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 20858). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p067 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 116 page_number
via heuristic_pagenum
3 [अनु॰ २००] editorial_bracket
parent ligne 4
via heuristic_brackets
4 अस्यार्थ: -मालवकैशिको मध्यमग्रामसम्बन्ध: कैशिकीजातेर्जातत्वात् । षड्जो ग्रहोंऽशो main
via surya_layout
5 न्यासश्च । धैवतस्यात्राल्पत्वम् । प्रयोगे निषादोऽत्र काकली । पूर्णस्वरश्चायम् । <sup>८७</sup>विप्रलम्भे शृङ्गारे main
via surya_layout
6 प्रयोगो annotation_inline
parent ligne 5
via heuristic_height
7 काकलि: annotation_inline
parent ligne 5
via heuristic_height
8 चास्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना । आरोही वर्णः । अलङ्कारः प्रसन्नमध्यमः । main
via surya_layout
9 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
10 [वेसराणां ग्रामविभाग:] section_header
via surya_layout
11 इदानीं वेसराणां ग्रामविशेषो दर्श्यते - main
via surya_layout
12 दुश्यते annotation_inline
parent ligne 11
via heuristic_height
13 टक्करागश्च सौवीरस्तथा वै टक्ककेशिक:। main
via surya_layout
14 बोट्टरागश्च षड्जाख्ये भवेद् वेसरषाडव: ॥ ३२९॥ main
via surya_layout
15 हिन्दोलकस्तु विज्ञेयो मध्यमग्रामसम्भव:। main
via surya_layout
16 मालवपञ्चमश्चैव मालवकैशिकस्तथा ॥ ३३०॥ main
via surya_layout
17 इति वेसरकाः प्रोक्ताः सर्वे निश्चितलक्षणाः। main
via surya_layout
18 स्वराणां दृश्यते वेगस्तेन वेगस्वरा: स्मृता: ॥३३१॥ main
via surya_layout
19 [ङ. साधारणरागा:] section_header
via surya_layout
20 शुद्धा भित्राश्च गौडाश्च तथा वेगस्वरा: परे । main
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21 <sup>८८</sup>कथिता: साम्प्रतं <sup>८९</sup>वक्ष्ये सप्त साधारणांस्तत: ॥३३२॥ main
via surya_layout
22 कथिता यत्र तान् main
via surya_layout
23 [अनु॰ २०१] section_header
via surya_layout
24 ननु साधारणानां कथं साधारणत्वम् ? उच्यते । पूर्वोक्तानां सर्वेषां रागाणां या गीतयस्ताभिर्जायमान- main
via surya_layout
25 (র্জী/র্জা) annotation_inline
parent ligne 24
via heuristic_height
26 ॰मां annotation_inline
parent ligne 24
via heuristic_markers
27 त्वात् तेषां साधारणत्वम् ,एतत् साधारणगीत्या गीयमानत्वात् । तथा चाह कश्यप: - main
via surya_layout
28 (র্জী?র্জা) annotation_inline
parent ligne 27
via heuristic_height
29 ‘‘सप्त साधारणा: प्रोक्ता: <sup>९०</sup>सर्वगीतिसमाश्रया: ।’’ main
via surya_layout
30 पञ्च annotation_inline
parent ligne 29
via heuristic_height

vol_I_p034 LEFT — 31 lignes

page vol_I_p034 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 50 page_number
via heuristic_pagenum
3 V [ ग्राममूर्छनाप्रकरणम् ] section_header
via surya_layout
4 [ अनु. ३० ] editorial_bracket
parent ligne 3
via heuristic_brackets
5 अथ किमुच्यते ग्रामशब्देन ? ननु कति ग्रामा भवन्ति ? main
via surya_layout
6 कस्मादुत्पद्यते ग्रामः कि वा तस्य प्रयोजनम्।।८४॥ main
via surya_layout
7 अश्रोच्यते— unknown
via fallback
8 म्समूहवाचिनौ ग्रामौ स्वरश्रुत्यादिसंयुतौ ॥८५॥ main
via surya_layout
9 यथा कुटुम्बिनः सर्व एकीभूत्वा वसन्ति हि। main
via surya_layout
10 ₀ता² annotation_inline
parent ligne 9
via heuristic_markers
11 सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥ main
via surya_layout
12 ₄तः annotation_inline
parent ligne 11
via heuristic_height
13 षड्जमध्यमसंज्ञौ तु द्वौ ग्रामौ विश्रुतौ किल। main
via surya_layout
14 गान्धारं नारदो बूते स तु मर्त्यैर्न गीयते॥८७॥ main
via surya_layout
15 सामवेदात् स्वरा जाताः स्वरभ्यो ग्रामसम्भवः। main
via surya_layout
16 द्वावेतौ च इमौ ज्ञेयौ षड्जमध्यमलक्षितौ॥८८॥ main
via surya_layout
17 [ अनु. ३१ ] editorial_bracket
parent ligne 16
via heuristic_brackets
18 प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं main
via surya_layout
19 o404 annotation_inline
parent ligne 18
via heuristic_height
20 नाम प्रयोजनम्। main
via surya_layout
21 [ अनु. ३२ ] editorial_bracket
parent ligne 20
via heuristic_brackets
22 ननु कथं षड्जमध्यमस्वराभ्यां ग्रामण्यपदेशः ? उच्यते—असाधारणत्वेन ताभ्यां main
via surya_layout
23 ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन। main
via surya_layout
24 ₀लोत्पन्न,<sup>5</sup> annotation_inline
parent ligne 23
via heuristic_markers
25 तथा चाह नारदः – main
via surya_layout
26 "देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
via surya_layout
27 एतेपां देवता जेया ब्रह्माविष्णुमहेश्वराः॥ "6 main
via surya_layout
28 उभयोग्रामियोर्मध्ये मुख्यत्वं कस्य गम्यते। main
via surya_layout
29 ुण्युः annotation_inline
parent ligne 28
via heuristic_height
30 षड्जस्यैव हि मुख्यत्वं गम्यते वचनान्भुनेः॥८९॥ main
via surya_layout
31 __ु•वाह्रि च __ main
via surya_layout

