Batu baraguang is music performed on massive stone gong chimes found ins Luhak 50 Koto, Minangkabau, Indonesia. Very little has been written nor investigated regarding much of the megalithic remains found throughout Sumatra and Nias. The researchers employed a qualitative methodology in this investigation. As the primary data collection instruments, they utilized observation, interviews, document analysis, and data interpretation. The study adopted an ethnographic approach, which placed a strong emphasis on observational techniques. The instrument consists of six stones placed on (...) a bamboo cushion. Rhythmic motifs are played by three people in a cross-legged sitting position. Each player hits two stone slabs that have different pitch levels. The interlocking tones produce cumulative short melodies which are recognized as discrete melodies or pieces. In this article we seek to describe the musical system as evidenced in these stone chimes, and the manner of batu baraguang performance. We deployed both qualitative descriptive methods coupled with quantitative techniques in pitch measurements. The ensemble consists of six talempong stone slabs which we call B1, B2, B3, B4, B5, and B6. The pieces are based on indigenous concepts called palau, tongah and panyudahi. Each of these corresponds to three pairs of stones performed by three players. We contend based on the findings of this research that the ancestors of the Minangkabau people in the Megalithic era already possessed an aesthetic musical identity as exemplified through the medium of this stone chime. (shrink)