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 20691). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p052 RIGHT — 34 lignes

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1 87 page_number
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2 TRANSLATION page_header
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3 Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly, main
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4 also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about main
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5 the bhinnaones. annotation_inline
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6 (293) annotation_inline
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7 Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named main
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8 bhinnapañcama, and the fifth is bhinnakaiśika. main
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9 (294) annotation_inline
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10 One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are main
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11 said to be the three gaudas. main
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12 (295) annotation_inline
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13 Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly main
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14 the other one is hindolaka, ţakkakaiśika has thus been said, similarly main
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15 mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of main
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16 by their names, by the excellent munis. main
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17 <math>(296-297)</math> annotation_inline
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18 Narta, the one named śaka, kakubha, similarly harmāṇapañcama and main
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19 itself, similarly gändhärapañcama and the one named main
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20 rūpasādhārita annotation_inline
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21 ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas). main
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22 (298) annotation_inline
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23 [Thus is the number and nomenclature of rāgas] editorial_bracket
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24 [The specific description of ragas] section_header
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25 [A. Out of them śuddharagas] section_header
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26 Now he (the author) has spoken about the description of suddha (rāgas)- main
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27 Those that are in accordance with their 'own' jāti 31 (from which they are main
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28 born), without any reference to other jātis and those that are one out of the main
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29 many (individual forms) of their own jāti, they are called śuddha (rāgas). main
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30 (299) annotation_inline
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31 [1. Suddhaşādava] section_header
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32 [Anu. 164] editorial_bracket
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33 Why is sadava so called? Is it because it is sung with six svaras and is hence main
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34 ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas? main
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vol_I_p056 LEFT — 41 lignes

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1 BRHADDEŚI page_header
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2 94 page_number
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3 ग्रंसरि रिस रिंग गरि गम मंग मंप पम पंध धंप धनि निध निस सनि [ इति ] editorial_bracket
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4 [ १२ ] editorial_bracket
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5 प्रेङ्खोलितः। main
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6 [ अनु。 ८२ ] editorial_bracket
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7 अंशाच्चतुर्थं पञ्चमं वा स्वरं गत्वा यत्र मन्द्रे पुनरागम्यते [ स ] तारमन्द्रप्रसन्नः। editorial_bracket
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8 रिगमपधरि गमपधनिग मपधनिसम। अथवा मन्द्रस्वरात् तारं main
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9 यथा—18सरिगमपस annotation_inline
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10 [ १३ ] editorial_bracket
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11 गत्वा पुनः सहसा मन्द्रवशादागम्यते स तारमन्द्रप्रसन्नः। main
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12 (व) .द्वा. annotation_inline
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13 [ अनु₀ ८३ ] editorial_bracket
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14 मन्द्रात् सहसा तारं प्राप्य मन्द्रत्वेन क्रमेणावरोहान्मन्द्रतारप्रसन्नः । [ यथा - ] editorial_bracket
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15 ₹ः annotation_inline
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16 ⋴रः annotation_inline
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17 19सपमगरिस रिधपमगरि गनिधपमग मसनिधपम। अथवा—मन्द्रस्वरात् main
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18 तारस्वरमुच्चार्य क्रमेणावरुह्य च मन्द्र एवागम्यते [ स ] मन्द्रतारप्रसन्नः। editorial_bracket
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19 १४। annotation_inline
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20 यथा - ससनिध पमगरिस [ इति ] मन्द्रतारप्रसन्नः। editorial_bracket
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21 [ अनु॰ ८४ ] editorial_bracket
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22 द्विरूपश्च प्रस्तारः स्थायिन्यारोहिणि च। तत्र स्थायिन्येकस्वरः स्वस्मात् main
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23 स्य (?) annotation_inline
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24 ्यी त्या, इणी main
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25 विक annotation_inline
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26 क्रमशस्तारमन्द्रा [-रोहा-] वरोहणेन [ आरोहिणि च ] मन्द्रतारारोहणेन[ ावरोहणेन ] editorial_bracket
parent ligne 24
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27 स्वरेण [ ? ] प्रस्तारः । [ यथा ] सरिरिस सरिगगरिस [ सरिगममगरिस ] editorial_bracket
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28 सरिगमपपमगरिस सरिगमपधधपमगरिस सरिगमपधिनिनिधपमगरिस main
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29 सरिगमपधनिससनिधपमगरिस 20अथवा 21सरिरिस रिगगरि गममग मपपम पधधप main
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30 १५ page_number
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31 धनिनिध निससनि [ इति ] प्रस्तारः। editorial_bracket
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32 [ अनु₀ ८५ ] editorial_bracket
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33 प्रस्तार-विपरीतः प्रसादः यथा- main
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34 प्रस्वस्तारः पविपरितः ( ? ) annotation_inline
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35 सनिनिस सनिधधनिस सनि [ ध ] पपधनिस सनिधपममपधिनस editorial_bracket
