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 21485). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p004 RIGHT — 39 lignes

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1 <b>FOREWORD</b> section_header
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2 The eighth in the series of the Kalāmūlašāstra, research and publication main
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3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
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4 As the name suggests, it is extensive and comprehensive. This is rightly main
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5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
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6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
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7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
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8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
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9 enunciates a theory of sound, structure and composition quite distinct from the main
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10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
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11 posed many complex problems of editing and translation. While the Indira main
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12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
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13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
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14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
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15 the Sangita Ratnäkara on the other hand. main
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16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
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17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
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18 reconstructed from excerpts by later writers. This task is challenging and main
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19 requires mastery of the skills of collation and editing of a very high order. Dr. main
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20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
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21 unravelling the mysteries of the textual corpus in relation to the unbroken main
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22 traditions and the practice of Indian music has assiduously reconstructed this main
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23 text on the basis of the citations, has provided annotations, explanations and, main
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24 naturally, translation. The work is being presented in three Volumes. The first main
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25 two will present the text with a translation, notes and annotation. The third will main
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26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
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27 There has been only one printed edition of this text so far, i.e. Trivandrum main
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28 Sanskrit Series in 1928. The present editor has considered that edition and has main
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29 corrected the errors and many mutilations and confusions in that edition. main
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30 In the context of music, one of the most common and fundamental questions main
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31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
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32 emerge?". In critical literature there has been a vast body of discussions on the main
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33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
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34 makes scanty mention of the Ragas. The source of musical structure and main
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35 composition, both of Hindustani and Carnatic music, has to be traced back to main
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36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
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37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
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38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
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39 firm foundation of the system of Indian music, the text assumes great main
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vol_I_p037 RIGHT — 193 lignes

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1 <b>TRANSLATION</b> page_header
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2 57 page_number
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3 dha - ni main
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4 - n annotation_inline
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5 - sa main
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6 - ga annotation_inline
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7 ma main
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8 - pa annotation_inline
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9 - annotation_inline
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10 - dha - ni main
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11 - sa annotation_inline
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12 n main
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13 - annotation_inline
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14 • - main
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15 ga annotation_inline
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16 рa main
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17 (vide) annotation_inline
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18 ma main
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19 dha - ni annotation_inline
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20 ni main
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21 sa annotation_inline
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22 - pa main
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23 - annotation_inline
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24 - main
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25 • annotation_inline
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26 - ga main
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27 ma annotation_inline
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28 - dha - main
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29 ni annotation_inline
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30 - pa main
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31 - ni annotation_inline
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32 - ma main
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33 sa annotation_inline
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34 - main
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35 ga main
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36 ŧ annotation_inline
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37 dha - main
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38 ni annotation_inline
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39 ni - sa main
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40 - ma - þa - annotation_inline
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41 - ga main
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42 Thus is in sadjagrāma. main
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43 - dha - ni - annotation_inline
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44 - pa main
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45 - 17 annotation_inline
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46 54 page_number
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47 ma main
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48 - ga annotation_inline
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49 - dha - main
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50 ni annotation_inline
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51 - pa main
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52 ma annotation_inline
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53 - main
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54 sa annotation_inline
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55 ฑ main
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56 ga annotation_inline
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57 • main
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58 dha - annotation_inline
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59 ni main
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60 ni - annotation_inline
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61 - pa main
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62 - ma annotation_inline
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63 sa main
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64 - ga annotation_inline
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65 - main
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66 dha - annotation_inline
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67 pa main
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68 ni annotation_inline
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69 - ni main
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70 - ma annotation_inline
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71 - ga main
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72 - annotation_inline
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73 - main
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74 sa annotation_inline
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75 dha main
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76 - pa annotation_inline
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77 ni main
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78 - n annotation_inline
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79 - ga main
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80 ma annotation_inline
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81 - sa main
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82 - annotation_inline
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83 - main
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84 ١ page_number
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85 dha - ni - sa main
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86 - ni annotation_inline
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87 ga main
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88 • annotation_inline
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89 - ma - pa main
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90 pa - dha - ni annotation_inline
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91 - sa main
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92 ni annotation_inline
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93 - main
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94 ga annotation_inline
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95 ma main
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96 - annotation_inline
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97 Thus is in madhyama-grāma. main
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98 ! unknown
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99 Mūrchanā-maņdala (cycle) section_header
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100 dha | pa table
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101 ni table
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102 ni table
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103 ma table
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104 ga table
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105 sa table
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106 dha| pa table
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107 ni table
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108 ni table
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109 ma table
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110 50 page_number
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111 ga table
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112 dha table
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113 ni table
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114 ni table
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115 þa table
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116 50 page_number
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117 ga table
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118 ma table
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119 1 page_number
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120 dha| pa table
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121 ni table
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122 ni table
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123 Sa table
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124 ga table
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125 ma table
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126 dha table
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127 ni table
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128 ni table
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129 pa table
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130 ma table
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131 sa table
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132 ga table
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133 dha table
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134 n table
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135 ni table
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136 pa table
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137 ma table
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138 ga table
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139 Sa table
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140 ni table
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141 ni table
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142 dha pa table
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143 ga table
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144 ma table
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145 sa table
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146 Thus is the mūrchanā-maṇḍala in ṣaḍja-grāma. main
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147 dha | pa table
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148 ni table
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149 ni table
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150 ma table
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151 sa table
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152 ga table
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153 <math>\pi^{i}</math> table
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154 dha| pa table
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155 ni table
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156 ma table
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157 ga table
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158 sa table
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159 ni table
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160 dha table
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161 ni table
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162 рa table
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163 ga table
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164 sa table
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165 ma table
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166 dha| pa table
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167 ni table
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168 ni table
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169 SA table
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170 ma table
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171 ga table
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172 dha table
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173 71 page_number
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174 ni table
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175 рa table
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176 sa table
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177 ma table
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178 ga table
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179 ni table
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180 dha table
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181 ni table
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182 þа table
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183 ma table
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184 ga table
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185 sa table
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186 ni table
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187 ni table
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188 dha pa table
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189 ma table
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190 ga table
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191 Sa table
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192 1 page_number
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193 Thus is the mūrchanā-maṇḍala in madhyama-grāma. main
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vol_II_p149 LEFT — 49 lignes

