Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 20594). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
parent ligne 11
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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vol_I_p101 RIGHT — 49 lignes

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1 185 page_number
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2 <b>VIMARŠA</b> page_header
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3 45. In the absence of any notational sign, all the three viz. kampita, kuharita main
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4 and recita are identically illustrated. main
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5 46. Here kalā stands not only for a phrase, but for a component unit of a main
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6 phrase, if sani risa these two are taken to complete a phrase. main
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7 47. The word 'amsa' means the initial note of a phrase and this is a limited list_item
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8 meaning because amsa stands for the fundamental svara of a jāti or rāga which list_item
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9 is a much bigger and much more complex structure. list_item
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10 48. The name tāra-mandra-prasanna is interesting because it uses both mandra list_item
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11 and prasanna which individually stand for 'low'. unknown
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12 49. The sa belongs to the tāra-sthāna. list_item
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13 50. The second sa here belongs to the tāra-sthāna. list_item
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14 51. The sthāyin varņa spoken of here could be understood only in the sense list_item
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15 that the phrase begins and ends at the same svara all throughout. list_item
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16 52. The sa at the end of the preceding phrase and at the beginning of the list_item
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17 succeeding one belongs to tāra-sthāna. list_item
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18 53. The ascent operates upto nisa and descent starts with sani. list_item
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19 54. Identical with note 52 above. list_item
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20 55. The word sthāyin is used here as a synonym of amsa. BrD is the first list_item
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21 extant text to introduce this word. S R (III, 191, 193) uses it in the decription list_item
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22 of Rāgālapti. list_item
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23 56. Different names for identical forms are also found in abundance in desi list_item
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24 tālas. (cf. deśī-tāla section of SRV) list_item
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25 57. Identical with note 52 above. list_item
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26 58. The word kalā is used here both as a time-unit and a phrase-unit. list_item
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27 59. sa in the beginning of the three phrase-units belongs to tāra-sthāna. list_item
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28 60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would list_item
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29 mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a list_item
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30 mālrā. list_item
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31 61. The sa belongs to tāra-sthāna. list_item
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32 62. Here kalā stands both for a time-unit and phrase because there are eight list_item
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33 phrases and each phrase is of the duration of one kalā (two-mātrā-unit). list_item
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34 63. Identical with note 52 above. list_item
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35 64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of list_item
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36 rāga. That is a kind of gamaka, but here in the description of the alankāra there list_item
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37 is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī list_item
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38 comes in which is hard to comprehend; at the most it could be understood to list_item
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39 ¥ unknown
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40 indicate special voice-production similar to ohāţī, which could be identified with list_item
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41 1 page_number
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42 the hudaka of present-day oral tradition of dhrupad which also is associated with list_item
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43 the 'ha' sound (cf. DA I, p. 46). list_item
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44 (vide) unknown
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45 65,66. Identical with note 52 above. list_item
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46 7 page_number
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47 67. There are twelve phrases in this alankara. From the way they are notated, list_item
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48 the duration of each of them could be taken to be either a kalā composed of list_item
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49 two mātrās or four mātrās, as follows- list_item
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vol_II_p015 LEFT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 12 page_number
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2 BRHADDEŚĪ page_header
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3 [२. अंशलक्षणम्] section_header
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4 [अनु॰ १२०] section_header
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5 अथांश: कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्य: । यस्मिन् ३१ क्रियमाणे main
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6 अ(थवांश ख ? थांश:क) annotation_inline
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7 अंशविभाग: main
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8 न्त्रंशे annotation_inline
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9 गगाभिव्यक्तिर्भवति सोंऽश: [प्रथम:]। यस्माचा[ऽऽ] रभ्य गीतं प्रवर्तते ग्रहविकल्पित: सोंऽशो editorial_bracket
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10 (পি?) main
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11 ३२यस्माद्वाः annotation_inline
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12 गीत: main
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13 न ग्रहस्स्वरित: (स्वं?स्वां) शो। main
