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 21080). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p067 LEFT — 44 lignes

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1 <b>BRHADDEŚ</b>I page_header
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2 116 page_number
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3 सरिरिस [स] रिगगरिस सरिगममगरिस सरिगमपपमगरिस editorial_bracket
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4 सरिगमपध्धपमगरिस सरिगमपधिननिधपमगरिस सरिगमपधिनस- main
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5 सनिधपमग्रिस, प्रस्तारः [ १५ ] editorial_bracket
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6 सा annotation_inline
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7 सनिनिस सनिधधनिस सनिधपपधनिस सनिधपममपधनिस main
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8 सा annotation_inline
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9 [ सनिधपमगगमपधनिस ] editorial_bracket
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10 री annotation_inline
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11 सा annotation_inline
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12 सिन्धपमगरिरिगमपधिनस सिन्धपमगरिस [ स ] रिगमपधिनस, editorial_bracket
parent ligne 7
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13 ृप्रसादः [ १६ ] editorial_bracket
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14 सरि रिग गम मप पध धनि निस सनि निध main
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15 धप पम मग गरि रिस, उद्वाहितः [ १७ ] editorial_bracket
parent ligne 14
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16 सरिसरि रिगरिंग गमगम मपमप पधपध main
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17 धनिधनि निसनिस सनिसनि निधनिध main
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18 धपधप पमपम मगमग गरिगरि रिसरिस, main
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19 उपलोलकः [ १८ ] editorial_bracket
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20 ः सरिरिस सरिगगरिस सरिगममगरिस सरिगमपपमगरिस main
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21 सरिगमपध्धपमगरिस सरिगमपधनिनिधपमगरिस सरिगमपधनिस- main
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22 सनिधपमगरिस, क्रमः [१९ ] editorial_bracket
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23 ुमाः annotation_inline
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24 सग रिम ग़प मध पनि धस, निष्कूजितः [ २० ] editorial_bracket
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25 सध annotation_inline
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26 सधसध निपनिप धमधम पगपग मरिमरि main
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27 गसगस, ह्रादमानः [ २१ ] editorial_bracket
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28 सारी गरि। री गामग। गामापम। मापाधप। main
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29 पा धा निध। धा नी सनि। रञ्जितः [ २२ ] editorial_bracket
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30 सरिगमपधनिसा। सनिधपमगरिसा। आवर्तकः, [ २३ ] editorial_bracket
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31 सरिगपपमगस्। रिगमधधपमरि। गमपनिनिधपगः। मपधससनिपमः। main
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32 सा annotation_inline
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33 मा annotation_inline
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34 មា annotation_inline
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35 गा annotation_inline
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36 [ सनिपममपधस ] निधपगगमपनि। धपमरिरिगमध। editorial_bracket
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37 धा annotation_inline
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38 मप annotation_inline
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39 (vide) annotation_inline
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40 티 annotation_inline
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41 गा annotation_inline
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42 पमगससरिगप, परिवर्तकः [ २४ ] editorial_bracket
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43 <sup>—</sup>सा <sup>-</sup> annotation_inline
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44 पा annotation_inline
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vol_II_p099 RIGHT — 22 lignes

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1 181 page_number
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2 TRANSLATION page_header
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3 Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- main
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4 mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i] editorial_bracket
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5 Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the main
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6 mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made main
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7 hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with main
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8 the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\ main
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9 delightful to the people. main
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10 <math>(139-140)</math> main
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11 Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā. main
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12 Nādākhyā [ii] editorial_bracket
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13 These two are there in vesarașādava. main
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14 13. Now the bhāṣās in bhinnatāna section_header
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15 Having pañçama as amsa and the same as the concluding note, this table
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16 sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid table
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17 of rṣabha, by the knowledgeable ones in music. table
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18 (141) table
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19 .....[Tānodbhavā] table
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20 [This one is in bhinnatāna] table
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21 [14. Bhāṣās in gāndhārapancama] table
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22 .....[Gāndhārī] table
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vol_I_p020 LEFT — 36 lignes