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1 San Carlotte Comment annotation_inline
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2 BRHADDEŚĨ page_header
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3 280 page_number
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4 13. P.t. reads - main
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5 गान्धारांशा तु षड्जान्ता पूर्णा द्राविडदेशजा । main
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6 गीयते नित्यमेवैषा विभाषा (विजरा ? पिञ्जरी) शुभा ॥ main
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7 Thus the second and third feet are repeated from the description of drāviḍī main
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8 from verse 11 and have hence been omitted by us. main
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9 14. The reading 'paurālī' is suggested by the ed. main
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10 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै: । main
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11 15. cf. annotation_inline
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12 S Rāj II.2.1.1084 cd. main
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13 Kalā (appendix) on SR II, p. 142 treats it as a <i>vibhāṣā</i>. main
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14 16. P.t. contains repeated portion here as follows - main
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15 उदाहरणम् -सासासासा धासासासा सारीमामा सानीधासा सानीधापा सामामापाधा । सासा । धागारिसारिसा निधानि । सासा । main
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16 धागारिसारिसा निधानि । सासा । अलघ्वी । टक्करागे शार्दूलमते भाषा: समाप्ता: । भित्रवलितिका रविचन्द्रा भित्रपौराली द्राविडी main
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17 पार्वती चैव हिन्दोलके ? main
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18 The ed. notes that the lakṣaṇa of paurālī and illustration of vibhāvinī is not main
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19 available in the MSS, because the illustration that follows the repeated main
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20 portion reproduced above bears the name paurālī. But we have taken it to main
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21 be the illustration of vibhāvinī as it matches the description of this bhāṣā. main
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22 Thus both the description and illustration of paurālī are taken to be lost. main
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23 S Rāj II.2.1.1086 describes paurālī as - main
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24 पञ्चमांशग्रहन्यासा गाल्पा मालवपञ्चमे । main
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25 सावरोहिप्रसन्त्रान्ता भाषा पौरालिका रसे ॥ main
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26 बीभत्से मुनिना प्रोक्ता मतङ्गेन भयाकुले ॥ main
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27 करुणे दैन्यभूयिष्ठे आहुर्वेदवर्ती बुधा: । main
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28 17. cf. annotation_inline
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29 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX, p. 76. main
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30 सग्रहान्ता वेगवती धांशा मालवपञ्चमे । main
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31 18. cf.(i) annotation_inline
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32 सप्तस्वरा विभाषेयमञ्जनासून्सम्मता ॥ main
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33 Kalā (appendix) on SR II. p. 142. main
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34 (ii) annotation_inline
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35 पूर्णा वेदवती भाषा सान्ता मालवपञ्चमे । main
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36 पञ्चमांशग्रहा योज्या रसे सा करुणे बुधै: ॥ main
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37 S Rāj II.2.1.1088. annotation_inline
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38 .....गर्वे त्वान्ध्रॉ प्रचक्षते । main
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39 19. cf.(i) annotation_inline
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40 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX.p.76. main
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41 (ii) annotation_inline
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42 .....सर्वभावनियोगभाक् । main
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43 S Rāj 11.2.1.1090 d. main
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44 Our reconstruction is in close proximity of p.t. 'Vyādhau daṣṭeṣu' could be main
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45 another possibility; the meaning would be - 'in the context of disease and of main
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46 those bitten (by poisonous creatures)* main
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47 20. cf. annotation_inline
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48 औप्र्वे क्रोधे च गान्धारी .....ा main
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49 Citation from Kasyapa in Abhi Bhā on NŚ XXIX., p. 76. main
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vol_I_p018 LEFT — 36 lignes

