Calibration 2g.6

Role	Definition	Exemple Brihaddesi
main	Vers principal du texte (le contenu canonique de l'ouvrage)	धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inline	Commentaire interligne en petits caracteres (variante manuscrite, glose)	मत्सरी / अङ्धी / ₹क
editorial_bracket	Ajout editorial entre crochets [...] OU note avec marqueur ° / ॰	[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnote	Note de bas de page (au bas de la page, separee du texte)	<sup>१३५</sup>षाडवा:
page_header	En-tete de page (titre du livre, en haut)	BRHADDESI
page_footer	Pied de page (texte au bas, sous le contenu)	(texte de pied de page)
page_number	Juste le numero de page, isole (en haut ou en bas)	181 / 70 / 46
section_header	Titre d'une section ou sous-section dans la page	[२. आर्षभी]
caption	Legende d'une figure ou tableau	Fig. 1 : svaramaṇḍala
list_item	Item d'une liste enumere	1. ... 2. ... 3. ...
table	Ligne d'un tableau de donnees	(colonnes alignees)
verse_number	Numero de verset isole (souvent entre dandas)	॥१९०॥ / ॥७८॥
unknown	Non classe (l'algo n'a pas su decider)	—

5 demi-pages random (seed 21141). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p055 LEFT — 26 lignes

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

vol_II_p034 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚÏ	page_header via surya_layout
2	50	page_number via heuristic_pagenum
3	पञ्चस्वरपरा तारगति: । न्यासपरस्तत्परो वा मन्द्र: ।	main via surya_layout
4	<b>(</b>Y)	annotation_inline parent ligne 3 via heuristic_height
5	[अनु॰ १५३]	editorial_bracket parent ligne 3 via heuristic_brackets
6	गान्धारादिमूर्छना । तालश्चच्चत्पुट: । दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।]	editorial_bracket parent ligne 3 via heuristic_brackets
7	चतुष्यष्टिः	annotation_inline parent ligne 3 via heuristic_height
8	चित्रेऽष्टौ । दशविधत्वं चास्या: । दशांशा: - शुद्ध:, त्रयो विकृता: पूर्णा[:, त्रय: षाडवा:, त्रय	editorial_bracket parent ligne 3 via heuristic_brackets
9	शुद्धास्त्रयो	annotation_inline parent ligne 3 via heuristic_height
10	औडुवाश्चेति] । रसश्च करुण: । ध्रुवागाने प्रथमप्रेक्षणके विनियोग: ।	editorial_bracket parent ligne 3 via heuristic_brackets
11	[५. षड्जकैशिकी]	section_header via surya_layout
12	[अनु॰ १५४]	editorial_bracket parent ligne 11 via heuristic_brackets
13	षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च । पञ्चस्वरपरस्तार: ।	editorial_bracket parent ligne 11 via heuristic_brackets
14	न्हाः	annotation_inline parent ligne 11 via heuristic_height
15	न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च । धैवतनिषादमध्यमानामल्पत्वम् ।	main via surya_layout
16	- ऋषभस्याल्पतरत्वम्,	annotation_inline parent ligne 15 via heuristic_height
17	थैवतनिषादग्रहा । मध्यमानामल्पत्वम्	annotation_inline parent ligne 15 via heuristic_height
18	शेषाणां बहुत्वम् , न्यासस्तु गान्धार: । षड्जनिषादपञ्चमा अपन्यासाश्च ।	main via surya_layout
19	(ना ? न्या)सस्तु गा(मागा ? न्या)रः ।	main via surya_layout
20	्याः अष्टधैव	annotation_inline parent ligne 19 via heuristic_height
21	[अनु॰ १५५]	editorial_bracket parent ligne 19 via heuristic_brackets
22	नास्याः शुद्धत्वम् , अंशकाः पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीतिः,	main via surya_layout
23	अस्याः शुद्धत्वमंशकाः पूर्णाश्चन्यत्पुटस्तालः	main via surya_layout
24	द्विकले वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला । रसश्च करुण: । प्रथमप्रवेशगीते	main via surya_layout
25	द्वितीयप्रेक्षणके विनियोग:।	main via surya_layout
26	[६. षड्जोदीच्यवा]	section_header via surya_layout
27	[अनु॰ १५६]	editorial_bracket parent ligne 26 via heuristic_brackets
28	षङ्जोदीच्यवायाः षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो	main via surya_layout
29	्य ? च्यू)<br>वा मन्द्र: । ऋषभहीनं षाडवम्, ऋषभपञ्चमहीनमौडुवितम् ।	main via surya_layout
30	<sup>१५२</sup>पूर्णावस्थायामृषभ-	main via surya_layout

