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 21562). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p088 RIGHT — 76 lignes

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1 VIMARŚA annotation_inline
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2 159 page_number
via heuristic_pagenum
3 20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively. main
via surya_layout
4 They are used singly and also in a pair in NS. Our text uses them in a pair in the main
via surya_layout
5 present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 main
via surya_layout
6 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective main
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7 for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present main
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8 passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 main
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9 ( while annotation_inline
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10 explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the main
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11 string). main
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12 Word table
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13 Reference table
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14 Context table
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15 Apakṛṣṭa (Pañcama) table
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16 NS XXVIII table
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17 Madhyamagrāma table
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18 p. 20 table
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19 Utkarşa-apakarşa table
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20 Measure of śruti table
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21 p. 20 table
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22 . table
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23 Apakṛṣṭa (Vīṇā) table
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24 p. 20 table
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25 Sāraņā table
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26 M table
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27 Utkarşa ( of gandhara ) table
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28 Mūrchanā-grāma table
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29 p. 26 table
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30 Mărdava (of dhaivata) table
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31 p. 26 table
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32 Utkṛṣṭa ( niṣāda ) table
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33 p. 32 table
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34 Svara-sādhāraņa table
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35 (gāndhāra) table
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36 p. 32 table
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37 99 page_number
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38 Mārdava-āyatatva table
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39 p. 20 table
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40 Measure of sruti table
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41 × table
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42 Ayatatva table
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43 XXVIX table
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44 p. 37 table
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45 Sruti-jāti table
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46 Mṛdutva table
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47 p. 37 table
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48 p. 27 table
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49 Viprakarşa-mārdava table
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50 XXVIII table
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51 Tāna-kriyā table
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52 Viprakarşa-pidana table
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53 Abhi. Bhā. table
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54 ( stretching of the table
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55 on above table
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56 string) table
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57 Mārdava = table
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58 śithilikarana table
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59 (loosening of the string). table
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60 It is an acoustic fact that stretching or tightening of the string results in main
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61 higher pitch and loosening of the string results in the reverse viz. lower pitch. main
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62 The words utkarşa and apakarşa stand for these two resultant changes in pitch main
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63 respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of main
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64 tightening and loosening of the string respectively. Both these pairs are closely main
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65 related since they represent the effect and cause. Both the pairs are mentioned main
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66 together in BrD and NS in the context of sāraņā (the process of verification of main
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67 śruti). It is notable that although utkarşa and āyatatva and apakarşa and main
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68 mārdava are pairs of mutually related terms, their order is reversed both in NŠ main
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69 and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; main
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70 the proper order would have been apakarşa-utkarşa. Abhinavagupta main
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71 commenting on this passage of NS explains the mutual relativity of the main
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72 constituents of both the pairs. When there are two viņās, if one string on one main
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73 viņā is tightened, this action has two effects viz. higher pitch on that viņā and main
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74 relatively lower pitch on the corresponding string of the other viņā without any main
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75 change of tension in that string. Hence ayatatva produces both utkarşa and main
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76 apakarşa. Similarly, if one string is loosened on one viņā, this action has two main
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vol_I_p094 RIGHT — 45 lignes

