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 21487). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p036 RIGHT — 34 lignes

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1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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vol_II_p104 LEFT — 34 lignes

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1 (vide) annotation_inline
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2 後継続(国際)できます。 annotation_inline
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3 190 page_number
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4 BRHADDEŠĪ page_header
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5 [३. अथ मालवपञ्चमे] section_header
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6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
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7 पो पा पा annotation_inline
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8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
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9 37 page_number
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10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
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11 + देशं भा (?) annotation_inline
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12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
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13 ॰िमति॰(?) annotation_inline
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14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
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15 υo annotation_inline
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16 विभाविनी।[१] editorial_bracket
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17 ..पौराली । [२] editorial_bracket
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18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
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19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
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20 + भाषाकरणे annotation_inline
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21 चैवमुद्धारे annotation_inline
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22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
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23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
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24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
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25 पञ्चमार्ध तु annotation_inline
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26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
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27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
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28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
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29 ॰मा annotation_inline
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30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
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31 भावनास्था घ्रुवेशजा annotation_inline
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32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
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33 370 page_number
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34 व्याधाः (?) annotation_inline
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vol_II_p017 LEFT — 42 lignes

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1 A TOPE STORY OF THE STORY unknown
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2 BRHADDEŚĪ page_header
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3 16 page_number
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4 बोद्धव्या पञ्चस्वरं यावत् तारावधिः। यथा गान्धार्यां निध निस इति । main
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5 वाशब्दात् annotation_inline
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6 तारिवधिं main
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7 बोड्ज: annotation_inline
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8 सा annotation_inline
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9 सप्तस्वरस्यापि तारता भवति । त्रिधा तारगति: । तथा चाह भरत: - main
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10 चतुर्धा (... गी?ग) annotation_inline
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11 ‘‘अंशात्तारगतिं विद्यादाचतुर्थस्वरादिह । main
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12 न्दिभि: unknown
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13 (गीतं? गतिं) main
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14 વ્ય main
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15 (vide) unknown
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16 आपञ्चमात् सप्तमाद्वा नातः परिमहेष्यते ॥'' main
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17 [ना॰ शा॰ २८.७०] editorial_bracket
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18 [४. मन्द्रलक्षणम्] section_header
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19 [अनु॰ १२५] editorial_bracket
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20 इदानीं मन्द्र उच्यते - main
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21 (ন?র) annotation_inline
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22 मृदुस्वरो मन्द्रः। सा च मन्द्रगतिस्त्रिधांऽशपरा, न्यासपरा, अपन्यासपरा चेति । main
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23 .धा(आं?अं) annotation_inline
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24 (तप? तत्प)रा main
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25 म(न्द:?न्द्र:) annotation_inline
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26 अंशस्वर: परो यस्मादिति बहुव्रीहौ। तस्मात् पूर्वो य: स्वर: स मन्द्र:। यथा-धैवत्यां धाधा main
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27 श्स्वरस्य (य:स्या? यस्मा)दिति unknown
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28 घा annotation_inline
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29 निध पध मा। मा मा। एवमत्रापन्यासस्वर इति, न्यासस्वरोऽप्येवमेव । main
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30 ज्यांकि <sub>ह</sub>ु main
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31 म annotation_inline
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32 [५. षाडवलक्षणम्] section_header
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33 [अनु॰ १२६] editorial_bracket
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34 इदानीं षाडवमुच्यते - main
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35 षट्स्वरं षाडवमिति चतुर्दशजातिविषयत्वाच्चतुर्दशविधम्, चतसृणां main
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36 जातीनां annotation_inline
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37 <b>॰वि(धि॰? ঘ):।</b> annotation_inline
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38 ॰ रा४९ annotation_inline
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39 नित्यसम्पूर्णत्वेन तदभावाज्जात्यंशभेदेन तु सप्तचत्वारिंशत्प्रकारं च तद् भवति । तथा main
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40 चाह annotation_inline
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41 ५०लचे(न) main
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42 भरत: - main
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vol_II_p043 LEFT — 50 lignes

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1 BRHADDEŚĪ page_header
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2 68 page_number
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3 रों रों गां सम मा मा पा पा table
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4 (८) table
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5 (8) table
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6 मा पा मा परि गा गा गा गा table
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7 (१०) table
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8 धानी पामा धानी सासा table
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9 (११) table
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10 नी नी नी नी नी नी नी table
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11 (१२) table
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12 मा मा धा नी नी धा पा पा table
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13 (१३) table
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14 मा पा मा परि गा गा गा गा table
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15 (88) table
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16 नी नी पा धनि गा गा गा गा table
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17 सारी गासानी नी नी नी table
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18 (१५) table
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19 (१६) table
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20 नी नी धा पा पा पा पा पा table
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21 ॥ [इति] कार्मारवी ॥ table
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22 1411 page_number
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23 [७. गान्धारपञ्चमी] section_header
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24 अंशो गान्धारपञ्चम्यां पञ्चमः, सङ्गतिः पुनः । main
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25 (育) annotation_inline
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26 कर्तव्याऽत्रापि गान्धारीपञ्चम्योरिव सूरिभि: ॥१९॥ main
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27 १८००भूरिभि: annotation_inline
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28 चच्चत्पुट: षोडशात्र कला गादिश्च मूर्छना । main
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29 तुर्यप्रेक्षणसम्बन्धि-ध्रुवागाने नियोजनम् ॥२०॥ main
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30 <sup>१८१</sup>अस्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ । <sup>१८२</sup>प्रस्तारः - unknown
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31 (१) table
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32 मा मा पम धनि धप मा धा नी table
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33 (२) table
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34 सनि धा पा पा पा पा पा पा table
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35 (3) table
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36 धा नी सा सा मा मा पा पा table
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37 नी नी नी नी नी नी नी table
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38 (8) table
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39 (4) table
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40 नी नी धप मा निध निध पा पा table
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41 <b>(६)</b> table
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42 पा पा री री री री पा पा table
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43 (७) table
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44 मा रिग सा सध नी नी नी नी table
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45 (८) table
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46 नी री सा रिस री री री री table
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47 नी गा सा निग सा नी नी नी table
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48 (९) table
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49 (१०) table
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50 नी मां नी मां पा पा गां गां table
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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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199 lignes a valider — change uniquement les roles incorrects.