputting accents and diacritics}\label{tab:accent}
+\end{table}
+
+In the IPA environment, most of the accents and diacritics can be
+inputted more easily than in the normal text environment, especially in
+the cases of subscript symbols that are normally placed over a symbol
+and in the cases of combined accents, as shown in the table.
+
+As can be seen by the above examples, most of the accents that are
+normally placed over a symbol can be placed under a symbol by adding
+an \texttt{*} to the corresponding accent command in the IPA environment.
+
+The advantage of IPA environment is further exemplified by the
+all-purpose accent \verb+\|+, which is used as a macro prefix to
+provide shortcut inputs for the diacritics that otherwise have to be
+inputted by lengthy macro names. Table~\ref{tab:accprefix} shows examples
+of such accents. Note that the macro \verb+\|+ is also `dangerous' in
+that it has been already defined as a math symbol of \LaTeX{}. So if
+you want to preserve the original meaning of this macro, declare
+`\texttt{safe}' option at the preamble.
+(However, there is an alternative command called \verb+\Vert+
+(originally defined in plain \TeX) which has the same meaning as
+\verb+\|+ and can be used even if the \texttt{safe} option is not
+specified.)
+
+\begin{table}
+\begin{center}\tabcolsep1em
+\def\TblShrt#1{\hbox to 2em{#1\hss}}
+\def\TblMvRt#1{\kern 2em #1}
+\begin{tabular}{llc}
+\hline
+\textit{Input in the normal}& \textit{Input in the IPA} & \textit{Output} \\
+\textit{text environment}   & \textit{environment}      & \\
+\hline
+\TblShrt{\Td{textsubbridge}{t}}   & \TblMvRt{\Tt{|[t}}   & \textipa{\|[t}\\
+\TblShrt{\Td{textinvsubbridge}{t}}& \TblMvRt{\Tt{|]t}}   & \textipa{\|]t}\\
+\TblShrt{\Td{textsublhalfring}{a}}& \TblMvRt{\Tt{|(a}}   & \textipa{\|(a}\\
+\TblShrt{\Td{textsubrhalfring}{a}}& \TblMvRt{\Tt{|)a}}   & \textipa{\|)a}\\
+\TblShrt{\Td{textroundcap}{k}}    & \TblMvRt{\Td{|c}{k}} & \textipa{\|c{k}}\\
+\TblShrt{\Td{textsubplus}{o}}     & \TblMvRt{\Tt{|+o}}   & \textipa{\|+o}\\
+\TblShrt{\Td{textraising}{e}}     & \TblMvRt{\Tt{|'e}}   & \textipa{\|'e}\\
+\TblShrt{\Td{textlowering}{e}}    & \TblMvRt{\Tt{|`e}}   & \textipa{\|`e}\\
+\TblShrt{\Td{textadvancing}{o}}   & \TblMvRt{\Tt{|<o}}   & \textipa{\|<o}\\
+\TblShrt{\Td{textretracting}{a}}  & \TblMvRt{\Tt{|>a}}   & \textipa{\|>a}\\
+\TblShrt{\Td{textovercross}{e}}   & \TblMvRt{\Td{|x}{e}} & \textipa{\|x{e}}\\
+\TblShrt{\Td{textsubw}{k}}        & \TblMvRt{\Td{|w}{k}} & \textipa{\|w{k}}\\
+\TblShrt{\Td{textseagull}{t}}     & \TblMvRt{\Td{|m}{t}} & \textipa{\|m{t}}\\
+\hline
+\end{tabular}
+\end{center}
+\caption{Examples of the accent prefix {\tt \tbs|}}\label{tab:accprefix}
+\end{table}
+
+Finally, examples of words with complex accents that are inputted in the
+IPA environment are shown below.
+
+\begin{tipaexample}
+  \yitem \verb+\textipa{*\|c{k}\r*mt\'om +
+    \verb+*bhr\'=at\=er}+
+  \yitem \textipa{*\|c{k}\r*mt\'om *bhr\'=at\=er}
+\end{tipaexample}
+
+For a full list of accents and diacritics, see Appendix~A.
+
+\subsection{Superscript symbols}
+
+In the normal text environment, superscript symbols can be inputted by a
+\LaTeX{} macro called \verb|\textsuperscript|.  This macro takes one
+argument which can be either a symbol or a string of symbols, and can
+be nested.
+
+Since the name of this macro is too long, \tipa{} provides an
+abbreviated form of this macro called \verb|\super|.
+
+\begin{tipaexample}
+  \xitem
+    \verb|t\textsuperscript h |
+    \verb|k\textsuperscript w|\\
+    \verb|a\textsuperscript{bc}|\\
+    \verb|a\textsuperscript{b\textsuperscript{c}}|
+  \xitem
+    t\textsuperscript h k\textsuperscript w a\textsuperscript{bc} 
+      a\textsuperscript{b\textsuperscript{c}}
+  \xitem
+    \verb|\textipa{t\super{h} k\super{w}|\\
+    \verb|  a\super{bc} a\super{b\super{c}}}|
+  \xitem
+    \textipa{\textipa{t\super{h} k\super{w} a\super{bc}
+      a\super{b\super{c}}}}
+\end{tipaexample}
+
+\noindent
+(A quiz question: A careful reader may have noticed that the above
+\textit{Output1} and \textit{Output2} slightly differ. Explain the
+reason.)
+
+\medskip
+
+These macros automatically select the correct size of superscript font 
+no matter what size of text font is used.
+
+\subsection{Tone letters}\label{sec:tone}
+
+\tipa{} provides a flexible system of macros for `tone letters'. A
+tone letter is represented by a macro called `\verb|\tone|', which
+takes one argument consisting of a string of numbers ranging from 1 to
+5. These numbers denote pitch levels, 1 being the lowest and 5, the
+highest. Within this range, any combination is allowed and there is no
+limit in the length of combination.
+
+As an example of the usage of the tone letter macro, the four tones of
+Chinese are shown below.
+
+\begin{tipaexample}
+  \yitem
+    \verb|\tone{55}ma ``mother'', |
+    \verb|\tone{35}ma ``hemp'',|\\
+    \verb|\tone{214}ma ``horse'', |
+    \verb|\tone{51}ma ``scold''|
+  \yitem
+    ma\tone{55} ``mother'', ma\tone{35} ``hemp'',
+    ma\tone{214} ``horse'', ma\tone{51} ``scold''
+\end{tipaexample}
+
+The next example looks ridiculous but shows capabilities of the tone
+letter macro.
+
+\begin{tipaexample}
+  \yitem
+    \verb|\tone{15253545}|
+  \yitem
+    \tone{15253545}
+\end{tipaexample}
+
+\subsubsection{{\tt\tbs stone}}
+
+In some languages, length distinctions accompany the tone letter
+description. In such cases a command called \verb|\stone| can be used
+to represent a tone letter that is shorter than a usual one. The next
+example from Cantonese illustrates this (look at the examples for
+\emph{entering tones}).
+
+\begin{center}
+\begin{tabular}{l|c|c}
+\emph{Tone name} & \emph{Input} & \emph{Output} \\
+\hline
+high level & \verb|\tone{53}| or \verb|\tone{55}|&\tone{53} or \tone{55}\\
+low level  & \verb|\tone{21}| or \verb|\tone{22}|&\tone{21} or \tone{22}\\
+\hline
+high rising     & \verb|\tone{35}|  & \tone{35} \\
+low rising      & \verb|\tone{24}|  & \tone{24} \\
+\hline
+high departing  & \verb|\tone{44}|  & \tone{44} \\
+low departing   & \verb|\tone{33}|  & \tone{33} \\
+\hline
+high entering   & \verb|\stone{55}| & \stone{55} \\
+mid entering    & \verb|\stone{44}| & \stone{44} \\
+low entering    & \verb|\stone{33}| & \stone{33} \\
+\end{tabular}
+\end{center}
+
+\subsubsection{{\tt\tbs rtone}}
+
+In some languages, the level/contour bars are placed at the right hand
+side of the vertical bar. In such cases a command called \verb|\rtone|
+is used instead of \verb|\tone|. The next example is from the Kyoto
+Japanese.
+
+\begin{tipaexample}
+  \yitem
+    \verb|\textipa{[\rtone{11}a\rtone{53}me]} `rain'|
+  \yitem
+    \textipa{[\rtone{11}a\rtone{53}me]} `rain'
+\end{tipaexample}
+
+
+\section{How easy is it to input phonetic symbols?}
+
+Let us briefly estimate here how easy (or difficult) it is to input
+phonetic symbols with \tipa{} in terms of the number of keystrokes.
+
+The following table shows statistics for all the phonetic symbols that
+appear in the '93 version of IPA chart (diacritics and symbols for
+su\-pra\-seg\-men\-tals excluded). It is assumed here that each symbol
+is inputted within the IPA environment and the \texttt{safe} option is
+not specified.
+
+\begin{center}
+\begin{tabular}{c|c|l}
+\emph{keystrokes} & \emph{number} & \emph{examples} \\
+\hline
+1            & 65 & \textipa{a, b, @, A, B, etc.} \\
+2            & 2  & \textipa{\o, ||} \\
+3            & 30 & \textipa{\ae, \:t, \;B, \!b, etc.} \\
+5            & 1  & \textipa{\c{c}} \\
+more than 5  & 7  & \textipa{\textcloseepsilon, \textbarglotstop,
+  \textdoublebarpipe, \textturnmrleg, etc.}
+\end{tabular}
+\end{center}
+
+As is shown in the table, about 92\% of the symbols can be inputted
+within three keystrokes.
+
+\section{Changing font styles}
+
+\begin{table}
+\begin{center}
+\begin{tabular}{@{\hspace{0pt}}lll}
+\hline
+\textit{Font style}& \textit{Input in the IPA environment}& \textit{Output} \\
+\hline
+\emph{Roman}&\verb|\textipa{f@"nEtIks}|        &\textipa{f@"nEtIks} \\
+\emph{Slanted}&\verb|\textipa{\slshape f@"nEtIks}|&\textipa{\slshape f@"nEtIks}\\ 
+or          &\verb|\textipa{\textsl{f@"nEtIks}|&\textipa{\textsl{f@"nEtIks}}\\ 
+or          &\verb|\textsl{\textipa{f@"nEtIks}|&\textsl{\textipa{f@"nEtIks}}\\ 
+\emph{Bold extended} & \verb|\textipa{\bfseries f@"nEtIks}| &
+  \textipa{\bfseries f@"nEtIks}\\
+or          &\verb|\textipa{\textbf{f@"nEtIks}|&\textipa{\textbf{f@"nEtIks}}\\
+or          &\verb|\textbf{\textipa{f@"nEtIks}|&\textbf{\textipa{f@"nEtIks}}\\
+\emph{Sans serif}& \verb|\textipa{\sffamily f@"nEtIks}| &
+  \textipa{\sffamily f@"nEtIks}\\ 
+or          &\verb|\textipa{\textsf{f@"nEtIks}|&\textipa{\textsf{f@"nEtIks}}\\ 
+or          &\verb|\textsf{\textipa{f@"nEtIks}|&\textsf{\textipa{f@"nEtIks}}\\ 
+\emph{Typewriter Text}& \verb|\textipa{\ttfamily f@"nEtIks}| &
+  \textipa{\ttfamily f@"nEtIks}\\ 
+or          &\verb|\textipa{\texttt{f@"nEtIks}|&\textipa{\texttt{f@"nEtIks}}\\ 
+or          &\verb|\texttt{\textipa{f@"nEtIks}|&\texttt{\textipa{f@"nEtIks}}\\ 
+\hline
+\end{tabular}
+\end{center}
+\caption{Examples of font switching}\label{tab:fontswitch}
+\end{table}
+
+This version of \tipa{} includes five styles of fonts, i.e., roman,
+slanted, bold, bold extended, sans serif and typewriter. These styles can be
+switched in much the same way as in the normal text fonts (see
+table~\ref{tab:fontswitch}).
+
+The bold fonts are usually not used within the standard \LaTeX{} class 
+packages so that if you want to use them, it is necessary to use
+low-level font selection commands of \LaTeXe.
+
+\begin{tipaexample}
+  \yitem \verb|{\fontseries{b}\selectfont|
+    \verb|abcdefg \textipa{ABCDEFG}}|
+  \yitem {\fontseries{b}\selectfont abcdefg \textipa{ABCDEFG}}
+\end{tipaexample}
+
+Note also that slanting of \tipa{} symbols should correctly work even
+in the cases of nested accents and in the cases of symbols made up
+by macros.
+
+\begin{tipaexample}
+  \yitem \verb|\textsl{\textipa{\'{\"{\u*{e}}}}}|
+  \yitem \textsl{\textipa{\'{\"{\u*{e}}}}}
+  \yitem \verb|\textsl{\textdoublebaresh}|
+  \yitem \textsl{\textdoublebaresh\/} {\small(This symbol is
+    composed by a macro.)}
+\end{tipaexample}
+
+
+\clearemptydoublepage
+\chapter{Customizing TIPA}
+
+
+\section{Internal commands}
+
+Some of the internal commands of \tipa{} are defined without the
+letter \texttt{@} in order to allow a user to extend the capability of 
+\tipa{}.
+
+\subsection{{\tt\tbs ipabar}}
+
+Some \tipa{} symbols such as \verb|\textbarb| \textbarb,
+\verb|\textcrtwo| \textcrtwo{} are defined by using an internal macro
+command \verb|\ipabar|. This command is useful when you want to make
+barred or crossed symbols not defined in \tipa{}.
+
+This command requires the following five parameters to control the
+position and length of the bar.
+
+\begin{itemize}
+\itemsep0pt
+\item {\tt\#1} the symbol to be barred
+\item {\tt\#2} the height of the bar (in dimen)
+\item {\tt\#3} bar width
+\item {\tt\#4} left kern added to the bar
+\item {\tt\#5} right kern added to the bar
+\end{itemize}
+
+Parameters \texttt{\#3}, \texttt{\#4}, \texttt{\#5} are to be given in
+a scaling factor to the width of the symbol, which is equal to 1 if
+the bar has the same width as the symbol in question. For example,
+the following command states a barred b (\textbarb) of which the bar
+position in the y-coordinate is \verb|.5ex| and the width of the bar
+is slightly larger than that of the letter b.
+
+\begin{verbatim}
+  % Barred B
+  \newcommand\textbarb{%
+    \ipabar{{\tipaencoding b}}{.5ex}{1.1}{}{}}
+\end{verbatim}
+
+Note that the parameters \texttt{\#4} and \texttt{\#5} can be left
+blank if the value is equal to 0.
+
+And the next example declares a barred c (\textbarc) of which the bar
+width is a little more than half as large as the letter c and it has
+the same amount of kerning at the right.
+
+\begin{verbatim}
+  % Barred C
+  \newcommand\textbarc{%
+    \ipabar{{\tipaencoding c}}{.5ex}{.55}{}{.55}}
+\end{verbatim}
+
+More complex examples with the \verb|\ipabar| command are found in
+\texttt{T3enc.def}.
+
+\subsection{{\tt\tbs tipaloweraccent}, {\tt\tbs tipaupperaccent}}
+
+These two commands are used in the definitions of \tipa{} accents and
+diacritics. They are special forms of the commands \verb|\loweraccent|
+and \verb|\upperaccent| that are defined in \texttt{exaccent.sty}. The
+difference between the commands with the prefix \verb|tipa| and the
+ones without it is that the former commands select accents from a T3
+encoded font while the latter ones do so from the current text font.
+
+These commands take two parameters, the code of the accent (in
+decimal, octal or hexadecimal number) and the
+symbol to be accented, as shown below.
+
+\begin{tipaexample}
+  \yitem \verb|\tipaupperaccent{0}{a}|
+  \yitem \tipaupperaccent{0}{a}
+\end{tipaexample}
+
+Optionally, these commands can take an extra parameter to adjust the
+vertical position of the accent. Such an adjustment is sometimes
+necessary in the definition of a nested accent. The next example shows
+\tipa's definition of the `Circumflex Dot Accent' (e.g., 
+\textcircumdot{a}).
+
+\begin{verbatim}
+  % Circumflex Dot Accent
+  \newcommand\textcircumdot[1]{\tipaupperaccent[-.2ex]{2}%
+    {\tipaupperaccent[-.1ex]{10}{#1}}}
+\end{verbatim}
+
+This definition states that a dot accent is placed over a symbol
+thereby reducing the vertical distance between the symbol and the dot
+by \texttt{.1ex}, and a circumflex accent is placed over the dot and
+the distance between the two accents is reduced by \texttt{.2ex}.
+
+If you want to make a combined accent not included in \tipa{}, you can
+do so fairly easily by using these two commands together with the
+optional parameter. For more examples of these commands, see
+\verb|tipa.sty| and \verb|extraipa.sty|.
+
+\subsection{{\tt\tbs tipaLoweraccent}, {\tt\tbs tipaUpperaccent}}
+
+These two commands differ from the two commands explained above in that
+the first parameter should be a symbol (or any other thing, typically
+an \verb|\hbox|), rather than the code of the accent. They are special
+cases of the commands \verb|\Loweraccent| and \verb|\Upperaccent| and
+the difference between the two pairs of commands is the same as before.
+
+The next example makes a schwa an accent.
+
+\begin{tipaexample}
+  \yitem
+    \verb|\tipaUpperaccent[.2ex]%|\\
+    \verb|  {\lower.8ex\hbox{\textipa{\super@}}}{a}|
+  \yitem
+    \tipaUpperaccent[.2ex]{\lower.8ex\hbox{\textipa{\super@}}}{a}
+\end{tipaexample}
+
+The next example is an interesting application of this command for the
+Middle High German (This macro and the example below are provided
+by Christian Folini and now included in \texttt{tipa.sty}).
