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 21466). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p114 RIGHT — 27 lignes

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1 211 page_number
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2 TRANSLATION page_header
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3 [3. <i>Gadya</i>] section_header
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4 That in which <math>t\bar{a}la</math> comes at the end along with the name of the object of main
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5 description 10 (divine or human) and is sung as such, is said here to be gadya, main
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6 by the proficient ones in music. main
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7 (385) annotation_inline
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8 [4. Daṇḍaka] section_header
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9 Combined with <math>t\bar{a}la</math>, endowed with svara, bedecked with <math>p\bar{a}ta^{11}</math> in the main
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10 middle (and) again combined with pada, that song is known as daṇḍaka. main
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11 (386) main
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12 [5. Varņa] section_header
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13 Bedecked with birudas12 (eulogistic phrases) related to plenty, main
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14 renunciation, well-being or prosperity and combined also with <math>t\bar{a}la</math>, is varya (composed) in the <math> main
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15 (387) annotation_inline
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16 ******* annotation_inline
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17 [6. Paddhaḍi] section_header
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18 Combined with svara (and) pāṭa and endowed with tāla, composed in any main
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19 language and combined with birudas is that paddhaḍī. main
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20 (388) main
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21 [7. Adilā] section_header
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22 Where there is the brilliant arrangement of svaras at the end of every foot, main
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23 combined with <math>t\bar{a}la</math>, that is <math>a\dot{q}il\bar{a}^{14}</math> by name. main
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24 (389) annotation_inline
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25 [8. Catușpadi] section_header
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26 Where the song is endowed with meaning in every unit of text (pada) main
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27 (and) is combined with <math>t\bar{a}la</math>, having svara and <math>tenaka</math>, that is <math>catuspadik\bar{a}</m main
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vol_I_p070 LEFT — 43 lignes

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1 122 page_number
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2 <b>BRHADDES!</b> page_header
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3 तत्र ध्रुवा सशब्दा स्यात् सर्पिणी वामगा भवेत् । main
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4 ध्वका च गब्दस्याः annotation_inline
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5 कृष्णा दक्षिणतो याता वर्तिनी चाप्यधोगता ॥१७९॥ main
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6 (ना?ता) annotation_inline
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7 .ताः annotation_inline
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8 विसर्जिता बहिर्याता विक्षिप्ता कुञ्चिता भवेत् । main
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9 •वर्ति₀10 annotation_inline
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10 पताका चोर्ध्वगा जेया पतिता भूमिगा भवेत्12 ॥१८०॥ main
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11 ( का ?गा ) <sup>11</sup>वनि, भूम्मिगा (?) main
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12 ध्वका सर्पिणी चित्रे वार्तिक च परेऽपि द्वे । main
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13 कृष्णापिद्मिनीनाम्न्यश्चाः दक्षिणेऽष्टौ स्मृता मात्राः ॥१८१॥ main
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14 .नाम्न्यो annotation_inline
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15 [ अनु॰ १०८ ] editorial_bracket
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16 14दक्षिणावृतिषिचत्रेति वृत्तयो गीतोभयवाद्यप्राधान्यवशात् main
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17 प्रतीताः । annotation_inline
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18 वृत्तिः, उभयप्रधाना वृत्तिवृत्तिः, वाद्यप्रधाना चित्रा main
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19 दक्षिणा annotation_inline
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20 गीतप्रधाना main
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21 वृत्तिः। annotation_inline
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22 [ अनु॰ १०९ ] editorial_bracket
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23 इदानी प्राधान्यं ज्ञापयति पाणिकृतं विवर्तितम्। main
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24 तदुक्तम् :- main
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25 •क्ताम् annotation_inline
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26 "15ताल [ गीतिलय - ] यतिमार्गप्राधान्यान्यासां यथास्वं व्यञ्जकानि editorial_bracket
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27 (न ?) न्यादासा <b>.संस्य</b> स्वरं (र) ( ? ) main
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28 भवन्ति। 16चित्रे समा यतिः, द्वतो लयः, उपरिपाणिः, मागधीगीति - main
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29 याति+ annotation_inline
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30 रोघोऽवयवः। वार्तिक स्रोतोगता यतिर्मध्यो लयः, समपाणिः, सम्भाविता main
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31 .पनामुस्रो, annotation_inline
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32 „Ц annotation_inline
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33 गीतिरनुगतं चावयवः । तद्वद्क्षिणे गोपुच्छा यतिर्विलम्बितो लयः. main
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34 गवोबलयवः----- annotation_inline
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35 उदाद. annotation_inline
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36 अवपाणिः, पृथुला गीतिस्तत्त्वं चावयवः।" main
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37 ÷ annotation_inline
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38 अधम, annotation_inline
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39 ₽. annotation_inline
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40 [ अनु॰ ११० ] editorial_bracket
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41 वृत्तीनां च वाद्यं 17समानागतातीतग्रहैः कार्यम्। तत्र main
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42 .पा annotation_inline
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43 .ম. annotation_inline
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vol_I_p030 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
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2 43 page_number
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3 TRANSLATION page_header
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4 The vivādi-maṇḍala in madhyama-grāma is thus — main
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5 ma annotation_inline
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6 pa annotation_inline
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7 ga unknown
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8 ц unknown
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9 dha unknown
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10 ni annotation_inline
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11 sa annotation_inline
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12 [The sevenfold combination of svaras according to the types beginning with editorial_bracket
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13 ārcika] editorial_bracket
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14 (Anu. 28) main
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15 Now the names of the sevenfold combination of svaras are being spoken of - main
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16 ārcika,45 gāthika,46 sāmika,47 svarāntara,48 auduva,49 şādava50 and sampūrņa.51 main
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17 Nārada has said so - main
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18 "Ārcika, gāthika, sāmika, svarāntara, auduva, sādava and the seventh is main
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19 sampūrņa. That which (involves) the use of one svara is called ārcika. Gāthika main
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20 should be known as being comprised of two svaras, the (combination of) three main
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21 svaras itself is sāmika. The use of four svaras is spoken of as svarāntara. Auduva is main
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22 with five (svaras), şāḍava is with six svaras and sampūrņa is known with seven main
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23 (svaras) by the designers (yoktṛns) of gīta 52 (music)." main
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24 [The etymology of svara-names] section_header
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25 ŧ annotation_inline
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26 The producer of six svaras, or the one produced by six svaras, or that which main
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27 (55) annotation_inline
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28 is born of six angas is called sadja.53 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
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2 50 page_number
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3 V [ ग्राममूर्छनाप्रकरणम् ] section_header
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4 [ अनु. ३० ] editorial_bracket
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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
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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
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11 सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥ main
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12 ₄तः annotation_inline
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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
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18 प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं main
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19 o404 annotation_inline
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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
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23 ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन। main
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24 ₀लोत्पन्न,<sup>5</sup> annotation_inline
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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
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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_I_p089 RIGHT — 48 lignes

