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 21704). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p004 RIGHT — 39 lignes

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1 <b>FOREWORD</b> section_header
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2 The eighth in the series of the Kalāmūlašāstra, research and publication main
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3 programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi. main
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4 As the name suggests, it is extensive and comprehensive. This is rightly main
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5 considered the most important text on music after the Nāṭyaśāstra and Dattilam. main
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6 In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the main
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7 importance of Mātrālakṣaṇam as embodying and manifesting musical structures main
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8 of the Sama-Veda. Dattilam is the first autonomous text of music which main
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9 enunciates a theory of sound, structure and composition quite distinct from the main
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10 Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have main
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11 posed many complex problems of editing and translation. While the Indira main
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12 Gandhi National Centre for the Arts will publish this seminal text, it will take main
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13 some time. Bṛhaddeśī, without doubt, is the next most important text between main
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14 the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely, main
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15 the Sangita Ratnäkara on the other hand. main
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16 In the case of Dattilam the editor had to rely on one manuscript. In case of main
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17 Bṛhaddeśī the editing job is even more hazardous because the text has had to be main
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18 reconstructed from excerpts by later writers. This task is challenging and main
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19 requires mastery of the skills of collation and editing of a very high order. Dr. main
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20 P.L. Sharma, the editor of this Volume who has devoted a life-time in main
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21 unravelling the mysteries of the textual corpus in relation to the unbroken main
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22 traditions and the practice of Indian music has assiduously reconstructed this main
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23 text on the basis of the citations, has provided annotations, explanations and, main
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24 naturally, translation. The work is being presented in three Volumes. The first main
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25 two will present the text with a translation, notes and annotation. The third will main
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26 be on the critique of the text in its totality with glossary, indices, appendices, etc. main
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27 There has been only one printed edition of this text so far, i.e. Trivandrum main
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28 Sanskrit Series in 1928. The present editor has considered that edition and has main
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29 corrected the errors and many mutilations and confusions in that edition. main
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30 In the context of music, one of the most common and fundamental questions main
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31 which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas main
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32 emerge?". In critical literature there has been a vast body of discussions on the main
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33 subject and, naturally, scholars have taken pains to state that the Natyaśastra main
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34 makes scanty mention of the Ragas. The source of musical structure and main
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35 composition, both of Hindustani and Carnatic music, has to be traced back to main
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36 the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction main
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37 between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the main
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38 forms and the characteristics of the seven pure Grāma Rāgas. Since this is the main
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39 firm foundation of the system of Indian music, the text assumes great main
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vol_II_p058 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 98 page_number
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3 [ जातिभिन्न:] section_header
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4 इदानीं जातिभिन्नस्य लक्षणमाह - main
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5 जातीनामंशक: स्थाप्य: स्वल्पकस्तु बहुस्तथा । main
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6 ॰कं स्थाय(?) annotation_inline
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7 अल्पत्वं च बहुत्वं च प्रयोगाल्पबहुत्वतः ॥ main
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8 सूक्ष्मातिसूक्ष्मैर्वक्रैश्च जातिभिन्नः स उच्यते ॥ ३०८॥ main
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9 [अनु॰ १७८] editorial_bracket
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10 अस्यार्थ: - शुद्धकैशिकमध्यमो हि कैशिकीषड्जमध्यमाजात्योर्जात:।भित्रकैशिकमध्य [म]स्तु editorial_bracket
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11 <b>र्जात(य?):</b> annotation_inline
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12 न्मध्यो annotation_inline
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13 पड्जमध्यमाजातेर्जातत्वात् तदंशग्राहित्वेन स्थायिवर्णग्राहित्वेन च सूक्ष्मातिस्क्ष्मै: प्रयोगैश्च main
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14 (ति) annotation_inline
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15 जातिभिन्नो भवेदित्यर्थ:। लक्षणं चास्य यथा - main
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16 (दि) annotation_inline
parent ligne 15
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17 [३.भिन्नकैशिकमध्यमः] section_header
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18 स्यात् षड्जमध्यमाजातेभित्रकैशिकमध्यमः। main
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19 (तै?ते) main
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20 षङ्जांशो मध्यमन्यासो मन्द्रैस्तु गमकैर्युत: ॥३०९॥ unknown
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21 [अन्॰ १७९] editorial_bracket
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22 [अस्यार्थ:-] भित्रकैशिकमध्यमः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेरुत्पन्नत्वात् । editorial_bracket
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23 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । मन्द्रगमकश्च । निषादोऽत्र काकली । पूर्णश्चायम् । दानवीर main
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24 पह्(जॉऽश ? जो)स्य annotation_inline
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25 चास्य प्रयोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । प्रसन्नादिरलङ्कारः । दक्षिणे main
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26 कला, वार्तिके कला, चित्रे कला। [स्वरपदगीते] चच्चत्पुटादिताल:। editorial_bracket
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27 [शुद्धभिनः] section_header
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28 [इदानी]शुद्धभित्रस्य लक्षणमाह - section_header
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29 परित्यजन्नन्यजातिं स्वजातिकुलभूषणः। main
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30 स्वकं कुलं तु संगृह्धन् शुद्धभित्रः प्रकीर्तितः ॥३१०॥ main
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vol_II_p052 RIGHT — 34 lignes

