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 21621). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p080 RIGHT — 31 lignes

page vol_II_p080 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 143 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is main
via surya_layout
4 Gamāgāmāsādhāsārīmāmāmāsā main
via surya_layout
5 Gārimāmāmā. annotation_inline
parent ligne 4
via heuristic_height
6 Dhānisā. annotation_inline
parent ligne 4
via heuristic_height
7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
via surya_layout
8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
parent ligne 7
via heuristic_brackets
9 brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of main
via surya_layout
10 şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional main
via surya_layout
11 bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. main
via surya_layout
12 <math>(47-48)</math> annotation_inline
parent ligne 11
via heuristic_height
13 Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. main
via surya_layout
14 Combined with sadja as the initial and concluding note, being devoid of main
via surya_layout
15 pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the main
via surya_layout
16 performers. The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is main
via surya_layout
17 seen from moment to moment. annotation_inline
parent ligne 16
via heuristic_height
18 <math>(49-50)</math> annotation_inline
parent ligne 16
via heuristic_height
19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
via surya_layout
20 Vesarikā [ix] editorial_bracket
parent ligne 19
via heuristic_brackets
21 Having pañcama as amsa and şadja as the concluding note, being main
via surya_layout
22 complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. main
via surya_layout
23 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- main
via surya_layout
24 madhyama annotation_inline
parent ligne 23
via heuristic_height
25 (51) annotation_inline
parent ligne 23
via heuristic_height
26 Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri main
via surya_layout
27 Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. main
via surya_layout
28 Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] editorial_bracket
parent ligne 27
via heuristic_brackets
29 Having middle and lower registers (as its range), şadja as its concluding main
via surya_layout
30 note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, main
via surya_layout
31 ravicandrikā, should be known to be sankīrņā (mixed). It should be so main
via surya_layout

vol_II_p030 LEFT — 40 lignes

page vol_II_p030 LEFT
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
via surya_layout
5 व्य अनाशी <sup>१२६</sup>मध्यम: स्मृत: main
via surya_layout
6 <sup>१२७</sup>हाधिनाशी तु मध्यम: main
via surya_layout
7 गान्धर्वकल्पे <sup>१२८</sup> विहित: सामस्विप च मध्यम: ॥'' main
via surya_layout
8 १२९०ल्येऽ main
via surya_layout
9 सामगैश unknown
via fallback
10 महर्षिभि: main
via surya_layout
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
via heuristic_brackets
14 इदानीं षाडवौडुवितविधिरुत्सर्गापवादविधिश्च विकृतास्वेव जातिषु बोद्धव्य:, न तु main
via surya_layout
15 <b>॰</b>विधस्तु उत्सर्गाफ annotation_inline
parent ligne 14
via heuristic_markers
16 ॰स्तु annotation_inline
parent ligne 14
via heuristic_markers
17 शुद्धासु जातिषु, तासां शुद्धानामन्यजात्युत्पत्तौ मूलत्वात् । एता एव शुद्धा विकृता भवन्ति । main
via surya_layout
18 ٩ page_number
via heuristic_pagenum
19 कथम् - main
via surya_layout
20 [९. पुन: शुद्धाजातिलक्षणम् ] section_header
via surya_layout
21 तद्ग्रहा तदपन्यासा तदंशा च यदा भवेत्। main
via surya_layout
22 मन्द्रन्यासा च पूर्णा च शुद्धा जातिस्तदोच्यते ॥२५९॥ main
via surya_layout
23 १३००धी annotation_inline
parent ligne 22
via heuristic_short
24 इति शुद्धालक्षणमुक्तम्। main
via surya_layout
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
via heuristic_height
31 धा annotation_inline
parent ligne 26
via heuristic_height
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_p166 RIGHT — 41 lignes

page vol_II_p166 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
via surya_layout
2 315 page_number
via heuristic_pagenum
3 a bhāṣā is something that deserves special notice. main
via surya_layout
4 31. 'Pārvatī' is associated with parvata or mountains; whether or not main
via surya_layout
5 a particular mountainous region is implied, is hard to confirm. "Parvata is main
via surya_layout
6 1. a country in the Panjab to the north-west of Multan between the Ravi and main
via surya_layout
7 Sutlej. 2. same as Śrīśaila" (Nando Lal De ). It is difficult to say whether main
via surya_layout
8 the mountains in general or a particular mountainous region or either of main
via surya_layout
9 the two identifications cited above is intended. main
via surya_layout
10 Chapter V section_header
via surya_layout
11 (Desī rāgas) section_header
via surya_layout
12 1. This verse bears a distinct stamp of the Tantric stream and is list_item
via surya_layout
13 significant on account of being placed in the beginning of the chapter on list_item
via surya_layout
14 desī rāgas. It could be conjectured on the evidence of this verse and on other list_item
via surya_layout
15 evidence also that our author gave rāga-dhyānas for deśī rāgas (see Vol.III). list_item
via surya_layout
16 2. Deśī rāgas are contradistinct to grāmarāgas. list_item
via surya_layout
17 3. Reference to laksya in the context of desi rāgas points to the fact that list_item
via surya_layout
18 they must have been in vogue in the author's time. list_item
via surya_layout
19 4. The citation in the name of Matanga given by Kalli, in his list_item
via surya_layout
20 commentary on SR II.2.1. also mentions these three types of desī-rāgas, but list_item
via surya_layout
21 Sārngadeva has added a fourth category named upānga. list_item
via surya_layout
22 5. 'Chāyā' is subtle similarity. list_item
via surya_layout
23 6. The special mention of panegyric in the context of bhāṣāṅga rāgas list_item
via surya_layout
24 is worth noticing. list_item
via surya_layout
25 7. 'Bhāṣā 'here would include vibhāṣā and antara-bhāṣā. list_item
via surya_layout
26 8. 'Kriyā' seems to stand for expressive rendering. list_item
via surya_layout
27 9. Karuņā and utsāha are two pervasive names that symbolise mādhurya list_item
via surya_layout
28 and ojas respectively (See Vol. III). list_item
via surya_layout
29 10. The text is mutilated at this point and a small portion on bhāṣāṅga list_item
via surya_layout
30 rāgas seems to have survived. list_item
via surya_layout
31 11. Kacchelli could perhaps, be related to Kacch (Cutch); "it was list_item
via surya_layout
32 called Marukaccha in contradistinction to Kausiki-kaccha". (Nando Lal list_item
via surya_layout
33 De). list_item
via surya_layout
34 12. Māngalī has been described as a bhāṣā in the preceding section. list_item
via surya_layout
35 13. Bhammāṇa is not known as a region. list_item
via surya_layout
36 14. 'Pulindikā' refers directly to the ethnic group known as the list_item
via surya_layout
37 pulindas. list_item
via surya_layout
38 15. Gāndhārasindhu is mentioned as a bhāṣāṅga rāga in S Rāj list_item
via surya_layout
39 II.2.3.203, but is said to be out of vogue and is not, therefore, described. list_item
via surya_layout
40 16. Karņātī is described in S Raj II.2.3.208, but the laksaņas are list_item
via surya_layout
41 different. list_item
via surya_layout

