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 20659). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p067 RIGHT — 34 lignes

page vol_II_p067 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 117 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 200] editorial_bracket
parent ligne 4
via heuristic_brackets
4 This means - Mālavakaišika is related to madhyamagrāma on account of main
via surya_layout
5 being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the main
via surya_layout
6 sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is main
via surya_layout
7 complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the main
via surya_layout
8 with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra. main
via surya_layout
9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [The assignment of gramas to vesararagas] section_header
via surya_layout
13 Now the particular grāma of each one of the vesara (rāgas) is being shown - main
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14 Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the main
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15 one (grāma) called sadja. annotation_inline
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16 (329) annotation_inline
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17 Hindolaka, mālavapancama and mālavakaišika should be known to be born main
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18 of madhyamagrāma. annotation_inline
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19 (330) annotation_inline
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20 Thus have all the vesara(rāgas) been spoken of with their definitive main
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21 descriptions. They are known as vega-svaras 75 because the speed of svaras is main
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22 seen in them. annotation_inline
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23 (331) annotation_inline
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24 [ E. Sādhāraņa rāgas] section_header
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25 The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken main
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26 of. Now I will speak of the seven sādhāraņa ones. main
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27 (332) annotation_inline
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28 [Anu. 201] editorial_bracket
parent ligne 26
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29 (Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas) main
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30 come about? It is being answered. On account of being born of the gitis main
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31 pertaining to all the ragas that have been spoken of heretofore, there is their main
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32 sādhāraņatva (commonness); this comes about on account of their being sung in main
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33 the sādhāraṇa-giti. Similarly has said Kasyapa- main
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34 "Seven sādhāraņa (rāgas) have been said to be based in all the gitis." main
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vol_I_p016 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 14 page_number
via heuristic_pagenum
2 BRHADDEŚI page_header
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3 [ अनु. ७ ] section_header
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4 ननु श्रुतेः कि मानम्? उच्यते, पञ्चम [ अस्तावद् ग्रामद्वयस्थो लोके editorial_bracket
parent ligne 3
via heuristic_brackets
5 प्रसिद्धः । त- ] स्य श्रुत्युत्कर्षापकर्षाभ्यां मार्दवादायतत्वाद्वा यदन्तरं editorial_bracket
parent ligne 3
via heuristic_brackets
6 तत्प्रमाणाः श्रुतिरिति । main
via surya_layout
7 ुणं ३८ ूरो ३६ annotation_inline
parent ligne 6
via heuristic_short
8 [ अनु. ८ ] editorial_bracket
parent ligne 6
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9 इदानीं द्वाविंशतिप्रकारताया निदर्शनं यथा- main
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10 <sup>39</sup>ुत् annotation_inline
parent ligne 9
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11 द्वे वीणे40 तुल्यप्रमाण—तन्त्र्युप—41वादनदण्डमूर्च्छनासमे कृत्वा main
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12 वेणी annotation_inline
parent ligne 11
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13 पा annotation_inline
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14 ०पो annotation_inline
parent ligne 11
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15 षड्जग्रामाश्रिते कार्ये। तयोरन्यतरस्यां मध्यमग्रामिकीं श्रुतिं कृत्वा main
via surya_layout
16 पञ्चमस्यापकर्षात् तामेव श्रुतिं पञ्चमवशात् षड्जग्रामिकीं कुर्यात् । main
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17 <sup>4 2</sup> पञ्चमस्य   श्रुत्युत्कर्यवशात् main
via surya_layout
18 एक 🛂 - श्रुत्यपकृष्टा भवति, परं विशेषलाभो नास्ति, उच्चनीचमात्रप्रतीतेः। unknown
via fallback
19 एव annotation_inline
parent ligne 17
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20 पुनरपि तद्वदेवापकर्षेद्भ यथा गान्धारनिषादौ कर्तारौ पुनरन्यतरस्यां main
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21 व्ययित् annotation_inline
parent ligne 20
via heuristic_height
22 स्थिरवीणायां धैवतर्षभौ कर्मतामापन्नौ प्रवेक्ष्यतः, अब्द्विश्रुत्यभ्यधिकत्वात् । main
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23 <sub>॰</sub>स<sub>॰</sub>45 annotation_inline
parent ligne 22
via heuristic_markers
24 पुनरपि तद्वदेवापकृष्टायां चलवीणायां धैवतर्षभौ इतरस्यां main
via surya_layout
25 पञ्चमषड्जौ प्रवेक्ष्यतः त्रिश्रुत्यभ्यधिकत्वात्। पुनरपि तद्वदेवापकृष्टायां main
via surya_layout
26 पञ्चममध्यमषड्जा इतरस्यां मध्यमगान्धारनिषादान् प्रविशन्ति चतुः- main
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27 इति अस्या annotation_inline
parent ligne 26
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28 श्रुत्यभ्यधिकत्वात्।। main
via surya_layout

