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 21282). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p051 RIGHT — 43 lignes

page vol_I_p051 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 85 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Aśvākrāntā (6) main
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4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
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5 Abhirudgatā (7) annotation_inline
parent ligne 4
via heuristic_height
6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
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7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
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8 (Anu. 63) annotation_inline
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9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
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10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
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11 svaras). During the performance of raga, murchanas should be known to be main
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12 composed of twelve svaras. They should be known to be included in the main
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13 mūrchanās of şadjagrāma (?).64 main
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14 That is thus - annotation_inline
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15 Sauvīrī (1) annotation_inline
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16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
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17 Hariņāśvā (2) annotation_inline
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18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
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19 Kalopanatā (3) annotation_inline
parent ligne 18
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20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
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21 Suddhamadhyā (4) annotation_inline
parent ligne 20
via heuristic_height
22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
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23 Mārgī (5) annotation_inline
parent ligne 22
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24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
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25 Pauravi (6) annotation_inline
parent ligne 24
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26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
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27 Hṛṣyakā (7) annotation_inline
parent ligne 26
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28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
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29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
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30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
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31 VI [Section on Varņas and Alankāras] section_header
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32 [The Varnas] section_header
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33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
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34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
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35 (118) annotation_inline
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36 ārohin (ascending) and avarohin (descending). main
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37 (Anu. 64) annotation_inline
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38 (Contention) what is spoken of by the word varna? (Answer) The act of main
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39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
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40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
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41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
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42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
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43 māmāmāmā in the madhyamā (jāti). main
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vol_I_p034 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 50 page_number
via heuristic_pagenum
3 V [ ग्राममूर्छनाप्रकरणम् ] section_header
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4 [ अनु. ३० ] editorial_bracket
parent ligne 3
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5 अथ किमुच्यते ग्रामशब्देन ? ननु कति ग्रामा भवन्ति ? main
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6 कस्मादुत्पद्यते ग्रामः कि वा तस्य प्रयोजनम्।।८४॥ main
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7 अश्रोच्यते— unknown
via fallback
8 म्समूहवाचिनौ ग्रामौ स्वरश्रुत्यादिसंयुतौ ॥८५॥ main
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9 यथा कुटुम्बिनः सर्व एकीभूत्वा वसन्ति हि। main
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10 ₀ता² annotation_inline
parent ligne 9
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11 सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥ main
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12 ₄तः annotation_inline
parent ligne 11
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13 षड्जमध्यमसंज्ञौ तु द्वौ ग्रामौ विश्रुतौ किल। main
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14 गान्धारं नारदो बूते स तु मर्त्यैर्न गीयते॥८७॥ main
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15 सामवेदात् स्वरा जाताः स्वरभ्यो ग्रामसम्भवः। main
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16 द्वावेतौ च इमौ ज्ञेयौ षड्जमध्यमलक्षितौ॥८८॥ main
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17 [ अनु. ३१ ] editorial_bracket
parent ligne 16
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18 प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं main
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19 o404 annotation_inline
parent ligne 18
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20 नाम प्रयोजनम्। main
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21 [ अनु. ३२ ] editorial_bracket
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22 ननु कथं षड्जमध्यमस्वराभ्यां ग्रामण्यपदेशः ? उच्यते—असाधारणत्वेन ताभ्यां main
via surya_layout
23 ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन। main
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24 ₀लोत्पन्न,<sup>5</sup> annotation_inline
parent ligne 23
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25 तथा चाह नारदः – main
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26 "देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
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27 एतेपां देवता जेया ब्रह्माविष्णुमहेश्वराः॥ "6 main
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28 उभयोग्रामियोर्मध्ये मुख्यत्वं कस्य गम्यते। main
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29 ुण्युः annotation_inline
parent ligne 28
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30 षड्जस्यैव हि मुख्यत्वं गम्यते वचनान्भुनेः॥८९॥ main
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31 __ु•वाह्रि च __ main
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vol_II_p026 RIGHT — 38 lignes

page vol_II_p026 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 35 page_number
via heuristic_pagenum
3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
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4 (alteration) of anisas of jātis (should be taken up). main
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5 (249) annotation_inline
parent ligne 4
via heuristic_short
6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
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7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
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8 be done in the text of vardhamāna<sup>51</sup> main
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9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
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11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
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15 (251) main
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16 [ Anu. 134 ] section_header
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17 The sixty-three amsas that have been spoken of, out of them each one has main
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18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
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19 created by the arrangement of different anisas) sometimes the formation of main
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20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
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21 up. He (the author) clarifies this itself. main
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22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
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25 (252) main
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26 [ Anu. 135 ] section_header
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27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
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28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
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29 omission of gandhara is not there. On gandhara being amśa, it should be main
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30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
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31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
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33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
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34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
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35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
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36 amśa and şadjodicyavā should be known not to be şādava (through the main
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37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
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38 (253) main
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vol_II_p089 RIGHT — 31 lignes

page vol_II_p089 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 161 page_number
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3 Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā main
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4 sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] editorial_bracket
parent ligne 3
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5 Having madhyama as amśa, ṣaḍja as the concluding note, being weak in main
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6 pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, main
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7 this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a main
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8 synonym of hindolaka). main
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9 (88) annotation_inline
parent ligne 8
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10 Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā main
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11 māpādhanisa annotation_inline
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12 nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari main
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13 sāsā. Madhurī [v] editorial_bracket
parent ligne 12
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14 Thus end the <i>bhāṣās</i> of <i>hindolaka</i>. main
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15 [5. Now the bhāṣās in pañcama] section_header
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16 Having pancama as amsa and the same as the concluding note, replete main
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17 with <i>niṣāda</i>, being complete, this <i>ābhīrī bhāṣā</i> is born of <i>deśa</i><sup>35</sup> (region), rises main
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18 out of pañcama (rāga) and should be known to be the first one arising out of main
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19 pañcama. Mutual concert between șadja-dhaivata is to be seen here. main
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20 <math>(89-90)</math> main
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21 Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā main
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22 sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā main
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23 saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. main
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24 Abhīrī [i] editorial_bracket
parent ligne 23
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25 Bhāvinī has pañcama as nyāsa, gāndhāra as amśa (and) is weak in dhaivata. main
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26 Where the mutual movement of madhyama-pañcama is seen to be dense, the main
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27 bhāṣā bhāvinī should be known to be complete by the knowledgeable ones main
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28 in gändharva.36 annotation_inline
parent ligne 27
via heuristic_short
29 (91) main
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30 Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā editorial_bracket
parent ligne 29
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31 Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii] editorial_bracket
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vol_II_p099 RIGHT — 22 lignes

page vol_II_p099 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 181 page_number
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2 TRANSLATION page_header
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3 Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- main
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4 mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i] editorial_bracket
parent ligne 3
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5 Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the main
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6 mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made main
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7 hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with main
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8 the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\ main
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9 delightful to the people. main
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10 <math>(139-140)</math> main
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11 Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā. main
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12 Nādākhyā [ii] editorial_bracket
parent ligne 11
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13 These two are there in vesarașādava. main
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14 13. Now the bhāṣās in bhinnatāna section_header
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15 Having pañçama as amsa and the same as the concluding note, this table
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16 sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid table
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17 of rṣabha, by the knowledgeable ones in music. table
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18 (141) table
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19 .....[Tānodbhavā] table
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20 [This one is in bhinnatāna] table
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21 [14. Bhāṣās in gāndhārapancama] table
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22 .....[Gāndhārī] table
via surya_layout
165 lignes a valider — change uniquement les roles incorrects.