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 21731). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p050 RIGHT — 34 lignes

page vol_II_p050 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. Gaudī giti and its component ohāțī] section_header
via surya_layout
4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
via surya_layout
5 to consist of a combination of the sound 'ha' and 'o'. main
via surya_layout
6 (277) annotation_inline
parent ligne 5
via heuristic_height
7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
via surya_layout
8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
via surya_layout
9 svara. annotation_inline
parent ligne 8
via heuristic_height
10 (278) annotation_inline
parent ligne 8
via heuristic_height
11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
via surya_layout
12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
via surya_layout
13 in the three registers. annotation_inline
parent ligne 12
via heuristic_height
14 (279) annotation_inline
parent ligne 12
via heuristic_height
15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
via surya_layout
16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
via surya_layout
17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
via surya_layout
18 the low (register) with shakes 19 of sound. main
via surya_layout
19 (280) annotation_inline
parent ligne 18
via heuristic_height
20 Gaudī gīti is said to subsist without rest in the three registers. main
via surya_layout
21 (281) annotation_inline
parent ligne 20
via heuristic_height
22 [4. Rāga giti] section_header
via surya_layout
23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
via surya_layout
24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
via surya_layout
25 delightful arrangements of svaras. main
via surya_layout
26 (282) annotation_inline
parent ligne 25
via heuristic_height
27 The rāgas (melodic configurations) are so called because the beautiful main
via surya_layout
28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
via surya_layout
29 is seen in them in its completeness. main
via surya_layout
30 (283) annotation_inline
parent ligne 29
via heuristic_height
31 [5. Sādhāraṇī gīti] section_header
via surya_layout
32 (This gīti) should be made with straight, attractive, somewhat minute and main
via surya_layout
33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
via surya_layout
34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
via surya_layout

vol_I_p055 RIGHT — 36 lignes

page vol_I_p055 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 93 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 (Anu. 75) annotation_inline
parent ligne 4
via heuristic_height
4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
via surya_layout
5 șadja and the like, having touched the octave36 (tara) of that like fire and main
via surya_layout
6 having stayed there for one (short) time-unit<sup>37</sup> (kalā), suddenly the 'low' (svara) main
via surya_layout
7 is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. main
via surya_layout
8 <b>(6)</b> annotation_inline
parent ligne 7
via heuristic_height
9 (Anu. 76) annotation_inline
parent ligne 7
via heuristic_height
10 Having touched (a svara) for the interval of one kalā (time-unit), on main
via surya_layout
11 account of the pronunciation of (svaras) in the reverse order of bindu, (the main
via surya_layout
12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
via surya_layout
13 <b>(7)</b> annotation_inline
parent ligne 12
via heuristic_height
14 nivṛttapravṛtta. annotation_inline
parent ligne 12
via heuristic_height
15 (Anu. 77) annotation_inline
parent ligne 12
via heuristic_height
16 Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like main
via surya_layout
17 ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. main
via surya_layout
18 (8) annotation_inline
parent ligne 17
via heuristic_height
19 (Anu 78) annotation_inline
parent ligne 17
via heuristic_height
20 On account of the shake of (svara having) three srutis in the lower heptad, main
via surya_layout
21 kampita (is formed), that is composed of three kalās (time-units). As - main
via surya_layout
22 <b>(9)</b> annotation_inline
parent ligne 21
via heuristic_height
23 sarigamapadhanisa,42 thus is (ends) kampita. main
via surya_layout
24 (Anu. 79) annotation_inline
parent ligne 23
via heuristic_height
25 On account of the shake of (svara having) three śrutis 43 in the middle main
via surya_layout
26 heptad kuharita (is formed), that is composed of three kalās. As - main
via surya_layout
27 (10) annotation_inline
parent ligne 26
via heuristic_height
28 sarigamapadhanisa.44 Thus is (ends) kuharita. main
via surya_layout
29 (Anu. 80) annotation_inline
parent ligne 28
via heuristic_height
30 On account of the shake of (svara having) three śrutis in the higher main
via surya_layout
31 heptad, recita (is formed), that is composed of three kalās. As - main
via surya_layout
32 (11) annotation_inline
parent ligne 31
via heuristic_height
33 sarigamapadhanisa 45 Thus is (ends) recita. main
via surya_layout
34 (Anu. 81) annotation_inline
parent ligne 33
via heuristic_short
35 Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) main
via surya_layout
36 and 'coming' (descent) of (groups of) two or more svaras, in equal temporal main
via surya_layout

