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 21661). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p081 LEFT — 47 lignes

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1 BŖHADDEŚĪ page_header
via surya_layout
2 144 page_number
via heuristic_pagenum
3 परस्परं तु गमनं यत्र तत् सम्प्रयोजयेत् । main
via surya_layout
4 सा सङ्कीर्णाऽथ विज्ञेया भाषा वै रविचन्द्रिका<sup>३६</sup> ॥ ५३॥ main
via surya_layout
5 ॰र्णादयो जेया annotation_inline
parent ligne 4
via heuristic_markers
6 उदाहरणम् - गागागामा । सासा । मागामामागामासासासा । गागाधानिसा main
via surya_layout
7 सागाधनिसा annotation_inline
parent ligne 6
via heuristic_short
8 मा॰ annotation_inline
parent ligne 6
via heuristic_markers
9 धाधामारीमागारीगसा सासासामा सारीधाधाधाधा धमागरीगागा धारीसासासा । मागामामागा । main
via surya_layout
10 मासा- annotation_inline
parent ligne 9
via heuristic_short
11 ॰धाः annotation_inline
parent ligne 9
via heuristic_markers
12 ्सासामागारीधा धमगरि गमधनी। सासागाधानिसासा। main
via surya_layout
13 धाधाधापरीगमरीगमसा annotation_inline
parent ligne 12
via heuristic_short
14 सामागा main
via surya_layout
15 रविचन्द्रा।[११] editorial_bracket
parent ligne 14
via heuristic_brackets
16 मध्यमांशा तु षड्जान्ता बहुगान्धारधैवता । main
via surya_layout
17 वा॰ annotation_inline
parent ligne 16
via heuristic_markers
18 असम्पूर्णस्वरा नित्यमम्बाहेरी प्रकीर्तिता ॥ main
via surya_layout
19 भाषेयं ३७पोज्झिता नित्यं देश्याख्या सम्प्रकीर्तिता ॥५४॥ main
via surya_layout
20 के + + annotation_inline
parent ligne 19
via heuristic_height
21 उदाहरणम् – मामासा । नीनी । main
via surya_layout
22 निधाधानी धाधानि । annotation_inline
parent ligne 21
via heuristic_short
23 धानिधाधानी । सागागारी । main
via surya_layout
24 सनासनाधा annotation_inline
parent ligne 23
via heuristic_short
25 सासा annotation_inline
parent ligne 23
via heuristic_height
26 तथा annotation_inline
parent ligne 23
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27 निधानिगागा मागानिसासानि । साधानीगा गानिसासा । सानिनीसनीधा धामानीमा धासनिनी । main
via surya_layout
28 नीसाधानीमाधाधामागासानिसानिधा । माधाधा । साधानीधानीसासा । मामाधासासा main
via surya_layout
29 मामा- annotation_inline
parent ligne 28
via heuristic_short
30 गारीमागासासा । मासामामागारीमागासासा । मसानी निनिमानि धाधानिधामागा । सानीमाधा । main
via surya_layout
31 सासनीधा धनिसाधाधा । धनिधानीसा । अम्बाहेरी ।[१२] editorial_bracket
parent ligne 30
via heuristic_brackets
32 षड्जाद्यन्तसमायुक्ता बहुमध्यमधैवता ॥ main
via surya_layout
33 बाहुलाधमः annotation_inline
parent ligne 32
via heuristic_short
34 द्विश्रुतिभ्यां तु गमनं हीनत्वमृषभेण तु । main
via surya_layout
35 विभ annotation_inline
parent ligne 34
via heuristic_short
36 (भीत?हीन) main
via surya_layout
37 भाषा <sup>३८</sup>षाडविता ह्येषा सङ्कीर्णा ललिता भवेत्<sup>३९</sup> ॥५५॥ main
via surya_layout
38 औडुविता ++ annotation_inline
parent ligne 37
via heuristic_short
39 टकरागजा annotation_inline
parent ligne 37
via heuristic_height
40 उदाहरणम् - सागागाधागामामागा । धमधानीसासा । निधागागा । सासासामापाधानी main
via surya_layout
41 धापा- annotation_inline
parent ligne 40
via heuristic_short
42 मासा साधापाधानीधाधासा नीधागानीगाधनीसससा । लिलता ।[१३] editorial_bracket
parent ligne 40
via heuristic_brackets
43 सरसा annotation_inline
parent ligne 40
via heuristic_height
44 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
via surya_layout
45 विरहिता सप्तमेन षड्जे मध्यमसङ्गता ॥ ५६॥ main
via surya_layout
46 विनि annotation_inline
parent ligne 45
via heuristic_short
47 त् annotation_inline
parent ligne 45
via heuristic_height

