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 21420). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p076 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 134 page_number
via heuristic_pagenum
3 मध्यमग्रामदेहा<sup>३</sup> च तथा गान्धारपञ्चमी । main
via surya_layout
4 इत्येता: प्रकटा भाषाष्टकरागस्य षोडश<sup>४</sup>॥२०॥ main
via surya_layout
5 (田) annotation_inline
parent ligne 4
via heuristic_height
6 शुद्धा तु प्रथमा ज्ञेया ५चार्धवेसरिका तत:। main
via surya_layout
7 हर्षपूरी तृतीया तु माङ्गाली च चतुर्थिका ॥२१॥ main
via surya_layout
8 ॰पुत्री annotation_inline
parent ligne 7
via heuristic_markers
9 पञ्चमी सैन्धवी ज्ञेया आभीरी षष्टिका मता। main
via surya_layout
10 खञ्जरी गुर्जरी चैवमष्टौ मालवकैशिके ॥२२॥ main
via surya_layout
11 ६ नी annotation_inline
parent ligne 10
via heuristic_height
12 काम्बोजा प्रथमा ज्ञेया मध्यमग्रामिका मता । main
via surya_layout
13 ५सातवाहनिका चैव तदन्ते भोगवर्धनी ॥२३॥ main
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14 सालवाहा annotation_inline
parent ligne 13
via heuristic_height
15 чP annotation_inline
parent ligne 13
via heuristic_height
16 पञ्चमी ९मुहरी ज्ञेया षष्ठी च शकमिश्रिता । main
via surya_layout
17 प्रयोक्तव्या प्रयत्नेन सप्तमी भित्रपञ्चमी ॥२४॥ main
via surya_layout
18 एतास्तु ककुभे सप्त भाषा ज्ञेया मनोहरा:। main
via surya_layout
19 प्रथमा वेसरी ज्ञेया द्वितीया चैव मञ्जरी १० ॥२५॥ main
via surya_layout
20 ततः कार्या च छेवाटी चतुर्थी षड्जमध्यमा। main
via surya_layout
21 पञ्चमी मधुरी ज्ञेया पञ्च <sup>११</sup>हिन्दोलकोद्भवाः ॥२६॥ main
via surya_layout
22 आभीरी भाविनी चैव माङ्गाली सैन्धवी तथा। main
via surya_layout
23 गूर्जरी दाक्षिणात्या च <sup>१२</sup>आन्ध्री तानोद्भवा परा ॥२७॥ main
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24 अन्ध्री त्वात्रो॰ annotation_inline
parent ligne 23
via heuristic_markers
25 नवमी त्रावणी ज्ञेया १३कैशिकी दशमी स्मृता । main
via surya_layout
26 एता भाषास्तु विज्ञेया गायकै: पञ्चमोद्भवा: ॥२८॥ main
via surya_layout
27 विशुद्धा दाक्षिणात्या तु गान्धारी तदनन्तरम् । main
via surya_layout
28 श्रीकण्ठी चैव पौराली माङ्गाली सैन्धवी तथा ॥२९॥ main
via surya_layout
29 कालिङ्गी च पुलिन्दी च भित्रषड्जोद्भवा नव। main
via surya_layout
30 ॰ न्दो annotation_inline
parent ligne 29
via heuristic_markers
31 सौवीरी प्रथमा ज्ञेया द्वितीया वेगमध्यमा ॥३०॥ main
via surya_layout

vol_II_p024 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
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
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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
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11 [६. जातीनां गणनिर्देश:] section_header
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12 सर्वासामेव जातीनां त्रिजातिस्तु गणः स्मृतः । main
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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
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17 एकस्वरो द्विस्वरश्च त्रिस्वरश्च चतुःस्वरः। main
via surya_layout
18 पञ्चस्वरश्चतुर्धा च एकधा सप्तषट्स्वरौ<sup>८६</sup>॥२४०॥ main
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19 स्यादेकधा<sup>८५</sup> · main
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20 न्सः annotation_inline
parent ligne 19
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21 [अनु॰ १३३] editorial_bracket
parent ligne 19
via heuristic_brackets
22 अस्यार्थ: -त्रिजातिको गण इति संख्यानिदर्शनम्, तत्रैकस्वरांशास्तिस्न: - main
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23 (गु?ग) annotation_inline
parent ligne 22
via heuristic_height
24 ः मध्यमोदीच्यवा, गान्धारपञ्चमी, नन्दयन्ती चेति । प प प । main
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25 द्विस्वरांशास्तिस्तः - धैवती, गान्धारोदीच्यवा, पञ्चमी चेति । धरि, सम, परि । main
via surya_layout
26 त्रिस्वरांशास्तिस्न: - आर्षभी, नैषादी, षड्जकैशिकी चेति । धनिरि, गरिनि, सगप । main
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27 (प:?पा:) annotation_inline
parent ligne 26
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28 सास annotation_inline
parent ligne 26
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29 चतुःस्वरांशास्तिस्न: -षड्जोदीच्यवत्यान्ध्री कार्मारवी चेति। समधनि, रिगपनि, ८७परिधनि main
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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_II_p060 LEFT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 102 page_number
via heuristic_pagenum
2 BRHADDEŠĪ page_header
via surya_layout
3 [अनु॰ १८३] editorial_bracket
parent ligne 5
via heuristic_brackets
4 [ अस्यार्थ:- ]चतुःश्रुतेः पञ्चमस्य यदा श्रुतिद्वयं गृह्णाति निषादः तदासौ श्रुतिभिन्नोऽभिधीयते। editorial_bracket
parent ligne 5
via heuristic_brackets
