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 20806). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p139 LEFT — 59 lignes

page vol_II_p139 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 grantening to the property of the annotation_inline
parent ligne 5
via heuristic_height
2 262 page_number
via heuristic_pagenum
3 260 page_number
via heuristic_pagenum
4 BRHADDEŚĪ page_header
via surya_layout
5 शुद्धपङ् main
via surya_layout
6 line of verse 305 also appears in p. t. within this portion, but it has been main
via surya_layout
7 omitted in order to avoid unnecessary repetition. Reconstruction based on main
via surya_layout
8 Kalā on SR. II.2.23-26, p.25. main
via surya_layout
9 54. c.r. in ibid. annotation_inline
parent ligne 8
via heuristic_short
10 55. cf.c.r. in ibid. विवादी चानुवादी च गृहीत: स्यादित्यनुपङ्ग: । शुद्धपाडवापेक्षया main
via surya_layout
11 भित्रपड्जभित्रपञ्चमयोः स्वरप्रयोगभेदात् स्वरभित्रम् । main
via surya_layout
12 C. r. in ibid. annotation_inline
parent ligne 11
via heuristic_short
13 56. P.t. repeats ' şadjaḥ (?) '. main
via surya_layout
14 57. Reconstruction attempted in the closest possible approximation main
via surya_layout
15 to the confused reading of p.t. main
via surya_layout
16 भित्रपड्जो मानदैन्ये चैकान्ताजीवितस्य च । main
via surya_layout
17 58. cf. main
via surya_layout
18 मन्यन्ते र unknown
via fallback
19 C.r. in Abhi. Bhā .XXIX. 9, p. 69. main
via surya_layout
20 ग्राममूर्छन unknown
via fallback
21 59. cf. main
via surya_layout
22 प्रसन्नान्तविभूषित: । main
via surya_layout
23 SR 11.2.80b. annotation_inline
parent ligne 22
via heuristic_short
24 60. cf.(i) main
via surya_layout
25 चतुःश्रुतिस्वरं यत्र भिनक्ति (ति)त्रिश्रुतिस्वराः (रः)। main
via surya_layout
26 तथाहि तैः annotation_inline
parent ligne 25
via heuristic_short
27 अधिष्ठानं स एव स्याच्छुतिभिन्न: स मन्यते ॥ main
via surya_layout
28 SamSi Bhā Ka, p. 33. main
via surya_layout
29 एवायामार annotation_inline
parent ligne 28
via heuristic_height
30 चतुःश्रुतिः स्वरो यत्र भिन्नो द्विश्रुतिको भवेत् । main
via surya_layout
31 (ii) annotation_inline
parent ligne 30
via heuristic_short
32 <b>द्विश्रुति</b>प्यां main
via surya_layout
33 गान्धारो द्विश्वतिश्चैव श्रुतिभिन्न: स उच्यते ॥ main
via surya_layout
34 इत्याचार्यद्व unknown
via fallback
35 इति भित्रतानरागे हि पङ्जस्य श्रुतिद्वयं गृह्मति निषादः । श्रुतिपूर्वन्यायेन पङ्जोऽपि चतुःश्रुतिरित्युच्यते, गान्धारस्तु main
via surya_layout
36 श्रुतिभिन्नत्वम् । annotation_inline
parent ligne 35
via heuristic_short
37 8 page_number
via heuristic_pagenum
38 C.r. in Kalā on SR II.2.23-26, p.26. main
via surya_layout
39 61. cf. (i) annotation_inline
parent ligne 38
via heuristic_short
40 मध्यमापञ्चमीजातः पञ्चमांशग्रहोऽल्परिः॥ main
via surya_layout
41 8 page_number
via heuristic_pagenum
42 रिहीनो वा मध्यमान्तो मध्यमाल्प: सकाकली । main
via surya_layout
43 SR II. 2.35 c-36 b. annotation_inline
parent ligne 42
via heuristic_short
44 विहीन ऋषभेणाधो ऋषभाल्पतया युत:। main
via surya_layout
45 (ii) annotation_inline
parent ligne 44
via heuristic_short
46 मध्यमस्वरविश्राम: स्वल्पमध्यमकोऽथवा ॥ main
via surya_layout
47 निषाददुर्वल: प्रोक्तो भवानीपतिदैवत: ॥ main
via surya_layout
48 अत्र यद्गदितं तज्ज्ञैर्दुर्वलत्वं निषादिन: । main
via surya_layout
49 तद्धेतुजातिजं चिन्त्यं रिदीर्बस्यं पुनर्व्धै:॥ main
via surya_layout
50 तथाहि तैरा annotation_inline
parent ligne 49
via heuristic_short
51 S Rāj II.2.I.280, 282 cd, 283. main
via surya_layout
52 62. Verse 313 in our text mentions rṣabha and niṣāda as sparse, main
via surya_layout
53 whereas here in the prose portion madhyama and niṣāda are so mentioned. main
via surya_layout
54 SR mentions ṛṣabha and madhyama and S.Rāj mentions ṛṣabha, madhyama and main
via surya_layout
55 1 page_number
via heuristic_pagenum
56 niṣāda. (See extracts in note 60). main
via surya_layout
57 63. cf. annotation_inline
parent ligne 56
via heuristic_short
58 धैवतीपड्जमध्याभूः स्वल्पपञ्चमसप्तमः । main
via surya_layout
59 (vide) annotation_inline
parent ligne 58
via heuristic_height

