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 20993). 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

page vol_II_p091 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 165 page_number
via heuristic_pagenum
3 Having ṛṣabha as amśa, pancama as the concluding note, it should be main
via surya_layout
4 known to be weak in sadja. It should always be performed with the kākalī main
via surya_layout
5 form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the main
via surya_layout
6 knowledgeable ones in music. Āndhālī is well-known among the main
via surya_layout
7 people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup> main
via surya_layout
8 <math>(97-98)</math> main
via surya_layout
9 Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā main
via surya_layout
10 päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä main
via surya_layout
11 pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama- main
via surya_layout
12 ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as main
via surya_layout
14 nyāsa, there being concert between madhyama-dhaivata, abundance of main
via surya_layout
15 pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga. main
via surya_layout
16 (99) annotation_inline
parent ligne 15
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17 Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni main
via surya_layout
18 saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā main
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19 sānīdhāmāpā pā. Tānodbhavā [viii] editorial_bracket
parent ligne 18
via heuristic_brackets
20 Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is main
via surya_layout
21 (mutual) movement between the svaras comprised of two śrutis each in their main
via surya_layout
22 original form. There is the abundance of şadja-madhyama and pañcama- main
via surya_layout
23 rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44 main
via surya_layout
24 (region) and is sādhāraņakṛtā. main
via surya_layout
25 <math>(100-101)</math> main
via surya_layout
26 Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā main
via surya_layout
27 nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha main
via surya_layout
28 dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā- main
via surya_layout
29 sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix] editorial_bracket
parent ligne 28
via heuristic_brackets

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L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. Gaudī giti and its component ohāțī] section_header
via surya_layout
4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
via surya_layout
5 to consist of a combination of the sound 'ha' and 'o'. main
via surya_layout
6 (277) annotation_inline
parent ligne 5
via heuristic_height
7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
via surya_layout
8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
via surya_layout
9 svara. annotation_inline
parent ligne 8
via heuristic_height
10 (278) annotation_inline
parent ligne 8
via heuristic_height
11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
via surya_layout
12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
via surya_layout
13 in the three registers. annotation_inline
parent ligne 12
via heuristic_height
14 (279) annotation_inline
parent ligne 12
via heuristic_height
15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
via surya_layout
16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
via surya_layout
17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
via surya_layout
18 the low (register) with shakes 19 of sound. main
via surya_layout
19 (280) annotation_inline
parent ligne 18
via heuristic_height
20 Gaudī gīti is said to subsist without rest in the three registers. main
via surya_layout
21 (281) annotation_inline
parent ligne 20
via heuristic_height
22 [4. Rāga giti] section_header
via surya_layout
23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
via surya_layout
24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
via surya_layout
25 delightful arrangements of svaras. main
via surya_layout
26 (282) annotation_inline
parent ligne 25
via heuristic_height
27 The rāgas (melodic configurations) are so called because the beautiful main
via surya_layout
28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
via surya_layout
29 is seen in them in its completeness. main
via surya_layout
30 (283) annotation_inline
parent ligne 29
via heuristic_height
31 [5. Sādhāraṇī gīti] section_header
via surya_layout
32 (This gīti) should be made with straight, attractive, somewhat minute and main
via surya_layout
33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
via surya_layout
34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
via surya_layout

