“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 is a contemporary composer working in cross over 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 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.
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.
On her folding bike Jobina would cycle through the hallways of her wondrous disused industrial landscape of nicotine-coloured post-modern office cubicles stashed with her skip collection of cello-taped voltage hazards. All this framed by a web of washing lines beaded with air-drying courgette slices, home grown on the overgrown semi-concrete once-car-park plot outside: in retrospect a tell tale sign of a feral life-style that would surface a few years later. 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 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.