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 21590). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p044 RIGHT — 46 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 71 page_number
via heuristic_pagenum
3 gā pā mā pā nī nī nī nī table
via surya_layout
4 (11) table
via surya_layout
5 mă pă mă pariga gā gā gā gā table
via surya_layout
6 (12) table
via surya_layout
7 ni ni pā dhā ni gā gā gā table
via surya_layout
8 (13) table
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9 nî nî nî nî nî nî nî nî table
via surya_layout
10 (14) table
via surya_layout
11 mã mã dhã nĩ sani dhã pã pã table
via surya_layout
12 (15) table
via surya_layout
13 mā pā mā pariga gā gā gā gā table
via surya_layout
14 (16) table
via surya_layout
15 Thusends gāndhārapancami. section_header
via surya_layout
16 [8. Āndhrī] section_header
via surya_layout
17 In <i>āndhrī, niṣāda, ṛṣabha, gāndhāra</i> and <i>pañcama</i> are the <i>aniśas</i>. There is main
via surya_layout
18 concert between ṛṣabha-gāndhāra and niṣāda-dhaivata. One should proceed main
via surya_layout
19 upto the nyāsa according to the order of the respective amsas. main
via surya_layout
20 (21) annotation_inline
parent ligne 19
via heuristic_short
21 The hexatonic form comes into being with the omission of sadja. The main
via surya_layout
22 mūrchanā beginning with madhyama obtains. The kalās, tāla and viniyoga main
via surya_layout
23 (application) are said to be as in the previous one (gāndhārapañcamī). main
via surya_layout
24 (22) annotation_inline
parent ligne 23
via heuristic_short
25 Gāndhāra is the nyāsa in this āndhrī. The amsas themselves are apanyāsas. main
via surya_layout
26 The <i>prastāra</i> is thus – main
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27 gārirīrīrīrīrīrī table
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28 (1) table
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29 rī gā rī gā rī rī rī rī table
via surya_layout
30 (2) table
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31 rī rī gā gā rī rī mā mā table
via surya_layout
32 (3) table
via surya_layout
33 rī gā sā dhani nī nī nī nī table
via surya_layout
34 (4) table
via surya_layout
35 ni ri ni ri dhani dhani pā pā table
via surya_layout
36 (5) table
via surya_layout
37 mā pā mā riga gā gā gā gā table
via surya_layout
38 (6) table
via surya_layout
39 rī rī gā sa ma mā mā pā pā table
via surya_layout
40 <b>(7)</b> table
via surya_layout
41 mā pā mā riga gā gā gā gā table
via surya_layout
42 (8) table
via surya_layout
43 dhā nī gā gā gā gā gā gā table
via surya_layout
44 (9) table
via surya_layout
45 pā pā mā riga gā gā gā gā table
via surya_layout
46 (10) table
via surya_layout

vol_II_p050 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. Gaudī giti and its component ohāțī] section_header
via surya_layout
4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
via surya_layout
5 to consist of a combination of the sound 'ha' and 'o'. main
via surya_layout
6 (277) annotation_inline
parent ligne 5
via heuristic_height
7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
via surya_layout
8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
via surya_layout
9 svara. annotation_inline
parent ligne 8
via heuristic_height
10 (278) annotation_inline
parent ligne 8
via heuristic_height
11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
via surya_layout
12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
via surya_layout
13 in the three registers. annotation_inline
parent ligne 12
via heuristic_height
14 (279) annotation_inline
parent ligne 12
via heuristic_height
15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
via surya_layout
16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
via surya_layout
17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
via surya_layout
18 the low (register) with shakes 19 of sound. main
via surya_layout
19 (280) annotation_inline
parent ligne 18
via heuristic_height
20 Gaudī gīti is said to subsist without rest in the three registers. main
via surya_layout
21 (281) annotation_inline
parent ligne 20
via heuristic_height
22 [4. Rāga giti] section_header
via surya_layout
23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