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1 87 page_number
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2 TRANSLATION page_header
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3 Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly, main
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4 also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about main
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5 the bhinnaones. annotation_inline
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6 (293) annotation_inline
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7 Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named main
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8 bhinnapañcama, and the fifth is bhinnakaiśika. main
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9 (294) annotation_inline
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10 One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are main
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11 said to be the three gaudas. main
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12 (295) annotation_inline
parent ligne 11
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13 Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly main
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14 the other one is hindolaka, ţakkakaiśika has thus been said, similarly main
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15 mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of main
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16 by their names, by the excellent munis. main
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17 <math>(296-297)</math> annotation_inline
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18 Narta, the one named śaka, kakubha, similarly harmāṇapañcama and main
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19 itself, similarly gändhärapañcama and the one named main
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20 rūpasādhārita annotation_inline
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21 ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas). main
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22 (298) annotation_inline
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23 [Thus is the number and nomenclature of rāgas] editorial_bracket
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24 [The specific description of ragas] section_header
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25 [A. Out of them śuddharagas] section_header
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26 Now he (the author) has spoken about the description of suddha (rāgas)- main
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27 Those that are in accordance with their 'own' jāti 31 (from which they are main
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28 born), without any reference to other jātis and those that are one out of the main
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29 many (individual forms) of their own jāti, they are called śuddha (rāgas). main
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30 (299) annotation_inline
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31 [1. Suddhaşādava] section_header
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32 [Anu. 164] editorial_bracket
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33 Why is sadava so called? Is it because it is sung with six svaras and is hence main
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34 ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas? main
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vol_II_p047 LEFT — 32 lignes

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1 1 page_number
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2 [ तृतीयोऽध्याय: ] section_header
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3 [ रागलक्षणम् ] section_header
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4 [मङ्गलाचरणम् ] section_header
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5 भं ज्योतिस्तद्रतो हंसस्तस्मात् तं भरतं विदु:। main
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6 तद्भवं भरतज्ञानं तद्भवा भारती शुभा ॥ २६०॥ main
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7 (वं) annotation_inline
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8 [रागलक्षणम्, रागशब्दव्युत्पत्तिश्च] section_header
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9 [नारद उवाच ?] section_header
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10 किमुच्यते रागशब्देन किं वा रागस्य लक्षणम् । main
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11 व्युत्पत्तिलक्षणं तस्य यथावद् वक्तुमर्हसि ॥२६१॥ main
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12 मतङ्ग उवाच - annotation_inline
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13 रागमार्गस्य यद्रूपं यन्नोक्तं भरतादिभि:। main
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14 निरूप्यते तदस्माभिर्लक्ष्यलक्षणसंयुतम् ॥२६२॥ main
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15 तत्रादौ - annotation_inline
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16 १स्वरवर्णविशेषेण ध्वनिभेदेन वा पुन:। main
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17 <sup>२</sup>。विशिप्टेन main
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18 रज्यते येन रसिच्चत्तं स रागः सम्मतः सताम् ॥२६३॥ main
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19 यः कश्चित् annotation_inline
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20 अथवा - main
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21 योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:। main
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22 • annotation_inline
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23 <sup>४</sup>विशेपित: annotation_inline
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24 रञ्जको जनचित्तानां स च राग उदाहृत: ॥२६४॥ main
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25 > annotation_inline
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26 <sup>५</sup>स रागः कथितो बुधैः main
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27 सामान्यं च ६विशेषं च लक्षणं द्विविधं मतम् । main
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28 <sup>७</sup>विशेषध annotation_inline
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29 ८द्विविधं लक्षणं main
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30 चतुर्विधं तु सामान्यं 'विशेषञ्चांशकादिकम् ॥२६५॥ main
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31 १०च annotation_inline
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32 विशेषश्चांश annotation_inline
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vol_I_p052 LEFT — 38 lignes

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1 BRHADDESI page_header
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2 86 page_number
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3 [ अनु₀ ६५ ] editorial_bracket
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4 यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन editorial_bracket
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5 निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः । main
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6 [ अनु₀ ६६ ] editorial_bracket
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7 यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते। main
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8 (वं ?) annotation_inline
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9 यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम main
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10 गरि पम annotation_inline
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11 मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा main
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12 इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही। main
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13 अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु। main
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14 स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥ unknown
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15 ब्दे तु annotation_inline
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16 ुन् annotation_inline
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17 पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम main
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18 प्र म्मि annotation_inline
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19 मध्यम annotation_inline
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20 निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर- main
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21 ध्(?) म्र नाद (?) annotation_inline
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22 द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्- main
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23 शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः। main
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24 म् annotation_inline
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25 ुगु annotation_inline
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26 अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5 main
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27 [ ना. शा. २९. १७ ] editorial_bracket
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28 [ अनु₀ ६७ ] editorial_bracket
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29 ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति main
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30 गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य main
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31 निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी main
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32 नी annotation_inline
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33 ्ता धध annotation_inline
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34 oर्णा ? main
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35 ুজা annotation_inline
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36 नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि main
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37 नी पधा annotation_inline
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38 पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः— main
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173 lignes a valider — change uniquement les roles incorrects.