vol_I_p004 RIGHT — 39 lignes

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

vol_I_p104 RIGHT — 66 lignes

L#	Texte OCR	Role auto
1	VIMARSA	page_header via surya_layout
2	191	page_number via heuristic_pagenum
3	30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about	main via surya_layout
4	by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative	main via surya_layout
5	predominance of gita and vādya has been viewed here alongwith temporal	main via surya_layout
6	factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101	main via surya_layout
7	( prose portion not commented upon by Abhinavagupta and put by the editor	main via surya_layout
8	within square brackets) and in S R VI, 168-170 as others' opinion. The	main via surya_layout
9	following correspondences have been indicated in the above passages in NS and	main via surya_layout
10	S R; BrD is in agreement with them here.	main via surya_layout
11	Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in	main via surya_layout
12	note 20 above ). (The prose passage of NS referred to above does use the word	main via surya_layout
13	graha).	main via surya_layout
14	Vytti	table via surya_layout
15	<b>Git</b>i	table via surya_layout
16	Mārga	table via surya_layout
17	Yati	table via surya_layout
18	Pāņi or	table via surya_layout
19	Avayava	table via surya_layout
20	Laya	table via surya_layout
21	Graha	table via surya_layout
22	Citrā	table via surya_layout
23	Māgadhi	table via surya_layout
24	Citrā	table via surya_layout
25	Druta	table via surya_layout
26	Samā	table via surya_layout
27	Uparipāņi	table via surya_layout
28	Ogha	table via surya_layout
29	Sambhāvitā Vārtika	table via surya_layout
30	Vytti	table via surya_layout
31	Madhya	table via surya_layout
32	Srotogatā Sama	table via surya_layout
33	Anugata	table via surya_layout
34	Daksiņā Pythulā	table via surya_layout
35	Vilambita	table via surya_layout
36	Daksina	table via surya_layout
37	Gopucchā Avapāņi	table via surya_layout
38	Tattva	table via surya_layout
39	32. Tāla is the structured cycle for time-measure in music and dance, here	list_item via surya_layout
40	this word seems to have been used in the general sense of the variable factors	list_item via surya_layout
41	that operate tāla, like mārga, yati, laya etc.	list_item via surya_layout
42	33. Laya lit. means merging; the rest or pause immediately following an	list_item via surya_layout
43	action is laya. The duration of a kriyā is determined by laya i.e. by the pause or	list_item via surya_layout
44	intervening time between one kriyā (action) and another. Druta (fast),	list_item via surya_layout
45	madhya (medium) and vilambita (slow) are the three layas that are	list_item via surya_layout
46	progressively double, each succeeding laya being double of the preceding one	list_item via surya_layout
47	i.e. the rest or pause is double and hence the tempo is slower.	list_item via surya_layout
48	34. Yati is the order of the use of laya in a given piece. Either the laya	list_item via surya_layout
49	remains constant all-through, that is samā yati, or it proceeds from fast to slow,	list_item via surya_layout
50	that is gopucchā yati or from slow to fast, that is srotogatā yati.	list_item via surya_layout
51	35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor	list_item via surya_layout
52	or manifested.	list_item via surya_layout
53	36. See note 34 above.	list_item via surya_layout
54	37. See note 33 above.	list_item via surya_layout
55	38. Uparipāņi is equated with anāgata graha ( see note 20 above ).	list_item via surya_layout
56	39. Ogha is one of the three types of gitanuga vadya (instrumental	list_item via surya_layout
57	rendering that follows 'song'). When the instrument uses profuse strokes for	list_item via surya_layout
58	each unit of 'song' or melody that is ogha.	list_item via surya_layout
59	40. See note 34 above.	list_item via surya_layout
60	41. See note 33 above.	list_item via surya_layout
61	42. Samapāņi is equated with sama graha. ( see note 20 above )	list_item via surya_layout
62	43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It	list_item via surya_layout
63	follows the song or melody, which means that it is not perfectly identical with	list_item via surya_layout
64	the latter.	list_item via surya_layout
65	44. See note 34 above.	list_item via surya_layout
66	45. See note 33 above.	list_item via surya_layout