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14 द्वितीय: [1] तारमन्द्राभिव्यक्तिहेतु: सोंऽशस्तृतीय: । पञ्चमस्वरारोहणं तार:, कदाचित् editorial_bracket
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15 द्वितीया main
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16 <b>॰रगारो</b>॰ annotation_inline
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17 षष्ठस्वरारोहणमपि तार:, यथा गान्धार्या: षड्जस्तार:, निध निध सा इति । यथा main
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18 णं पि annotation_inline
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19 तथा annotation_inline
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20 तारिनयामक [:] तथा मन्द्रनियामकस्वरोऽप्यंश[:] editorial_bracket
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21 सप्तस्वरावरोहणा[तु]। editorial_bracket
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22 ३३प्यांश<sup>></sup> main
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23 यथा ३४पञ्चमांशाया: षाङ्ज्या: स्वस्थाने सासासाधा इति । यश्च बहुप्रयोगतर: सोऽप्यंश: [चतुर्थ:] editorial_bracket
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24 मन्द्रांशाया: annotation_inline
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25 <sup>३५</sup>संस्थाने main
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26 पड्जा annotation_inline
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27 यो रागस्य विषयत्वेनावस्थित: स्वर: सोऽप्यंश: [पञ्चम:] <sup>३६</sup> [यश्च ग्रहापन्यास-विन्यास-संन्यास- editorial_bracket
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28 न्यासगोचरः, सोऽप्यंशः षष्ठः, सप्तमः, अष्टमः, नवमः, दशमश्च ।] editorial_bracket
parent ligne 25
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29 [अंशलक्षणान्तर्गतम् अपन्यासलक्षणम्] section_header
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30 [अनु॰ १२१] section_header
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31 यत्र गीतमिति समाप्तमिति सम्भाव्यते, सोऽपन्यासः, सर्वविदारी-मध्यमो भवति । सा main
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32 च विदारी द्विविधा - गीतविदारी पदविदारी चेति । ननु विदारीशब्देन किमुच्यते ? पादानां विदारणं main
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33 ॰णा annotation_inline
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34 खण्डनमिति यावत् । ३८गीतपेशी, गीतखण्डमिति यावत् । main
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35 गीतकेशी annotation_inline
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36 [अंशलक्षणान्तर्गतं संन्यासलक्षणम्] section_header
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37 [अनु॰१२२] section_header
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38 इदानीं संन्यासोऽभिधीयते - तत्र प्रथम-विदारीमध्ये न्यासस्वरः प्रयुक्तः संन्यासः main
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39 स न्यासोः annotation_inline
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40 राष्ट्र annotation_inline
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41 ॰क्ताः annotation_inline
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42 The state of the same of annotation_inline
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vol_II_p087 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESĨ page_header
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2 156 page_number
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3 पञ्चमांशा तेन बहुला धान्ता मधुकरी शुभा। main
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4 परस्परं तु संवादो गान्धारपञ्चमस्य हि ॥ ७६॥ main
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5 धैवतस्य निषादस्य संयोगो दृश्यते यत:। main
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6 एषा पूर्णा च सङ्कीर्णा भाषा ककुभसम्भवा<sup>६२</sup> ॥ ७७॥ main
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7 उदाहरणम् -[पापा] निनिनिनिपधपा धनिसासनिसनि सपधानिधाधपा धरिसासागरिमगरिस- editorial_bracket
parent ligne 6
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8 सम । गरिसानिनिधपापासागा । पापामाधा । माधाधामा । नीसासाधाधा । मधुकरी ।[५] editorial_bracket
parent ligne 6
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9 निषादांशा तु षड्जान्ता[निषादग्रहसंयुता] । editorial_bracket
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10 +++++++ annotation_inline
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11 [भाषा] ऋषभहीना तु विज्ञेया शकमिश्रिता ॥ ७८॥ editorial_bracket
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12 निषादपञ्चमानां तु संवाद: स्यातु धैवते । main
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13 मजुवत्यंशजा[?]छाया छाया शकविमिश्रिता ॥ ७९॥ editorial_bracket
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14 उदाहरणम् - नीसानिगधमागारिरिनि निनिसाधाधानिधागमामामपासा सनिसासाधाधामनी main
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15 धाधामानीधापामाधानीसासासा नीसासासारिगारिसा नीसानीसानिधाधामासानीमागारीरि । main
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16 शकमिश्रिता। ६३ [६] editorial_bracket
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17 धैवतांशा धैवतान्ता विज्ञेया भिन्नपञ्चमी। main
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18 मध्यमांशा annotation_inline
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19 निषाद: काकली भूयो धैवतेन विमिश्रित: ॥ ८०॥ main
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20 संयोगो दृश्यते यत्र काकल्या धैवतस्य च। main
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21 काक(ल्योद्यै?ल्या धै) वतस्य च annotation_inline
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22 पञ्चमर्षभसंवादो यत्रैव सम्प्रयोजयेत्॥ main
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23 साधारणकृता ह्येषा पूर्णा ६४ प्राया च काकली ६५ ॥ ८१॥ main
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24 उदाहरणम् - धनिधाधा निधापापामरिपापापपमाधाधा पासामनिसासनिरिरिसारी । धाधा । main
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25 परिमापापा । पमधाधामानीधापापापरीधा पापापाधाधासनिधा । भित्रपञ्चमी । [७] editorial_bracket
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26 एता भाषा: समुद्दिष्टा: [सप्त वै ककुभस्य च ]॥ ८२॥ editorial_bracket
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27 भा(पा) annotation_inline
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28 the state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
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29 . . . annotation_inline
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30 7.4 annotation_inline
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31 From the substitute of the con- annotation_inline
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32 ____ annotation_inline
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vol_II_p122 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 227 page_number
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2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
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5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
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6 (439) annotation_inline
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7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
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26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
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27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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178 lignes a valider — change uniquement les roles incorrects.