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 21015). 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

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1 TRANSLATION page_header
via surya_layout
2 219 page_number
via heuristic_pagenum
3 [26. Kalahaṁsa] section_header
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4 Where, having sung one foot first, then svaras are sung, that is kalahamsa, main
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5 combined with tālas like jhampā. main
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6 (407) main
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7 [27. <i>Ghața</i>] section_header
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8 Where one-half is full of tenaka, that is ghata, like dvipadī. main
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9 (408) main
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10 [28. Cakravāla] section_header
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11 That which is sung with repetition, taking the last pada (textual-cum- main
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12 melodic unit of the preceding sub-section), being bedecked with the state main
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13 of yamaka, is said to be cakravāla.25 main
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14 (409) main
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15 [29. Tripadī or Şaţpadī] section_header
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16 Performed with any of the tālas and (rendered) exclusively with birudas, main
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17 that which is sung in a two-fold way....? main
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18 (410) main
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19 [30. Bandhakarana] section_header
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20 That which is sung by the gandharvas <math>^{26}</math> in karana tāla, with svaras coupled with main
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21 the akṣaras (syllables) of muraja (drum-variety), isagain, known as bandhakarana?7 main
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22 (411) unknown
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23 [31. Pāṭakaraṇa] section_header
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24 ٠ page_number
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25 The karaṇa (prabandha) named pāṭa is composed of pāṭas (syllables) of the main
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26 hands<sup>28</sup> (on a drum) main
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27 (412) main
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28 [32. <i>Kaivāţa</i>] section_header
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29 That which is sung properly with <i>pāṭas</i> alone, should be known by the main
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30 gandharvas as kaivāṭa, combined with tāla. main
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31 (413) main
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vol_I_p095 RIGHT — 48 lignes

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1 <b>VIMARSA</b> page_header
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2 173 page_number
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3 Madhyama table
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4 Pañcama table
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5 Niṣāda-gāndhāra table
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6 Dhaivata table
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7 Gändhära table
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8 Nişāda table
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9 Şadja-rşabha table
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10 Şadja table
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11 Gāndhāra table
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12 This list does not seem to follow the general statement that all those which main
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13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
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14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
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16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
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19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
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20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
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21 respectively and are hence vivadins. main
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22 44. Here again, the application of the concept of vivada in melodic structuring main
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23 is being illustrated. ( see glossary ) main
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24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
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25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
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26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
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27 narratives) which is associated with the use of two svaras; sāmika pertains to main
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28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
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29 literally means the interval of a svara, the implication seems to be that a group main
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30 of four svaras is the first step towards the formation of a heptad from a triad; main
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31 auduva stands for a group of five svaras ( the etymology of this word is given in main
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32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
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33 literally meaning complete, stands for a group of all the seven svaras. main
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34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
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35 svara, because in current practice, generally three tones are employed in main
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36 reciting the pk. The practice of the recitation of gatha is not generally known main
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37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
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38 is, however, notable that the number three is associated with sāman in NS in main
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39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
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41 rendering of three sāmans is prescribed there. These sāmans are composed of main
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42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
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43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
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44 instruments, it is not just 'song'. main
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45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
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46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
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47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
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48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
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vol_II_p008 RIGHT — 63 lignes

