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 21050). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p050 RIGHT — 44 lignes

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1 83 page_number
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2 <b>TRANSLATION</b> page_header
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3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
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29 have been there and if this were the case, that raga could not be formulated. main
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30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
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34 with twelve svaras). That is thus -63 main
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35 Uttaramandrā (1) annotation_inline
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36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
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37 Rajani (2) annotation_inline
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38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
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39 Uttarāyatā (3) annotation_inline
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40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
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41 Śuddhasadjā (4) annotation_inline
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42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
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43 Matsarikṛtā (5) annotation_inline
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44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
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vol_II_p094 LEFT — 33 lignes

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1 BRHADDEŚĪ page_header
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2 170 page_number
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3 धैवताद्यन्तसंयुक्ता सम्पूर्णा लोकरञ्जिका । main
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4 धैवतनिषादसंवाद: षड्जगान्धारयोस्तथा ॥ १११॥ main
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5 बङ्गालदेशसम्भूता बाङ्गाली दिव्यरूपिणी । main
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6 यङ्गाली annotation_inline
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7 एषा वै सरसा भाषा दैवतस्यापि वल्लभा ॥ main
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8 एषा भाषा रसा च + थैवतः annotation_inline
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9 प्रयोगे शृक्ष्णलक्ष्मा च गायकै: स्वरशोभितै: ॥ ११२॥ main
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10 ॰सूक्ष्मध annotation_inline
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11 उदाहरणम् - धारीसारीगागाधा रीसारीमानीसानीनीसा सासारिधामापा धाधारिसामाधानि main
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12 धाधा। बाङ्गाली । [६] editorial_bracket
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13 वङ्गाली annotation_inline
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14 <sup>१००</sup>मध्यमांशा धैवतान्ता <sup>१०१</sup>पञ्चमर्षभदुर्बला । main
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15 षड्जमध्यमसंवाद: षड्जगान्धारयोस्तथा ॥ main
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16 सिन्धुविषयसम्भूतां देशाख्यां सैन्धर्वी विदु: ॥ ११३॥ main
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17 गासानिसानिधा unknown
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18 उदाहरणम् –मा । माधानीधा नीसागासामासासागामागामा unknown
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19 मापामामासामाधा annotation_inline
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20 नी annotation_inline
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21 मानिसासासागारीधानिधाधा माधानीधामाधाधाधा । सैन्धवी<sup>१०२</sup>।[७] editorial_bracket
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22 गान्धारांशा तु कालिङ्गी धैवतान्ता चतुःस्वरा। main
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23 कालिन्दी annotation_inline
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24 पञ्चमर्षभहीना च निषादेन च दुर्बला ॥ ११४॥ main
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25 एषा १०३ ह्यन्तरभाषा वै कालिङ्गै: सा तु गीयते । main
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26 कालिङ्गे annotation_inline
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27 हृद्या मनोहरा ह्येषा १०४पञ्चमादनुगीयते ॥ ११५॥ main
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28 उदाहरणम् -गासामागामागासासासासाधा मासासाधामानीमामासासासासामाधा मामाधासा- main
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29 साधानीगाधा । कालिङ्गी । [८] editorial_bracket
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30 कालिन्दो annotation_inline
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31 षड्जान्ता धैवतांशा १०५ च हीनौ गान्धारपञ्चमौ । main
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32 धैवताऱ्यासा annotation_inline
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33 <sup>९०६</sup>षड्ज[मध्यमसङ्गत्या षड्ज-]धैवतयोस्तथा ॥ ११६॥ editorial_bracket
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vol_II_p092 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 167 page_number
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3 Kaiśikī has pañcama as nyāsa, madhyama as amśa, is weak in ni(niṣāda), main
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4 there is (mutual) movement between madhyama-dhaivata and abundance of main
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5 pancama. This bhāṣā is born of pancama (rāga) and is always sankīrṇā main
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6 (mixed). annotation_inline
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7 (102) main
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8 Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั- main
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9 sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x] editorial_bracket
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10 These are the ten <i>bhāṣās</i> in <i>pancama</i> (<i>rāga</i>) described by Yāṣṭika. main
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11 (103) main
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12 [6. Bhāṣāsin bhinnaṣaḍja] section_header
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13 After this, I shall speak of the <i>bhāṣās</i> in <i>bhinnaṣaḍja</i>. main
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14 (104) annotation_inline
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15 Having dhaivata as amsa and the same as concluding note, being devoid main
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16 of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja- main
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17 gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist main
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18 in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46 main
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19 (105) annotation_inline
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20 lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg main
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21 ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี main
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22 gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā main
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23 dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā main
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24 Suddhā [i] editorial_bracket
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25 Having dhaivata as amsa, dhaivata as the concluding note, the concert main
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26 between sadja-dhaivata, there being (mutual) movement between sadja- main
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27 dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa main
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28 (region)<sup>47</sup> and is born of (bhinna) şadja. main
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29 (106) main
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1 151 page_number
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2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
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5 dhāsāsāgāgadhari. annotation_inline
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
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7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
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13 (65) annotation_inline
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
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vol_I_p097 RIGHT — 43 lignes

