Calibration 2g.6

Role	Definition	Exemple Brihaddesi
main	Vers principal du texte (le contenu canonique de l'ouvrage)	धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inline	Commentaire interligne en petits caracteres (variante manuscrite, glose)	मत्सरी / अङ्धी / ₹क
editorial_bracket	Ajout editorial entre crochets [...] OU note avec marqueur ° / ॰	[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnote	Note de bas de page (au bas de la page, separee du texte)	<sup>१३५</sup>षाडवा:
page_header	En-tete de page (titre du livre, en haut)	BRHADDESI
page_footer	Pied de page (texte au bas, sous le contenu)	(texte de pied de page)
page_number	Juste le numero de page, isole (en haut ou en bas)	181 / 70 / 46
section_header	Titre d'une section ou sous-section dans la page	[२. आर्षभी]
caption	Legende d'une figure ou tableau	Fig. 1 : svaramaṇḍala
list_item	Item d'une liste enumere	1. ... 2. ... 3. ...
table	Ligne d'un tableau de donnees	(colonnes alignees)
verse_number	Numero de verset isole (souvent entre dandas)	॥१९०॥ / ॥७८॥
unknown	Non classe (l'algo n'a pas su decider)	—

5 demi-pages random (seed 21678). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p079 LEFT — 43 lignes

L#	Texte OCR	Role auto
1	<b>网络克里斯</b>亚斯斯斯	unknown via fallback
2	<b>京都的基本的工作</b>	unknown via fallback
3	140	page_number via heuristic_pagenum
4	BRHADDEŚĪ	page_header via surya_layout
5	142	page_number via heuristic_pagenum
6	उदाहरणम् – सागागपा । पामपामगामामा रीगसासा सासमागपापा । पाधनीधा । मपापामा-	main via surya_layout
7	बीठ बीठ	annotation_inline parent ligne 6 via heuristic_height
8	पामामामगास सारिधानिसासा सधानीगारीगामापागनिसा नीगारीनिसासा ।	main via surya_layout
9	निधापामागा -	main via surya_layout
10	०धी०	annotation_inline parent ligne 9 via heuristic_height
11	रीगासा । मानीधनीधासा । छेवाटी । [४]	editorial_bracket parent ligne 9 via heuristic_brackets
12	षड्जन्यासा निषादांशा दुर्बला<sup>२६</sup> पञ्चमेन तु ।	main via surya_layout
13	षड्जगान्धारसंवाद: षड्जमध्यमयोस्तथा ॥	main via surya_layout
14	॰(मध्यमं?)मध्यमयोस्तथा	annotation_inline parent ligne 13 via heuristic_markers
15	•गमारः	annotation_inline parent ligne 13 via heuristic_height
16	उदाहरण	main via surya_layout
17	भाषेयं षाडवा ज्ञेया मूलाख्या मालवेसरी ॥४४॥	unknown via fallback
18	<sup>२७</sup>मालववेसरी	main via surya_layout
19	(飞)	annotation_inline parent ligne 18 via heuristic_height
20	मामा ग	main via surya_layout
21	उदाहरणम् – निधानिनी सरिसासागामागाधारिसमामासा गासारिसासागधरिसा । गामाधामा मागाधागा ।	main via surya_layout
22	रीगामाम	unknown via fallback
23	सासासा । माल[व]वेसरी । [५]	editorial_bracket parent ligne 21 via heuristic_brackets
24	निषादांशा च षड्जान्ता सम्पूर्णा षड्जमध्ययो: ।	main via surya_layout
25	निपादर्यभषङ्जान्ता व्मध्यमा	main via surya_layout
26	<sup>२८</sup>सङ्ग[तिस्]तत्र विज्ञेया पञ्चमर्षभयोस्तथा ।	editorial_bracket parent ligne 25 via heuristic_brackets
27	उदाहरष	main via surya_layout
28	<sup>२९</sup>देशभाषात्र विख्याता गूर्जरी परमोज्ज्वला ॥४५॥	main via surya_layout
29	वेसरिक	unknown via fallback
30	उदाहरणम् - निसासानिपापानीधानीनी सानीसासा । सारिसारिरि । सामागा । रि़रि । नीनीनी ।	main via surya_layout
31	पापापा । निधानि । नीगासा । गूर्जरी । [६]	editorial_bracket parent ligne 30 via heuristic_brackets
32	धाधाधा	annotation_inline parent ligne 30 via heuristic_height
33	निषादांशा तु षड्जान्ता सम्पूर्णा नित्यमेव हि ।	main via surya_layout
34	उदाहरण	annotation_inline parent ligne 33 via heuristic_short
35	(पा;)	main via surya_layout
36	सौराष्ट्रिका तु भाषेयं देश्याख्या गीयते जनै:३०॥४६॥	main via surya_layout
37	रिरीगगि	annotation_inline parent ligne 36 via heuristic_short
38	उदाहरणम् - निनिधानिनिसासा निरिगासासा	main via surya_layout
39	सागागासा	annotation_inline parent ligne 38 via heuristic_short
40	धनिनिनि	main via surya_layout
41	धामामानान	unknown via fallback
42	क्षी	main via surya_layout
43	निनिधासासागासासागासासधानिधानिधामामामारिगासासा गासनीसासासा । सौराष्ट्री । [७]	editorial_bracket parent ligne 42 via heuristic_brackets

