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)	—

vol_I_p005 RIGHT — 39 lignes

L#	Texte OCR	Role auto
1	INTRODUCTION	section_header via surya_layout
2	Bṛhaddeśi and more so its Puranic author Matanga Muni have been well	main via surya_layout
3	known in Sangītasāstra for more than one millenium. The text has been	main via surya_layout
4	profusely quoted in texts of Sangītaśāstra upto the 17th century. But for two or	main via surya_layout
5	three centuries it had gone into oblivion. There was no access to it in the	main via surya_layout
6	nineteenth century and the first quarter of the present century, until Pt. K.	main via surya_layout
7	Sāmbaśiva Śāstrī edited and published it in the Anantaśayana Granthāvalī No. 94	main via surya_layout
8	(Trivandrum Sanskrit Series) in 1928. The following excerpts from his	main via surya_layout
9	introduction would throw light on the MSS retrieved by him.	main via surya_layout
10	"I would add, before concluding, that the present work though incomplete	main via surya_layout
11	has been published on account of its rare merit and that the manuscript of this	main via surya_layout
12	work was Travancore's contribution to the exhibition held at the All India	main via surya_layout
13	Conference of Scholars and Artists at Indore in 1921.	main via surya_layout
14	"The edition of the work is based on two palm-leaf manuscripts in Malayalam	main via surya_layout
15	characters obtained from the poonjar Raja, North Travancore. One of these	main via surya_layout
16	manuscripts marked as ka is exceedingly worn out; it is about four centuries old	main via surya_layout
17	and wanting in the first leaf as well as four leaves from the 41st. The other	main via surya_layout
18	manuscript marked as kha is fragmentary, ending with a portion of the	main via surya_layout
19	Jātiprakaraņa*.	annotation_inline parent ligne 18 via heuristic_height
20	"The work ends abruptly saying इदानीं कथियध्यामि बाह्यस्य निर्णयो यथा (p. 154) and so we	main via surya_layout
21	conclude that there are subsequent parts of the text yet to be discovered."	main via surya_layout
22	The text, available to Pt. K. Sāmbaśiva Śāstrī, is incomplete and it has not	main via surya_layout
23	been possible to discover another manuscript in the last seventy years, that	main via surya_layout
24	could accord access to the complete text.	main via surya_layout
25	In 1980 I suggested to my student Sri Anil Bihari Beohar to take up a critical	main via surya_layout
26	study of Brhaddesi including reconstruction of the text on the basis of citations	main via surya_layout
27	or references available in various texts from Abhinava-Bhāratī of Abhinavagupta	main via surya_layout
28	to Rāga-Vibodha of Somanātha. He took up this subject for his doctoral research	main via surya_layout
29	and started collecting and collating citations and references. As his supervisor,	main via surya_layout
30	I continued to struggle and grapple with the problems of reconstruction of the	main via surya_layout
31	text on the basis of the material collected by him, in collation with the	main via surya_layout
32	Trivandrum edition. Sri Beohar was awarded the Ph.D. degree in 1986. Almost	main via surya_layout
33	immediately after this Dr. Kapila Vatsyayan, Member Secretary of the Indira	main via surya_layout
34	Gandhi National Centre for the Arts, New Delhi, conceived the publication of	main via surya_layout
35	a series of Kalāmūlaśāstra (Fundamental Texts on the Arts). It was decided that	main via surya_layout
36	so far as Sangītasāstra was concerned, Dattilam and Brhaddesī should be in the	main via surya_layout
37	first priority.	annotation_inline parent ligne 36 via heuristic_height
38	*We have recorded the reading of these two MSS on the testimony of the editor of the	footnote via surya_layout
39	Trivandrum edition referring to them as MS A and MS B for ka and kha respectively.	footnote via surya_layout

