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 20896). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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
via surya_layout
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
via surya_layout
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
via surya_layout
26 hands<sup>28</sup> (on a drum) main
via surya_layout
27 (412) main
via surya_layout
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
via surya_layout
31 (413) main
via surya_layout

vol_II_p004 RIGHT — 103 lignes

page vol_II_p004 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 General Section annotation_inline
via heuristic_height
2 <b>CONTENTS</b> table
via surya_layout
3 ix table
via surya_layout
4 . table
via surya_layout
5 83 page_number
via heuristic_pagenum
6 Sādhāraņīgīti table
via surya_layout
7 5. table
via surya_layout
8 85 page_number
via heuristic_pagenum
9 6. table
via surya_layout
10 Bhāṣāgīti table
via surya_layout
11 85 page_number
via heuristic_pagenum
12 Vibhāṣāgīti table
via surya_layout
13 7. table
via surya_layout
14 85 page_number
via heuristic_pagenum
15 The number and nomenclature of ragas table
via surya_layout
16 87 page_number
via heuristic_pagenum
17 The specific description of rāgas table
via surya_layout
18 87 page_number
via heuristic_pagenum
19 A. Out of them <i>śuddha rāgas</i> table
via surya_layout
20 87 page_number
via heuristic_pagenum
21 Suddhaşādava table
via surya_layout
22 1. table
via surya_layout
23 Śuddhapańcama table
via surya_layout
24 89 page_number
via heuristic_pagenum
25 2. table
via surya_layout
26 89 page_number
via heuristic_pagenum
27 Suddhasādhārita table
via surya_layout
28 3. table
via surya_layout
29 91 page_number
via heuristic_pagenum
30 Suddhakaisikamadhyama table
via surya_layout
31 4. table
via surya_layout
32 91 page_number
via heuristic_pagenum
33 Śuddhakaiśika table
via surya_layout
34 5. table
via surya_layout
35 93 page_number
via heuristic_pagenum
36 The assignment of grāmas to śuddha rāgas table
via surya_layout
37 93 page_number
via heuristic_pagenum
38 The application of <i>suddha rāgas</i> table
via surya_layout
39 95 page_number
via heuristic_pagenum
40 B. Bhinna rāgas table
via surya_layout
41 95 page_number
via heuristic_pagenum
42 Svara-bhinna table
via surya_layout
43 97 page_number
via heuristic_pagenum
44 Bhinna-şadja table
via surya_layout
45 l. table
via surya_layout
46 97 page_number
via heuristic_pagenum
47 Bhinna-pañcama table
via surya_layout
48 2. table
via surya_layout
49 99 page_number
via heuristic_pagenum
50 Jāti-bhinna table
via surya_layout
51 99 page_number
via heuristic_pagenum
52 3. table
via surya_layout
53 Bhinnakaisikamadhyama table
via surya_layout
54 99 page_number
via heuristic_pagenum
55 Suddhabhinna table
via surya_layout
56 101 page_number
via heuristic_pagenum
57 Bhinnakaisika table
via surya_layout
58 4. table
via surya_layout
59 101 page_number
via heuristic_pagenum
60 Śruti-bhinna table
via surya_layout
61 103 page_number
via heuristic_pagenum
62 Bhinnatāna table
via surya_layout
63 5. table
via surya_layout
64 103 page_number
via heuristic_pagenum
65 The assignment of bhinna-rāgas to grāmas table
via surya_layout
66 105 page_number
via heuristic_pagenum
67 C. Gauda rāgas table
via surya_layout
68 105 page_number
via heuristic_pagenum
69 1. Gaudapañcama table
via surya_layout
70 105 page_number
via heuristic_pagenum
71 Gaudakaisika table
via surya_layout
72 2. table
via surya_layout
73 107 page_number
via heuristic_pagenum
74 Gaudakaisikamadhyama table
via surya_layout
75 3. table
via surya_layout
76 107 page_number
via heuristic_pagenum
77 The assignment of gauda rāgas to grāmas table
via surya_layout
78 109 page_number
via heuristic_pagenum
79 D. The rāgas pertaining to rāga-gīti or vesarā-gīti table
via surya_layout
80 109 page_number
via heuristic_pagenum
81 1. Takkarāga table
via surya_layout
82 109 page_number
via heuristic_pagenum
83 Sauvīra table
via surya_layout
84 2. table
via surya_layout
85 111 page_number
via heuristic_pagenum
86 Mālavapancama table
via surya_layout
87 3. table
via surya_layout
88 111 page_number
via heuristic_pagenum
89 Vesarașādava table
via surya_layout
90 4. table
via surya_layout
91 113 page_number
via heuristic_pagenum
92 Botta-rāga table
via surya_layout
93 5. table
via surya_layout
94 113 page_number
via heuristic_pagenum
95 Hindola table
via surya_layout
96 6. table
via surya_layout
97 115 page_number
via heuristic_pagenum
98 Takkakaisika table
via surya_layout
99 7. table
via surya_layout
100 115 page_number
via heuristic_pagenum
101 Mālavakaišika unknown
via fallback
102 8. unknown
via fallback
103 . . unknown
via fallback

