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 21587). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p057 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 96 page_number
via heuristic_pagenum
3 [१. भिन्नषड्जः] section_header
via surya_layout
4 धैवतांशो मध्यमान्तः पञ्चमर्षभवर्जितः । main
via surya_layout
5 षड्जोदीच्यवतीजातो भिन्नषड्ज: स्मृतो बुधै: ॥३०६॥ main
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6 (जमा?जातो) annotation_inline
parent ligne 5
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7 [अनुः १७५] editorial_bracket
parent ligne 5
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8 [अस्यार्थ:-]भित्रषड्जः पड्जग्रामसम्बन्धः षड्जोदीच्यवतीजातेर्जातत्वात्। धैवतो editorial_bracket
parent ligne 5
via heuristic_brackets
9 ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ। main
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10 सर्वोपकरणप्रवृत्तस्य ५७विजातीयाद्रणान्निवृत्तस्य मृगयायां प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य main
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11 विजातीयो निरणानियृत्तस्य (?) annotation_inline
parent ligne 10
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12 विनियोगः। <sup>५८</sup>बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । <sup>५९</sup>प्रसन्नादिरलङ्कारः । main
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13 दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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14 [२.भिन्नपञ्चमः] section_header
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15 [अन्॰ १७६] editorial_bracket
parent ligne 14
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16 .असौ भिन्नपञ्चम: स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा - main
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17 शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः। main
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18 स्वर(न्ग्रे?ई) annotation_inline
parent ligne 17
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19 धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥ main
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20 [अन्॰ १७७] editorial_bracket
parent ligne 19
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21 अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीजात्योर्जातत्वात् main
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22 पङ्जोदीच्यवतीजाते: मध्यमा(पञ्चमी) जात्यो॰ annotation_inline
parent ligne 21
via heuristic_markers
23 ण्या(म) annotation_inline
parent ligne 21
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24 भिन्न(सं?)पञ्चमो annotation_inline
parent ligne 21
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25 ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण- main
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26 श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । main
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27 प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः । main
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vol_II_p030 LEFT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) unknown
via fallback
2 BŖHADDEŚĪ page_header
via surya_layout
3 42 page_number
via heuristic_pagenum
4 सर्वस्वराणां प्रवरो ह्यनाशी मध्यमस्वर: । main
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5 व्य अनाशी <sup>१२६</sup>मध्यम: स्मृत: main
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6 <sup>१२७</sup>हाधिनाशी तु मध्यम: main
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7 गान्धर्वकल्पे <sup>१२८</sup> विहित: सामस्विप च मध्यम: ॥'' main
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8 १२९०ल्येऽ main
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9 सामगैश unknown
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10 महर्षिभि: main
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11 भिमत: annotation_inline
parent ligne 10
via heuristic_short
12 [ना॰ शा॰ २८.५८-६५] editorial_bracket
parent ligne 10
via heuristic_brackets
13 [अनु॰ १४२] editorial_bracket
parent ligne 10
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14 इदानीं षाडवौडुवितविधिरुत्सर्गापवादविधिश्च विकृतास्वेव जातिषु बोद्धव्य:, न तु main
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15 <b>॰</b>विधस्तु उत्सर्गाफ annotation_inline
parent ligne 14
via heuristic_markers
16 ॰स्तु annotation_inline
parent ligne 14
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17 शुद्धासु जातिषु, तासां शुद्धानामन्यजात्युत्पत्तौ मूलत्वात् । एता एव शुद्धा विकृता भवन्ति । main
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18 ٩ page_number
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19 कथम् - main
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20 [९. पुन: शुद्धाजातिलक्षणम् ] section_header
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21 तद्ग्रहा तदपन्यासा तदंशा च यदा भवेत्। main
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22 मन्द्रन्यासा च पूर्णा च शुद्धा जातिस्तदोच्यते ॥२५९॥ main
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23 १३००धी annotation_inline
parent ligne 22
via heuristic_short
24 इति शुद्धालक्षणमुक्तम्। main
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25 <b>4</b> ° annotation_inline
parent ligne 24
via heuristic_markers
26 [१०. शुद्धाजातीनां पुनर्विकृतत्वम्] section_header
via surya_layout
27 [अनु॰ १४३] editorial_bracket
parent ligne 26
via heuristic_brackets
28 एतेन लक्षणेनैकेन द्वाभ्यां [बहुभि]वां विकृता भवन्ति । पुनर्न्यासवर्जमिति, न्यासेन: विकृत editorial_bracket
parent ligne 26
via heuristic_brackets
29 •ज्य annotation_inline
parent ligne 26
via heuristic_height
30 न्त annotation_inline
parent ligne 26
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31 धा annotation_inline
parent ligne 26
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32 [त्वं] च नास्ति न्यासवर्जमिति वचनात् । editorial_bracket
parent ligne 26
via heuristic_brackets
33 न्दर्भ annotation_inline
parent ligne 26
via heuristic_height
34 [तत्र षाङ्ज्या उदाहरणम्] editorial_bracket
parent ligne 26
via heuristic_brackets
35 [अनु॰ १४४] editorial_bracket
parent ligne 26
via heuristic_brackets
36 विकृता षाङ्जी द्विविधा-नित्यसम्पूर्ण पाडवा चेति। main
via surya_layout
37 नामांशेन षाङ्जी शुद्ध [1] । विकृता editorial_bracket
parent ligne 36
via heuristic_brackets
38 (ক্টি) main
via surya_layout
39 (vide) annotation_inline
parent ligne 38
via heuristic_height
40 78 LE annotation_inline
