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 21032). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p010 RIGHT — 24 lignes

page vol_II_p010 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 The Great Treatise on Desi Music section_header
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2 Composed by Śrī Matanga Muni section_header
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3 [ Chapter II ] editorial_bracket
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4 [ Jātis ] editorial_bracket
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5 [1. Their number, nomenclature and types] editorial_bracket
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6 [Number and nomenclature] editorial_bracket
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7 [Anu. 114] editorial_bracket
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8 Now he (the author)spoke (speaks) about the nomenclature of jātis at main
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9 the appropriate time and place. The jātis are only eighteen. These become main
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10 one hundred and forty in number according to all the variations of amsa main
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11 svaras. annotation_inline
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12 <math>\it J\bar{a}tis</math> are only eighteen as has been said earlier by Brahmä? I shall explain <math>^3</math> main
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13 them according to the distinction of their graha, amsa and the like. main
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14 (185) main
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15 [The jātis of şadjagrāma] section_header
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16 Ṣāḍjī and ārṣabhī and dhaivatī, then niṣādinī, ṣaḍjodīcyavatī and ṣaḍjakaiśikī main
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17 and ṣadjamadhyā (these are the jātis) based on ṣadjagrāma. main
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18 (186, 187) annotation_inline
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19 Thus end the seven (jātis) based on ṣadjagrāma . main
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20 [The jātis of madhyamagrāma] section_header
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21 After this, I shall speak of the jātis based on madhyamagrāma. main
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22 (188) annotation_inline
parent ligne 21
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23 Gändhäri, madhyamä and pañcami and similarly gändhärodicyavā and main
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24 gāndhārapañcamī, after that raktagāndhārī and similarly madhyamodīcyavā, main
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vol_II_p023 RIGHT — 37 lignes

page vol_II_p023 RIGHT
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1 TRANSLATION page_header
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2 29 page_number
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3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
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4 in madhyamā. annotation_inline
parent ligne 3
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5 (228-229) main
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6 The performers should know pañcama as the amsa of gandhara-pañcami; main
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7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
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8 be the <i>nyāsa</i>. main
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9 (230) annotation_inline
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10 Whatever sañcāra (to and fro movement) and the like has been said in the main
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11 case of gandhari and then pancami, that should be known also in this main
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12 (gāndhārapañcamī), but it is always with complete svaras. main
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13 (231) annotation_inline
parent ligne 12
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14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
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15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
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16 (232) annotation_inline
parent ligne 15
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17 In nandayanti, madhyama and pañcama should be known as the two main
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18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
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19 ariisa. annotation_inline
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20 (233) main
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21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
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22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
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23 omissible. annotation_inline
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24 (234): main
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25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
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26 completeness, pañcama is the nyāsa (and) there is profuse movement main
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27 towards gāndhāra. annotation_inline
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28 (235) annotation_inline
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29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
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30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
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31 the şādava and audava states). main
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32 ...................................... unknown
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33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
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34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
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35 (237) main
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36 , ' , annotation_inline
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37 . . . annotation_inline
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vol_I_p065 RIGHT — 43 lignes

page vol_I_p065 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 113 page_number
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2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
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9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
parent ligne 9
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
parent ligne 16
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18 another sthana (register). annotation_inline
parent ligne 16
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19 1 page_number
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20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
parent ligne 21
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
parent ligne 25
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
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30 lower svaras. annotation_inline
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
parent ligne 37
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
parent ligne 41
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43 alankāras, they should not be used without varņa.118 main
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vol_II_p051 LEFT — 27 lignes

page vol_II_p051 LEFT
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1 84 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
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3 प्रयोगैर्मसृणै: सूक्ष्मकाकुभिश्च३३ सुयोजितै: । main
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4 ॰क्ष्मै: annotation_inline
parent ligne 3
via heuristic_markers
5 ॰िमेत्रै: annotation_inline
parent ligne 3
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6 <sup>३४</sup>एवं साधारणी ज्ञेया सर्वगीतिसमाश्रया ॥२८५॥ main
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7 [६. भाषा गीति:] section_header
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8 प्रयोगैर्गात्रजै: शृक्ष्णै: काकुरक्तै: सुयोजितै: । main
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9 कम्पितैः कोमलैर्दीप्तैर्मालवीकाकुनान्वितैः ॥२८६॥ main
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10 लितै: सुकुमारैश्च प्रयोगैश्च सुसंयुतै:। main
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11 (सीं ? सं) annotation_inline
parent ligne 10
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12 भाषा गीति: समाख्याता एषा गीतिविचक्षणै: ॥ main
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13 यथा वै रज्यते लोकस्तथा वै सम्प्रयुज्यते ॥२८७॥ main
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14 [७. विभाषा गीति:] section_header
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15 लिलतैर्बहुभिर्दीतै: कम्पितैरौरसै: समै:। main
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16 (र ? रौ) annotation_inline
parent ligne 15
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17 तारातितारैर्मसृणैर्मध्ये मध्यमदीपितै: ॥२८८॥ main
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18 गमकै: श्रोत्रसुखदैर्ललितैस्तु यदुच्छया। main
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19 विभाषागीतिस्तु संयोज्या यथा लोकोऽनुरज्यते ॥२८९॥ main
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20 [॥ इति गीतिलक्षणम् ॥] editorial_bracket
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21 [रागसङ्ख्या, उद्देशश्च] section_header
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22 गीतीनां लक्षणं प्रोक्तं रागसङ्ख्योच्यतेऽधुना । main
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23 गीतानां annotation_inline
parent ligne 22
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24 पञ्च चोक्षा: समाख्यातास्तत्प्रमाणाश्च भित्रका: ॥२९०॥ main
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25 गौडास्त्रयस्तु कथिता रागाश्चाष्टौ प्रकीर्तिता: । main
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26 सप्त साधारणा: प्रोक्ता भाषाश्चैवात्र षोडश ॥२९१॥ main
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27 द्वादशैव विभाषा: स्युर्नामानि च निबोधत ॥२९२॥ main
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vol_II_p103 RIGHT — 32 lignes

page vol_II_p103 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 189 page_number
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3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
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4 Ravicandrā [ii] editorial_bracket
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5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
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6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
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7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
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8 (10) annotation_inline
parent ligne 7
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9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
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10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
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11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
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12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
parent ligne 13
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15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
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16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
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18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
parent ligne 18
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
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22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
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23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
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28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
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29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
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32 the opinion of Śārdūla. main
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163 lignes a valider — change uniquement les roles incorrects.