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 20982). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p042 LEFT — 34 lignes

page vol_I_p042 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 66 page_number
via heuristic_pagenum
3 मपधनिसरि X main
via surya_layout
4 [ хमपधनिसरी] editorial_bracket
parent ligne 3
via heuristic_brackets
5 रि 🗙 म प ध नि स main
via surya_layout
6 सरि ४ म प ध नि annotation_inline
parent ligne 5
via heuristic_short
7 निसरि X म प ध main
via surya_layout
8 गहीनाः [इति षाडवाः।] editorial_bracket
parent ligne 7
via heuristic_brackets
9 धनिसरिप्रमप unknown
via fallback
10 मप x निस x ग main
via surya_layout
11 गमप X निस X annotation_inline
parent ligne 10
via heuristic_short
12 [хगमपх निस] editorial_bracket
parent ligne 10
via heuristic_brackets
13 स X गमप X नि main
via surya_layout
14 निस X ग म प X annotation_inline
parent ligne 13
via heuristic_short
15 [ x न स x ग म प ] editorial_bracket
parent ligne 13
via heuristic_brackets
16 प x नि स x ग म main
via surya_layout
17 म प ध 🗶 स रि 🗶 annotation_inline
parent ligne 16
via heuristic_short
18 [ хमपध editorial_bracket
parent ligne 16
via heuristic_brackets
19 रि 🗶 म प ध 🗶 स main
via surya_layout
20 सरि 🗶 म प ध 🗶 annotation_inline
parent ligne 19
via heuristic_short
21 [ ४ सरि ४ म प ध ] editorial_bracket
parent ligne 19
via heuristic_brackets
22 ध x स रि x म प main
via surya_layout
23 निगहीनाः । इत्यौडुविताः । main
via surya_layout
24 पध X स रि X म main
via surya_layout
25 [ मूर्छनातानयोर्भेदः ] section_header
via surya_layout
26 [ अनु. ४५ ] editorial_bracket
parent ligne 25
via heuristic_brackets
27 23ननु मूर्छनातानयोः को भेदः? उच्यते— main
via surya_layout
28 मूर्जनातानयोर्नार्थान्तरत्वमिति24 विशाखिलः । एतच्चा- main
via surya_layout
29 26,ਜ਼ੂ annotation_inline
parent ligne 28
via heuristic_short
30 <sup>25</sup>योः अणुत्वा. main
via surya_layout
31 •श्राह् annotation_inline
parent ligne 30
via heuristic_short
32 •नुनुत्वा main
via surya_layout
33 सङ्गतम्। २७ संग्रहश्लोके तु मूर्छनातानयोर्भेदस्य प्रतिपादितत्वात्। unknown
via fallback
34 28तत् कथम् ? [ 29आरोहावरोहक्रमयुक्तः स्वरसमुदायो ] editorial_bracket
parent ligne 32
via heuristic_brackets

vol_I_p006 RIGHT — 36 lignes

page vol_I_p006 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 xiii page_header
via surya_layout
2 INTRODUCTION page_header
via surya_layout
3 A word about the translation. It has been my attempt to bring the original to main
via surya_layout
4 the reader with its flavour and nuances; if in this attempt the idiom of the main
via surya_layout
5 English language has been violated, I owe an apology. My only submission main
via surya_layout
6 would be that this is not a transcreation of creative literature, this is a main
via surya_layout
7 presentation of 'scientific' literature in a different language. Hence the criteria main
via surya_layout
8 of judgement should be different from those applied to translation of creative main
via surya_layout
9 literature. annotation_inline
parent ligne 8
via heuristic_height
10 Technical terms have not been translated because that is virtually impossible; main
via surya_layout
11 rough equivalents have generally been given in paranthesis and if an equivalent main
via surya_layout
12 has been found adequate, the original word has been given in paranthesis in main
via surya_layout
13 order to help the reader in indentifying the equivalence. main
via surya_layout
14 The indebtedness to Dr. Anil Bihari Beohar, Lecturer in Musicology, Indira main
via surya_layout
15 KalaSangitaVishwavidyalaya,Khairagarh(M.P.,) has been acknolwedged in the main
via surya_layout
16 title page. Once again, I acknowledge with affection his labour and patience main
via surya_layout
17 with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a main
via surya_layout
18 deep debt of gratitude for her constant inspiration and encouragement. My main
via surya_layout
19 sincere apologies are due to her for the delay in completing this work, caused main
via surya_layout
20 by both personal and professional reasons. To Dr. Bettina Bäumer, Hony. main
via surya_layout
21 Co-ordinator, Kalākoša office of I.G.N.C.A. in Varanasi, goes my heartfelt main
via surya_layout
22 gratitude for her constant support, both moral and material. My younger sister main
via surya_layout
23 Dr. Urmila Sharma has provided valuable assistance in reading the proofs; I main
via surya_layout
24 express my loving gratitude to her. My affectionate thanks go to Dr. N. main
via surya_layout
25 Ramanathan, Reader, Department of Music, Madras University, my former main
via surya_layout
26 student, for going through the first half of the press-copy (upto the section on main
via surya_layout
27 grāma-mūrchanā) in 1988, while I was at Khairagarh. main
via surya_layout
28 I thank Dr. C.B. Pandey, Editor, and Dr. (Smt.) Advaitavadini Kaul, Asstt. main
via surya_layout
29 Editor, for seeing the book through the Press. main
via surya_layout
30 Prem Lata Sharma. annotation_inline
parent ligne 29
via heuristic_height
31 Vasanta Pañcami annotation_inline
parent ligne 29
via heuristic_height
32 'Āmnāya', Karaundi, annotation_inline
parent ligne 29
via heuristic_height
33 Magha Sukla 5, V.S. 2048 annotation_inline
parent ligne 29
via heuristic_height
34 Varanasi-221 005 annotation_inline
parent ligne 29
via heuristic_height
35 <b>Feburary 8, 1992</b> annotation_inline
parent ligne 29
via heuristic_height
36 The second of the second of the second of the second of the second of the second of the second of the second of the seco annotation_inline
parent ligne 29
via heuristic_height