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1 (vide) annotation_inline
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2 <b>ABBREVIATIONS</b> section_header
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3 Abhi main
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4 Abhinavagupta annotation_inline
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5 Abhinava Bhāratī, Abhinavagupta's commentary main
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6 Abhi Bhā annotation_inline
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7 on Nātya-Šāstra G.O.S., Baroda edition main
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8 Anuccheda, comparable to paragraph main
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9 Anu. annotation_inline
parent ligne 8
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10 Bha Bhā main
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11 Bharata Bhāṣya of Nānyadeva published upto a main
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12 portion of Chapter VII in two volumes by Indira main
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13 Kala Sangit Vishwavidyalaya, Khairagarh (M.P.) main
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14 and photostat of manuscript in the Deptt. of main
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15 Musicology, B.H.U. annotation_inline
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16 Bha Ko main
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17 Bharata Kośa of M.R. Kavi main
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18 BrD annotation_inline
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19 Brhaddeśi of Matanga Muni main
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20 C.r. annotation_inline
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21 Cited reading main
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22 Dattilam of Dattila unknown
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23 Datti unknown
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24 Ed. main
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25 Pt. K. Sāmbaśiva Sāstrī, editor of Bṛhaddeśī, main
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26 published in Anantaśayana Sanskrit Granthāvalī main
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27 No. 94 (Trivandrum Sanskrit Series) in 1928 main
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28 <i>Kalānidhi</i> commentary of Kallinātha on main
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29 Kalā annotation_inline
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30 Sangita-Ratnākara main
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31 Kalli annotation_inline
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32 Kallinātha main
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33 Lit. annotation_inline
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34 Literally main
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35 Mānasollāsa of Someśvara, Vol. III main
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36 Mānaso annotation_inline
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37 NŠ main
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38 Nātya Šāstra, G.O.S., Baroda edition, unless main
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39 otherwise indicated annotation_inline
parent ligne 38
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40 NŠ Chau. main
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41 Nāṭya Śāstra, Chaukhambha, Varanasi edition main
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42 NŠ Kā Mā annotation_inline
parent ligne 41
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43 Nāţya Sāstra, Kāvya Mālā edition main
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44 P.t. annotation_inline
parent ligne 43
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45 Printed text of Bṛhaddeśi, Trivandrum edition main
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46 Ra Kau annotation_inline
parent ligne 45
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47 Rasakaumudi of Šrikantha main
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48 Rā Vi annotation_inline
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49 Rāga Vibodha of Somanātha main
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50 Sam Sa Sā annotation_inline
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51 Sangīta-Samaya-Sāra of Pārsvadeva main
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52 Sam Ši Bhā Ka annotation_inline
parent ligne 51
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53 Sangīta Siromaņi of Panditamandalī, main
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54 manuscript in Bharat Kala Bhavan, B.H.U., main
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55 transcript in the Deptt. of Musicology, B.H.U. main
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56 Sam Su P.L. annotation_inline
parent ligne 55
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57 Sangita Sudhākara, Palm Leaf manuscript, main
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58 Saraswati Mahal Library, Tanjore, transcript in main
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59 the Deptt. of Musicology, B.H.U. main
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60 Simha annotation_inline
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61 Simhabhūpāla main
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62 SR annotation_inline
parent ligne 61
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63 Sangita Ratnākara of Šārngadeva (Adyar edition) main
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vol_I_p036 LEFT — 29 lignes

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1 <b>BRHADDES!</b> page_header
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2 54 page_number
via heuristic_pagenum
3 आरोहणावरोहणक्रमेण स्वरसप्तकम्। main
via surya_layout
4 मूर्छनाशब्दवाच्यं हि विज्ञेयं तद् विचक्षणैः ॥ ९१ ॥ main
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5 अनु. ३६ section_header
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6 सा च मूर्छना द्विविधा-सप्तस्वरमूर्छना द्वादशस्वरमूर्छना चेति। तत्र main
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7 सप्तस्वरमूर्छना चतुर्विधा- पूर्णा, षाडवा, औडुविता, साधारणा चेति। main
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8 तत्र सप्तभिः स्वरैर्या गीयते सा पूर्णा। षड्भिः स्वरैर्या गीयते सा main
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9 षाडवा। पञ्चिभः स्वरैर्या गीयते सा औडुविता। काकल्यन्तरस्वरैर्या main
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10 13:56 annotation_inline
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11 गीयते सा साधारणा। main
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12 ,पी14 main
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13 [ अनु. ३७ ] section_header
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14 ii<br>L unknown
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15 इदानीं मूर्छनामण्डलमुच्यते। तत्र परिपाट्याहितत्वेन प्रवृत्तत्वात् main
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16 सप्तस्वराणां मूर्छनानां प्रतिग्राममेकोनपञ्चाशत् स्वराः कोष्ठाश्च भवन्ति। main
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17 तद्यथा— section_header
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18 एकोनाः खलु पञ्चाशत् कर्तव्याः स्वरसंयुताः। main
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19 ₀ण्डू ( ? ) annotation_inline
parent ligne 18
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20 तिर्यगृध्वं च रेखाभिरष्टभिश्चैव कोष्ठकाः ॥९२॥ main
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21 [ अनु. ३८ ] section_header
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22 तत्र स-नि-ध-प-म-ग-रीत्याद्याः सप्त षड्जग्रामे। main
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23 म-ग-रि-स-नि-ध-पाद्याः सप्त मध्यमग्रामे। main
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24 तिर्यगृर्ध्वगा अपि स्वरा:15 कार्या:1 तद्यथा— main
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25 नि-ध-प-म-ग-रि-सा इति षड्जग्रामे। main
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26 ग-रि-सं-नि-ध-प-मा16 इति 17मध्यमग्रामे॥ main
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27 एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः संपूर्णाः। main
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28 स-रि-ग-म-प-ध-नि annotation_inline
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29 नि-स-रि-ग-म-प-ध main
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vol_II_p056 LEFT — 33 lignes

