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 21632). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p118 LEFT — 26 lignes

page vol_II_p118 LEFT
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1 3 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 218 page_number
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4 [२६. कलहंस:] section_header
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5 एकं पादं पुरो गीत्वा गीयन्ते च स्वरास्तत:। main
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6 झम्पादितालसंयुक्त: स भवेत् कलहंसक:<sup>२३</sup>॥४०७॥ main
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7 [ २७. घट:] section_header
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8 यत्रार्धं तेनकोपेतं द्विपदीवद् भवेद् घट:<sup>२४</sup>॥४०८॥ main
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9 तेन्तकोपेत annotation_inline
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10 भवेद्धल: annotation_inline
parent ligne 8
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11 [२८. चक्रवाल:] section_header
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12 पदमन्त्यं गृहीत्वा तु यमकस्थितिभूषित: । main
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13 आवृत्या गीयते योऽसौ चक्रवालः प्रकीर्तितः १५॥ ४०९॥ main
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14 [२९. त्रिपदी, षट्पदी वा] section_header
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15 तालेन येन केनापि बिरुदै: केवलैरपि। main
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16 बिरुतै: annotation_inline
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17 यद्यदापि [?] तथाभूता या[ऽऽ]वृत्त्या गीयते द्विधा ॥ ४१०॥ editorial_bracket
parent ligne 15
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18 [३०. बन्धकरणम् ] section_header
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19 तालेन करणेनैव स्वरै: समुरजाक्षरै:। main
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20 गन्धर्वेर्गीयते यतु तद् बन्धकरणं पुनः १६॥ ४११॥ main
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21 [३१. पाटकरणम् ] section_header
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22 पाटाख्यं करणं प्रोक्तं हस्तपाटस्वरान्वितम् ॥ ४१२॥ main
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23 पादा॰ annotation_inline
parent ligne 22
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24 [३२. कैवाट:] section_header
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25 अक्षरैर्गीयते सम्यक् पाटैरेव हि केवलै:। main
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26 कैवाट इति स ज्ञेयो गन्धर्वेस्तालसंयुतः १७॥४१३॥ main
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vol_II_p116 RIGHT — 23 lignes

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1 215 page_number
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2 <b>TRANSLATION</b> page_header
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3 [15. Hayalīlā] section_header
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4 Where the (first) half is sung with svaras, in turagalīla (tāla), (and the main
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5 latter) half is sung with birudas, that is known as hayalīlā. main
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6 (397) main
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7 [16. <i>Gajalīlā</i>] section_header
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8 That which is completely composed according to gajalīlā but where the tāla main
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9 is gajalīla, that should be known by the name gajalīlā. main
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10 (398) main
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11 [17. Simhalīlā] section_header
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12 Composed in simhalilā metre, combined with svara and tena, that which is main
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13 sung with birudas is sinihalīlaka. main
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14 (399) main
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15 [18. Śarabhalila] section_header
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16 Where eight feet are composed with svaras and pāṭas, that is held to be main
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17 śarabhalīla, having eight rāgas and tālas. main
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18 (400) main
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19 [19. Śukacańcu] section_header
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20 In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with main
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21 <math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various main
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22 regions, is named śukacańcu, that is dear to the people. main
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23 (401) main
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vol_II_p030 LEFT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) unknown
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2 BŖHADDEŚĪ page_header
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3 42 page_number
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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
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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
via heuristic_pagenum
19 कथम् - main
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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
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23 १३००धी annotation_inline
parent ligne 22
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24 इति शुद्धालक्षणमुक्तम्। main
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25 <b>4</b> ° annotation_inline
parent ligne 24
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26 [१०. शुद्धाजातीनां पुनर्विकृतत्वम्] section_header
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27 [अनु॰ १४३] editorial_bracket
parent ligne 26
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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
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30 न्त annotation_inline
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31 धा annotation_inline
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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
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vol_I_p097 RIGHT — 43 lignes

page vol_I_p097 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 177 page_number
via heuristic_pagenum
2 VIMARŚA annotation_inline
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3 85. Assigning a seer to each svara is, again, an extension of the Vedic main
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4 tradition. annotation_inline
parent ligne 3
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5 86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd- list_item
via surya_layout
6 105 ab. list_item
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7 87. The location of svaras in the human body as described here is quite list_item
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8 different from the seven sthanas discussed above in note No. 63. list_item
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9 88. 'Desi' here stands for the manifest realm of sound. list_item
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10 Section V ( Grāma-mūrchanā ) section_header
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11 1. Grāma is not just any group of svaras, it is a specific grouping which is the main
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12 basis of the perception of śruti and is also a fundamental categorisation of main
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13 melodies with the consonance of fifth between sa-pa and with the consonance main
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14 of fourth between ri-pa. annotation_inline
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15 2. The analogy of a village inherent in the word grāma is being made main
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16 explicit. BrD is the only text that has explained this point. main
via surya_layout
17 3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7) main
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18 do mention it; Dattilam clearly states that it is not to be found here in this world. main
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19 ( See glossary ) annotation_inline
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20 4. The statement that svaras are born of Sāmaveda should be viewed list_item
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21 alongwith the backdrop of the common belief and oft-repeated platitude that list_item
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22 Indian music is born of Sāmaveda. When something is said to be the origin of list_item
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23 another thing, the general impression is that the origin precedes in time the list_item
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24 thing born of it. But in the case of music this impression could not hold good. It list_item
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25 would be absurd to say that there was no music among the people before list_item
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26 Sāmaveda became formalised or codified. The balanced view would be that list_item
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27 Sāmavedic music was the first to be codified and the codification of the music list_item
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28 of the people came later and that the 'vision' that inspired or guided the Vedic list_item
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29 codification continued to guide the later codification. The statement of our list_item
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30 author that svaras are born of Sāmaveda matches the statement in NŚ (I,17) list_item
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31 that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text) list_item
via surya_layout
32 was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from list_item
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33 Atharvaveda. To go a step further it would be pertinent to say that the mention list_item
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34 of the Vedic origin of a thing need not be taken to imply Vedic anteriority in list_item
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35 time; it could be interpreted to mean that the Vedic world-view and 'vision' was list_item
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36 the guiding spirit. list_item
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37 5. The number 'two' given here for grāma indicates that the author, in spite main
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38 of mentioning gandhara-grama, does not subscribe to the theory of three gramas. main
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39 6. The objective of grāma, stated here as the systematisation of svara, śruti, list_item
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40 mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals list_item
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41 in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma list_item
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42 are strictly followed in murchana, the omission of svaras in tana is guided by the grama list_item
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43 (e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the list_item
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vol_II_p078 RIGHT — 27 lignes

page vol_II_p078 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 139 page_number
via heuristic_pagenum
3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
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4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
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5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
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6 That which has sadja as its concluding note, madhyama as its amsa, is main
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7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
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8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
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9 (40) annotation_inline
parent ligne 8
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10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
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11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
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12 nīsasā. Travaņodbhavā [ii] editorial_bracket
parent ligne 11
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13 Verañjikā should be known to have gandhāra as its amśa and weak main
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14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
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15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
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16 should be known (this) bhāṣā; it is said to be hexatonic. main
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17 <math>(41-42)</math> main
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18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
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19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
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20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
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21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
parent ligne 20
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22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
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23 complete, brilliant 15 with madhyama, there being the mutual concert main
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24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
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25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
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26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
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27 (43) page_footer
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159 lignes a valider — change uniquement les roles incorrects.