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 21045). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p155 RIGHT — 36 lignes

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1 <b>VIMARŠA</b> section_header
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2 (Annotations) main
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3 Chapter II section_header
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4 (Jātis) section_header
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5 1. The number 140 pertains to the modified varieties of jātis comprising main
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6 the complete, hexatonic and pentatonic formations of jātis in accordance main
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7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
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8 number is computed as follows - main
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9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
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10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
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11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
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12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
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13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
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14 the treatment is incomplete because of a break in the text. main
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15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
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16 adding the śuddhā states of the seven jātis bearing svara-names. main
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17 2. Brahmā has been said here to be the original author of the number main
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18 of jātis in NS, from where we have taken the verse under reference. In NS, main
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19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
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20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
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21 to be responsible for all the elaboration based on vāk. The origin of all the main
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22 Vedas is also attributed to him. Siva has special relationship with the main
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23 movements of the body (anga). Jāti being the first formation of melodic main
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24 structure, its association with Brahmā is understandable because melody is main
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25 a manifestation of the tonal aspect of vāk. main
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26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
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27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
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28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
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29 no less than Brahmā is the authority regarding the jātis lends a special main
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30 sanctity to this melodic abstraction that is striking on account of its main
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31 comprehensive sweep. main
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32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
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33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
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34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
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35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
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36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
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vol_II_p065 LEFT — 28 lignes

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1 BRHADDEŚÏ page_header
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2 112 page_number
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3 [५. बोट्टरागः] section_header
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4 स्यात् षड्जमध्यमाजाते: पञ्चम्याश्च विनिर्गत: । main
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5 बोट्टरागश्च विज्ञेय: पञ्चमांशोऽन्तमध्यम: ॥३२४॥ main
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6 पञ्चमोंऽशो( ऽन्त)मध्यमः annotation_inline
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7 [अनुः १९६] section_header
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8 [अस्यार्थ:-]बोट्टराग: षड्जग्रामसम्बन्ध:<sup>७७</sup>षड्जमध्यमापञ्चमीजात्योर्जातत्वात्। editorial_bracket
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9 यद्यप्युभयग्रामसम्भूतजातिद्वयसमुत्पन्नः,तथापि पञ्चमस्य<sup>७८</sup>चतुंःश्रुतिकत्वात् षड्जग्रामसम्बन्धः। main
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10 पञ्चमो ग्रहोंऽशश्च । मध्यमो न्यास: । निषादगान्धारयोरल्पत्वम्<sup>७९</sup>। निषादोऽत्र काकली । main
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11 पूर्णस्वरश्चायम्। उत्सवे चास्य विनियोगः। शान्तादिको रसः। पञ्चमादिमूर्छना । आरोही वर्णः । main
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12 प्रसन्नान्तोऽलङ्कारः। दक्षिणे कला, वार्तिक कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । main
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13 [६. हिन्दोल:] section_header
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14 षड्जांशन्याससंयुक्तो धैवतर्षभवर्जित:। main
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15 धैवत्यार्षभिकात्यक्तो हिन्दोल: प्रेक्षणे भवेत् ॥ ३२५॥ main
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16 र्व्य(भी?भिका)॰ annotation_inline
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17 [अनु॰ १९७] section_header
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18 [अस्यार्थ: -] हिन्दोलको मध्यमग्रामसम्बन्ध: । <sup>८</sup>°[ननु] धैवत्यार्षभीरहितोभय- editorial_bracket
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19 रहित:।उभय annotation_inline
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20 ग्रामसम्बन्ध्यशेषस्वराख्यजातिसमुत्पत्रत्वादुभयग्रामिकत्वमेव युक्तम् ,कथं मध्यमग्रामाश्रित इति? main
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21 ग्रामसम्बन्धः annotation_inline
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22 धैवतर्षभहीनत्वान्मध्यमग्रामसम्बन्ध एव, ८१भरतकोहलादिभिराचार्यै: main
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23 षड्जग्रामे annotation_inline
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24 ॰भी(ही)क annotation_inline
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25 धैवतर्षभलोपस्यानिष्टत्वात् । केचित् षड्जग्रामाश्रित एवायमिति मन्यन्ते चतुः-श्रुतिकस्य main
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26 पञ्चमस्यात्रोपलम्भात् । धैवतस्य चानाशित्वं तानविषयमेव द्रष्टव्यं न सर्वत्रेति । एतच्चायुक्तम् । एवं main
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27 हि सित ग्राममूर्छनाभेदो न स्यादिति । main
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28 (छ) annotation_inline
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vol_II_p024 RIGHT — 34 lignes