vol_I_p046 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 74 page_number
via heuristic_pagenum
3 इति विप्रकर्षेण प्रवेशनम् ७५। main
via surya_layout
4 -धेन annotation_inline
parent ligne 3
via heuristic_height
5 मार्ववेन यथा- तस्यैव षड्जस्य निषादापेक्षया उत्तरीभूतस्य मार्दवं main
via surya_layout
6 66नाय annotation_inline
parent ligne 5
via heuristic_height
7 शिथिलीकरणं निषादापादनम् इति द्विविधं प्रवेशनम्। main
via surya_layout
8 ्द ब्दाः <sup>67</sup>यावत्। इति द्विविधः प्रवेशः main
via surya_layout
9 [ अनु॰ ४९ ] editorial_bracket
parent ligne 8
via heuristic_brackets
10 <b>७</b> निग्रहस्त्वनन्तरस्वरपरित्यागोऽसंस्पर्शनम्। main
via surya_layout
11 ०रः स्वपरित्यागास्पदं दर्शनम् main
via surya_layout
12 प्रयोगस्तु यथा—सा सा ग रि, पा पा मा रि। main
via surya_layout
13 तथा चाह भरतः - annotation_inline
parent ligne 12
via heuristic_short
14 69 द्विविधा तानक्रिया तन्त्र्यां प्रवेशनं निग्रहस्तथा। तत्र प्रवेशनमधर- main
via surya_layout
15 .याः annotation_inline
parent ligne 14
via heuristic_height
16 स्वरप्रकर्षादुत्तरस्वरमार्दवाद्वा। निग्रहश्चासंस्पर्शः।" main
via surya_layout
17 •श्चाह ∙स annotation_inline
parent ligne 16
via heuristic_height
18 दत्तिलेनाप्युक्तम् - main
via surya_layout
19 "तानक्रिया द्विधा तन्त्र्या प्रवेशान्निग्रहात्तथा। main
via surya_layout
20 प्रवेशो ध्वनिसादृश्यमसंस्पर्शस्तु निग्रहः।" main
via surya_layout
21 70तत्र प्रध्यन्येक्यमः [दत्तिलम् ३६] editorial_bracket
parent ligne 20
via heuristic_brackets
22 [ अनु₀ ५0 ] editorial_bracket
parent ligne 20
via heuristic_brackets
23 ननु त्रिषु स्थानेषु स्वरप्रयोग इत्युक्तं काकुविधाने। तत्र कतमं स्वर— main
via surya_layout
24 71。代 保。 annotation_inline
parent ligne 23
via heuristic_height
25 सप्तकमवलम्ब्य मूर्छना कार्येति ये संशेरते तान् प्रत्याह - मध्यम- main
via surya_layout
26 72。红石。 annotation_inline
parent ligne 25
via heuristic_height
27 सप्तकेन मूर्जनानिर्देशो भवति मन्द्रतारसंसिद्ध्यर्थम्। कुतः ? मध्यम- main
via surya_layout
28 ∘शः <sup>73</sup>कार्यो annotation_inline
parent ligne 27
via heuristic_height
29 74साव ( ? ) annotation_inline
parent ligne 27
via heuristic_height
30 सप्तकस्याविनाशित्वादित्यर्थः। भरतेनाप्युक्तम् - main
via surya_layout
31 75"मध्यमस्वरेण [ वैणेन ] मूर्छना-निर्देशो भवत्यविनाशित्वान्मध्यमस्य editorial_bracket
parent ligne 30
via heuristic_brackets
32 CANADA STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, S unknown
via fallback
33 निग्रहे पर्यग्रहे वा।" main
via surya_layout
34 ंदि annotation_inline
parent ligne 33
via heuristic_height

