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 21019). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p036 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 54 page_number
via heuristic_pagenum
3 [८. गान्धारी] section_header
via surya_layout
4 तत्र गान्धार्या गान्धारषड्जमध्यमपञ्चमनिषादा <sup>१५७</sup>ग्रहा: , त एवांशा:। पञ्चस्वरपरस्तारो main
via surya_layout
5 न्यासपरस्तत्परो वा मन्द्र:। ऋषभहीनं षाडवम्,ऋषभधैवतहीनमौडुवितम्। main
via surya_layout
6 पूर्णावस्थायामृषभधैवतयोरल्पत्वम्, शेषाणां बहुत्वम्। स्वरजातित्वाद् गान्धारो न्यासः, main
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7 १५८षड्जपञ्चमावपन्यासौ, धैवतर्षभयो: सङ्गति:। तद्यथा - गान्धारी यदा सम्पूर्णा गीयते तदा main
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8 ॰मध्यमा॰ annotation_inline
parent ligne 7
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9 माधारिगा<sup>९५९</sup> इति प्रयोग: स्यात् । यदा ऋषभहीना गीयते [तदाऽ]धरस्वरप्रवेशने माधाधागा इति editorial_bracket
parent ligne 7
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10 <b>ण्नं(?)</b> annotation_inline
parent ligne 7
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11 (गि?गः) annotation_inline
parent ligne 7
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12 (甲) annotation_inline
parent ligne 7
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13 प्रयोग: स्यात् । यदा औडुविता गीयते तदा <sup>१६०</sup>उत्तर-स्वर-प्रवेशे मागागा इति प्रयोग: स्यात्, main
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14 <b>॰यन्ते</b> annotation_inline
parent ligne 13
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15 मापरिध इति प्रयोगः कदाचिदपि न स्यात् । main
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16 [अनु॰ १६१] section_header
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17 [ एका- ]दशविधत्वमस्या:। एकादशांशका:-शुद्ध:,विकृता: पूर्णा: पञ्च,चत्वार:षाडवा: , editorial_bracket
parent ligne 16
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18 ॰द्धा annotation_inline
parent ligne 16
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19 औडुवित एक: । मूर्छना धैवतादि: । चच्चत्पुटस्ताल: एककलविधौ चित्रमार्गे मागधी, द्विकले main
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20 ·ध: annotation_inline
parent ligne 19
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21 वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला। रसः 'करुणः'र६१। ध्रुवागाने तृतीयप्रेक्षणके main
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22 विनियोग:।। main
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23 [९. रक्तगान्धारी] section_header
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24 [अनु॰ १६२] section_header
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25 रक्तगान्धार्याः षड्जमध्यमपञ्चमगान्धारनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः , main
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26 <b>गान्धा(यंप्य ? यांप्य)</b> main
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27 न्यासपरस्तत्परो वा मन्द्र:। ऋषभहीनं षाडवम् ऋषभधैवतहीनमौडुवितम्। main
via surya_layout
28 पूर्णावस्थायामृषभधैवतयोरल्पत्वम् , शेषाणां बाहुल्यम् । निषादस्यांशत्वाद् बहुत्वे प्राप्ते main
via surya_layout
29 οζ page_footer
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vol_II_p085 RIGHT — 33 lignes

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1 153 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Being combined with sadja as the initial and concluding note, being main
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4 complete and born of deśa (region), having concert between ṛṣabha and main
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5 șadja, the svaras comprised of two śrutis each being of sparse nature, this main
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6 ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī. main
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7 (68) annotation_inline
parent ligne 6
via heuristic_height
8 Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī, main
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9 Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā. main
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10 Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā. main
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11 Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā main
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12 sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī. main
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13 Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā. main
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14 Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī. main
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15 Mapāgāri. Sanisāsā. Ābhīrī [vi] editorial_bracket
parent ligne 14
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16 Khañjanî has pañcama as amśa, ṣaḍja as the concluding note, is devoid of main
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17 dhaivata, there is concert between ṣaḍja and niṣāda and similarly between main
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18 madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed), main
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19 giving delight to all people. main
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20 (69) annotation_inline
parent ligne 19
via heuristic_short
21 Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni. main
via surya_layout
22 Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā. main
via surya_layout
23 Ni. Nimanisarisagasāsā. Khanjanī [vii] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Having niṣāda as amśa, ṣadja as the concluding note, gurjarī is born of deśa main
via surya_layout
25 (region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of main
via surya_layout
26 madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones main
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27 in music as being complete. main
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28 (70) annotation_inline
parent ligne 27
via heuristic_short
29 Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī. main
via surya_layout
30 Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā. main
via surya_layout
31 Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari. main
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32 Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari. main
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33 Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii] editorial_bracket
parent ligne 32
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vol_II_p125 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 L annotation_inline
parent ligne 5
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2 · - 1 1 1 annotation_inline
parent ligne 5
via heuristic_height
3 232 page_number
via heuristic_pagenum
4 BRHADDESĪ page_header
via surya_layout
5 [घ. पुनर्वर्णेला-सप्तकम्] section_header
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6 रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा। main
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7 मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥ main
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8 [१. रमणी] section_header
via surya_layout
9 समा यत्र यति: पादे प्रथमे च द्वितीयके । main
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10 द्विगिद्वितीयके(?) annotation_inline
parent ligne 9
via heuristic_height
11 पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥ main
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12 ॰द्यो॰ annotation_inline
parent ligne 11
via heuristic_markers
13 [२.चन्द्रिका] section_header
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14 स्रोतोगता समा चैव यत्र पादद्वये भवेत्। main
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15 बिन्दुभिर्गमकैर्युक्ता चन्द्रिणीति प्रकीर्तिता ॥४६१॥ main
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16 [३.लक्ष्मी] section_header
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17 गोपुच्छा च समा स्रोता यत्र पादत्रयेऽपि च । main
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18 मूर्छना नादसहिता सैला लक्ष्मीरिति स्मृता ॥४६२॥ main
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19 [४.पद्मिनी] section_header
via surya_layout
20 आद्ये पादे द्वितीये च तृतीये च चतुर्थके । main
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21 वर्णध्वनिसमायुक्ता पद्मिन्येला निगद्यते ॥ ४६३॥ main
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22 [५.रञ्जिनी] section_header