vol_I_p029 RIGHT — 22 lignes

page vol_I_p029 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 41 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 The vadi-maṇḍala in madhyama-grāma is thus - ma pa dha ni sa ri ga. main
via surya_layout
4 The samvādi-mandala in madhyama-grāma is thus- main
via surya_layout
5 ma unknown
via surya_layout
6 pa unknown
via surya_layout
7 ga unknown
via surya_layout
8 Γi unknown
via surya_layout
9 dha unknown
via surya_layout
10 ni unknown
via surya_layout
11 sa unknown
via surya_layout
12 • annotation_inline
parent ligne 4
via heuristic_height
13 The anuvādi-maṇḍala in madhyama-grāma is thus - main
via surya_layout
14 ŧ annotation_inline
parent ligne 13
via heuristic_height
15 ma unknown
via surya_layout
16 pa unknown
via surya_layout
17 ga unknown
via surya_layout
18 <math>\vec{\Pi}</math> unknown
via surya_layout
19 dha unknown
via surya_layout
20 . annotation_inline
parent ligne 13
via heuristic_height
21 ni unknown
via surya_layout
22 sa unknown
via surya_layout

vol_II_p057 LEFT — 27 lignes

page vol_II_p057 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 96 page_number
via heuristic_pagenum
3 [१. भिन्नषड्जः] section_header
via surya_layout
4 धैवतांशो मध्यमान्तः पञ्चमर्षभवर्जितः । main
via surya_layout
5 षड्जोदीच्यवतीजातो भिन्नषड्ज: स्मृतो बुधै: ॥३०६॥ main
via surya_layout
6 (जमा?जातो) annotation_inline
parent ligne 5
via heuristic_height
7 [अनुः १७५] editorial_bracket
parent ligne 5
via heuristic_brackets
8 [अस्यार्थ:-]भित्रषड्जः पड्जग्रामसम्बन्धः षड्जोदीच्यवतीजातेर्जातत्वात्। धैवतो editorial_bracket
parent ligne 5
via heuristic_brackets
9 ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ। main
via surya_layout
10 सर्वोपकरणप्रवृत्तस्य ५७विजातीयाद्रणान्निवृत्तस्य मृगयायां प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य main
via surya_layout
11 विजातीयो निरणानियृत्तस्य (?) annotation_inline
parent ligne 10
via heuristic_height
12 विनियोगः। <sup>५८</sup>बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । <sup>५९</sup>प्रसन्नादिरलङ्कारः । main
via surya_layout
13 दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
14 [२.भिन्नपञ्चमः] section_header
via surya_layout
15 [अन्॰ १७६] editorial_bracket
parent ligne 14
via heuristic_brackets
16 .असौ भिन्नपञ्चम: स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा - main
via surya_layout
17 शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः। main
via surya_layout
18 स्वर(न्ग्रे?ई) annotation_inline
parent ligne 17
via heuristic_short
19 धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥ main
via surya_layout
20 [अन्॰ १७७] editorial_bracket
parent ligne 19
via heuristic_brackets
21 अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीजात्योर्जातत्वात् main
via surya_layout
22 पङ्जोदीच्यवतीजाते: मध्यमा(पञ्चमी) जात्यो॰ annotation_inline
parent ligne 21
via heuristic_markers
23 ण्या(म) annotation_inline
parent ligne 21
via heuristic_height
24 भिन्न(सं?)पञ्चमो annotation_inline
parent ligne 21
via heuristic_height
25 ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण- main
via surya_layout
26 श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । main
via surya_layout
27 प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः । main
via surya_layout

