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 21083). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p050 RIGHT — 34 lignes

page vol_II_p050 RIGHT
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1 83 page_number
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2 TRANSLATION page_header
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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
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6 (277) annotation_inline
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7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
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8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
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9 svara. annotation_inline
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10 (278) annotation_inline
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11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
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12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
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13 in the three registers. annotation_inline
parent ligne 12
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14 (279) annotation_inline
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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
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17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
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18 the low (register) with shakes 19 of sound. main
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19 (280) annotation_inline
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20 Gaudī gīti is said to subsist without rest in the three registers. main
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21 (281) annotation_inline
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22 [4. Rāga giti] section_header
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23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
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24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
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25 delightful arrangements of svaras. main
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26 (282) annotation_inline
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27 The rāgas (melodic configurations) are so called because the beautiful main
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28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
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29 is seen in them in its completeness. main
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30 (283) annotation_inline
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31 [5. Sādhāraṇī gīti] section_header
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32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
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vol_II_p036 RIGHT — 36 lignes

page vol_II_p036 RIGHT
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1 55 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [8. Gändhārī] section_header
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4 Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas, main
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5 the same are amsas of gandhari. The tara extends upto five svaras. The mandra main
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6 , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid main
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7 of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete main
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8 state there is sparseness of rṣabha-dhaivata, and abundance of the remaining main
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9 ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara, main
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10 gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is main
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11 sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That main
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12 is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}< main
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13 prayoga (performance). main
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14 Thus is the performance. When it is sung with the omission of rṣabha then main
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15 while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch) main
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16 mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic main
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17 form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the main
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18 performance. Mā-pa-ri-dhā is never to be performed. main
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19 [Anu. 161] editorial_bracket
parent ligne 18
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20 This is eleven-fold. There are eleven ainsas - there is one in the suddhā main
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21 state, five in the vikṛtā complete state, four are hexatonic (and) one is main
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22 pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța main
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23 is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala main
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24 vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there main
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25 is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā main
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26 in the third act of a drama. annotation_inline
parent ligne 25
via heuristic_height
27 [9. Raktagāndhāri] section_header
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28 [Anu. 162] editorial_bracket
parent ligne 27
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29 Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas main
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30 of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra main
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31 extends up to the nyāsa or the svara next to it. The hexatonic form is devoid main
via surya_layout
32 of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the main
via surya_layout
33 paucity of rṣabha and dhaivata in the complete form. The remaining (svaras) main
via surya_layout
34 have abundance. On account of niṣāda being the amśa, its abundance is main
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35 indicated. Its non-abundance comes about on account of the stated main
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36 prescription. Dhaivata being non-aniśa, its sparseness is indicated, its main
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vol_II_p023 RIGHT — 37 lignes

page vol_II_p023 RIGHT
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1 TRANSLATION page_header
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2 29 page_number
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3 (One should move in it) from niṣāda to gāndhāra and the omission is like that main
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4 in madhyamā. annotation_inline
parent ligne 3
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5 (228-229) main
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6 The performers should know pañcama as the amsa of gandhara-pañcami; main
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7 the same (pañcama) alongwith rṣabha is apanyāsa and gāndhāra is desired to main
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8 be the <i>nyāsa</i>. main
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9 (230) annotation_inline
parent ligne 8
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10 Whatever sañcāra (to and fro movement) and the like has been said in the main
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11 case of gandhari and then pancami, that should be known also in this main
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12 (gāndhārapañcamī), but it is always with complete svaras. main
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13 (231) annotation_inline
parent ligne 12
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14 In āndhrī, şadja, madhyama and dhaivata should be known as non-amsas. Its main
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15 ṣāḍava form is devoid of ṣaḍja and gāndhāra should be its nyāsa. main
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16 (232) annotation_inline
parent ligne 15
via heuristic_short
17 In nandayanti, madhyama and pañcama should be known as the two main
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18 apanyāsas, gāndhāra is the graha and nyāsa, (and) pañcama is said to be the main
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19 ariisa. annotation_inline
parent ligne 18
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20 (233) main
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21 Its ṣāḍava form should be known as that of āndhrī, it has no auḍuva form. main
via surya_layout
22 It has sañcāra (in and around) the low rṣabha, which is also sometimes main
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23 omissible. annotation_inline
parent ligne 22
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24 (234): main
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25 ln kārmāravī, şadja, gāndhāra and madhyama are non-amsas. It has main
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26 completeness, pañcama is the nyāsa (and) there is profuse movement main
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27 towards gāndhāra. annotation_inline
parent ligne 26
via heuristic_short
28 (235) annotation_inline
parent ligne 26
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29 In kaiśikī, ṛṣabha is non-aṁśa and the two svaras composed of two śrutis each ; main
via surya_layout
30 are the nyāsas. Rṣabha and dhaivata alone are to be omitted respectively (in main
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31 the şādava and audava states). main
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32 ...................................... unknown
via fallback
33 When niṣāda and dhaivata are the aṁśas then pañcama also could become ... main
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34 the nyāsa. Ŗṣabha is the apanyāsa and some have said that it is similar to amsa... main
via surya_layout
35 (237) main
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36 , ' , annotation_inline
parent ligne 35
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37 . . . annotation_inline
parent ligne 35
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vol_II_p015 LEFT — 42 lignes