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23 प्रथमे च समा प्रोक्ता द्वितीये च तृतीयके । main
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24 स्रोता annotation_inline
parent ligne 23
via heuristic_height
25 गोपुच्छा गमकाढ्या च रञ्जिनी नाम सा भवेत् ॥४६४॥ main
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26 [६. मालती] section_header
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27 लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता । main
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28 यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥ main
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vol_II_p090 RIGHT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 163 page_number
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2 TRANSLATION page_header
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3 Māngālī has pancama as its concluding note and is said to have dhaivata main
via surya_layout
4 as amśa. There is concert between şadja-dhaivata and similarly madhyama- main
via surya_layout
5 ṛṣabha; it is held to be always complete and should be known to be born of main
via surya_layout
6 ٠ page_number
via heuristic_pagenum
7 deśa<sup>37</sup> (region). This bhāṣā is said to be born of pañcama (rāga) by the main
via surya_layout
8 knowledgeable ones in music. main
via surya_layout
9 <math>(92-93)</math> main
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10 Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri editorial_bracket
parent ligne 9
via heuristic_brackets
11 mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam main
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12 adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. main
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13 Pamāmāpāpā. Mārigālī [iii] editorial_bracket
parent ligne 12
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14 Having pañcama as amsa and the same as the concluding note, being main
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15 complete and brilliant with pañcama, saindhavī has been known to be a main
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16 vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama main
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17 is seen again and again. main
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18 (94) annotation_inline
parent ligne 17
via heuristic_short
19 Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari main
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20 sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī main
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21 māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] editorial_bracket
parent ligne 20
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22 Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with main
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23 sparse madhyama. It has concert between sadja and madhyama, (and) is main
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24 always complete. This vibhāṣā born of pañcama<sup>39</sup> (rāga) is said to be main
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25 complete. annotation_inline
parent ligne 24
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26 (95) main
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27 Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- main
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28 ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- main
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29 dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- main
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30 nismismidhāmapāpā. Gūrjari [v] editorial_bracket
parent ligne 29
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31 Combined with pañcama as the initial and concluding note, dākṣiṇātyā is main
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32 beautiful. This is complete and is said to be born in gandharapancama. 40 It main
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33 should always be known as a vibhāṣā born of pañcama bearing a regional main
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34 name.41 annotation_inline
parent ligne 33
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35 (96) main
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36 Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- main
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37 garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri main
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38 gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi] editorial_bracket
parent ligne 37
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vol_II_p052 RIGHT — 34 lignes

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1 87 page_number
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2 TRANSLATION page_header
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3 Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly, main
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4 also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about main
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5 the bhinnaones. annotation_inline
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6 (293) annotation_inline
parent ligne 4
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7 Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named main
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8 bhinnapañcama, and the fifth is bhinnakaiśika. main
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9 (294) annotation_inline
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10 One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are main
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11 said to be the three gaudas. main
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12 (295) annotation_inline
parent ligne 11
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13 Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly main
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14 the other one is hindolaka, ţakkakaiśika has thus been said, similarly main
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15 mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of main
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16 by their names, by the excellent munis. main
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17 <math>(296-297)</math> annotation_inline
parent ligne 16
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18 Narta, the one named śaka, kakubha, similarly harmāṇapañcama and main
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19 itself, similarly gändhärapañcama and the one named main
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20 rūpasādhārita annotation_inline
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21 ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas). main
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22 (298) annotation_inline
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23 [Thus is the number and nomenclature of rāgas] editorial_bracket
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24 [The specific description of ragas] section_header
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25 [A. Out of them śuddharagas] section_header
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26 Now he (the author) has spoken about the description of suddha (rāgas)- main
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27 Those that are in accordance with their 'own' jāti 31 (from which they are main
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28 born), without any reference to other jātis and those that are one out of the main
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29 many (individual forms) of their own jāti, they are called śuddha (rāgas). main
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30 (299) annotation_inline
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31 [1. Suddhaşādava] section_header
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32 [Anu. 164] editorial_bracket
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33 Why is sadava so called? Is it because it is sung with six svaras and is hence main
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34 ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas? main
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162 lignes a valider — change uniquement les roles incorrects.