About

Karlin is perpetually looking for surprises: ‘Ooh! That’s bigger/deeper/wider than I’d thought!’ for herself, for performers, and for audiences. 

She aims to gently extend and expand traditional sound worlds and provoke greater democracy in ensemble music-making. She has been commissioned by numerous Tasmanian and Australian performers, notably saxophonist Jabra Latham, Clarion214 clarinet quartet, lutenist Susan King, and the University of Tasmania Community Music Program. She is a fully-represented composer with the Australian Music Centre and published by Wirripang. 

In addition to composing, she is a teacher, community provocateur, curator and producer, and performer on Greenwood leather instruments, guitar, and clarinets. She has coordinated, produced and co-produced many projects, workshops, and performances including for MOFO, the Launceston General Hospital, University of Tasmania, Mapatazi, Tamar Peace Festival, and Launceston Improvised Music Association. Over the years she accumulated a few degrees (PhD, MA(hons), BMus, BA).

Karlin is perpetually looking for surprises: for herself, for performers, and for audiences. She aims to gently extend and expand traditional sound worlds. She is a multi-instrumentalist, improvisor and composer, who plays clarinet, bass clarinet, Greenwood leather instruments, and guitar in classical, jazz and experimental styles. She is a lover of the natural sciences and relishes any opportunity to bring music and nature together. 

She also plays marvellous leather instruments with The Chordwainers and the Tasmanian Leather Orchestra, in particular the saxophone-style bowhorns and the 18-string Tasmanian Mountain Harp. The instruments were made by the late Tasmanian sculptor, Garry Greenwood.
She has been a frequent festival performer and collaborator for MOFO, Ten Days on the Island, JunctionArts, Beaker Street, Darebin, Cygnet Folk Festival, New Zealand Lute Festival, and the National Folk Festival, working with the Chordwainers, Colin Offord, Ron Nagorcka, Sonja Hindrum’s electrified SCOBY, Mapatazi all-female guitar onslaught, Launceston Improvised Music Association and many more. She also works with local theatre companies and activations of visual art and science exhibitions.
Karlin has been commissioned by numerous Tasmanian and Australian performers, notably saxophonist Jabra Latham, Clarion214 clarinet quartet, lutenist Susan King, and the University of Tasmania Community Music Program. Her works have been played by ensembles in Australia and the USA, Taikoz, Trio Spilleart (France) and others. She is a fully-represented composer with the Australian Music Centre and published by Wirripang. In addition to composing, she is a teacher, community provocateur, curator and producer. She has produced and co-produced many projects, workshops, and performances including for MOFO, the Launceston General Hospital, University of Tasmania, Mapatazi, Tamar Peace Festival, and Launceston Improvised Music Association. Over the years she accumulated a few degrees (PhD, MA(hons), BMus, BA).

Karlin is perpetually looking for surprises: ‘Ooh! That’s bigger/deeper/wider than I’d thought!’ for herself, for performers, and for audiences. She aims to gently extend and expand traditional sound worlds and provoke greater democracy in ensemble music-making. Her previous work for theatre includes Three River Theatre’s production of The Laramie Project, Adaptivity Theatre’s Midsummer Nights Dream, Oedipus and Antigone, and Hamlet; the musical, Marjorie Bligh with Stella Kent (Launceston Players); CentrStage’s Labyrinth and Jocasta; VoiceTheatreLab’s White Dark; and the University of Washington’s Servant of Two Masters. She has been commissioned by numerous Tasmanian and Australian performers, notably saxophonist Jabra Latham, Clarion214 clarinet quartet, lutenist Susan King, and the University of Tasmania Community Music Program. She is a fully-represented composer with the Australian Music Centre and published by Wirripang. In addition to composing, she is a teacher, community provocateur, curator and producer, and performer on Greenwood leather instruments, guitar, and clarinets. She has coordinated, produced and co-produced many projects, workshops, and performances including for MOFO, the Launceston General Hospital, University of Tasmania, Mapatazi, Tamar Peace Festival, and Launceston Improvised Music Association. Over the years she accumulated a few degrees (PhD, MA(hons), BMus, BA).

Karlin Love (B.A., B.Mus., M.A., PhD) is a US-born composer and performer living in Tasmania. She moved to Australia in 1989 to take the position of woodwind lecturer at the University of Tasmania in Launceston where she taught clarinet, saxophone, guitar, theory, composition and improvisation until 1997, and taught music education (composition, music technology, guitar, and primary curriculum music). Still residing in Launceston, she is a free-lance performer on Greenwood leather instruments, guitar, and clarinets, as well composer, arranger, improvisor and teacher.
Karlin is a keen collaborator and has done numerous projects with musicians, visual artists, dancers, theatre makers and performance artists, as well as working with scientists and activists. She made collaborative works for MOFO, JunctionArts, Ten Days on the Island, Fuse Darebin, and National Folk Festivals; created exhibition activations and performances at MONA, Queen Victoria Museum and Art Gallery (Launceston), Burnie Art Gallery, Hive Ulverstone, and Wangaratta.

Karlin aims to gently extend and expand traditional sound worlds and provoke greater democracy in ensemble music-making. She has been commissioned by numerous Tasmanian and Australian performers, notably saxophonist Jabra Latham, Clarion214 clarinet quartet, lutenist Susan King, and the University of Tasmania Community Music Program. She is a fully-represented composer with the Australian Music Centre and published by Wirripang. Her works have been recorded by Clarity clarinet quartet, The Chordwainers leather ensemble, and the University of Tasmania Wind Ensemble, and performed throughout Australia, as well as Europe, China, and North America. Improvised recorded collaborations include Colin Offord’s Time, Distance, Music; Journey into Acoustic Leather Music with The Chordwainers; and Skin Music (SCOBY and Greenwood leather) with Sonja Hindrum and Bruce Innocent.