vol_II_p077 RIGHT — 34 lignes

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1 137 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
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4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
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5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
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6 <math>(30c-31)</math> main
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7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
via surya_layout
8 to be born of <i>bhinnapañcama</i>. main
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9 (32) annotation_inline
parent ligne 8
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10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
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11 bhāvinī, the one that is beautiful for the people. main
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12 (33) annotation_inline
parent ligne 11
via heuristic_short
13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
via surya_layout
14 and drāvidī is the third bhāṣā there that is described with characteristics main
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15 (lakṣaṇas). annotation_inline
parent ligne 14
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16 (34) main
via surya_layout
17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
via surya_layout
18 Tānodbhavā should be known as being assigned to bhinnatāna. main
via surya_layout
19 (35) annotation_inline
parent ligne 18
via heuristic_height
20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
via surya_layout
21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
via surya_layout
22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
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23 spoken of in <i>pañcamaṣāḍav</i>a. main
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24 (36) annotation_inline
parent ligne 23
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25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
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26 to their description alongwith illustration for each one. main
via surya_layout
27 (37) main
via surya_layout
28 [The description of bhāṣās] section_header
via surya_layout
29 [1. Bhāṣās in ṭakka-rāga] section_header
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30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
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31 pañcama and there is to be seen here again and again the mutual main
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32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
via surya_layout
33 be known as hexatonic. Travaņā should bear the name mūlā. main
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34 (38-39) annotation_inline
parent ligne 33
via heuristic_height

vol_II_p053 LEFT — 35 lignes

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1 88 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 मुख्य इति षाडवः ? तत्र नायम्। एकः । कुतः ? सम्पूर्णत्वादमुष्य रागस्य । तस्मादुत्तरपक्ष एव main
via surya_layout
4 ज्यायान्। ननु कथं षट्सु रागेषु मुख्योऽयम्? उच्यते पूर्व-[रङ्गे तु] शुद्धषाडव: प्रयोक्तव्य इति editorial_bracket
parent ligne 3
via heuristic_brackets
5 (कथनुकथन? कथं) main
via surya_layout
6 पुष annotation_inline
parent ligne 5
via heuristic_height
7 वचनात् पूर्वरङ्गे प्रचुरप्रयोगत्वादस्य शुद्धषाडवस्यादौ निर्देश:। main
via surya_layout
8 विकारिमध्यमाजाते: सम्भूत: शुद्धषाडव: । main
via surya_layout
9 न् annotation_inline
parent ligne 8
via heuristic_height
10 न्यासोऽस्य मध्यमोंऽशश्च गान्धारेण च दुर्बल: ॥ ३००॥ main
via surya_layout
11 <b>णांश</b>श annotation_inline
parent ligne 10
via heuristic_height
12 (तु? दु) annotation_inline
parent ligne 10
via heuristic_height
13 [अनु॰ १६५] section_header
via surya_layout
14 अस्यार्थः - शुद्धषाडवो मध्यमग्रामसम्बन्धः। तारमध्यमो ग्रहः। मध्यमोऽशो न्यासश्च । main
via surya_layout
15 गान्धारस्य चाल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । पूर्वरङ्गेऽस्य main
via surya_layout
16 (इन ? इने) annotation_inline
parent ligne 15
via heuristic_short
17 मध्यमो वादी । षड्जः संवादी । ऋषभपञ्चमावनुवादिनौ । विवादी नास्ति । main
via surya_layout
18 प्रयोग:। annotation_inline
parent ligne 17
via heuristic_short
19 शृङ्गारहास्यौ रसौ । मध्यमादिमूर्छना । अवरोही वर्ण: । प्रसन्नान्तोऽलङ्कार: । main
via surya_layout
20 त्रिषु मार्गेषु main
via surya_layout
21 गीयते। दक्षिणे कला, वृत्तौ कला, चित्रे कला। ३८स्वरपदगीते चच्चत्पुटादिताल: । unknown
via fallback
22 <b>ण्पदेप</b> annotation_inline
parent ligne 20
via heuristic_height
23 आक्षिप्तिका<sup>३९</sup> main
via surya_layout
24 ॰सका annotation_inline
parent ligne 23
via heuristic_markers
25 [२. शुद्धपञ्चम:] section_header
via surya_layout
26 ДO annotation_inline
parent ligne 25
via heuristic_height
27 [अनु॰ १६६] editorial_bracket
parent ligne 25
via heuristic_brackets
28 शुद्धपञ्चमः षड्जोदीच्यवतीजातेः स्मृतः। main
via surya_layout
29 र्गत: annotation_inline
parent ligne 28
via heuristic_height
30 [३. शुद्धसाधारित: ] section_header
via surya_layout
31 षड्जांशो मध्यमन्यासः स्वल्पद्विश्रुतिकस्वरः। main
via surya_layout
32 (बि?हि) unknown
via fallback
33 स्यात् षड्जमध्यमाजाते: शुद्धः साधारितस्तथा ॥ ३०१॥ main
via surya_layout
34 erte Arresto de la composição de la composição de la composição de la composição de la composição de la composição de la annotation_inline
parent ligne 33
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35 . . . annotation_inline
parent ligne 33
via heuristic_height