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36 सा annotation_inline
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37 सा annotation_inline
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38 सा annotation_inline
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39 सनिधपमगगमपधनिस सनिधपमगरिरिगमपधनिस सनिधपमगरिससरिगमपधनिस। main
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40 सा annotation_inline
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41 सा page_footer
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L#Texte OCRRole autoCorriger si incorrect
1 r annotation_inline
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2 ### ### 100 mg 2 annotation_inline
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3 262 page_number
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4 BRHADDEŚĪ page_header
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5 शुद्धपङ्जाया एव विवक्षितत्वेन तत्प्रयुक्तमन्द्रव्याप्तपङ्जग्रामसम्बन्धोऽनुमेय इति । main
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6 Kalā on SR II.2.30-32, p.30. main
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7 78. P.t. repeats (śruti?) main
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8 79. cf. मान्तोऽल्पगः main
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9 SR II.2.51a, where gāndhāra is said to be sparse. main
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10 80. cf. annotation_inline
parent ligne 9
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11 केचिद् ऋषभलोपेन हिन्दोलं षड्जसंश्रितम्। main
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12 वदन्ति, तन्मतं नाहं मतङ्गादिविरोधत:। main
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13 धैवतस्याविलोपेन द्विग्रामत्वेऽपि मध्यगम् ॥ main
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14 मध्यमग्रामजात्युत्थं शुद्धमध्याख्यमूर्च्छनम् । main
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15 S.Rāj II.2.1.502c-504b. main
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16 81. ८. यथाह मतङ्ग: - ‘‘भरतकोहलादिभिराचार्यैधैवतलोपस्यानिष्टत्वात् केचित् पङ्जग्रामाश्रित एवायमिति main
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17 मन्यन्ते चतुःश्रुतिकस्य पञ्चमस्यात्रोपलम्भाद् धैवतस्यास्तित्वं वा नास्तित्वं वा न विशेषप्रदर्शकं सर्वत्र । एवं च सित main
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18 ग्राममूर्छनाभेदो वा धैवतेन न स्यादिति भाव:।" main
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19 C.r. in Kalā on SR II.2.30-32, p. 31. main
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20 82.cf. अत्र टीकाकार: शङ्कते । योऽयं जात्यंशकानां विनियोग उक्त: स कश्यपमुनिमतङ्गादिभिविंरुध्यते । main
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21 तथाहि तैरुक्तम् -सम्भोगे चैव शृङ्गारे प्रेङ्खोलितकमेव च । main
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22 Abhi Bhā on NŚ XXIX. 8, p.69 main
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23 83. cf. यद्यपि सम्पूर्णस्वरस्यास्य प्रयोगे च चतुःश्रुतिकस्य पञ्चमस्योपलम्भात् पूर्वोक्तन्यायेन पड्जग्रामसम्बद्ध main
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24 एवायमिति मतङ्गमतम्, तथापि कश्यपमतेन निषादगान्धारयोर्लोपादयमौडुवित इति मतङ्गेनोक्तत्वात् तदा “रिधाभ्यां main
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25 द्विश्रुतिभ्यां च मध्यमग्रामगास्तु ते । हीनाश्चतुर्दशैव स्युः'' इत्यौडुवशुद्धतानलक्षणं मध्यमग्रामेऽपि साक्षादवगम्यत main
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26 इत्याचार्यद्वयमतानुसारिणा नि:शङ्कसूरिणा 'द्विग्रामष्टककैशिक:' इति सुष्ट्रदिष्टम् । main
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27 Kalā on SR II.2.30-32, p.30. main
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28 84.cf. annotation_inline
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29 थैवतांश(स्तदन्तश्च)स्वल्पद्विश्रुतिकस्वर:। main
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30 मध्यमाधैवतीजात्योर्जायते टक्ककेशिक:॥ main
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31 Cited in the name of Kasyapa on Bha Bhā Vol. II, VI. 102. main
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32 85. cf. annotation_inline
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33 पङ्जांशकग्रहन्यासमन्द्रतारोपशोभित: । main
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34 ----- तदा मालवकैशिक:॥ unknown
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35 C.r. in Bha Bhā Vol . VII MS folio no. 203. main
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36 86. cf. annotation_inline
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37 केचित् पञ्चमविश्रामं मन्यन्ते केचन त्विमम् । main
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38 गान्धारकृतसम्पूर्तिमेतन्नादरमहीत । main
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39 गान्धारस्य विवादित्वात्र्यासस्तत्र न युज्यते ॥ main
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40 S Rāj II.2.1.467c-468. main
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41 87. cf. अत्र टीकाकार: शङ्कते । योऽयं जात्यंशकानां विनियोग उक्त: स कश्यपमुनिमतङ्गादिभिर्विरुध्यते । main
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42 तथाहि तैरुक्तम् - कामभूतेषु सर्वेषु कुर्यान् मालवकैशिकम् । main
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43 Abhi Bhā on NŚ XXIX. 8, p. 69. main
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44 88. cf. annotation_inline
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45 कथिता यत्र तान् वक्ष्ये सप्त साधारणांस्तत: । main
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46 C.r. in Kalā on SR II.2.23-26,p.26. main
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47 89. cf. annotation_inline
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48 मतङ्गो रेवगुप्तं च टक्कसैन्धवमेव च। main
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49 साधारणेषु निक्षिप्य न तान(व) ब्रबीदथ ॥ main
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50 S Rāj II.2.1.62c,63b. main
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51 Terminate and the control of the control of the control of the control of the control of the control of the control of t annotation_inline
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vol_II_p101 LEFT — 38 lignes

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1 -- 1 annotation_inline
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2 History 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 S annotation_inline
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3 184 page_number
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4 BRHADDEŚĪ section_header
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5 [१. अथ टके] section_header
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6 पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्। main
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7 ..(ता? न्ता) annotation_inline
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8 भाषे annotation_inline
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9 <sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥ main
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10 चैषा ॰ annotation_inline
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11 उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा main
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12 धासासानीधानीधा[सा सा]। देवालवर्धनी । [१] editorial_bracket
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13 मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा । main
