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 20997). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p022 LEFT — 24 lignes

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1 26 page_number
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2 <b>BRHADDES!</b> page_header
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3 इदानी सम्प्रवक्ष्यामि मध्यमश्रुतिमण्डलम् । main
via surya_layout
4 ज्ञेयस्तिस्रो ह्यतिक्रम्य मध्यमोऽयं चतुःश्रुतिः॥४८॥ main
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5 श्रुतिद्वयमतिक्रम्य तृतीया पञ्चमो भवेत्। main
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6 ०यः annotation_inline
parent ligne 5
via heuristic_height
7 ततस्तिस्रो ह्यतिक्रम्य चतुर्थी धैवतो भवेत्॥४९॥ main
via surya_layout
8 ॰र्यो annotation_inline
parent ligne 7
via heuristic_markers
9 ज्ञेयस्त्वेकामतिक्रम्य निषादस्तु द्वितीयिका। main
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10 •यकः annotation_inline
parent ligne 9
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11 श्रुतित्रयमतिक्रम्य ततः षड्जश्चतुर्थिका॥५०॥ main
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12 <b>ः</b>र्थकः annotation_inline
parent ligne 11
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13 ऋषभस्तु द्वयं त्यक्त्वा तृतीया परतो भवेत् । main
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14 • यः annotation_inline
parent ligne 13
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15 श्रुतिमेकामतिक्रम्य गान्धारः स्याद् द्वितीयिका॥५१॥ main
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16 •यकः annotation_inline
parent ligne 15
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17 [ तद्यथा — ] मध्यमग्रामे श्रुतिमण्डलम्— editorial_bracket
parent ligne 15
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18 म annotation_inline
parent ligne 15
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19 ग annotation_inline
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20 रि unknown
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21 स annotation_inline
parent ligne 15
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22 नि unknown
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23 [ अनु. १४ ] editorial_bracket
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24 भरतस्तु पुनऋषभादिश्रुतिमण्डलं दर्शयति। main
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vol_II_p031 RIGHT — 32 lignes

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1 TRANSLATION page_header
via surya_layout
2 45 page_number
via heuristic_pagenum
3 the samvādī of the amsa. It becomes ṣāḍavā with niṣāda when (any one of) main
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4 madhyama, pañcama and dhaivata is the amsa. main
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5 [ Anu. 145] section_header
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6 When sadji is sung as suddha then upon sadja being the amsa, there is main
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7 abundance of the remaining svaras. Upon<sup>57</sup> the profusion of sadja and main
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8 pañcama, there are thirty amsas (?). With six, it (?) becomes fourteen-fold. main
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9 Gāndhāra is nineteen-fold (?) and madhyama is fourteen-fold (?) - main
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10 Taken together seven svaras become hundred and twenty-eight (?), main
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11 suffice to say that. main
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12 [11. The particular characteristics of jātis] section_header
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13 [ Anu. 146] section_header
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14 Now out of the ten characteristics he (the author) shows the respective main
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15 ones of each jāti.- main
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16 [1. Şādjī] section_header
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17 Ṣādjī that pertains to ṣadja-grāma has five anisas and grahas. That is thus- main
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18 ṣadja, gāndhāra, madhyama, pañcama, dhaivata are grahas and amsas. Gāndhāra main
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19 and pañcama are the two apanyāsas. It is ṣāḍavā by being devoid of niṣāda. main
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20 Ṣadja is the nyāsa. There is sangati (concert) between ṣadja and gāndhāra as main
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21 well as ṣadja and dhaivata. Gāndhāra is very profuse, in spite of its being main
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22 vivādī. Sangatī<sup>58</sup> means 'reaching out to each other', i.e. to and fro movement main
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23 between the two svaras concerned. main
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24 The movement in tāra (high register) extends up to five svaras. The main
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25 movement in mandra (lower register) extends upto şadja (the lower octave main
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26 of the amsa). The state of auduvita does not obtain at all. It is complete and main
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27 hexatonic. When it is sung in its complete form, then the sparseness of main
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28 ṛṣabha-pañcama and niṣāda-pañcama should be brought about. Why? - main
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29 "( The svara) without which the incomplete state (of a given jāti) comes main
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30 about, that (svara) is sparse in that (jāti, in its complete state)." main
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31 [Datti 61 ab] editorial_bracket
parent ligne 30
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32 - Because of the above statement. main
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vol_I_p060 RIGHT — 32 lignes

