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NMM 9875. Bonang Panembung in Laras Pelog. Largest member of the bonang group. Fourteen bronze pots in two rows of seven located in square openings in rectangular teakwood frame, suspended by string threaded through channels carved into frame. Frame decorated with flower and leaf patterns covered with gold leaf. Two removable wings on each end of stand carved in shape of two nagas (dragons) with intertwining tails at top, curved bodies, and heads resting at the bottom of the wings on both ends; covered in gold leaf. Length (wing to wing, not including wings): 257.1 cm. Diameter of largest pot (at base): 22.0 cm. Two mallets (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.
Function: The bonang panembung is traditionally played almost exclusively in ceremonial music. This includes weddings and ceremonial court music. Its role is to reinforce the basic melody or balungan played by the saron and to signal the gong. The upper row of pots is considered to be the female, while the lower octave is the male.
Playing technique: the bonang panembung is played with the soft end of two mallets. The player sits on the side with the lowest octave pots. The previous note is dampened as the next is played using the mallet’s soft end.
