<![CDATA[This article examines the local idiom ngelangkahin gunung as a principle of melodic movement in the gilak section of Tabuh Pat Parianom in the Batur style and explains its transformation into the gegilakan section of Cipta Komposisi Gamelan Saraswati. The study employed a two-phase practice-based research design. The first phase examined the colotomic structure, melodic contour, inter-pitch relationships, and distinctions between mapah movement and leaping motion in the notated documentation of Tabuh Pat Parianom. The second phase applied the analytical findings through a compositional process integrating Sukerta’s formulation of creative ideas, Beratha’s stages of musical refinement, and the Panca Sthiti Ngawi Sani framework. The analysis shows that the 32-beat cycle of the source gilak is characterized by a predominantly mapah melodic movement in the first line, whereas the second to fourth lines contain eight leap segments that skip at least one intervening pitch within the five-tone pelog sequence. This feature is operationalized as ngelangkahin gunung, rather than treated merely as an intuitive metaphor. In the Saraswati composition, the principle is transformed through the reordering of source material, the selection of melodic cells, and their development into a 24-beat gegilakan organized into three eight-beat lines. The findings demonstrate that local musical knowledge can function simultaneously as an analytical device and a compositional strategy without being reduced to a universal theory. The article contributes a set of verifiable criteria for identifying ngelangkahin gunung and documents the process through which traditional repertoire is transformed into a new composition.]]>
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