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 21101). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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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vol_I_p008 RIGHT — 73 lignes

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1 <b>ABBREVIATIONS</b> section_header
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2 Abhinava Bhāratī, Abhinavagupta's commentary on Nāṭya- main
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3 Abhi Bhā annotation_inline
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4 Sāstra G.O.S., Baroda edition main
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5 Anuccheda, comparable to paragraph main
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6 Anu. annotation_inline
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7 Anūpa Sangīta Ratnākara of Bhāva Bhaṭṭa main
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8 Anū Saṃ R annotation_inline
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9 Anūpa Sangīta Vilāsa of Bhāva Bhaţţa main
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10 Anū Saṃ Vi annotation_inline
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11 Aşţādhyāyī of Pāņini main
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12 Aşţā annotation_inline
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13 Bharata Kośa of M.R. Kavi main
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14 Bha Ko annotation_inline
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15 Bṛhaddeśī of Matanga Muni main
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16 BŗD annotation_inline
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17 Brhadāranyaka Upanisad main
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18 Brh Up annotation_inline
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19 Caraka Samhitā main
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20 Car Sam annotation_inline
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21 Cited reading main
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22 C.r. annotation_inline
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23 Dhrupad Annual main
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24 DA annotation_inline
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25 Dattilam main
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26 Datti annotation_inline
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27 Pt. K. Sāmbaśiva Śāstrī, editor of Bṛhaddeśi, published in main
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28 Ed. annotation_inline
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29 Anantasayana Sanskrit Granthāvali No. 94 (Trivandrum main
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30 Sanskrit Series) in 1928 main
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31 Gobhila Smrti annotation_inline
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32 Gobh Smr main
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33 Indian Music Journal main
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34 IMI annotation_inline
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35 Kalānidhi commentary of Kallinātha on Sangīta-Ratnākara main
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36 Kalā annotation_inline
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37 Kausitaki Upanisad main
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38 Kauş Up annotation_inline
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39 Literally main
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40 Lit. annotation_inline
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41 Mārkandeya Purāņa main
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42 Mark Pur annotation_inline
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43 Matsya Purāņa main
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44 Mat Pur annotation_inline
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45 Mahābhārata main
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46 <b>MBh</b> annotation_inline
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47 Mīmāṃsā Sūtra main
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48 Mim Sū annotation_inline
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49 Nāradīya-Šikṣā main
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50 Nā Śi annotation_inline
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51 Nātya Śāstra, G.O.S., Baroda edition, unless otherwise main
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52 NŚ annotation_inline
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53 indicated main
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54 Nātya Śāstra, Chaukhambha, Varanasi edition main
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55 NŚ Chau annotation_inline
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56 Nātya Sāstra, Kāvya-Mālā edition. main
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57 NS Kā Mā annotation_inline
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58 Pāṇini-Śikṣā main
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59 Pā śi annotation_inline
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60 Prem Lata Sharma main
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61 P.L.S. annotation_inline
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62 Printed text of Bṛhaddeśī, Trivandrum edition main
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63 P.t. annotation_inline
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64 Rāga Vibodha of Somanātha main
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65 Rā Vi annotation_inline
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66 Sangīta Cūdāmaņi of Jagadekamalla main
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67 Sam Cū annotation_inline
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68 Sangīta-Samaya-Sāra of Pārśvadeva main
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69 Sam S Sā annotation_inline
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70 Sangita-Ratnākara of Śārngadeva (Adyar edition) main
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71 SR annotation_inline
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72 Sangītarāja of Rāņā Kumbhā Vol. 1 main
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73 S. Raj main
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vol_II_p063 LEFT — 27 lignes

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1 BRHADDEŚĪ page_header
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2 108 page_number
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3 [घ. रागगीतिगता वेसरागीतिगता वा रागा:] section_header
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4 [अनु॰ १९०] section_header
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5 नन् वेसराणां कथं रागशब्द: प्रवर्तते ? आसोपदेशात् । तथा चाह कश्यप: - main
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6 आ(टो?प्तो)फ annotation_inline
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7 <sup>६७</sup> ‘चतुर्णामपि वर्णानां यो राग: शोभनो भवेत् । main
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8 योगा राग:+शोभना(?) annotation_inline
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9 स सर्वो दृश्यते येषु तेन रागा इति स्मृता: ॥'' main
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10 [अनु॰ १९१] section_header
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11 दुर्गशक्तिमते रागा एव वेसरा गण्यन्ते । तथा चाह दुर्गशक्ति: - main
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12 ६८‘‘स्वरा: सरन्ति यद्वेगात् तस्माद् वेसरका: स्मृता: ।’’ main
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13 दुर्गशक्तिमते वेसरषाडव एव मुख्य:, षाडवत्वेन क्रमायातत्वात् । कश्यपमते तु टक्कराग main
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14 एव मुख्य:, लक्ष्मीप्रीतिकरत्वात् । तद्यथा - main
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15 [१. टक्करागः] section_header
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16 <sup>६९</sup>षड्जांशन्याससंयुक्तष्टक्करागोऽल्पपञ्चम: । main
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17 कारणं चास्य निर्दिष्टे धैवतीषड्जमध्यमे ॥३२०॥ main
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18 कार(णा?णं चा)स्य annotation_inline
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19 [अनु॰ १९२] section_header
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20 अस्यार्थः - टक्करागः षड्जग्रामसम्बन्धः , धैवतीषड्जमध्यमासमुत्पत्रत्वात् । षड्जोऽस्य main
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21 ग्रहोंऽशश्च न्यासश्च। निषादपञ्चमयोरत्राल्पत्वम् <sup>७९</sup> निषादगान्धारावत्र काकल्यन्तरौ। पूर्णश्चायम् । main
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22 युद्धवीरेऽस्य प्रयोग: । वीराद्धुतौ रसौ । षड्जादिमूर्छना । वर्ण: सञ्चारी । प्रसन्नान्तोऽलङ्कार: । main
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23 शुद्ध annotation_inline
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24 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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25 [२. सौवीर:] section_header
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26 अंशश्च षड्जो न्यासश्च कारणं षड्जमध्यमा । main
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27 सौवीरकस्य गान्धारो निषादश्चापि दुर्बल: ॥३२१॥ main
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vol_I_p054 LEFT — 38 lignes

