FORT PROCESS – PANORAMIC SCORES performances

 Fort Process festival, a production by the Lost Property arts collective, commissioned me for a new panoramic score composition, after last year’s IMAGIRO Landmannalaugar.

Central / Caponier

are the titles of the two on-location panoramic scores I created for the Fort Process Festival, named after the locations they are situated in – the Central Gun Placement and the Caponier Tunnel of Fort Newhaven, East-Sussex, UK. Last Saturday, Sept 22, these pieces premiered.

Here are a few impressions.

Maria Marzaioli prepping the 42 meter long #panoramicscore #graphicscore ‘Central’ at Fort Process. #Hyperanalog looping in the central gun placement of Fort Newhaven. #inkandbrush #landscape size #composition.  Photos by Agata Urbaniak.

Jobina Tinnemans - prepping 'Central' - photo Agata Urbaniak

 

44868143901_cd5588881f_o

 

43957330545_30a7f9d2dc_o

Performing violinist Kev Nickells lending a hand and trying to make sense out of my slightly garbled instructions by means of random vocalisations and pointing at things.

44868143191_19cf8024a8_o

 

Agata Urbaniak made some great photos of the Fort Process festival, last Saturday. This is a photo of ‘Caponier’ #panoramicscore #graphicscore. It wraps around the corner. Approximately 28 metres long.

Jobina Tinnemans - 'Caponier' - photo Agata Urbaniak

 

 

.

.

.

FORT PROCESS – PANORAMIC SCORES #6

The Fort Process festival, a production by the Lost Property arts collective, commissioned me for a new panoramic score composition, after last year’s IMAGIRO Landmannalaugar.

Work in progress.

Finished pieces ‘Central’ and ‘Caponier’ probably the only time they will be this ritualistically neatly folded. #premiere #panoramicscore #graphicscore this Saturday #Sept22 #FortProcess #Newhaven UK. #inkandbrush #nature #landscape size #composition #composer

Jobina Tinnemans - panoramic scores - Central and Caponier

 

UNDO. #controlZ #hyperanalog #electronics #panoramicscores#graphicscores #fortprocess #Sept22

Jobina Tinnemans - panoramic scores - undo

 

Work in progress. Living it large at 388pt! No Sibelius or Finale in sight. #laptopfree#inkandbrush #panoramicscore #graphicscore #104metres #premiere #sept22#fortprocess

Jobina Tinnemans - panoramic scores - 388pt font

 

104 metres of #graphicscore #panoramicscore patiently waiting till #premiere this Saturday!!! #central #caponier #fortprocess #festival #newhaven #inkandbrush

Jobina Tinnemans - panoramic scores - 104metres

.

.

.

FORT PROCESS – PANORAMIC SCORES #5

The Fort Process festival, a production by the Lost Property arts collective, commissioned me for a new panoramic score composition, after last year’s IMAGIRO Landmannalaugar.

Work in progress.

my job today painting #panoramicscores #graphicscores #minimalism#workinprogress #inkandbrush #hills #roomwithaview #composer

Jobina Tinnemans - panoramic scores - painting

 

Somehow I always end up stitching my scores? #workinprogress #panoramicscores#graphicscores #canvas #fabric #inkandbrush on grass #fortprocess #Sept22

Jobina Tinnemans - panoramic scores - stitching

 

Today was a good day. Even though this line went absolutely rubbish  Done 24 metres. #painting #panoramicscore #graphicscore #workinprogress #fortprocess#sept22

Jobina Tinnemans - panoramic scores - painting on wall

.

.

.

FORT PROCESS – PANORAMIC SCORES #4

Jobina Tinnemans - panoramic scores - Garn Fawr detail

The Fort Process festival, a production by the Lost Property arts collective, commissioned me for a new panoramic score composition, after last year’s IMAGIRO Landmannalaugar.

If the weather is going to be as forecasted I’ll be painting 40 metres of graphic score tomorrow, scary stuff!!!! This detail of my scale model will be about 8 metres long… #panoramicscore #inkandbrush premiere #FortProcess #Sept22

 

Jobina Tinnemans - panoramic scores - Garn Fawr detail

.

.

Fort Process – panoramic scores #3

The Fort Process festival, a production by the Lost Property arts collective, commissioned me for a new panoramic score composition. I’ve been very much looking forward to starting working on it – it’s going to be much longer than last year’s IMAGIRO Landmannalaugar and wrapping through buildings of Fort Newhaven, starting today!

I’ve got the 40 metres of fabric! Plucked them out of the sky. #40metres#panoramicscore #graphicscore #workinprogress #inkandbrush #fortprocess#composer #premiere #Sept22

JobinaTinnemans-40metres

.

.

FORT PROCESS – PANORAMIC SCORES #2

Jobina Tinnemans - panoramic scores - scale models

Fort Process festival, a production by the Lost Property arts collective, commissioned me for a new panoramic score composition, after last year’s IMAGIRO Landmannalaugar.

Work in progress.

