About

“Known for her work with concrete sounds, Dutch-British composer Jobina Tinnemans follows the lead of the late Cornelius Cardew, incorporating nonmusicians into a new music context.” – MATA, New York

  “Tinnemans contemporary classical works are unusual and exciting.” – Moving Classics

 

Jobina Tinnemans’ work is located at the nexus of electronics, classical music and contemporary art. She studied Design in Eindhoven, lived intermittently in Amsterdam and London and permanently moved to the UK in 2007 spending a decade remotely living on a clifftop in Pembrokeshire.

Page turning, knitters, hedge trimmers, kung fu and Shakespeare all have featured in her compositions. She was selected to compose a new work for the 2013 edition of the MATA festival in New York, founded by Philip Glass, Eleonor Sandresky and Lisa Bielawa, resulting in the innovative piece ‘Killing Time’. Jobina’s highly acclaimed piece ‘Shakespeare and Hedgeshear’, involving two table tennis teams and hedge trimmers, was selected to represent the British section of the ISCM World Music Days 2014 in Poland. Her career has been in international demand since. In 2018 Tinnemans was awarded with the British PRSF for Music The Composers Fund.

The cross-discipline and cross-genre nature of her practice has resulted in a multitude of specialisations in composing techniques, visual arts, sound engineering, music production and as a creative producer.

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Starting in the mid-nineties, Jobina has evolved with the big changes of our times. Throughout the fin de siècle Tinnemans was mainly living in Eindhoven, The Netherlands, town of Philips Home Electronics Industries, where she dragged many obsolete analog electronic music devices of former Philips employees out of random skips. Her usual habitat would be redundant office blocks and warehouses with plenty of space to shelter a multitude of rescue organs, speakers, reel tape recorders, mixing desks and effects processors. Her early works feature these instruments and developed into Tinnemans’ producing and sound engineering skills.

In this period Jobina would cycle through the long hallways of her surrealistic disposed industrial world of nicotine stained post-modern office cubicles stashed with her skip collection of sellotaped voltage hazards. All this framed by a criss-cross web of washing lines beaded with air-drying vegetables which she had been cultivating on the overgrown remains of the car park outside: in retrospect a tell tale sign of a feral life-style that would surface a few years later. Tinnemans embraced the DAW developments of the early two thousands and moved forward to software instruments mixing analog, digital and musique concrète influences into her work.

In 2007 Jobina made the radical change to move to the middle of nowhere on a peninsula in Pembrokeshire in Wales, UK. She lives in this stunning wilderness for nearly ten years, self sustained, foraging and cut off from city life, spending days in nature, listening and observing, and gaining a fascination for seaweed. Being exposed to the elements and immersed in silence for years created a deep impact and Tinnemans’ compositions changed accordingly. Monumental natural landscapes with their detailed micro textures are now the main musical influences Jobina sources from.

From all the hands-on songwriting, composing, music recording/ engineering/ mastering and performance production experiences in these twenty years, Tinnemans has lately been developing a range of works where she is incorporating her analog and digital mindset into non-electronic pieces. In particular focusing on the medium a score is printed on: technically and theoretically these works could have existed two hundred years ago, before the invention of electricity. This dogma Jobina doesn’t always follow religiously – it’s used as a playful guideline.

Jobina Tinnemans has worked with some of the most highly regarded innovators and institutions in music, radio and research, such as ABC Radio, Ableton Live, BBC Radiophonic Workshop, Science Museum London and Vogue Knitting NYC.

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List of electronics used by Jobina Tinnemans as instruments/ samplers/ for recording (chronological):

Philips MSX1 Sound module (1987)
ATARI Cubase (early ‘90s)
Hammond organs, various models
Eminent organ
19” sound processing racks, various brands and models
Reel tape
Cassette tape
DCC tape
Minidisk
MS10
MS20
Roland 303
Dr. Sample, Yamaha CS1X, Electribe, etc.
ProTools
Synthi 100
ARP2500
ARP2600
Collection of microphones and hydrophones for all uses
Ableton Live
Reaktor
Kontakt
Library of NI, Waves, couture third party DAW plug-ins
iMS20
iPad apps, various
360º field recording kit

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