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1 103 page_number
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2 TRANSLATION page_header
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3 phrase). As - sarigā garisā, rigamā magarī, gamapā pamagā, mapadhā dhapamā, main
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4 padhanī nidhapā, dhanisā 76 sanidhā, padhanī nidhapā, mapadhā dhapamā, main
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5 gamapā pamagā, rigamā magarī, sarigā garisā. Or, sarigama magarisa, rigamapa main
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6 pamagari, gamapadha dhapamaga, mapadhani nidhapama, padhanisa 77 main
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7 sanidhapa, mapadhani nidhapama, gamapadha dhapamaga, rigamapa pamagari, main
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8 sarigama magarisa. Thus is (ends) hunkāra in eighteen kalās (phrases). main
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9 (29) main
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10 (Anu. 99) section_header
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11 From the high (şadja), after going to the seventh (svara viz. nişāda), again main
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12 coming back there itself (on sadja), through the pronouncement of two svaras main
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13 in the descending order, on making four kalās (units in each phrase), main
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14 sandhipracchādana (is formed). As - sani sani sani sani, nidha nidha nidha main
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15 nidha, dhapa dhapa dhapa, pama pama pama pama, maga maga maga main
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16 maga, gari gari gari gari, risa risa risa risa risa risa risa nisa, gari gari gari main
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17 gari, maga maga maga, pama pama pama pama, dhapa dhapa dhapa main
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18 dhapa, nidha nidha nidha nidha,78 sani sani sani sani. Thus is (ends) main
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19 (30) annotation_inline
parent ligne 18
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20 sandhipracchādana. main
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21 (Anu. 100) section_header
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22 Having pronounced the amsa svara 79 (initial note) four times, after that main
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23 with the fast pronunciation of two immediate svaras, with gradual (successive) main
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24 ascent, ekakala (single-phrased) vidhuta (is formed) As - sa sa sa sa riga, ri ri main
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25 ri ri gama, ga ga ga mapa, ma ma ma padha, pa pa pa dhani, dha main
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26 (31) annotation_inline
parent ligne 25
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27 dha dha dha nisa. Thus is (ends) vidhuta. main
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28 (Anu. 101) section_header
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29 Udgita (is formed) on account of the descent from high with the gap of one main
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30 svara (in each phrase) in (successive) order. As - sadha nipa dhama paga mari main
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31 (32) annotation_inline
parent ligne 30
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32 gasa. Thus is ends udgita. main
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vol_II_p122 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 227 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
via surya_layout
5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
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6 (439) annotation_inline
parent ligne 5
via heuristic_short
7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
parent ligne 8
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
parent ligne 15
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
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26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
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27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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vol_II_p041 LEFT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 64 page_number
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3 धा नी सां सा रीं रीं रीं रीं table
via surya_layout
4 (३) table
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5 सां सां सां री गा मा मा मा table
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6 (8) table
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7 मां धां नीं धां मां धां मां पां table
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8 (4) table
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9 गारी साधित रीरीरीरी table
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10 (६) table
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11 गां रीं सां सां पा धा मा मा table
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12 (v) table
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13 गा गा गा मा पा निधनि नी नी table
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14 (८) table
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15 गा गा नी नी गा गा गा गा table
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16 (९) table
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17 गा गा नी नी निध पा पा पा table
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18 (१०) table
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19 मां पो मो पो पो मो मो table
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20 (११) table
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21 सा मा गा निध नी नी गा गा table
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22 (१२) table
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23 ॥ [इति] कैशिकी ॥ table
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24 1 म ॥ annotation_inline
parent ligne 25
via heuristic_height
25 [५. मध्यमोदीच्यवा] section_header
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26 पञ्चमांशा सदा पूर्णा, मध्यमोदीच्यवा मता ॥१४॥ main
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27 ंपञ्च(मा: ? मां) annotation_inline
parent ligne 26
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28 [मता] editorial_bracket
parent ligne 26
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29 लक्ष्म शेषं विजानीयाद् गान्धारोदीच्यवागतम् । main
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30 (म्) annotation_inline
parent ligne 29
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31 मध्यमादिर्मूर्छना स्यात् तालश्चचत्पुटो मत: ॥१५॥ main
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32 ॰(मंरीन ? मूर्छना) annotation_inline
parent ligne 31
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33 चतुर्थस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् । main
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34 ্ক annotation_inline
parent ligne 33
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35 <sup>१७६</sup>अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । <sup>१७७</sup>प्रस्तार:- main
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36 अस्या annotation_inline
parent ligne 35
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37 पा धनि नी नी मा मा नी पा table
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38 (१) table
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39 री री री गा सा रिग गा गा table
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40 (२) table
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41 नी नी नी नी नी नी नी table
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42 (3) table
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43 नी नी धप मा निध निध पा पा table
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44 (8) table
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45 पांपारी री री री री री table
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46 (4) table
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47 मा रिग सा सधं नीं नीं नीं नीं table
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48 <b>(६)</b> table
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164 lignes a valider — change uniquement les roles incorrects.