parent ligne 38
via heuristic_height

vol_II_p033 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1400 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 49 page_number
via heuristic_pagenum
4 citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika main
via surya_layout
5 (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa main
via surya_layout
6 (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its main
via surya_layout
7 application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup> main
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8 (associated with exit) dhruvā in the first scene (or act). main
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9 [3. Dhaivati] section_header
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10 [Anu. 150] section_header
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11 In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā main
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12 state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and main
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13 madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is main
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14 devoid of pañcama and the auduva formation is devoid of pañcama, șadja. main
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15 The same two svaras, viz. şadja and pañcama should be made weak and should main
via surya_layout
16 sometimes be leapt over. The tara is upto five svaras. The mandra is upto the main
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17 nyāsa<sup>66</sup> or upto the svara next to nyāsa. main
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18 [Anu. 151] section_header
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19 It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās main
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20 in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā main
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21 beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), main
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22 citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and main
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23 sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā main
via surya_layout
24 (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in main
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25 the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, main
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26 bhayānaka are the rasas. Its application is (prescribed) in the singing of main
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27 dhruvā in the first scene (or act). main
via surya_layout
28 [4. Naisādī] section_header
via surya_layout
29 [Anu. 152] section_header
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30 In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. main
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31 Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava main
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32 formation is devoid of pañcama and the auduvita formation is devoid of main
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vol_I_p004 RIGHT — 39 lignes

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L#Texte OCRRole autoCorriger si incorrect
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
via surya_layout
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_II_p058 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 98 page_number
via heuristic_pagenum
3 [ जातिभिन्न:] section_header
via surya_layout
4 इदानीं जातिभिन्नस्य लक्षणमाह - main
via surya_layout
5 जातीनामंशक: स्थाप्य: स्वल्पकस्तु बहुस्तथा । main
via surya_layout
6 ॰कं स्थाय(?) annotation_inline
parent ligne 5
via heuristic_markers
7 अल्पत्वं च बहुत्वं च प्रयोगाल्पबहुत्वतः ॥ main
via surya_layout
8 सूक्ष्मातिसूक्ष्मैर्वक्रैश्च जातिभिन्नः स उच्यते ॥ ३०८॥ main
via surya_layout
9 [अनु॰ १७८] editorial_bracket
parent ligne 8
via heuristic_brackets
10 अस्यार्थ: - शुद्धकैशिकमध्यमो हि कैशिकीषड्जमध्यमाजात्योर्जात:।भित्रकैशिकमध्य [म]स्तु editorial_bracket
parent ligne 8
via heuristic_brackets
11 <b>र्जात(य?):</b> annotation_inline
parent ligne 8
via heuristic_height
12 न्मध्यो annotation_inline
parent ligne 8
via heuristic_height
13 पड्जमध्यमाजातेर्जातत्वात् तदंशग्राहित्वेन स्थायिवर्णग्राहित्वेन च सूक्ष्मातिस्क्ष्मै: प्रयोगैश्च main
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14 (ति) annotation_inline
parent ligne 13
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15 जातिभिन्नो भवेदित्यर्थ:। लक्षणं चास्य यथा - main
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16 (दि) annotation_inline
parent ligne 15
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17 [३.भिन्नकैशिकमध्यमः] section_header
via surya_layout
18 स्यात् षड्जमध्यमाजातेभित्रकैशिकमध्यमः। main
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19 (तै?ते) main
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20 षङ्जांशो मध्यमन्यासो मन्द्रैस्तु गमकैर्युत: ॥३०९॥ unknown
via fallback
21 [अन्॰ १७९] editorial_bracket
parent ligne 19
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22 [अस्यार्थ:-] भित्रकैशिकमध्यमः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेरुत्पन्नत्वात् । editorial_bracket
parent ligne 19
via heuristic_brackets
23 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । मन्द्रगमकश्च । निषादोऽत्र काकली । पूर्णश्चायम् । दानवीर main
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24 पह्(जॉऽश ? जो)स्य annotation_inline
parent ligne 23
via heuristic_short
25 चास्य प्रयोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । प्रसन्नादिरलङ्कारः । दक्षिणे main
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26 कला, वार्तिके कला, चित्रे कला। [स्वरपदगीते] चच्चत्पुटादिताल:। editorial_bracket
parent ligne 25
via heuristic_brackets
27 [शुद्धभिनः] section_header
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28 [इदानी]शुद्धभित्रस्य लक्षणमाह - section_header
via surya_layout
29 परित्यजन्नन्यजातिं स्वजातिकुलभूषणः। main
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30 स्वकं कुलं तु संगृह्धन् शुद्धभित्रः प्रकीर्तितः ॥३१०॥ main
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168 lignes a valider — change uniquement les roles incorrects.