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 21075). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p049 RIGHT — 29 lignes

page vol_II_p049 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 81 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [The opinion of Bharata] section_header
via surya_layout
4 "The first one should be known as māgadhī and the second one as main
via surya_layout
5 ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā." main
via surya_layout
6 (NŚ Chau. XXIX. 77) main
via surya_layout
7 [Thus ends the opinion of Bharata] section_header
via surya_layout
8 [The opinion of Yāṣṭika] section_header
via surya_layout
9 Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by main
via surya_layout
10 the noble Yāstika. annotation_inline
parent ligne 9
via heuristic_short
11 (272) main
via surya_layout
12 Thus ends the opinion of Yāṣṭika. section_header
via surya_layout
13 [ The opinion of Kasyapa and Śārdūla] section_header
via surya_layout
14 Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly, main
via surya_layout
15 bhāṣāgīti alone is accepted in the opinion of Śārdūla. main
via surya_layout
16 (273) main
via surya_layout
17 [ The description of gītis] section_header
via surya_layout
18 Now I shall speak of the proper definition of giti. main
via surya_layout
19 (274) main
via surya_layout
20 [1. Šuddhā gīti] section_header
via surya_layout
21 The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra main
via surya_layout
22 (low), amandra (not low, medium), tāra (high)straight, attractive, equal main
via surya_layout
23 svaras and śrutis. annotation_inline
parent ligne 22
via heuristic_short
24 (275) main
via surya_layout
25 [2. Bhinnāgīti] section_header
via surya_layout
26 Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved, main
via surya_layout
27 ullāsita (made to shine upwards), prasārita (spread out), attractive, high and main
via surya_layout
28 low (svaras). annotation_inline
parent ligne 27
via heuristic_short
29 (276) main
via surya_layout

vol_I_p026 RIGHT — 24 lignes

page vol_I_p026 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 35 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 sa annotation_inline
parent ligne 12
via heuristic_height
4 n annotation_inline
parent ligne 12
via heuristic_height
5 ni annotation_inline
parent ligne 12
via heuristic_height
6 ga annotation_inline
parent ligne 12
via heuristic_height
7 dha annotation_inline
parent ligne 12
via heuristic_height
8 ma annotation_inline
parent ligne 12
via heuristic_height
9 pa annotation_inline
parent ligne 12
via heuristic_height
10 Thus ends the Samvādi-mandala. caption
via surya_layout
11 (Anu. 22) annotation_inline
parent ligne 12
via heuristic_height
12 The use of samvadin is thus- main
via surya_layout
13 The sadja that is accepted as amsa (fundamental note) in a gita (melodic main
via surya_layout
14 structure), in the place of that (if) madhyama (is used) it does not destroy the main
via surya_layout
15 rāga (melodic matrix). The location on which madhyama is used in accordance main
via surya_layout
16 with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy main
via surya_layout
17 the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, main
via surya_layout
18 they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the main
via surya_layout
19 place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly main
via surya_layout
20 niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a main
via surya_layout
21 loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with main
via surya_layout
22 ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha main
via surya_layout
23 as amía, these two (dhaivata and rṣabha) when used as being mutually related, main
via surya_layout
24 do not become the destroyers of jāti or rāga. main
via surya_layout

vol_II_p050 RIGHT — 34 lignes

page vol_II_p050 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. Gaudī giti and its component ohāțī] section_header
via surya_layout
4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
via surya_layout
5 to consist of a combination of the sound 'ha' and 'o'. main
via surya_layout
6 (277) annotation_inline
parent ligne 5
via heuristic_height
7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
via surya_layout
8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
via surya_layout
9 svara. annotation_inline
parent ligne 8
via heuristic_height
10 (278) annotation_inline
parent ligne 8
via heuristic_height
11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
via surya_layout
12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
via surya_layout
13 in the three registers. annotation_inline
parent ligne 12
via heuristic_height
14 (279) annotation_inline
parent ligne 12
via heuristic_height
15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
via surya_layout
16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
via surya_layout
17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
via surya_layout
18 the low (register) with shakes 19 of sound. main
via surya_layout
19 (280) annotation_inline
parent ligne 18
via heuristic_height
20 Gaudī gīti is said to subsist without rest in the three registers. main
via surya_layout
21 (281) annotation_inline
parent ligne 20
via heuristic_height
22 [4. Rāga giti] section_header
via surya_layout
23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
via surya_layout
24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
via surya_layout
25 delightful arrangements of svaras. main
via surya_layout
26 (282) annotation_inline
parent ligne 25
via heuristic_height
27 The rāgas (melodic configurations) are so called because the beautiful main
via surya_layout
28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
via surya_layout
29 is seen in them in its completeness. main
via surya_layout
30 (283) annotation_inline
parent ligne 29
via heuristic_height
31 [5. Sādhāraṇī gīti] section_header
via surya_layout
32 (This gīti) should be made with straight, attractive, somewhat minute and main
via surya_layout
33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
via surya_layout
34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
via surya_layout

