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 20692). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p053 LEFT — 35 lignes

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1 88 page_number
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2 BRHADDEŚĪ page_header
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3 मुख्य इति षाडवः ? तत्र नायम्। एकः । कुतः ? सम्पूर्णत्वादमुष्य रागस्य । तस्मादुत्तरपक्ष एव main
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4 ज्यायान्। ननु कथं षट्सु रागेषु मुख्योऽयम्? उच्यते पूर्व-[रङ्गे तु] शुद्धषाडव: प्रयोक्तव्य इति editorial_bracket
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5 (कथनुकथन? कथं) main
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6 पुष annotation_inline
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7 वचनात् पूर्वरङ्गे प्रचुरप्रयोगत्वादस्य शुद्धषाडवस्यादौ निर्देश:। main
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8 विकारिमध्यमाजाते: सम्भूत: शुद्धषाडव: । main
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9 न् annotation_inline
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10 न्यासोऽस्य मध्यमोंऽशश्च गान्धारेण च दुर्बल: ॥ ३००॥ main
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11 <b>णांश</b>श annotation_inline
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12 (तु? दु) annotation_inline
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13 [अनु॰ १६५] section_header
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14 अस्यार्थः - शुद्धषाडवो मध्यमग्रामसम्बन्धः। तारमध्यमो ग्रहः। मध्यमोऽशो न्यासश्च । main
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15 गान्धारस्य चाल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । पूर्वरङ्गेऽस्य main
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16 (इन ? इने) annotation_inline
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17 मध्यमो वादी । षड्जः संवादी । ऋषभपञ्चमावनुवादिनौ । विवादी नास्ति । main
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18 प्रयोग:। annotation_inline
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19 शृङ्गारहास्यौ रसौ । मध्यमादिमूर्छना । अवरोही वर्ण: । प्रसन्नान्तोऽलङ्कार: । main
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20 त्रिषु मार्गेषु main
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21 गीयते। दक्षिणे कला, वृत्तौ कला, चित्रे कला। ३८स्वरपदगीते चच्चत्पुटादिताल: । unknown
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22 <b>ण्पदेप</b> annotation_inline
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23 आक्षिप्तिका<sup>३९</sup> main
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24 ॰सका annotation_inline
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25 [२. शुद्धपञ्चम:] section_header
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26 ДO annotation_inline
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27 [अनु॰ १६६] editorial_bracket
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28 शुद्धपञ्चमः षड्जोदीच्यवतीजातेः स्मृतः। main
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29 र्गत: annotation_inline
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30 [३. शुद्धसाधारित: ] section_header
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31 षड्जांशो मध्यमन्यासः स्वल्पद्विश्रुतिकस्वरः। main
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32 (बि?हि) unknown
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33 स्यात् षड्जमध्यमाजाते: शुद्धः साधारितस्तथा ॥ ३०१॥ main
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34 erte Arresto de la composição de la composição de la composição de la composição de la composição de la composição de la annotation_inline
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35 . . . annotation_inline
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vol_II_p051 LEFT — 27 lignes

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1 84 page_number
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2 BRHADDEŚĪ page_header
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3 प्रयोगैर्मसृणै: सूक्ष्मकाकुभिश्च३३ सुयोजितै: । main
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4 ॰क्ष्मै: annotation_inline
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5 ॰िमेत्रै: annotation_inline
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6 <sup>३४</sup>एवं साधारणी ज्ञेया सर्वगीतिसमाश्रया ॥२८५॥ main
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7 [६. भाषा गीति:] section_header
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8 प्रयोगैर्गात्रजै: शृक्ष्णै: काकुरक्तै: सुयोजितै: । main
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9 कम्पितैः कोमलैर्दीप्तैर्मालवीकाकुनान्वितैः ॥२८६॥ main
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10 लितै: सुकुमारैश्च प्रयोगैश्च सुसंयुतै:। main
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11 (सीं ? सं) annotation_inline
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12 भाषा गीति: समाख्याता एषा गीतिविचक्षणै: ॥ main
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13 यथा वै रज्यते लोकस्तथा वै सम्प्रयुज्यते ॥२८७॥ main
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14 [७. विभाषा गीति:] section_header
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15 लिलतैर्बहुभिर्दीतै: कम्पितैरौरसै: समै:। main
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16 (र ? रौ) annotation_inline
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17 तारातितारैर्मसृणैर्मध्ये मध्यमदीपितै: ॥२८८॥ main
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18 गमकै: श्रोत्रसुखदैर्ललितैस्तु यदुच्छया। main
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19 विभाषागीतिस्तु संयोज्या यथा लोकोऽनुरज्यते ॥२८९॥ main
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20 [॥ इति गीतिलक्षणम् ॥] editorial_bracket
parent ligne 19
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21 [रागसङ्ख्या, उद्देशश्च] section_header
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22 गीतीनां लक्षणं प्रोक्तं रागसङ्ख्योच्यतेऽधुना । main
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23 गीतानां annotation_inline
parent ligne 22
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24 पञ्च चोक्षा: समाख्यातास्तत्प्रमाणाश्च भित्रका: ॥२९०॥ main
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25 गौडास्त्रयस्तु कथिता रागाश्चाष्टौ प्रकीर्तिता: । main
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26 सप्त साधारणा: प्रोक्ता भाषाश्चैवात्र षोडश ॥२९१॥ main
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27 द्वादशैव विभाषा: स्युर्नामानि च निबोधत ॥२९२॥ main
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vol_I_p047 RIGHT — 37 lignes