via surya_layout
24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
via surya_layout
25 delightful arrangements of svaras. main
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26 (282) annotation_inline
parent ligne 25
via heuristic_height
27 The rāgas (melodic configurations) are so called because the beautiful main
via surya_layout
28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
via surya_layout
29 is seen in them in its completeness. main
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30 (283) annotation_inline
parent ligne 29
via heuristic_height
31 [5. Sādhāraṇī gīti] section_header
via surya_layout
32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
via surya_layout

vol_II_p029 RIGHT — 18 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 ş annotation_inline
parent ligne 4
via heuristic_height
2 41 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 "Şadjamadhyamā is not desired to be with six svaras when the seventh main
via surya_layout
5 (niṣāda) is the amśa, because of the non-omission of the samvādī (of the main
via surya_layout
6 amsa); similarly it is not desired to be so when gandhara (is the amsa). main
via surya_layout
7 In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava main
via surya_layout
8 (non-ṣāḍava) and in ṣaḍjā (jātī) the amśa gāndhāra should be known as such. main
via surya_layout
9 O twice-born ones! when dhaivata is the amśa in ṣadjodīcyā there is no ṣāḍava main
via surya_layout
10 (form) because of the non-omission of the samvādī. These seven (amśas) are main
via surya_layout
11 devoid of the state of making six svara forms. main
via surya_layout
12 In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh main
via surya_layout
13 (niṣāda) should be known to be such as disallowing the formation of main
via surya_layout
14 auduvita. annotation_inline
parent ligne 13
via heuristic_short
15 In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, main
via surya_layout
16 similarly dhaivata in kaiśiki - these twelve should be avoided in making main
via surya_layout
17 pentatonic (forms). These jātis should always be treated as anauduvita (non- main
via surya_layout
18 pentatonic), when based on the above svaras. main
via surya_layout

vol_I_p060 LEFT — 52 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 102 page_number
via heuristic_pagenum
3 निधपा, मपधा धपमा, गमपा पमगा, रिगमा मगरी, सरिगा गरिसा। main
via surya_layout
4 सनिधा. annotation_inline
parent ligne 3
via heuristic_short
5 पधनी main
via surya_layout
6 मगरिस, रिगमप पमगरि, गमपध धपमग, मपधनि निधपम, पधनिस main
via surya_layout
7 अथवा— सरिगम annotation_inline
parent ligne 6
via heuristic_short
8 सनिधप, मपधनि निधपम, गमपध धपमग, रिगमप पमगरि, सरिगम मगरिस main
via surya_layout
9 इति annotation_inline
parent ligne 8
via heuristic_short
10 [ २९ ] editorial_bracket
parent ligne 8
via heuristic_brackets
11 अष्टादशकलो हुङ्कारः। main
via surya_layout
12 अनु₀ ९९ section_header
via surya_layout
13 तारात् सप्तमं स्वरं गत्वा पुनस्तत्रैवागत्यावरोहक्रमेण स्वरद्वयोच्चारणेन main
via surya_layout
14 .वमा. annotation_inline
parent ligne 13
via heuristic_height
15 कलाचतुष्टयकरणात् सन्धिप्रच्छादनः। main
via surya_layout
16 कारणनात् ( ? ) annotation_inline
parent ligne 15
via heuristic_short
17 यथा - ] सनि सनि सनि सनि, निध निध निध निध, धप धप धप धप, पम पम पम editorial_bracket
parent ligne 15
via heuristic_brackets
18 पम, मग मग मग मग, गरि गरि गरि गरि, रिस रिस रिस रिस। main
via surya_layout
19 रिस रिस रिस रिस, गरि गरि गरि गरि, main
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20 सरि सरि सरि annotation_inline
parent ligne 19
via heuristic_short
21 सरि main
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22 रिंग रिंग रिंग रिंग annotation_inline
parent ligne 21
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23 मग मग मग, पम पम पम पम, main
via surya_layout
24 मग annotation_inline
parent ligne 23
via heuristic_short
25 गम annotation_inline
parent ligne 23
via heuristic_height
26 गम गम, main
via surya_layout
27 मप मप मप मप annotation_inline
parent ligne 26
via heuristic_short
28 धप धप धप धप, निध निध निध निध, main
via surya_layout
29 धनि annotation_inline
parent ligne 28
via heuristic_short
30 धनि main
via surya_layout