+
+\begin{verbatim}
+  \newcommand{\sups}[2]{\textipa{\tipaUpperaccent[.2ex]{%
+    \lower.8ex\hbox{\super{#2}}}{#1}}}
+\end{verbatim}
+
+\begin{quote}
+Und swer dc mit flis t\sups{u}{o}t, so stat das gelt und \sups{o}{v}ch
+d\`{u} g\sups{u}{e}ter in deste bessere behabn\`{u}sse und
+beh\`{u}gde.  (1330 AD.\ Translation: And if this is done with
+diligence, the money and the affairs will be in better shape.)
+\end{quote}
+
+In this example, t\sups{u}{o}t is inputted as \verb|t\sups{u}{o}t| and so 
+on.
+
+\subsection{{\tt\tbs ipaclap}}
+
+This command is useful if you need to compose a new symbol by
+overlapping two symbols. This command is different from \TeX's
+commands \texttt{\tbs llap} and \texttt{\tbs rlap} in that the
+alignment is made at the center of each symbol.
+
+The next example shows how to make a Slashed B.
+
+\begin{tipaexample}
+  \yitem \verb|\ipaclap{\textipa{b}}{\textipa{/}}|
+  \yitem \ipaclap{\textipa{b}}{\textipa{/}}
+\end{tipaexample}
+
+
+\section{Manual Kerning}
+
+The shapes of phonetic symbols are sometimes \emph{nasty} in the sense
+that they can have a leftward or rightward protrusion that cannot
+be found in the case of normal text fonts. In such cases it is
+sometimes necessary to input kerning commands manually.
+
+One way to do this is to prepare a set of kerning commands like the
+following:
+
+\begin{verbatim}
+  \newcommand\K{\kern.05em} % small amount of kerning
+  \newcommand\KK{\kern.1em} % middle amount of kerning
+  \newcommand\KKK{\kern.2em} % big amount of kerning
+\end{verbatim}
+
+\newcommand\K{\kern.05em} % small amount of kerning
+\newcommand\KK{\kern.1em} % middle amount of kerning
+\newcommand\KKK{\kern.2em} % big amount of kerning
+
+And then to put these commands whenever necessary. For example:
+
+\begin{tipaexample}
+  \yitem \verb|\textipa{[\textrhooke r]}|
+  \yitem \textipa{[\textrhooke r]} --- This is OK but
+  \yitem \verb|\textipa{[\textrhooke]}|
+  \yitem \textipa{[\textrhooke]} --- this doesn't look good so that
+  \yitem \verb|\textipa{[\textrhooke\KK]}|
+  \yitem \textipa{[\textrhooke\KK]} --- manually fixed like this.
+\end{tipaexample}
+
+\clearemptydoublepage
+\chapter*{Acknowledgments}
+\addcontentsline{toc}{chapter}{Acknowledgments}
+
+First of all, many thanks are due to the co-authors of \tsipa{},
+Kobayashi Hajime and Shirakawa Shun. Ko\-ba\-yashi Hajime was the main
+font designer of \tsipa{}. Shirakawa Shun worked very hard in deciding
+encoding, checking the shapes of symbols and writing the Japanese
+version of the document. \tipa{} was impossible without \tsipa{}.
+
+I would like to thank also J\"org Knappen whose insightful comments
+greatly helped the development of \tipa{} in many ways. I was also
+helped and encouraged by Christina Thiele, Martin Haase, Kirk Sullivan
+and many other members of the \texttt{ling-tex} mailing list.
+
+At the last stage of the development of \tipa{}, Frank Mittelbach gave
+me precious comments on how to incorporate various \tipa{} commands
+into the NFSS. I would like to thank also Barbara Beeton who kindly
+read over the preliminary draft of this document and gave me useful
+comments.
+
+After the first release, I also received useful comments from:
+Dominique Unruh, Peter Zimmermann, Rafael Laboissi\`ere, Yoshinari
+Fujino, Walter Schmidt, Dirk Janssen, Joachim Becker, Christian
+Folini, Conrado Badenas, Alexis Dimitriadis, John Frampton and
+probably from many others. I am very sorry that I haven't recorded all
+the names. Please let me know if your name is missing. I am also sorry
+that I sometimes have been unable to follow all the advice simply
+because of lack of time. Finally, Donna Erickson kindly read over the
+draft of the present version and corrected my English. All remaining
+errors are, of course, my own.
+
+\clearemptydoublepage
+\bibliographystyle{plainnat}
+\addcontentsline{toc}{chapter}{Bibliography}
+\bibliography{tipa}
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: "tipaman"
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman2.tex b/Master/texmf-dist/doc/fonts/tipa/tipaman2.tex
new file mode 100644
index 00000000000..fefe92702e9
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman2.tex
@@ -0,0 +1,1687 @@
+% tipaman2.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\appendix
+\addcontentsline{toc}{chapter}{Appendix}
+
+\begingroup
+\raggedbottom
+
+\chapter{Annotated List of TIPA Symbols}
+
+For each symbol, a large scale image of the symbol is displayed with a
+frame. Within the frame, horizontal lines that indicate
+\verb|x_height| and baseline are also shown. At the top left corner of
+a frame, a number indicating the octal code
+of the symbol is shown. In the case of a symbol from
+\texttt{tipx} fonts, the code number is underlined.
+
+Next, the following information is shown at the right of each symbol
+in this order: (1) the name of the symbol, (2) explanation on its
+usage with some examples (for non-IPA usages, an asterisk is put at the
+beginning), (3) input method in typewriter style, and finally (4)
+sources or references.
+
+Sometimes the input method is displayed in the form of \textit{Input1:
+  xxx, Input2: yyy\/}. In such cases \textit{Input1} indicates the one
+used in the normal text environment and \textit{Input2}, the one used
+in the IPA environment.
+
+The following abbreviations are used in the examples of usage and
+explanations in the footnote.
+
+\vspace{1cm}
+
+\emph{ExtIPA} = \emph{ExtIPA Symbols for Disordered Speech}
+
+\emph{VoQS} = \emph{Voice Quality Symbols}
+
+\PSG{} = \emph{Phonetic Symbol Guide} \citep{PSG:II}
+
+\emph{Handbook} = \emph{Handbook of the International Phonetic
+  Association} \citep{Handbook}
+
+\emph{Principles} = \emph{Principles of the International Phonetic
+  Association} \citep{Principles}
+
+\emph{JIPA} = \emph{Journal of the International Phonetic Association}
+
+\emph{IE} Indo-European
+
+\emph{OHG} Old High German
+
+\emph{OCS} Old Church Slavic
+
+
+\newpage
+\section{Vowels and Consonants}\label{list:symbols}
+
+\begingroup
+\setlength\parindent{0pt}
+
+\medskip
+
+\ipaitem{a}{Lower-case A}%
+  {open front unrounded vowel}%
+  {a}{}{\ipaall}{'141}
+
+\ipxitem{\textrhooka}{Right-hook A}%
+  {}%
+  {\tbs textrhooka}{}{\PSG}{'040}
+
+\ipaitem{\textturna}{Turned A}%
+  {near-open central vowel}%
+  {\tbs textturna}{5}{\ipaall}{'065}
+
+\ipaitem{\textscripta}{Script A}%
+  {open back unrounded vowel}%
+  {\tbs textscripta}{A}{\ipaall}{'101}
+
+\ipaitem{\textturnscripta}{Turned script A}%
+  {open back rounded vowel}%
+  {\tbs textturnscripta}{6}{\ipaall}{'066}
+
+\ipxitem{\textinvscripta}{Inverted script A}%
+  {}%
+  {\tbs textinvscripta}{}{\PSG}{'041}
+
+\ipaitem{\ae}{Ash}%
+  {near-open front unrounded vowel}%
+  {\tbs ae}{}{\ipaall}{'346}
+
+\ipxitem{\textaolig}{A-O ligature }%
+  {}%
+  {\tbs textaolig}{}{\PSG}{'042}
+
+\ipaitem{\textsca}{Small capital A\footnotemark}%
+  {*open central unrounded vowel}%
+  {\tbs textsca}{\tbs;A}{\PSG}{'300}%
+  \footnotetext{This symbol is fairly common among Chinese
+    phoneticians.}
+
+\ipxitem{\textlhookfour}{Left-hook four }%
+  {}%
+  {\tbs textlhookfour}{}{\PSG}{'043}
+
+\ipxitem{\textinvsca}{Inverted small capital A }%
+  {}%
+  {\tbs textinvsca}{}{\PSG}{'160}
+
+\ipxitem{\textscaolig}{Small capital A-O ligature }%
+  {}%
+  {\tbs textscaolig}{}{\PSG}{'161}
+
+\ipaitem{\textturnv}{Turned V\footnotemark}%
+  {open-mid back unrounded vowel}%
+  {\tbs textturnv}{2}{\ipaall}{'062}%
+  \footnotetext{In a previous version of \PSG{} this symbol was
+    called `Inverted V' but it was apparently a mistake.}
+
+\ipxitem{\textscdelta}{Small capital delta }%
+  {}%
+  {\tbs textscdelta}{}{\PSG}{'162}
+
+\ipaitem{b}{Lower-case B}%
+  {voiced bilabial plosive}%
+  {b}{}{\ipaall}{'142}
+
+\ipaitem{\textcrb}{Crossed B}%
+  {}%
+  {\tbs textcrb}{}{\PSG}{'240}
+
+\ipaitem{\textbarb}{Barred B}%
+  {}%
+  {\tbs textbarb}{}{\PSG}{Macro}
+
+\ipaitem{\textsoftsign}{Soft sign}%
+  {*as in \emph{OCS} ogn\textsoftsign{} `fire'.}%
+  {\tbs textsoftsign}{}{\PSG}{'272}
+
+\ipaitem{\texthardsign}{Hard sign}%
+  {*as in \emph{OCS} grad\texthardsign{} `town'.}%
+  {\tbs texthardsign}{}{\PSG}{'273}
+
+\ipaitem{\texthtb}{Hooktop B}%
+  {voiced bilabial implosive}%
+  {\tbs texthtb}{\tbs!b}{\ipaall}{'341}
+
+\ipaitem{\textscb}{Small capital B}%
+  {voiced bilabial trill}%
+  {\tbs textscb}{\tbs;B}{\ipanew}{'340}
+
+\ipaitem{\textbeta}{Beta}%
+  {voiced bilabial fricative}%
+  {\tbs textbeta}{B}{\ipaall}{'102}
+
+\ipaitem{c}{Lower-case C}%
+  {voiceless palatal plosive}%
+  {c}{}{\ipaall}{'143}
+
+\ipaitem{\textbarc}{Barred C}%
+  {}%
+  {\tbs textbarc}{}{\PSG}{Macro}
+
+\ipaitem{\v{c}}{Wedge C}%
+  {*equivalent to IPA \textipa{tS}}%
+  {\TD{v}{c}}{}{\PSG}{Macro}
+
+\ipaitem{\c{c}}{C Cedilla}%
+  {voiceless palatal fricative}%
+  {\TD{c}{c}}{}{\ipaall}{'347}
+
+\ipaitem{\texthtc}{Hooktop C}%
+  {voiceless palatal implosive}%
+  {\tbs texthtc}{}{IPA '89}{'301}
+
+\ipaitem{\textctc}{Curly-tail C}%
+  {voiceless alveolo-palatal fricative}%
+  {\tbs textctc}{C}{\ipaall}{'103}
+
+\ipaitem{\textstretchc}{Stretched C\footnotemark}%
+  {postalveolar click}%
+  {\tbs textstretchc}{}{\ipaold}{'302}%
+  \footnotetext{The shape of this symbol differs according to the
+    sources. In \PSG{} and recent articles in \emph{JIPA}, it is
+    `stretched' toward both the ascender and descender regions and the
+    whole shape looks like a thick staple. In the old days, however,
+    it was stretched only toward the descender and the whole shape
+    looked more like a stretched c, as is shown in the next item
+    (original form).}
+
+\ipxitem{\textstretchcvar}{Stretched C (original form) }%
+  {}%
+  {\tbs textstretchcvar}{}{\cite{Hottentot}}{'044}
+
+\ipxitem{\textctstretchc}{Curly-tail stretched C }%
+  {}%
+  {\tbs textctstretchc}{}{\PSG}{'045}
+
+\ipxitem{\textctstretchcvar}{Curly-tail stretched C (original form) }%
+  {}%
+  {\tbs textctstretchcvar}{}{\cite{Hottentot}}{'046}
+
+\ipaitem{d}{Lower-case D}%
+  {voiced dental or alveolar plosive}%
+  {d}{}{\ipaall}{'144}
+
+\ipaitem{\textcrd}{Crossed D}%
+  {}%
+  {\tbs textcrd}{}{\PSG}{'241}
+
+\ipaitem{\textbard}{Barred D}%
+  {}%
+  {\tbs textbard}{}{\PSG}{Macro}
+
+\ipxitem{\textfrhookd}{Front-hook D }%
+  {}%
+  {\tbs textfrhookd}{}{\PSG}{'047}
+
+\ipxitem{\textfrhookdvar}{Front-hook D (Original)\footnotemark}%
+  {}%
+  {\tbs textfrhookdvar}{}{}{'050}%
+  \footnotetext{This shape is used by \cite{Jones:Phoneme}.}
+
+\ipaitem{\texthtd}{Hooktop D}%
+  {voiced dental or alveolar implosive}%
+  {\tbs texthtd}{\tbs!d}{\ipaall}{'342}
+
+\ipaitem{\textrtaild}{Right-tail D}%
+  {voiced retroflex plosive}%
+  {\tbs textrtaild}{\tbs:d}{\ipaall}{'343}
+
+\ipaitem{\texthtrtaild}{Hooktop right-tail D }%
+  {voiced retroflex implosive}%
+  {\tbs texthtrtaild}{}{\PSG, \Handbook}{'243}
+
+\ipaitem{\textctd}{Curly-tail D}%
+  {*voiced alveolo-palatal plosive}%
+  {\tbs textctd}{}{}{'242}
+
+\ipxitem{\textdblig}{D-B ligature }%
+  {}%
+  {\tbs textdblig}{}{\PSG}{'051}
+
+\ipaitem{\textdzlig}{D-Z ligature}%
+  {}%
+  {\tbs textdzlig}{}{\PSG}{Macro}
+
+\ipaitem{\textdctzlig}{D-Curly-tail Z ligature}%
+  {}%
+  {\tbs textdctzlig}{}{}{Macro}
+
+\ipaitem{\textdyoghlig}{D-Yogh ligature}%
+  {voiced postalveolar affricate}%
+  {\tbs textdyoghlig}{}{\ipaall}{'303}
+
+\ipaitem{\textctdctzlig}{Curly-tail D-Curly-tail Z ligature}%
+  {}%
+  {\tbs textctdctzlig}{}{}{Macro}
+
+\ipaitem{\dh}{Eth}%
+  {voiced dental fricative}%
+  {\tbs dh}{D}{\ipaall}{'104}
+
+\ipaitem{e}{Lower-case E}%
+  {close-mid front unrounded vowel}%
+  {e}{}{\ipaall}{'145}
+
+\ipxitem{\textrhooke}{Right-hook E }%
+  {}%
+  {\tbs textrhooke}{}{\PSG}{'052}
+
+\ipaitem{\textschwa}{Schwa}%
+  {mid central vowel}%
+  {\tbs textschwa}{@}{\ipaall}{'100}
+
+\ipaitem{\textrhookschwa}{Right-hook schwa}%
+  {r-colored \textschwa}%
+  {\tbs textrhookschwa}{}{\ipaold}{'304}
+
+\ipaitem{\textreve}{Reversed E}%
+  {close-mid central unrounded vowel}%
+  {\tbs textreve}{9}{\ipaall}{'071}
+
+\ipaitem{\textsce}{Small capital E}%
+  {}%
+  {\tbs textsce}{\tbs;E}{\PSG}{'244}
+
+\ipaitem{\textepsilon}{Epsilon}%
+  {open-mid front unrounded vowel}%
+  {\tbs textepsilon}{E}{\ipaall}{'105}
+
+\ipxitem{\textrhookepsilon}{Right-hook epsilon }%
+  {}%
+  {\tbs textrhookepsilon}{}{\PSG}{'053}
+
+\ipaitem{\textcloseepsilon}{Closed epsilon\footnotemark}%
+  {(obsolete) open-mid central rounded vowel}%
+  {\tbs textcloseepsilon}{}{IPA '93}{'305}%
+  \footnotetext{In the 1993 version of IPA, this symbol was used as