vol_I_p025 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	33	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	(Anu. 18)	annotation_inline parent ligne 4 via heuristic_height
4	But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22	main via surya_layout
5	svaras? Truly has this been said. These have been accepted because of their	main via surya_layout
6	uncommonness. Their uncommonness is because of their movement in upward	main via surya_layout
7	sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of.	main via surya_layout
8	But .... this is said to be only a sign 24 (by convention), that is to say, (the names	main via surya_layout
9	of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas	main via surya_layout
10	(teachers).	annotation_inline parent ligne 9 via heuristic_height
11	[The fourfold-ness of svaras according to kinds beginning with vadin ]	editorial_bracket parent ligne 9 via heuristic_brackets
12	(Anu. 19)	section_header via surya_layout
13	Now I show the fourfold-ness of svaras, that befits the occasion or context.	main via surya_layout
14	That is thus -	annotation_inline parent ligne 13 via heuristic_height
15	Vādin 26 is so because of vadana 27 (speaking), like the master. The	main via surya_layout
16	saṃvādin<sup>28</sup> is so because of saṃvadana<sup>29</sup> (supportive speaking), like the minister.	main via surya_layout
17	The anuvādin<sup>50</sup> is so because of anuvadana<sup>51</sup> (following or obedient speaking)	main via surya_layout
18	like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking),	main via surya_layout
19	like the enemy.	annotation_inline parent ligne 18 via heuristic_height
20	(Anu. 20)	section_header via surya_layout
21	But vadana and the like are the nature (dharma) of living beings, how are they	main via surya_layout
22	possible in insentient svaras? Truly has this been said. Vadana is here intended to	main via surya_layout
23	mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana	main via surya_layout
24	and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras	main via surya_layout
25	are only seven. That vādin should be understood as tenfold like the amśa.57 The	main via surya_layout
26	vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni.	main via surya_layout
27	(Anu. 21)	section_header via surya_layout
28	The samvadins should again be understood according to the interval of	main via surya_layout
29	thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the	main via surya_layout
30	two svaras concerned, in terms of number of śrutis). What indeed is that	main via surya_layout
31	samuāditua? The carrying forward or accomplishment<sup>59</sup> of the rāgatua of rāga	main via surya_layout
32	1	page_number via heuristic_pagenum
33	produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The	main via surya_layout
34	samvādi-mandala is thus —	main via surya_layout

vol_II_p094 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	171	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Combined with dhaivata as the initial and concluding note, complete,	main via surya_layout
4	delightful to the people, having concert between dhaivata - niṣāda and ṣadja-	main via surya_layout
5	gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full	main via surya_layout
6	of rasa and is also dear to the deity. 50 In performance, it is characterised	main via surya_layout
7	by smoothness and continuity by the singers bedecked with svaras.	main via surya_layout
8	<math>(111-112)</math>	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā	main via surya_layout
10	dhādhārisāmādhānidhādhā. Bāṅgālī [vi]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Having madhyama as amśa, dhaivata as the concluding note, being weak in	main via surya_layout
12	pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja-	main via surya_layout
13	gāndhāra, saindhavī has been known to be born of the Sindhu region and to	main via surya_layout
14	bear a regional name.	main via surya_layout
15	(113)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā	main via surya_layout
17	māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā	main via surya_layout
18	mādhādhādhā. Saindhavī [vii]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is	main via surya_layout
20	comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in	main via surya_layout
21	niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is	main via surya_layout
22	beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga).	main via surya_layout
23	<math>(114-115)</math>	annotation_inline parent ligne 22 via heuristic_height
24	Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā	main via surya_layout
25	dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama	main via surya_layout
27	being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja-	main via surya_layout
28	dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known	main via surya_layout
29	as pulindikā, is pentatonic and subsists in (bhinna) sadja.54	main via surya_layout
30	<math>(116-117)</math>	annotation_inline parent ligne 29 via heuristic_height