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1 161 page_number
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2 VIMARŚA page_header
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3 commenting on NS XXVIII, 1. He says there that even if an untrained person main
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4 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) main
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5 i.e. svara will be attained. Since the tuning has to take effect only in one of the main
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6 mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has main
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7 used the word murchana in the same sense when he says for the Yakşi that again main
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8 and again she forgets the mūrchanā made by herself. main
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9 30. This prescription of establishing the two viņās in sadjagrāma immediately main
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10 after the mention of murchana appears to be rather queer, but the apparent main
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11 repetition could be justified if the mention of 'mūrchanā' is taken to refer to main
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12 equality in tuning, pure and simple and the later mention of sadjagrāma is main
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13 accepted as the specification of tuning. The construction of the sentence main
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14 implying that equal tuning is to be done first and then the viņās have to be main
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15 established in sadjagrāma which itself is a tuning, will have to be ignored as the main
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16 initial reference to tuning is a part of the general prescription about perfect main
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17 equality between the two viņās and the second reference relates to special main
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18 tuning. annotation_inline
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19 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could main
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20 be interpreted in two ways, viz.- main
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21 (a) 'Sruti' could be taken here as standing for sound in general; accordingly, main
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22 the total tuning of each grāma could be referred to as śruti in singular number. main
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23 (b) The interval of sruti perceived through apakarşa (lowering) of pañcama main
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24 is madhyamagrāmikī śruti and the same interval being perceived through the main
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25 utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that main
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26 the utkarşa of pañcama is not actual but only 'resultant' because it comes into main
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27 . annotation_inline
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28 being when all the other svaras are lowered in accordance with the lowering of main
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29 pañcama so that the samvada of şadja-pañcama that was disturbed on account of main
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30 the lowering of pañcama is restored. main
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31 33. In the mention of the restoration of sadjagrāma, the process i.e. the main
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32 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is main
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33 made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the main
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34 augmentation of pañcama. annotation_inline
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35 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by main
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36 one śruti, but this process does not prove the interval of any svaras in terms of main
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37 śruti since there is no svara in this system, that manifests on consecutive śrutis; main
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38 the gap or interval of one śruti is indispensable. main
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39 35. The word 'tadvat' has raised a big controversy among modern scholars. list_item
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40 It has been generally interpreted to mean "in the same manner" literally, giving list_item
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41 the sense that the second step of this process of demonstration of śrutis has to list_item
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42 begin again with the lowering of pañcama. Three opinions are notable in this list_item
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43 context. list_item
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44 (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, list_item
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45 Vol. IV, p. 37). He has inferred that since all the four steps start with the list_item
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46 lowering of pañcama, the value (in pitch) of all the four lowerings is identical list_item
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47 and hence all śrutis are identical according to Bharata. list_item
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48 (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all main
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177 lignes a valider — change uniquement les roles incorrects.