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 21110). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 BRHADDESI page_header
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2 118 page_number
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3 सरिमपपमरिस । रिगपधधपगरि । गमधनिनिधमग । main
via surya_layout
4 मपनिससनिपम। सनिपममपनिस। निधमगगमधनि। main
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5 धपगरिरिगपध। पमरिससरिमप। उद्घट्टितः [ २५ ] editorial_bracket
parent ligne 4
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6 सिरिग्। रिग्म। गमप्। मप्ध। पधनि। धनिस। सनिध। निधप। धपम। main
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7 पमग्। मगरि। गरिस। आक्षिप्तकः [ २६ ] editorial_bracket
parent ligne 6
via heuristic_brackets
8 सगमा मरिसा। रिमपा पगरी। गपधा धमगा। main
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9 मधनी निपमा। पनिसा सधपा। धनिसा। सधपा पनिसा। main
via surya_layout
10 निपमा मधनी। धमगा गपधा। पगरी रिमपा। main
via surya_layout
11 मरिसा सगमा। गरिसा। सम्प्रदानमः [ २७ ] editorial_bracket
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12 。नम् annotation_inline
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13 सगम मरिस। रिमप पगरि-- - - - - - - unknown
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14 VII [ पदगीतिप्रकरणम् ] section_header
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15 अलङ्कारा मया प्रोक्ता यथावन्मुनिसत्तम main
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16 1अथ गीतिं प्रवक्ष्यामि छन्दोऽक्षर- [ समन्विताम् ] ॥१७०॥ editorial_bracket
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17 प्रथमा मागधी जेया द्वितीया चार्धमागधी । main
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18 सम्भाविता तृतीया च चतुर्थी पृथुला स्मृता ॥१७१॥ main
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19 थित्रिर्निवृत्ता च या गीतिः सा गीतिर्मागधी स्मृता । main
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20 अर्धकालनिवृत्ता च विज्ञेया त्वर्धमागधी ॥१७२॥ main
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21 सम्भाविता च विज्ञेया गुर्वक्षरसमन्विता । main
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22 पृथुलास्या च विज्ञेया लघ्वक्षरसमन्विता ॥१७३॥ main
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23 [ अनु₀ १०४ ] editorial_bracket
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24 दक्षिणे मार्गे पृथुला गीति [:], वार्तिक मार्गे सम्भाविता, चित्रे मार्गे editorial_bracket
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25 र्मा. annotation_inline
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26 <b>,</b>† annotation_inline
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27 र्गा annotation_inline
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28 मागधी । अष्टौ ३ मात्रा [ दक्षिणमार्गे, चतस्रो मात्रा editorial_bracket
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29 .धिः annotation_inline
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30 वार्तिकमार्गे, द्वे मात्रे चित्रमार्गे ] कलाप्रयोगक्रमेण । editorial_bracket
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31 ⁴ताल. annotation_inline
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32 चित्रे चैककले ताले विज्ञेया गीतिर्मागधी । main
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33 वार्तिक द्विकले ज्ञेया गीतिः सम्भाविता बुधैः ॥१७४॥ unknown
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34 .ला annotation_inline
parent ligne 32
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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
parent ligne 4
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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
parent ligne 21
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25 सध annotation_inline
parent ligne 21
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26 सधसध निपनिप धमधम पगपग मरिमरि main
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27 गसगस, ह्रादमानः [ २१ ] editorial_bracket
parent ligne 26
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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
parent ligne 28
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30 सरिगमपधनिसा। सनिधपमगरिसा। आवर्तकः, [ २३ ] editorial_bracket
parent ligne 28
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31 सरिगपपमगस्। रिगमधधपमरि। गमपनिनिधपगः। मपधससनिपमः। main
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32 सा annotation_inline
parent ligne 31
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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
parent ligne 31
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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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1 TRANSLATION page_header
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2 5 page_number
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3 and andhri and nandayanti and karmaravi and then kaisiki, thus should be main
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4 known the eleven (jātis) based on madhyamagrāma. main
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5 <math>(189 - 190)</math> main
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6 [Thus end the eleven jātis based on madhyamagrāma] editorial_bracket
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7 [ sādhāraņakṛtā jātis ] section_header
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8 Three jatis should be known by the wise to be sadharanakṛtā (those in main
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9 which the use of sādhāraṇa svaras is prescribed) viz., madhyamā, pañcamī and main
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10 similarly <i>şadjamadhyamā</i>. main
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11 (191) annotation_inline
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12 Thus ends the number and nomenclature of jātis. main
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13 [2. The śuddhā, vikṛtā and samsargajā vikṛtā jātis] section_header
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14 [Anu. 115] section_header
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15 Out of these eighteen jātis the seven bearing the names of (seven) svaras main
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16 are spoken of as being twofold - suddhās and vikṛtās. The suddhās are devoid main
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17 of the omission of notes and have their anisa, graha, nyāsa and apanyāsa on main