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_p013 LEFT — 37 lignes

L#	Texte OCR	Role auto
1	8	page_number via heuristic_pagenum
2	BRHADDESI	page_header via surya_layout
3	नकारः प्राण इत्याहुर्दकारश्चानलो भतः ।	main via surya_layout
4	%र	annotation_inline parent ligne 3 via heuristic_short
5	नादस्य द्विपदार्थोऽयं समीचीनो मयोदितः ॥२०॥	main via surya_layout
6	10हि	annotation_inline parent ligne 5 via heuristic_short
7	ग्गनादोऽयं नदतेर्धातोः स च पञ्चविधो भवेत् ।	main via surya_layout
8	<sup>12</sup>सूक्ष्मश्चैवातिसूक्ष्मश्च व्यक्तोऽव्यक्तश्च कृत्रिमः ॥२१॥	main via surya_layout
9	सूक्ष्मो नादो गुहावासी हृदये चातिसूक्ष्मकः	main via surya_layout
10	कण्ठमध्ये स्थितो । ३२॥	main via surya_layout
11	॰क्तः अ॰	annotation_inline parent ligne 10 via heuristic_markers
12	1471:	annotation_inline parent ligne 10 via heuristic_height
13	कृत्रिमो मुखदेशे तु ज्ञेयः पञ्चविद्यो बुधैः।	main via surya_layout
14	इति तावन्मया प्रोक्ता नादोत्पत्तिर्मनोहरा ॥२३॥	main via surya_layout
15	।। इति नादोत्पत्तिः	annotation_inline parent ligne 14 via heuristic_short
16	П	main via surya_layout
17	III [ श्रुति-प्रकरणम् ]	section_header via surya_layout
18	[ तत्र श्रुतिलक्षणम्, तत्संख्या च ]	section_header via surya_layout
19	---------------------------------------	unknown via fallback
20	इदानी तु प्रवक्ष्यामि श्रुतीनां च विनिश्चयम् ।	main via surya_layout
21	श्रु श्रवणे चास्य धातोः क्ति [ न् ] प्रत्ययसमुद्भवः ॥	editorial_bracket parent ligne 20 via heuristic_brackets
22	<sup>1</sup> अवणार्पस्य धातोः क्तिन्प्रत्यये च सुसक्रिते ॥	main via surya_layout
23	श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञैः य्कर्मसाधनः ॥२४॥	main via surya_layout
24	नेर्मावः	annotation_inline parent ligne 23 via heuristic_short
25	[ अनु. १ ]	editorial_bracket parent ligne 23 via heuristic_brackets
26	श्र्यतः इति श्रुतिः । सा चैकाऽनेका वा ।	main via surya_layout
27	न्त	annotation_inline parent ligne 26 via heuristic_height
28	•तयः	annotation_inline parent ligne 26 via heuristic_height
29	तत्रैकैव श्रुतिरिति । तद्यथा-श्तत्रादौ तावद्देहाग्निपवनसंयोगात्	main via surya_layout
30	<b>‘देहाकाश</b>	annotation_inline parent ligne 29 via heuristic_short
31	पुरुषप्रयत्नप्रेरितो ध्वनिर्नाभेरूध्वमाकाशदेशमाक्रामन् धूमवत्	main via surya_layout
32	नामेरूध्वकार	unknown via fallback
33	र्घ	annotation_inline parent ligne 31 via heuristic_height
34	₹	annotation_inline parent ligne 31 via heuristic_height
35	सोपानपदक्रमेण पवनेच्छयाऽनेकधाऽऽरोह्नन्नर्न्यूतपूरणप्रत्ययार्थतया	unknown via fallback
36	🛥 "पदावस्थान -	annotation_inline parent ligne 31 via heuristic_height
37	- भाइह् रोइद्स्तर्भृत प्रातिनिपार्याखतया (?)	unknown via fallback

Legende des roles

vol_I_p005 RIGHT — 39 lignes

vol_I_p025 RIGHT — 34 lignes

vol_II_p094 RIGHT — 30 lignes

vol_I_p004 RIGHT — 39 lignes

vol_I_p013 LEFT — 37 lignes