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 20776). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p042 RIGHT — 50 lignes

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1 TRANSLATION page_header
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2 67 page_number
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3 sā pā nī mā pā pā gā gā table
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4 <b>(7)</b> table
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5 mā pā mā nidha nī nī sā sā table
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6 (8) table
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7 pā pā mā dhani pā pā pā pā table
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8 (9) table
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9 mā pā mā riga gā gā gā gā table
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10 (10) table
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11 gā pā mā pā nī nī nī nī table
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12 (11) table
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13 mā pā mā pariga gā gā gā gā table
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14 (12) table
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15 gā gā gā mā mā nidha nī nī table
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16 (13) table
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17 nī nī dhapa mā nidha nidha pā pā table
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18 (14) table
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19 rī gā sā sā mā nidhani nī nī table
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20 (15) table
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21 nī nī dhā pā dhā pā mā mā table
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22 (16) table
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23 Thusends<i>inadhyamodīcyavā</i>. section_header
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24 [6. Kārmāravi] section_header
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25 In kārmāravī, niṣāda, ṛṣabha, pañcama and dhaivata become the ainśas. main
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26 (16) annotation_inline
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27 Many (svaras) are said to be non-amsas on account of antara-marga. main
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28 Gāndhāra is excessively abundant. There is concert among all the amśa main
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29 svaras. annotation_inline
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30 (17) main
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31 Caccatpuța (is the tāla), there are sixteen kalās. The mūrchanā beginning main
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32 with şadja obtains. The application is (prescribed) in the dhruvā of the fifth main
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33 act. annotation_inline
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34 (18) main
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35 Pañcama is the nyāsa in this (jāti). The amsás themselves are apanyāsas. main
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36 The prastāra is thus- main
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37 ri ri ri ri ri ri ri ri table
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38 (1) table
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39 mā gā sā gā sā nī nī nī table
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40 (2) table
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41 nī mā nī mā pā pā gā gā table
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42 (3) table
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43 gā pā mā pā nī nī nī nī table
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44 (4) table
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45 rī gā sā nī rī gā rī gā table
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46 (5) table
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47 rī gā rī sā nī dhani pā pā table
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48 (6) table
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49 mā pā mā pariga gā gā gā gā table
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50 <b>(7)</b> table
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vol_II_p110 RIGHT — 31 lignes

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1 203 page_number
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2 TRANSLATION page_header
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3 [2. Māngālī] section_header
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4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
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5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
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6 (354) annotation_inline
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7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
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8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
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9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
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11 [3. Bhammānikā] section_header
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12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
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16 [4. Pulindikā] section_header
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17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
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20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
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25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
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26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
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27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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vol_II_p072 RIGHT — 31 lignes

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1 127 page_number
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2 TRANSLATION page_header
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3 in yuddha-vīra 92 (rasa). Vīra and the like is the rasa. The mūrchanā beginning main
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4 with ṣaḍjaobtains. Ārohin is the varṇa. Prasannāntais the alaṅkāra. The kalā main
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5 is formed in the dakṣiṇa(mārga), the kalā obtains in the vārtika(mārga) and main
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6 the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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7 comprised of svara and pada. main
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8 [The assignment of grāma to sādhāraņa rāgas] section_header
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9 Now, the assignment of grāma to sādhāraņa (rāgas) is being shown. main
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10 Bhammāṇapañcama should be known to be born of madhyamagrāma and main
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11 so are gāndhārapañcama, narta and ṣaḍjakaiśika. main
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12 (342) annotation_inline
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13 The rāgas rūpasādhārita, śaka, kakubha, revagupta and pañcamaṣāḍava main
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14 should be known to be (related to ) the one known as sadja. The seven main
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15 (nine?) sādhāraņa (rāgas) have (thus) been said to be based on the two main
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16 grämas. annotation_inline
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17 (343) main
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18 [The basis of the specification of murchanā in respect of grāma-rāgas] section_header
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19 [Anu. 213] editorial_bracket
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20 (Contention) How is the specification of particular mūrchanās in respect main
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21 of grāma-rāgas known? It is being answered. The specification of mūrchanās main
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22 is known from the statements of authorities. Similarly has said Kasyapa - main
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23 "The mūrchanā should be specified by the wise after knowing the main
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24 predominance of amsa in a jāti."94 main
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25 [The difference between gita and raga] section_header
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26 [Anu. 214] editorial_bracket
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27 (Contention) What is the difference between gita and raga? It is being main
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28 answered. The gita characterised with ten lakṣaṇas should be named after main
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29 the word rāga. Gīta is comprised of four angas (components).95 It is five- main
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30 fold in combination with dhruva96 From where is this known? From the main
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31 statements of authorities. Similarly has said Kasyapa - main
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vol_I_p097 RIGHT — 43 lignes