vol_II_p072 RIGHT — 31 lignes

page vol_II_p072 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 127 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 in yuddha-vīra 92 (rasa). Vīra and the like is the rasa. The mūrchanā beginning main
via surya_layout
4 with ṣaḍjaobtains. Ārohin is the varṇa. Prasannāntais the alaṅkāra. The kalā main
via surya_layout
5 is formed in the dakṣiṇa(mārga), the kalā obtains in the vārtika(mārga) and main
via surya_layout
6 the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
via surya_layout
7 comprised of svara and pada. main
via surya_layout
8 [The assignment of grāma to sādhāraņa rāgas] section_header
via surya_layout
9 Now, the assignment of grāma to sādhāraņa (rāgas) is being shown. main
via surya_layout
10 Bhammāṇapañcama should be known to be born of madhyamagrāma and main
via surya_layout
11 so are gāndhārapañcama, narta and ṣaḍjakaiśika. main
via surya_layout
12 (342) annotation_inline
parent ligne 11
via heuristic_short
13 The rāgas rūpasādhārita, śaka, kakubha, revagupta and pañcamaṣāḍava main
via surya_layout
14 should be known to be (related to ) the one known as sadja. The seven main
via surya_layout
15 (nine?) sādhāraņa (rāgas) have (thus) been said to be based on the two main
via surya_layout
16 grämas. annotation_inline
parent ligne 15
via heuristic_short
17 (343) main
via surya_layout
18 [The basis of the specification of murchanā in respect of grāma-rāgas] section_header
via surya_layout
19 [Anu. 213] editorial_bracket
parent ligne 18
via heuristic_brackets
20 (Contention) How is the specification of particular mūrchanās in respect main
via surya_layout
21 of grāma-rāgas known? It is being answered. The specification of mūrchanās main
via surya_layout
22 is known from the statements of authorities. Similarly has said Kasyapa - main
via surya_layout
23 "The mūrchanā should be specified by the wise after knowing the main
via surya_layout
24 predominance of amsa in a jāti."94 main
via surya_layout
25 [The difference between gita and raga] section_header
via surya_layout
26 [Anu. 214] editorial_bracket
parent ligne 25
via heuristic_brackets
27 (Contention) What is the difference between gita and raga? It is being main
via surya_layout
28 answered. The gita characterised with ten lakṣaṇas should be named after main
via surya_layout
29 the word rāga. Gīta is comprised of four angas (components).95 It is five- main
via surya_layout
30 fold in combination with dhruva96 From where is this known? From the main
via surya_layout
31 statements of authorities. Similarly has said Kasyapa - main
via surya_layout

vol_I_p093 RIGHT — 44 lignes

page vol_I_p093 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA main
via surya_layout
2 169 page_number
via heuristic_pagenum
3 6, 7. The author seems to be speaking of svara at the same level at which list_item
via surya_layout
4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
via surya_layout
5 of philosophy, e.g. grammar, mimāmsā. list_item
via surya_layout
6 8. The infinity of svara, as propounded here, could be understood in two list_item
via surya_layout
7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
via surya_layout
8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
via surya_layout
9 various relationships between svaras established on account of variety of list_item
via surya_layout
10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
via surya_layout
11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
via surya_layout
12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
via surya_layout
13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
via surya_layout
14 could be inferred on the basis of its derivative bhāṣā. list_item
via surya_layout
15 9. The statement that svaras are combined with padas means that syllabic list_item
via surya_layout
16 units are combined with svaras when the latter are rendered. These (units) list_item
via surya_layout
17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
via surya_layout
18 is concerned. Pada has been thus defined by Bharata - list_item
via surya_layout
19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
via surya_layout
20 ( NŚ XXXII, 28 ab ) annotation_inline
parent ligne 19
via heuristic_short
21 "Whatever is formulated with syllables, all that is called pada". main
via surya_layout
22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
via surya_layout
23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
via surya_layout
24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
via surya_layout
25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
via surya_layout
26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
via surya_layout
27 wind instruments, accompanied by voice )- main
via surya_layout
28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
via surya_layout
29 ( NŚ XXXI, 104 ) annotation_inline
parent ligne 28
via heuristic_short
30 It will be seen that these are formulated units of four-matras (time-units) main
via surya_layout
31 each. If the voice renders svaras without padas (meaningful or non-sensical main
via surya_layout
32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
via surya_layout
33 are primary units of pada. Hence the combination of svara with pada is spoken main
via surya_layout
34 of. main
via surya_layout
35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
via surya_layout
36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
via surya_layout
37 the respective section. list_item
via surya_layout
38 11. The prescription of the use of specific svaras in the context of different list_item
via surya_layout
39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
via surya_layout
40 prescription in our text later in this section. list_item
via surya_layout
41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
via surya_layout
42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
via surya_layout
43 a limited time and space and not for all times or everywhere, it could not be list_item
via surya_layout
44 said to be indestructible or all-pervading. list_item
via surya_layout
183 lignes a valider — change uniquement les roles incorrects.