vol_I_p102 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	187	page_number via heuristic_pagenum
3	75. If ekakala is related to phrasing then sarigā and each of the other units	list_item via surya_layout
4	will be taken to be forming one phrase each; if it is taken to be related to the	list_item via surya_layout
5	duration of kalā, then the duration of each phrase will have to be taken as two	list_item via surya_layout
6	mātrās; there also each kalā of time will be related to each phrase.	list_item via surya_layout
7	76,77. Identical with note 52 above.	list_item via surya_layout
8	78. All the four sa belong to the tāra-sthāna.	list_item via surya_layout
9	79. See note 47 above.	list_item via surya_layout
10	80. Samyuktam is used as an adverb, its implication is not very clear, most	list_item via surya_layout
11	probably it has been used because the units of phrases here are not equal, they	list_item via surya_layout
12	are 3+2+2=7. There is no other alankāra like this in BrD.	list_item via surya_layout
13	81. Here the traditional rule of having a shake only on svaras with three	list_item via surya_layout
14	<i>śrutis</i> seems to have been abandoned.	list_item via surya_layout
15	82. Kalā obviously means phrase-unit here.	list_item via surya_layout
16	83. Ekakula could not, perhaps, be understood as the first degree of kalā	list_item via surya_layout
17	being of the measure of 2 mātrās. It perhaps indicates that each svara will be of	list_item via surya_layout
18	the duration of one mātrā; that would make each phrase of the duration of	list_item via surya_layout
19	seven mātrās which would not fit into the ancient tāla system and could,	list_item via surya_layout
20	perhaps, be taken as the first indication of the advent of desi talas.	list_item via surya_layout
21	84. It is notable that BrD has not classified alankāras into varņas.	list_item via surya_layout
22	85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31)	list_item via surya_layout
23	but they have not been described.	list_item via surya_layout
24	It is notable that NS has the name dipta for tara and prasanna for mandra.	main via surya_layout
25	While BrD profusely uses prasanna for mandra, it does not even once use dipta	main via surya_layout
26	for <i>tāra</i>.	main via surya_layout
27	86. The seven gitakas are described in NS XXXI. They are - madraka,	list_item via surya_layout
28	aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these,	list_item via surya_layout
29	āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are	list_item via surya_layout
30	outside the above seven, but are very important on account of special tala	list_item via surya_layout
31	patterns and association with dance. All these forms are prescribed in	list_item via surya_layout
32	pūrvaranga (preliminaries of drama). Since no dramatic situation is required	list_item via surya_layout
33	to be highlighted in Pūrvaranga, the music there could be autonomous and	list_item via surya_layout
34	hence the units of text of songs could be stretched by the melody through	list_item via surya_layout
35	alankāras, the comprehension of the meaning of the text of songs being not	list_item via surya_layout
36	important there.	list_item via surya_layout
37	87. In dhruvās (songs prescribed for highlighting different situations in	list_item via surya_layout
38	drama), as distinct from gîtaka, the comprehension of meaning of text by the	list_item via surya_layout
39	listener is very important and hence stretching of the syllables of the text is not	list_item via surya_layout
40	desirable.	list_item via surya_layout
41	88. The implication of this statement is not clear, because alankaras of the	list_item via surya_layout
42	sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ	list_item via surya_layout
43	XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in	list_item via surya_layout
44	dhruvās ); there is no restriction prescribed for them.	list_item via surya_layout
45	89. Brightening means movement towards high svaras.	list_item via surya_layout
46	90. Reverse order would mean proceeding from high to low.	list_item via surya_layout
47	(vide)	annotation_inline parent ligne 46 via heuristic_height
48	e le par Alle	annotation_inline parent ligne 46 via heuristic_height
49	and the second	annotation_inline parent ligne 46 via heuristic_height