page vol_II_p015 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 12 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 [२. अंशलक्षणम्] section_header
via surya_layout
4 [अनु॰ १२०] section_header
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5 अथांश: कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्य: । यस्मिन् ३१ क्रियमाणे main
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6 अ(थवांश ख ? थांश:क) annotation_inline
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7 अंशविभाग: main
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8 न्त्रंशे annotation_inline
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9 गगाभिव्यक्तिर्भवति सोंऽश: [प्रथम:]। यस्माचा[ऽऽ] रभ्य गीतं प्रवर्तते ग्रहविकल्पित: सोंऽशो editorial_bracket
parent ligne 7
via heuristic_brackets
10 (পি?) main
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11 ३२यस्माद्वाः annotation_inline
parent ligne 10
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12 गीत: main
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13 न ग्रहस्स्वरित: (स्वं?स्वां) शो। main
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14 द्वितीय: [1] तारमन्द्राभिव्यक्तिहेतु: सोंऽशस्तृतीय: । पञ्चमस्वरारोहणं तार:, कदाचित् editorial_bracket
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15 द्वितीया main
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16 <b>॰रगारो</b>॰ annotation_inline
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17 षष्ठस्वरारोहणमपि तार:, यथा गान्धार्या: षड्जस्तार:, निध निध सा इति । यथा main
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18 णं पि annotation_inline
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19 तथा annotation_inline
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20 तारिनयामक [:] तथा मन्द्रनियामकस्वरोऽप्यंश[:] editorial_bracket
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21 सप्तस्वरावरोहणा[तु]। editorial_bracket
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22 ३३प्यांश<sup>></sup> main
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23 यथा ३४पञ्चमांशाया: षाङ्ज्या: स्वस्थाने सासासाधा इति । यश्च बहुप्रयोगतर: सोऽप्यंश: [चतुर्थ:] editorial_bracket
parent ligne 22
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24 मन्द्रांशाया: annotation_inline
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25 <sup>३५</sup>संस्थाने main
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26 पड्जा annotation_inline
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27 यो रागस्य विषयत्वेनावस्थित: स्वर: सोऽप्यंश: [पञ्चम:] <sup>३६</sup> [यश्च ग्रहापन्यास-विन्यास-संन्यास- editorial_bracket
parent ligne 25
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28 न्यासगोचरः, सोऽप्यंशः षष्ठः, सप्तमः, अष्टमः, नवमः, दशमश्च ।] editorial_bracket
parent ligne 25
via heuristic_brackets
29 [अंशलक्षणान्तर्गतम् अपन्यासलक्षणम्] section_header
via surya_layout
30 [अनु॰ १२१] section_header
via surya_layout
31 यत्र गीतमिति समाप्तमिति सम्भाव्यते, सोऽपन्यासः, सर्वविदारी-मध्यमो भवति । सा main
via surya_layout
32 च विदारी द्विविधा - गीतविदारी पदविदारी चेति । ननु विदारीशब्देन किमुच्यते ? पादानां विदारणं main
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33 ॰णा annotation_inline
parent ligne 32
via heuristic_markers
34 खण्डनमिति यावत् । ३८गीतपेशी, गीतखण्डमिति यावत् । main
via surya_layout
35 गीतकेशी annotation_inline
parent ligne 34
via heuristic_height
36 [अंशलक्षणान्तर्गतं संन्यासलक्षणम्] section_header
via surya_layout
37 [अनु॰१२२] section_header
via surya_layout
38 इदानीं संन्यासोऽभिधीयते - तत्र प्रथम-विदारीमध्ये न्यासस्वरः प्रयुक्तः संन्यासः main
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39 स न्यासोः annotation_inline
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40 राष्ट्र annotation_inline
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41 ॰क्ताः annotation_inline
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42 The state of the same of annotation_inline
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vol_I_p052 LEFT — 38 lignes

page vol_I_p052 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 86 page_number
via heuristic_pagenum
3 [ अनु₀ ६५ ] editorial_bracket
parent ligne 5
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4 यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन editorial_bracket
parent ligne 5
via heuristic_brackets
5 निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः । main
via surya_layout
6 [ अनु₀ ६६ ] editorial_bracket
parent ligne 5
via heuristic_brackets
7 यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते। main
via surya_layout
8 (वं ?) annotation_inline
parent ligne 7
via heuristic_short
9 यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम main
via surya_layout
10 गरि पम annotation_inline
parent ligne 9
via heuristic_height
11 मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा main
via surya_layout
12 इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही। main
via surya_layout
13 अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु। main
via surya_layout
14 स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥ unknown
via fallback
15 ब्दे तु annotation_inline
parent ligne 13
via heuristic_height
16 ुन् annotation_inline
parent ligne 13
via heuristic_height
17 पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम main
via surya_layout
18 प्र म्मि annotation_inline
parent ligne 17
via heuristic_height
19 मध्यम annotation_inline
parent ligne 17
via heuristic_height
20 निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर- main
via surya_layout
21 ध्(?) म्र नाद (?) annotation_inline
parent ligne 20
via heuristic_short
22 द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्- main
via surya_layout
23 शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः। main
via surya_layout
24 म् annotation_inline
parent ligne 23
via heuristic_height
25 ुगु annotation_inline
parent ligne 23
via heuristic_height
26 अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5 main
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27 [ ना. शा. २९. १७ ] editorial_bracket
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28 [ अनु₀ ६७ ] editorial_bracket
parent ligne 26
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29 ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति main
via surya_layout
30 गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य main
via surya_layout
31 निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी main
via surya_layout
32 नी annotation_inline
parent ligne 31
via heuristic_height
33 ्ता धध annotation_inline
parent ligne 31
via heuristic_height
34 oर्णा ? main
via surya_layout
35 ুজা annotation_inline
parent ligne 34
via heuristic_height
36 नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि main
via surya_layout
37 नी पधा annotation_inline
parent ligne 36
via heuristic_height
38 पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः— main
via surya_layout
187 lignes a valider — change uniquement les roles incorrects.