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 20961). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p091 RIGHT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 165 page_number
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3 Having ṛṣabha as amśa, pancama as the concluding note, it should be main
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4 known to be weak in sadja. It should always be performed with the kākalī main
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5 form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the main
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6 knowledgeable ones in music. Āndhālī is well-known among the main
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7 people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup> main
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8 <math>(97-98)</math> main
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9 Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā main
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10 päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä main
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11 pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama- main
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12 ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii] editorial_bracket
parent ligne 11
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13 Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as main
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14 nyāsa, there being concert between madhyama-dhaivata, abundance of main
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15 pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga. main
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16 (99) annotation_inline
parent ligne 15
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17 Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni main
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18 saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā main
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19 sānīdhāmāpā pā. Tānodbhavā [viii] editorial_bracket
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20 Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is main
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21 (mutual) movement between the svaras comprised of two śrutis each in their main
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22 original form. There is the abundance of şadja-madhyama and pañcama- main
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23 rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44 main
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24 (region) and is sādhāraņakṛtā. main
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25 <math>(100-101)</math> main
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26 Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā main
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27 nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha main
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28 dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā- main
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29 sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix] editorial_bracket
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vol_II_p109 RIGHT — 41 lignes

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1 [Chapter V] section_header
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2 [Desī rāgas] section_header
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3 [Propitiation] section_header
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4 I make obeisance to the Devīl who bears a red hue like that of the bandhūka main
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5 (flower), has three eyes, wears a crest of the kalā (part) of the one having rays main
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6 of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight main
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7 of breasts that are becoming plump and elevated, is conventionally associated main
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8 with the begininning of youth, is adorned with all ornaments, has abode in main
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9 the lotus, whose body bears association with the citron fruit, whose (two) main
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10 hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands main
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11 are held in the abhaya (granting of freedom from fear) and vara (granting main
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12 of boons) gestures and who is the yoni (origin, birth-place) of the universe. main
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13 (345) annotation_inline
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14 [Threefold desi ragās] section_header
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15 After this I shall speak of the group of desī rāgas, which embodies the main
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16 combination of practice (laksya) and theory (laksana) and is threefold4; viz. main
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17 rāgānga, bhāṣānga and kriyānga as the third one. main
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18 (346, 347) annotation_inline
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19 I shall speak of the description of each of them one after another. main
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20 (348) annotation_inline
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21 All rāgāngas are so called by the experts in music because they bear only main
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22 a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of. main
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23 (349) annotation_inline
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24 Bhāṣāṅgas are so called by the singers devoted to the rendering of main
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25 panegyrics because they are based on the reflection or shadow (châyā) of main
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26 bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās). main
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27 (350) annotation_inline
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28 Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of main
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29 rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. main
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30 (351) annotation_inline
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31 The set of regulations prescribed earlier for the mārga-rāgas, could main
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32 sometimes become otherwise in desī-rāgas, bhāṣās and the like. main
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33 (352) annotation_inline
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34 [Bhāṣāṅgarāgas<sup>10</sup>] editorial_bracket
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35 [1. Kacchelli] section_header
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36 Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, main
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37 has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid main
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38 of ga-dha (gāndhāra-dhaivata) and should be known to have profuse main
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39 movement of pa-ri (pañcama-ṛṣabha). main
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40 (353) annotation_inline
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41 (vide) annotation_inline
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vol_I_p008 RIGHT — 73 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>ABBREVIATIONS</b> section_header
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2 Abhinava Bhāratī, Abhinavagupta's commentary on Nāṭya- main
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3 Abhi Bhā annotation_inline
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4 Sāstra G.O.S., Baroda edition main
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5 Anuccheda, comparable to paragraph main
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6 Anu. annotation_inline
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7 Anūpa Sangīta Ratnākara of Bhāva Bhaṭṭa main
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8 Anū Saṃ R annotation_inline
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9 Anūpa Sangīta Vilāsa of Bhāva Bhaţţa main
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10 Anū Saṃ Vi annotation_inline
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11 Aşţādhyāyī of Pāņini main
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12 Aşţā annotation_inline
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13 Bharata Kośa of M.R. Kavi main
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14 Bha Ko annotation_inline