vol_II_p082 RIGHT — 26 lignes

page vol_II_p082 RIGHT
L#Texte OCRRole autoCorriger si incorrect
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
via surya_layout
13 (58) annotation_inline
parent ligne 12
via heuristic_short
14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
via surya_layout
15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
via surya_layout
16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
via surya_layout
17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
via surya_layout
18 concluding note, is embellished with the svara gandhara, has the combination main
via surya_layout
19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
via surya_layout
20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
via surya_layout
21 (59) annotation_inline
parent ligne 20
via heuristic_short
22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
via surya_layout
23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
via surya_layout
24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
parent ligne 23
via heuristic_brackets
25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
via surya_layout
26 (60) page_footer
via surya_layout

vol_I_p070 RIGHT — 34 lignes

page vol_I_p070 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 123 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
via surya_layout
4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
via surya_layout
5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
via surya_layout
6 performer), and vartini is moved downwards, visarjitā is moved outwards main
via surya_layout
7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
via surya_layout
8 (179, 180) annotation_inline
parent ligne 7
via heuristic_height
9 upwards, (and) patită reaches (touches) the ground. main
via surya_layout
10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
via surya_layout
11 two viz. kṛṣṇā and padmini27 are also (used). main
via surya_layout
12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
via surya_layout
13 (181) annotation_inline
parent ligne 12
via heuristic_height
14 (Anu. 108) annotation_inline
parent ligne 12
via heuristic_height
15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
via surya_layout
16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
via surya_layout
17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
via surya_layout
18 having the predominance of both is vitti vitti, (and) having the predominance main
via surya_layout
19 of instrument is citrā vṛtti. main
via surya_layout
20 (Anu. 109) annotation_inline
parent ligne 19
via heuristic_height
21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
via surya_layout
22 temporal components in vittis) brought about by pāņi.51 It has been said — main
via surya_layout
23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
via surya_layout
24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
via surya_layout
25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
via surya_layout
26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
via surya_layout
27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
via surya_layout
28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
via surya_layout
29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
via surya_layout
30 (Anu. 110) annotation_inline
parent ligne 29
via heuristic_height
31 The vādya (presentation on instruments) should be done with sama, atīta main
via surya_layout
32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
via surya_layout
33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
via surya_layout
34 110 page_number
via heuristic_pagenum

vol_I_p069 RIGHT — 32 lignes

page vol_I_p069 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 121 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
via surya_layout
4 With this prescription itself the gitis should be sung by the wise. main
via surya_layout
5 (175) annotation_inline
parent ligne 4
via heuristic_height
6 (Anu. 105) annotation_inline
parent ligne 4
via heuristic_height
7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
via surya_layout
8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
via surya_layout
9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
via surya_layout
10 on account of the use of eight-mātrā (units). main
via surya_layout
11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
via surya_layout
12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
via surya_layout
13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
via surya_layout
14 (176) annotation_inline
parent ligne 13
via heuristic_height
15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
via surya_layout
16 (177) annotation_inline
parent ligne 15
via heuristic_height
17 (mārga). main
via surya_layout
18 As - table
via surya_layout
19 Māgadhī [-----] table
via surya_layout
20 Ardhamāgadhī [-----] table
via surya_layout
21 Sambhāvitā [-----] table
via surya_layout
22 Pythulā [-----] table
via surya_layout
23 (Anu. 106) annotation_inline
parent ligne 17
via heuristic_height
24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
via surya_layout
25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
via surya_layout
26 (Anu. 107) annotation_inline
parent ligne 25
via heuristic_height
27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
via surya_layout
28 (are the margas). annotation_inline
parent ligne 27
via heuristic_short
29 The mātrās (to be used in them) are eight, four and two (respectively). As main
via surya_layout
30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
via surya_layout
31 (178) annotation_inline
parent ligne 30
via heuristic_height
32 patitā is known to be the eighth one. main
via surya_layout
226 lignes a valider — change uniquement les roles incorrects.