vol_I_p028 LEFT — 27 lignes

page vol_I_p028 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDES!</b> page_header
via surya_layout
2 38 page_number
via heuristic_pagenum
3 [ अनु. २५ ] editorial_bracket
parent ligne 4
via heuristic_brackets
4 इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते main
via surya_layout
5 द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः main
via surya_layout
6 स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम main
via surya_layout
7 विवादित्वम्। विवादिमण्डलं यथा— main
via surya_layout
8 स annotation_inline
parent ligne 7
via heuristic_height
9 नि annotation_inline
parent ligne 7
via heuristic_height
10 रि annotation_inline
parent ligne 7
via heuristic_height
11 ध annotation_inline
parent ligne 7
via heuristic_height
12 4 page_number
via heuristic_pagenum
13 Ŧ annotation_inline
parent ligne 7
via heuristic_height
14 ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ editorial_bracket
parent ligne 7
via heuristic_brackets
15 ` annotation_inline
parent ligne 7
via heuristic_height
16 [ अनु. २६ ] editorial_bracket
parent ligne 7
via heuristic_brackets
17 विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान main
via surya_layout
18 25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः main
via surya_layout
19 प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो editorial_bracket
parent ligne 18
via heuristic_brackets
20 भवेत् ॥ इति षड्जग्रामे ॥ editorial_bracket
parent ligne 18
via heuristic_brackets
21 [ अनु. २७ ] editorial_bracket
parent ligne 18
via heuristic_brackets
22 इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च editorial_bracket
parent ligne 18
via heuristic_brackets
23 तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः main
via surya_layout
24 प्रदश्यते । annotation_inline
parent ligne 23
via heuristic_short
25 संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ main
via surya_layout
26 विवादिनौ । annotation_inline
parent ligne 25
via heuristic_short
27 ___ •नादनुः ____ main
via surya_layout

vol_I_p050 LEFT — 39 lignes

page vol_I_p050 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 82 page_number
via heuristic_pagenum
3 तस्माद् यत्किञ्चिद् गीयते तन्मध्यमध्वनिविशेषैः main
via surya_layout
4 कण्ठध्वनिभिर्मन्द्रतारव्यवस्थासिद्ध्यर्थमेव। main
via surya_layout
5 चतुर्विधा मया प्रोक्ता मूर्छनाः सप्तस्वरात्मिकाः। main
via surya_layout
6 द्वादशस्वरमूर्छनाः annotation_inline
parent ligne 5
via heuristic_short
7 इदानी तु प्रवक्ष्यामि द्वादशस्वरमूर्छनाः ॥११७॥ main
via surya_layout
8 90H annotation_inline
parent ligne 7
via heuristic_height
9 <sup>91</sup>ुनाम् main
via surya_layout
10 [ अनु॰ ६१ ] section_header
via surya_layout
11 तत्र मूर्छनानिर्देशः स्थानित्रतयप्राप्त्यर्थमिति वचनात्, main
via surya_layout
12 मन्द्रतारसिद्ध्यर्थमिति वचनाच्च द्वादशस्वरसम्पन्ना मूर्छना main
via surya_layout
13 द्रष्टव्याः annotation_inline
parent ligne 12
via heuristic_short
14 प्रयोगकाले। तथा चाह कोहलः -- main
via surya_layout
15 "योजनीयो बुधैर्नित्यं क्रमो लक्ष्यानुसारतः। main
via surya_layout
16 संस्थाप्य मूर्छना जातिरागभाषादिसिद्धये" ।।१२ main
via surya_layout
17 ुना annotation_inline
parent ligne 16
via heuristic_height
18 नान्दकश्वरणाप्युक्तम्- main
via surya_layout
19 “द्वादशस्वरसम्पन्ना ज्ञातव्या मूर्छना बुधैः। main
via surya_layout
20 जातिभाषादिसिद्ध्यर्थं तारमन्द्रादिसिद्धये।" main
via surya_layout
21 [ अनु₀ ६२ ] section_header
via surya_layout
22 यद्यप्याचार्यैः अप्तस्वरमूर्छनाः प्रतिपादिताः, स्थानत्रितयप्राप्त्यर्थं main
via surya_layout
23 ुदा annotation_inline
parent ligne 22
via heuristic_short
24 द्वादशस्वरैरेव मूर्छनाः प्रयुक्ताः। अन्यथा चोक्षषाडवे रिमा इति प्रयोगो main
via surya_layout
25 सा annotation_inline
parent ligne 24
via heuristic_height
26 न स्यात्। एवं च १५सति स रागः सिद्धो न स्यात्। main
via surya_layout
27 ग सिध्यान्त (२) annotation_inline
parent ligne 26
via heuristic_short
28 षाङ्जीजातौ रिगमधनि प्रयोगस्तारमन्द्रको न main
via surya_layout
29 पर्ज, annotation_inline
parent ligne 28
via heuristic_short
30 स्यात्। अन्येषामपि रागाणां नाशंकरः प्रयोगः स्यात्। तेन सरिगम [प] editorial_bracket
parent ligne 28
via heuristic_brackets
31 धन्याद्या मूर्छना धनि [ सरि ] गमपाद्याः। तद्यथा— editorial_bracket
parent ligne 28
via heuristic_brackets
32 नि अन्या annotation_inline
parent ligne 28
via heuristic_height
33 धनिसरिगमपधनिसरिग । उत्तरमन्द्रा main
via surya_layout
34 [ <sup>8</sup> ] editorial_bracket
parent ligne 33
via heuristic_brackets
35 निसरिगमपधनिसरिगम । रजनी main
via surya_layout
36 ि ३ ो annotation_inline
parent ligne 35
via heuristic_short
37 सरिगमपधनिसरिगमप । उत्तरायता main
via surya_layout
38 रिगमपधनिसरिगमपध । शुद्धषड्जा [ ४ ] editorial_bracket
parent ligne 37
via heuristic_brackets
39 गमपधनिसरिगमपधनि । मत्सरीकृता [ ५ editorial_bracket
parent ligne 37
via heuristic_brackets
153 lignes a valider — change uniquement les roles incorrects.