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15 Bṛhaddeśī of Matanga Muni main
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16 BŗD annotation_inline
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17 Brhadāranyaka Upanisad main
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18 Brh Up annotation_inline
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19 Caraka Samhitā main
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20 Car Sam annotation_inline
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21 Cited reading main
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22 C.r. annotation_inline
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23 Dhrupad Annual main
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24 DA annotation_inline
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25 Dattilam main
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26 Datti annotation_inline
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27 Pt. K. Sāmbaśiva Śāstrī, editor of Bṛhaddeśi, published in main
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28 Ed. annotation_inline
parent ligne 27
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29 Anantasayana Sanskrit Granthāvali No. 94 (Trivandrum main
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30 Sanskrit Series) in 1928 main
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31 Gobhila Smrti annotation_inline
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32 Gobh Smr main
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33 Indian Music Journal main
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34 IMI annotation_inline
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35 Kalānidhi commentary of Kallinātha on Sangīta-Ratnākara main
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36 Kalā annotation_inline
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37 Kausitaki Upanisad main
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38 Kauş Up annotation_inline
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39 Literally main
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40 Lit. annotation_inline
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41 Mārkandeya Purāņa main
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42 Mark Pur annotation_inline
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43 Matsya Purāņa main
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44 Mat Pur annotation_inline
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45 Mahābhārata main
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46 <b>MBh</b> annotation_inline
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47 Mīmāṃsā Sūtra main
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48 Mim Sū annotation_inline
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49 Nāradīya-Šikṣā main
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50 Nā Śi annotation_inline
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51 Nātya Śāstra, G.O.S., Baroda edition, unless otherwise main
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52 NŚ annotation_inline
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53 indicated main
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54 Nātya Śāstra, Chaukhambha, Varanasi edition main
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55 NŚ Chau annotation_inline
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56 Nātya Sāstra, Kāvya-Mālā edition. main
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57 NS Kā Mā annotation_inline
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58 Pāṇini-Śikṣā main
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59 Pā śi annotation_inline
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60 Prem Lata Sharma main
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61 P.L.S. annotation_inline
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62 Printed text of Bṛhaddeśī, Trivandrum edition main
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63 P.t. annotation_inline
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64 Rāga Vibodha of Somanātha main
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65 Rā Vi annotation_inline
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66 Sangīta Cūdāmaņi of Jagadekamalla main
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67 Sam Cū annotation_inline
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68 Sangīta-Samaya-Sāra of Pārśvadeva main
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69 Sam S Sā annotation_inline
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70 Sangita-Ratnākara of Śārngadeva (Adyar edition) main
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71 SR annotation_inline
parent ligne 70
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72 Sangītarāja of Rāņā Kumbhā Vol. 1 main
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73 S. Raj main
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vol_II_p030 LEFT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) unknown
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2 BŖHADDEŚĪ page_header
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3 42 page_number
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4 सर्वस्वराणां प्रवरो ह्यनाशी मध्यमस्वर: । main
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5 व्य अनाशी <sup>१२६</sup>मध्यम: स्मृत: main
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6 <sup>१२७</sup>हाधिनाशी तु मध्यम: main
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7 गान्धर्वकल्पे <sup>१२८</sup> विहित: सामस्विप च मध्यम: ॥'' main
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8 १२९०ल्येऽ main
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9 सामगैश unknown
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10 महर्षिभि: main
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11 भिमत: annotation_inline
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12 [ना॰ शा॰ २८.५८-६५] editorial_bracket
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13 [अनु॰ १४२] editorial_bracket
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14 इदानीं षाडवौडुवितविधिरुत्सर्गापवादविधिश्च विकृतास्वेव जातिषु बोद्धव्य:, न तु main
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15 <b>॰</b>विधस्तु उत्सर्गाफ annotation_inline
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16 ॰स्तु annotation_inline
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17 शुद्धासु जातिषु, तासां शुद्धानामन्यजात्युत्पत्तौ मूलत्वात् । एता एव शुद्धा विकृता भवन्ति । main
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18 ٩ page_number
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19 कथम् - main
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20 [९. पुन: शुद्धाजातिलक्षणम् ] section_header
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21 तद्ग्रहा तदपन्यासा तदंशा च यदा भवेत्। main
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22 मन्द्रन्यासा च पूर्णा च शुद्धा जातिस्तदोच्यते ॥२५९॥ main
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23 १३००धी annotation_inline
parent ligne 22
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24 इति शुद्धालक्षणमुक्तम्। main
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25 <b>4</b> ° annotation_inline
parent ligne 24
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26 [१०. शुद्धाजातीनां पुनर्विकृतत्वम्] section_header
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27 [अनु॰ १४३] editorial_bracket
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28 एतेन लक्षणेनैकेन द्वाभ्यां [बहुभि]वां विकृता भवन्ति । पुनर्न्यासवर्जमिति, न्यासेन: विकृत editorial_bracket
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29 •ज्य annotation_inline
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30 न्त annotation_inline
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31 धा annotation_inline
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32 [त्वं] च नास्ति न्यासवर्जमिति वचनात् । editorial_bracket
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33 न्दर्भ annotation_inline
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34 [तत्र षाङ्ज्या उदाहरणम्] editorial_bracket
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35 [अनु॰ १४४] editorial_bracket
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36 विकृता षाङ्जी द्विविधा-नित्यसम्पूर्ण पाडवा चेति। main
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37 नामांशेन षाङ्जी शुद्ध [1] । विकृता editorial_bracket
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38 (ক্টি) main
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39 (vide) annotation_inline
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40 78 LE annotation_inline
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vol_II_p082 RIGHT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
parent ligne 3
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
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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
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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
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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209 lignes a valider — change uniquement les roles incorrects.