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1 1 page_number
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2 77 page_number
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3 <b>TRANSLATION</b> page_header
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4 (Anu. 51) annotation_inline
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5 But if the indication of murchanas is done with the middle heptad, then why main
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6 has it been said to be (done) with madhyama svara? Truly has this been said. main
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7 The use of singular number is in relation with the jāti (species) of svara. The main
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8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
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9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
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10 (for svara) is in order to encompass the sthana (register or range) that could main
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11 not be described in the body (human voice). main
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12 (Anu. 52) annotation_inline
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13 But when the (process of) sādavita and auduvita is being undertaken, then main
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14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
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17 "When the tana is made in this manner (by omission of the prescribed main
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18 svaras), the knowledgeable one should ascertain, by counting the perishable main
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19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
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21 (Anu. 53) annotation_inline
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22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
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23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
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24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
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27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
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31 (Anu. 55) annotation_inline
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32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
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33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 annotation_inline
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vol_II_p004 RIGHT — 103 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 General Section annotation_inline
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2 <b>CONTENTS</b> table
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3 ix table
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4 . table
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5 83 page_number
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6 Sādhāraņīgīti table
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7 5. table
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8 85 page_number
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9 6. table
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10 Bhāṣāgīti table
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11 85 page_number
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12 Vibhāṣāgīti table
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13 7. table
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14 85 page_number
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15 The number and nomenclature of ragas table
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16 87 page_number
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17 The specific description of rāgas table
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18 87 page_number
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19 A. Out of them <i>śuddha rāgas</i> table
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20 87 page_number
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21 Suddhaşādava table
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22 1. table
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23 Śuddhapańcama table
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24 89 page_number
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25 2. table
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26 89 page_number
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27 Suddhasādhārita table
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28 3. table
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29 91 page_number
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30 Suddhakaisikamadhyama table
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31 4. table
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32 91 page_number
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33 Śuddhakaiśika table
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34 5. table
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35 93 page_number
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36 The assignment of grāmas to śuddha rāgas table
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37 93 page_number
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38 The application of <i>suddha rāgas</i> table
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39 95 page_number
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40 B. Bhinna rāgas table
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41 95 page_number
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42 Svara-bhinna table
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43 97 page_number
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44 Bhinna-şadja table
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45 l. table
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46 97 page_number
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47 Bhinna-pañcama table
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48 2. table
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49 99 page_number
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50 Jāti-bhinna table
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51 99 page_number
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52 3. table
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53 Bhinnakaisikamadhyama table
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54 99 page_number
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55 Suddhabhinna table
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56 101 page_number
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57 Bhinnakaisika table
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58 4. table
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59 101 page_number
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60 Śruti-bhinna table
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61 103 page_number
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62 Bhinnatāna table
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63 5. table
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64 103 page_number
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65 The assignment of bhinna-rāgas to grāmas table
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66 105 page_number
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67 C. Gauda rāgas table
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68 105 page_number
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69 1. Gaudapañcama table
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70 105 page_number
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71 Gaudakaisika table
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72 2. table
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73 107 page_number
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74 Gaudakaisikamadhyama table
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75 3. table
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76 107 page_number
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77 The assignment of gauda rāgas to grāmas table
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78 109 page_number
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79 D. The rāgas pertaining to rāga-gīti or vesarā-gīti table
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80 109 page_number
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81 1. Takkarāga table
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82 109 page_number
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83 Sauvīra table
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84 2. table
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85 111 page_number
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86 Mālavapancama table
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87 3. table
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88 111 page_number
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89 Vesarașādava table
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90 4. table
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91 113 page_number
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92 Botta-rāga table
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93 5. table
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94 113 page_number
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95 Hindola table
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96 6. table
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97 115 page_number
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98 Takkakaisika table
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99 7. table
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100 115 page_number
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101 Mālavakaišika unknown
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102 8. unknown
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103 . . unknown
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vol_I_p036 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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236 lignes a valider — change uniquement les roles incorrects.