Karins compositional output encompasses works for solo instrument, ensemble, orchestra, electroacoustic works, live-electronics and installations. As a part of her artistic-scientific research project about poly-works, Karin has created several work series over the last years, exploring the possibilities of simultaneity and dividual performance practices.

Her compositions have been performed by such musicians and ensembles as Ensemble Modern, Ensemble Proton Bern, SoloVoices, neuverBand, Mike Svoboda, Johannes Kalitzke, Antonio Politano, Steffen Schleiermacher, Ensemble Avantgarde, Leipziger Schlagzeugensemble, Prime Recorder Ensemble, Tel Aviv Saxophone Quartet, Ensemble du Bout du Monde, Rafal Zolkos (Flute), Panagiotis Megarchiotis (Guitar), Daniel Lippel (Guitar), Eva Beneke (Guitar), Mateusz Szczepkowski (violin) Andrea Kiefer (accordion) and the Leise Dröhnung Duo. Her works have been featured at such festivals as the Archipel Festival Genève, Primavera en la Habana, ICMC Athens, cresc… Biennale für moderne Musik Frankfurt Rhein-Main, MATA New York, New York City Electroacoustic Music Festival, Festival Ensems Valencia, Tzlil Meudcan Festival, Sound Plasma Berlin and Tage für neue Musik (New Music Days) Weimar amongst others.

Karin received scholarships from the Studienstiftung des Deutschen Volkes, the DAAD and the Swiss Government Excellence Scholarship. She was Artist in Residence at the Villa Aurora in Los Angeles and at the Cité Internationale des Arts Paris.

Karin studied composition and music theory with Gerhard Tittel, Claus-Steffen Mahnkopf, Isabel Mundry and Gesine Schröder and enriched her studies through exchange semesters at the Sibelius Academy Helsinki and the CNSM Paris. She holds degrees in composition and music theory from the University of Music and Theatre Leipzig, a master in electracoustic composition from the Zurich University of the Arts as a student of Germán Toro-Pérez and completed an artistic-scientific doctorate at the Graz University of the Arts. Her research project “Concepts of poly-works in the 20th/21st century” was funded by the Swiss National Science Foundation. Her book “Das Werk im Werk – Konzepte des Poly-Werks” was published by Fink/Brill Verlag.

Karin has a lectureship in Artistic Research at the University of Music and Theatre Munich. Since 2022 she is professor for music theory at the Musikhochschule Basel, Switzerland.