vol_I_p060 LEFT — 52 lignes

page vol_I_p060 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 102 page_number
via heuristic_pagenum
3 निधपा, मपधा धपमा, गमपा पमगा, रिगमा मगरी, सरिगा गरिसा। main
via surya_layout
4 सनिधा. annotation_inline
parent ligne 3
via heuristic_short
5 पधनी main
via surya_layout
6 मगरिस, रिगमप पमगरि, गमपध धपमग, मपधनि निधपम, पधनिस main
via surya_layout
7 अथवा— सरिगम annotation_inline
parent ligne 6
via heuristic_short
8 सनिधप, मपधनि निधपम, गमपध धपमग, रिगमप पमगरि, सरिगम मगरिस main
via surya_layout
9 इति annotation_inline
parent ligne 8
via heuristic_short
10 [ २९ ] editorial_bracket
parent ligne 8
via heuristic_brackets
11 अष्टादशकलो हुङ्कारः। main
via surya_layout
12 अनु₀ ९९ section_header
via surya_layout
13 तारात् सप्तमं स्वरं गत्वा पुनस्तत्रैवागत्यावरोहक्रमेण स्वरद्वयोच्चारणेन main
via surya_layout
14 .वमा. annotation_inline
parent ligne 13
via heuristic_height
15 कलाचतुष्टयकरणात् सन्धिप्रच्छादनः। main
via surya_layout
16 कारणनात् ( ? ) annotation_inline
parent ligne 15
via heuristic_short
17 यथा - ] सनि सनि सनि सनि, निध निध निध निध, धप धप धप धप, पम पम पम editorial_bracket
parent ligne 15
via heuristic_brackets
18 पम, मग मग मग मग, गरि गरि गरि गरि, रिस रिस रिस रिस। main
via surya_layout
19 रिस रिस रिस रिस, गरि गरि गरि गरि, main
via surya_layout
20 सरि सरि सरि annotation_inline
parent ligne 19
via heuristic_short
21 सरि main
via surya_layout
22 रिंग रिंग रिंग रिंग annotation_inline
parent ligne 21
via heuristic_short
23 मग मग मग, पम पम पम पम, main
via surya_layout
24 मग annotation_inline
parent ligne 23
via heuristic_short
25 गम annotation_inline
parent ligne 23
via heuristic_height
26 गम गम, main
via surya_layout
27 मप मप मप मप annotation_inline
parent ligne 26
via heuristic_short
28 धप धप धप धप, निध निध निध निध, main
via surya_layout
29 धनि annotation_inline
parent ligne 28
via heuristic_short
30 धनि main
via surya_layout
31 धनि धनि annotation_inline
parent ligne 30
via heuristic_short
32 सनि सनि सनि सनि [ इति सन्धिप्रच्छादनः। ] editorial_bracket
parent ligne 30
via heuristic_brackets
33 [ 30 ] editorial_bracket
parent ligne 30
via heuristic_brackets
34 निस main
via surya_layout
35 निस annotation_inline
parent ligne 34
via heuristic_short
36 निस निस main
via surya_layout
37 [ अनुः १०० ] editorial_bracket
parent ligne 36
via heuristic_brackets
38 अंशस्वरं चतुरुच्चार्य तदनन्तरस्वरद्वयस्य द्वृतोच्चारणादनेनैव क्रमेणारोहणादेककलो main
via surya_layout
39 विधुतः। [ यथा - ] स स स स रिग, रि रि रि रि गम, editorial_bracket
parent ligne 38
via heuristic_brackets
40 री री री री main
via surya_layout
41 सा सा सा सा annotation_inline
parent ligne 40
via heuristic_short
42 ग ग ग ग मप, म म म म पध, प प प प धनि, ध ध ध ध निस main
via surya_layout
43 गा गा गा गा annotation_inline
parent ligne 42
via heuristic_short
44 मामामा पापापा main
via surya_layout
45 धाधाधाधारि annotation_inline
parent ligne 44
via heuristic_short
46 [ इति ] विधुतः। editorial_bracket
parent ligne 44
via heuristic_brackets
47 [ ३१ ] editorial_bracket
parent ligne 44
via heuristic_brackets
48 [ अनुः १०१ ] editorial_bracket
parent ligne 44
via heuristic_brackets
49 तारादेकान्तरस्वरावरोहात् क्रमेणोद्गीतः । [ यथा - ] सध निप धम पग मरि गस editorial_bracket
parent ligne 44
via heuristic_brackets
50 .तिः main
via surya_layout
51 [ इति ] उद्गीतः। editorial_bracket
parent ligne 50
via heuristic_brackets
52 [ ३२ ] editorial_bracket
parent ligne 50
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vol_II_p066 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 114 page_number
via heuristic_pagenum
3 [अनु॰ १९८] section_header
via surya_layout
4 षड्जोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली । धैवतर्षभहीनमौडुवितम् । main
via surya_layout
5 धैवत ऋषभहीन( ध ?)मौडवितम् annotation_inline
parent ligne 4
via heuristic_height
6 <sup>८२</sup>सम्भोगशृङ्गारेऽस्य विनियोग:। वीरादिरस:। मूर्छना षड्जादि:। वर्ण आरोही। main
via surya_layout
7 ॰ना(दि) annotation_inline
parent ligne 6
via heuristic_markers
8 प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल । main
via surya_layout
9 [७. टक्ककेशिक:] section_header
via surya_layout
10 धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वर: । main
via surya_layout
11 धैवतीमध्यमाजात्यो: सञ्जातष्टक्ककैशिक: ॥३२६॥ main
via surya_layout
12 ॰एक annotation_inline
parent ligne 11
via heuristic_markers
13 [अनु॰ १९९] section_header
via surya_layout
14 धैवतीमध्यमाजात्योर्जातत्वाट्टक्ककेशिक: षड्जग्रामसम्बन्ध:। <sup>८३</sup>ननु उभयग्रामसम्बन्धिन्यो- main
via surya_layout
15 (यस्याज? ठमय) annotation_inline
parent ligne 14
via heuristic_height
16 र्जात्योः समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं वक्तुं युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः main
via surya_layout
17 र्जा(न्यो?त्यो) annotation_inline
parent ligne 16
via heuristic_height
18 (कथं) annotation_inline
parent ligne 16
via heuristic_height
19 पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ अत: पञ्चमस्य चतु:श्रुतिकत्वात् । षङ्जग्रामसम्बन्ध main
via surya_layout
20 (पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) annotation_inline
parent ligne 19
via heuristic_height
21 एवायं राग:। ग्रहोंऽशो न्यासश्च धैवत:। निषादगान्धारौ चात्र काकल्यन्तरौ। पूर्णस्वरश्चायम्। main
via surya_layout
22 <sup>८४</sup>कश्यपमते निषादगान्धारयोर्लोपादयमौडुवित: । उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य main
via surya_layout
23 विनियोग:। बीभत्सादिरस: । धैवतादिमूर्छना। आरोही वर्ण:। दक्षिणे कला, वार्तिके कला, चित्रे main
via surya_layout
24 मध्यमादिधैवता(?) annotation_inline
parent ligne 23
via heuristic_height
25 कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
26 [८. मालवकैशिक:] section_header
via surya_layout
27 ८५कैशिकीजातिसम्भूतः षड्जांशन्याससंयुतः । main
via surya_layout
28 दुर्बलो धैवतेन स्याद् रागो मालवकैशिक: ॥ ३२७॥ main
via surya_layout
29 <sup>८६</sup>पञ्चमं केचिदिच्छन्ति चास्य वै न्यासकर्मणि । main
via surya_layout
30 हात्याद्याः + कर्मणि annotation_inline
parent ligne 29
via heuristic_height
31 गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥ ३२८॥ main
via surya_layout
180 lignes a valider — change uniquement les roles incorrects.