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1 BŖHADDEŚĪ page_header
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2 94 page_number
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3 संहारे कैशिक: प्रोक्त: पूर्वरङ्गे तु षाडव: । main
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4 चित्रस्याष्टादशाङ्गस्य त्वन्ते कैशिकमध्यमः॥ main
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5 शुद्धानां विनियोगोऽयं ब्रह्मणा समुदाहतः ।'"५० main
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6 [NŚ as quoted in Kalā on SR. II p.32] editorial_bracket
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7 [ख. भिन्नरागाः] section_header
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8 इदानीं भिन्नानां लक्षणमाह - main
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9 श्रुतिभिन्नो जातिभिन्नः शुद्धभिन्नः ५१स्वरस्तथा । main
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10 स्वरै॰ annotation_inline
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11 चतुर्धिर्भिद्यते यस्मात् तस्माद् भित्रक उच्यते ॥३०४॥ main
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12 [अनुः १७२] editorial_bracket
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13 ५२ननु भित्रशब्देन किमभिधीयते ? किं विदारितोऽर्थः, एतदस्मादयं व्यतिरिक्त इत्यर्थो वा main
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14 भित्रशब्दस्य। एतत्र वाच्यम्। भित्रोऽत्र विकृत उच्यते। विकृतत्वं च पूर्वोक्तश्रुतिभित्रेत्यादिलक्षणात्। main
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15 ५३[स्वरभिन्न:] section_header
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16 [अनु॰ १७३] editorial_bracket
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17 इदानीं भिन्नानां प्रागुक्तलक्षणप्रकटनार्थं तत्रादौ स्वरभिन्नस्य लक्षणमुच्यते - main
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18 यदा वादी गृहीत: स्यात् संवादी च विमोक्ष्यते । main
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19 विवादी वानुवादी वा स्वरिभन्न: स उच्यते ॥ ३०५॥ main
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20 ५४चानुवादी च annotation_inline
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21 [अन्॰ १७४] editorial_bracket
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22 अस्यार्थ:-मध्यमग्रामाश्रितस्य शुद्धषाडवस्य योऽसौ मध्यमो ग्रहांश: तत्स्थाने धैवतो main
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23 धैवतोऽपि annotation_inline
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24 योऽसा annotation_inline
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25 ५५विवादित्वेन वा[ऽ]नुवादित्वेन वा गृहीतो भवति। मध्यमस्वरस्य संवादी त्यज्यते न्यस्यते editorial_bracket
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26 नानुवादित्वेन annotation_inline
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27 विवादित्वे (न?) annotation_inline
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28 वा तदासौ स्वरिभन्न उच्यते । भिन्नषड्जेऽत्र वदनाद् वादी धैवतः, पुनर्बहुप्रयोगो भवति [तस्य]। editorial_bracket
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29 व्यह्ज: अत्र annotation_inline
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30 ननु पश्चसु रागेषु मध्ये भित्रषड्जस्य लक्षणमुच्यते इत्यादावेवाभिधानं कृत:? main
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31 सत्यमुक्तम् annotation_inline
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32 मुख्यत्वादस्य । मुख्यत्वं च यथा शुद्धगीतिषु शुद्धषाडवस्य एवं भिन्नगीतिषु भिन्नषड्जस्येति main
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33 तद्भेद[त्व]ादस्येति । editorial_bracket
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204 lignes a valider — change uniquement les roles incorrects.