vol_II_p162 RIGHT — 41 lignes

page vol_II_p162 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARŚA</b> annotation_inline
parent ligne 3
via heuristic_height
2 307 page_number
via heuristic_pagenum
3 52. The word gamaka seems to stand for shake here. list_item
via surya_layout
4 53. Dānavīra is one of the four varieties of vīra, the other three being list_item
via surya_layout
5 dharmavīra, yuddhavīra and dayāvīra. list_item
via surya_layout
6 54. The import seems to be that śuddha-bhinna has an independent list_item
via surya_layout
7 form and that it is not the modified form of a suddharaga. list_item
via surya_layout
8 55. Here the distinction of a bhinna raga is established only on the list_item
via surya_layout
9 basis of giti or distinctive tonal rendering. list_item
via surya_layout
10 56. Syasthāna is a word used in SR III.140 and III.191-192 in the list_item
via surya_layout
11 context of sthāya and ālapti respectively; it stands for the sections of rāgālapti list_item
via surya_layout
12 formed on the basis of the units of tonal range within an octave, the first unit list_item
via surya_layout
13 being formed in the range from the tonic and from below it upto the svara list_item
via surya_layout
14 preceding the fourth, the second unit touching the fourth, the third list_item
via surya_layout
15 reaching below the octave and the fourth touching the octave. list_item
via surya_layout
16 57. 'Leaving the svasthana' seems to imply that the lower register will list_item
via surya_layout
17 be used in this rāga, as distinct from śuddhakaiśika which is performed with list_item
via surya_layout
18 tāra svaras. Here svasthāna does not seem to signify the units of tonal range list_item
via surya_layout
19 described in note 56 above, rather it appears to mean ' the own sthana or list_item
via surya_layout
20 register' of a raga. list_item
via surya_layout
21 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie list_item
via surya_layout
22 fallacious statement because pañcama is not adjacent to niṣāda. But there list_item
via surya_layout
23 could be a hidden meaning, taking the two grāmas together, as follows - list_item
via surya_layout
24 Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. main
via surya_layout
25 Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. main
via surya_layout
26 Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The main
via surya_layout
27 above statement could be valid in terms of the two grāmas taken together. main
via surya_layout
28 59. The 'omission' of pancama comprised of three śrutis in list_item
via surya_layout
29 ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. list_item
via surya_layout
30 60. 'Mature' karuṇa rasa is a notable expression. list_item
via surya_layout
31 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) list_item
via surya_layout
32 also mentions it while describing the gaudi gita and defines it as the list_item
via surya_layout
33 "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." list_item
via surya_layout
34 62. There is a striking contradiction between the viniyoga or list_item
via surya_layout
35 application in terms of śringāra and the rasas mentioned separately, viz. list_item
via surya_layout
36 bībhatsa and bhayānaka that are incompatible to śṛṅgāra. list_item
via surya_layout
37 63. Here again the viniyoga is given in terms of karuņa and the rasa list_item
via surya_layout
38 is mentioned as vīra in accordance with the amśa that is ṣaḍja. list_item
via surya_layout
39 64. 'Rāga' is another name for vesarā gīti; this alternative name is also list_item
via surya_layout
40 mentioned in later texts like SR II.1.6. The basis of this alternative name as list_item
via surya_layout
41 cited in the name of Kasyapa seems to be that the ragas that are not list_item
via surya_layout