31 धनि धनि annotation_inline
parent ligne 30
via heuristic_short
32 सनि सनि सनि सनि [ इति सन्धिप्रच्छादनः। ] editorial_bracket
parent ligne 30
via heuristic_brackets
33 [ 30 ] editorial_bracket
parent ligne 30
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34 निस main
via surya_layout
35 निस annotation_inline
parent ligne 34
via heuristic_short
36 निस निस main
via surya_layout
37 [ अनुः १०० ] editorial_bracket
parent ligne 36
via heuristic_brackets
38 अंशस्वरं चतुरुच्चार्य तदनन्तरस्वरद्वयस्य द्वृतोच्चारणादनेनैव क्रमेणारोहणादेककलो main
via surya_layout
39 विधुतः। [ यथा - ] स स स स रिग, रि रि रि रि गम, editorial_bracket
parent ligne 38
via heuristic_brackets
40 री री री री main
via surya_layout
41 सा सा सा सा annotation_inline
parent ligne 40
via heuristic_short
42 ग ग ग ग मप, म म म म पध, प प प प धनि, ध ध ध ध निस main
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43 गा गा गा गा annotation_inline
parent ligne 42
via heuristic_short
44 मामामा पापापा main
via surya_layout
45 धाधाधाधारि annotation_inline
parent ligne 44
via heuristic_short
46 [ इति ] विधुतः। editorial_bracket
parent ligne 44
via heuristic_brackets
47 [ ३१ ] editorial_bracket
parent ligne 44
via heuristic_brackets
48 [ अनुः १०१ ] editorial_bracket
parent ligne 44
via heuristic_brackets
49 तारादेकान्तरस्वरावरोहात् क्रमेणोद्गीतः । [ यथा - ] सध निप धम पग मरि गस editorial_bracket
parent ligne 44
via heuristic_brackets
50 .तिः main
via surya_layout
51 [ इति ] उद्गीतः। editorial_bracket
parent ligne 50
via heuristic_brackets
52 [ ३२ ] editorial_bracket
parent ligne 50
via heuristic_brackets

vol_II_p090 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 4
via heuristic_height
2 BŖHADDEŚĪ page_header
via surya_layout
3 162 page_number
via heuristic_pagenum
4 <sup>७८</sup>माङ्गाली <sup>७९</sup>पञ्चमान्ता च धैवतांशा प्रकीर्तिता । main
via surya_layout
5 षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥ main
via surya_layout
6 सम्पूर्णा च मता नित्यं ज्ञेया वै देशसम्भवा । main
via surya_layout
7 सङ्क्षीर्णा annotation_inline
parent ligne 6
via heuristic_height
8 एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥ unknown
via fallback
9 उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम- editorial_bracket
parent ligne 6
via heuristic_brackets
10 धमधपापापा धामपापमसासासानिधसा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा- main
via surya_layout
11 सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३] editorial_bracket
parent ligne 10
via heuristic_brackets
12 पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज्ज्वला । main
via surya_layout
13 सिन्धुदेशसमुद्भूतां विभाषां सैन्धवीं विदु: ॥ main
via surya_layout
14 सैन्धवीषड्जसम्भूतां annotation_inline
parent ligne 13
via heuristic_height
15 षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहु:८९॥ ९४॥ main
via surya_layout
16 उदाहरणम् -पापाधसारिगागागरिमारि। ससानिधाधासनिधाधामसरिगागागरि साधाधमापाधापाधसारिगा - main
via surya_layout
17 रिपपारिगागारिरीसाधासाधापा मापापाधापाधापा मामामापा धाधासारीरिसाधापा मापापा । सैन्धवी ।[४] editorial_bracket
parent ligne 16
via heuristic_brackets
18 गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा<sup>८२</sup>। main
via surya_layout
19 षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥ main
via surya_layout
20 ८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥ main
via surya_layout
21 उदाहरणम् - गरीमामामधानिधापापा धाधानीधामामामाधा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप- main
via surya_layout
22 रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा- main
via surya_layout
23 नीसनीसनीधामपापा । गूर्जरी । [५] editorial_bracket
parent ligne 22
via heuristic_brackets
24 ८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा । main
via surya_layout
25 ८५सम्पूर्ण[कथिता]होषा जाता गान्धारप[ञ्च]मे ॥ editorial_bracket
parent ligne 24
via heuristic_brackets
26 ८६विभाषेयं सदा ज्ञेया देशाख्या पश्चमोद्भवा ॥ ९६। main
via surya_layout
27 उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धापापापपा निरिरिगरिगरिमगरिरिरि।ध - main
via surya_layout
28 निधधनिधाधनिधापा पानिरिरिगारिगाधामागारिरिसा निरिगामागारीनिधापापा।दाक्षिणात्या।[६] editorial_bracket
parent ligne 27
via heuristic_brackets
178 lignes a valider — change uniquement les roles incorrects.