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 21086). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p099 LEFT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 180 page_number
via heuristic_pagenum
3 १३०सुसम्पूर्णस्वरा ह्येषा भाषा वै गीयते जनै:। main
via surya_layout
4 बाह्यषाडविका तत्र भाषा वेसरषाडवे ॥ १३८॥ main
via surya_layout
5 उदाहरणम् -मामासारिसारिगारिसासासारिमा पाधैवतधापासामागापामध्यम। गागागारिगाग- main
via surya_layout
6 सासा annotation_inline
parent ligne 5
via heuristic_height
7 गधरिमा गानिसानिसाधपामामा । बाह्यषाडवा । [१] editorial_bracket
parent ligne 5
via heuristic_brackets
8 <i>•</i>पाइवम् annotation_inline
parent ligne 5
via heuristic_height
9 षड्जांशा मध्यमन्यासा गान्धारमन्द्रभूषिता । main
via surya_layout
10 गान्धा(रं?रे) annotation_inline
parent ligne 9
via heuristic_height
11 कर्तव्या षाडवा ह्येपा <sup>१३१</sup>नादाख्या रागषाडवे ॥ १३९॥ main
via surya_layout
12 पञ्चमेन विहीना तु षाडवा सम्प्रकीर्तिता । main
via surya_layout
13 सङ्कीर्णेयं सदा ख्याता लोकानां रिञ्जका मता ॥ १४०॥ main
via surya_layout
14 लोकिनी रिज्जकामिका annotation_inline
parent ligne 13
via heuristic_height
15 उदाहरणम् - सासानिमामा सारिमामाधामामा रिगारिरिनिगासानिधामामा । नादाख्या। [२] editorial_bracket
parent ligne 13
via heuristic_brackets
16 [एते] वेसरषाडवे। editorial_bracket
parent ligne 13
via heuristic_brackets
17 भावेसर ॰ annotation_inline
parent ligne 13
via heuristic_markers
18 [१३. अथ भिन्नताने] section_header
via surya_layout
19 पञ्चमांशा तदन्ता च भिन्नताने प्रकीर्तिता । table
via surya_layout
20 ऋषभेण विहीना तु कर्तव्या गीतकोविदै: ॥ table
via surya_layout
21 साधारणा(उदा?) table
via surya_layout
22 साधारणकृता होषा भाषा <sup>१३२</sup>तानोद्भवा मता ॥ १४१॥ table
via surya_layout
23 .....[तानोद्भवा] table
via surya_layout
24 [एषा भिन्नताने] table
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25 [१४. अथ गान्धारपञ्चमे] table
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26 .....<sup>१३३</sup>[गान्धारी] table
via surya_layout

vol_II_p026 RIGHT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 35 page_number
via heuristic_pagenum
3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
via surya_layout
4 (alteration) of anisas of jātis (should be taken up). main
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5 (249) annotation_inline
parent ligne 4
via heuristic_short
6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
via surya_layout
7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
via surya_layout
8 be done in the text of vardhamāna<sup>51</sup> main
via surya_layout
9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
via surya_layout
11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
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15 (251) main
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16 [ Anu. 134 ] section_header
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17 The sixty-three amsas that have been spoken of, out of them each one has main
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18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
via surya_layout
19 created by the arrangement of different anisas) sometimes the formation of main
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20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
via surya_layout
21 up. He (the author) clarifies this itself. main
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22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
parent ligne 23
via heuristic_short
25 (252) main
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26 [ Anu. 135 ] section_header
via surya_layout
27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
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28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
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29 omission of gandhara is not there. On gandhara being amśa, it should be main
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30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
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31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
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33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
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34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
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35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
via surya_layout
36 amśa and şadjodicyavā should be known not to be şādava (through the main
via surya_layout
37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
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38 (253) main
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vol_II_p078 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 139 page_number
via heuristic_pagenum
3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
via surya_layout
4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
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5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
parent ligne 4
via heuristic_brackets
6 That which has sadja as its concluding note, madhyama as its amsa, is main
via surya_layout
7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
via surya_layout
8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
via surya_layout
9 (40) annotation_inline
parent ligne 8
via heuristic_short
10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
via surya_layout
11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
via surya_layout
12 nīsasā. Travaņodbhavā [ii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 Verañjikā should be known to have gandhāra as its amśa and weak main
via surya_layout
14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
via surya_layout
15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
via surya_layout
16 should be known (this) bhāṣā; it is said to be hexatonic. main
via surya_layout
17 <math>(41-42)</math> main
via surya_layout
18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
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19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
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20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
via surya_layout
21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
parent ligne 20
via heuristic_brackets
22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
via surya_layout
23 complete, brilliant 15 with madhyama, there being the mutual concert main
via surya_layout
24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
via surya_layout
25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
via surya_layout
26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
via surya_layout
27 (43) page_footer
via surya_layout