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18 their own svara, i.e. the svara from which each of them derives its respective main
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19 name. They assume the name vikṛtā on account of the alteration obtaining main
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20 in them through an alteration in respect of one, two or many lakṣaṇas main
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21 (characteristics) out of the above lakṣaṇas(characteristics of their śuddha main
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22 1002 472 7 unknown
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23 form), excepting nyāsa4 (which is not altered). main
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24 [Anu. 116] section_header
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25 Out of these (lakṣaṇas) he (the author) spoke (speaks) about the main
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26 日本が一次の後の日の行人の行うのできるというますが、まるは、大利の大利の人の自己となりから unknown
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27 prescription of nyāsa. There in the prescription of nyāsa, the nyāsa which is main
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28 the svara from which the respective jāti derives its name, is, as a rule, low main
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29 (mandra) in the jātis that are śuddhā (unaltered). In the vikṛtā (jātis) the main
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30 nyāsa on the note from which the respective jāti derives its name, is either main
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31 tāra (high) or mandra (low); thus there is no rule. main
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32 [Anu. 117] section_header
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33 Thus the śuddhā jātis have a twofold<sup>5</sup> form, viz., the original (unaltered) main
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34 and the altered state. The eleven jātis have only an altered state because they main
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35 are born of the vikṛtā varieties (of śuddhā jātis); they do not have an main
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36 unaltered state. Why is that so? They are born of mutual blending. main
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37 Similarly has said Bharata - main
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38 ر<br>د د د د د د د د د د د د د د د د د د د unknown
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vol_II_p060 LEFT — 26 lignes

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1 102 page_number
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2 BRHADDEŠĪ page_header
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3 [अनु॰ १८३] editorial_bracket
parent ligne 5
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4 [ अस्यार्थ:- ]चतुःश्रुतेः पञ्चमस्य यदा श्रुतिद्वयं गृह्णाति निषादः तदासौ श्रुतिभिन्नोऽभिधीयते। editorial_bracket
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5 ननु मध्यमग्रामे पञ्चमस्य त्रिश्रुतिकत्वात् कथं श्रुतिद्वयं गृह्णाति निपाद:? main
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6 उच्यते । annotation_inline
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7 (fa) annotation_inline
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8 भूतपूर्वन्यायेन चतुः श्रुतिरुच्यते । यथा भित्रकैशिकरागे त्रिश्रुतिपञ्चमस्य च[तुः] श्रुतित्वमाश्रित्य लोपः editorial_bracket
parent ligne 5
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9 कृतः पड्जग्रामे, एवमत्रापि भविष्यतीति न दोषः । लक्षणं चास्य तद्यथा - main
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10 [५. भिन्नतान:] editorial_bracket
parent ligne 9
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11 <sup>६र</sup>तानस्तु मध्यमन्यासः पञ्चमांशोऽल्पसप्तमः । main
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12 मध्यमापञ्चमीजात्योर्ऋषभेण तु दुर्बल: ॥ ३१३॥ main
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13 [अनु॰ १८४] editorial_bracket
parent ligne 12
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14 अस्यार्थः - भिन्नतानो मध्यमग्रामसम्बन्धः मध्यमापञ्चमीजात्युत्पन्नत्वात् । main
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15 पञ्चमो annotation_inline
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16 भित्रनासिका(?) annotation_inline
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17 ग्रहोंऽशश्च। मध्यमो न्यास:। मध्यमनिषादयोरल्पत्वम् [?]<sup>६२</sup>। निषादोऽत्र काकली। पूर्णश्चायम editorial_bracket
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18 प्रौढकरुणेऽस्य प्रयोग:। पञ्चमादिमूर्छना।सञ्चारी वर्ण:।प्रसन्नादिरलङ्कार;।दक्षिणे कला, वार्तिके main
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19 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
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20 [भिन्नरागाणां ग्रामविभागः] section_header
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21 [अनु॰ १८५] editorial_bracket
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22 भित्रानां ग्रामविभागस्तु काश्यपेनोक्त:। तथा च - main
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23 ‘‘भित्रषड्जस्तु षड्जे स्याद् भिन्नकैशिकमध्यम:। main
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24 पञ्चम: कैशिकस्तानो मध्यमग्रामसंश्रित: ॥'' main
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25 <b>ल्स्ता</b>ने annotation_inline
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26 इति भित्रा: समाख्याता गौडकाञ् शृणु साम्प्रतम् ॥ ३१४॥ main
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1 VIMARŚA main
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2 169 page_number
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3 6, 7. The author seems to be speaking of svara at the same level at which list_item
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4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
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32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
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33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
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36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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186 lignes a valider — change uniquement les roles incorrects.