vol_II_p081 RIGHT — 31 lignes

page vol_II_p081 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 ٠ page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 145 page_number
via heuristic_pagenum
4 performed as to involve mutual movement between rşabha-gandhara and main
via surya_layout
5 similarly <i>şadja-madhyama</i>. main
via surya_layout
6 <math>(52-53)</math> main
via surya_layout
7 Illustration - Gāgāgāmā. Sāsī. Māgāmāmāgāmāsīsāsī. Gāgādhānisīsīgādhanisā main
via surya_layout
8 dhādhāmārīmāgārīgasā sāsāsāmā sārīdhādhādhādhadhamāgārīgāgā dhārīsāsīsā. main
via surya_layout
9 Māgāmāmāgā Māsīsimāgā dhādhādhāparīgamarīgamasīsisīmāgārīdhā dhamagari main
via surya_layout
10 gamadhanī. Sāsāgādhānisāsā. Ravicandrā [xi] editorial_bracket
parent ligne 9
via heuristic_brackets
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
via surya_layout
14 (54) annotation_inline
parent ligne 13
via heuristic_short
15 Illustration – Māmāsā. Nīnī. Nidhādhāni dhādhāni. Dhānidhādhānī. main
via surya_layout
16 Sāgāgārī. Sanīsanīdhā. Nidhānigāgā māgānisāsāni. Sādhānīgā gānisāsā. main
via surya_layout
17 Sāninisanīdhā dhāmānīmā dhāsanini. Nisādhānīmādhādhāmāgāsānisānidhā. main
via surya_layout
18 Mādhādhā. Sādhānīdhānīsāsā. Māmādhāsāsā. Māmāgārīmāgāsāsā. main
via surya_layout
19 Māsāmāmāgārīmāgāsāsā. Masānī ninimāni dhādhānidhāmāgā. Sānīmādhā. main
via surya_layout
20 Sāsanīdhā dhanisādhādhā. Dhanidhānīsā. Ambāherī [xii] editorial_bracket
parent ligne 19
via heuristic_brackets
21 Being combined with sadja in the beginning and having madhyama and main
via surya_layout
22 dhaivata as abundant and with the omission of rşabha, this bhāṣā, lalitā, is main
via surya_layout
23 sankīrņā (mixed) and hexatonic. There is (mutual) movement between the main
via surya_layout
24 svaras comprised of two śrutis each. main
via surya_layout
25 (55) annotation_inline
parent ligne 24
via heuristic_short
26 Illustration - Sāgāgādhāgāmāmāgā. Dhamādhānīsāsā. Nidhāgāgā. main
via surya_layout
27 Säsäsämäpädhäni dhäpämäsä sädhäpädhänidhädhäsä nidhägänigädhanisasasa. main
via surya_layout
28 Lalitā [xiii] editorial_bracket
parent ligne 27
via heuristic_brackets
29 Combined with şadja as the initial and concluding note, omitting main
via surya_layout
30 pañcama, being devoid of the seventh (niṣāda), having the concert of main
via surya_layout
31 madhyamawith ṣaḍja there, the saii kīrṇā (mixed) and pentatonic bhāṣā, born main
via surya_layout