vol_I_p069 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 121 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
via surya_layout
4 With this prescription itself the gitis should be sung by the wise. main
via surya_layout
5 (175) annotation_inline
parent ligne 4
via heuristic_height
6 (Anu. 105) annotation_inline
parent ligne 4
via heuristic_height
7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
via surya_layout
8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
via surya_layout
9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
via surya_layout
10 on account of the use of eight-mātrā (units). main
via surya_layout
11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
via surya_layout
12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
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13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
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14 (176) annotation_inline
parent ligne 13
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15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
via surya_layout
16 (177) annotation_inline
parent ligne 15
via heuristic_height
17 (mārga). main
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18 As - table
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19 Māgadhī [-----] table
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20 Ardhamāgadhī [-----] table
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21 Sambhāvitā [-----] table
via surya_layout
22 Pythulā [-----] table
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23 (Anu. 106) annotation_inline
parent ligne 17
via heuristic_height
24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
via surya_layout
25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
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26 (Anu. 107) annotation_inline
parent ligne 25
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27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
via surya_layout
28 (are the margas). annotation_inline
parent ligne 27
via heuristic_short
29 The mātrās (to be used in them) are eight, four and two (respectively). As main
via surya_layout
30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
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31 (178) annotation_inline
parent ligne 30
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32 patitā is known to be the eighth one. main
via surya_layout

vol_II_p109 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 [Chapter V] section_header
via surya_layout
2 [Desī rāgas] section_header
via surya_layout
3 [Propitiation] section_header
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4 I make obeisance to the Devīl who bears a red hue like that of the bandhūka main
via surya_layout
5 (flower), has three eyes, wears a crest of the kalā (part) of the one having rays main
via surya_layout
6 of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight main
via surya_layout
7 of breasts that are becoming plump and elevated, is conventionally associated main
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8 with the begininning of youth, is adorned with all ornaments, has abode in main
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9 the lotus, whose body bears association with the citron fruit, whose (two) main
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10 hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands main
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11 are held in the abhaya (granting of freedom from fear) and vara (granting main
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12 of boons) gestures and who is the yoni (origin, birth-place) of the universe. main
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13 (345) annotation_inline
parent ligne 12
via heuristic_height
14 [Threefold desi ragās] section_header
via surya_layout
15 After this I shall speak of the group of desī rāgas, which embodies the main
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16 combination of practice (laksya) and theory (laksana) and is threefold4; viz. main
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17 rāgānga, bhāṣānga and kriyānga as the third one. main
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18 (346, 347) annotation_inline
parent ligne 17
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19 I shall speak of the description of each of them one after another. main
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20 (348) annotation_inline
parent ligne 19
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21 All rāgāngas are so called by the experts in music because they bear only main
via surya_layout
22 a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of. main
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23 (349) annotation_inline
parent ligne 22
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24 Bhāṣāṅgas are so called by the singers devoted to the rendering of main
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25 panegyrics because they are based on the reflection or shadow (châyā) of main
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26 bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās). main
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27 (350) annotation_inline
parent ligne 26
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28 Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of main
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29 rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. main
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30 (351) annotation_inline
parent ligne 29
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31 The set of regulations prescribed earlier for the mārga-rāgas, could main
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32 sometimes become otherwise in desī-rāgas, bhāṣās and the like. main
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33 (352) annotation_inline
parent ligne 32
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34 [Bhāṣāṅgarāgas<sup>10</sup>] editorial_bracket
parent ligne 32
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35 [1. Kacchelli] section_header
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36 Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, main
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37 has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid main
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38 of ga-dha (gāndhāra-dhaivata) and should be known to have profuse main
via surya_layout
39 movement of pa-ri (pañcama-ṛṣabha). main
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40 (353) annotation_inline
parent ligne 39
via heuristic_height
41 (vide) annotation_inline
parent ligne 39
via heuristic_height
164 lignes a valider — change uniquement les roles incorrects.