vol_II_p139 LEFT — 59 lignes

L#	Texte OCR	Role auto
1	grantening to the property of the	annotation_inline parent ligne 5 via heuristic_height
2	262	page_number via heuristic_pagenum
3	260	page_number via heuristic_pagenum
4	BRHADDEŚĪ	page_header via surya_layout
5	शुद्धपङ्	main via surya_layout
6	line of verse 305 also appears in p. t. within this portion, but it has been	main via surya_layout
7	omitted in order to avoid unnecessary repetition. Reconstruction based on	main via surya_layout
8	Kalā on SR. II.2.23-26, p.25.	main via surya_layout
9	54. c.r. in ibid.	annotation_inline parent ligne 8 via heuristic_short
10	55. cf.c.r. in ibid. विवादी चानुवादी च गृहीत: स्यादित्यनुपङ्ग: । शुद्धपाडवापेक्षया	main via surya_layout
11	भित्रपड्जभित्रपञ्चमयोः स्वरप्रयोगभेदात् स्वरभित्रम् ।	main via surya_layout
12	C. r. in ibid.	annotation_inline parent ligne 11 via heuristic_short
13	56. P.t. repeats ' şadjaḥ (?) '.	main via surya_layout
14	57. Reconstruction attempted in the closest possible approximation	main via surya_layout
15	to the confused reading of p.t.	main via surya_layout
16	भित्रपड्जो मानदैन्ये चैकान्ताजीवितस्य च ।	main via surya_layout
17	58. cf.	main via surya_layout
18	मन्यन्ते र	unknown via fallback
19	C.r. in Abhi. Bhā .XXIX. 9, p. 69.	main via surya_layout
20	ग्राममूर्छन	unknown via fallback
21	59. cf.	main via surya_layout
22	प्रसन्नान्तविभूषित: ।	main via surya_layout
23	SR 11.2.80b.	annotation_inline parent ligne 22 via heuristic_short
24	60. cf.(i)	main via surya_layout
25	चतुःश्रुतिस्वरं यत्र भिनक्ति (ति)त्रिश्रुतिस्वराः (रः)।	main via surya_layout
26	तथाहि तैः	annotation_inline parent ligne 25 via heuristic_short
27	अधिष्ठानं स एव स्याच्छुतिभिन्न: स मन्यते ॥	main via surya_layout
28	SamSi Bhā Ka, p. 33.	main via surya_layout
29	एवायामार	annotation_inline parent ligne 28 via heuristic_height
30	चतुःश्रुतिः स्वरो यत्र भिन्नो द्विश्रुतिको भवेत् ।	main via surya_layout
31	(ii)	annotation_inline parent ligne 30 via heuristic_short
32	<b>द्विश्रुति</b>प्यां	main via surya_layout
33	गान्धारो द्विश्वतिश्चैव श्रुतिभिन्न: स उच्यते ॥	main via surya_layout
34	इत्याचार्यद्व	unknown via fallback
35	इति भित्रतानरागे हि पङ्जस्य श्रुतिद्वयं गृह्मति निषादः । श्रुतिपूर्वन्यायेन पङ्जोऽपि चतुःश्रुतिरित्युच्यते, गान्धारस्तु	main via surya_layout
36	श्रुतिभिन्नत्वम् ।	annotation_inline parent ligne 35 via heuristic_short
37	8	page_number via heuristic_pagenum
38	C.r. in Kalā on SR II.2.23-26, p.26.	main via surya_layout
39	61. cf. (i)	annotation_inline parent ligne 38 via heuristic_short
40	मध्यमापञ्चमीजातः पञ्चमांशग्रहोऽल्परिः॥	main via surya_layout
41	8	page_number via heuristic_pagenum
42	रिहीनो वा मध्यमान्तो मध्यमाल्प: सकाकली ।	main via surya_layout
43	SR II. 2.35 c-36 b.	annotation_inline parent ligne 42 via heuristic_short
44	विहीन ऋषभेणाधो ऋषभाल्पतया युत:।	main via surya_layout
45	(ii)	annotation_inline parent ligne 44 via heuristic_short
46	मध्यमस्वरविश्राम: स्वल्पमध्यमकोऽथवा ॥	main via surya_layout
47	निषाददुर्वल: प्रोक्तो भवानीपतिदैवत: ॥	main via surya_layout
48	अत्र यद्गदितं तज्ज्ञैर्दुर्वलत्वं निषादिन: ।	main via surya_layout
49	तद्धेतुजातिजं चिन्त्यं रिदीर्बस्यं पुनर्व्धै:॥	main via surya_layout
50	तथाहि तैरा	annotation_inline parent ligne 49 via heuristic_short
51	S Rāj II.2.I.280, 282 cd, 283.	main via surya_layout
52	62. Verse 313 in our text mentions rṣabha and niṣāda as sparse,	main via surya_layout
53	whereas here in the prose portion madhyama and niṣāda are so mentioned.	main via surya_layout
54	SR mentions ṛṣabha and madhyama and S.Rāj mentions ṛṣabha, madhyama and	main via surya_layout
55	1	page_number via heuristic_pagenum
56	niṣāda. (See extracts in note 60).	main via surya_layout
57	63. cf.	annotation_inline parent ligne 56 via heuristic_short
58	धैवतीपड्जमध्याभूः स्वल्पपञ्चमसप्तमः ।	main via surya_layout
59	(vide)	annotation_inline parent ligne 58 via heuristic_height

220 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p055 LEFT — 26 lignes

vol_II_p034 LEFT — 30 lignes

vol_I_p004 RIGHT — 39 lignes

vol_I_p104 RIGHT — 66 lignes

vol_II_p139 LEFT — 59 lignes