vol_II_p062 LEFT — 29 lignes

page vol_II_p062 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 106 page_number
via heuristic_pagenum
3 [अनु॰ १८८] editorial_bracket
parent ligne 4
via heuristic_brackets
4 अस्यार्थ: - गौडकैशिको रागो मध्यमग्रामसम्बन्ध: कैशिकोषड्जमध्यमाभ्यां जात: main
via surya_layout
5 रा(मो?गो) annotation_inline
parent ligne 4
via heuristic_height
6 षड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यास:। निषादोऽत्र काकली। पूर्णश्चायम्। तथा प्रयोगोऽस्ति<sup>६४</sup>। main
via surya_layout
7 त्रिश्रुतिकत्वात् पञ्चमस्य,चतुःश्रुतिकत्वाद् धैवतस्य, मध्यमग्रामसम्बन्ध एवासौ रागः । यद्यपि main
via surya_layout
8 ग्रामद्वयजातौ जात:, तथापि मध्यमोऽस्य ग्राम:, न षड्ज:<sup>६५</sup> । तथा दर्शनात् । करुणे चास्य main
via surya_layout
9 पद्जी annotation_inline
parent ligne 8
via heuristic_height
10 मध्यम: annotation_inline
parent ligne 8
via heuristic_height
11 विनियोगः । वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नादिरलङ्कारः। दक्षिणे कला, main
via surya_layout
12 वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
13 [३.गौडकैशिकमध्यम:] section_header
via surya_layout
14 <sup>६६</sup>षड्जांशो मध्यमन्यास: षड्जमध्यमया कृत: । main
via surya_layout
15 ॰मध्यम(वा?या) annotation_inline
parent ligne 14
via heuristic_markers
16 परिपूर्णस्वर: प्रोक्तो गौडकैशिकमध्यम: ॥ ३१८॥ main
via surya_layout
17 [अन्॰ १८९] section_header
via surya_layout
18 अस्यार्थ: - गौडकैशिकमध्यम: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
via surya_layout
19 प(इज)मध्यमाजाते(त?)र्जातत्वात् main
via surya_layout
20 ग्रहोंऽशश्च । मध्यमो न्यास: । निषादोऽत्र काकली । पूर्णश्चायम् । भयानके चास्य विनियोग: । main
via surya_layout
21 वीरादिको रस:। षड्जादिमूर्छना। आरोही वर्ण:। प्रसन्नमध्योऽलङ्कार:। दक्षिणे कला, वार्तिके main
via surya_layout
22 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । unknown
via fallback
23 [गौडरागाणां ग्रामविभाग:] section_header
via surya_layout
24 इदानीं गौडानां ग्रामविभागमाह - main
via surya_layout
25 गौडपञ्चमक: षड्जे गौडकैशिकमध्यम:। main
via surya_layout
26 ॰पञ्चं(ग?क): annotation_inline
parent ligne 25
via heuristic_markers
27 गौडकैशिकरागस्तु मध्यमग्रामसंश्रय:॥ main
via surya_layout
28 त्रयो गौडा: समाख्याता रागान् वक्ष्याम्यत: परम् ॥ ३१९॥ main
via surya_layout
29 (vide) annotation_inline
parent ligne 28
via heuristic_height

vol_I_p069 RIGHT — 32 lignes

page vol_I_p069 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 121 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
via surya_layout
4 With this prescription itself the gitis should be sung by the wise. main
via surya_layout
5 (175) annotation_inline
parent ligne 4
via heuristic_height
6 (Anu. 105) annotation_inline
parent ligne 4
via heuristic_height
7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
via surya_layout
8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
via surya_layout
9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
via surya_layout
10 on account of the use of eight-mātrā (units). main
via surya_layout
11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
via surya_layout
12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
via surya_layout
13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
via surya_layout
14 (176) annotation_inline
parent ligne 13
via heuristic_height
15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
via surya_layout
16 (177) annotation_inline
parent ligne 15
via heuristic_height
17 (mārga). main
via surya_layout
18 As - table
via surya_layout
19 Māgadhī [-----] table
via surya_layout
20 Ardhamāgadhī [-----] table
via surya_layout
21 Sambhāvitā [-----] table
via surya_layout
22 Pythulā [-----] table
via surya_layout
23 (Anu. 106) annotation_inline
parent ligne 17
via heuristic_height
24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
via surya_layout
25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
via surya_layout
26 (Anu. 107) annotation_inline
parent ligne 25
via heuristic_height
27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
via surya_layout
28 (are the margas). annotation_inline
parent ligne 27
via heuristic_short
29 The mātrās (to be used in them) are eight, four and two (respectively). As main
via surya_layout
30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
via surya_layout
31 (178) annotation_inline
parent ligne 30
via heuristic_height
32 patitā is known to be the eighth one. main
via surya_layout
162 lignes a valider — change uniquement les roles incorrects.