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 21715). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p094 RIGHT — 45 lignes

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1 VIMARŚA annotation_inline
parent ligne 3
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2 171 page_number
via heuristic_pagenum
3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
via surya_layout
4 p. 46) main
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5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
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6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
via surya_layout
7 does not carry further the argument that vowels and musical tones cannot be list_item
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8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
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9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
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10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
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11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
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12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
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13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
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14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
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15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
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16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
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17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
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19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
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21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
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26 work that uses solfa-syllables, the above discussion has a historical context. list_item
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27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
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28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
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29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
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30 ends in this case. The first one of these is the vādin or point of reference and list_item
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31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
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32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
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37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
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40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
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44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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vol_II_p076 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
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2 134 page_number
via heuristic_pagenum
3 मध्यमग्रामदेहा<sup>३</sup> च तथा गान्धारपञ्चमी । main
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4 इत्येता: प्रकटा भाषाष्टकरागस्य षोडश<sup>४</sup>॥२०॥ main
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5 (田) annotation_inline
parent ligne 4
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6 शुद्धा तु प्रथमा ज्ञेया ५चार्धवेसरिका तत:। main
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7 हर्षपूरी तृतीया तु माङ्गाली च चतुर्थिका ॥२१॥ main
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8 ॰पुत्री annotation_inline
parent ligne 7
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9 पञ्चमी सैन्धवी ज्ञेया आभीरी षष्टिका मता। main
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10 खञ्जरी गुर्जरी चैवमष्टौ मालवकैशिके ॥२२॥ main
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11 ६ नी annotation_inline
parent ligne 10
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12 काम्बोजा प्रथमा ज्ञेया मध्यमग्रामिका मता । main
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13 ५सातवाहनिका चैव तदन्ते भोगवर्धनी ॥२३॥ main
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14 सालवाहा annotation_inline
parent ligne 13
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15 чP annotation_inline
parent ligne 13
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16 पञ्चमी ९मुहरी ज्ञेया षष्ठी च शकमिश्रिता । main
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17 प्रयोक्तव्या प्रयत्नेन सप्तमी भित्रपञ्चमी ॥२४॥ main
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18 एतास्तु ककुभे सप्त भाषा ज्ञेया मनोहरा:। main
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19 प्रथमा वेसरी ज्ञेया द्वितीया चैव मञ्जरी १० ॥२५॥ main
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20 ततः कार्या च छेवाटी चतुर्थी षड्जमध्यमा। main
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21 पञ्चमी मधुरी ज्ञेया पञ्च <sup>११</sup>हिन्दोलकोद्भवाः ॥२६॥ main
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22 आभीरी भाविनी चैव माङ्गाली सैन्धवी तथा। main
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23 गूर्जरी दाक्षिणात्या च <sup>१२</sup>आन्ध्री तानोद्भवा परा ॥२७॥ main
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24 अन्ध्री त्वात्रो॰ annotation_inline
parent ligne 23
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25 नवमी त्रावणी ज्ञेया १३कैशिकी दशमी स्मृता । main
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26 एता भाषास्तु विज्ञेया गायकै: पञ्चमोद्भवा: ॥२८॥ main
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27 विशुद्धा दाक्षिणात्या तु गान्धारी तदनन्तरम् । main
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28 श्रीकण्ठी चैव पौराली माङ्गाली सैन्धवी तथा ॥२९॥ main
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29 कालिङ्गी च पुलिन्दी च भित्रषड्जोद्भवा नव। main
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30 ॰ न्दो annotation_inline
parent ligne 29
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31 सौवीरी प्रथमा ज्ञेया द्वितीया वेगमध्यमा ॥३०॥ main
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vol_II_p094 RIGHT — 30 lignes

