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 21472). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p110 LEFT — 25 lignes

page vol_II_p110 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 202 page_number
via heuristic_pagenum
3 [२. माङ्गाली] section_header
via surya_layout
4 गान्धारग्रहन्यासा च षड्जांशा तारवर्जिता । main
via surya_layout
5 समन्द्रा सस्वरा[?]चैव परिहीना सदा भवेत् ॥ ३५४॥ editorial_bracket
parent ligne 4
via heuristic_brackets
6 सिका annotation_inline
parent ligne 4
via heuristic_height
7 षड्जांशा धग्रहन्यासा धमन्द्रा तारतत्परा । main
via surya_layout
8 समस्वरा च सम्पूर्णा माङ्गाली गीयते जनै:८॥ ३५५॥ main
via surya_layout
9 (पी?गी)॰ annotation_inline
parent ligne 8
via heuristic_markers
10 [३. भम्माणिका] section_header
via surya_layout
11 पञ्चमांशग्रहन्यासा गमन्द्रा षड्जतारका । main
via surya_layout
12 रिहीना च धगस्वल्पा ज्ञेया भम्माणिका बुधै: १॥ ३५६॥ main
via surya_layout
13 [४. पुलिन्दिका] section_header
via surya_layout
14 षड्जांशा धैवतन्यासा गपहीना पुलिन्दिका । main
via surya_layout
15 +ग्रहन्यासा annotation_inline
parent ligne 14
via heuristic_height
16 षड्जधैवतसंवादो धैवतर्षभयोस्तथा १०॥ ३५७॥ main
via surya_layout
17 ॰संघादा annotation_inline
parent ligne 16
via heuristic_markers
18 [५. गान्धारसिन्धुः ] section_header
via surya_layout
19 १९गान्धारसिन्धुः .....॥ ३५८॥ main
via surya_layout
20 [६. कार्णाटी] section_header
via surya_layout
21 १२षड्जन्यासग्रहा धांशा गतारा मन्द्रमध्यमा । main
via surya_layout
22 समस्वरा च सम्पूर्णा कर्णाटी नामतो भवेत्रवा ३५९॥ main
via surya_layout
23 नामत(द्भ?भ)वेत् annotation_inline
parent ligne 22
via heuristic_short
24 ॥ इति मतङ्गमुनिविरचितबृहद्देश्यां देशीरागाध्यायो नाम पञ्चमः समाप्तः ॥ editorial_bracket
parent ligne 22
via heuristic_brackets
25 भाषालक्ष(णो?णा) main
via surya_layout

vol_II_p116 RIGHT — 23 lignes

page vol_II_p116 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 215 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [15. Hayalīlā] section_header
via surya_layout
4 Where the (first) half is sung with svaras, in turagalīla (tāla), (and the main
via surya_layout
5 latter) half is sung with birudas, that is known as hayalīlā. main
via surya_layout
6 (397) main
via surya_layout
7 [16. <i>Gajalīlā</i>] section_header
via surya_layout
8 That which is completely composed according to gajalīlā but where the tāla main
via surya_layout
9 is gajalīla, that should be known by the name gajalīlā. main
via surya_layout
10 (398) main
via surya_layout
11 [17. Simhalīlā] section_header
via surya_layout
12 Composed in simhalilā metre, combined with svara and tena, that which is main
via surya_layout
13 sung with birudas is sinihalīlaka. main
via surya_layout
14 (399) main
via surya_layout
15 [18. Śarabhalila] section_header
via surya_layout
16 Where eight feet are composed with svaras and pāṭas, that is held to be main
via surya_layout
17 śarabhalīla, having eight rāgas and tālas. main
via surya_layout
18 (400) main
via surya_layout
19 [19. Śukacańcu] section_header
via surya_layout
20 In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with main
via surya_layout
21 <math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various main
via surya_layout
22 regions, is named śukacańcu, that is dear to the people. main
via surya_layout
23 (401) main
via surya_layout

