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 20820). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 BRHADDEŚI page_header
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2 152 page_number
via heuristic_pagenum
3 षड्जाद्यन्तसमायुक्ता सम्पूर्णा देशसम्भवा । main
via surya_layout
4 <sup>५४</sup>ऋषभषड्जसंवादो द्विश्रुती चाल्परूपिणौ ॥ main
via surya_layout
5 +++षड्जासंवादो annotation_inline
parent ligne 4
via heuristic_short
6 िद्विश्रुति चाल्यरूपिणौ(?) main
via surya_layout
7 साधारणकृता होषा त्वाभीरी गीयते जनै: ॥६८॥ main
via surya_layout
8 आभीरी annotation_inline
parent ligne 7
via heuristic_height
9 उदाहरणम् - सासारीरी । सासारीरी । सासारीसारी । सासानीसारीरी। सारीसारीसासानीसरीरीगारीगारी। main
via surya_layout
10 सनिसासा । गारीरी । गामागरी। गपापगारी । सनिसासा । सनीसासा धारीगगमासा । पमागारी। main
via surya_layout
11 सनीसासा । धनीधानी । साधनिसा । रिरिगामा । गामारिरि । गापामापा । मागारीरी । सासारिसारी। main
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12 सासानीसारी । रीरीसासा सानिरीरिगारि । रिगारिरि । सनि । सासागारीरि । गामगारी । सानि । main
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13 गारीरी। मागागारी । गापागारी। सनीसासासनी । सासा । रिगगमासा । पमागारी । सनिससा । main
via surya_layout
14 संधनिसासा । सनिधानिधाधनिसारीरी । गामागमारिरी । गापामापा । मपमा । मगारिरी । मपागारि। main
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15 सनिसासा । आभीरी । [६] editorial_bracket
parent ligne 14
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16 <sup>५५</sup>खञ्जनी पञ्चमांशा तु षड्जान्ता <sup>५६</sup>धैवतोज्झिता । main
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17 खण्डनी annotation_inline
parent ligne 16
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18 षड्जनिषादसंवादो मध्यमर्षभयोस्तथा ॥ main
via surya_layout
19 सङ्कीर्णा षाडवा ज्ञेया सर्वलोकस्य रञ्जिका ॥६९॥ main
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20 उदाहरणम् - पानीमारीसरि । सासासरीरि । सनि । रिरी । सनिसनि । रि । पापापानि । सरिसनि। main
via surya_layout
21 सगसस्। सनिरीसनीरीरी । मागारिगमा । नीपापानीसनीपापामग । पापा । नि । निमनिसरिसगसासा। main
via surya_layout
22 । खञ्जनी ।[७] editorial_bracket
parent ligne 21
via heuristic_brackets
23 खण्डनी annotation_inline
parent ligne 21
via heuristic_height
24 निषादांशा तु षड्जान्ता गुर्जरी देशसम्भवा । main
via surya_layout
25 निषादर्षभसंयोगो मध्यमर्षभयोस्तथा ॥ main
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26 सम्पूर्णा चैव विज्ञेया <sup>५७</sup>भाषा वै गेयवेदिभि:॥७०॥ main
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27 पाडवा annotation_inline
parent ligne 26
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28 उदाहरणम् - निधानीनी । रिगानिधा । निसासाधनि । धाग । रि । सागरी । सानीधानी । main
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29 गधासारी । गारीमागारी । सनिधाधानिधासरिगारी । सनीसासा । निधासानीगरी । मगरि । main
via surya_layout
30 मगारि । पापागारीमामा । रिधानिधानिधासरि । गरिसानीसासानीधासरीरि । निधासासा । main
via surya_layout
31 धनीसागा । गारीरि । मगरीमगरि । मापागरि । मगरिसनी धाधानिधासरिगरि । सनिसासा । main
via surya_layout
32 [गुर्जरी]।[८] editorial_bracket
parent ligne 31
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vol_II_p016 RIGHT — 29 lignes

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1 TRANSLATION page_header
via surya_layout
2 15 page_number
via heuristic_pagenum
3 it is used in the first vidārī. That (svara) which is not the vivādī of the amśa main
via surya_layout
4 becomes samnyāsa if it is used in the end of the first vidārī. main
via surya_layout
5 [The definition of vinyāsa forming part of that of amsa] section_header
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6 [Anu. 123] section_header
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7 This nyāsa svara itself, when placed in the end of a pada (unit or sub- main
via surya_layout
8 section), becomes vinyāsa. Hence it has been said<sup>21</sup>— main
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9 "That in which rāga (delight) abides and from which it (rāga) proceeds or main
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10 is begun, the leader or regulator of tara (high) and mandra (low), that which main
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11 is obtained in abundance, that which is perceived (during the operation of) main
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12 graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa main
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13 having (these) ten characteristics." main
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14 (Cf. NS XXVIII.68, 69) main
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15 [3. The definition of tara] section_header
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16 [Anu. 124] section_header
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17 Now the definition of tara is being given. The extent (gati) of tara is up to main
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18 the fifth svara beginning from the use of amsa 22 svara. What is being said? main
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19 Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras main
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20 is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there, main
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21 tāra extends up to ṣadja (the fourth from pañcama). The structuring up to main
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22 the fifth note (from the amsa) should be understood from the eighth vidārī main
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23 (section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the main
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24 extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. main
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25 According to the word 'va' (in the verse from NS cited below), the state main
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26 of being tara, applies also to seven svaras. The extent of tara is threefold. main
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27 Similarly has been said by Bharata - main
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28 (vide) annotation_inline
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29 • • • • • • • annotation_inline
parent ligne 27