vol_II_p017 LEFT — 42 lignes

page vol_II_p017 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 A TOPE STORY OF THE STORY unknown
via fallback
2 BRHADDEŚĪ page_header
via surya_layout
3 16 page_number
via heuristic_pagenum
4 बोद्धव्या पञ्चस्वरं यावत् तारावधिः। यथा गान्धार्यां निध निस इति । main
via surya_layout
5 वाशब्दात् annotation_inline
parent ligne 4
via heuristic_short
6 तारिवधिं main
via surya_layout
7 बोड्ज: annotation_inline
parent ligne 6
via heuristic_short
8 सा annotation_inline
parent ligne 6
via heuristic_height
9 सप्तस्वरस्यापि तारता भवति । त्रिधा तारगति: । तथा चाह भरत: - main
via surya_layout
10 चतुर्धा (... गी?ग) annotation_inline
parent ligne 9
via heuristic_short
11 ‘‘अंशात्तारगतिं विद्यादाचतुर्थस्वरादिह । main
via surya_layout
12 न्दिभि: unknown
via fallback
13 (गीतं? गतिं) main
via surya_layout
14 વ્ય main
via surya_layout
15 (vide) unknown
via fallback
16 आपञ्चमात् सप्तमाद्वा नातः परिमहेष्यते ॥'' main
via surya_layout
17 [ना॰ शा॰ २८.७०] editorial_bracket
parent ligne 16
via heuristic_brackets
18 [४. मन्द्रलक्षणम्] section_header
via surya_layout
19 [अनु॰ १२५] editorial_bracket
parent ligne 18
via heuristic_brackets
20 इदानीं मन्द्र उच्यते - main
via surya_layout
21 (ন?র) annotation_inline
parent ligne 20
via heuristic_height
22 मृदुस्वरो मन्द्रः। सा च मन्द्रगतिस्त्रिधांऽशपरा, न्यासपरा, अपन्यासपरा चेति । main
via surya_layout
23 .धा(आं?अं) annotation_inline
parent ligne 22
via heuristic_short
24 (तप? तत्प)रा main
via surya_layout
25 म(न्द:?न्द्र:) annotation_inline
parent ligne 24
via heuristic_short
26 अंशस्वर: परो यस्मादिति बहुव्रीहौ। तस्मात् पूर्वो य: स्वर: स मन्द्र:। यथा-धैवत्यां धाधा main
via surya_layout
27 श्स्वरस्य (य:स्या? यस्मा)दिति unknown
via fallback
28 घा annotation_inline
parent ligne 26
via heuristic_height
29 निध पध मा। मा मा। एवमत्रापन्यासस्वर इति, न्यासस्वरोऽप्येवमेव । main
via surya_layout
30 ज्यांकि <sub>ह</sub>ु main
via surya_layout
31 म annotation_inline
parent ligne 30
via heuristic_height
32 [५. षाडवलक्षणम्] section_header
via surya_layout
33 [अनु॰ १२६] editorial_bracket
parent ligne 32
via heuristic_brackets
34 इदानीं षाडवमुच्यते - main
via surya_layout
35 षट्स्वरं षाडवमिति चतुर्दशजातिविषयत्वाच्चतुर्दशविधम्, चतसृणां main
via surya_layout
36 जातीनां annotation_inline
parent ligne 35
via heuristic_short
37 <b>॰वि(धि॰? ঘ):।</b> annotation_inline
parent ligne 35
via heuristic_markers
38 ॰ रा४९ annotation_inline
parent ligne 35
via heuristic_markers
39 नित्यसम्पूर्णत्वेन तदभावाज्जात्यंशभेदेन तु सप्तचत्वारिंशत्प्रकारं च तद् भवति । तथा main
via surya_layout
40 चाह annotation_inline
parent ligne 39
via heuristic_short
41 ५०लचे(न) main
via surya_layout
42 भरत: - main
via surya_layout

vol_II_p116 RIGHT — 23 lignes

page vol_II_p116 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 215 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [15. Hayalīlā] section_header
via surya_layout
4 Where the (first) half is sung with svaras, in turagalīla (tāla), (and the main
via surya_layout
5 latter) half is sung with birudas, that is known as hayalīlā. main
via surya_layout
6 (397) main
via surya_layout
7 [16. <i>Gajalīlā</i>] section_header
via surya_layout
8 That which is completely composed according to gajalīlā but where the tāla main
via surya_layout
9 is gajalīla, that should be known by the name gajalīlā. main
via surya_layout
10 (398) main
via surya_layout
11 [17. Simhalīlā] section_header
via surya_layout
12 Composed in simhalilā metre, combined with svara and tena, that which is main
via surya_layout
13 sung with birudas is sinihalīlaka. main
via surya_layout
14 (399) main
via surya_layout
15 [18. Śarabhalila] section_header
via surya_layout
16 Where eight feet are composed with svaras and pāṭas, that is held to be main
via surya_layout
17 śarabhalīla, having eight rāgas and tālas. main
via surya_layout
18 (400) main
via surya_layout
19 [19. Śukacańcu] section_header
via surya_layout
20 In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with main
via surya_layout
21 <math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various main
via surya_layout
22 regions, is named śukacańcu, that is dear to the people. main
via surya_layout
23 (401) main
via surya_layout
176 lignes a valider — change uniquement les roles incorrects.