+  the symbol for the open-mid central rounded vowel. However, in the
+  1996 version, this symbol was replaced by Closed reversed epsilon,
+  i.e., \textcloserevepsilon. In fact, it was a typographical error, as 
+  was anounced in \citet[p.\ 48]{IPA:Preview}.}
+
+\ipaitem{\textrevepsilon}{Reversed epsilon}%
+  {open-mid central unrounded vowel}%
+  {\tbs textrevepsilon}{3}{\ipaall}{'063}
+
+\ipaitem{\textrhookrevepsilon}{Right-hook reversed epsilon}%
+  {r colored \textrevepsilon}%
+  {\tbs textrhookrevepsilon}{}{\PSG}{'307}
+
+\ipaitem{\textcloserevepsilon}{Closed reversed epsilon\footnotemark}%
+  {open-mid central rounded vowel}%
+  {\tbs textcloserevepsilon}{}{\Handbook}{'306}%
+  \footnotetext{See the footnote above.}
+
+\ipaitem{f}{Lower-case F}%
+  {voiceless labiodental fricative}%
+  {f}{}{\ipaall}{'146}
+
+\ipxitem{\textscf}{Small capital F }%
+  {}%
+  {\tbs textscf}{}{\PSG}{'163}
+
+\ipaitem{g}{Lower-case G}%
+  {voiced velar plosive}%
+  {\tbs textscriptg}{g}{\ipaall}{'147}
+
+\ipaitem{\textbarg}{Barred G}%
+  {}%
+  {\tbs textbarg}{}{\PSG}{Macro}
+
+\ipaitem{\textcrg}{Crossed G}%
+  {}%
+  {\tbs textcrg}{}{\PSG}{Macro}
+
+\ipaitem{\texthtg}{Hooktop G}%
+  {voiced velar implosive}%
+  {\tbs texthtg}{\tbs!g}{\ipaall}{'344}
+
+\ipaitem{\textg}{Looptail G}%
+  {equivalent to \textscriptg}%
+  {g}{\tbs textg}{}{'245}
+
+\ipaitem{\textscg}{Small capital G}%
+  {voiced uvular plosive}%
+  {\tbs textscg}{\tbs;G}{\ipaall}{'345}
+
+\ipaitem{\texthtscg}{Hooktop small capital G}%
+  {voiced uvular implosive}%
+  {\tbs texthtscg}{\tbs!G}{\ipanew}{'311}
+
+\ipaitem{\textgamma}{Gamma}%
+  {voiced velar fricative}%
+  {\tbs textgamma}{G}{\ipaall}{'107}
+
+\ipxitem{\textgrgamma}{Greek gamma\footnotemark}%
+  {}%
+  {\tbs textgrgamma}{}{\PSG}{'054}%
+  \footnotetext{It is not my intention to include all the Greek letters 
+  appearing in \PSG. The reason for including this symbol is to
+  assure typographical consistency with the next two symbols derived from
+  Greek gamma.}
+
+\ipxitem{\textfrtailgamma}{Front-tail gamma }%
+  {}%
+  {\tbs textfrtailgamma}{}{\PSG}{'055}
+
+\ipxitem{\textbktailgamma}{Back-tail gamma }%
+  {}%
+  {\tbs textbktailgamma}{}{\PSG}{'056}
+
+\ipaitem{\textbabygamma}{Baby gamma}%
+  {(obsolete) close-mid back unrounded vowel}%
+  {\tbs textbabygamma}{}{\ipaold}{'310}
+
+\ipaitem{\textramshorns}{Ram's horns}%
+  {close-mid back unrounded vowel}%
+  {\tbs textramshorns}{7}{\ipanew}{'067}
+
+\ipaitem{h}{Lower-case H}%
+  {voiceless glottal fricative}%
+  {h}{}{\ipaall}{'150}
+
+\ipaitem{\texthvlig}{H-V ligature}%
+  {*as in \emph{Gothic} \texthvlig{}as `what'.}%
+  {\tbs texthvlig}{}{\PSG}{'377}
+
+\ipaitem{\textcrh}{Crossed H\footnotemark}%
+  {voiceless pharyngeal fricative}%
+  {\tbs textcrh}{}{\ipaall}{'350}%
+  \footnotetext{In \Handbook, this symbol is called `Barred H'.}
+
+\ipaitem{\texthth}{Hooktop H}%
+  {voiced glottal fricative}%
+  {\tbs texthth}{H}{\ipaall}{'110}
+
+\ipxitem{\textrtailhth}{Right-tail hooktop H }%
+  {}%
+  {\tbs textrtailhth}{}{\PSG}{'057}
+
+\ipxitem{\textheng}{Heng }%
+  {}%
+  {\tbs textheng}{}{\PSG}{'060}
+
+\ipaitem{\texththeng}{Hooktop heng}%
+  {simultaneous \textesh\ and x}%
+  {\tbs texththeng}{}{\ipaall}{'312}
+
+\ipaitem{\textturnh}{Turned H}%
+  {voiced labial-palatal approximant}%
+  {\tbs textturnh}{4}{\ipaall}{'064}
+
+\ipaitem{\textsch}{Small capital H}%
+  {voiceless epiglottal fricative}%
+  {\tbs textsch}{\tbs;H}{\ipanew}{'313}
+
+\ipaitem{i}{Lower-case I}%
+  {close front unrounded vowel}%
+  {i}{}{\ipaall}{'151}
+
+\ipaitem{\i}{Undotted I}%
+  {*used in Turkish orthography}%
+  {\tbs i}{}{\PSG}{'031}
+
+\ipaitem{\textbari}{Barred I}%
+  {close central unrounded vowel}%
+  {\tbs textbari}{1}{\ipaall}{'061}
+
+\ipaitem{\textsci}{Small capital I}%
+  {near-close near-front unrounded vowel}%
+  {\tbs textsci}{I}{\ipanew}{'111}
+
+\ipaitem{\textiota}{Iota}%
+  {(obsolete) near-close near-front unrounded vowel}%
+  {\tbs textiota}{}{\ipaold}{'314}
+
+\ipxitem{\textlhti}{Left-hooktop I\footnotemark}%
+  {}%
+  {\tbs textlhti}{}{}{'061}%
+  \footnotetext{This symbol is sometimes found instead of
+    \textlhtlongi\ (next item) in textbooks of Chinese in Japan.}
+
+\ipaitem{\textlhtlongi}{Left-hooktop Long I\footnotemark}%
+  {}%
+  {\tbs textlhtlongi}{}{\PSG}{'246}%
+  \footnotetext{The two symbols \textlhtlongi{} and \textvibyi{}
+    are mainly used among Chinese linguists. These
+    symbols are based on ``det svenska landsm\aa{}lsalfabetet'' and
+    introduced to China by Bernhard Karlgren. The original shapes of
+    these symbols were in italic as was always the case with 
+    ``det svenska landsm\aa{}lsalfabetet''. It seems that the Chinese
+    linguists who wanted to continue to use these symbols in IPA
+    changed their shapes upright. \PSG's descriptions to the origin of
+    these symbols are inaccurate.}
+
+\ipaitem{\textvibyi}{Viby I\footnotemark}%
+  {}%
+  {\tbs textvibyi}{}{\PSG}{'247}%
+  \footnotetext{I call this symbol `Viby I', based on the
+    following description by Bernhard Karlgren: ``Une voyelle tr\`es
+    analogue \`a \textvibyi{} se rencontre dans certains dial.\ su\'edois;
+    on l'appelle `i de Viby'.'' \citep[p.\ 295]{Karlgren}\label{vibyi}}
+
+\ipaitem{\textraisevibyi}{Raised Viby I}%
+  {}%
+  {\tbs textraisevibyi}{}{}{Macro}
+
+\ipaitem{j}{Lower-case J}%
+  {voiced palatal approximant}%
+  {j}{}{\ipaall}{'152}
+
+\ipaitem{\j}{Undotted J}%
+  {}%
+  {\tbs j}{}{}{'032}
+
+\ipaitem{\textctj}{Curly-tail J\footnotemark}%
+  {voiced palatal fricative}%
+  {\tbs textctj}{J}{\ipanew}{'112}%
+  \footnotetext{In the official IPA charts of '89 through '96, this symbol 
+    has a dish serif on top of the stem, rather than the normal sloped 
+    serif found in the letter j. I found no reason why it should have
+    a dish serif here, so I changed it to a normal sloped serif.
+    The official (?) IPA shape can be used by the \texttt{\tbs textctjvar}
+    command. (\textctjvar)}
+
+\ipxitem{\textctjvar}{Curly-tail J (a variety found in 1996 IPA) }%
+  {same as the above}%
+  {\tbs textctjvar}{}{\ipanew}{'062}
+
+\ipaitem{\v{\j}}{Wedge J}%
+  {*equivalent to IPA \textipa{dZ}}%
+  {\TD{v}{\tbs j}}{}{\PSG}{Macro}
+
+\ipaitem{\textbardotlessj}{Barred dotless J}%
+  {voiced palatal plosive}%
+  {\tbs textbardotlessj}{}{\ipanew}{'351}
+
+\ipaitem{\textObardotlessj}{Old barred dotless J}%
+  {voiced palatal plosive}%
+  {\tbs textObardotlessj}{}{\ipaold}{'315}
+
+\ipaitem{\texthtbardotlessj}{Hooktop barred dotless J\footnotemark}%
+  {voiced palatal implosive}%
+  {\tbs texthtbardotlessj}{\tbs!j}{\Handbook}{'352}%
+  \footnotetext{In \PSG{} the shape of this symbol slightly
+    differs. Here I followed the shape found in IPA '89--'96.}
+
+\ipxitem{\texthtbardotlessjvar}{Hooktop barred dotless J (a variety) }%
+  {same as the above}%
+  {\tbs texthtbardotlessjvar}{}{IPA '89--'93, \PSG}{'063}
+
+\ipaitem{\textscj}{Small capital J}%
+  {}%
+  {\tbs textscj}{\tbs;J}{\PSG}{'250}
+
+\ipaitem{k}{Lower-case K}%
+  {voiceless velar plosive}%
+  {k}{}{\ipaall}{'153}
+
+\ipaitem{\texthtk}{Hooktop K}%
+  {voiceless velar implosive}%
+  {\tbs texthtk}{}{IPA '89}{'316}
+
+\ipaitem{\textturnk}{Turned K}%
+  {}%
+  {\tbs textturnk}{\tbs*k}{\PSG}{'251}
+
+\ipxitem{\textsck}{Small capital K }%
+  {}%
+  {\tbs textsck}{}{\PSG}{'164}
+
+\ipxitem{\textturnsck}{Turned small capital K }%
+  {}%
+  {\tbs textturnsck}{}{\PSG}{'165}
+
+\ipaitem{l}{Lower-case L}%
+  {alveolar lateral approximant}%
+  {l}{}{\ipaall}{'154}
+
+\ipaitem{\textltilde}{L with tilde}%
+  {}%
+  {\tbs textltilde}{\tbs|\ttilde l}{\ipaall}{'353}
+
+\ipaitem{\textbarl}{Barred L}%
+  {}%
+  {\tbs textbarl}{}{\PSG}{'252}
+
+\ipaitem{\textbeltl}{Belted L}%
+  {voiceless dental or alveolar lateral fricative}%
+  {\tbs textbeltl}{}{\ipaall}{'354}
+
+\ipaitem{\textrtaill}{Right-tail L}%
+  {retroflex lateral approximant}%
+  {\tbs textrtaill}{\tbs:l}{\ipaall}{'355}
+
+\ipaitem{\textlyoghlig}{L-Yogh ligature}%
+  {voiced alveolar lateral fricative}%
+  {\tbs textlyoghlig}{}{\ipanew}{'320}
+
+\ipaitem{\textOlyoghlig}{Old L-Yogh ligature}%
+  {voiced alveolar lateral fricative}%
+  {\tbs textOlyoghlig}{}{\ipaold}{'255}
+
+\ipxitem{\textlfishhookrlig}{L-Fish-hook R ligature}%
+  {alveolar lateral flap}%
+  {\tbs textlfishhookrlig}{}{}{'111}
+
+\ipaitem{\textscl}{Small capital L}%
+  {velar lateral approximant}%
+  {\tbs textscl}{\tbs;L}{\ipanew}{'317}
+
+\ipxitem{\textrevscl}{Reversed small capital L }%
+  {}%
+  {\tbs textrevscl}{}{\PSG}{'166}
+
+\ipaitem{\textlambda}{Lambda}%
+  {}%
+  {\tbs textlambda}{}{\PSG}{'253}
+
+\ipaitem{\textcrlambda}{Crossed lambda}%
+  {}%
+  {\tbs textcrlambda}{}{\PSG}{'254}
+
+\ipaitem{m}{Lower-case M}%
+  {bilabial nasal}%
+  {m}{}{\ipaall}{'155}
+
+\ipaitem{\textltailm}{Left-tail M (at right)\footnotemark}%
+  {labiodental nasal}%
+  {\tbs textltailm}{M}{\ipaall}{'115}%
+  \footnotetext{\PSG\ calls this symbol `Meng'.}
+
+\ipxitem{\texthmlig}{H-M ligature }%
+  {}%
+  {\tbs texthmlig}{}{\PSG}{'064}
+
+\ipaitem{\textturnm}{Turned M}%
+  {close back unrounded vowel}%
+  {\tbs textturnm}{W}{\ipaall}{'127}
+
+\ipaitem{\textturnmrleg}{Turned M, right leg}%
+  {voiced velar approximant}%
+  {\tbs textturnmrleg}{}{IPA '79--'93}{'356}
+
+\ipxitem{\textscm}{Small capital M }%
+  {}%
+  {\tbs textscm}{}{\PSG}{'167}
+
+\ipaitem{n}{Lower-case N}%
+  {dental or alveolar nasal}%
+  {n}{}{\ipaall}{'156}
+
+\ipxitem{\textfrbarn}{Front-bar N\footnotemark}%
+  {}%
+  {\tbs textfrbarn}{}{\PSG}{'065}%
+  \footnotetext{This shape is based on \PSG\ (p.~119). However, its
+  original shape looks a little different. Here I simply followed 
+  the shape found in \PSG\ because in its source \citep{Trager} the
+  shape of this symbol is unclear (typewritten, modified by handwriting).}
+
+\ipxitem{\textnrleg}{N, right leg\footnotemark}%
+  {}%
+  {\tbs textnrleg}{}{IPA '49}{'066}%
+  \footnotetext{In \PSG, this symbol is called `Long-Leg N'.}
+
+\ipaitem{\~n}{N with tilde}%
+  {}%
+  {\tbs\ttilde n}{}{\PSG}{Macro}
+
+\ipaitem{\textltailn}{Left-tail N (at left)}%
+  {palatal nasal}%
+  {\tbs textltailn}{}{\ipaall}{'361}
+
+\ipaitem{\ng}{Eng}%
+  {velar nasal}%
+  {\tbs ng}{N}{\ipaall}{'116}
+
+\ipaitem{\textrtailn}{Right-tail N}%
+  {retroflex nasal}%
+  {\tbs textrtailn}{\tbs:n}{\ipaall}{'357}
+
+\ipaitem{\textctn}{Curly-tail N}%
+  {*alveolo-palatal nasal}%
+  {\tbs textctn}{}{}{'256}
+
+\ipaitem{\textscn}{Small capital N}%
+  {uvular nasal}%
+  {\tbs textscn}{\tbs;N}{\ipaall}{'360}
+
+\ipaitem{o}{Lower-case O}%
+  {close-mid back rounded vowel}%
+  {o}{}{\ipaall}{'157}
+
+\ipxitem{\textfemale}{Female sign }%
+  {}%
+  {\tbs textfemale}{}{\PSG}{'067}
+
+\ipxitem{\textuncrfemale}{Uncrossed female sign }%
+  {}%
+  {\tbs textuncrfemale}{}{\PSG}{'070}
+
+\ipaitem{\textbullseye}{Bull's eye\footnotemark}%
+  {bilabial click}%
+  {\tbs textbullseye}{\tbs!o}{IPA '93, '96}{'362}%
+  \footnotetext{In \PSG\ this name is spelled `Bullseye'.}
+
+\ipxitem{\textObullseye}{Bull's eye (an old version) }%
+  {bilabial click}%
+  {\tbs textObullseye}{}{IPA '79, '89}{'071}
+
+\ipaitem{\textbaro}{Barred O}%
+  {close-mid central rounded vowel}%
+  {\tbs textbaro}{8}{\ipaall}{'070}
+
+\ipaitem{\o}{Slashed O}%
+  {close-mid front rounded vowel}%
+  {\tbs o}{}{\ipaall}{'370}
+
+\ipaitem{\oe}{O-E ligature}%
+  {open-mid front rounded vowel}%
+  {\tbs oe}{}{\ipaall}{'367}
+
+\ipaitem{\textscoelig}{Small capital O-E ligature}%
+  {open front rounded vowel}%
+  {\tbs textscoelig}{\tbs OE}{IPA '79--'96}{'327}
+
+\ipaitem{\textopeno}{Open O}%
+  {open-mid back rounded vowel}%
+  {\tbs textopeno}{O}{\ipaall}{'117}
+
+\ipxitem{\textrhookopeno}{Right-hook open O }%
+  {}%
+  {\tbs textrhookopeno}{}{\PSG}{'072}
+
+\ipaitem{\textturncelig}{Turned C (Open O)-E ligature}%
+  {}%
+  {\tbs textturncelig}{}{\PSG}{'257}
+
+\ipaitem{\textomega}{Omega}%
+  {}%
+  {\tbs textomega}{}{\PSG}{'260}
+
+\ipxitem{\textinvomega}{Inverted omega }%
+  {}%
+  {\tbs textinvomega}{}{\PSG}{'073}
+
+\ipaitem{\textcloseomega}{Closed omega}%
+  {(obsolete) near-close near-back rounded vowel}%
+  {\tbs textcloseomega}{}{\ipaold}{'321}
+
+\ipaitem{\textscomega}{Small capital omega}%
+  {}%
+  {\tbs textscomega}{}{\PSG}{'261}
+
+\ipaitem{p}{Lower-case P}%
+  {voiceless bilabial plosive}%
+  {p}{}{\ipaall}{'160}
+
+\ipaitem{\texthtp}{Hooktop P}%
+  {voiceless bilabial implosive}%
+  {\tbs texthtp}{}{IPA '89}{'322}
+
+\ipxitem{\textlhookp}{Left-hook P }%
+  {}%
