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 20856). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p082 RIGHT — 26 lignes

page vol_II_p082 RIGHT
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1 TRANSLATION page_header
via surya_layout
2 147 page_number
via heuristic_pagenum
3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
via surya_layout
4 in music. annotation_inline
parent ligne 3
via heuristic_short
5 <math>(56-57)</math> main
via surya_layout
6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
via surya_layout
7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
via surya_layout
8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
via heuristic_brackets
9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
via surya_layout
10 always complete, has madhyama as amśa and sadja as the concluding note, main
via surya_layout
11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
via surya_layout
12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
parent ligne 12
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
parent ligne 20
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
parent ligne 23
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
via surya_layout
26 (60) page_footer
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vol_II_p015 RIGHT — 37 lignes

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1 TRANSLATION page_header
via surya_layout
2 13 page_number
via heuristic_pagenum
3 [2. The definition of amsa] section_header
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4 [Anu. 120] editorial_bracket
parent ligne 3
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5 After this amsa is being spoken of; that is known as tenfold according to main
via surya_layout
6 the division of its angas (lit. limbs, here functions). Anisa is that which leads main
via surya_layout
7 to the manifestation of raga (delight) in the course of its operation; this is its main
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8 first (function). And the second anisa (in its functioning) is that with which main
via surya_layout
9 gīta (melodic organisation and performance) begins and proceeds, which is main
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10 vikalpita (alternatively arranged) as graha, this is its second (function). That main
via surya_layout
11 amsa is third (in its functioning) which is the cause of the manifestation of main
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12 tāra (high) and mandra (low). The ascent up to the fifth svara is (the range main
via surya_layout
13 of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just main
via surya_layout
14 as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration). main
via surya_layout
15 Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator main
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16 . annotation_inline
parent ligne 15
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17 ofmandra is also amsa on account of descent in seven svaras. Just as in the main
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18 ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā main
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19 <math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela main
via surya_layout
20 amśa which is used profusely; this is the fourth (function). That svara is also main
via surya_layout
21 amsa which stands as the object (here content) of raga; this is the fifth main
via surya_layout
22 (function). That is also amsa which is perceptible in (the operation of) main
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23 graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh, main
via surya_layout
24 eighth, ninth and tenth (function).<sup>16</sup> main
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25 [The definition of apanyasa forming part of that of amsa section_header
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26 [Anu. 121] section_header
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27 • annotation_inline
parent ligne 26
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28 That is apanyāsa, where gīta (melodic rendering) is supposed or appears main
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29 to be ending; this occurs in the middle of all vidārīs (sub-sections). That main
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30 vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and main
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31 pada-vidārī 18 (splitting of the melodic- cum-textual units). main
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32 (Contention) What is signified by the word vidārī (?) It is the splitting or main
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33 separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma main
via surya_layout
34 (melodic structure) could be (understood) as such. main
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35 [The definition of samnyāsa forming part of that of amśa] section_header
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36 [Anu. 122] section_header
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37 Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when main
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vol_I_p034 RIGHT — 35 lignes

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1 51 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 V (the Section on Grāma-mūrchanā) section_header
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4 [The treatment of grama] section_header
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5 (Anu. 30) annotation_inline
parent ligne 4
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6 Then, what is spoken of by the word grāma? How many grāmas are there? main
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7 From where is grāma born? And what is its objective? main
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8 (84) annotation_inline
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9 It is being answered. annotation_inline
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10 The two grāmas stand for a group! composed of svara, śruti and the like. main
via surya_layout
11 (85) annotation_inline
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via heuristic_height
12 Just as all members of families live together, (similarly) grāma? is known as main
via surya_layout
13 (86) annotation_inline
parent ligne 12
via heuristic_height
14 that by all the people where there is an abiding settlement. main
via surya_layout
15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
via surya_layout
16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
via surya_layout
17 (87) annotation_inline
parent ligne 16
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18 ٠ page_number
via heuristic_pagenum
19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
via surya_layout
20 known to be two5 characterised by (the names) şadja and madhyama. main
via surya_layout
21 (88) annotation_inline
parent ligne 20
via heuristic_height
22 (Anu. 31) annotation_inline
parent ligne 20
via heuristic_height
23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
via surya_layout
24 (and) rāga is indeed the objective. main
via surya_layout
25 (Anu. 32) annotation_inline
parent ligne 24
via heuristic_height
26 But why are the gramas named after the svaras sadja and madhyama? It is main
via surya_layout
27 being answered. Because of (their) uncommonness the grāmas are named after main
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28 them. And the uncommonness is on account of their being born of devakula? main
via surya_layout
29 (the community of gods). main
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30 The same has been said by Nārada - main
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31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
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32 Maheśvara should be known as their presiding deities." main
via surya_layout
33 Out of the two grāmas which one is known to be prominent? From the main
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34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
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35 (89) annotation_inline
parent ligne 34
via heuristic_height

vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
parent ligne 5
via heuristic_brackets
4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
parent ligne 5
via heuristic_brackets
5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
via surya_layout
6 (118) annotation_inline
parent ligne 5
via heuristic_height
7 7. After this the bhāṣās in sauvīraka section_header
via surya_layout
8 Combined with sadja as the initial and concluding note, being complete main
via surya_layout
9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
via surya_layout
10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
via surya_layout
11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
via surya_layout
12 <math>(119-120)</math> annotation_inline
parent ligne 11
via heuristic_height
13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
via surya_layout
14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
parent ligne 13
via heuristic_brackets
15 Having madhyama as amśa and şadja as the concluding note, being main
via surya_layout
16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
via surya_layout
17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
parent ligne 17
via heuristic_height
19 (121) annotation_inline
parent ligne 17
via heuristic_height
20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
parent ligne 17
via heuristic_brackets
21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
parent ligne 22
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24 ·Vegamadhyamā[ii] editorial_bracket
parent ligne 22
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
via surya_layout
26 madhyamaas nyāsa. annotation_inline
parent ligne 25
via heuristic_height
27 (122) annotation_inline
parent ligne 25
via heuristic_height

vol_II_p118 RIGHT — 31 lignes

page vol_II_p118 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 219 page_number
via heuristic_pagenum
3 [26. Kalahaṁsa] section_header
via surya_layout
4 Where, having sung one foot first, then svaras are sung, that is kalahamsa, main
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5 combined with tālas like jhampā. main
via surya_layout
6 (407) main
via surya_layout
7 [27. <i>Ghața</i>] section_header
via surya_layout
8 Where one-half is full of tenaka, that is ghata, like dvipadī. main
via surya_layout
9 (408) main
via surya_layout
10 [28. Cakravāla] section_header
via surya_layout
11 That which is sung with repetition, taking the last pada (textual-cum- main
via surya_layout
12 melodic unit of the preceding sub-section), being bedecked with the state main
via surya_layout
13 of yamaka, is said to be cakravāla.25 main
via surya_layout
14 (409) main
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15 [29. Tripadī or Şaţpadī] section_header
via surya_layout
16 Performed with any of the tālas and (rendered) exclusively with birudas, main
via surya_layout
17 that which is sung in a two-fold way....? main
via surya_layout
18 (410) main
via surya_layout
19 [30. Bandhakarana] section_header
via surya_layout
20 That which is sung by the gandharvas <math>^{26}</math> in karana tāla, with svaras coupled with main
via surya_layout
21 the akṣaras (syllables) of muraja (drum-variety), isagain, known as bandhakarana?7 main
via surya_layout
22 (411) unknown
via fallback
23 [31. Pāṭakaraṇa] section_header
via surya_layout
24 ٠ page_number
via heuristic_pagenum
25 The karaṇa (prabandha) named pāṭa is composed of pāṭas (syllables) of the main
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26 hands<sup>28</sup> (on a drum) main
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27 (412) main
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28 [32. <i>Kaivāţa</i>] section_header
via surya_layout
29 That which is sung properly with <i>pāṭas</i> alone, should be known by the main
via surya_layout
30 gandharvas as kaivāṭa, combined with tāla. main
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31 (413) main
via surya_layout
156 lignes a valider — change uniquement les roles incorrects.