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 21051). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p057 RIGHT — 36 lignes

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1 97 page_number
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2 TRANSLATION page_header
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3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
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4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
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5 (16) annotation_inline
parent ligne 4
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6 is (ends) prasāda. annotation_inline
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7 (Anu. 86) annotation_inline
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8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
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9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
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10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
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11 (17) annotation_inline
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12 risa. Thus is (ends) udvāhita. annotation_inline
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13 (Anu. 87) annotation_inline
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14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
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15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
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16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
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17 (18) annotation_inline
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18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
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19 (Anu. 88) annotation_inline
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20 There, krama is that, where having reached the sthayin55 (steady) svara after main
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21 ascending in the svaras in successive order beginning with one, without any gap, main
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22 svaras are pronounced in the order of prastara, increasing one by one (in main
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23 successive phrases). This is not different from prastara, being identical in form.56 main
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24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
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25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
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26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
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27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
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28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
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29 (19) annotation_inline
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30 (ends) krama. annotation_inline
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31 (Anu. 89) annotation_inline
parent ligne 28
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32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
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33 second-fourth and others also in the same order. In the opinion of Kohala main
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34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
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35 (20) annotation_inline
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36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
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vol_II_p116 RIGHT — 23 lignes

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1 215 page_number
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2 <b>TRANSLATION</b> page_header
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3 [15. Hayalīlā] section_header
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4 Where the (first) half is sung with svaras, in turagalīla (tāla), (and the main
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5 latter) half is sung with birudas, that is known as hayalīlā. main
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6 (397) main
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7 [16. <i>Gajalīlā</i>] section_header
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8 That which is completely composed according to gajalīlā but where the tāla main
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9 is gajalīla, that should be known by the name gajalīlā. main
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10 (398) main
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11 [17. Simhalīlā] section_header
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12 Composed in simhalilā metre, combined with svara and tena, that which is main
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13 sung with birudas is sinihalīlaka. main
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14 (399) main
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15 [18. Śarabhalila] section_header
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16 Where eight feet are composed with svaras and pāṭas, that is held to be main
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17 śarabhalīla, having eight rāgas and tālas. main
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18 (400) main
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19 [19. Śukacańcu] section_header
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20 In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with main
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21 <math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various main
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22 regions, is named śukacańcu, that is dear to the people. main
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23 (401) main
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vol_II_p091 LEFT — 32 lignes

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1 programme. annotation_inline
parent ligne 4
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2 BRHADDEŠĪ page_header
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3 164 page_number
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4 ऋषभांशा पञ्चमान्ता विज्ञेया षड्जदुर्बला । main
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5 প্লা annotation_inline
parent ligne 4
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6 निषादकाकलीरूपा कर्तव्या सा तु नित्यशः॥ ९७॥ main
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7 साधारणकृता ह्येषा विभाषा गीतवेदिभि:। main
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8 ८७अन्थाली विश्रुता लोके कित्रराणां च वल्लभा ॥ ९८॥ main
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9 अमाली annotation_inline
parent ligne 8
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10 उदाहरणम् - रीमापापाधाधाधाधापा धाधासापापापा धानिनिपा। पासापाधापापापा मरिमरि- main
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11 धाधापधपसाधाधापापा धधपधपापाधापा। पामारिरिसाधापापापा मपधममारिरिधाधपपाप। main
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12 मामाधपपापममरिरिमपापा धपापापधपधसासारिगरिधपापापा । अन्धाली। [७] editorial_bracket
parent ligne 11
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13 अल्पर्षभा मध्यमांशा पञ्चमन्याससंयुता । main
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14 मध्यमांशाल्पऋपभा annotation_inline
parent ligne 13
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15 मध्यधैवतसंवादो बाहुल्यं पञ्चमस्य तु ॥ main
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16 ॰वादस्तुल्यं स्यात् annotation_inline
parent ligne 15
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17 मध्यमः annotation_inline
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18 ८८ सम्पूर्णा पञ्चमाच्चेयं भाषा तानोद्भवा भवेत् ॥ ९९॥ main
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19 सम्पूर्णपाड(वा) चेयं annotation_inline
parent ligne 18
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20 उदाहरणम् - मामामगासारिरिनिसागरि । सानिनिगागागसानिपापा पासानिसासासानिसानि - main
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21 निधधनिनिसा। गरिसासासानिनिसाधानिपापा धानिनिगगसासासासासागासानीधामापापा । main
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22 तानोद्भवा। [८] editorial_bracket
parent ligne 21
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23 त्रावणी पञ्चमन्यासा पञ्चमर्षभदुर्बला । main
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24 त्रापणी annotation_inline
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25 द्विश्रुतीनां स्वरूपेण गमनं तत्प्रयोक्तृभि: ॥ १००॥ main
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26 तु annotation_inline
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27 षड्जमध्यमबाहुल्यं पञ्चमर्षभयोस्तथा । main
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28 साधारणकृता होषा त्रावणी देशसम्भवा ८९॥१०१॥ main
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29 उदाहरणम् -सासासापापापा धाधाधाधानीनीनीसासानिधानिधाधारिसासा नीधानीधासाममरि main
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30 मारिमागागारिसा सनिपापापा निधानिसासनिसनिमधधसनिधामागामाधानीसासाधानीसामधा - main
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31 मागामाधानीसास। सससनिसासानिगासनिधामामाधारीसासा सधानीधापा । त्रावणी । [९] editorial_bracket
parent ligne 30
via heuristic_brackets
32 त्रापणी annotation_inline
parent ligne 30
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vol_II_p082 RIGHT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
parent ligne 12
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
parent ligne 20
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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vol_I_p095 RIGHT — 48 lignes

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1 <b>VIMARSA</b> page_header
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2 173 page_number
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3 Madhyama table
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4 Pañcama table
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5 Niṣāda-gāndhāra table
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6 Dhaivata table
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7 Gändhära table
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8 Nişāda table
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9 Şadja-rşabha table
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10 Şadja table
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11 Gāndhāra table
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12 This list does not seem to follow the general statement that all those which main
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13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
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14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
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16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
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19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
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20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
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21 respectively and are hence vivadins. main
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22 44. Here again, the application of the concept of vivada in melodic structuring main
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23 is being illustrated. ( see glossary ) main
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24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
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25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
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26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
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27 narratives) which is associated with the use of two svaras; sāmika pertains to main
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28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
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29 literally means the interval of a svara, the implication seems to be that a group main
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30 of four svaras is the first step towards the formation of a heptad from a triad; main
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31 auduva stands for a group of five svaras ( the etymology of this word is given in main
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32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
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33 literally meaning complete, stands for a group of all the seven svaras. main
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34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
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35 svara, because in current practice, generally three tones are employed in main
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36 reciting the pk. The practice of the recitation of gatha is not generally known main
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37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
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38 is, however, notable that the number three is associated with sāman in NS in main
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39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
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41 rendering of three sāmans is prescribed there. These sāmans are composed of main
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42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
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43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
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44 instruments, it is not just 'song'. main
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45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
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46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
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47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
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48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
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165 lignes a valider — change uniquement les roles incorrects.