+  {\tbs textlhookp}{}{\PSG}{'074}
+
+\ipxitem{\textscp}{Small capital P }%
+  {}%
+  {\tbs textscp}{}{\PSG}{'170}
+
+\ipaitem{\textwynn}{Wynn}%
+  {*labiovelar approximant}%
+  {\tbs textwynn}{}{Old English}{'337}
+
+\ipaitem{\textthorn}{Thorn}%
+  {*interdental fricative}%
+  {\tbs textthorn}{\tbs th}{Old English}{'376}
+
+\ipxitem{\textthornvari}{A variety of thorn (1) }%
+  {}%
+  {\tbs textthornvari}{}{\PSG}{'120}
+
+\ipxitem{\textthornvarii}{A variety of thorn (2) }%
+  {}%
+  {\tbs textthornvarii}{}{\PSG}{'121}
+
+\ipxitem{\textthornvariii}{A variety of thorn (3) }%
+  {}%
+  {\tbs textthornvariii}{}{\PSG}{'122}
+
+\ipxitem{\textthornvariv}{A variety of thorn (4) }%
+  {}%
+  {\tbs textthornvariv}{}{\PSG}{'123}
+
+\ipaitem{\textphi}{Phi}%
+  {voiceless bilabial fricative}%
+  {\tbs textphi}{F}{\ipaall}{'106}
+
+\ipaitem{q}{Lower-case Q}%
+  {voiceless uvular plosive}%
+  {q}{}{\ipaall}{'161}
+
+\ipaitem{\texthtq}{Hooktop Q}%
+  {voiceless uvular implosive}%
+  {\tbs texthtq}{}{IPA '89}{'323}
+
+\ipxitem{\textqplig}{Q-P ligature }%
+  {}%
+  {\tbs textqplig}{}{\PSG}{'075}
+
+\ipxitem{\textscq}{Small capital Q\footnotemark}%
+  {*voiceless pharyngeal plosive}%
+  {\tbs textscq}{\tbs;Q}{}{'171}%
+  \footnotetext{Suggested by Prof S. Tsuchida for Austronesian
+    languages in Taiwan. In \PSG{} `Female Sign' and `Uncrossed Female
+    Sign'(pp.~110--111) are noted for pharyngeal stops, as proposed by
+    Trager (1964). Also, I'm not sure about the difference between an
+    epiglottal plosive and a pharyngeal stop.}
+
+\ipaitem{r}{Lower-case R}%
+  {alveolar trill}%
+  {r}{}{\ipaall}{'162}
+
+\ipaitem{\textfishhookr}{Fish-hook R}%
+  {alveolar tap or flap}%
+  {\tbs textfishhookr}{R}{\ipaall}{'122}
+
+\ipaitem{\textlonglegr}{Long-leg R}%
+  {alveolar fricative trill}%
+  {\tbs textlonglegr}{}{\ipaold}{'324}
+
+\ipaitem{\textrtailr}{Right-tail R}%
+  {retroflex tap or flap}%
+  {\tbs textrtailr}{\tbs:r}{\ipaall}{'363}
+
+\ipaitem{\textturnr}{Turned R}%
+  {alveolar approximant}%
+  {\tbs textturnr}{\tbs*r}{\ipaall}{'364}
+
+\ipaitem{\textturnrrtail}{Turned R, right tail}%
+  {retroflex approximant}%
+  {\tbs textturnrrtail}{\tbs:R}{\ipaall}{'365}
+
+\ipaitem{\textturnlonglegr}{Turned long-leg R}%
+  {alveolar lateral flap}%
+  {\tbs textturnlonglegr}{}{\ipaall}{'325}
+
+\ipaitem{\textscr}{Small capital R}%
+  {uvular trill}%
+  {\tbs textscr}{\tbs;R}{\ipaall}{'366}
+
+\ipxitem{\textrevscr}{Reversed small capital R }%
+  {}%
+  {\tbs textrevscr}{}{\PSG}{'172}
+
+\ipaitem{\textinvscr}{Inverted small capital R}%
+  {voiced uvular fricative}%
+  {\tbs textinvscr}{K}{\ipaall}{'113}
+
+\ipaitem{s}{Lower-case S}%
+  {voiceless alveolar fricative}%
+  {s}{}{\ipaall}{'163}
+
+\ipaitem{\v{s}}{Wedge S}%
+  {*equivalent to IPA \textesh}%
+  {\TD{v}{s}}{}{\PSG}{Macro}
+
+\ipaitem{\textrtails}{Right-tail S (at left)}%
+  {voiceless retroflex fricative}%
+  {\tbs textrtails}{\tbs:s}{\ipaall}{'371}
+
+\ipaitem{\textesh}{Esh}%
+  {voiceless postalveolar fricative}%
+  {\tbs textesh}{S}{\ipaall}{'123}
+
+\ipaitem{\textdoublebaresh}{Double-barred esh}%
+  {}%
+  {\tbs textdoublebaresh}{}{\cite{Hottentot}, \PSG}{Macro}
+
+\ipxitem{\textlooptoprevesh}{Reversed esh with top loop }%
+  {}%
+  {\tbs textlooptoprevesh}{}{IPA '49}{'076}
+
+\ipaitem{\textctesh}{Curly-tail esh}%
+  {palatalized \textesh}%
+  {\tbs textctesh}{}{\ipaold}{'262}
+
+\ipaitem{t}{Lower-case T}%
+  {voiceless dental or alveolar plosive}%
+  {t}{}{\ipaall}{'164}
+
+\ipxitem{\textfrhookt}{Front-hook T }%
+  {}%
+  {\tbs textfrhookt}{}{\PSG}{'077}
+
+\ipaitem{\textlhookt}{Left-hook T}%
+  {palatalized t}%
+  {\tbs textlhookt}{}{\PSG}{'263}
+
+\ipaitem{\textrtailt}{Right-tail T}%
+  {voiceless retroflex plosive}%
+  {\tbs textrtailt}{\tbs:t}{\ipaall}{'372}
+
+\ipaitem{\texthtt}{Hooktop T}%
+  {voiceless dental or alveolar implosive}%
+  {\tbs texthtt}{}{IPA '89}{'326}
+
+\ipaitem{\textturnt}{Turned T}%
+  {dental click}%
+  {\tbs textturnt}{\tbs*t}{\ipaold}{'330}
+
+\ipxitem{\textctturnt}{Curly-tail turned T }%
+  {}%
+  {\tbs textctturnt}{}{\cite{Hottentot}, \PSG}{'100}
+
+\ipaitem{\textctt}{Curly-tail T}%
+  {*voiceless alveolo-palatal plosive}%
+  {\tbs textctt}{}{}{'264}
+
+\ipaitem{\texttctclig}{T-Curly-tail C ligature}%
+  {}%
+  {\tbs texttctclig}{}{}{Macro}
+
+\ipaitem{\textcttctclig}{Curly-tail T-Curly-tail C ligature}%
+  {}%
+  {\tbs textcttctclig}{}{}{Macro}
+
+\ipaitem{\texttslig}{T-S ligature}%
+  {}%
+  {\tbs texttslig}{}{\ipaold}{'265}
+
+\ipaitem{\textteshlig}{T-Esh ligature}%
+  {voiceless postalveolar affricate}%
+  {\tbs textteshlig}{}{\ipaall}{'331}
+
+\ipaitem{\texttheta}{Theta}%
+  {voiceless dental fricative}%
+  {\tbs texttheta}{T}{\ipaall}{'124}
+
+\ipaitem{u}{Lower-case U}%
+  {close back rounded vowel}%
+  {u}{}{\ipaall}{'165}
+
+\ipaitem{\textbaru}{Barred U}%
+  {close central rounded vowel}%
+  {\tbs textbaru}{0}{\ipaall}{'060}
+
+\ipaitem{\textupsilon}{Upsilon}%
+  {near-close near-back rounded vowel}%
+  {\tbs textupsilon}{U}{\ipanew}{'125}
+
+\ipaitem{\textscu}{Small capital U}%
+  {*equivalent to IPA \textupsilon}%
+  {\tbs textscu}{\tbs;U}{\ipaall}{'366}
+
+\ipxitem{\textturnscu}{Turned small capital U }%
+  {}%
+  {\tbs textturnscu}{}{\PSG}{'173}
+
+\ipaitem{v}{Lower-case V}%
+  {voiced labiodental fricative}%
+  {v}{}{\ipaall}{'166}
+
+\ipaitem{\textscriptv}{Script V\footnotemark}%
+  {voiced labiodental approximant}%
+  {\tbs textscriptv}{V}{\ipaall}{'126}%
+  \footnotetext{In \Handbook, this symbols is called `Cursive V'.}
+
+\ipaitem{w}{Lower-case W}%
+  {voiced labio-velar approximant}%
+  {w}{}{\ipaall}{'167}
+
+\ipaitem{\textturnw}{Turned W}%
+  {voiceless labio-velar fricative}%
+  {\tbs textturnw}{\tbs*w}{\ipaall}{'373}
+
+\ipaitem{x}{Lower-case X}%
+  {voiceless velar fricative}%
+  {x}{}{\ipaall}{'170}
+
+\ipaitem{\textchi}{Chi}%
+  {voiceless uvular fricative}%
+  {\tbs textchi}{X}{\ipaall}{'130}
+
+\ipaitem{y}{Lower-case Y}%
+  {close front rounded vowel}%
+  {y}{}{\ipaall}{'171}
+
+\ipaitem{\textturny}{Turned Y}%
+  {palatal lateral approximant}%
+  {\tbs textturny}{L}{\ipaall}{'114}
+
+\ipaitem{\textscy}{Small capital Y}%
+  {near-close near-front rounded vowel}%
+  {\tbs textscy}{Y}{\ipaall}{'131}
+
+\ipaitem{\textlhtlongy}{Left-hooktop long Y\footnotemark\ }%
+  {}%
+  {\tbs textlhtlongy}{}{\PSG}{'266}%
+  \footnotetext{See explanations in footnote~\ref{vibyi}.}
+
+\ipaitem{\textvibyy}{Viby Y\footnotemark}%
+  {}%
+  {\tbs textvibyy}{}{\PSG}{'267}%
+  \footnotetext{See explanations in footnote~\ref{vibyi}.}
+
+\ipaitem{z}{Lower-case Z}%
+  {voiced alveolar fricative}%
+  {z}{}{\ipaall}{'172}
+
+\ipaitem{\textcommatailz}{Comma-tail Z}%
+  {*as in \emph{OHG} \"e\textcommatailz\textcommatailz an `to eat'.}%
+  {\tbs textcommatailz}{}{OHG, \PSG}{'336}
+
+\ipaitem{\v{z}}{Wedge Z}%
+  {*equivalent to IPA \textyogh}%
+  {\TD{v}{z}}{}{\PSG}{Macro}
+
+\ipaitem{\textctz}{Curly-tail Z}%
+  {voiced alveolo-palatal fricative}%
+  {\tbs textctz}{}{\ipaall}{'375}
+
+\ipaitem{\textrtailz}{Right-tail Z}%
+  {voiced retroflex fricative}%
+  {\tbs textrtailz}{\tbs:z}{\ipaall}{'374}
+
+\ipaitem{\textcrtwo}{Crossed two}%
+  {}%
+  {\tbs textcrtwo}{}{IPA '49}{Macro}
+
+\ipxitem{\textturntwo}{Turned two }%
+  {}%
+  {\tbs textturntwo}{}{IPA '49}{'101}
+
+\ipaitem{\textyogh}{Yogh\footnotemark}%
+  {voiced postalveolar fricative}%
+  {\tbs textyogh}{Z}{\ipaall}{'132}%
+  \footnotetext{In \Handbook, this symbols is called `Ezh'.}
+
+\ipxitem{\textbenttailyogh}{Bent-tail yogh }%
+  {}%
+  {\tbs textbenttailyogh}{}{IPA '49}{'102}
+
+\ipaitem{\textctyogh}{Curly-tail yogh}%
+  {palatalized \textyogh}%
+  {\tbs textctyogh}{}{\ipaold}{'270}
+
+\ipaitem{\textrevyogh}{Reversed yogh}%
+  {}%
+  {\tbs textrevyogh}{}{\PSG}{'271}
+
+\ipxitem{\textturnthree}{Turned three }%
+  {}%
+  {\tbs textturnthree}{}{IPA '49}{'103}
+
+\ipaitem{\textglotstop}{Glottal stop}%
+  {glottal plosive}%
+  {\tbs textglotstop}{P}{\ipaall}{'120}
+
+\ipxitem{\textglotstopvari}{A variety of glottal stop (1) }%
+  {}%
+  {\tbs textglotstopvari}{}{\PSG}{'124}
+
+\ipxitem{\textglotstopvarii}{A variety of glottal stop (2) }%
+  {}%
+  {\tbs textglotstopvarii}{}{\PSG}{'125}
+
+\ipxitem{\textglotstopvariii}{A variety of glottal stop (3) }%
+  {}%
+  {\tbs textglotstopvariii}{}{\PSG}{'126}
+
+\ipaitem{\textraiseglotstop}{Superscript glottal stop}%
+  {}%
+  {\tbs textraiseglotstop}{}{}{'274}
+
+\ipaitem{\textbarglotstop}{Barred glottal stop}%
+  {epiglottal plosive}%
+  {\tbs textbarglotstop}{}{\ipanew}{'334}
+
+\ipaitem{\textinvglotstop}{Inverted glottal stop}%
+  {alveolar lateral click}%
+  {\tbs textinvglotstop}{}{\ipaold}{'333}
+
+\ipaitem{\textcrinvglotstop}{Crossed inverted glottal stop}%
+  {}%
+  {\tbs textcrinvglotstop}{}{IPA '49}{Macro}
+
+\ipxitem{\textctinvglotstop}{Curly-tail inverted glottal stop }%
+  {}%
+  {\tbs textctinvglotstop}{}{\cite{Hottentot}, \PSG}{'104}
+
+\ipxitem{\textturnglotstop}{Turned glottal stop (PSG 1996:211) }%
+  {}%
+  {\tbs textturnglotstop}{}{\PSG}{'105}
+
+\ipaitem{\textrevglotstop}{Reversed glottal stop}%
+  {voiced pharyngeal fricative}%
+  {\tbs textrevglotstop}{Q}{\ipaall}{'121}
+
+\ipaitem{\textbarrevglotstop}{Barred reversed glottal stop}%
+  {voiced epiglottal fricative}%
+  {\tbs textbarrevglotstop}{}{\ipanew}{'335}
+
+\ipaitem{\textpipe}{Pipe}%
+  {dental click}%
+  {\tbs textpipe}{|}{\ipanew}{'174}
+
+\ipxitem{\textpipevar}{Pipe (a variety with no descender) }%
+  {dental click}%
+  {\tbs textpipevar}{}{\PSG}{'106}
+
+\ipaitem{\textdoublebarpipe}{Double-barred pipe}%
+  {palatoalveolar click}%
+  {\tbs textdoublebarpipe}{}{\ipanew}{'175}
+
+\ipxitem{\textdoublebarpipevar}{Double-barred pipe (a variety with no descender) }%
+  {same as the above}%
+  {\tbs textdoublebarpipevar}{}{\PSG}{'110}
+
+\ipaitem{\textdoublebarslash}{Double-barred slash}%
+  {*a variant of \textdoublebarpipe}%
+  {\tbs textdoublebarslash}{}{\PSG}{Macro}
+
+\ipaitem{\textdoublepipe}{Double pipe}%
+  {alveolar lateral click}%
+  {\tbs textdoublepipe}{||}{\ipanew}{'177}
+
+\ipxitem{\textdoublepipevar}{Double pipe (a variety with no descender) }%
+  {same as the above}%
+  {\tbs textdoublepipevar}{}{\PSG}{'107}
+
+\ipaitem{!}{Exclamation point}%
+  {(post)alveolar click}%
+  {!}{}{\ipanew}{'041}
+
+
+\section{Suprasegmentals}
+
+\ipaitem{\textprimstress}{Vertical stroke (Superior)}%
+  {primary stress}%
+  {\tbs textprimstress}{"}{\ipaall}{'042}
+
+\ipaitem{\textsecstress}{Vertical stroke (Inferior)}%
+  {secondary stress}%
+  {\tbs textsecstress}{""}{\ipaall}{'177}
+
+\ipaitem{\textlengthmark}{Length mark}%
+  {long}%
+  {\tbs textlengthmark}{:}{\ipaall}{'072}
+
+\ipaitem{\texthalflength}{Half-length mark}%
+  {half-long}%
+  {\tbs texthalflength}{;}{\ipaall}{'073}
+
+\ipaitem{\textvertline}{Vertical line}%
+  {minor (foot) group}%
+  {\tbs textvertline}{}{\ipanew}{'222}
+
+\ipaitem{\textdoublevertline}{Double vertical line}%
+  {major (intonation) group}%
+  {\tbs textdoublevertline}{}{\ipanew}{'223}
+
+\ipaitem{\textbottomtiebar{  }}{Bottom tie bar}%
+  {linking (absence of a break)}%
+  {\tbs textbottomtiebar}{\tbs t*\TT{}}{\ipanew}{'074}
+  \label{bottomtiebar}
+
+\ipaitem{\textdownstep}{Down arrow\footnotemark}%
+  {downstep}%
+  {\tbs textdownstep}{}{\ipanew}{'224}%
+  \footnotetext{The shapes of \tbs\texttt{textdownstep} and
+    \tbs\texttt{textupstep} differ according to sources. Here I followed
+    the shapes found in the recent IPA charts.}
+
+\ipaitem{\textupstep}{Up arrow}%
+  {upstep}%
+  {\tbs textupstep}{}{\ipanew}{'225}
+
+\ipaitem{\textglobfall}{Downward diagonal arrow}%
+  {global fall}%
+  {\tbs textglobfall}{}{\ipanew}{'226}
+
+\ipaitem{\textglobrise}{Upward diagonal arrow}%
+  {global rise}%
+  {\tbs textglobrise}{}{\ipanew}{'227}
+
+\ipxitem{\textspleftarrow}{Superscript left arrow }%
+  {}%
+  {\tbs textspleftarrow}{}{\PSG, p.~243}{'005}
+
+\ipxitem{\textdownfullarrow}{Down full arrow }%
+  {ingressive airflow}%
+  {\tbs textdownfullarrow}{}{ExtIPA, \Handbook}{'007}
+
+\ipxitem{\textupfullarrow}{Up full arrow }%
+  {egressive airflow}%
+  {\tbs textupfullarrow}{}{ExtIPA, \Handbook}{'010}
+
+\ipxitem{\textsubrightarrow}{Subscript right arrow }%
+  {sliding articulation}%
+  {\tbs textsubrightarrow}{}{ExtIPA}{'011}
+
+\ipxitem{\textsubdoublearrow}{Subscript double arrow }%
+  {labial spreading}%
+  {\tbs textsubdoublearrow}{}{ExtIPA}{'012}
+
+
+\subsection{Tone letters}
+
+The tones illustrated here are only a representative sample of what is
+possible.  For more details see section~\ref{sec:tone}.