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1 TRANSLATION page_header
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2 31 page_number
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3 [Anu. 132] editorial_bracket
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4 In the opinion of our guru, ṛṣabha becomes the apanyāsa, on account of its main
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5 being non-amśa. Some others have accepted rṣabha as apanyāsa, just like main
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6 amsa. annotation_inline
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7 · Pañcama is strong in it and so is niṣāda. The graha in all (the jātis) should main
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8 always be known like the amśa. main
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9 (238) main
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10 [6. Indication of the gaņas or groups of the jātis] section_header
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11 The gaṇa (group) of all the jātis is formed with three jātis 42 in each case. main
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12 This group should be known by the wise by its definition to be with main
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13 increasing (number of) svaras. main
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14 (239) annotation_inline
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15 (This group is) with one svara, two svaras, three svaras, four svaras (all the main
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16 four are comprised of three jātis each), the one with five svaras is fourfold main
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17 (comprised of four jātis) and the two with six and seven svaras have one main
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18 variety each. annotation_inline
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19 (240) annotation_inline
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20 [Anu. 133] section_header
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21 This means that the statement that a gana (group) is formed with three main
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22 jātis is the indication of the number (which is applicable in maximum cases). main
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23 Out of these groups there is one that is formed with three (jātis) having one main
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24 amśa svara each viz. madhyamodicyavā, gāndhārapancamī and nandayantī-pa, main
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25 pa, pa. annotation_inline
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26 There are three (jātis) having two amśa svaras each viz. dhaivatī, main
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27 gāndhārodīcyavā and pancamī-dhari, sama, pari. main
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28 There are three jātis having three amśa svaras each viz. ārṣabhī, naiṣādī and main
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29 şadjakaiśikī-dhaniri, garini, sagapa. main
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30 There are three (jātis) with four amśa svaras each viz. şadjodīcyavatī, āndhrī main
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31 and kārmāravī – samadhani, rigapani, paridhani. main
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32 There are four (jātis) with five amśa svaras each, viz. ṣāḍjī, gāndhārī, main
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33 raktagāndhārī and madhyamā - sagamapadha, sagamapani, sagamapani, main
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34 sarimapadha. main
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vol_I_p093 RIGHT — 44 lignes

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1 VIMARŚA main
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2 169 page_number
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3 6, 7. The author seems to be speaking of svara at the same level at which list_item
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4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
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32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
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33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
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36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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vol_II_p026 LEFT — 30 lignes

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1 BRHADDEŠĪ page_header
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2 34 page_number
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3 पूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभि:। editorial_bracket
parent ligne 4
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4 आसारितपाणिकादौ ततो जात्यंशकल्पनम् ॥२४९॥ main
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5 र्गद annotation_inline
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6 <b>ल्कं</b> वा॰ annotation_inline
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7 स्वराणामङ्गहारैर्यत एवासारितक्रमै:। main
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8 वर्धमानपदे तासां कार्या स्यादंशकल्पना ॥२५०॥ main
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9 [८. जातीनां षाडवौडुवविधि:] section_header
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10 ८९इति त्रिषष्टिरंशा ये तेषामेकैकशोंऽशताम् । main
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11 प्रकल्प्यापोह्यते प्राप्तं षाडवौडुवितं क्वचित् ॥२५१॥ main
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12 (॰वो?वौ) annotation_inline
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13 ॰पोद्यते annotation_inline
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14 [अनु॰ १३४] editorial_bracket
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15 त्रिषष्टिरंशा ये उक्तास्तेषां मध्ये <sup>९०</sup>प्रत्येकमंशानाम् [अंशतां] editorial_bracket
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16 परिकल्प्य annotation_inline
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17 षाडवितत्वमौडुवितत्वं प्राप्तं क्वचिदिति जातिविषय: अपोह्यते । एतदेव स्फुटयति - main
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18 न्छते annotation_inline
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19 अषाडवा निषादें ऽशे सित स्यात् षड्जमध्यमा । main
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20 गान्धारे च यतो लोपो नांशसंवादिनो मत: ॥२५२॥ main
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21 (तं?त:) annotation_inline
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22 [अनु॰ १३५] editorial_bracket
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23 अस्यार्थ: - निषादेंऽशे षड्जमध्या जातिरषाडवा कथम् ? षड्जग्रामे षाडविवधौ main
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24 गान्धारस्य लोपो नास्ति । गान्धारेंऽशे निषादेन अषाडवा बोद्धव्या अंशसंवादिनो main
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25 (संचा?संवा) annotation_inline
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26 ...याः annotation_inline
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27 लोपाभावात्। section_header
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28 कैशिकी रक्तगान्धारी गान्धारी चैव पञ्चमे । main
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29 तथा षाड्जी तु गान्धारे धैवते तदुदीच्यवा ॥ २५३॥ main
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30 ॰ता तदा॰ annotation_inline
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172 lignes a valider — change uniquement les roles incorrects.