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1 VIMARŚA annotation_inline
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via heuristic_height
2 171 page_number
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3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
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4 p. 46) main
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5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
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6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
via surya_layout
7 does not carry further the argument that vowels and musical tones cannot be list_item
via surya_layout
8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
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9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
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10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
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11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
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12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
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13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
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14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
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15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
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16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
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17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
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19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
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21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
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26 work that uses solfa-syllables, the above discussion has a historical context. list_item
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27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
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28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
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29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
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30 ends in this case. The first one of these is the vādin or point of reference and list_item
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31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
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32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
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37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
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40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
via surya_layout
44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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vol_I_p068 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 118 page_number
via heuristic_pagenum
3 सरिमपपमरिस । रिगपधधपगरि । गमधनिनिधमग । main
via surya_layout
4 मपनिससनिपम। सनिपममपनिस। निधमगगमधनि। main
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5 धपगरिरिगपध। पमरिससरिमप। उद्घट्टितः [ २५ ] editorial_bracket
parent ligne 4
via heuristic_brackets
6 सिरिग्। रिग्म। गमप्। मप्ध। पधनि। धनिस। सनिध। निधप। धपम। main
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7 पमग्। मगरि। गरिस। आक्षिप्तकः [ २६ ] editorial_bracket
parent ligne 6
via heuristic_brackets
8 सगमा मरिसा। रिमपा पगरी। गपधा धमगा। main
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9 मधनी निपमा। पनिसा सधपा। धनिसा। सधपा पनिसा। main
via surya_layout
10 निपमा मधनी। धमगा गपधा। पगरी रिमपा। main
via surya_layout
11 मरिसा सगमा। गरिसा। सम्प्रदानमः [ २७ ] editorial_bracket
parent ligne 10
via heuristic_brackets
12 。नम् annotation_inline
parent ligne 10
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13 सगम मरिस। रिमप पगरि-- - - - - - - unknown
via fallback
14 VII [ पदगीतिप्रकरणम् ] section_header
via surya_layout
15 अलङ्कारा मया प्रोक्ता यथावन्मुनिसत्तम main
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16 1अथ गीतिं प्रवक्ष्यामि छन्दोऽक्षर- [ समन्विताम् ] ॥१७०॥ editorial_bracket
parent ligne 15
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17 प्रथमा मागधी जेया द्वितीया चार्धमागधी । main
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18 सम्भाविता तृतीया च चतुर्थी पृथुला स्मृता ॥१७१॥ main
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19 थित्रिर्निवृत्ता च या गीतिः सा गीतिर्मागधी स्मृता । main
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20 अर्धकालनिवृत्ता च विज्ञेया त्वर्धमागधी ॥१७२॥ main
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21 सम्भाविता च विज्ञेया गुर्वक्षरसमन्विता । main
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22 पृथुलास्या च विज्ञेया लघ्वक्षरसमन्विता ॥१७३॥ main
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23 [ अनु₀ १०४ ] editorial_bracket
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24 दक्षिणे मार्गे पृथुला गीति [:], वार्तिक मार्गे सम्भाविता, चित्रे मार्गे editorial_bracket
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25 र्मा. annotation_inline
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26 <b>,</b>† annotation_inline
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27 र्गा annotation_inline
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28 मागधी । अष्टौ ३ मात्रा [ दक्षिणमार्गे, चतस्रो मात्रा editorial_bracket
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29 .धिः annotation_inline
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30 वार्तिकमार्गे, द्वे मात्रे चित्रमार्गे ] कलाप्रयोगक्रमेण । editorial_bracket
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31 ⁴ताल. annotation_inline
parent ligne 22
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32 चित्रे चैककले ताले विज्ञेया गीतिर्मागधी । main
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33 वार्तिक द्विकले ज्ञेया गीतिः सम्भाविता बुधैः ॥१७४॥ unknown
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34 .ला annotation_inline
parent ligne 32
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vol_II_p084 RIGHT — 34 lignes

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1 151 page_number
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2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
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5 dhāsāsāgāgadhari. annotation_inline
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
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7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
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13 (65) annotation_inline
parent ligne 11
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
parent ligne 17
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
parent ligne 22
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
parent ligne 31
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
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vol_II_p101 LEFT — 38 lignes

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1 -- 1 annotation_inline
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2 History 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 S annotation_inline
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3 184 page_number
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4 BRHADDEŚĪ section_header
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5 [१. अथ टके] section_header
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6 पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्। main
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7 ..(ता? न्ता) annotation_inline
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8 भाषे annotation_inline
parent ligne 6
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9 <sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥ main
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10 चैषा ॰ annotation_inline
parent ligne 9
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11 उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा main
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12 धासासानीधानीधा[सा सा]। देवालवर्धनी । [१] editorial_bracket
parent ligne 11
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13 मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा । main
via surya_layout
14 सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥ main
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15 उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि- main
via surya_layout
16 सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा- main
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17 सानिसा। पौराली । [२] editorial_bracket
parent ligne 16
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18 धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता । main
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19 (वैध ? धैव) annotation_inline
parent ligne 18
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20 टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥ main
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21 शकभाषा annotation_inline
parent ligne 20
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22 उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा- main
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23 माधमागसासासा । त्रावणी । [३] editorial_bracket
parent ligne 22
via heuristic_brackets
24 मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा । main
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25 विपा annotation_inline
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26 मान annotation_inline
parent ligne 24
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27 विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥ main
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28 ॰रागस्यैपा annotation_inline
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29 मूढलालिता annotation_inline
parent ligne 27
via heuristic_height
30 उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा । main
via surya_layout
31 रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४] editorial_bracket
parent ligne 30
via heuristic_brackets
32 तानल॰ annotation_inline
parent ligne 30
via heuristic_markers
33 भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा । main
via surya_layout
34 साधारणा तु पङ्जांशान्ता main
via surya_layout
35 पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥ main
via surya_layout
36 <b>ल्होनं</b> annotation_inline
parent ligne 35
via heuristic_height
37 স্ত(?) annotation_inline
parent ligne 35
via heuristic_height
38 1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE annotation_inline
parent ligne 35
via heuristic_height
227 lignes a valider — change uniquement les roles incorrects.