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 20807). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p010 LEFT — 25 lignes

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1 ॥ श्री: ॥ annotation_inline
parent ligne 2
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2 श्रीमतङ्गमुनिप्रणीता section_header
via surya_layout
3 बृहद्देशी section_header
via surya_layout
4 [द्वितीयोऽध्यायः] editorial_bracket
parent ligne 3
via heuristic_brackets
5 [ जातयः] editorial_bracket
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6 [१. तासां सङ्ख्या, उद्देश:, भेदाश्च] editorial_bracket
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7 [तत्र सङ्ख्या उद्देशश्च] editorial_bracket
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8 [अनु ॰ ११४] editorial_bracket
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9 इदानीमवसरप्राप्तानां जातीनामुद्देशमाह-तत्र जातयोऽष्टादशैव। एता: सर्वांशभेदेन main
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10 (:) समांश्र annotation_inline
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11 शतं चत्वारिशदधिकं सङ्ख्यया भवन्ति। main
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12 <sup>१</sup> तत्र स्वरे annotation_inline
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13 र[ जातयोऽष्टादशेत्येवं ब्रह्मणाभिहितं पुरा। editorial_bracket
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14 तास्त्वहं वर्तयिष्यामि ग्रहांशादिविभागत: ॥१८५॥ main
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15 [षड्जग्रामाश्रिता जातय:] section_header
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16 षाड्जी चैवार्षभी चैव धैवत्यथ निषादिनी। main
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17 षड्जोदीच्यवती चैव तथा वै षड्जकैशिकी ॥१८६॥ main
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18 षड्जमध्या तथा चैव षड्जग्रामसमाश्रया: ॥१८७॥ main
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19 ॥ इति सप्त षड्जग्रामाश्रयाः॥ editorial_bracket
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20 [मध्यमग्रामाश्रिता जातय:] section_header
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21 अत ऊर्ध्वं प्रवक्ष्यामि मध्यमग्रामसंश्रिता: ॥ १८८॥] editorial_bracket
parent ligne 20
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22 गान्धारी मध्यमा चैव पञ्चमी च तथैव हि । main
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23 गान्धारोदीच्यवा चैव तथा गान्धारपञ्चमी ॥ १८९॥ main
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24 ततश्च रक्तगान्धारी मध्यमोदीच्यवा तथा। main
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25 ॰ दच्यि • annotation_inline
parent ligne 24
via heuristic_markers

vol_II_p156 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
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2 295 page_number
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3 becoming an adjective of vidhi and the total meaning being 'general rule'. main
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4 Utsarga and apavāda is another pair that is commonly used in Pūrva main
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5 Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga' main
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6 has been used in isolation, the compound utsarga-vidhi being implicit. main
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7 'Vidhi' meaning rule or injunction has been used with the adjective samvādī main
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8 -anuvādī in a compound, meaning the rule pertaining to the samvādin and main
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9 anuvādin svaras. annotation_inline
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10 14. This phrase or piece of notation does not occur in SR in the list_item
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11 prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī. list_item
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12 15. 'Svasthāna' is known to stand for a section of 'ālapti' or list_item
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13 improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here list_item
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14 in jāti which is a prototype of rāga. It is not improbable that our text is using list_item
via surya_layout
15 this word in a different meaning, which could, perhaps, be graha. list_item
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16 16. The purport is that amsa is the regulator of graha, apanyasa, list_item
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17 vinyāsa, samnyāsa and nyāsa on account of being the point of reference both list_item
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18 in intervallic and melodic organisation. list_item
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19 17,18. Gīta is melodic rendering and pada is a unit of text or melody list_item
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20 or text-cum-melody, as the case may be, i.e., gīta could stand for melodic list_item
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21 rendering with or without text and 'pada' could stand for self-contained list_item
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22 units of text (meaningful or otherwise) or of melody or of text-cum-melody. list_item
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23 Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the list_item
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24 pause between one vidārī and another. list_item
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25 19. 'Pāda', literally meaning foot is used both in the context of list_item
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26 textual metre and musical composition. list_item
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27 20. 'Peśī', literally meaning muscle suggests the conception of the list_item
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28 'body' of a musical structure on the model of the human body. SR IV. 12a list_item
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29 speaks of the dhātus (lit. humours) of prabandha that are so called because list_item
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30 of upholding the 'body' of prabandha and again in 13b speaks of the list_item
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31 'prabandha-puruşa' that has six angas or limbs. The word peśī has also been list_item
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32 used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going list_item
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33 much earlier than our text. list_item
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34 21. NS. XXVIII.68, 69 has reading variants in all the editions; the list_item
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35 citation in our text has proximity to c.r. in Kalā. It is notable that the name list_item
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36 of Bharata does not occur in the introduction to the citation. list_item
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37 22. The octave of the amsa is implied here; that is the beginning of list_item
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38 tāra (high). list_item
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39 23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī list_item
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40 in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās' list_item
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41 indicating their tara position. list_item
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vol_II_p065 LEFT — 28 lignes