vol_I_p006 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	xiii	page_header via surya_layout
2	INTRODUCTION	page_header via surya_layout
3	A word about the translation. It has been my attempt to bring the original to	main via surya_layout
4	the reader with its flavour and nuances; if in this attempt the idiom of the	main via surya_layout
5	English language has been violated, I owe an apology. My only submission	main via surya_layout
6	would be that this is not a transcreation of creative literature, this is a	main via surya_layout
7	presentation of 'scientific' literature in a different language. Hence the criteria	main via surya_layout
8	of judgement should be different from those applied to translation of creative	main via surya_layout
9	literature.	annotation_inline parent ligne 8 via heuristic_height
10	Technical terms have not been translated because that is virtually impossible;	main via surya_layout
11	rough equivalents have generally been given in paranthesis and if an equivalent	main via surya_layout
12	has been found adequate, the original word has been given in paranthesis in	main via surya_layout
13	order to help the reader in indentifying the equivalence.	main via surya_layout
14	The indebtedness to Dr. Anil Bihari Beohar, Lecturer in Musicology, Indira	main via surya_layout
15	KalaSangitaVishwavidyalaya,Khairagarh(M.P.,) has been acknolwedged in the	main via surya_layout
16	title page. Once again, I acknowledge with affection his labour and patience	main via surya_layout
17	with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a	main via surya_layout
18	deep debt of gratitude for her constant inspiration and encouragement. My	main via surya_layout
19	sincere apologies are due to her for the delay in completing this work, caused	main via surya_layout
20	by both personal and professional reasons. To Dr. Bettina Bäumer, Hony.	main via surya_layout
21	Co-ordinator, Kalākoša office of I.G.N.C.A. in Varanasi, goes my heartfelt	main via surya_layout
22	gratitude for her constant support, both moral and material. My younger sister	main via surya_layout
23	Dr. Urmila Sharma has provided valuable assistance in reading the proofs; I	main via surya_layout
24	express my loving gratitude to her. My affectionate thanks go to Dr. N.	main via surya_layout
25	Ramanathan, Reader, Department of Music, Madras University, my former	main via surya_layout
26	student, for going through the first half of the press-copy (upto the section on	main via surya_layout
27	grāma-mūrchanā) in 1988, while I was at Khairagarh.	main via surya_layout
28	I thank Dr. C.B. Pandey, Editor, and Dr. (Smt.) Advaitavadini Kaul, Asstt.	main via surya_layout
29	Editor, for seeing the book through the Press.	main via surya_layout
30	Prem Lata Sharma.	annotation_inline parent ligne 29 via heuristic_height
31	Vasanta Pañcami	annotation_inline parent ligne 29 via heuristic_height
32	'Āmnāya', Karaundi,	annotation_inline parent ligne 29 via heuristic_height
33	Magha Sukla 5, V.S. 2048	annotation_inline parent ligne 29 via heuristic_height
34	Varanasi-221 005	annotation_inline parent ligne 29 via heuristic_height
35	<b>Feburary 8, 1992</b>	annotation_inline parent ligne 29 via heuristic_height
36	The second of the second of the second of the second of the second of the second of the second of the second of the seco	annotation_inline parent ligne 29 via heuristic_height