+
+\bigskip
+
+\ipaitem{\tone{55}}{Extra high tone}%
+  {}%
+  {\TD{tone}{55}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{44}}{High tone}%
+  {}%
+  {\TD{tone}{44}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{33}}{Mid tone}%
+  {}%
+  {\TD{tone}{33}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{22}}{Low tone}%
+  {}%
+  {\TD{tone}{22}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{11}}{Extra low tone}%
+  {}%
+  {\TD{tone}{11}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{51}}{Falling tone}%
+  {}%
+  {\TD{tone}{51}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{15}}{Rising tone}%
+  {}%
+  {\TD{tone}{15}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{45}}{High rising tone}%
+  {}%
+  {\TD{tone}{45}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{12}}{Low rising tone}%
+  {}%
+  {\TD{tone}{12}}{}{\ipanew}{Macro}
+
+\ipaitem{\tone{454}}{High rising falling tone}%
+  {}%
+  {\TD{tone}{454}}{}{\ipanew}{Macro}
+
+
+\subsection{Diacritical Tone Marks}
+
+Some symbols included in the next section are also used as diacritical 
+tone marks.
+
+\bigskip
+
+\ipaitem{\texthighrise{a}}{Macron plus acute accent}%
+  {high rising tone}%
+  {\TD{texthighrise}{a}}{}{\ipanew}{'230}
+
+\ipaitem{\textlowrise{a}}{Grave accent plus macron}%
+  {low rising tone}%
+  {\TD{textlowrise}{a}}{}{\ipanew}{'231}
+
+\ipaitem{\textrisefall{a}}{Grave plus acute plus grave accent}%
+  {rising-falling tone}%
+  {\TD{textrisefall}{a}}{}{\ipanew}{'232}
+
+\ipaitem{\textfallrise{a}}{Acute plus grave plus acute accent}%
+  {falling-rising tone}%
+  {\TD{textfallrise}{a}}{}{}{'233}
+
+
+\section{Accents and Diacritics}\label{list:diacritics}
+
+\ipaitem{\`e}{Grave accent}%
+  {low tone}%
+  {\tbs`e}{}{\ipaall}{'000}
+
+\ipaitem{\'e}{Acute accent}%
+  {high tone}%
+  {\tbs'e}{}{\ipaall}{'001}
+
+\ipaitem{\^e}{Circumflex accent}%
+  {falling tone}%
+  {\tbs\tcircum e}{}{\ipaall}{'002}
+
+\ipaitem{\~e}{Tilde}%
+  {nasalized}%
+  {\tbs\ttilde e}{}{\ipaall}{'003}
+
+\ipaitem{\"e}{Umlaut}%
+  {centralized}%
+  {\tbs"e}{}{\ipaall}{'004}
+
+\ipaitem{\H{e}}{Double acute accent}%
+  {extra high tone}%
+  {\TD{H}{e}}{}{\ipanew}{'005}
+
+\ipaitem{\r{e}}{Ring}%
+  {}%
+  {\TD{r}{e}}{}{}{'006}
+
+\ipaitem{\v{e}}{Wedge}%
+  {rising tone}%
+  {\TD{v}{e}}{}{\ipaall}{'007}
+
+\ipaitem{\u{e}}{Breve}%
+  {extra short}%
+  {\TD{u}{e}}{}{\ipaall}{'010}
+
+\ipaitem{\=e}{Macron}%
+  {mid tone}%
+  {\tbs=e}{}{}{'011}
+
+\ipaitem{\.e}{Dot}%
+  {}%
+  {\tbs.e}{}{}{'012}
+
+\ipaitem{\c{e}}{Cedilla}%
+  {}%
+  {\TD{c}{e}}{}{}{'013}
+
+\ipaitem{\textpolhook{e}}{Polish hook (Ogonek accent)}%
+  {}%
+  {\TD{textpolhook}{e}}{\TD{k}{e}}{}{'014}
+
+\ipxitem{\textrevpolhook{o}}{Reversed Polish hook }%
+  {}%
+  {\TD{textrevpolhook}{o}}{}{\PSG, p.~129}{'000}
+
+\ipaitem{\textdoublegrave{e}}{Double grave accent}%
+  {extra low tone}%
+  {\TD{textdoublegrave}{e}}{\tbs H*e}{\ipanew}{'015}
+
+\ipaitem{\textsubgrave{e}}{Subscript grave accent}%
+  {low falling tone}%
+  {\TD{textsubgrave}{e}}{\tbs`*e}{\ipaold}{'016}
+
+\ipaitem{\textsubacute{e}}{Subscript acute accent}%
+  {low rising tone}%
+  {\TD{textsubacute}{e}}{\tbs'*e}{\ipaold}{'017}
+
+\ipaitem{\textsubcircum{e}}{Subscript circumflex accent}%
+  {}%
+  {\TD{textsubcircum}{e}}{\tbs\tcircum*e}{}{Macro}
+
+\ipaitem{\textroundcap{g}}{Round cap}%
+  {}%
+  {\TD{textroundcap}{g}}{\tbs|c\TT{g}}{}{'020}
+
+\ipaitem{\textacutemacron{a}}{Acute accent with macron}%
+  {}%
+  {\tbs textacutemacron\TT{a}}{\tbs'=a}{}{Macro}
+
+\ipaitem{\textgravemacron{a}}{Grave accent with macron}%
+  {}%
+  {\tbs textgravemacron\TT{a}}{}{}{Macro}
+
+\ipaitem{\textvbaraccent{a}}{Vertical bar accent}%
+  {}%
+  {\tbs textvbaraccent\TT{a}}{}{}{'234}
+
+\ipaitem{\textdoublevbaraccent{a}}{Double vertical bar accent}%
+  {}%
+  {\tbs textdoublevbaraccent\TT{a}}{}{}{'235}
+
+\ipaitem{\textgravedot{e}}{Grave dot accent}%
+  {}%
+  {\TD{textgravedot}{e}}{\tbs`.e}{}{'236}
+
+\ipaitem{\textdotacute{e}}{Dot acute accent}%
+  {}%
+  {\TD{textdotacute}{e}}{\tbs'.e}{}{'237}
+
+\ipaitem{\textcircumdot{a}}{Circumflex dot accent}%
+  {}%
+  {\TD{textcircumdot}{a}}{\tbs\tcircum.a}{}{Macro}
+
+\ipaitem{\texttildedot{a}}{Tilde dot accent}%
+  {}%
+  {\TD{texttildedot}{a}}{\tbs \ttilde.a}{}{Macro}
+
+\ipaitem{\textbrevemacron{a}}{Breve macron accent}%
+  {}%
+  {\TD{textbrevemacron}{a}}{\tbs u=a}{}{Macro}
+
+\ipaitem{\textringmacron{a}}{Ring macron accent}%
+  {}%
+  {\TD{textringmacron}{a}}{\tbs r=a}{}{Macro}
+
+\ipaitem{\textacutewedge{s}}{Acute wedge accent}%
+  {}%
+  {\TD{textacutewedge}{s}}{\tbs v's}{}{Macro}
+
+\ipaitem{\textdotbreve{a}}{Dot breve accent}%
+  {}%
+  {\TD{textdotbreve}{a}}{}{}{Macro}
+
+\ipaitem{\textsubbridge{t}}{Subscript bridge}%
+  {dental}%
+  {\TD{textsubbridge}{t}}{\tbs|[t}{\ipaall}{'021}
+
+\ipaitem{\textinvsubbridge{d}}{Inverted subscript bridge}%
+  {apical}%
+  {\TD{textinvsubbridge}{d}}{\tbs|]t}{\ipanew}{'022}
+
+\ipaitem{\textsubsquare{n}}{Subscript square}%
+  {laminal}%
+  {\TD{textsubsquare}{n}}{}{\ipanew}{'023}
+
+\ipaitem{\textsubrhalfring{o}}{Subscript right half-ring\footnotemark}%
+  {more rounded}%
+  {\TD{textsubrhalfring}{o}}{\tbs|)o}{\ipaall}{'024}%
+  \footnotetext{Diacritics {\tt\tbs textsubrhalfring} and
+    {\tt\tbs textsublhalfring} can be placed after a symbol by inputting,
+    for example, {\tt[e\tbs textsubrhalfring\tbi\tbii]}
+    \textipa{[e\textsubrhalfring{}]}.}
+
+\ipaitem{\textsublhalfring{o}}{Subscript left half-ring}%
+  {less rounded}%
+  {\TD{textsublhalfring}{o}}{\tbs|(o}{\ipaall}{'025}
+
+\ipaitem{\textsubw{k}}{Subscript W}%
+  {labialized}%
+  {\TD{textsubw}{k}}{\tbs|w\TT{k}}{IPA '79}{'026}
+
+\ipaitem{\textoverw{g}}{Over W}%
+  {*labialized}%
+  {\TD{textoverw}{g}}{}{}{'026}
+
+\ipaitem{\textseagull{t}}{Subscript seagull}%
+  {linguolabial}%
+  {\TD{textseagull}{t}}{\tbs|m\TT{t}}{\ipanew}{'027}
+
+\ipaitem{\textovercross{e}}{Over-cross}%
+  {mid-centralized}%
+  {\TD{textovercross}{e}}{\tbs|x\TT{e}}{\ipaall}{'030}
+
+\ipaitem{\textsubplus{\textopeno}}{Subscript plus\footnotemark}%
+  {advanced}%
+  {\TD{textsubplus}{\tbs textopeno}}{\tbs|+O}{\ipaall}{'033}%
+  \footnotetext{The diacritics such as
+    {\tt\tbs textsubplus}, {\tt\tbs textraising}, {\tt\tbs textlowering}
+    {\tt\tbs textadvancing} and {\tt\tbs textretracting}
+    can be placed after a symbol  by inputting
+    {\tt[e\tbs textsubplus\tbi\tbii]} \textipa{[e\textsubplus{}]},
+    for example. }
+
+\ipaitem{\textraising{\textepsilon}}{Raising sign}%
+  {raised}%
+  {\TD{textraising}{\tbs textepsilon}}{\tbs|'E}{\ipaall}{'034}
+
+\ipaitem{\textlowering{e}}{Lowering sign}%
+  {lowered}%
+  {\TD{textlowering}{e}}{\tbs|`e}{\ipaall}{'035}
+
+\ipaitem{\textadvancing{u}}{Advancing sign}%
+  {advanced tongue root}%
+  {\TD{textadvancing}{u}}{\tbs|<u}{\ipaall}{'036}
+
+\ipaitem{\textretracting{\textschwa}}{Retracting sign}%
+  {retracted tongue root}%
+  {\TD{textretracting}{\tbs textschwa}}{\tbs|>@}{\ipaall}{'037}
+
+\ipaitem{\textsubtilde{e}}{Subscript tilde}%
+  {creaky voiced}%
+  {\TD{textsubtilde}{e}}{\tbs\ttilde*e}{\ipanew}{'003}
+
+\ipaitem{\textsubumlaut{e}}{Subscript umlaut}%
+  {breathy voiced}%
+  {\TD{textsubumlaut}{e}}{\tbs"*e}{IPA '79, '89, '93}{'004}
+
+\ipaitem{\textsubring{u}}{Subscript ring}%
+  {voiceless}%
+  {\TD{textsubring}{u}}{\tbs r*u}{\ipaall}{'006}
+
+\ipaitem{\textsubwedge{e}}{Subscript wedge}%
+  {voiced}%
+  {\TD{textsubwedge}{e}}{\tbs v*e}{\ipaall}{'007}
+
+\ipaitem{\textsubbar{e}}{Subscript bar}%
+  {retracted}%
+  {\TD{textsubbar}{e}}{\tbs=*e}{\ipaall}{'011}
+
+\ipaitem{\textsubdot{e}}{Subscript dot}%
+  {*retroflex}%
+  {\TD{textsubdot}{e}}{\tbs.*e}{}{'012}
+
+\ipaitem{\textsubarch{e}}{Subscript arch}%
+  {non-syllabic}%
+  {\TD{textsubarch}{e}}{}{}{'020}
+
+\ipaitem{\textsyllabic{m}}{Syllabicity mark}%
+  {syllabic}%
+  {\TD{textsyllabic}{m}}{\TD{s}{m}}{\ipaall}{'042}
+
+\ipaitem{\textsuperimposetilde{t}}{Superimposed tilde}%
+  {velarized or pharyngealized}%
+  {\TD{textsuperimposetilde}%
+  {t}}{\tbs|\ttilde\TT{t}}{\ipaall}{'046}
+
+\ipaitem{t\textcorner}{Corner}%
+  {no audible release}%
+  {t\tbs textcorner}{}{\ipanew}{'136}
+
+\ipaitem{t\textopencorner}{Open corner}%
+  {*release/burst}%
+  {t\tbs textopencorner}{}{}{'137}
+
+\ipaitem{\textschwa\textrhoticity}{Rhoticity}%
+  {rhoticity}%
+  {\tbs textschwa\tbs textrhoticity}{}{\ipanew}{'176}
+
+\ipaitem{b\textceltpal}{Celtic palatalization mark}%
+  {*as in \emph{Irish} b\textceltpal an `woman'.}%
+  {b\tbs textceltpal}{}{}{'040}
+
+\ipaitem{k\textlptr}{Left pointer}%
+  {}%
+  {k\tbs textlptr}{}{}{'275}
+
+\ipaitem{k\textrptr}{Right pointer}%
+  {}%
+  {k\tbs textrptr}{}{}{'276}
+
+\ipxitem{p\textrectangle}{Rectangle\footnotemark}%
+  {*equivalent to IPA \textcorner\ (Corner)}%
+  {p\tbs textrectangle}{}{}{'004}%
+  \footnotetext{This symbol is used among Japanese linguists as a
+    diacritical symbol indicating no audible release (IPA \textcorner),
+    because the symbol \textcorner{} is used to indicate pitch accent in
+    Japanese.}
+
+\ipxitem{\textretractingvar}{Retracting sign (a variety) }%
+  {}%
+  {\tbs textretractingvar}{}{IPA '49}{'006}
+
+\ipaitem{\texttoptiebar{gb}}{Top tie bar}%
+  {affricates and double articulations}%
+  {\TD{texttoptiebar}{gb}}{\TD{t}{gb}}{}{'076}
+
+\hspace*{2em}\emph{See} page~\pageref{bottomtiebar} for `Bottom tie bar'.
+\par\bigskip
+
+\ipaitem{'}{Apostrophe}%
+  {ejective}%
+  {'}{}{\ipaall}{'047}
+
+\ipaitem{\textrevapostrophe}{Reversed apostrophe}%
+  {(obsolete) week aspiration}%
+  {\tbs textrevapostrophe}{}{\ipaold}{'134}
+
+\ipaitem{.}{Period}%
+  {syllable break as in [\textturnr{}i.\ae{}kt]}%
+  {.}{}{\ipanew}{'056}
+
+\ipaitem{\texthooktop}{Hooktop}%
+  {}%
+  {\tbs texthooktop}{}{}{'043}
+
+\ipaitem{\textrthook}{Right hook}%
+  {}%
+  {\tbs textrthook}{}{}{'044}
+
+\ipxitem{\textrthooklong}{Right hook (long) }%
+  {}%
+  {\tbs textrthooklong}{}{}{'001}
+
+\ipaitem{\textpalhook}{Palatalization hook}%
+  {}%
+  {\tbs textpalhook}{}{}{'045}
+
+\ipxitem{\textpalhooklong}{Palatalization hook (long) }%
+  {}%
+  {\tbs textpalhooklong}{}{}{'002}
+
+\ipxitem{\textpalhookvar}{Palatalization hook (a variety) }%
+  {}%
+  {\tbs textpalhookvar}{}{}{'003}
+
+\ipaitem{p\super{h}}{Superscript H}%
+  {aspirated}%
+  {p\TD{textsuperscript}{h}}{p\tbs super h}{\ipaall}{Macro}
+
+\ipaitem{k\super{w}}{Superscript W}%
+  {labialized}%
+  {k\TD{textsuperscript}{w}}{k\tbs super w}{\ipaall}{Macro}
+
+\ipaitem{t\super{j}}{Superscript J}%
+  {palatalized}%
+  {t\TD{textsuperscript}{j}}{t\tbs super j}{\ipaall}{Macro}
+
+\ipaitem{t\super{\textgamma}}{Superscript gamma}%
+  {velarized}%
+  {t\TD{textsuperscript}{\tbs textgamma}}{t\tbs super G}{\ipanew}{Macro}
+
+\ipaitem{d\super{\textrevglotstop}}{Superscript reversed glottal stop}%
+  {pharyngealized}%
+  {d\TD{textsuperscript}{\tbs textrevglotstop}}{d\tbs super Q}{\ipanew}{Macro}
+
+\ipaitem{d\super{n}}{Superscript N}%
+  {nasal release}%
+  {d\TD{textsuperscript}{n}}{d\tbs super n}{\ipanew}{Macro}
+
+\ipaitem{d\super{l}}{Superscript L}%
+  {lateral release}%
+  {d\TD{textsuperscript}{l}}{d\tbs super l}{\ipanew}{Macro}
+
+
+
+\section{Diacritics for ExtIPA, VoQS}
+
+In order to use diacritics listed in this section, it is necessary to
+specify the option `\texttt{extra}' at the preamble (See the section
+entitled ``Other options'' on section~\ref{sec:otheroptions}). Note
+also that some of the diacritics are defined by using symbols from
+fonts other than \tipa{} so that they may not look quite satisfactory
+and/or may not be slanted (e.g. \verb|\whistle{s}| \whistle{s}).