vol_II_p128 RIGHT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 239 page_number
via heuristic_pagenum
4 [37. Dhvanikuṭṭanī] section_header
via surya_layout
5 Here there are <i>mātr</i>ās of even number and there is <i>dhvuni</i>, sometimes there is main
via surya_layout
6 a pause after that. If there are two tālas in this, then that is dhvanikuṭṭanī. main
via surya_layout
7 (480) main
via surya_layout
8 [38.<i>Dheńki</i>] section_header
via surya_layout
9 Where <math>n\bar{a}da_{*}^{86}</math> synthesised with syllable is taken up at will without <math>t\bar{a}la</math> and main
via surya_layout
10 then there is tāla, that is said to be <i>dhenkikā</i>. main
via surya_layout
11 (481) main
via surya_layout
12 [39. Ekatālī] section_header
via surya_layout
13 Where there is alliteration without break <math>^{87}</math> (and) where yati is formed in each main
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14 druta<sup>88</sup>(?), that is known to be ekatālikā by those knowledgeable in the essence main
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15 of music. annotation_inline
parent ligne 14
via heuristic_short
16 (482) main
via surya_layout
17 [40. <i>Mātṛkā</i>] section_header
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18 Where the letters of the alphabet are taken up one by one and are sung main
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19 in combination with the desired meaning, that is called mātṛkā.89 main
via surya_layout
20 (483) main
via surya_layout
21 [41. Svarārtha] section_header
via surya_layout
22 Where the song is properly accomplished with the svaras (solfa syllables) main
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23 yielding the desired meaning, that is known as svarārtha among the songs made main
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24 of vastu. annotation_inline
parent ligne 23
via heuristic_short
25 (484) main
via surya_layout
26 [42. <i>Karana</i>] section_header
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27 Where two sections are composed of svaras alone without any break, that has main
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28 been said here to be karaṇa, being (endowed) with the yati named karaṇa (?).91 main
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29 (485) main
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vol_II_p118 RIGHT — 31 lignes

page vol_II_p118 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 219 page_number
via heuristic_pagenum
3 [26. Kalahaṁsa] section_header
via surya_layout
4 Where, having sung one foot first, then svaras are sung, that is kalahamsa, main
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5 combined with tālas like jhampā. main
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6 (407) main
via surya_layout
7 [27. <i>Ghața</i>] section_header
via surya_layout
8 Where one-half is full of tenaka, that is ghata, like dvipadī. main
via surya_layout
9 (408) main
via surya_layout
10 [28. Cakravāla] section_header
via surya_layout
11 That which is sung with repetition, taking the last pada (textual-cum- main
via surya_layout
12 melodic unit of the preceding sub-section), being bedecked with the state main
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13 of yamaka, is said to be cakravāla.25 main
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14 (409) main
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15 [29. Tripadī or Şaţpadī] section_header
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16 Performed with any of the tālas and (rendered) exclusively with birudas, main
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17 that which is sung in a two-fold way....? main
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18 (410) main
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19 [30. Bandhakarana] section_header
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20 That which is sung by the gandharvas <math>^{26}</math> in karana tāla, with svaras coupled with main
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21 the akṣaras (syllables) of muraja (drum-variety), isagain, known as bandhakarana?7 main
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22 (411) unknown
via fallback
23 [31. Pāṭakaraṇa] section_header
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24 ٠ page_number
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25 The karaṇa (prabandha) named pāṭa is composed of pāṭas (syllables) of the main
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26 hands<sup>28</sup> (on a drum) main
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27 (412) main
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28 [32. <i>Kaivāţa</i>] section_header
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29 That which is sung properly with <i>pāṭas</i> alone, should be known by the main
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30 gandharvas as kaivāṭa, combined with tāla. main
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31 (413) main
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vol_II_p042 LEFT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 66 page_number
via heuristic_pagenum
3 (৬) table
via surya_layout
4 सा पा नी मा पा पा गां गां table
via surya_layout
5 मां पां मां निधं नी नी सा सा table
via surya_layout
6 (८) table
via surya_layout
7 पां पां मां धंनिं पां पां पां पां table
via surya_layout
8 (९) table
via surya_layout
9 (१०) table
via surya_layout
10 मां पां मां रिग गा गा गा गा table
via surya_layout
11 (११) table
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12 गा पा मा पा नी नी नी नी table
via surya_layout
13 (१२) table
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14 मा पा मा परि गा गा गा गा table
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15 (१३) table
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16 गा गा गा मा मा निध नी नी table
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17 (१४) table
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18 नी नी धप मा निध निध पा पा table
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19 (१५) table
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20 रीं गां सां सां मा नी नी नी table
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21 (१६) table
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22 नी नी धा पा धा पा मा मा table
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23 ॥ [इति] मध्यमोदीच्यवा ॥ table
via surya_layout
24 141 page_number
via heuristic_pagenum
25 [६. कामारवी] section_header
via surya_layout
26 कार्मारव्यां भवन्त्यंशा निषादरिपधैवता: ॥ १६॥ main
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27 बहवोऽन्तरमार्गत्वादनंशा: परिकीर्तिता: । main
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28 गान्धारोऽत्यन्तबहुल: सर्वाशस्वरसंगति: ॥ १७॥ main
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29 सर्वाशत्वं(?)स्वसंगतैः main
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30 चच्चत्पृट: षोडशात्र कला: षड्जादिमूर्छना । main
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31 (জা) annotation_inline
parent ligne 30
via heuristic_height
32 पञ्चमस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥ १८॥ main
via surya_layout
33 <sup>१७८</sup>अस्यां पञ्चमो न्यास:, अंशा एवापन्यासा: । <sup>१७९</sup>प्रस्तार: - main
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34 ए(व?वा) main
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35 री री री री री री री री table
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36 (१) table
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37 मां गां सां गां सा नी नी नी table
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38 (२) table
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39 (3) table
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40 नी मा नी मा पा पा गा गा table
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41 (8) table
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42 गा पा मा पा नी नी नी नी table
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43 (4) table
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44 री गासानी री गारी गा table
via surya_layout
45 री गारी सानिध नी पापा table
via surya_layout
46 <b>(</b>\(\xi\) table
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47 (৩) table
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48 मा पा मा परि गा गा गा गा table
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170 lignes a valider — change uniquement les roles incorrects.