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 21723). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p046 LEFT — 50 lignes

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1 Ą unknown
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2 • annotation_inline
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3 74 page_number
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4 BRHADDEŚĨ page_header
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5 • annotation_inline
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6 धा नी सनि धा पा पा पा पा table
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7 (१३) table
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8 į unknown
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9 धा नी मा पा गा गा गा गा table
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10 (१४) table
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11 į annotation_inline
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12 गा पा पा पा धा मा गा मा table
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13 (१५) table
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14 धा धा नी धा पा पा पा पा table
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15 (१६) table
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16 री गा मा पा पम पा पा नी table
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17 (१७) table
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18 री री री री पा पा पा पा table
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19 (१८) table
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20 पा पा पा धा मा मा मा table
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21 (१९) table
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22 नी पा मा गम गां गां गां गां table
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23 (२०) table
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24 रों रों गा गा मा मा मा मा table
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25 (२१) table
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26 नी पा नी मा नी धा पा पा table
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27 (२२) table
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28 सा सा धनि धा पा पा पा पा table
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29 (२३) table
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30 मा पा मा परिग गा गा सां सां table
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31 (38) table
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32 री री गा गा मा मा पा मा table
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33 (२५) table
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34 रीं रीं रीं गा मा रिग मा मा table
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35 (२६) table
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36 मा नी पा नी गा गा गा गा table
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37 ( २७) table
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38 मा मा पा पा धा धनि निध मा table
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39 (२८) table
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40 धा धा सा नी धा नी पा पा table
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41 (२९) table
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42 रीं रीं रीं रीं मा पा धा मा table
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43 (३०) table
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44 नी नी नी धा पा मा मा table
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45 (38) table
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46 मा परि गा गा गा गा गा गा table
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47 (३२) table
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48 ॥ [इति] नन्दयन्ती ॥ section_header
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49 । म ॥१९१ main
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50 [॥१९२इति जातिर्नाम द्वितीयोऽध्याय:॥] editorial_bracket
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vol_II_p159 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 301 page_number
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2 VIMARŚA page_header
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3 52. The word 'yatah' in this verse seems to imply that because the main
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4 svaras have to match the angahāras performed in the order of āsārita, the main
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5 formation or variation of amsas should be done in the text of the main
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6 vardhamāna. Āsārita and vardhamāna have identical temporal dimensions main
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7 with slight variation in splitting (shown below). These are the two gītakas main
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8 alongwith which the performance of dance is prescribed in NS XXXI - main
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9 <math>16 + 17 + 32 = 65 \text{ Kalās}</math> annotation_inline
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10 Asārita annotation_inline
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11 <math>9 + 8 + 16 + 32 = 65 \text{ Kalās}</math> annotation_inline
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12 Vardhamāna annotation_inline
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13 53. 'Not exceptional' means those svaras, the operation of which main
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14 in the formation of pentatonic varieties is not hindered by the rule of main
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15 samvāda. annotation_inline
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16 54. The strict prohibition of the omission of madhyama seems to main
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17 be based on the fact that this svara is the link between gandharva and main
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18 sāman, it being the tonic in sāman and the connecting point between the main
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19 two triads of the heptad. main
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20 55,56.The words utsarga and apavada are borrowed from main
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21 Pūrvamimāmsā. The former stands for the general rule and the latter for main
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22 the exception to the same. main
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23 57. The import is not clear from here to the end of the Anu. main
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24 58. 'Sangati' stands for to and fro movement between two svaras in a main
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25 jāti. NŚ uses 'paraspara-sañcāra' (mutual to and fro movement) and 'paras- main
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26 paragamana '(mutual movement i.e. each of the two given svaras reaching main
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27 out to the other) for this melodic phenomenon (cf.NŚ XXVIII. 96, 107). The main
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28 word sangati is used even to-day in the oral tradition in the same meaning. main
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29 It is notable that this relationship between any two svaras is purely melodic main
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30 phenomenon; it does not depend on the acoustic relationship of samvāda. main
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31 It is interesting to note that the word samvada has been used in our text in main
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32 the place of sangati several times in the section on ragas. main
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33 59. Omission, in ancient thought, is not something absolute, rather main
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34 it is the extreme state of sparseness. The svara that is omissible in a jāti is main
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35 sparse in its complete state. main
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36 60. NŚ does not mention the mūrchanās of jātis. Matanga does this main
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37 the first time. This innovation seems to be necessitated by the main
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38 for annotation_inline
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39 introduction of fretted viņās (see Glossary). main
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40 61. Pañcapāṇi is another name of the tāla called ṣaṭpitāputraka, the main
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41 third name being uttara. main
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vol_II_p009 RIGHT — 8 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 Property. annotation_inline
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2 श्रीमतङ्गमुनिप्रणीता main
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3 बृहद्देशी<br>BRHADDEŚĪ main
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4 )F annotation_inline
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5 ŚRĪ MATANGA MUNI main
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6 (Volume II) main
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7 • annotation_inline
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8 ι, annotation_inline
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vol_II_p097 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 177 page_number
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3 Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā main
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4 pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga main
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5 risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- main
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6 dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] editorial_bracket
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7 Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is main
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8 charming. This is complete in svaras and has to and fro movement between main
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9 sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.<sup>63</sup> main
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10 (130) annotation_inline
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11 Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā main
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12 māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- main
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13 nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- main
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14 hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. main
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15 Sāsāmadhāpādhānidhā. Viśālā [iv] editorial_bracket
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16 These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika. main
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17 [9. Now in Bottaraga] section_header
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18 Having pañcama as amsa, madhyama as the concluding note, being complete main
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19 and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and main
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20 fro movement is always seen in profusion. It is sung by the <math>n\bar{a}yakas^{64}</math> on all main
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21 auspicious occasions. Since it is auspicious and commendable, it is known main
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22 as mangalā. annotation_inline
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23 <math>(131-132)</math> annotation_inline
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24 Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- main
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25 pāmā. Maṅgalā [i] editorial_bracket
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26 [10. Bhāṣās in mālavapañcama] table
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27 .....[Bhāvinī] table
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vol_II_p080 RIGHT — 31 lignes

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1 143 page_number
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2 TRANSLATION page_header
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3 This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is main
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4 Gamāgāmāsādhāsārīmāmāmāsā main
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5 Gārimāmāmā. annotation_inline
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6 Dhānisā. annotation_inline
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7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
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8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
parent ligne 7
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9 brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of main
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10 şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional main
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11 bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. main
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12 <math>(47-48)</math> annotation_inline
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13 Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. main
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14 Combined with sadja as the initial and concluding note, being devoid of main
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15 pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the main
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16 performers. The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is main
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17 seen from moment to moment. annotation_inline
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18 <math>(49-50)</math> annotation_inline
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19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
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20 Vesarikā [ix] editorial_bracket
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21 Having pañcama as amsa and şadja as the concluding note, being main
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22 complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. main
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23 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- main
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24 madhyama annotation_inline
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25 (51) annotation_inline
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26 Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri main
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27 Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. main
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28 Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] editorial_bracket
parent ligne 27
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29 Having middle and lower registers (as its range), şadja as its concluding main
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30 note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, main
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31 ravicandrikā, should be known to be sankīrņā (mixed). It should be so main
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157 lignes a valider — change uniquement les roles incorrects.