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1 BRHADDEŚÏ page_header
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2 112 page_number
via heuristic_pagenum
3 [५. बोट्टरागः] section_header
via surya_layout
4 स्यात् षड्जमध्यमाजाते: पञ्चम्याश्च विनिर्गत: । main
via surya_layout
5 बोट्टरागश्च विज्ञेय: पञ्चमांशोऽन्तमध्यम: ॥३२४॥ main
via surya_layout
6 पञ्चमोंऽशो( ऽन्त)मध्यमः annotation_inline
parent ligne 5
via heuristic_height
7 [अनुः १९६] section_header
via surya_layout
8 [अस्यार्थ:-]बोट्टराग: षड्जग्रामसम्बन्ध:<sup>७७</sup>षड्जमध्यमापञ्चमीजात्योर्जातत्वात्। editorial_bracket
parent ligne 7
via heuristic_brackets
9 यद्यप्युभयग्रामसम्भूतजातिद्वयसमुत्पन्नः,तथापि पञ्चमस्य<sup>७८</sup>चतुंःश्रुतिकत्वात् षड्जग्रामसम्बन्धः। main
via surya_layout
10 पञ्चमो ग्रहोंऽशश्च । मध्यमो न्यास: । निषादगान्धारयोरल्पत्वम्<sup>७९</sup>। निषादोऽत्र काकली । main
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11 पूर्णस्वरश्चायम्। उत्सवे चास्य विनियोगः। शान्तादिको रसः। पञ्चमादिमूर्छना । आरोही वर्णः । main
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12 प्रसन्नान्तोऽलङ्कारः। दक्षिणे कला, वार्तिक कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । main
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13 [६. हिन्दोल:] section_header
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14 षड्जांशन्याससंयुक्तो धैवतर्षभवर्जित:। main
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15 धैवत्यार्षभिकात्यक्तो हिन्दोल: प्रेक्षणे भवेत् ॥ ३२५॥ main
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16 र्व्य(भी?भिका)॰ annotation_inline
parent ligne 15
via heuristic_markers
17 [अनु॰ १९७] section_header
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18 [अस्यार्थ: -] हिन्दोलको मध्यमग्रामसम्बन्ध: । <sup>८</sup>°[ननु] धैवत्यार्षभीरहितोभय- editorial_bracket
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19 रहित:।उभय annotation_inline
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via heuristic_height
20 ग्रामसम्बन्ध्यशेषस्वराख्यजातिसमुत्पत्रत्वादुभयग्रामिकत्वमेव युक्तम् ,कथं मध्यमग्रामाश्रित इति? main
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21 ग्रामसम्बन्धः annotation_inline
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22 धैवतर्षभहीनत्वान्मध्यमग्रामसम्बन्ध एव, ८१भरतकोहलादिभिराचार्यै: main
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23 षड्जग्रामे annotation_inline
parent ligne 22
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24 ॰भी(ही)क annotation_inline
parent ligne 22
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25 धैवतर्षभलोपस्यानिष्टत्वात् । केचित् षड्जग्रामाश्रित एवायमिति मन्यन्ते चतुः-श्रुतिकस्य main
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26 पञ्चमस्यात्रोपलम्भात् । धैवतस्य चानाशित्वं तानविषयमेव द्रष्टव्यं न सर्वत्रेति । एतच्चायुक्तम् । एवं main
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27 हि सित ग्राममूर्छनाभेदो न स्यादिति । main
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28 (छ) annotation_inline
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vol_I_p057 RIGHT — 36 lignes

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1 97 page_number
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2 TRANSLATION page_header
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3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
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4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
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5 (16) annotation_inline
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6 is (ends) prasāda. annotation_inline
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7 (Anu. 86) annotation_inline
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8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
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9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
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10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
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11 (17) annotation_inline
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12 risa. Thus is (ends) udvāhita. annotation_inline
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13 (Anu. 87) annotation_inline
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14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
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15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
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16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
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17 (18) annotation_inline
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18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
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19 (Anu. 88) annotation_inline
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20 There, krama is that, where having reached the sthayin55 (steady) svara after main
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21 ascending in the svaras in successive order beginning with one, without any gap, main
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22 svaras are pronounced in the order of prastara, increasing one by one (in main
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23 successive phrases). This is not different from prastara, being identical in form.56 main
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24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
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25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
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26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
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27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
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28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
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29 (19) annotation_inline
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30 (ends) krama. annotation_inline
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31 (Anu. 89) annotation_inline
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32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
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33 second-fourth and others also in the same order. In the opinion of Kohala main
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34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
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35 (20) annotation_inline
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36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
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vol_I_p035 RIGHT — 29 lignes

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1 53 page_number
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2 <b>TRANSLATION</b> page_header
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3 This has been said— annotation_inline
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4 "Two grāmas named şadja and madhyama are well-known in the world."10 main
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5 (Anu. 33) annotation_inline
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6 But why are there only two grāmas? It is being answered; here two grāmas main
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7 have been formulated on account of (musical) performance being rooted in main
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8 the usage of two svaras.11 main
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9 "The svaras have attained the state of grāma through jātis and śrutis."12 main
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10 (Anu. 34) annotation_inline
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11 "Through the jātis" means through śuddhās and vikṛtās (both types of jātis) main
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12 and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā main
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13 jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and main
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14 diminution and mixing up,15 (these) svaras have attained the state of grāma. main
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15 ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās main
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16 and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is main
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17 born rāga.17 On account of the change 18 of grāma the change in the jāti and main
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18 rāga occurs. annotation_inline
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19 [ Thus ends the treatment of grāma ]. editorial_bracket
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20 [ The treatment of Mürchanā ] section_header
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21 (Anu. 35) annotation_inline
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22 Now the murchanas that befit the occasion or context are being spoken of. main
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23 But what is the etymology of the word murchana and what is its lakşana main
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24 (definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the main
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25 root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation) main
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26 and samucchrāya 19 (increase, growth). main
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27 That through which raga 20 (colour, delightfulness) grows or increases, is main
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28 (90) annotation_inline
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29 called mūrchanā. annotation_inline
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159 lignes a valider — change uniquement les roles incorrects.