1959born in Krefeld
1976-84she worked at the Theater am Marienplatz in Krefeld
1978-84studied at the Cologne Musikhochschule with Mauricio Kagel
1985she co-founded Thürmchen publishers and
1991the Thürmchen Ensemble
She has received composition prizes at the following competitions:
Young Composers of North Rhine-Westphalia, B. A. Zimmermann Today, Bernd Alois Zimmermann Grant from the City of Cologne, World Music Days (1987), Cologne-New York Exchange (1989), West German Radio Competition (1989), Carl Maria von Weber Competition (Dresden 1992/3), Gedok International Orchestral Competition (1994), Stuttgart Composers' Competition (second prize) and Boswil International Composers' Competition (second prize). She was also chosen for the World Music Days in Copenhagen (1996) and Seoul (1997) and for the Blaue Brücke in Dresden (1996).
1990/91Schloss Solitude Academy Scholarship in Stuttgart
1992Schreyahn Artists' Colony Scholarship in Lower Saxony
1995a grant-in-aid from the North Rhine Westphalian Foundation for Art and Culture
1997Villa Massimo Scholarship in Rom
1998Female Artists' Prize of North Rhine-Westphalia
2008 Star of the week Münchener Abendzeitung
2008 chosen from Internationalen Theater Instituts for Music Theater NOW
2010 Deutsche Musikautorenpreis from GEMA in the categorie experimentel music
2011 Tournée with „hellhörig“ (Rheinsberg, Warschau, Santiago de Chile, Buenos Aires)
2013 she was elected as a member of Akademie der Künste in Berlin.
2014 she replaced Prof. Fabien Lévy at the Musikhochschule Detmold.
2015 she was appointed as professor of composition with focus on contemporary musictheatre at the Anton Bruckner Privatuniversität in Linz, Austria
Guest professor in Santiago di Chile (2010), Ostrava Tschechische Republik (2011 and 2013), Amsterdam (2012 and 2014), Krakau (2012), Zürich (2012), Apeldoorn (2013), Kiev (2013) Oslo (2014 and 2015), Mexiko City (2014), Monterrey (2015), London (2015), Moskau und Tschaikovsky City (2016) and in Germany.
A central theme of Bauckholt's work is the examination of the phenomena of perception and understanding. Her compositions often blur the boundaries between visual arts, musical theater and concert music. She is especially fond of using noisy sounds, which are often produced by unconventional means (such as extended instrumental techniques or bringing everyday objects to the concert hall). It is important to note that these noises are not just part of some kind of a predetermined compositional structure, but rather they are carefully studied and left free to unfold and develop at their own pace lending the compositions their own unique rhythm.