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1 177 page_number
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2 VIMARŚA annotation_inline
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3 85. Assigning a seer to each svara is, again, an extension of the Vedic main
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4 tradition. annotation_inline
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5 86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd- list_item
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6 105 ab. list_item
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7 87. The location of svaras in the human body as described here is quite list_item
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8 different from the seven sthanas discussed above in note No. 63. list_item
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9 88. 'Desi' here stands for the manifest realm of sound. list_item
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10 Section V ( Grāma-mūrchanā ) section_header
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11 1. Grāma is not just any group of svaras, it is a specific grouping which is the main
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12 basis of the perception of śruti and is also a fundamental categorisation of main
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13 melodies with the consonance of fifth between sa-pa and with the consonance main
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14 of fourth between ri-pa. annotation_inline
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15 2. The analogy of a village inherent in the word grāma is being made main
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16 explicit. BrD is the only text that has explained this point. main
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17 3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7) main
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18 do mention it; Dattilam clearly states that it is not to be found here in this world. main
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19 ( See glossary ) annotation_inline
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20 4. The statement that svaras are born of Sāmaveda should be viewed list_item
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21 alongwith the backdrop of the common belief and oft-repeated platitude that list_item
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22 Indian music is born of Sāmaveda. When something is said to be the origin of list_item
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23 another thing, the general impression is that the origin precedes in time the list_item
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24 thing born of it. But in the case of music this impression could not hold good. It list_item
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25 would be absurd to say that there was no music among the people before list_item
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26 Sāmaveda became formalised or codified. The balanced view would be that list_item
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27 Sāmavedic music was the first to be codified and the codification of the music list_item
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28 of the people came later and that the 'vision' that inspired or guided the Vedic list_item
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29 codification continued to guide the later codification. The statement of our list_item
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30 author that svaras are born of Sāmaveda matches the statement in NŚ (I,17) list_item
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31 that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text) list_item
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32 was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from list_item
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33 Atharvaveda. To go a step further it would be pertinent to say that the mention list_item
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34 of the Vedic origin of a thing need not be taken to imply Vedic anteriority in list_item
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35 time; it could be interpreted to mean that the Vedic world-view and 'vision' was list_item
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36 the guiding spirit. list_item
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37 5. The number 'two' given here for grāma indicates that the author, in spite main
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38 of mentioning gandhara-grama, does not subscribe to the theory of three gramas. main
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39 6. The objective of grāma, stated here as the systematisation of svara, śruti, list_item
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40 mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals list_item
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41 in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma list_item
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42 are strictly followed in murchana, the omission of svaras in tana is guided by the grama list_item
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43 (e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the list_item
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vol_II_p102 RIGHT — 28 lignes

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1 TRANSLATION page_header
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2 187 page_number
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3 Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā main
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4 māgāmā annotation_inline
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5 dhādhāmāgāmānisāsā. Dohyā [v] editorial_bracket
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6 Having niṣāda as amśa, ṣadja as the concluding note, being devoid of main
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7 pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha. main
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8 (6) annotation_inline
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9 Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi] editorial_bracket
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10 Combined with ṣadja as the initial and concluding note, alaghvī is born of main
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11 a deśa (region), is complete (and) comes into being from takkarāga, which main
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12 is sung in one's own abode. main
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13 (7) annotation_inline
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14 Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส main
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15 sādhāgā risārisā nidhānisāsā. Alaghvī [vii] editorial_bracket
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16 Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla. main
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17 [2. Now in hindola] section_header
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18 Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī- main
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19 these are the bhāṣās in hindolaka. main
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20 Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic, main
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21 bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup> main
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22 (8) annotation_inline
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23 Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā main
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24 pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i] editorial_bracket
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25 Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic, main
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26 omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup> main
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27 (9) annotation_inline
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28 Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā main
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183 lignes a valider — change uniquement les roles incorrects.