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1 18 page_number
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2 BRHADDESI page_header
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3 [ श्रुति-स्वर-सम्बन्धमधिकृत्य पञ्च विकल्पाः, तेषां दूषणं च ] editorial_bracket
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4 इदानी श्रुतीनां तादात्म्यादिविकल्पः कथ्यते— main
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5 तादातम्यं च विवर्तत्वं कार्यत्वं परिणामिता। main
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6 अभिव्यञ्जकता चापि श्रुतीनां परिकथ्यते ॥२८॥ main
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7 57कल्प्यते annotation_inline
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8 इदानीमेतदेव विवृणोति— main
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9 विशेषस्पर्शशून्यत्वाच्छ्रवणेन्द्रियग्राह्ययोः 58। main
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10 <sup>59</sup>गम्य ०ताः main
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11 स्वरश्रुत्योस्तु तादात्म्यं जातिव्यक्त्योरिवानयोः ॥२९॥ main
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12 <del>هُ (10</del> annotation_inline
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13 नराणां च मुखं यद्वद्दर्पणे तु विवर्तितम्। main
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14 614 page_number
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15 ुते6≥ annotation_inline
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16 प्रतिभाति स्वरस्तद्वच्छुतिष्वेव विवर्तितः॥३०॥ main
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17 ०न्ति<sup>63</sup> ०रा<sub>०</sub>64 main
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18 65 ल : annotation_inline
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19 स्वराणां श्रुतिकार्यत्वमिति केचिद् वदन्ति हि। main
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20 श्रुतीना annotation_inline
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21 मृत्पिण्डदण्डकार्यत्वं घटंस्येह यथा भवेत्।।३१।। main
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22 व67 annotation_inline
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23 श्रुतयः स्वररूपेण परिणमन्ति न संशयः । main
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24 68परिणाम annotation_inline
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25 व्रजन्ति हि main
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26 भजन्ति ५९ annotation_inline
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27 परिणमेद्यथा क्षीरं दिधरूपेण सर्वथा।।३२।। main
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28 षड्जादयः स्वराः सप्त व्यज्यन्ते श्रुतिभिः सदा। main
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29 अन्धकारस्थिता यद्वत् प्रदीपेन घटादयः ॥ ३३॥ main
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30 इति तावन्मया प्रोक्तं श्रुतीनां च विकल्पनम्। main
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31 इदानी संप्रवक्ष्यामि विकल्पस्य च दूषणम्।।३४।। main
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32 भेदः ७०स्वलक्षणानां सामान्येनान्यवस्तुवत् सिद्धः।। main
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33 स्वर् annotation_inline
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34 तिद्धं विशेषैः शून्यं भवति नभःपुष्पसङ्काशम्॥३५॥ main
via surya_layout
35 <sup>71</sup>विशेषस्तु भवति पुनः main
via surya_layout
36 स₀ annotation_inline
parent ligne 35
via heuristic_markers

vol_I_p028 LEFT — 27 lignes

page vol_I_p028 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDES!</b> page_header
via surya_layout
2 38 page_number
via heuristic_pagenum
3 [ अनु. २५ ] editorial_bracket
parent ligne 4
via heuristic_brackets
4 इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते main
via surya_layout
5 द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः main
via surya_layout
6 स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम main
via surya_layout
7 विवादित्वम्। विवादिमण्डलं यथा— main
via surya_layout
8 स annotation_inline
parent ligne 7
via heuristic_height
9 नि annotation_inline
parent ligne 7
via heuristic_height
10 रि annotation_inline
parent ligne 7
via heuristic_height
11 ध annotation_inline
parent ligne 7
via heuristic_height
12 4 page_number
via heuristic_pagenum
13 Ŧ annotation_inline
parent ligne 7
via heuristic_height
14 ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ editorial_bracket
parent ligne 7
via heuristic_brackets
15 ` annotation_inline
parent ligne 7
via heuristic_height
16 [ अनु. २६ ] editorial_bracket
parent ligne 7
via heuristic_brackets
17 विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान main
via surya_layout
18 25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः main
via surya_layout
19 प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो editorial_bracket
parent ligne 18
via heuristic_brackets
20 भवेत् ॥ इति षड्जग्रामे ॥ editorial_bracket
parent ligne 18
via heuristic_brackets
21 [ अनु. २७ ] editorial_bracket
parent ligne 18
via heuristic_brackets
22 इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च editorial_bracket
parent ligne 18
via heuristic_brackets
23 तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः main
via surya_layout
24 प्रदश्यते । annotation_inline
parent ligne 23
via heuristic_short
25 संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ main
via surya_layout
26 विवादिनौ । annotation_inline
parent ligne 25
via heuristic_short
27 ___ •नादनुः ____ main
via surya_layout
344 lignes a valider — change uniquement les roles incorrects.