Commissions & Collaborations

Jobina Tinnemans music-making is underpinned by her strong visual sense and traces of her background in Dutch design are often present in her work or its development. Subscribe to the newsletter to hear about new projects.

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Field Instruments

Field instruments are software instruments made from field recordings that are programmed in such a way they function similar to a natural sound, they are not a static ‘phrase’ or ‘tape loop’. The tree will keep rustling, the same, while always slightly different. The blackbird will keep singing, or not, as they do. The wind will keep its mercurial texture.

Soundscape at Moylgrove, Pembrokeshire, Wales

Following in the same technique, I’ve created choral field instruments from vocalisations made by the South Iceland Chamber Choir singers.

Kammerkor Sudurlands

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Sculptural Sheet Music

Sculptural sheet music is a strand in my work that explores what is ’sheet music’, as well as what is a ‘page’ and what is ‘turning‘.

Sheet Music (2013) image by Jobina Tinnemans, Cambridge University Press Tempo Magazine, June 2021

These pieces cross-pollinate composition with design teasing the concert etiquette of managing sheet music. We see the pages of the score being turned but we don’t want to hear them; we annotate a page, but not fold it.

My sculptural sheet music compositions integrate the universe of sonic possibilities I have experienced in electronic music into a much older format, characters printed on paper, a medium that has lasted for centuries.

development of 23 metres long panoramic score

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Music for Non-musicians
Shakespeare and Hedgeshear at ISCM World Music Days

Music for Non-musicians are works with non-musicians who create sounds or rhythms as a bi-product of the action that cause them, such as a queue of gymnasts doing their run-jump-crashmat-landing drill.

Shakespeare und Heckenschere in Gasometer, Oberhausen

The activities themselves aren’t about sound and can be produced by anyone from within this discipline. I have introduced such parts into my compositions as a source of timed randomness.

Killing Time at MATA Festival NYC

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Kammerkor Sudurlands
Ensemble Synaesthesis
BBC Radio 3
Sound And Music
Eleonor Sandresky
Vogue New York
Apartment House ensemble
Cultural Olympiad Wales 2012
Nordic Affect ensemble
John Grant Festival Hull’17
Arts Council England
Fort Process Festival
Steffan Caddick / Landmark Trust
Edgar Varèse homage
PRS for Music Foundation
Vicky Chow
Icebreaker ensemble
ISCM World New Music Days
Hinrichsen Foundation
MATA Festival
Curated Place
Wales Arts International
DEGEM Germany