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 21288). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p024 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	30	page_number via heuristic_pagenum
3	[अनु॰ १३२]	editorial_bracket parent ligne 4 via heuristic_brackets
4	८१ अस्मद्गुरुमते ऋषभस्तावदपन्यासो भवति । अनंशत्वात् कैश्चित् पुनः अंशवद्	main via surya_layout
5	ऋषभोऽप्यपन्यासः स्वीकृतः।	main via surya_layout
6	(वृ?म्र)	annotation_inline parent ligne 5 via heuristic_height
7	पञ्चमो बलवानस्यां स्यात्रिषादस्तथैव च ४२	main via surya_layout
8	न स्यात्	annotation_inline parent ligne 7 via heuristic_height
9	अंशवच्च ग्रहा ज्ञेया[:] सर्वासामेव नित्यश: ॥२३८॥	editorial_bracket parent ligne 7 via heuristic_brackets
10	८३∞स्तासां	main via surya_layout
11	[६. जातीनां गणनिर्देश:]	section_header via surya_layout
12	सर्वासामेव जातीनां त्रिजातिस्तु गणः स्मृतः ।	main via surya_layout
13	(षष्टि? जाति)	annotation_inline parent ligne 12 via heuristic_height
14	लक्षणात् स च विज्ञेयो वर्धमानस्वरो बुधै: ॥२३९॥	main via surya_layout
15	<sup>८४</sup>ते च सप्त गणा ज्ञेया	annotation_inline parent ligne 14 via heuristic_height
16	नः गा	annotation_inline parent ligne 14 via heuristic_height
17	एकस्वरो द्विस्वरश्च त्रिस्वरश्च चतुःस्वरः।	main via surya_layout
18	पञ्चस्वरश्चतुर्धा च एकधा सप्तषट्स्वरौ<sup>८६</sup>॥२४०॥	main via surya_layout
19	स्यादेकधा<sup>८५</sup> ·	main via surya_layout
20	न्सः	annotation_inline parent ligne 19 via heuristic_height
21	[अनु॰ १३३]	editorial_bracket parent ligne 19 via heuristic_brackets
22	अस्यार्थ: -त्रिजातिको गण इति संख्यानिदर्शनम्, तत्रैकस्वरांशास्तिस्न: -	main via surya_layout
23	(गु?ग)	annotation_inline parent ligne 22 via heuristic_height
24	ः मध्यमोदीच्यवा, गान्धारपञ्चमी, नन्दयन्ती चेति । प प प ।	main via surya_layout
25	द्विस्वरांशास्तिस्तः - धैवती, गान्धारोदीच्यवा, पञ्चमी चेति । धरि, सम, परि ।	main via surya_layout
26	त्रिस्वरांशास्तिस्न: - आर्षभी, नैषादी, षड्जकैशिकी चेति । धनिरि, गरिनि, सगप ।	main via surya_layout
27	(प:?पा:)	annotation_inline parent ligne 26 via heuristic_height
28	सास	annotation_inline parent ligne 26 via heuristic_height
29	चतुःस्वरांशास्तिस्न: -षड्जोदीच्यवत्यान्ध्री कार्मारवी चेति। समधनि, रिगपनि, ८७परिधनि	main via surya_layout
30	(त्य?त्या)	annotation_inline parent ligne 29 via heuristic_height
31	पञ्चस्वरांशाश्चतस्तः - षाड्जी, गान्धारी, रक्तगान्धारी, मध्यमा चेति । सगमपंध, सगमपनि,	main via surya_layout
32	पड् (ज? जा)	main via surya_layout
33	Sec. 15.	unknown via fallback

vol_I_p036 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	55	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in	main via surya_layout
4	respective order,22 should be known by the adept ones as being spoken of by the	main via surya_layout
5	(91)	annotation_inline parent ligne 4 via heuristic_height
6	word mürchanā.	annotation_inline parent ligne 4 via heuristic_height
7	[ Anu. 36 ]	editorial_bracket parent ligne 4 via heuristic_brackets
8	That murchanā again is twofold — one composed of seven svaras and the	main via surya_layout
9	other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24	main via surya_layout
10	__ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic),	main via surya_layout
11	auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them	main via surya_layout
12	pūrņā is that which is sung with seven svaras, that which is sung with six svaras is	main via surya_layout
13	ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with	main via surya_layout
14	kākalī and antara svaras, is sādhāraņā.	main via surya_layout
15	(Anu. 37)	annotation_inline parent ligne 14 via heuristic_height
16	Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for	main via surya_layout
17	mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the	main via surya_layout
18	same number of) squares (kosthakas), on account of the process that follows a	main via surya_layout
19	set path or order.	annotation_inline parent ligne 18 via heuristic_short
20	That is thus—	annotation_inline parent ligne 18 via heuristic_height
21	Forty-nine squares filled25 with svaras, have, indeed, to be made with eight	main via surya_layout
22	(92)	annotation_inline parent ligne 21 via heuristic_height
23	horizontal and vertical lines.	main via surya_layout
24	(Anu. 38)	annotation_inline parent ligne 23 via heuristic_height
25	There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha	main via surya_layout
26	- pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni -	main via surya_layout
27	dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in	main via surya_layout
28	the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni -	main via surya_layout
29	į	annotation_inline parent ligne 28 via heuristic_height
30	sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the	main via surya_layout
31	order) in madhyama-grāma.	main via surya_layout
32	Thus there are the fourteen sampūrņā (complete) mūrchanās of the two	main via surya_layout
33	grāmas.	annotation_inline parent ligne 32 via heuristic_height
34	sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha	main via surya_layout