+
+\bigskip
+
+\ipxitem{\spreadlips{s}}{Subscript double arrow}%
+  {*labial spreading}%
+  {\TD{spreadlips}{s}}{}{ExtIPA '94}{'011}
+
+\ipaitem{\overbridge{v}}{Overbridge}%
+  {*dentolabial}%
+  {\TD{overbridge}{v}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\bibridge{n}}{Bibridge}%
+  {*interdental/bidental}%
+  {\TD{bibridge}{n}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\subdoublebar{t}}{Subscript double bar}%
+  {*alveolar}%
+  {\TD{subdoublebar}{t}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\subdoublevert{f}}{Subscript double vertical line}%
+  {*strong articulation}%
+  {\TD{subdoublevert}{f}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\subcorner{v}}{Subscript corner}%
+  {*weak articulation}%
+  {\TD{subcorner}{v}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\whistle{s}}{Up arrow}%
+  {*whistled articulation}%
+  {\TD{whistle}{s}}{}{ExtIPA '94}{Macro}
+
+\ipxitem{\sliding{Ts}}{Subscript right arrow}%
+  {*sliding articulation}%
+  {\TD{sliding}{\TD{textipa}{Ts}}}{}{ExtIPA '94}{'012}
+
+\ipaitem{\crtilde{m}}{Crossed tilde}%
+  {*denasal}%
+  {\TD{crtilde}{m}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\dottedtilde{a}}{Dotted tilde}%
+  {*nasal escape}%
+  {\TD{dottedtilde}{a}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\doubletilde{s}}{Double tilde}%
+  {*velopharyngeal friction}%
+  {\TD{doubletilde}{s}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\partvoiceless{n}}{Parenthesis plus ring}%
+  {*partial voiceless}%
+  {\TD{partvoiceless}{n}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\inipartvoiceless{n}}{Parenthesis plus ring}%
+  {*initial partial voiceless}%
+  {\TD{inipartvoiceless}{n}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\finpartvoiceless{n}}{Parenthesis plus ring}%
+  {*final partial voiceless}%
+  {\TD{finpartvoiceless}{n}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\partvoice{s}}{Parenthesis plus subwedge}%
+  {*partial voicing}%
+  {\TD{partvoice}{s}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\inipartvoice{s}}{Parenthesis plus subwedge}%
+  {*initial partial voicing}%
+  {\TD{inipartvoice}{s}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\finpartvoice{s}}{Parenthesis plus subwedge}%
+  {*final partial voicing}%
+  {\TD{finpartvoice}{s}}{}{ExtIPA '94}{Macro}
+
+\ipaitem{\sublptr{\*J}}{Subscript left pointer}%
+  {*right offset jaw voice}%
+  {\TD{sublptr}{J}}{}{VoQS '94}{'275}
+
+\ipaitem{\subrptr{\*J}}{Subscript right pointer}%
+  {*left offset jaw voice}%
+  {\TD{subrptr}{J}}{}{VoQS '94}{'276}
+
+\endgroup % end of \setlength\parindent{0pt}
+
+\endgroup % end of \raggedbottom
+
+\endinput
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: "tipaman"
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman3.tex b/Master/texmf-dist/doc/fonts/tipa/tipaman3.tex
new file mode 100644
index 00000000000..47d89316755
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman3.tex
@@ -0,0 +1,504 @@
+% tipaman3.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\begingroup
+\raggedbottom
+
+\chapter{Recent Changes}
+
+\section{Changes from Version 1.2 to 1.3}
+
+Some symbols included in the xipa and related font families have been
+modified. 
+
+\section{Changes from Version 1.1 to 1.2}
+
+The following 
+
+\begin{itemize}
+\item The following symbols are added to the \texttt{tipx} fonts:
+
+  Varieties of glottal stop symbols and a new symbol:\\
+  \textglotstopvari\ (\texttt{\tbs textglotstopvari})\\
+  \textglotstopvarii\ (\texttt{\tbs textglotstopvarii})\\
+  \textglotstopvariii\ (\texttt{\tbs textglotstopvariii})\\
+  \textlfishhookrlig\ (\texttt{\tbs textlfishhookrlig})
+
+\item Symbol shapes of the \texttt{xipa} and \texttt{xipx} font
+  families slightly modified.
+\end{itemize}
+
+\section{Changes from Version 1.0 to 1.1}
+
+The following changes have been made since the first release of
+\tipa\footnote{The first release of \tipa{} has been known as
+  `beta0624'. I originally intended to change it to
+  something like `tipa-1.0' soon after the release but unfortunately
+  I didn't have the opportunity to do so.}.
+
+\begin{itemize}
+\item The following typefaces are newly added in Version
+  1.1. Font description files (\texttt{*.fd}) modified accordingly.
+
+  Bold Extended Slanted Roman: \textbf{\textipa{[\textsl{""Ekspl@"neIS@n}]}}\\
+  Sans Serif Bold Extended: \textbf{\textsf{\textipa{[""Ekspl@"neIS@n]}}}\\
+  Sans Serif Slanted:  \textsf{\textipa{[\textsl{""Ekspl@"neIS@n}]}}\\
+  Typewriter Text: \texttt{\textipa{[\textsl{""Ekspl@"neIS@n}]}}\\
+  Typewriter Text Slanted: \textsl{\texttt{\textipa{[\textsl{""Ekspl@"neIS@n}]}}}
+
+\item Many bugs fixed in the \MF\ source codes; modifications made for
+  almost every symbol. The \texttt{xipa} family of fonts now more closely
+  simulates Times Roman style.\footnote{%
+    I'm not fully satisfied with the result of this simulation and
+    further changes will be made in the next release. However, I have
+    no intention of simulating too closely in order to avoid any
+    possible copyright problems.}
+
+\item \texttt{t3enc.def} and \texttt{tipa.sty} modified.
+
+\item New series of fonts, \textbf{tipx} and \textbf{xipx} have been
+  created. These fonts are collections of symbols missing in the
+  previous version of \tipa{} and cover almost all the symbols that
+  appear in the second edition of \emph{PSG} (1996). (Remember that
+  \tipa{} was released in 1996 and at the time the second edition of
+  \emph{PSG} was not available.) Some of the symbols included in the
+  previous version of \tipa{} are now moved into \textbf{tipx} and
+  \textbf{xipx}. Thus the T3 encoding is slightly modified.
+
+  In order to use newly created fonts, add the following after the
+  declaration of \tipa{}.
+
+  \verb|\usepackage{tipx}|
+
+  For a list of newly created symbols, see next section.
+
+  The encoding of \texttt{tipx} and \texttt{xipx} still has no
+  definite name. The style file (\texttt{tipx.sty}) uses the
+  U encoding and new family names (tipx and xipx which are arbitrary).
+  In the future, it may be possible to use a new encoding name TS3
+  (I experimentally put \texttt{ts3enc.def} and \texttt{ts3*.fd} in
+  the \texttt{sty} directory of the package. Use
+  these files at your own risk, if the system doesn't complain.)
+
+\item Some new tone letter commands, \verb|\stone| and \verb|\rtone|.
+\item Manual updated.
+\item Manual for the \texttt{vowel.sty} completed.
+\item Some diacritic commands added.
+\end{itemize}
+
+\subsection{Newly created symbols}\label{sec:newsymbols}
+
+The following two symbols are newly adopted in the \texttt{tipa}
+encoding (i.e., T3).
+
+\begin{quote}
+Hooktop right-tail D --- \texthtrtaild\\
+Left-hooktop long Y --- \textlhtlongy
+\end{quote}
+
+The following command was realized by a macro in the previous version
+but now is assigned a code of its own in the \texttt{tipa} encoding
+(i.e., T3).
+
+\begin{quote}
+Crossed lambda --- \textcrlambda
+\end{quote}
+
+The following symbols are (mostly) newly created symbols in the
+\texttt{tipx} fonts. (Note that some are moved from the \texttt{tipa}
+because of the encoding change.)
+
+\begin{quote}
+Right-hook A --- \textrhooka\\
+Left-hook four --- \textlhookfour\\
+Inverted script A --- \textinvscripta\\
+A-O ligature --- \textaolig\\
+Inverted small capital A --- \textinvsca\\
+Small capital A-O ligature --- \textscaolig\\
+Stretched C (original form) --- \textstretchcvar\\
+Curly-tail stretched C --- \textctstretchc\\
+Curly-tail stretched C (original form) --- \textctstretchcvar\\
+Front-hook D --- \textfrhookd\\
+Front-hook D (Original) --- \textfrhookdvar\\
+D-B ligature --- \textdblig\\
+Small capital delta --- \textscdelta\\
+Right-hook E --- \textrhooke\\
+Right-hook epsilon --- \textrhookepsilon\\
+Small capital F --- \textscf\\
+Greek gamma --- \textgrgamma\\
+Front-tail gamma --- \textfrtailgamma\\
+Back-tail gamma --- \textbktailgamma\\
+Right-tail hooktop H --- \textrtailhth\\
+Heng --- \textheng\\
+Curly-tail J (a variety found in 1996 IPA) --- \textctjvar\\
+Hooktop barred dotless J (a variety) --- \texthtbardotlessjvar\\
+Small capital K --- \textsck\\
+Turned small capital K --- \textturnsck\\
+Reversed small capital L --- \textrevscl\\
+H-M ligature --- \texthmlig\\
+Small capital M --- \textscm\\
+Front-bar N --- \textfrbarn\\
+Right leg N --- \textnrleg\\
+Bull's eye (an old version) --- \textObullseye\\
+Female sign --- \textfemale\\
+Uncrossed female sign --- \textuncrfemale\\
+Right-hook open O --- \textrhookopeno\\
+Inverted omega --- \textinvomega\\
+Left-hook P --- \textlhookp\\
+Small capital P --- \textscp\\
+A variety of thorn (1) --- \textthornvari\\
+A variety of thorn (2) --- \textthornvarii\\
+A variety of thorn (3) --- \textthornvariii\\
+A variety of thorn (4) --- \textthornvariv\\
+Q-P ligature --- \textqplig\\
+Reversed small capital R --- \textrevscr\\
+Reversed esh with top loop --- \textlooptoprevesh\\
+Front-hook T --- \textfrhookt\\
+Curly-tail turned T --- \textctturnt\\
+Turned small capital U --- \textturnscu\\
+Turned two --- \textturntwo\\
+Bent-tail yogh --- \textbenttailyogh\\
+Turned three --- \textturnthree\\
+Curly-tail inverted glottal stop --- \textctinvglotstop\\
+Turned glottal stop (PSG 1996:211) --- \textturnglotstop\\
+Pipe (a variety with no descender) --- \textpipevar\\
+Double pipe (a variety with no descender) --- \textdoublepipevar\\
+Double-barred pipe (a variety with no descender) --- \textdoublebarpipevar\\
+Superscript left arrow --- \textspleftarrow\\
+Down full arrow --- \textdownfullarrow\\
+Up full arrow --- \textupfullarrow\\
+Subscript right arrow --- \textsubrightarrow\\
+Subscript double arrow --- \textsubdoublearrow\\
+Reversed Polish hook --- an accent command e.g., \textrevpolhook{o}\\
+Retracting sign (a variety) --- \textretractingvar\\
+Right hook (long) --- \textrthooklong\\
+Palatalization hook (long) --- \textpalhooklong\\
+Palatalization hook (a variety) --- \textpalhookvar
+\end{quote}
+
+\subsection{Symbol shape changes}
+
+Shapes of the following symbols have been modified from the first
+version to the present.
+
+\begin{center}\tabcolsep.2em
+\begin{tabular}{llccl}
+Name  & Macro name  & New  & Old  & Old symbol name\\
+\hline
+Pipe                     & \Tt{textpipe}         & \textpipe
+ & \textpipevar          & \Tt{textpipevar}\\
+Double pipe              & \Tt{textdoublepipe}   & \textdoublepipe
+ & \textdoublepipevar    & \Tt{textdoublepipevar}\\
+Double-barred pipe       & \Tt{textdoublebarpipe}& \textdoublebarpipe
+ & \textdoublebarpipevar & \Tt{textdoublebarpipevar}\\
+Down arrow               & \Tt{textdownstep}     & \textdownstep
+ & \textdownfullarrow    & \Tt{textdownfullarrow}\\
+Up arrow                 & \Tt{textupstep}       & \textupstep
+ & \textupfullarrow      & \Tt{textupfullarrow}\\
+Bull's eye               & \Tt{textbullseye}     & \textbullseye
+ & \textObullseye        & \Tt{textObullseye}\\
+Hooktop barred           & \Tt{texthtbardotlessj}& \texthtbardotlessj
+ & \texthtbardotlessjvar & \Tt{texthtbardotlessjvar}\\
+dotless J \\
+\end{tabular}
+\end{center}
+
+For each symbol, the old shape is preserved in the \texttt{tipx} fonts
+and can be accessed by a new name (in most cases \texttt{var} or
+\texttt{O} is attached) indicated at the rightmost column of the above
+table.
+
+
+\clearemptydoublepage
+\chapter{Symbols not included in TIPA}
+
+Although the present version of \tipa{} includes almost all the
+symbols found in \PSG\ and \Handbook, there are still some symbols not
+included or defined in \tipa{}.
+
+Some such symbols can be realized by writing appropriate
+macros, while some others cannot be realized without resorting to
+the Metafont.
+
+This section discusses these problems by classifying such symbols into
+three categories, as shown below.
+
+\begin{enumerate}
+\itemsep0pt
+\item Symbols that can be realized by \TeX{}'s macro level and/or by using
+  symbols from other fonts.
+\item Symbols that can be imitated by \TeX{}'s macro level and/or by using
+  symbols from other fonts (but may not look quite satisfactory).
+\item Symbols that cannot be realized at all, without creating a new
+  font.
+\end{enumerate}
+
+With the addition of the \tipx{} fonts, symbols that belong to the
+third category are virtually non-existent now.
+
+As for the symbols that belong to the first and second categories,
+\tipa{} provides a variety of macros and parts of symbols that can be
+used to compose a desired symbol if you can write an appropriate
+macro for it.
+
+The following table shows symbols that belong to the first category.
+For each symbol, an example of input method and its output is also
+given. Note that barred or crossed symbols can be easily made by
+\tipa{}'s \verb|\ipabar| macro.
+
+\def\SecLine{\>}
+
+\medskip
+\begin{tabbing}
+\iftimes
+x \=xxxxxxxxxxxxxxxxxxxxxxxx \=xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx \= \kill
+\else
+x \=xxxxxxxxxxxxxxxxxxxxxxxx \=xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx \= \kill
+\fi
+\> Barred small capital I 
+  \SecLine \verb|\ipabar{\textsci}{.5ex}{1.1}{}{}| \>
+  \ipabar{\textsci}{.5ex}{1.1}{}{} \\
+\> Barred J 
+  \SecLine \verb|\ipabar{j}{.5ex}{1.1}{}{}| \>
+  \ipabar{j}{.5ex}{1.1}{}{} \\
+\> Crossed K 
+  \SecLine \verb|\ipabar{k}{1.2ex}{.6}{}{.4}| \>
+  \ipabar{k}{1.2ex}{.6}{}{.4} \\
+\> Barred open O 
+  \SecLine \verb|\ipabar{\textopeno}{.5ex}{.6}{.4}{}| \>
+  \ipabar{\textopeno}{.5ex}{.5}{.5}{} \\
+\> Barred small capital omega 
+  \SecLine \verb|\ipabar{\textscomega}{.5ex}{1.1}{}{}| \>
+  \ipabar{\textscomega}{.5ex}{1.1}{}{} \\
+\> Barred P 
+  \SecLine \verb|\ipabar{p}{.5ex}{1.1}{}{}| \>
+  \ipabar{p}{.5ex}{1.1}{}{} \\
+\> Half-barred U 
+  \SecLine \verb|\ipabar{u}{.5ex}{.5}{}{.5}| \>
+  \ipabar{u}{.5ex}{.5}{}{.5} \\
+\> Barred small capital U 
+  \SecLine \verb|\ipabar{\textscu}{.5ex}{1.1}{}{}| \>
+  \ipabar{\textscu}{.5ex}{1.1}{}{} \\
+\iftimes
+\> Double slash 
+  \SecLine \verb|/\kern-.1em/| \>
+  /\kern-.1em/ \\
+\> Triple slash 
+  \SecLine \verb|/\kern-.1em/\kern-.1em/| \>
+  /\kern-.1em/\kern-.1em/ 
+\else
+\> Double slash 
+  \SecLine \verb|/\kern-.25em/| \>
+  /\kern-.25em/ \\
+\> Triple slash 
+  \SecLine \verb|/\kern-.25em/\kern-.25em/| \>
+  /\kern-.25em/\kern-.25em/ 
+\fi
+\end{tabbing}
+
+The next definitions attach a tiny `left hook' (which shows
+palatalization) to a symbol. For example:
+
+\iftimes
+\newcommand\textlhookb{{\tipaencoding
+  b\hspace{-.1em}\raisebox{.0ex}{\textpalhookvar}}}
+\newcommand\textlhookm{{\tipaencoding
+  m\hspace{-.1em}\raisebox{.0ex}{\textpalhook}}}
+\begin{verbatim}
+  % Left-hook B
+  \newcommand\textlhookb{{\tipaencoding
+    b\hspace{-.1em}\raisebox{.0ex}{\textpalhookvar}}}
+  % Left-hook M
+  \newcommand\textlhookm{{\tipaencoding
+    m\hspace{-.1em}\raisebox{.0ex}{\textpalhook}}}
+\end{verbatim}
+\else
+\newcommand\textlhookb{{\tipaencoding
+  b\hspace{-.15em}\raisebox{.0ex}{\textpalhookvar}}}
+\newcommand\textlhookm{{\tipaencoding
+  m\hspace{-.15em}\raisebox{.0ex}{\textpalhook}}}
+\begin{verbatim}
+  % Left-hook B
+  \newcommand\textlhookb{{\tipaencoding
+    b\hspace{-.15em}\raisebox{.0ex}{\textpalhookvar}}}
+  % Left-hook M
+  \newcommand\textlhookm{{\tipaencoding
+    m\hspace{-.15em}\raisebox{.0ex}{\textpalhook}}}
+\end{verbatim}
+\fi
+
+The former example uses a left-hook called \Tt{textpalhookvar},
+(\KK\textpalhookvar\KK) and the latter uses a hook called \Tt{textpalhook},
+(\KK\textpalhook\KK).