vol_II_p072 LEFT — 31 lignes

page vol_II_p072 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 126 page_number
via heuristic_pagenum
3 युद्धवीरेऽस्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नान्तोऽलङ्कारः । main
via surya_layout
4 ॰(र्य?रे) annotation_inline
parent ligne 3
via heuristic_markers
5 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
6 [साधारणरागाणां ग्रामविभागः] section_header
via surya_layout
7 इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते - main
via surya_layout
8 भम्माणपञ्चमो ज्ञेयो मध्यमग्रामसम्भव:। main
via surya_layout
9 गान्धारपञ्चमो नर्त: षड्जकैशिक एव च ॥ ३४२॥ main
via surya_layout
10 रूपसाधारितो रागः शकः ककुभ एव च। main
via surya_layout
11 रेवगुप्तस्तु षड्जाख्ये ज्ञेयः पञ्चमषाडवः ॥ main
via surya_layout
12 (뭐) annotation_inline
parent ligne 11
via heuristic_height
13 सप्त[नव ?] साधारणाः प्रोक्ता ग्रामद्वयसमाश्रयाः ॥३४३॥ editorial_bracket
parent ligne 11
via heuristic_brackets
14 (माश्र) annotation_inline
parent ligne 11
via heuristic_height
15 [ग्रामरागाणां मूर्छना-निर्देशस्य आधार:] section_header
via surya_layout
16 [अनु॰२१३] editorial_bracket
parent ligne 15
via heuristic_brackets
17 ननु पूर्वोक्तानां[ग्रामरागाणां]<sup>१११</sup> मूर्छनाविशेष-निर्देश: कस्माज्जायत इति [चेत्]<sup>११२</sup> editorial_bracket
parent ligne 15
via heuristic_brackets
18 उच्यते । आसवचनान्पूर्छनानिर्देशो ज्ञायते । तथा चाह काश्यप: - main
via surya_layout
19 ११३कश्यप: annotation_inline
parent ligne 18
via heuristic_height
20 (आसवचनाद्) annotation_inline
parent ligne 18
via heuristic_height
21 ९१४‘‘ज्ञात्वा जात्यंशबाहुल्यं निर्देश्या मूर्छना बुधै:।” main
via surya_layout
22 [गीतरागयोर्भेद:] section_header
via surya_layout
23 [अनु॰ २१४] . editorial_bracket
parent ligne 22
via heuristic_brackets
24 नन् गीतरागयो: को भेद:<sup>११५ ।</sup> उच्यते । दशलक्षणलिक्षतं गीतं रागशब्दाभिधेयम् । main
via surya_layout
25 <sup>११६</sup> शब्देनाभिधीयते annotation_inline
parent ligne 24
via heuristic_height
26 ॰(यो:को) annotation_inline
parent ligne 24
via heuristic_markers
27 गीतं चतुरङ्गेपेतम् , ध्रुवायोगात् पञ्चविधम् । कुत <sup>११७</sup>एतद् विज्ञायते ? आसवचनात् । main
via surya_layout
28 तथा annotation_inline
parent ligne 27
via heuristic_height
29 एव annotation_inline
parent ligne 27
via heuristic_height
30 चाह काश्यप: - annotation_inline
parent ligne 27
via heuristic_height
31 ११८कश्यप: main
via surya_layout