vol_I_p093 RIGHT — 44 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	main via surya_layout
2	169	page_number via heuristic_pagenum
3	6, 7. The author seems to be speaking of svara at the same level at which	list_item via surya_layout
4	sabda has been treated as eternal and vibhu (all-pervading) by several systems	list_item via surya_layout
5	of philosophy, e.g. grammar, mimāmsā.	list_item via surya_layout
6	8. The infinity of svara, as propounded here, could be understood in two	list_item via surya_layout
7	layers viz. (i) the infinite melodic combinations and permutations of the seven	list_item via surya_layout
8	svaras (ii) the multi-farious shades of intervals coming into usage on account of	list_item via surya_layout
9	various relationships between svaras established on account of variety of	list_item via surya_layout
10	melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of	list_item via surya_layout
11	melodic configuration and bhāṣā, the derived form of rāga have been	list_item via surya_layout
12	mentioned here for indicating the infinity of variety in melodic phrasing that	list_item via surya_layout
13	brings about the infinity of svara. Raga has been omitted here, but its relevance	list_item via surya_layout
14	could be inferred on the basis of its derivative bhāṣā.	list_item via surya_layout
15	9. The statement that svaras are combined with padas means that syllabic	list_item via surya_layout
16	units are combined with svaras when the latter are rendered. These (units)	list_item via surya_layout
17	could be meaningful linguistic units or non-sensical so far as linguistic meaning	list_item via surya_layout
18	is concerned. Pada has been thus defined by Bharata -	list_item via surya_layout
19	यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् ।	main via surya_layout
20	( NŚ XXXII, 28 ab )	annotation_inline parent ligne 19 via heuristic_short
21	"Whatever is formulated with syllables, all that is called pada".	main via surya_layout
22	Thus meaningfulness is not a condition for pada in music. Tonal rendering	main via surya_layout
23	with the voice is usually combined with syllabic units, e.g. in the ālāpa in	main via surya_layout
24	dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the	main via surya_layout
25	following (and a few more) syllabic units known as padas spoken of by Brahmā	main via surya_layout
26	for nirgita (music devoid of meaningful text, rendered mainly on stringed and	main via surya_layout
27	wind instruments, accompanied by voice )-	main via surya_layout
28	झण्दु जगतिय दिगिनिगि तितिझल कुचझल	main via surya_layout
29	( NŚ XXXI, 104 )	annotation_inline parent ligne 28 via heuristic_short
30	It will be seen that these are formulated units of four-matras (time-units)	main via surya_layout
31	each. If the voice renders svaras without padas (meaningful or non-sensical	main via surya_layout
32	syllabic units) then it is combined with vowels like a, i, u etc. which themselves	main via surya_layout
33	are primary units of pada. Hence the combination of svara with pada is spoken	main via surya_layout
34	of.	main via surya_layout
35	10. In Indian music svaras are not used in a plain or unornamented way;	list_item via surya_layout
36	hence alankāra is mentioned here. The concept of alankāra will be discussed in	list_item via surya_layout
37	the respective section.	list_item via surya_layout
38	11. The prescription of the use of specific svaras in the context of different	list_item via surya_layout
39	rasas dates back to NS. It will be discussed under the reproduction of this	list_item via surya_layout
40	prescription in our text later in this section.	list_item via surya_layout
41	12,13. Pāršyadeva refutes the view that svaras are indestructible and all-	list_item via surya_layout
42	pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in	list_item via surya_layout
43	a limited time and space and not for all times or everywhere, it could not be	list_item via surya_layout
44	said to be indestructible or all-pervading.	list_item via surya_layout

vol_II_p122 RIGHT — 28 lignes

L#	Texte OCR	Role auto
1	227	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[General Prescription]	section_header via surya_layout
4	The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind	main via surya_layout
5	should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās.	main via surya_layout
6	(439)	annotation_inline parent ligne 5 via heuristic_short
7	Then one should properly put in the name of the one being described. It	main via surya_layout
8	(elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer)	main via surya_layout
9	comes after this.	annotation_inline parent ligne 8 via heuristic_short
10	(440)	main via surya_layout
11	Thus ends the fourfold ganaila.	main via surya_layout
12	[5. Saṅkarailā]	section_header via surya_layout
13	If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā	main via surya_layout
14	spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is	main via surya_layout
15	said to be named sankara.	main via surya_layout
16	(441)	annotation_inline parent ligne 15 via heuristic_short
17	[Thus ends gaņailā.]	editorial_bracket parent ligne 15 via heuristic_brackets
18	[B. The varieties of Mātrailā]	section_header via surya_layout
19	Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties	main via surya_layout
20	of) mātrailā spoken of by Vallabha.54	main via surya_layout
21	(442)	main via surya_layout
22	[1. Raulekhā]	section_header via surya_layout
23	Where there are rudra 55 numbered (eleven) mātrās in (each of the first)	main via surya_layout
24	two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa	main via surya_layout
25	named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure)	main via surya_layout
26	(and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name	main via surya_layout
27	ratilekhā by the experts in the science of music (gītaśāstra).	main via surya_layout
28	<math>(443-444)</math>	main 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

198 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p024 LEFT — 33 lignes

vol_I_p036 RIGHT — 34 lignes

vol_I_p093 RIGHT — 44 lignes

vol_II_p122 RIGHT — 28 lignes

vol_II_p139 LEFT — 59 lignes