+
+\begin{quote}
+  Left-hook B --- \textlhookb \\
+  Left-hook M --- \textlhookm
+\end{quote}
+
+Symbols that belong to the second category are shown below. Note that
+slashed symbols can be in fact easily made by a macro. For example, a
+slashed b i.e., \ipaclap{\textipa{b}}{\textipa{/}} can be made by
+\verb|\ipaclap{\textipa{b}}{\textipa{/}}|. The reason why slashed
+symbols are not included in \tipa{} is as follows: first, a simple
+overlapping of a symbol and a slash does not always result in a good
+shape, and secondly, it doesn't seem significant to devise fine-tuned
+macros for symbols which were created essentially for typewriters.
+
+\medskip
+\begin{tabbing}
+xxxx \=xxxxxxxxxxxxxxxxxxxxxxxx \= \kill
+\> Slashed B \>
+  \ipaclap{\textipa{b}}{\textipa{/}} \\
+\> Slashed C \>
+  \ipaclap{\textipa{c}}{\textipa{/}} \\
+\> Slashed D \>
+  \ipaclap{\textipa{d}}{\textipa{/}} \\
+\> Slashed U \>
+  \ipaclap{\textipa{u}}{\textipa{/}} \\
+\> Slashed W \>
+  \ipaclap{\textipa{w}}{\textipa{/}}
+\end{tabbing}
+
+\endgroup
+
+\clearemptydoublepage
+\chapter{FAQ}
+
+\newcount\FAQcnt \FAQcnt=0
+
+\newcommand\QandA[2]{{\par\bigskip\parindent0pt
+  \global\advance\FAQcnt 1
+  \hangindent2em\hangafter1 \textbf{Q\the\FAQcnt:} #1\par\medskip
+  \hangindent2em\hangafter1 \textbf{A\the\FAQcnt:} #2\par\medskip}}
+
+\newcommand\NextPar{\par\hangindent2em\hangafter0\relax}
+
+\QandA {I have installed all the \tipa{} fonts. But the system can't
+  find them. What's wrong?}{Please don't forget to run the command
+  \texttt{mktexlsr} after the installation. Also, try to run the
+  command:\par\begin{quote}\texttt{kpsewhich tipa10.mf}\end{quote}
+  \NextPar If the system shows nothing in return, you must have
+  installed them in a wrong place.}
+
+\QandA {I'm using shortcut letters but there are still many symbols
+  which have no shortcut letters. What can I do? Do I have to use all
+  these long names?}{You are free to define shorter names. \LaTeX's
+  \texttt{\tbs newcommand} is a safe way to do this. For example:
+
+  \begin{quote}
+  \texttt{\tbs newcommand\tbi\tbs vef\tbii\tbi\tbs textbarrevglotstop\tbii}
+  \end{quote}
+
+  \vspace{-5mm}
+  \begin{tipaexample}
+    \yitem \texttt{[\tbs vef] is a voiced epiglottal fricative.}
+    \yitem \textipa{\let\vef\textbarrevglotstop [\vef]} is a
+      voiced epiglottal fricative.
+  \end{tipaexample}}
+
+\QandA {I want to use the \LaTeX\ command \texttt{\tbs |} in the IPA
+  environment. But I don't want to specify the \texttt{safe}
+  option. Is it possible?}{Use a command called \texttt{\tbs Vert}
+  instead of \texttt{\tbs |}. It has the same meaning. Other possibly
+  dangerous commands such as \texttt{\tbs:}, \texttt{\tbs:} and
+  \texttt{\tbs!} have a similar substitute command. For more
+  details, see page~\pageref{unsafemode}.}
+  
+\QandA {I can't input Eng (\texttt{\tbs ng})
+  properly. Why?}{Use \texttt{\tbs textipa\tbi N\tbii}. Technically
+  speaking, this is a matter of priority among the \texttt{OT1},
+  \texttt{T1} and \texttt{T3} encodings. But may be called a bug. I'll
+  work out this problem in the next release.}
+
+\QandA {How can I input \emph{capital letters}, I mean real capital
+  letters, not small capitals, within the IPA environment?}{Use the
+  command \texttt{\tbs*}. For example:
+
+  \begin{tipaexample}
+    \yitem \texttt{\tbs textipa\tbi["pI\tbs *Di]\tbii}
+    \yitem \textipa{["pI\*Di]}
+  \end{tipaexample}\NextPar This command is explained in
+  section~\ref{sec:specialmacros}.}
+
+\QandA {How can I output an accent or diacritic symbol alone? For
+  example, I want to print the umlaut symbol alone, in order to
+  explain the usage of this symbol.}{Try to add an empty argument
+ to the umlaut command.
+
+  \begin{tipaexample}
+    \yitem \texttt{\tbs texipa\tbi[\tbs"\tbi\tbii]\tbii}
+    \yitem \textipa{[\"{}]}
+  \end{tipaexample}}
+
+\QandA {Are there only a limited number of tone letters?}
+  {Absolutely not! Please read section \ref{sec:tone} carefully.}
+
+\QandA {How to create a PDF file?} {You can find a few examples in
+  section \ref{sec:pdf}.}
+
+\QandA {I have succeeded in creating a PDF document. But \tipa{} fonts
+  don't look good (jaggy).  What's wrong?}{Type1 fonts are not
+  embedded in your document and pk fonts are used instead. Install
+  Type1 font files and/or map file correctly.}
+
+\QandA {I have succeeded in creating a PDF document with Type1 fonts
+  embedded. But some symbols are missing. Why?}{In some versions of
+  \texttt{dvips}, the character shifting switch is turned on by
+  default. In order to prevent this, try to invoke \texttt{dvips} in
+  the following way.\par
+  \begin{quote}\texttt{dvips -Ppdf -G0} \textsl{filename}\end{quote}}
+
+\QandA {I find no description on hyphenation of phonetic texts in this
+  manual.}{I haven't seen any description on hyphenation in \Handbook\ 
+  nor in \emph{Principles}. }
+
+\QandA {Why is italic font not included in \tipa? Slanted fonts can be
+  used as substitutes. But I want real italic fonts.}{It isn't
+  difficult to create italic shapes for a limited number of symbols
+  such as Schwa, Turned script A, and so on. However, creating a whole
+  set of IPA symbols in italic is quite a different story. It is
+  difficult to distinguish, for example, Lower-case A and Script A in
+  italic. In the IPA's \emph{Principles}, it is recommended
+  that the IPA symbols should be roman, excluding italic shapes in
+  some of the examples.  Another point that should be made is that
+  there exist several systems of phonetic symbols in which all the
+  symbols appear in italic. These are the ones mainly used in
+  Scandinavian countries, and the problem is, there is no one-to-one
+  correspondences between such systems and the IPA.  Aside from the
+  strictly phonetic use of symbols, however, there is a practical need
+  for italic versions of symbols such as italic Schwa. Therefore, it
+  may be helpful to create a new auxiliary font containing limited
+  number of italic symbols.}
+
+\QandA {Which is the first name of the author of \tipa? I'm confused.}
+  {Rei is his first name.}
+
+\QandA {I can't send e-mail to the author.}
+  {I recently changed my e-mail address.
+
+  \begin{quote}\texttt{fkr@l.u-tokyo.ac.jp}\end{quote}}
+  
+
+\vspace{\stretch{2}}
+
+\betacomment
+\thetacomment
+
+\endinput
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: "tipaman"
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/tipaman4.tex b/Master/texmf-dist/doc/fonts/tipa/tipaman4.tex
new file mode 100644
index 00000000000..7a4a0859ba8
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/tipaman4.tex
@@ -0,0 +1,249 @@
+% tipaman4.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\raggedbottom
+
+\chapter{Specimens}
+
+This section displays all the symbols included in the \tipa{}
+font families. Sample texts are taken from the \emph{Principles}
+(1949). The languages taken up here include: One variety of Southern
+British English (in a narrower transcription), one form of Parisian
+French, one variety of North German (in a narrower transcription),
+Cairene Arabic (spoken language) and Swahili of Zanzaibar.
+
+\section{\texttt{tipa10} and \texttt{tipx10}}
+
+\tipaallchars{tipa10}\tipxallchars{tipx10}
+\sampletext{\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipa12} and \texttt{tipx12}}
+
+\tipaallchars{tipa12}\tipxallchars{tipx12}
+\sampletext{\large\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipa17} and \texttt{tipx17}}
+
+\tipaallchars{tipa17}\tipxallchars{tipx17}
+\sampletext{\LARGE\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipa8} and \texttt{tipx8}}
+
+\tipaallchars{tipa8}\tipxallchars{tipx8}
+\sampletext{\footnotesize\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipa9} and \texttt{tipx9}}
+
+\tipaallchars{tipa9}\tipxallchars{tipx9}
+\sampletext{\small\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipabx10} and \texttt{tipxbx10}}
+
+\tipaallchars{tipabx10}\tipxallchars{tipxbx10}
+\sampletext{\bfseries\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipabx12} and \texttt{tipxbx12}}
+
+\tipaallchars{tipabx12}\tipxallchars{tipxbx12}
+\sampletext{\large\bfseries\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipabx8} and \texttt{tipxbx8}}
+
+\tipaallchars{tipabx8}\tipxallchars{tipxbx8}
+\sampletext{\footnotesize\bfseries\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipabx9} and \texttt{tipxbx9}}
+
+\tipaallchars{tipabx9}\tipxallchars{tipxbx9}
+\sampletext{\small\bfseries\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipasl10} and \texttt{tipxsl10}}
+
+\tipaallchars{tipasl10}\tipxallchars{tipxsl10}
+\sampletext{\slshape\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipasl12} and \texttt{tipxsl12}}
+
+\tipaallchars{tipasl12}\tipxallchars{tipxsl12}
+\sampletext{\large\slshape\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipasl8} and \texttt{tipxsl8}}
+
+\tipaallchars{tipasl8}\tipxallchars{tipxsl8}
+\sampletext{\footnotesize\slshape\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipasl9} and \texttt{tipxsl9}}
+
+\tipaallchars{tipasl9}\tipxallchars{tipxsl9}
+\sampletext{\small\slshape\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipass10} and \texttt{tipxss10}}
+
+\tipaallchars{tipass10}\tipxallchars{tipxss10}
+\sampletext{\sffamily\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipass12} and \texttt{tipxss12}}
+
+\tipaallchars{tipass12}\tipxallchars{tipxss12}
+\sampletext{\large\rmtipa\sffamily\tipaencoding}
+
+\section{\texttt{tipass17} and \texttt{tipxss17}}
+
+\tipaallchars{tipass17}\tipxallchars{tipxss17}
+\sampletext{\LARGE\rmtipa\sffamily\tipaencoding}
+
+\section{\texttt{tipass8} and \texttt{tipxss8}}
+
+\tipaallchars{tipass8}\tipxallchars{tipxss8}
+\sampletext{\footnotesize\rmtipa\sffamily\tipaencoding}
+
+\section{\texttt{tipass9} and \texttt{tipxss9}}
+
+\tipaallchars{tipass9}\tipxallchars{tipxss9}
+\sampletext{\small\rmtipa\sffamily\tipaencoding}
+
+\section{\texttt{tipab10} and \texttt{tipxb10}}
+
+\tipaallchars{tipab10}\tipxallchars{tipxb10}
+\sampletext{\bseries\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipabs10} and \texttt{tipxbs10}}
+
+\tipaallchars{tipabs10}\tipxallchars{tipxbs10}
+\sampletext{\bfseries\slshape\rmtipa\rmfamily\tipaencoding}
+
+\section{\texttt{tipasb10} and \texttt{tipxsb10}}
+
+\tipaallchars{tipasb10}\tipxallchars{tipxsb10}
+\sampletext{\bfseries\rmtipa\sffamily\tipaencoding}
+
+\section{\texttt{tipasi10} and \texttt{tipxsi10}}
+
+\tipaallchars{tipasi10}\tipxallchars{tipxsi10}
+\sampletext{\slshape\rmtipa\sffamily\tipaencoding}
+
+\section{\texttt{tipatt10} and \texttt{tipxtt10}}
+
+\tipaallchars{tipatt10}\tipxallchars{tipxtt10}
+\sampletext{\ttfamily\tipaencoding}
+
+\section{\texttt{tipatt12} and \texttt{tipxtt12}}
+
+\tipaallchars{tipatt12}\tipxallchars{tipxtt12}
+\sampletext{\large\ttfamily\tipaencoding}
+
+\section{\texttt{tipatt8} and \texttt{tipxtt8}}
+
+\tipaallchars{tipatt8}\tipxallchars{tipxtt8}
+\sampletext{\footnotesize\ttfamily\tipaencoding}
+
+\section{\texttt{tipatt9} and \texttt{tipxtt9}}
+
+\tipaallchars{tipatt9}\tipxallchars{tipxtt9}
+\sampletext{\small\ttfamily\tipaencoding}
+
+\section{\texttt{tipats10} and \texttt{tipxts10}}
+
+\tipaallchars{tipats10}\tipxallchars{tipxts10}
+\sampletext{\ttfamily\slshape\tipaencoding}
+
+\section{\texttt{xipa10} and \texttt{xipx10}}
+
+\tipaallchars{xipa10}\tipxallchars{xipx10}
+\sampletext{\rmxipa\rmfamily\tipaencoding}
+
+\section{\texttt{xipab10} and \texttt{xipxb10}}
+
+\tipaallchars{xipab10}\tipxallchars{xipxb10}
+\sampletext{\rmxipa\rmfamily\bfseries\tipaencoding}
+
+\section{\texttt{xipasl10} and \texttt{xipxsl10}}
+
+\tipaallchars{xipasl10}\tipxallchars{xipxsl10}
+\sampletext{\rmxipa\rmfamily\slshape\tipaencoding}
+
+\section{\texttt{xipass10} and \texttt{xipxss10}}
+
+\tipaallchars{xipass10}\tipxallchars{xipxss10}
+\sampletext{\rmxipa\sffamily\tipaencoding}
+
+\section{\texttt{xipabs10} and \texttt{xipxbs10}}
+
+\tipaallchars{xipabs10}\tipxallchars{xipxbs10}
+\sampletext{\rmxipa\rmfamily\bfseries\slshape\tipaencoding}
+
+\section{\texttt{xipasi10} and \texttt{xipxsi10}}
+
+\tipaallchars{xipasi10}\tipxallchars{xipxsi10}
+\sampletext{\rmxipa\sffamily\slshape\tipaencoding}
+
+\section{\texttt{xipasb10} and \texttt{xipxsb10}}
+
+\tipaallchars{xipasb10}\tipxallchars{xipxsb10}
+\sampletext{\rmxipa\sffamily\bfseries\tipaencoding}
+
+
+
+\clearemptydoublepage
+\chapter{Layout of TIPA fonts}\label{sec:FontLayout}
+
+\vspace*{\stretch{2}}
+
+\upsiloncomment
+
+\vspace*{\stretch{2}}
+
+\begingroup
+
+\newcommand\chartsep{-5mm}
+\renewcommand\chartstrut{\lower4.5pt\vbox to14pt{}}
+
+\newpage
+\section{{\tt tipa10}}\vspace{\chartsep}
+{\fonttable{tipa10}}
+%\section{{\tt tipasl10}}\vspace{\chartsep}
+%{\fonttable{tipasl10}}
+%\section{{\tt tipabx10}}\vspace{\chartsep}
+%{\fonttable{tipabx10}}
+%\section{{\tt tipass10}}\vspace{\chartsep}
+%{\fonttable{tipass10}}
+%\section{{\tt tipasb10}}\vspace{\chartsep}
+%{\fonttable{tipasb10}}
+%\section{{\tt tipatt10}}\vspace{\chartsep}
+%{\fonttable{tipatt10}}
+%\section{{\tt xipa10}}\vspace{\chartsep}
+%{\fonttable{xipa10}}
+
+\newpage
+\section{{\tt tipx10}}\vspace{\chartsep}
+{\fonttable{tipx10}}
+%\section{{\tt tipxsl10}}
+%{\fonttable{tipxsl10}}
+%\newpage
+%\section{{\tt tipxbx10}}
+%{\fonttable{tipxbx10}}
+%\section{{\tt tipxss10}}
+%{\fonttable{tipxss10}}
+%\newpage
+%\section{{\tt tipxtt10}}
+%{\fonttable{tipxtt10}}
+%\section{{\tt xipx10}}
+%{\fonttable{xipx10}}
+
+\endgroup
+
+%%% Local Variables: 
+%%% mode: latex
+%%% TeX-master: "tipaman"
+%%% End: 
diff --git a/Master/texmf-dist/doc/fonts/tipa/vowel.tex b/Master/texmf-dist/doc/fonts/tipa/vowel.tex
new file mode 100644
index 00000000000..038cd1f8301
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/tipa/vowel.tex
@@ -0,0 +1,475 @@
+% vowel.tex
+% Copyright 2002 FUKUI Rei
+%
+% This program may be distributed and/or modified under the
+% conditions of the LaTeX Project Public License, either version 1.2
+% of this license or (at your option) any later version.
