Design

Jobina Tinnemans’ music-making is underpinned by her background in design and her fascination with cross-disciplinarity.

sculptural sheet music

cross-pollinates composition with design to redefine sheet music, focusing on the expressivity of its format, the physicality of paper and the activity of turning. These designs can function both as pieces of visual art and as material for performance.

beautiful data

sonifies dynamic data for analysis into datascapes. This technique draws on natural soundscapes in that form follows function, as well as in structures that change over time and often are cyclic. Similar to field recordings, Tinnemans uses sound recordings of these datascapes as a source material, structure or texture for her music. For the sonification of these dynamic data, Jobina designs custom virtual instruments from her private sound library.

field instruments

are custom virtual instruments Jobina designs from her library of field recordings and which incorporate organically timed textures instead of a static ‘sample phrase’ or ‘tape loop’. Due to the nature of their functionality, field instruments don’t work on a standard keyboard: Tinnemans designs dedicated hardware to perform these instruments.

performance hardware

is a broad description for Jobina’s conceptual approach to hardware design for performance. This hardware could be a wide variety of artefacts, anything other that the widely used black plastic controllers. The hardware informs the performance, the performance informs the hardware.

music for non-musicians/non-instruments

are cross-discipline works incorporating techniques to create sounds or rhythms as a consequence of the action that cause them, form follows function, such as gymnasts doing an exercise or knitters following a pattern. The activities themselves aren’t necessarily about sound and can be produced by anyone from within this discipline or community. 

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