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1 71 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Thus end names of the tanas devoid of şadja in madhyamagrama. main
via surya_layout
4 Agnicit, dvādašāha, upāmšu and soma itself, asvapratigraha, barhi and also main
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5 (109) annotation_inline
parent ligne 4
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6 abhyudaya. annotation_inline
parent ligne 4
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7 Thus end the names of tanas devoid of rşabha. main
via surya_layout
8 Sarvasvadakşiņa, dīkṣā, soma, the one named samidha, svāhākāra, tanūnapāt main
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9 (110) annotation_inline
parent ligne 8
via heuristic_short
10 and then godohana. main
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11 Thus end the names of tanas devoid of gandhara. main
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12 Thus end the twenty-one names of şāḍava tānas in madhyamagrāma. main
via surya_layout
13 Thus end the names of forty-nine (sadava) tanas seated in the two gramas. main
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14 Idā, puruşamedha, syena, vajra and işu, angirāh and the one named kanka main
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15 (111) annotation_inline
parent ligne 14
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16 are the audava (tānas) in şadjagrāma. main
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17 Thus end the names of tanas devoid of şadja and pancama. main
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18 J annotation_inline
parent ligne 17
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19 Agnistoma and then darsa, nāndī, paurņamāsika, asva-pratigraha, rātri and main
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20 (112) annotation_inline
parent ligne 19
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21 saubharaka is known. main
via surya_layout
22 Thus end the names of tanas devoid of gandhara and nisada. main
via surya_layout
23 Saubhāgyakṛt, Kārīrī, śāntikṛt, puṣṭikṛt and vainateya is definitely there (and main
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24 (113) annotation_inline
parent ligne 23
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25 then), uccățana and vasikțt. main
via surya_layout
26 Thus end the name of tanas that are devoid of pancama and mabha. main
via surya_layout
27 Thus end the twenty-one names of audavita tānas in sadjagrāma. main
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vol_I_p004 RIGHT — 39 lignes

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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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vol_II_p033 LEFT — 35 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 48 page_number
via heuristic_pagenum
3 सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला<sup>१४२</sup>। वीररौद्राद्धता रसा:। प्रथमप्रेक्षणके नैष्क्रामिकी- main
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4 धूवागाने विनियोगः<sup>१४३</sup>। main
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5 (वं ? वा) main
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6 [३. धैवती] section_header
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7 [अनु॰ १५०] section_header
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8 <sup>१४४</sup>धैवत्या धैवतर्षभौ ग्रहावंशौ च ।शुद्धावस्थायां<sup>१४५</sup> धैवत एवापन्यास:, विकृतावस्थायां main
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9 धैव(न्या ? त्या) धैवतं महौ ग्रहौ अंशौ main
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10 धैवत्येव न्यासः annotation_inline
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11 च धैवतर्षभमध्यमा अपन्यासाः। धैवतो न्यासः। पञ्चमहीनं षाडवं<sup>१४६</sup>पञ्चमषड्जहीनमौडुवित्ं main
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12 तावेव षड्जपञ्चमस्वरौ<sup>१४७</sup>दुर्बलौ कर्तव्यौ क्वचिल्लङ्घनीयौ । पञ्चस्वरपरस्तार: । न्यासपरस्तत्परो main
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13 (व्य ? व्यौ) annotation_inline
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14 तु क main
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15 वा मन्द्र:१४८। main
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16 [अनु॰ १५१] section_header
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17 सप्तविधत्वमस्या: । सप्तांशका: - शुद्धो, विकृतपूर्णो [द्वौ द्वौ षाडवौडुवितौ च ।] editorial_bracket
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18 <i>विविध</i>॰ annotation_inline
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19 ्ण annotation_inline
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20 ऋषभादिमूर्छना। ताल: पञ्चपाणि:, एककलश्चित्रो मार्ग:, मागधी गीति:। द्विकलो <sup>१४९</sup>वार्तिक:. main
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21 (वा)र्तिक: annotation_inline
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22 सम्भाविता । चतुष्कलो दक्षिण:, पृथुला । कलाश्चित्रे द्वादश, वार्तिके चतुर्विशतिर्दक्षिणे- main
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23 कला (धतर ?) दक्षिणे . कला: द्वादश वार्तिके कला main
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24 ऽष्टचत्वारिंशच्च । रसा वीरबीभत्सभयानकाः । ध्रुवागाने प्रथमे प्रेक्षणके विनियोगः । main
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25 अष्टचत्वारिशद् । main
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26 [४. नैषादी] section_header
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27 [अनु॰ १५२] section_header
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28 निषादवत्या निषादर्षभगान्धारा ग्रहा अंशाश्च। अपन्यासाश्च निषादगान्धारर्षभा:। निषाद एव main
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29 (शा) annotation_inline
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30 न्हाः annotation_inline
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31 को annotation_inline
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32 न्यासः। पञ्चमहीनं षाडवं, पञ्चमषड्जहीनमौडुवितम्। पूर्णावस्थायां १५०षड्जमध्यमपञ्चमधैवता- main
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33 <i>ान्धारमध्यमपञ्चमा</i>- annotation_inline
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34 नामल्पत्वम् । १५१ [षाडवे षङ्जमध्यमधैवतानामल्पत्वम् ।] औडुविते मध्यमधैवतयोरल्पत्वम् । editorial_bracket
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35 नामः annotation_inline
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162 lignes a valider — change uniquement les roles incorrects.