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1 BRHADDESI page_header
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2 22 page_number
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3 तदुक्तम्— main
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4 "कथं प्रतीतिश्च भवेदमुष्या main
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5 नादौ नभो व्याकुलितश्रुति स्यात् । main
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6 ुत्वा, । annotation_inline
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7 रा annotation_inline
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8 भवेदलक्ष्यावयवा श्रुतिस्तु main
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9 [ तेनैव ] नैवावयवा प्रतीता ।। editorial_bracket
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10 ॰वी annotation_inline
parent ligne 8
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11 ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति । main
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12 तासा भवतीताः annotation_inline
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13 ती २ annotation_inline
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14 यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥ main
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15 श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते। editorial_bracket
parent ligne 14
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16 एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥ main
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17 तस्या annotation_inline
parent ligne 16
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18 ুস্ annotation_inline
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19 मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥ main
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20 ٥٣, annotation_inline
parent ligne 19
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21 सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः। main
via surya_layout
22 [ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।। editorial_bracket
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23 ₀णः ₀न्तोऽप्या₃ annotation_inline
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24 ++++ main
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25 सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा । main
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26 ०णी तु annotation_inline
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27 स annotation_inline
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28 विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥ main
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29 भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥ main
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30 किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः । main
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31 निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥" main
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32 अत्रोच्यते- annotation_inline
parent ligne 31
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33 अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा। main
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34 ₀প্লাপ্রউন<sup>87</sup> annotation_inline
parent ligne 33
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35 गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः main
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36 118311 main
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vol_II_p055 LEFT — 26 lignes

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1 BRHADDESI page_header
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2 92 page_number
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3 [अनुः १६९] editorial_bracket
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4 अस्यार्थ: - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीजातिभ्यां editorial_bracket
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5 समुत्पन्नत्वात्। तारषड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् , main
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6 ग्रह: अंश(स्व?ध) annotation_inline
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7 चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्जादिमूर्छना। आरोही वर्णः। editorial_bracket
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8 <sup>४६</sup>प्रसन्नादिरलङ्कार:। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
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9 [शुद्धरागाणां ग्रामविभागः] section_header
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10 [अनु॰ १७०] editorial_bracket
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11 ननु एते ग्रामविशेषसम्बन्धाः, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो main
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12 कु(तो ऽ)यं annotation_inline
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13 लभ्यते । तथा चाह भरतमुनि: - ''जातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद् main
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14 गीयते लोके तत्सर्वं जातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् - main
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15 तत्सर्व annotation_inline
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16 ''षाडवो मध्यमग्रामे पञ्चम: कैशिकस्तथा । main
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17 पाडवे ककुभ् annotation_inline
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18 षड्जे साधारितश्चैव तथा कैशिकमध्यम:॥'' main
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19 [शुद्धरागाणां विनियोगः] section_header
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20 [अनु॰ १७१] editorial_bracket
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21 ननु अमी विनियोग-विशेषा: कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा editorial_bracket
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22 अ(यं ?मी) annotation_inline
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23 चाह भरत:- annotation_inline
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24 ‘‘मुखे तु मध्यमग्राम: षड्ज: प्रतिमुखे भवेत् । main
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25 गर्भे साधारितश्चैव <sup>४९</sup>ह्मवमर्शे तु पञ्चम: ॥ main
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26 ...वावमर्शे • तु annotation_inline
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vol_I_p004 RIGHT — 39 lignes

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1 <b>FOREWORD</b> section_header
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2 The eighth in the series of the Kalāmūlašāstra, research and publication main
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3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
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4 As the name suggests, it is extensive and comprehensive. This is rightly main
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5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
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6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
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7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
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8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
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9 enunciates a theory of sound, structure and composition quite distinct from the main
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10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
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11 posed many complex problems of editing and translation. While the Indira main
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12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
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13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
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14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
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15 the Sangita Ratnäkara on the other hand. main
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16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
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17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
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18 reconstructed from excerpts by later writers. This task is challenging and main
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19 requires mastery of the skills of collation and editing of a very high order. Dr. main
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20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
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21 unravelling the mysteries of the textual corpus in relation to the unbroken main
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22 traditions and the practice of Indian music has assiduously reconstructed this main
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23 text on the basis of the citations, has provided annotations, explanations and, main
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24 naturally, translation. The work is being presented in three Volumes. The first main
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25 two will present the text with a translation, notes and annotation. The third will main
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26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
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27 There has been only one printed edition of this text so far, i.e. Trivandrum main
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28 Sanskrit Series in 1928. The present editor has considered that edition and has main
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29 corrected the errors and many mutilations and confusions in that edition. main
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30 In the context of music, one of the most common and fundamental questions main
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31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
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32 emerge?". In critical literature there has been a vast body of discussions on the main
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33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
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34 makes scanty mention of the Ragas. The source of musical structure and main
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35 composition, both of Hindustani and Carnatic music, has to be traced back to main
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36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
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37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
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38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
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39 firm foundation of the system of Indian music, the text assumes great main
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167 lignes a valider — change uniquement les roles incorrects.