vol_I_p101 RIGHT — 49 lignes

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1 185 page_number
via heuristic_pagenum
2 <b>VIMARŠA</b> page_header
via surya_layout
3 45. In the absence of any notational sign, all the three viz. kampita, kuharita main
via surya_layout
4 and recita are identically illustrated. main
via surya_layout
5 46. Here kalā stands not only for a phrase, but for a component unit of a main
via surya_layout
6 phrase, if sani risa these two are taken to complete a phrase. main
via surya_layout
7 47. The word 'amsa' means the initial note of a phrase and this is a limited list_item
via surya_layout
8 meaning because amsa stands for the fundamental svara of a jāti or rāga which list_item
via surya_layout
9 is a much bigger and much more complex structure. list_item
via surya_layout
10 48. The name tāra-mandra-prasanna is interesting because it uses both mandra list_item
via surya_layout
11 and prasanna which individually stand for 'low'. unknown
via fallback
12 49. The sa belongs to the tāra-sthāna. list_item
via surya_layout
13 50. The second sa here belongs to the tāra-sthāna. list_item
via surya_layout
14 51. The sthāyin varņa spoken of here could be understood only in the sense list_item
via surya_layout
15 that the phrase begins and ends at the same svara all throughout. list_item
via surya_layout
16 52. The sa at the end of the preceding phrase and at the beginning of the list_item
via surya_layout
17 succeeding one belongs to tāra-sthāna. list_item
via surya_layout
18 53. The ascent operates upto nisa and descent starts with sani. list_item
via surya_layout
19 54. Identical with note 52 above. list_item
via surya_layout
20 55. The word sthāyin is used here as a synonym of amsa. BrD is the first list_item
via surya_layout
21 extant text to introduce this word. S R (III, 191, 193) uses it in the decription list_item
via surya_layout
22 of Rāgālapti. list_item
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23 56. Different names for identical forms are also found in abundance in desi list_item
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24 tālas. (cf. deśī-tāla section of SRV) list_item
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25 57. Identical with note 52 above. list_item
via surya_layout
26 58. The word kalā is used here both as a time-unit and a phrase-unit. list_item
via surya_layout
27 59. sa in the beginning of the three phrase-units belongs to tāra-sthāna. list_item
via surya_layout
28 60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would list_item
via surya_layout
29 mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a list_item
via surya_layout
30 mālrā. list_item
via surya_layout
31 61. The sa belongs to tāra-sthāna. list_item
via surya_layout
32 62. Here kalā stands both for a time-unit and phrase because there are eight list_item
via surya_layout
33 phrases and each phrase is of the duration of one kalā (two-mātrā-unit). list_item
via surya_layout
34 63. Identical with note 52 above. list_item
via surya_layout
35 64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of list_item
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36 rāga. That is a kind of gamaka, but here in the description of the alankāra there list_item
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37 is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī list_item
via surya_layout
38 comes in which is hard to comprehend; at the most it could be understood to list_item
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39 ¥ unknown
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40 indicate special voice-production similar to ohāţī, which could be identified with list_item
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41 1 page_number
via heuristic_pagenum
42 the hudaka of present-day oral tradition of dhrupad which also is associated with list_item
via surya_layout
43 the 'ha' sound (cf. DA I, p. 46). list_item
via surya_layout
44 (vide) unknown
via fallback
45 65,66. Identical with note 52 above. list_item
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46 7 page_number
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47 67. There are twelve phrases in this alankara. From the way they are notated, list_item
via surya_layout
48 the duration of each of them could be taken to be either a kalā composed of list_item
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49 two mātrās or four mātrās, as follows- list_item
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vol_I_p093 RIGHT — 44 lignes

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1 VIMARŚA main
via surya_layout
2 169 page_number
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3 6, 7. The author seems to be speaking of svara at the same level at which list_item
via surya_layout
4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
via surya_layout
5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
via surya_layout
11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
via surya_layout
14 could be inferred on the basis of its derivative bhāṣā. list_item
via surya_layout
15 9. The statement that svaras are combined with padas means that syllabic list_item
via surya_layout
16 units are combined with svaras when the latter are rendered. These (units) list_item
via surya_layout
17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
via surya_layout
18 is concerned. Pada has been thus defined by Bharata - list_item
via surya_layout
19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
via surya_layout
20 ( NŚ XXXII, 28 ab ) annotation_inline
parent ligne 19
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
parent ligne 28
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30 It will be seen that these are formulated units of four-matras (time-units) main
via surya_layout
31 each. If the voice renders svaras without padas (meaningful or non-sensical main
via surya_layout
32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
via surya_layout
33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
via surya_layout
36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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209 lignes a valider — change uniquement les roles incorrects.