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 21037). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p016 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 15 page_number
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3 it is used in the first vidārī. That (svara) which is not the vivādī of the amśa main
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4 becomes samnyāsa if it is used in the end of the first vidārī. main
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5 [The definition of vinyāsa forming part of that of amsa] section_header
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6 [Anu. 123] section_header
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7 This nyāsa svara itself, when placed in the end of a pada (unit or sub- main
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8 section), becomes vinyāsa. Hence it has been said<sup>21</sup>— main
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9 "That in which rāga (delight) abides and from which it (rāga) proceeds or main
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10 is begun, the leader or regulator of tara (high) and mandra (low), that which main
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11 is obtained in abundance, that which is perceived (during the operation of) main
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12 graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa main
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13 having (these) ten characteristics." main
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14 (Cf. NS XXVIII.68, 69) main
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15 [3. The definition of tara] section_header
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16 [Anu. 124] section_header
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17 Now the definition of tara is being given. The extent (gati) of tara is up to main
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18 the fifth svara beginning from the use of amsa 22 svara. What is being said? main
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19 Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras main
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20 is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there, main
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21 tāra extends up to ṣadja (the fourth from pañcama). The structuring up to main
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22 the fifth note (from the amsa) should be understood from the eighth vidārī main
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23 (section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the main
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24 extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. main
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25 According to the word 'va' (in the verse from NS cited below), the state main
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26 of being tara, applies also to seven svaras. The extent of tara is threefold. main
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27 Similarly has been said by Bharata - main
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28 (vide) annotation_inline
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29 • • • • • • • annotation_inline
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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
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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
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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_I_p007 RIGHT — 81 lignes

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1 CONTENTS section_header
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2 ix table
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3 Foreword by Kapila Vatsyayan table
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4 XI table
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5 Introduction table
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6 xvii table
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7 <b>Abbreviations</b> table
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8 Brhaddesi of Śri Matanga Muni table
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9 3 page_number
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10 <b>Text and Translation</b> table
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11 3 page_number
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12 Section I: Deśī table
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13 3 page_number
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14 The desi nature of Dhvani table
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15 5 page_number
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16 The definition of desi and marga table
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17 7 page_number
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18 Section II: Nāda table
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19 7 page_number
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20 The glory, origin, definition and kinds of Nāda table
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21 9 page_number
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22 Section III: Sruti table
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23 9 page_number
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24 The definition of śruti and its numeration table
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25 Five alternatives in the relationship between sruti and svara table
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26 19 page_number
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27 The demonstration of visual representation of srutis by table
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28 25 page_number
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29 Mandala-prastāra table
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30 <b>29</b> table
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31 Section IV: Svara table
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32 29 page_number
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33 The laksana of svara table
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34 The fourfoldness of svaras according to kinds beginning table
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35 33 page_number
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36 with vādin table
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37 35 page_number
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38 The samvādi-mandala in sadjagrāma table
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39 37 page_number
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40 The anuvādi-maṇḍala in ṣaḍjagrāma table
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41 39 page_number
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42 The vivādi-maṇḍala in ṣaḍjagrāma table
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43 41 page_number
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44 The saṃvādi-maṇḍala in madhyama-grāma table
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45 41 page_number
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46 The anuvādi-maṇḍala in madhyama-grāma table
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47 43 page_number
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48 The vivādi-maṇḍala in madhyama-grāma table
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49 The sevenfold combination of svaras according to the table
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50 43 page_number
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51 types beginning with arcika table
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52 43 page_number
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53 The etymology of svara-names table
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54 45 page_number
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55 The castes of svaras table
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56 45 page_number
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57 The drawing out of svara signs as contained in agama table
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58 47 page_number
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59 Assignment of community, colour and the like to svaras table
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60 51 page_number
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61 Section V: Grāma-mūrchanā table
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62 51 page_number
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63 The treatment of grāma table
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64 <b>53</b> table
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65 The treatment of mūrchanā table
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66 57 page_number
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67 Mūrchanā-maṇḍala table
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68 67 page_number
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69 The distinction between Mürchanā and tāna table
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70 69 page_number
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71 The yajña-names of tanas table
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72 <b>73</b> table
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73 The performance of tanas table
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74 83 page_number
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75 The mūrchanā of twelve svaras table
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76 85 page_number
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77 Section VI: Varņas and Alankāras table
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78 85 page_number
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79 The Varnas table
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80 89 page_number
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81 The Alankaras table
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
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2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
parent ligne 11
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
parent ligne 17
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
parent ligne 25
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vol_II_p118 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 219 page_number
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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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200 lignes a valider — change uniquement les roles incorrects.