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1 <b>BRHADDESI</b> main
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2 90 page_number
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3 (२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः main
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4 आवर्तकः annotation_inline
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5 (२३) main
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6 (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः main
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7 (धिन ? धुतः) annotation_inline
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8 (३२) उद्गीतः (३३) गात्रवर्णश्चेति। main
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9 [ अनु₀ ७० ] editorial_bracket
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10 इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं main
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11 oसाo annotation_inline
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12 यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा main
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13 तारगति annotation_inline
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14 १ page_number
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15 नी सा इति प्रसन्नादिः। main
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16 [ अनु₀ ७१ ] editorial_bracket
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17 तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा editorial_bracket
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18 | २ | main
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19 इति प्रसन्नान्तः। annotation_inline
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20 [ अनु॰ ७२ ] editorial_bracket
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21 यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा main
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22 सरिगमधन(सा) annotation_inline
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23 [ ३ ] editorial_bracket
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24 सानी धापामागारी सा इति प्रसन्नाद्यन्तः । main
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25 निध प म गरि annotation_inline
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26 अनु₀ ७३ editorial_bracket
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27 🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा— main
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28 सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ] editorial_bracket
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29 4 page_number
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30 ग annotation_inline
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31 [ अनु₀ ७४ ] editorial_bracket
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32 स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः main
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33 श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] editorial_bracket
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34 स्व annotation_inline
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35 द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] editorial_bracket
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36 <b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b> main
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37 । ५ । annotation_inline
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38 मध्यमग्रामे annotation_inline
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vol_I_p103 RIGHT — 49 lignes

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1 VIMARŚA page_header
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2 189 page_number
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3 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that list_item
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4 whatever pattern is established in an alankāra it should be followed all-through. list_item
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5 If varna is taken to stand for syllabic unit, then the conflict and its prohibition list_item
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6 become clear. list_item
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7 118. Using an alankāra without a varņa ( melodic movement ) is a list_item
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8 contradiction in itself; here also, as above (note 117) the idea seems to be that list_item
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9 an alankāra should not be used without establishing a definite pattern. Here list_item
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10 varna as a syllabic unit does not seem to be relevant. list_item
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11 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in list_item
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12 relation to varna (the syllabic unit) have been figuratively spoken of as—(i) list_item
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13 the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it list_item
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14 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom list_item
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15 (like a flower on a creeper) and (iv) it makes the varna colourful or delightful list_item
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16 (like an ornament on a woman). list_item
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17 120. It is notable that all illustrations begin with sadja and do not extend list_item
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18 beyond the tāra şadja. list_item
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19 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. list_item
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20 Section VII ( Pada-giti ) section_header
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21 1,2,3. Giti literally means song or the act of singing, but here it stands for list_item
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22 specific pattern of singing with reference to the text of the song as manifest in list_item
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23 its syllabic units (akşara) and metre (chandas). NŠ mentions only these four list_item
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24 gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to list_item
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25 distinguish between these two types of gitis, the first type being related to the list_item
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26 rendering of text and the second type being related to the rendering of raga, we list_item
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27 have qualified the gitis under reference with pada, and the gitis of raga list_item
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28 classification will be qualified with svara or raga. list_item
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29 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means list_item
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30 descent (of svaras); here it means repetition. list_item
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31 5. Nivitta lit. means receded or held back as opposed to pravitta meaning list_item
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32 proceeded or set forth. Here it means accomplished or completed. list_item
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33 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system list_item
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34 which represent three 'degrees' of length of a given tāla-cycle, depending on list_item
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35 the duration of kalā or standard time-unit, as follows - list_item
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36 Duration of kalā section_header
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37 Name of marga section_header
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38 2 mātrās annotation_inline
parent ligne 37
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39 1. Citra main
via surya_layout
40 4 mātrās annotation_inline
parent ligne 39
via heuristic_short
41 2. Vārtika or vṛtti main
via surya_layout
42 8 mātrās annotation_inline
parent ligne 41
via heuristic_height
43 3. Daksina unknown
via fallback
44 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika main
via surya_layout
45 and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 main
via surya_layout
46 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three main
via surya_layout
47 (vide) annotation_inline
parent ligne 46
via heuristic_height
48 T 1 annotation_inline
parent ligne 46
via heuristic_height
49 (vide) annotation_inline
parent ligne 46
via heuristic_height
235 lignes a valider — change uniquement les roles incorrects.