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 21500). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p020 LEFT — 36 lignes

page vol_I_p020 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 22 page_number
via heuristic_pagenum
3 तदुक्तम्— main
via surya_layout
4 "कथं प्रतीतिश्च भवेदमुष्या main
via surya_layout
5 नादौ नभो व्याकुलितश्रुति स्यात् । main
via surya_layout
6 ुत्वा, । annotation_inline
parent ligne 5
via heuristic_height
7 रा annotation_inline
parent ligne 5
via heuristic_height
8 भवेदलक्ष्यावयवा श्रुतिस्तु main
via surya_layout
9 [ तेनैव ] नैवावयवा प्रतीता ।। editorial_bracket
parent ligne 8
via heuristic_brackets
10 ॰वी annotation_inline
parent ligne 8
via heuristic_markers
11 ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति । main
via surya_layout
12 तासा भवतीताः annotation_inline
parent ligne 11
via heuristic_height
13 ती २ annotation_inline
parent ligne 11
via heuristic_height
14 यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥ main
via surya_layout
15 श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥ main
via surya_layout
17 तस्या annotation_inline
parent ligne 16
via heuristic_height
18 ুস্ annotation_inline
parent ligne 16
via heuristic_height
19 मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥ main
via surya_layout
20 ٥٣, annotation_inline
parent ligne 19
via heuristic_height
21 सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः। main
via surya_layout
22 [ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।। editorial_bracket
parent ligne 21
via heuristic_brackets
23 ₀णः ₀न्तोऽप्या₃ annotation_inline
parent ligne 21
via heuristic_markers
24 ++++ main
via surya_layout
25 सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा । main
via surya_layout
26 ०णी तु annotation_inline
parent ligne 25
via heuristic_short
27 स annotation_inline
parent ligne 25
via heuristic_height
28 विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥ main
via surya_layout
29 भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥ main
via surya_layout
30 किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः । main
via surya_layout
31 निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥" main
via surya_layout
32 अत्रोच्यते- annotation_inline
parent ligne 31
via heuristic_short
33 अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा। main
via surya_layout
34 ₀প্লাপ্রউন<sup>87</sup> annotation_inline
parent ligne 33
via heuristic_markers
35 गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः main
via surya_layout
36 118311 main
via surya_layout

vol_I_p029 RIGHT — 22 lignes

page vol_I_p029 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 41 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 The vadi-maṇḍala in madhyama-grāma is thus - ma pa dha ni sa ri ga. main
via surya_layout
4 The samvādi-mandala in madhyama-grāma is thus- main
via surya_layout
5 ma unknown
via surya_layout
6 pa unknown
via surya_layout
7 ga unknown
via surya_layout
8 Γi unknown
via surya_layout
9 dha unknown
via surya_layout
10 ni unknown
via surya_layout
11 sa unknown
via surya_layout
12 • annotation_inline
parent ligne 4
via heuristic_height
13 The anuvādi-maṇḍala in madhyama-grāma is thus - main
via surya_layout
14 ŧ annotation_inline
parent ligne 13
via heuristic_height
15 ma unknown
via surya_layout
16 pa unknown
via surya_layout
17 ga unknown
via surya_layout
18 <math>\vec{\Pi}</math> unknown
via surya_layout
19 dha unknown
via surya_layout
20 . annotation_inline
parent ligne 13
via heuristic_height
21 ni unknown
via surya_layout
22 sa unknown
via surya_layout

vol_II_p064 LEFT — 27 lignes

page vol_II_p064 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 110 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 [अनु॰ १९३] section_header
via surya_layout
4 अस्यार्थः - सौवीरकः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
via surya_layout
5 ग्रहोंऽशो न्यासश्च । गान्धारनिषादयोरल्पत्वम्<sup>७१</sup> । निषाद: काकली । पूर्णश्चायम् । गृहमेधिनां main
via surya_layout
6 संयमिनां तापसानां च प्रवेशादिके चरिते, शान्तरसे चास्य विनियोग:। वीरादिको रस:। main
via surya_layout
7 वास्य annotation_inline
parent ligne 6
via heuristic_height
8 षड्जादिमूर्छना। आरोही वर्ण:<sup>७२</sup>। प्रसन्नादिरलङ्कार: । दक्षिणे कला,वार्तिके कला,चित्रे कला । main
via surya_layout
9 स्वरपदगीते चच्चत्पुटादितालः। main
via surya_layout
10 [३. मालवपञ्चम:] section_header
via surya_layout
11 पञ्चमांशस्तदन्तश्च पञ्चमीमध्यमोद्भव:। main
via surya_layout
12 स्वल्पद्विष्ठतिकश्चैव ज्ञेयो मालवपञ्चमः ॥ ३२२॥ main
via surya_layout
13 [अन्॰ १९४] section_header
via surya_layout
14 अस्यार्थ: - मालवपञ्चमो मध्यमग्रामसम्बन्ध:, मध्यमापञ्चमीसमुत्पन्नत्वात् । पञ्चमीऽशो main
via surya_layout
15 ग्रहो न्यासश्च। निषादगान्धारयोरल्पत्वम् <sup>७३</sup>। निषादोऽत्र काकली पूर्णस्वरश्चायम् । विप्रलम्भशृङ्गारे main
via surya_layout
16 कञ्चकीप्रवेशेऽस्य विनियोगः । पञ्चमादि-मूर्छना<sup>७४</sup>। रसौ शृङ्गारहास्यौ । आरोह्यादिवर्णः । main
via surya_layout
17 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
18 [४. वेसरपाडव:] section_header
via surya_layout
19 मध्यमांशस्तथा न्यासः कारणं षड्जमध्यमा । main
via surya_layout
20 अद्विश्रुतिभ्यां विहीनस्तु भवेद् वेसरषाडवः ॥ ३२३॥ main
via surya_layout
21 [अनु॰ १९५] section_header
via surya_layout
22 अस्यार्थः - वेसरषाडवः षड्जग्रामसम्बन्धः षड्जमध्यमाजातत्वात् । मध्यमों ऽशो ग्रहो main
via surya_layout
23 न्यासश्च । गान्धारिनषादयोरल्पत्वम् । गान्धारिनषादौ काकल्यन्तरौ । नित्यं पूर्णस्वरश्चायम् । शान्तरसे main
via surya_layout
24 (गान्धारनिपादयोरल्पत्वम्) annotation_inline
parent ligne 23
via heuristic_height
25 चास्य प्रयोग:। शृङ्गारहास्यौ रसौ । मध्यमादि-मूर्छना % । आरोही वर्ण: । प्रसन्नादिरलङ्कार: । main
via surya_layout
26 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
27 The state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
parent ligne 26
via heuristic_height