+% The latest version of this license is in
+%   http://www.latex-project.org/lppl.txt
+% and version 1.2 or later is part of all distributions of LaTeX 
+% version 1999/12/01 or later.
+%
+% This program consists of all files listed in Manifest.txt.
+%
+
+\documentclass[a4paper]{article}
+\usepackage{tipa}
+\usepackage{vowel}
+
+\newcommand{\vowelbox}{\raise1ex\hbox to 2.5cm}
+\newenvironment{texsrc}{\begin{minipage}[t]{7cm}}{\end{minipage}}
+
+\title{Vowel package manual}
+\author{FUKUI Rei
+  \thanks{{\tt fkr@tooyoo.l.u-tokyo.ac.jp}}\\
+  \textit{Graduate School of Humanities and Sociology}\\
+  \textit{University of Tokyo}}
+\date{28 October 2001}
+
+\begin{document}
+\maketitle
+
+\section{Drawing vowel diagrams}
+
+\subsection{The {\tt vowel} environment}
+
+The general format of the {\tt vowel} environment is as follows.
+
+\medskip
+
+\verb|\begin{vowel}[|{\it option\/}(,{\it option},...)\verb|]|
+
+{\it commands for inputting vowels}
+
+\verb|\end{vowel}|
+
+\medskip
+
+Options and commands for inputting vowels are explained below.
+
+\subsection{The shapes of the diagram supported}
+
+The default shape of the vowel diagram is the one used in the recent
+IPA chart, as shown below.
+
+\begin{center}
+\begin{tabular}{ll}
+  \begin{vowel}[t]
+  \end{vowel} &
+  \begin{minipage}[t]{5.5cm}
+    \verb|\begin{vowel}|\\
+    \verb|\end{vowel}|
+  \end{minipage}
+\end{tabular}
+\end{center}
+
+In this diagram, the bottom, back, and top sides are in the proportion
+2:3:4, as was prescribed by Daniel Jones.
+
+In order to change the shape of an diagram, specify the following
+options.
+
+\begin{itemize}\itemsep0pt
+\item \texttt{plain}, \texttt{simple}, \texttt{standard},
+  \texttt{ipanew} (=default)
+\item \texttt{rectangle} \quad Draws a rectangular diagram.
+\item \texttt{triangle} \quad Draws a triangular diagram.
+\item \texttt{three} \quad Distinguishes only three levels of vowel
+  height.
+\end{itemize}
+
+The first group of options are mutually exclusive, i.e., only one them
+can be selected at a time.
+
+\begin{center}
+\begin{tabular}{ll}
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}|\\
+    \verb|\end{vowel}|\\
+    \emph{or}\\
+    \verb|\begin{vowel}[ipanew]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} &
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[plain]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} \\
+  \begin{vowel}[t]\end{vowel} &
+  \begin{vowel}[t,plain]\end{vowel}
+\end{tabular}
+
+\begin{tabular}{ll}
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[simple]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} &
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[standard]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} \\
+  \begin{vowel}[t,simple]\end{vowel} &
+  \begin{vowel}[t,standard]\end{vowel}
+\end{tabular}
+\end{center}
+
+Among the other options, \texttt{rectangle}
+and \texttt{triangle} are mutually exclusive but each can be combined
+with one of the options \texttt{plain}, \texttt{simple} or
+\texttt{ipanew}. And the last option \texttt{three} can be combined
+with one of the options \texttt{plain}, \texttt{simple} or
+\texttt{ipanew}, and with one of the options \texttt{rectangle}
+and \texttt{triangle}.
+
+\begin{center}
+\begin{tabular}{ll}
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[rectangle]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} &
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[plain,rectangle]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} \\
+  \begin{vowel}[t,rectangle]\end{vowel} &
+  \begin{vowel}[t,plain,rectangle]\end{vowel}
+\end{tabular}
+
+\begin{tabular}{ll}
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[simple,rectangle]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} &
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[triangle]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} \\
+  \begin{vowel}[t,simple,rectangle]\end{vowel} &
+  \begin{vowel}[t,triangle]\end{vowel}
+\end{tabular}
+
+\begin{tabular}{ll}
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[plain,triangle]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} &
+  \begin{minipage}[t]{5.5cm}{\small
+    \verb|\begin{vowel}[simple,triangle]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} \\
+  \begin{vowel}[t,plain,triangle]\end{vowel} &
+  \begin{vowel}[t,simple,triangle]\end{vowel}
+\end{tabular}
+
+\begin{tabular}{ll}
+  \begin{minipage}[t]{5cm}{\small
+    \verb|\begin{vowel}[simple,three]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} &
+  \begin{minipage}[t]{6cm}{\small
+    \verb|\begin{vowel}[simple,triangle,three]|\\
+    \verb|\end{vowel}|}
+  \end{minipage} \\
+  \begin{vowel}[t,simple,three]\end{vowel} &
+  \hspace{.5cm}\begin{vowel}[t,simple,triangle,three]\end{vowel}
+\end{tabular}
+\end{center}
+
+
+\subsection{Placing vowels on a diagram}
+
+The following commands are prepared in order to place vowels in the
+vowel diagram.
+
+\begin{itemize}
+  \item \verb+\putcvowel[l|r]{symbol}{+\emph{cardinal position}\verb+}+
+  \item \verb+\putvowel[l|r]{symbol}{x}{y}+
+\end{itemize}
+
+The former command is used to place a vowel on a {\it cardinal
+position}, and the latter is used to place a vowel on a point specified
+by {\it x} and {\it y}. In each case, an optional argument \verb|[l]|
+or \verb|[r]| can be given, which specifies to put a symbol (usually a
+dot) that indicates the point and a vowel is placed at the left or
+right of the symbol.
+
+The next table shows a diagram indicating the cardinal positions and
+an example of a vowel diagram containing the \verb|\putcvowel| commands.
+
+\begin{center}
+\begin{tabular}{lll}
+  \begin{vowel}[t]
+    \putcvowel{\footnotesize 1}{1}\putcvowel{\footnotesize 2}{2}
+    \putcvowel{\footnotesize 3}{3}\putcvowel{\footnotesize 4}{4}
+    \putcvowel{\footnotesize 5}{5}\putcvowel{\footnotesize 6}{6}
+    \putcvowel{\footnotesize 7}{7}\putcvowel{\footnotesize 8}{8}
+    \putcvowel{\footnotesize 9}{9}\putcvowel{\footnotesize 10}{10}
+    \putcvowel{\footnotesize 11}{11}\putcvowel{\footnotesize 12}{12}
+    \putcvowel{\footnotesize 13}{13}\putcvowel{\footnotesize 14}{14}
+    \putcvowel{\footnotesize 15}{15}\putcvowel{\footnotesize 16}{16}
+  \end{vowel} &
+  \begin{vowel}[t]
+    \putcvowel{i}{1}\putcvowel{e}{2}
+    \putcvowel{\textipa{E}}{3}\putcvowel{a}{4}
+    \putcvowel{\textipa{6}}{5}\putcvowel{\textipa{O}}{6}
+    \putcvowel{o}{7}\putcvowel{u}{8}
+    \putcvowel{\textipa{1}}{9}\putcvowel{\textipa{9}}{10}
+    \putcvowel{\textipa{@}}{11}\putcvowel{\textipa{3}}{12}
+    \putcvowel{\textipa{I}}{13}\putcvowel{\textipa{U}}{14}
+    \putcvowel{\textturna}{15}\putcvowel{\ae}{16}
+  \end{vowel} &
+    \begin{minipage}[t]{4cm}
+{\footnotesize\begin{verbatim}
+  \begin{vowel}
+    \putcvowel{i}{1}
+    \putcvowel{e}{2}
+    \putcvowel{\textipa{E}}{3}
+    \putcvowel{a}{4}
+    ...
+  \end{vowel}
+\end{verbatim}}
+    \end{minipage}
+\end{tabular}
+\end{center}
+
+The cardinal positions from 1 through 8 are the same with the numbers
+of cardinal vowels determined by Daniel Jones. And the remaining
+numbers (from 9 through 16) are extended cardinal positions that are
+used to indicate the positions of all the remaining vowels that appear 
+in the recent IPA chart, having no relation to the Jonesian system of
+cardinal vowels.
+
+In the case of the second form of the command. i.e., \verb+\putvowel+,
+the origin is the upper left corner. And it is convenient to use the
+basic units, \verb|\vowelhunit| and \verb|\vowelvunit| in specifying a 
+point in the $x$--$y$ coordinate. the bottom right corner is indicated 
+by a point (\verb|4\vowelhunit|, \verb|3\vowelhunit|). Thus:
+
+\begin{quote}
+\verb+\putvowel{i}{0pt}{0pt}+ is equivalent to
+\verb+\putcvowel{i}{1}+.
+\end{quote}
+
+and
+
+\begin{quote}
+\verb+\putvowel{\textscripta}{4\vowelhunit}{3\vowelvunit}+ is
+equivalent to \verb+\putcvowel{\textscripta}{5}+.
+\end{quote}
+
+\subsection{Changing the size of a diagram}
+
+The usual commands for changing the size of text fonts such as
+\verb|\small|, \verb|\large|, \verb|\Large|, etc.\ can be used to
+change the size of a vowel diagram. 
+
+\begin{center}
+\begin{tabular}{lll}
+\begin{minipage}{3.2cm}
+{\small\begin{verbatim}
+{\small
+\begin{vowel}
+\putcvowel{i}{1}
+...
+\end{vowel}}
+\end{verbatim}}
+\end{minipage} &
+\begin{minipage}{3.2cm}
+{\small\begin{verbatim}
+\begin{vowel}
+\putcvowel{i}{1}
+...
+\end{vowel}
+\end{verbatim}}
+\end{minipage} &
+\begin{minipage}{3.2cm}
+{\small\begin{verbatim}
+{\large
+\begin{vowel}
+\putcvowel{i}{1}
+...
+\end{vowel}}
+\end{verbatim}}
+\end{minipage} \\
+  {\small \begin{vowel}
+    \putcvowel{i}{1}\putcvowel{e}{2}
+    \putcvowel{\textepsilon}{3}\putcvowel{a}{4}
+    \putcvowel{\textscripta}{5}\putcvowel{\textopeno}{6}
+    \putcvowel{o}{7}\putcvowel{u}{8}
+  \end{vowel}} &
+  \begin{vowel}
+    \putcvowel{i}{1}\putcvowel{e}{2}
+    \putcvowel{\textepsilon}{3}\putcvowel{a}{4}
+    \putcvowel{\textscripta}{5}\putcvowel{\textopeno}{6}
+    \putcvowel{o}{7}\putcvowel{u}{8}
+  \end{vowel} &
+    {\large \begin{vowel}
+    \putcvowel{i}{1}\putcvowel{e}{2}
+    \putcvowel{\textepsilon}{3}\putcvowel{a}{4}
+    \putcvowel{\textscripta}{5}\putcvowel{\textopeno}{6}
+    \putcvowel{o}{7}\putcvowel{u}{8}
+  \end{vowel}}
+\end{tabular}
+\end{center}
+
+It is also possible to change the size of a vowel symbol and the
+size of a diagram independently. 
+
+In order to change only the size of a vowel symbol, use the commands
+such as \verb|\small|, \verb|\large|, etc.\ within the
+\verb|\putcvowel| command.
+
+And in order to change only the size of a diagram, give appropriate
+values to the parameters \verb|\vowelhunit| and \verb|\vowelvunit|.
+\verb|\vowelhunit| stands for the horizontal unit length, and
+\verb|\vowelvunit| the vertical unit length.  By default both
+\verb|\vowelhunit| and \verb|\vowelvunit| are equal to 2em. And if
+only the former is modified by an user, the latter is automatically
+adjusted to the same length.
+
+\begin{quote}
+\begin{tabular}{ll}
+  \vowelbox{\hss
+    \begin{vowel}[t]
+      \putcvowel{i}{1}
+      \putcvowel{\large e}{2}
+      \putcvowel{\Large\textipa{E}}{3}
+      \putcvowel{\huge a}{4}
+    \end{vowel}} &
+\begin{texsrc}
+\begin{verbatim}
+\begin{vowel}
+\putcvowel{i}{1}
+\putcvowel{\large e}{2}
+\putcvowel{\Large\textipa{E}}{3}
+\putcvowel{\huge a}{4}
+\end{vowel}
+\end{verbatim}
+\end{texsrc}
+\end{tabular}
+\end{quote}
+
+\begin{quote}
+\begin{tabular}{ll}
+  \vowelbox{\hss
+    {\vowelhunit=1em
+      \begin{vowel}[t]
+        \putcvowel{i}{1}
+        \putcvowel{e}{2}
+        \putcvowel{\textipa{E}}{3}
+        \putcvowel{a}{4}
+      \end{vowel}}} &
+\begin{texsrc}
+\begin{verbatim}
+{\vowelhunit=1em
+\begin{vowel}
+\putcvowel{i}{1}
+...
+\end{vowel}}
+\end{verbatim}
+\end{texsrc}
+\end{tabular}
+\end{quote}
+
+\begin{quote}
+\begin{tabular}{ll}
+  \vowelbox{\hss
+    {\vowelvunit=2.31em
+      \begin{vowel}[t]
+        \putcvowel{i}{1}
+        \putcvowel{e}{2}
+        \putcvowel{\textipa{E}}{3}
+        \putcvowel{a}{4}
+      \end{vowel}}} &
+\begin{texsrc}
+\begin{verbatim}
+{\vowelvunit=2.31em
+\begin{vowel}
+\putcvowel{i}{1}
+...
+\end{vowel}}
+\end{verbatim}
+\end{texsrc}
+\end{tabular}
+\end{quote}
+
+%In the later works of Daniel Jones, it is reported that he had used
+%such a diagram that the angle of the upper-left corner is 60
+%degrees. In this case, the bottom, right, and top sides are in the
+%proportion of 2:\(\sqrt{12}\):4. %See Ashby.
+
+\newpage
+\section{Example}
+
+The next example shows the IPA vowel chart (updated 1996).
+
+\begin{center}
+{\Large
+\begin{vowel}
+%    \putcvowel[l]{i}{1}
+    \putvowel[l]{i}{0pt}{0pt}
+    \putcvowel[r]{y}{1}
+    \putcvowel[l]{e}{2}
+    \putcvowel[r]{\o}{2}
+    \putcvowel[l]{\textepsilon}{3}
+    \putcvowel[r]{\oe}{3}
+    \putcvowel[l]{a}{4}
+    \putcvowel[r]{\textscoelig}{4}
+    \putcvowel[l]{\textscripta}{5}
+    \putcvowel[r]{\textturnscripta}{5}
+    \putcvowel[l]{\textturnv}{6}
+    \putcvowel[r]{\textopeno}{6}
+    \putcvowel[l]{\textramshorns}{7}
+    \putcvowel[r]{o}{7}
+    \putcvowel[l]{\textturnm}{8}
+    \putcvowel[r]{u}{8}
+    \putcvowel[l]{\textbari}{9}
+    \putcvowel[r]{\textbaru}{9}
+    \putcvowel[l]{\textreve}{10}
+    \putcvowel[r]{\textbaro}{10}
+    \putcvowel{\textschwa}{11}
+    \putcvowel[l]{\textrevepsilon}{12}
+    \putcvowel[r]{\textcloserevepsilon}{12}
+    \putcvowel{\textsci\ \textscy}{13}
+    \putcvowel{\textupsilon}{14}
+    \putcvowel{\textturna}{15}
+    \putcvowel{\ae}{16}
+\end{vowel}
+}
+
+\bigskip
+\begin{texsrc}
+\begin{verbatim}
+\begin{vowel}
+    \putcvowel[l]{i}{1}
+    \putcvowel[r]{y}{1}
+    \putcvowel[l]{e}{2}
+    \putcvowel[r]{\o}{2}
+    \putcvowel[l]{\textepsilon}{3}
+    \putcvowel[r]{\oe}{3}
+    \putcvowel[l]{a}{4}
+    \putcvowel[r]{\textscoelig}{4}
+    \putcvowel[l]{\textscripta}{5}
+    \putcvowel[r]{\textturnscripta}{5}
+    \putcvowel[l]{\textturnv}{6}
+    \putcvowel[r]{\textopeno}{6}
+    \putcvowel[l]{\textramshorns}{7}
+    \putcvowel[r]{o}{7}
+    \putcvowel[l]{\textturnm}{8}
+    \putcvowel[r]{u}{8}
+    \putcvowel[l]{\textbari}{9}
+    \putcvowel[r]{\textbaru}{9}
+    \putcvowel[l]{\textreve}{10}
+    \putcvowel[r]{\textbaro}{10}
+    \putcvowel{\textschwa}{11}
+    \putcvowel[l]{\textrevepsilon}{12}
+    \putcvowel[r]{\textcloserevepsilon}{12}
+    \putcvowel{\textsci\ \textscy}{13}
+    \putcvowel{\textupsilon}{14}
+    \putcvowel{\textturna}{15}
+    \putcvowel{\ae}{16}
+\end{vowel}
+\end{verbatim}
+\end{texsrc}
+\end{center}
+
+\end{document}