5 ननु मध्यमग्रामे पञ्चमस्य त्रिश्रुतिकत्वात् कथं श्रुतिद्वयं गृह्णाति निपाद:? main
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6 उच्यते । annotation_inline
parent ligne 5
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7 (fa) annotation_inline
parent ligne 5
via heuristic_height
8 भूतपूर्वन्यायेन चतुः श्रुतिरुच्यते । यथा भित्रकैशिकरागे त्रिश्रुतिपञ्चमस्य च[तुः] श्रुतित्वमाश्रित्य लोपः editorial_bracket
parent ligne 5
via heuristic_brackets
9 कृतः पड्जग्रामे, एवमत्रापि भविष्यतीति न दोषः । लक्षणं चास्य तद्यथा - main
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10 [५. भिन्नतान:] editorial_bracket
parent ligne 9
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11 <sup>६र</sup>तानस्तु मध्यमन्यासः पञ्चमांशोऽल्पसप्तमः । main
via surya_layout
12 मध्यमापञ्चमीजात्योर्ऋषभेण तु दुर्बल: ॥ ३१३॥ main
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13 [अनु॰ १८४] editorial_bracket
parent ligne 12
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14 अस्यार्थः - भिन्नतानो मध्यमग्रामसम्बन्धः मध्यमापञ्चमीजात्युत्पन्नत्वात् । main
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15 पञ्चमो annotation_inline
parent ligne 14
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16 भित्रनासिका(?) annotation_inline
parent ligne 14
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17 ग्रहोंऽशश्च। मध्यमो न्यास:। मध्यमनिषादयोरल्पत्वम् [?]<sup>६२</sup>। निषादोऽत्र काकली। पूर्णश्चायम editorial_bracket
parent ligne 14
via heuristic_brackets
18 प्रौढकरुणेऽस्य प्रयोग:। पञ्चमादिमूर्छना।सञ्चारी वर्ण:।प्रसन्नादिरलङ्कार;।दक्षिणे कला, वार्तिके main
via surya_layout
19 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
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20 [भिन्नरागाणां ग्रामविभागः] section_header
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21 [अनु॰ १८५] editorial_bracket
parent ligne 20
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22 भित्रानां ग्रामविभागस्तु काश्यपेनोक्त:। तथा च - main
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23 ‘‘भित्रषड्जस्तु षड्जे स्याद् भिन्नकैशिकमध्यम:। main
via surya_layout
24 पञ्चम: कैशिकस्तानो मध्यमग्रामसंश्रित: ॥'' main
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25 <b>ल्स्ता</b>ने annotation_inline
parent ligne 24
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26 इति भित्रा: समाख्याता गौडकाञ् शृणु साम्प्रतम् ॥ ३१४॥ main
via surya_layout

vol_I_p094 RIGHT — 45 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
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2 171 page_number
via heuristic_pagenum
3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
via surya_layout
4 p. 46) main
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5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
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6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
via surya_layout
7 does not carry further the argument that vowels and musical tones cannot be list_item
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8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
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9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
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10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
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11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
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12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
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13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
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14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
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15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
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16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
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17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
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19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
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21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
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26 work that uses solfa-syllables, the above discussion has a historical context. list_item
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27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
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28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