vol_I_p099 RIGHT — 45 lignes

L#	Texte OCR	Role auto
1	181	page_number via heuristic_pagenum
2	VIMARŚA	page_header via surya_layout
3	is also used. This is how the distinction brought about by mandra and tara could be	main via surya_layout
4	understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view.	main via surya_layout
5	48. 'Sukha' has been translated here as convenience or it could be rendered	main via surya_layout
6	as facility. The facility of the performer and listener is said here to be the	main via surya_layout
7	objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have	main via surya_layout
8	the reading 'nānātva' which means variety of mūrchanā and tāna, but since our	main via surya_layout
9	author has tried to distinguish between murchana and tana, we have accepted	main via surya_layout
10	the reading anyatvam which means distinction (see note 78 under textual notes	main via surya_layout
11	on the section ). In NS mūrchanā-tāna is also a compound name for the 84	main via surya_layout
12	tānas. BṛD does not use this compound and emphasises the distinction between	main via surya_layout
13	the two; viz. mūrchanā and tāna.	main via surya_layout
14	Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and	main via surya_layout
15	said that the variety of murchana and tana accords facility to the performer by	main via surya_layout
16	making possible the use of three sthanas (registers) and also the omission of	main via surya_layout
17	svaras (according to a specific system as embodied in the 84 tanas). The	main via surya_layout
18	distinction between murchana and tana brought out in the reading accepted by	main via surya_layout
19	us could be construed to mean that mūrchanā as a complete scale in ascending	main via surya_layout
20	and descending establishes the three sthanas and tana (involving omission)	main via surya_layout
21	establishes a specific pattern in ascent. It is interesting to note that even today	main via surya_layout
22	omission of one or two svaras is very effective in the ascent in all those ragas	main via surya_layout
23	that involve omission in ascent and use the omitted svaras in descent. ( see	main via surya_layout
24	glossary)	main via surya_layout
25	49. Since specific omissions are prescribed for the two grāmas, tāna the result	list_item via surya_layout
26	of this specific omission could be said to be the distinguishing feature between	list_item via surya_layout
27	the jātis and rāgas of one grāma and the other.	list_item via surya_layout
28	50. This applies to kūļa-tāna where permutation and combination is involved and	list_item via surya_layout
29	definite numbering of each variety is effected. Retrieving the number of a given tana	list_item via surya_layout
30	(arrangement of a given number of svaras) and retrieving the form of a tana whose	list_item via surya_layout
31	number alone is given is known as uddista and nasta respectively. (see glossary)	list_item via surya_layout
32	51, 52. The word tāna-prayoga is being used here to convey two things—in	list_item via surya_layout
33	the first instance the number of tanas (permutation of a given number of	list_item via surya_layout
34	svaras ) is implied and in the second instance the number of svaras constituting	list_item via surya_layout
35	the specific tāna (combination of svaras) is implied.	list_item via surya_layout
36	53, 54, 55 & 56. Krama is a combination of svaras where the original order	list_item via surya_layout
37	remains intact and uthrama is a permutation where the original order is	list_item via surya_layout
38	changed. The method of obtaining the number of kramas and utkramas of a	list_item via surya_layout
39	given-number of svaras is like this—multiply the earlier numbers of a given	list_item via surya_layout
40	number, without leaving any number in-between. For example if the number of	list_item via surya_layout
41	svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and	list_item via surya_layout
42	uthramas taken together; the last number of this series viz. 6 is the number of	list_item via surya_layout
43	kramas and the remainder viz. 714 is the number of utkramas.	list_item via surya_layout
44	57. 'Māna' could stand here for the measure (length, breadth and the like) of the	list_item via surya_layout
45	viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,	list_item via surya_layout

vol_II_p055 LEFT — 26 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	92	page_number via heuristic_pagenum
3	[अनुः १६९]	editorial_bracket parent ligne 5 via heuristic_brackets
4	अस्यार्थ: - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीजातिभ्यां	editorial_bracket parent ligne 5 via heuristic_brackets
5	समुत्पन्नत्वात्। तारषड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् ,	main via surya_layout
6	ग्रह: अंश(स्व?ध)	annotation_inline parent ligne 5 via heuristic_height
7	चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्जादिमूर्छना। आरोही वर्णः।	editorial_bracket parent ligne 5 via heuristic_brackets
8	<sup>४६</sup>प्रसन्नादिरलङ्कार:। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:।	main via surya_layout
9	[शुद्धरागाणां ग्रामविभागः]	section_header via surya_layout
10	[अनु॰ १७०]	editorial_bracket parent ligne 9 via heuristic_brackets
11	ननु एते ग्रामविशेषसम्बन्धाः, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो	main via surya_layout
12	कु(तो ऽ)यं	annotation_inline parent ligne 11 via heuristic_height
13	लभ्यते । तथा चाह भरतमुनि: - ''जातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद्	main via surya_layout
14	गीयते लोके तत्सर्वं जातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् -	main via surya_layout
15	तत्सर्व	annotation_inline parent ligne 14 via heuristic_height
16	''षाडवो मध्यमग्रामे पञ्चम: कैशिकस्तथा ।	main via surya_layout
17	पाडवे ककुभ्	annotation_inline parent ligne 16 via heuristic_height
18	षड्जे साधारितश्चैव तथा कैशिकमध्यम:॥''	main via surya_layout
19	[शुद्धरागाणां विनियोगः]	section_header via surya_layout
20	[अनु॰ १७१]	editorial_bracket parent ligne 19 via heuristic_brackets
21	ननु अमी विनियोग-विशेषा: कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा	editorial_bracket parent ligne 19 via heuristic_brackets
22	अ(यं ?मी)	annotation_inline parent ligne 19 via heuristic_height
23	चाह भरत:-	annotation_inline parent ligne 19 via heuristic_height
24	‘‘मुखे तु मध्यमग्राम: षड्ज: प्रतिमुखे भवेत् ।	main via surya_layout
25	गर्भे साधारितश्चैव <sup>४९</sup>ह्मवमर्शे तु पञ्चम: ॥	main via surya_layout
26	...वावमर्शे • तु	annotation_inline parent ligne 25 via heuristic_height

199 lignes a valider — change uniquement les roles incorrects.

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vol_II_p079 LEFT — 43 lignes

vol_I_p102 RIGHT — 49 lignes

vol_I_p006 RIGHT — 36 lignes

vol_I_p099 RIGHT — 45 lignes

vol_II_p055 LEFT — 26 lignes