vol_I_p004 RIGHT — 39 lignes

page vol_I_p004 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>FOREWORD</b> section_header
via surya_layout
2 The eighth in the series of the Kalāmūlašāstra, research and publication main
via surya_layout
3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
via surya_layout
4 As the name suggests, it is extensive and comprehensive. This is rightly main
via surya_layout
5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
via surya_layout
6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
via surya_layout
7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
via surya_layout
8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
via surya_layout
9 enunciates a theory of sound, structure and composition quite distinct from the main
via surya_layout
10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
via surya_layout
11 posed many complex problems of editing and translation. While the Indira main
via surya_layout
12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
via surya_layout
13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
via surya_layout
14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
via surya_layout
15 the Sangita Ratnäkara on the other hand. main
via surya_layout
16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
via surya_layout
17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
via surya_layout
18 reconstructed from excerpts by later writers. This task is challenging and main
via surya_layout
19 requires mastery of the skills of collation and editing of a very high order. Dr. main
via surya_layout
20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
via surya_layout
21 unravelling the mysteries of the textual corpus in relation to the unbroken main
via surya_layout
22 traditions and the practice of Indian music has assiduously reconstructed this main
via surya_layout
23 text on the basis of the citations, has provided annotations, explanations and, main
via surya_layout
24 naturally, translation. The work is being presented in three Volumes. The first main
via surya_layout
25 two will present the text with a translation, notes and annotation. The third will main
via surya_layout
26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
via surya_layout
27 There has been only one printed edition of this text so far, i.e. Trivandrum main
via surya_layout
28 Sanskrit Series in 1928. The present editor has considered that edition and has main
via surya_layout
29 corrected the errors and many mutilations and confusions in that edition. main
via surya_layout
30 In the context of music, one of the most common and fundamental questions main
via surya_layout
31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
via surya_layout
32 emerge?". In critical literature there has been a vast body of discussions on the main
via surya_layout
33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
via surya_layout
34 makes scanty mention of the Ragas. The source of musical structure and main
via surya_layout
35 composition, both of Hindustani and Carnatic music, has to be traced back to main
via surya_layout
36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
via surya_layout
37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
via surya_layout
38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
via surya_layout
39 firm foundation of the system of Indian music, the text assumes great main
via surya_layout

vol_II_p108 RIGHT — 21 lignes

page vol_II_p108 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 199 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-.....Śuddhā[xiv] table
via surya_layout
4 [.....] table
via surya_layout
5 Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. main
via surya_layout
6 Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. main
via surya_layout
7 Madhyamā [xv] editorial_bracket
parent ligne 6
via heuristic_brackets
8 Pārvatī (bhāṣā) has paṇcama as amśa (and) dhaivata as the concluding note main
via surya_layout
9 and is born of a region<sup>31</sup>; it is sung in the assembly of kşatrīyas, is complete main
via surya_layout
10 and born of bhinna (şadja). main
via surya_layout
11 (33) annotation_inline
parent ligne 10
via heuristic_height
12 Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani main
via surya_layout
13 dhāpāpādhā. Pārvatī [xvi] editorial_bracket
parent ligne 12
via heuristic_brackets
14 Thus end the sixteen bhāṣās of bhinnaṣaḍja according to main
via surya_layout
15 the opinion of Śardūla. main
via surya_layout
16 The proper bhāṣās adorned with vibhāṣās have been spoken of in main
via surya_layout
17 combination with practice and theory (and) blended with prastāra (lit. main
via surya_layout
18 elaboration, here notational illustration). main
via surya_layout
19 (34) annotation_inline
parent ligne 18
via heuristic_height
20 Thus ends the description of bhāṣās. main
via surya_layout
21 [Thus ends the fourth chapter.] editorial_bracket
parent ligne 20
via heuristic_brackets
145 lignes a valider — change uniquement les roles incorrects.