vol_I_p050 RIGHT — 44 lignes

page vol_I_p050 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
via surya_layout
4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
via surya_layout
5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
via surya_layout
6 the arrangement of mandra (low) and tara (high) through the sounds of the main
via surya_layout
7 voice that are particularised by medium sounds i.e. that belong to the medium main
via surya_layout
8 category.59 annotation_inline
parent ligne 7
via heuristic_height
9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
via surya_layout
10 [The murchana of twelve svaras] section_header
via surya_layout
11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
via surya_layout
12 (Anu. 61) annotation_inline
parent ligne 11
via heuristic_height
13 Because the treatment of murchanas has been said to be for the sake of main
via surya_layout
14 obtaining the three sthanas and it has also been said that this (treatment) is for main
via surya_layout
15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
via surya_layout
16 being composed of twelve svaras during performance.60 main
via surya_layout
17 Similarly has said Kohala - annotation_inline
parent ligne 16
via heuristic_height
18 "The order (of svaras) should always be arranged by the wise according to main
via surya_layout
19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
via surya_layout
20 after having established the murchanā."61 main
via surya_layout
21 Nandikeśvara has also said— annotation_inline
parent ligne 20
via heuristic_height
22 "The murchanas should be known by the wise to be composed of twelve svaras main
via surya_layout
23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
via surya_layout
24 sake of the establishment of tara (high), mandra (low) and the like."62 main
via surya_layout
25 (Anu. 62) annotation_inline
parent ligne 24
via heuristic_height
26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
via surya_layout
27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
via surya_layout
28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
via surya_layout
29 have been there and if this were the case, that raga could not be formulated. main
via surya_layout
30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
via surya_layout
31 and mandra. The performance of other ragas would also be destructive (of their main
via surya_layout
32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
via surya_layout
33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
via surya_layout
34 with twelve svaras). That is thus -63 main
via surya_layout
35 Uttaramandrā (1) annotation_inline
parent ligne 34
via heuristic_height
36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
via surya_layout
37 Rajani (2) annotation_inline
parent ligne 36
via heuristic_height
38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
via surya_layout
39 Uttarāyatā (3) annotation_inline
parent ligne 38
via heuristic_height
40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
via surya_layout
41 Śuddhasadjā (4) annotation_inline
parent ligne 40
via heuristic_height
42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
via heuristic_height
43 Matsarikṛtā (5) annotation_inline
parent ligne 40
via heuristic_height
44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
via surya_layout

vol_II_p106 RIGHT — 35 lignes

page vol_II_p106 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 195 page_number
via heuristic_pagenum
3 ......Mālavī [iii] editorial_bracket
parent ligne 5
via heuristic_brackets
4 .....Gūrjarī [iv] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
via surya_layout
6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
via surya_layout
7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
via heuristic_short
8 (24) main
via surya_layout
9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
via surya_layout
10 Mādhāmāgā annotation_inline
parent ligne 9
via heuristic_short
11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
parent ligne 9
via heuristic_brackets
12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
via surya_layout
13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
via surya_layout
14 context of ) the door-keepers. 21 main
via surya_layout
15 (25) annotation_inline
parent ligne 14
via heuristic_short
16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
via surya_layout
17 Kausalī [vi] editorial_bracket
parent ligne 16
via heuristic_brackets
18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
via surya_layout
19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
via surya_layout
20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
via surya_layout
21 (26) annotation_inline
parent ligne 20
via heuristic_short
22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
via surya_layout
23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Combined with dhaivata as the initial and concluding note, devoid of main
via surya_layout
25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
via surya_layout
26 (27) annotation_inline
parent ligne 25
via heuristic_short
27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
via surya_layout
28 pāpāgāmā · annotation_inline
parent ligne 27
via heuristic_short
29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
via surya_layout
30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
via surya_layout
31 Svaravallitā [viii] editorial_bracket
parent ligne 30
via heuristic_brackets
32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
via surya_layout
33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
via surya_layout
34 in due order (?).<sup>24</sup> main
via surya_layout
35 (28) main
via surya_layout
191 lignes a valider — change uniquement les roles incorrects.