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 21224). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p085 RIGHT — 33 lignes

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1 153 page_number
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2 <b>TRANSLATION</b> page_header
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3 Being combined with sadja as the initial and concluding note, being main
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4 complete and born of deśa (region), having concert between ṛṣabha and main
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5 șadja, the svaras comprised of two śrutis each being of sparse nature, this main
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6 ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī. main
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7 (68) annotation_inline
parent ligne 6
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8 Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī, main
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9 Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā. main
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10 Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā. main
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11 Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā main
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12 sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī. main
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13 Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā. main
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14 Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī. main
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15 Mapāgāri. Sanisāsā. Ābhīrī [vi] editorial_bracket
parent ligne 14
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16 Khañjanî has pañcama as amśa, ṣaḍja as the concluding note, is devoid of main
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17 dhaivata, there is concert between ṣaḍja and niṣāda and similarly between main
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18 madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed), main
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19 giving delight to all people. main
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20 (69) annotation_inline
parent ligne 19
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21 Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni. main
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22 Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā. main
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23 Ni. Nimanisarisagasāsā. Khanjanī [vii] editorial_bracket
parent ligne 22
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24 Having niṣāda as amśa, ṣadja as the concluding note, gurjarī is born of deśa main
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25 (region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of main
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26 madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones main
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27 in music as being complete. main
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28 (70) annotation_inline
parent ligne 27
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29 Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī. main
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30 Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā. main
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31 Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari. main
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32 Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari. main
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33 Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii] editorial_bracket
parent ligne 32
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vol_II_p077 LEFT — 32 lignes

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1 * 1 annotation_inline
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2 BRHADDEŚĪ page_header
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3 136 page_number
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4 साधारिता तृतीया तु गान्धारी च चतुर्थिका । main
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5 एवं ज्ञेयाश्चतस्रो हि भाषा: सौवीरकोद्भवा: ॥३१॥ main
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6 भाषा सैन्यविकी ज्ञेया ज्ञेया: <sup>१४</sup> main
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7 शुद्धिभन्ना तु वाराटी तथा धैवतभूषिता । main
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8 न्हो annotation_inline
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9 ক্ট annotation_inline
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10 १५विशाला च तत: प्रोक्ता भित्रपञ्चमसम्भवा: ॥३२॥ main
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11 वराटी annotation_inline
parent ligne 10
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12 माङ्गल्याख्या तु या भाषा बोट्टरागोद्भवा तु सा । main
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13 TPo annotation_inline
parent ligne 12
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14 मालवपञ्चमे जाता भाविनी लोकभाविनी<sup>र६</sup>॥३३॥ main
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15 टक्ककैशिकजा ज्ञेया मालवा <sup>१७</sup>भित्रवालिका । main
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16 तृतीया वेगमध्यमा annotation_inline
parent ligne 15
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17 तृतीया द्राविडी तत्र भाषा लक्षितलक्षणा ॥३४॥ main
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18 मालवा भित्रवालीका ++++++ annotation_inline
parent ligne 17
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19 बाह्यषाडवनादाख्ये जाते वेसरषाडवे । main
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20 •पाडनदाख्या annotation_inline
parent ligne 19
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21 तानोद्भवा तु विज्ञेया भित्रताने व्यवस्थिता ॥३५॥ main
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22 गान्धारपञ्चमे ह्येका भाषा गान्धारिका मता । main
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23 गान्धारी <sup>१८</sup>बहुगान्धारा पञ्च[मे?]लोकरञ्जिका ॥ editorial_bracket
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24 +++++ annotation_inline
parent ligne 22
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25 १९रेवगुप्ते शकाख्यैका प्रोक्ता पञ्चमषाडवे ॥३६॥ main
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26 इत्येता: प्रकटा भाषा: प्रजायन्ते ह्यनेकश: । main
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27 सोदाहरणमेतासां लक्षणं चाधुना शृणु ॥३७॥ main
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28 [भाषाणां लक्षणानि] editorial_bracket
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29 [१.अथ टकरागे] editorial_bracket
parent ligne 27
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30 मध्यमांशा तु षड्जा[न]ता पञ्चमेन विवर्जिता । editorial_bracket
parent ligne 27
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31 धैवतस्य निषादस्य <sup>२०</sup>षड्जधैवतयोस्तथा ॥३८॥ main
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32 <del>व्</del>तरेश page_footer
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1 Electric and the annotation_inline
parent ligne 4
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2 123 page_number
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3 TRANSLATION page_header
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4 [Anu. 208] section_header
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5 Its meaning is thus - Rūpasādhārita is related to şadjagrāma on account of main
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6 being born of şadjamadhyamā and niṣādavatī. Şadja is its graha and amśa. main
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7 Madhyama is the nyāsa. There is the sparseness of pañcama and ṛṣabha. main
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8 Niṣāda is kākalī here and this (rāga) is complete. It is used in vīra and karuņa main
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9 (rasas). Vīra and the like is the rasa84 The mūrchanā begininng with ṣaḍja main
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10 obtains. Arohin is the varna. Prasannamadhya is the alankāra. The kalā is main
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11 formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the main
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12 kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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13 comprised of svara and pada. main
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14 (338) main
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15 [6. Gāndhārapañcama] section_header
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16 Gāndhārapañcama isborn of gāndhārī and raktagāndhārī (jātis). Gāndhāra is main
