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 21711). 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 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 ٠ page_number
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2 TRANSLATION page_header
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3 145 page_number
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4 performed as to involve mutual movement between rşabha-gandhara and main
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5 similarly <i>şadja-madhyama</i>. main
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6 <math>(52-53)</math> main
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7 Illustration - Gāgāgāmā. Sāsī. Māgāmāmāgāmāsīsāsī. Gāgādhānisīsīgādhanisā main
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8 dhādhāmārīmāgārīgasā sāsāsāmā sārīdhādhādhādhadhamāgārīgāgā dhārīsāsīsā. main
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9 Māgāmāmāgā Māsīsimāgā dhādhādhāparīgamarīgamasīsisīmāgārīdhā dhamagari main
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10 gamadhanī. Sāsāgādhānisāsā. Ravicandrā [xi] editorial_bracket
parent ligne 9
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11 Ambāherī is said to have madhyama as its amśa, ṣadja as its concluding note, main
via surya_layout
12 gāndhāra and dhaivata as profuse, incomplete in svaras, being always devoid main
via surya_layout
13 of pa (pancama), this bhāṣā is said to bear the name <math>desi^{20}</math> (regional). main
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14 (54) annotation_inline
parent ligne 13
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15 Illustration – Māmāsā. Nīnī. Nidhādhāni dhādhāni. Dhānidhādhānī. main
via surya_layout
16 Sāgāgārī. Sanīsanīdhā. Nidhānigāgā māgānisāsāni. Sādhānīgā gānisāsā. main
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17 Sāninisanīdhā dhāmānīmā dhāsanini. Nisādhānīmādhādhāmāgāsānisānidhā. main
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18 Mādhādhā. Sādhānīdhānīsāsā. Māmādhāsāsā. Māmāgārīmāgāsāsā. main
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19 Māsāmāmāgārīmāgāsāsā. Masānī ninimāni dhādhānidhāmāgā. Sānīmādhā. main
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20 Sāsanīdhā dhanisādhādhā. Dhanidhānīsā. Ambāherī [xii] editorial_bracket
parent ligne 19
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21 Being combined with sadja in the beginning and having madhyama and main
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22 dhaivata as abundant and with the omission of rşabha, this bhāṣā, lalitā, is main
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23 sankīrņā (mixed) and hexatonic. There is (mutual) movement between the main
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24 svaras comprised of two śrutis each. main
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25 (55) annotation_inline
parent ligne 24
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26 Illustration - Sāgāgādhāgāmāmāgā. Dhamādhānīsāsā. Nidhāgāgā. main
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27 Säsäsämäpädhäni dhäpämäsä sädhäpädhänidhädhäsä nidhägänigädhanisasasa. main
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28 Lalitā [xiii] editorial_bracket
parent ligne 27
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29 Combined with şadja as the initial and concluding note, omitting main
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30 pañcama, being devoid of the seventh (niṣāda), having the concert of main
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31 madhyamawith ṣaḍja there, the saii kīrṇā (mixed) and pentatonic bhāṣā, born main
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vol_I_p059 LEFT — 53 lignes

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1 BRHADDEŚI page_header
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2 100 page_number
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3 उद्घट्टितः। [ यथा - ] सरिमप पमरिस, रिगपध धपगरि, गमधनि निधमग, मपनिस editorial_bracket
parent ligne 9
via heuristic_brackets
4 रि annotation_inline
parent ligne 9
via heuristic_height
5 सा annotation_inline
parent ligne 9
via heuristic_height
6 धा annotation_inline
parent ligne 9
via heuristic_height
7 सा annotation_inline
parent ligne 9
via heuristic_height
8 पा annotation_inline
parent ligne 9
via heuristic_height
9 सनिपम् अपधनिस । सनिपम मपनिस, निधमग गमधनि, धपगरि रिगमध, पमरिस main
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10 नी annotation_inline
parent ligne 9
via heuristic_short
11 री main
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12 सा annotation_inline
parent ligne 11
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13 गा annotation_inline
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14 धा annotation_inline
parent ligne 11
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15 सा annotation_inline
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16 मा annotation_inline
parent ligne 11
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17 सरिमप, मगरिस [ इति ] उद्घट्टितः। editorial_bracket