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14 सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥ main
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15 उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि- main
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16 सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा- main
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17 सानिसा। पौराली । [२] editorial_bracket
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18 धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता । main
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19 (वैध ? धैव) annotation_inline
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20 टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥ main
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21 शकभाषा annotation_inline
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22 उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा- main
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23 माधमागसासासा । त्रावणी । [३] editorial_bracket
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24 मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा । main
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25 विपा annotation_inline
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26 मान annotation_inline
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27 विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥ main
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28 ॰रागस्यैपा annotation_inline
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29 मूढलालिता annotation_inline
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30 उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा । main
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31 रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४] editorial_bracket
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32 तानल॰ annotation_inline
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33 भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा । main
via surya_layout
34 साधारणा तु पङ्जांशान्ता main
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35 पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥ main
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36 <b>ल्होनं</b> annotation_inline
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37 স্ত(?) annotation_inline
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38 1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE annotation_inline
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1 <b>FOREWORD</b> section_header
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2 The eighth in the series of the Kalāmūlašāstra, research and publication main
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3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
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4 As the name suggests, it is extensive and comprehensive. This is rightly main
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5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
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6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
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7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
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8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
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9 enunciates a theory of sound, structure and composition quite distinct from the main
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10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
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11 posed many complex problems of editing and translation. While the Indira main
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12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
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13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
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14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
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15 the Sangita Ratnäkara on the other hand. main
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16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
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17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
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18 reconstructed from excerpts by later writers. This task is challenging and main
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19 requires mastery of the skills of collation and editing of a very high order. Dr. main
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20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
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21 unravelling the mysteries of the textual corpus in relation to the unbroken main
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22 traditions and the practice of Indian music has assiduously reconstructed this main
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23 text on the basis of the citations, has provided annotations, explanations and, main
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24 naturally, translation. The work is being presented in three Volumes. The first main
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25 two will present the text with a translation, notes and annotation. The third will main
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26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
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27 There has been only one printed edition of this text so far, i.e. Trivandrum main
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28 Sanskrit Series in 1928. The present editor has considered that edition and has main
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29 corrected the errors and many mutilations and confusions in that edition. main
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30 In the context of music, one of the most common and fundamental questions main
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31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
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32 emerge?". In critical literature there has been a vast body of discussions on the main
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33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
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34 makes scanty mention of the Ragas. The source of musical structure and main
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35 composition, both of Hindustani and Carnatic music, has to be traced back to main
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36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
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37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
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38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
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39 firm foundation of the system of Indian music, the text assumes great main
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203 lignes a valider — change uniquement les roles incorrects.