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17 its <i>amśa</i> and <i>gāndhāra</i> alone is <i>nyāsa</i>. main
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18 [Anu. 209] section_header
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19 Itsmeaning is thus-gāndhārapañcama is related to madhyamagrāma on account main
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20 of being born of gāndhārī and raktagāndhārī jātis. Although it is born of dhaivatī main
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21 (jāti) in the opinion of Durgaśakti, yet on account of pañcama being comprised main
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22 of three śrutis, it is related to madhyama (grāma) alone in spite of being born of main
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23 jātis belonging to both the grāmas. Gāndhāra is its graha, amśa and nyāsa. With main
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24 relevance to the performer, gāndhāra may become dhaivata.85 Niṣāda is main
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25 kākalī here and this (rāga) is complete. Its application is prescribed in main
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26 adbhuta, vismaya<sup>86</sup> and hāsya (rasas). Karuṇa is the rasa<sup>87</sup> The mūrchanā main
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27 beginning with gāndhāra obtains. Sañcārin is the varņa. Prasannamadhya is main
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28 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
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29 the vārtika(mārga) and the kalā prevails in the citra (mārga). A tāla like main
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30 caccatputa obtains in the songs comprised of svara and pada. main
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31 [7.Şadjakaisika] section_header
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32 *************** annotation_inline
parent ligne 31
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33 [8. Pañcamaṣāḍava] section_header
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34 Pañcamaṣāḍavaisborn of dhaivatī and ārṣabhī jātis. It is combined with ṛṣabha main
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35 as the amśa and madhyama alone is the nyāsa. main
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36 (339) main
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1 181 page_number
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2 VIMARŚA page_header
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3 is also used. This is how the distinction brought about by mandra and tara could be main
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4 understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. main
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5 48. 'Sukha' has been translated here as convenience or it could be rendered main
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6 as facility. The facility of the performer and listener is said here to be the main
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7 objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have main
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8 the reading 'nānātva' which means variety of mūrchanā and tāna, but since our main
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9 author has tried to distinguish between murchana and tana, we have accepted main
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10 the reading anyatvam which means distinction (see note 78 under textual notes main
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11 on the section ). In NS mūrchanā-tāna is also a compound name for the 84 main
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12 tānas. BṛD does not use this compound and emphasises the distinction between main
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13 the two; viz. mūrchanā and tāna. main
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14 Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and main
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15 said that the variety of murchana and tana accords facility to the performer by main
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16 making possible the use of three sthanas (registers) and also the omission of main
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17 svaras (according to a specific system as embodied in the 84 tanas). The main
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18 distinction between murchana and tana brought out in the reading accepted by main
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19 us could be construed to mean that mūrchanā as a complete scale in ascending main
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20 and descending establishes the three sthanas and tana (involving omission) main
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21 establishes a specific pattern in ascent. It is interesting to note that even today main
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22 omission of one or two svaras is very effective in the ascent in all those ragas main
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23 that involve omission in ascent and use the omitted svaras in descent. ( see main
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24 glossary) main
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25 49. Since specific omissions are prescribed for the two grāmas, tāna the result list_item
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26 of this specific omission could be said to be the distinguishing feature between list_item
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27 the jātis and rāgas of one grāma and the other. list_item
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28 50. This applies to kūļa-tāna where permutation and combination is involved and list_item
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29 definite numbering of each variety is effected. Retrieving the number of a given tana list_item
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30 (arrangement of a given number of svaras) and retrieving the form of a tana whose list_item
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31 number alone is given is known as uddista and nasta respectively. (see glossary) list_item
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32 51, 52. The word tāna-prayoga is being used here to convey two things—in list_item
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33 the first instance the number of tanas (permutation of a given number of list_item
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34 svaras ) is implied and in the second instance the number of svaras constituting list_item
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35 the specific tāna (combination of svaras) is implied. list_item
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36 53, 54, 55 & 56. Krama is a combination of svaras where the original order list_item
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37 remains intact and uthrama is a permutation where the original order is list_item
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38 changed. The method of obtaining the number of kramas and utkramas of a list_item
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39 given-number of svaras is like this—multiply the earlier numbers of a given list_item
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40 number, without leaving any number in-between. For example if the number of list_item
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41 svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and list_item
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42 uthramas taken together; the last number of this series viz. 6 is the number of list_item
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43 kramas and the remainder viz. 714 is the number of utkramas. list_item
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44 57. 'Māna' could stand here for the measure (length, breadth and the like) of the list_item
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45 viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI, list_item
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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
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4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
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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
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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
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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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180 lignes a valider — change uniquement les roles incorrects.