vol_II_p021 RIGHT — 40 lignes

page vol_II_p021 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 ٠. annotation_inline
parent ligne 4
via heuristic_height
2 25 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita main
via surya_layout
5 (forms) come into being by the omission of sadja and (sadja) pañcama main
via surya_layout
6 respectively. annotation_inline
parent ligne 5
via heuristic_short
7 (213) main
via surya_layout
8 In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. main
via surya_layout
9 These two alongwith madhyama are apanyāsas and the two(ṣāḍava and main
via surya_layout
10 auduvita) are, as spoken of before, (in ārṣabhī) through the respective main
via surya_layout
11 omission of (ṣadja and ṣadja-pañcama). main
via surya_layout
12 (214) annotation_inline
parent ligne 11
via heuristic_short
13 In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, main
via surya_layout
14 niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa main
via surya_layout
15 is the svara (niṣāda) from which this jāti derives its name. main
via surya_layout
16 (215) annotation_inline
parent ligne 15
via heuristic_short
17 In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves main
via surya_layout
18 are the apanyāsas, adding niṣāda and omitting gāndhāra. main
via surya_layout
19 (216) annotation_inline
parent ligne 18
via heuristic_short
20 Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this main
via surya_layout
21 (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. main
via surya_layout
22 there is no omission). main
via surya_layout
23 (217) annotation_inline
parent ligne 22
via heuristic_short
24 Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as main
via surya_layout
25 amśas, sadja and dhaivata should be known as two apanyāsas. main
via surya_layout
26 (218) annotation_inline
parent ligne 25
via heuristic_short
27 It is devoid of rṣabha and if two (svaras) have to be omitted then it is devoid main
via surya_layout
28 also of pañcama. There is the abundance of mandra gandhara and madhyama main
via surya_layout
29 is the <i>nyāsa</i>. main
via surya_layout
30 (219) annotation_inline
parent ligne 29
via heuristic_short
31 Şadja-madhyamā has all the svaras as amśa and its nyāsa is on the two svaras main
via surya_layout
32 from which it derives its name (viz. şadja and madhyama). Nişāda and main
via surya_layout
33 gāndhāra are the two svaras that bring about hīnatva (the state of being bereft main
via surya_layout
34 i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, main
via surya_layout
35 gāndhāra, its audava form). main
via surya_layout
36 (220) annotation_inline
parent ligne 35
via heuristic_short
37 The sañcara (to and fro movement of svaras) is left to one's will, it has to main
via surya_layout
38 be so as not to violate the grāma.<sup>41</sup> These seven are in sadja-grāma, the main
via surya_layout
39 remaining (eleven) are the jātis of madhyama (grāma). main
via surya_layout
40 (221) main
via surya_layout

vol_II_p091 RIGHT — 29 lignes

page vol_II_p091 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 165 page_number
via heuristic_pagenum
3 Having ṛṣabha as amśa, pancama as the concluding note, it should be main
via surya_layout
4 known to be weak in sadja. It should always be performed with the kākalī main
via surya_layout
5 form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the main
via surya_layout
6 knowledgeable ones in music. Āndhālī is well-known among the main
via surya_layout
7 people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup> main
via surya_layout
8 <math>(97-98)</math> main
via surya_layout
9 Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā main
via surya_layout
10 päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä main
via surya_layout
11 pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama- main
via surya_layout
12 ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as main
via surya_layout
14 nyāsa, there being concert between madhyama-dhaivata, abundance of main
via surya_layout
15 pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga. main
via surya_layout
16 (99) annotation_inline
parent ligne 15
via heuristic_height
17 Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni main
via surya_layout
18 saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā main
via surya_layout
19 sānīdhāmāpā pā. Tānodbhavā [viii] editorial_bracket
parent ligne 18
via heuristic_brackets
20 Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is main
via surya_layout
21 (mutual) movement between the svaras comprised of two śrutis each in their main
via surya_layout
22 original form. There is the abundance of şadja-madhyama and pañcama- main
via surya_layout
23 rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44 main
via surya_layout
24 (region) and is sādhāraņakṛtā. main
via surya_layout
25 <math>(100-101)</math> main
via surya_layout
26 Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā main
via surya_layout
27 nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha main
via surya_layout
28 dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā- main
via surya_layout
29 sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix] editorial_bracket
parent ligne 28
via heuristic_brackets
148 lignes a valider — change uniquement les roles incorrects.