vol_II_p023 RIGHT — 37 lignes

page vol_II_p023 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 29 page_number
via heuristic_pagenum
3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
via surya_layout
4 in madhyamā. annotation_inline
parent ligne 3
via heuristic_short
5 (228-229) main
via surya_layout
6 The performers should know pañcama as the amsa of gandhara-pañcami; main
via surya_layout
7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
via surya_layout
8 be the <i>nyāsa</i>. main
via surya_layout
9 (230) annotation_inline
parent ligne 8
via heuristic_short
10 Whatever sañcāra (to and fro movement) and the like has been said in the main
via surya_layout
11 case of gandhari and then pancami, that should be known also in this main
via surya_layout
12 (gāndhārapañcamī), but it is always with complete svaras. main
via surya_layout
13 (231) annotation_inline
parent ligne 12
via heuristic_short
14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
via surya_layout
15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
via surya_layout
16 (232) annotation_inline
parent ligne 15
via heuristic_short
17 In nandayanti, madhyama and pañcama should be known as the two main
via surya_layout
18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
via surya_layout
19 ariisa. annotation_inline
parent ligne 18
via heuristic_short
20 (233) main
via surya_layout
21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
via surya_layout
22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
via surya_layout
23 omissible. annotation_inline
parent ligne 22
via heuristic_short
24 (234): main
via surya_layout
25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
via surya_layout
26 completeness, pañcama is the nyāsa (and) there is profuse movement main
via surya_layout
27 towards gāndhāra. annotation_inline
parent ligne 26
via heuristic_short
28 (235) annotation_inline
parent ligne 26
via heuristic_height
29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
via surya_layout
30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
via surya_layout
31 the şādava and audava states). main
via surya_layout
32 ...................................... unknown
via fallback
33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
via surya_layout
34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
via surya_layout
35 (237) main
via surya_layout
36 , ' , annotation_inline
parent ligne 35
via heuristic_height
37 . . . annotation_inline
parent ligne 35
via heuristic_height

vol_I_p052 RIGHT — 41 lignes

page vol_I_p052 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 87 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 When in the gita (melodic rendering) the svaras move (to and fro) in main
via surya_layout
4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
via surya_layout
5 the beginning of the succeeding phrase), or two by two, that is known as the main
via surya_layout
6 (119) annotation_inline
parent ligne 5
via heuristic_height
7 sañcārin9 (circulatory) varņa. annotation_inline
parent ligne 5
via heuristic_height
8 (Anu. 65) section_header
via surya_layout
9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
via surya_layout
10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
via surya_layout
11 is formed). annotation_inline
parent ligne 10
via heuristic_height
12 (Anu. 66) section_header
via surya_layout
13 Where the svaras of the gita ascend one by one or with intervening gaps, main
via surya_layout
14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
via surya_layout
15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
via surya_layout
16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
via surya_layout
17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
via surya_layout
18 (ascending) varņa (comes into being). main
via surya_layout
19 Where the svaras descend in one order alone, that is called avarohin with main
via surya_layout
20 (120) annotation_inline
parent ligne 19
via heuristic_height
21 'equal' (gapless) svaras (or) with gaps. annotation_inline
parent ligne 19
via heuristic_height
22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
via surya_layout
23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
via surya_layout
24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
via surya_layout
25 Hence it has been said - annotation_inline
parent ligne 24
via heuristic_height
26 "These varnas ought to be known for the sake of the structuring" of main
via surya_layout
27 alankāras and the like, as being born of svaras produced by the human body 12 main
via surya_layout
28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
via surya_layout
29 (Anu. 67) section_header
via surya_layout
30 How is varna brought about? It is being answered. When the svaras stretch main
via surya_layout
31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
via surya_layout
32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
via surya_layout
33 melodic movement) is effected. annotation_inline
parent ligne 32
via heuristic_height
34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
via surya_layout
35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
via surya_layout
36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
via surya_layout
37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
via surya_layout
38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
via surya_layout
39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
via surya_layout
40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
via surya_layout
41 These varņas obtain also in the wooden20 (viņā), just as they are main
via surya_layout

vol_II_p078 RIGHT — 27 lignes

page vol_II_p078 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 139 page_number
via heuristic_pagenum
3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
via surya_layout
4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
via surya_layout
5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
parent ligne 4
via heuristic_brackets
6 That which has sadja as its concluding note, madhyama as its amsa, is main
via surya_layout
7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
via surya_layout
8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
via surya_layout
9 (40) annotation_inline
parent ligne 8
via heuristic_short
10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
via surya_layout
11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
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12 nīsasā. Travaņodbhavā [ii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 Verañjikā should be known to have gandhāra as its amśa and weak main
via surya_layout
14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
via surya_layout
15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
via surya_layout
16 should be known (this) bhāṣā; it is said to be hexatonic. main
via surya_layout
17 <math>(41-42)</math> main
via surya_layout
18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
via surya_layout
19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
via surya_layout
20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
via surya_layout
21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
parent ligne 20
via heuristic_brackets
22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
via surya_layout
23 complete, brilliant 15 with madhyama, there being the mutual concert main
via surya_layout
24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
via surya_layout
25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
via surya_layout
26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
via surya_layout
27 (43) page_footer
via surya_layout
166 lignes a valider — change uniquement les roles incorrects.