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

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Jobina Tinnemans is a contemporary composer working in crossover disciplines of electronics, classical music and contemporary art. 
 

Page turning, knitters, hedge trimmers, kung fu and Shakespeare all have featured in her compositions. She was selected out of more than 600 submissions to compose contemporary classical composition with electronics 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.

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 she made her early works on leading to Tinnemans’ producing and sound engineering skills. On her folding bike Jobina would cycle through the hallway of her wondrous indoor’s world of disused nicotine-coloured post-modern office cubicles stashed with this skip collection of cello-taped voltage hazards amongst washing lines beaded with air-drying courgette slices, home grown on the overgrown once-car-park plot outside. Always up for a challenge, 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 lived in this stunning wilderness for nearly ten years, self sufficient, 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 has created a deep impact and Tinnemans’ compositions changed accordingly. Monumental natural landscapes with their detailed micro textures are now the main sound palette Jobina sources from.

From all the hands-on songwriting, composing, music recording/ engineering/ mastering and performance production experiences she’s done up 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 she doesn’t always follow religiously, but uses as a playful guideline.

Turner Piece/ Apartment House/ Metro (2015), commissioned for the Apartment House ensemble and directed by Anton Lukoszevieze, ingeniously feature the sound of the paper scores being turned as an integral part of the music, representing microtonal sound textures of the rustling of leaves, or sound processing qualities such as granular distortion.

Page Turner Études no.1/ no.2 U / no.3 Intertidal: Winged Kelp (2017), for piano solo, page turning and electronics, commissioned by Eleonor Sandresky for her ‘Études’ tour continues on using the quality the paper sheet music is printed on as a scored sound source and part of the pieces.

IMAGIRO Landmannalaugar/ Largo (2017), commissioned for ensemble Synaesthesis, explores notation outside of book format. Musicians have to walk to perform a movement, again tying in with experiencing the vastness of hiking through a natural environment and sound engineering, panning sound left to right, mixing in and out of earshot.
 
Jobina’s indie electronic songwriting alter ego BLATNOVA has taken her on tours of disused municipal buildings and abandoned office blocks across Europe. These involuntarily cavernous spaces of a shiny future in faded technicolor mirror perfectly the haunting qualities of her voice and layers of restless brittle rhythms. 

Jobina Tinnemans has worked with some of the most highly regarded innovators and institutions in music, radio and research; her independent radio productions and music have been broadcast by the likes of the BBC and ABC; Ableton Live 9 features a Konkrete Beats demo by BLATNOVA. She was invited to join former employees from The BBC Radiophonic Workshop together with a group of contemporary musicians and producers to curate a new exhibition celebrating the work of electronic music pioneer Daphne Oram at the Science Museum in London ‘Oramics to Electronica: Revealing Histories of Electronic Music’.