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1 171 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Combined with dhaivata as the initial and concluding note, complete, main
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4 delightful to the people, having concert between dhaivata - niṣāda and ṣadja- main
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5 gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full main
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6 of rasa and is also dear to the deity. 50 In performance, it is characterised main
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7 by smoothness and continuity by the singers bedecked with svaras. main
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8 <math>(111-112)</math> annotation_inline
parent ligne 7
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9 Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā main
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10 dhādhārisāmādhānidhādhā. Bāṅgālī [vi] editorial_bracket
parent ligne 9
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11 Having madhyama as amśa, dhaivata as the concluding note, being weak in main
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12 pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja- main
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13 gāndhāra, saindhavī has been known to be born of the Sindhu region and to main
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14 bear a regional name. main
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15 (113) annotation_inline
parent ligne 14
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16 Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā main
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17 māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā main
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18 mādhādhādhā. Saindhavī [vii] editorial_bracket
parent ligne 17
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19 Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is main
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20 comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in main
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21 niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is main
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22 beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga). main
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23 <math>(114-115)</math> annotation_inline
parent ligne 22
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24 Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā main
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25 dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] editorial_bracket
parent ligne 24
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26 Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama main
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27 being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- main
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28 dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known main
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29 as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 main
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30 <math>(116-117)</math> annotation_inline
parent ligne 29
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vol_II_p107 LEFT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 4
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2 BRHADDEŠĪ page_header
via surya_layout
3 196 page_number
via heuristic_pagenum
4 उदाहरणम् – धासाधागा सानिसामानि । मानिधामागा । गामाधानी । धामामागा । निनि- main
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5 R annotation_inline
parent ligne 4
via heuristic_height
6 धाधा। ललिता। [९] editorial_bracket
parent ligne 4
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7 ३५निषादवतिका ख्याता धैवताद्यन्तरा[जिता]। editorial_bracket
parent ligne 4
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8 ॰पतरख्याता(?) annotation_inline
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9 सम्पूर्णाऽन्तरभाषा च गीताऽन्यैश्च रिवर्जिता<sup>३२</sup> ॥ २९॥ main
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10 गीतान्येन विवर्जिता annotation_inline
parent ligne 9
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11 + + + म्या annotation_inline
parent ligne 9
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12 उदाहरणम् – धामागापा । पासापापा । गमामापानि धापाधाधा । पामाधागागा । सनिधाधापापा main
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13 धासा- annotation_inline
parent ligne 12
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14 गमागाप निधाधानीसरि सामापानिधापा मामागाप सधानिधाधा । निषादवती । [१०] editorial_bracket
parent ligne 12
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15 धैवताद्यन्तसंयुक्ता षाडवा ३३तुम्बुरु [:] स्मृता । editorial_bracket
parent ligne 12
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16 ऋषभेण विहीना तु गीयते <sup>३४</sup> ब्रह्मवादिभिः ॥ ३०॥ main
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17 उदाहरणम् - धानिसागा गामाधापा मागनि सनीधाधा । तुम्बुरु[:]। [११] editorial_bracket
parent ligne 16
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18 ३५गान्धारललिता पूर्णा <sup>३६</sup>मध्यमांशा[ऽ]न्तधैवता । editorial_bracket
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19 ल्पधैयता annotation_inline
parent ligne 16
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20 गीयते पितृकार्येषु ३७षड्जधैवतसङ्गतिः ॥ ३१॥ main
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21 ॰मक्रमात् annotation_inline
parent ligne 20
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22 उदाहरणम्-माधापा । पासासामग सासारीरी सानिधाधा सासारिगामा गारिरि सागरीसारी । main
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23 ॰का॰ annotation_inline
parent ligne 22
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24 साधा । गान्धारललिता । [१२] editorial_bracket
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25 <b>•प</b>िलता annotation_inline
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26 ..... main
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27 उदाहरणम्- धाधाधापा । गरिरिधापधानिनिरिगा पपानिधाधा रिगरिगधापधा रिपागा रिनिधा main
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28 ॰नि annotation_inline
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29 पाधाधा । कलिङ्गा । [१३] editorial_bracket
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30 oth annotation_inline
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31 धैवताद्यन्तभाषा [स्याच्छुद्धा] धैवतमध्यमौ<sup>३९</sup>[?]। editorial_bracket
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32 ॰मा शुभा annotation_inline
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33 धैवतान्तरः annotation_inline
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34 मूलभाषा भिन्नषड्जे गीयते नारदादिभिः॥ ३२॥ main
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35 नारदतुम्बुरू(?) main
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vol_II_p051 RIGHT — 29 lignes

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1 <b>g</b>., annotation_inline
parent ligne 4
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2 85 page_number
via heuristic_pagenum
3 TRANSLATION page_header
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4 with minute<sup>26</sup> kākus.<sup>27</sup> Thus sādhāraņī should be known to be the abode of main
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5 all gitis. annotation_inline
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6 <math>(284 - 285)</math> main
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7 [6. Bhāṣā gīti] section_header
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8 This bhāṣā gīti is described by the experts in gīti as consisting of prayogas main
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9 (melodic phrases?) that are rendered by the body (voice), are smooth, main
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10 colourful with kākus, well composed, shaken, soft, brilliant, combined with main
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11 mālavīkāku<sup>28</sup> attractive, and graceful. It is performed in the manner that main
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12 delights the people. main
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13 <math>(286 - 287)</math> main
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14 [7. Vibhāṣā gīti] section_header
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15 Vibhāṣā gīti should be composed with gamakas<sup>29</sup> that are attractive, main
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16 numerous, brilliant, shaken, pertaining to the chest region, even, high and main
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17 very high, smooth, in which madhyama shines forth in between, that are main
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18 delightful to the ear and are attractive. This process of composition should main
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19 be spontaneous and should take the course that delights the people. main
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20 (288-289) annotation_inline
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21 [ Thus ends the description of gitis.] editorial_bracket
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22 [ The number and nomenclature of ragas ] section_header
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23 The lakṣaṇa (description) of gītis has been spoken of; now the number of main
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24 rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the main
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25 bhinna ones are of the same number. Gauda (rāgas) have been said to be main
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26 three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven- main
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27 sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās main
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28 are only twelve and (now) know their names. main
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29 <math>(290 - 292)</math> main
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170 lignes a valider — change uniquement les roles incorrects.