parent ligne 11
via heuristic_brackets
18 [ २५ ] editorial_bracket
parent ligne 11
via heuristic_brackets
19 पा annotation_inline
parent ligne 11
via heuristic_height
20 सा annotation_inline
parent ligne 11
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21 अन्₀ ९५ ] section_header
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22 त्रिभिः स्वररारोहक्रमेण वा एककलादारभ्य यावत् षट्कलमित्येवं main
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23 कलामानादाक्षिप्तकः। [ यथा - ] सरिगा नु रिगमा नु गमपा नु मपधा नु पधनी नु editorial_bracket
parent ligne 22
via heuristic_brackets
24 धनिसा नु सनिधा नु निधपा नु धपमा नु पमगा नु मगरी नु गरिसा नु main
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25 २६ । annotation_inline
parent ligne 24
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26 इत्याक्षिप्तकः । main
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27 अनु, ९६ section_header
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28 प्रथमात् स्वरा [ द ] नन्तरं परित्यज्य स्वरद्वये च गत्वा तेनैव editorial_bracket
parent ligne 27
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29 क्रमेणा- main
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30 व ] रोहणादेककलादवरोहणेऽपि चैककल इति द्विकलसम्प्रदानश्च द्वाविंशतिकलः। [यथा -] editorial_bracket
parent ligne 29
via heuristic_brackets
31 सगमा मरिसा, रिमपा पगरी, गपधा धमगा, मधनी निपमा, पनिसा main
via surya_layout
32 संधपा, धनिसा। संधपा पनिसा, निपमा मधनी, धमगा गपधा, पगरी रिमपा, मरिसा संगमा, main
via surya_layout
33 गरिसा सम्प्रदानः। अथवा सगमा मगसा, रिमपा पमरी, गपधा धपगा, मधनी निधमा, main
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34 पा annotation_inline
parent ligne 33
via heuristic_height
35 म annotation_inline
parent ligne 33
via heuristic_height
36 पनिसा सनिपा, धनिसा। सधपा पधसा, निपमा मपनी, धमगा गमधा, पगरी रिगपा, main
via surya_layout
37 [ २७ ] editorial_bracket
parent ligne 36
via heuristic_brackets
38 मरिसा सरिमा, गरिसा इति सम्प्रदानः । main
via surya_layout
39 अन्० ९७ section_header
via surya_layout
40 सम्प्रदानस्यैव द्विकलयोगेन हसनाद्धसितः। [ यथा -] सग मम रिस, रिम पप गरि, editorial_bracket
parent ligne 39
via heuristic_brackets
41 गप धध मग, मध निनि पम, पनि सस धप, अधनिस सध पप निस, निप मम धनि, main
via surya_layout
42 ₹, annotation_inline
parent ligne 41
via heuristic_height
43 धम गग पध, पग रिरि मप, मरि सस गम, गरिस [ इति ] हसितः। editorial_bracket
parent ligne 41
via heuristic_brackets
44 Ⅰ २८ ] editorial_bracket
parent ligne 41
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45 गा annotation_inline
parent ligne 41
via heuristic_height
46 धा annotation_inline
parent ligne 41
via heuristic_height
47 मा annotation_inline
parent ligne 41
via heuristic_height
48 सा annotation_inline
parent ligne 41
via heuristic_height
49 सा annotation_inline
parent ligne 41
via heuristic_height
50 पा annotation_inline
parent ligne 41
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51 [ अनु。 ९८ ] section_header
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52 ह्सितवत् स्वरत्रयारोहणेन चतुष्टयारोहणेन वा उभयथाप्येककलो हुद्कारः। [यथा -] editorial_bracket
parent ligne 51
via heuristic_brackets
53 सरिगा गरिसा, रिगमा मगरी, गमपा पमगा, मपधा धपमा, पधनी निधपा, धनिसा main
via surya_layout

vol_II_p078 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 139 page_number
via heuristic_pagenum
3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
via surya_layout
4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
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5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
parent ligne 4
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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
via heuristic_short
10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
via surya_layout
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
via surya_layout
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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vol_II_p079 RIGHT — 24 lignes

page vol_II_p079 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 141 page_number
via heuristic_pagenum
3 Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. main
via surya_layout
4 Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā main
via surya_layout
5 nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv] editorial_bracket
parent ligne 4
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6 Having ṣadja as its nyāsa, niṣāda as its amsa, being weak in pancama, there main
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7 being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā main
via surya_layout
8 should be known as hexatonic. Mālavesarī bears the name mūlā. main
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9 (44) annotation_inline
parent ligne 8
via heuristic_height
10 Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā. main
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11 Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v] editorial_bracket
parent ligne 10
via heuristic_brackets