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1 177 page_number
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2 VIMARŚA annotation_inline
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3 85. Assigning a seer to each svara is, again, an extension of the Vedic main
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4 tradition. annotation_inline
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5 86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd- list_item
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6 105 ab. list_item
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7 87. The location of svaras in the human body as described here is quite list_item
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8 different from the seven sthanas discussed above in note No. 63. list_item
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9 88. 'Desi' here stands for the manifest realm of sound. list_item
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10 Section V ( Grāma-mūrchanā ) section_header
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11 1. Grāma is not just any group of svaras, it is a specific grouping which is the main
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12 basis of the perception of śruti and is also a fundamental categorisation of main
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13 melodies with the consonance of fifth between sa-pa and with the consonance main
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14 of fourth between ri-pa. annotation_inline
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15 2. The analogy of a village inherent in the word grāma is being made main
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16 explicit. BrD is the only text that has explained this point. main
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17 3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7) main
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18 do mention it; Dattilam clearly states that it is not to be found here in this world. main
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19 ( See glossary ) annotation_inline
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20 4. The statement that svaras are born of Sāmaveda should be viewed list_item
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21 alongwith the backdrop of the common belief and oft-repeated platitude that list_item
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22 Indian music is born of Sāmaveda. When something is said to be the origin of list_item
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23 another thing, the general impression is that the origin precedes in time the list_item
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24 thing born of it. But in the case of music this impression could not hold good. It list_item
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25 would be absurd to say that there was no music among the people before list_item
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26 Sāmaveda became formalised or codified. The balanced view would be that list_item
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27 Sāmavedic music was the first to be codified and the codification of the music list_item
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28 of the people came later and that the 'vision' that inspired or guided the Vedic list_item
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29 codification continued to guide the later codification. The statement of our list_item
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30 author that svaras are born of Sāmaveda matches the statement in NŚ (I,17) list_item
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31 that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text) list_item
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32 was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from list_item
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33 Atharvaveda. To go a step further it would be pertinent to say that the mention list_item
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34 of the Vedic origin of a thing need not be taken to imply Vedic anteriority in list_item
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35 time; it could be interpreted to mean that the Vedic world-view and 'vision' was list_item
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36 the guiding spirit. list_item
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37 5. The number 'two' given here for grāma indicates that the author, in spite main
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38 of mentioning gandhara-grama, does not subscribe to the theory of three gramas. main
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39 6. The objective of grāma, stated here as the systematisation of svara, śruti, list_item
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40 mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals list_item
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41 in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma list_item
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42 are strictly followed in murchana, the omission of svaras in tana is guided by the grama list_item
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43 (e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the list_item
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183 lignes a valider — change uniquement les roles incorrects.