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29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
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30 ends in this case. The first one of these is the vādin or point of reference and list_item
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31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
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32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
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37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
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40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
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44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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vol_II_p081 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 ٠ page_number
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2 TRANSLATION page_header
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3 145 page_number
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4 performed as to involve mutual movement between rşabha-gandhara and main
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5 similarly <i>şadja-madhyama</i>. main
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6 <math>(52-53)</math> main
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7 Illustration - Gāgāgāmā. Sāsī. Māgāmāmāgāmāsīsāsī. Gāgādhānisīsīgādhanisā main
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8 dhādhāmārīmāgārīgasā sāsāsāmā sārīdhādhādhādhadhamāgārīgāgā dhārīsāsīsā. main
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9 Māgāmāmāgā Māsīsimāgā dhādhādhāparīgamarīgamasīsisīmāgārīdhā dhamagari main
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10 gamadhanī. Sāsāgādhānisāsā. Ravicandrā [xi] editorial_bracket
parent ligne 9
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11 Ambāherī is said to have madhyama as its amśa, ṣadja as its concluding note, main
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12 gāndhāra and dhaivata as profuse, incomplete in svaras, being always devoid main
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13 of pa (pancama), this bhāṣā is said to bear the name <math>desi^{20}</math> (regional). main
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14 (54) annotation_inline
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15 Illustration – Māmāsā. Nīnī. Nidhādhāni dhādhāni. Dhānidhādhānī. main
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16 Sāgāgārī. Sanīsanīdhā. Nidhānigāgā māgānisāsāni. Sādhānīgā gānisāsā. main
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17 Sāninisanīdhā dhāmānīmā dhāsanini. Nisādhānīmādhādhāmāgāsānisānidhā. main
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18 Mādhādhā. Sādhānīdhānīsāsā. Māmādhāsāsā. Māmāgārīmāgāsāsā. main
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19 Māsāmāmāgārīmāgāsāsā. Masānī ninimāni dhādhānidhāmāgā. Sānīmādhā. main
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20 Sāsanīdhā dhanisādhādhā. Dhanidhānīsā. Ambāherī [xii] editorial_bracket
parent ligne 19
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21 Being combined with sadja in the beginning and having madhyama and main
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22 dhaivata as abundant and with the omission of rşabha, this bhāṣā, lalitā, is main
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23 sankīrņā (mixed) and hexatonic. There is (mutual) movement between the main
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24 svaras comprised of two śrutis each. main
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25 (55) annotation_inline
parent ligne 24
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26 Illustration - Sāgāgādhāgāmāmāgā. Dhamādhānīsāsā. Nidhāgāgā. main
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27 Säsäsämäpädhäni dhäpämäsä sädhäpädhänidhädhäsä nidhägänigädhanisasasa. main
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28 Lalitā [xiii] editorial_bracket
parent ligne 27
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29 Combined with şadja as the initial and concluding note, omitting main
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30 pañcama, being devoid of the seventh (niṣāda), having the concert of main
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31 madhyamawith ṣaḍja there, the saii kīrṇā (mixed) and pentatonic bhāṣā, born main
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166 lignes a valider — change uniquement les roles incorrects.