12 Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is main
via surya_layout
13 immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding main
via surya_layout
14 notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly main
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15 pañcama-ṛṣabha should be known there. annotation_inline
parent ligne 14
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16 (45) annotation_inline
parent ligne 14
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17 Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri. main
via surya_layout
18 Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi] editorial_bracket
parent ligne 17
via heuristic_brackets
19 This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its main
via surya_layout
20 amsa, sadja as its concluding note, is always complete and is sung by people. main
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21 (46) annotation_inline
parent ligne 20
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22 Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini main
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23 ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā. main
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24 Saurāstrī [vii] editorial_bracket
parent ligne 23
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vol_II_p024 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 31 page_number
via heuristic_pagenum
3 [Anu. 132] editorial_bracket
parent ligne 4
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4 In the opinion of our guru, ṛṣabha becomes the apanyāsa, on account of its main
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5 being non-amśa. Some others have accepted rṣabha as apanyāsa, just like main
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6 amsa. annotation_inline
parent ligne 5
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7 · Pañcama is strong in it and so is niṣāda. The graha in all (the jātis) should main
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8 always be known like the amśa. main
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9 (238) main
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10 [6. Indication of the gaņas or groups of the jātis] section_header
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11 The gaṇa (group) of all the jātis is formed with three jātis 42 in each case. main
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12 This group should be known by the wise by its definition to be with main
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13 increasing (number of) svaras. main
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14 (239) annotation_inline
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15 (This group is) with one svara, two svaras, three svaras, four svaras (all the main
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16 four are comprised of three jātis each), the one with five svaras is fourfold main
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17 (comprised of four jātis) and the two with six and seven svaras have one main
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18 variety each. annotation_inline
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19 (240) annotation_inline
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20 [Anu. 133] section_header
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21 This means that the statement that a gana (group) is formed with three main
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22 jātis is the indication of the number (which is applicable in maximum cases). main
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23 Out of these groups there is one that is formed with three (jātis) having one main
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24 amśa svara each viz. madhyamodicyavā, gāndhārapancamī and nandayantī-pa, main
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25 pa, pa. annotation_inline
parent ligne 24
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26 There are three (jātis) having two amśa svaras each viz. dhaivatī, main
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27 gāndhārodīcyavā and pancamī-dhari, sama, pari. main
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28 There are three jātis having three amśa svaras each viz. ārṣabhī, naiṣādī and main
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29 şadjakaiśikī-dhaniri, garini, sagapa. main
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30 There are three (jātis) with four amśa svaras each viz. şadjodīcyavatī, āndhrī main
via surya_layout
31 and kārmāravī – samadhani, rigapani, paridhani. main
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32 There are four (jātis) with five amśa svaras each, viz. ṣāḍjī, gāndhārī, main
via surya_layout
33 raktagāndhārī and madhyamā - sagamapadha, sagamapani, sagamapani, main
via surya_layout
34 sarimapadha. main
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169 lignes a valider — change uniquement les roles incorrects.