Cut and splice #newanalog #hyperanalog #realtape #reeltape #graphicscore#panoramicscore #modular #composition #fortprocess #sept22

Jobina Tinnemans - Panoramic scores - cut n splice

 

I. Cannot. Stop. #scalemodel #panoramicscore #graphicscore #fortprocess #sept22

Jobina Tinnemans - panoramic scores - scale models

 

Somehow I can never find my metal rulers for cutting, but I always find my saw… 😂#andsoitbegins #panoramicscore #graphicscore #40metres #scalemodel #fortprocess#Sept22

Jobina Tinnemans - panoramic scores - saw

.

.

.

How everything is connected – continued

28423208_2069430259953360_2156117956973068811_o

As a follow up to yesterday’s post: in current issue of Cambridge University Tempo magazineChristopher Fox published an inclusive composer’s profile about my work and how various approaches relate to one another. Read how I’ve been running experiments for over a decade.

In this same journal David Kim-Boyle sheds a light on my panoramic scores in his article ‘Reframing The Listening Experience Through The Projected Score’. David’s paper discusses how the listening experience is affected in performances where the score is visible to the audience.

.

.

Page Turners and how everything is connected

Here is a blog about one of my current works in progress. Most of my compositions are inter-connected and via sports, crafts and field recordings I’ve entered a sonic universe where all ingredients are formulated to such abstraction it becomes hard to recognise their origins. I thought it might be interesting to take you on a trip. Let me be your tour guide to ‘Page Turner Étude nº 3’.

.

PageTurnerEtudeNo3-JobinaTinnemans4-web

Perhaps, to a critical traditionalist, I’m a composer who introduces something as frivolous as ‘dabbling with crafts’ into serious music. Yet, ‘Page Turner Étude nº 3’ amalgamates a plethora of subjects and concepts that without explanation might otherwise be overlooked. Many of which I have tried, tested and condensed over time to reduce to its most essential elements, very much inspired by how an elegant mathematical formula can reduce a complex problem to a few symbols only. 

The problem with electronic music is that it’s dependent on far more external physical parameters than characters printed on paper, a medium that has proved to last for centuries. Going one step further, digital audio developments are even more dependent on non-music related components, both physically and even in their own virtual habitat. A small upgrade of one aspect of third party software might have the knock-on effect of rendering an entire composition to zero.

The complexity I’m trying to formulate with my current pieces is how to integrate the incredible universe of sonic possibilities I’ve experienced from working with sound in electronics into a base format, by using the tools over a wide range of art disciplines I’ve equipped myself with over the years. In the Page Turners works fragmentary essences of (in order of appearance below) field recording samples, fashion, design, classical and contemporary composing and electronic DAW music feature in a very stripped down, nearly white cube, approach. With, of course, the tongue-in-cheek humour in contradicting the general etiquette of how to handle sheet music…

JobinaTinnemans-SheetMusic2

Natural soundscapes offer a great source of textures and fluidity in timing and are a major influence to me. I use field recording samples in my compositions, but in this page turning concept as a minimalist statement I’ve broken down environmental granulated sound textures such as wind, sea waves, rustling leaves, snow, breaking ice into its simplest component – the rustling of the paper the music is notated on.

This granulated sound is generated by sculpting spacial dimensions and movement into the single plane medium of the paper sheet. Briefly I studied fashion in Amsterdam – it’s a long story – and seeing couture from a ‘single plane material becoming sculptural’ perspective as opposed to ‘making clothes’ was an eye opener. Regardless of whether or not it would end up as a garment, in my case.

29662690_1627640037273713_2592252623069110867_o.jpg

A paper sheet’s timbre and pitch I design per composition and sometimes per page, controlled by choosing the type and size of paper used for the score. In ‘Page Turner Étude nº 3’ this meant I had to use waxed paper which is impossible to print on or glue anything to. Using a second material and mechanical fixing such as stitching instead, not only attaches the notation, it also amplifies the rustling sounds. I studied design to learn more about composing – that’s another long story – and it’s great to see both disciplines finding their way together so, errr…, seamlessly.

Page Turner compositions interweave conventional notation, the classical part, with experimental notation, the contemporary part as single physical entities in one score. Additionally, one performer performs two instrument parts simultaneously, that of piano (in this case) and the page turner part. Both with the same attention to timing and dynamics.

In these works natural sound textures are rendered to their most simplified and fundamental component. Being a child of my time, versatility is a mindset – only one digital click away. As such, all Page Turner works can be performed acoustically: I envisioned that technically they could have existed in the 1700s. Alternatively, they can equally be performed by their modern contemporary electronic peers. For these versions I composed dedicated digital, DAW, sound processing packages for each work which colour in the amplified rustling paper sounds textures into the natural soundscapes they are evoking.

‘Page Turner Étude Nº 1-3’, for piano and page turning, are commissioned by Eleonor Sandresky with additional support from the British PRS Foundation Composer Award and will be performed later this year. ‘Turner Piece’, for ensemble and page turners, will be performed in a programme curated by Kate Moore in the Muziekgebouw Amsterdam, early 2019.

.

Turner Piece - artwork -JobinaTinnemans-wp

.

.

.