This article takes up Rebecca Saunders’ comments on the significance of timbre in her work to develop a timbre-centred analytical technique for two of her compositions, Ire (2012), for cello and ensemble, and Still (2011), for violin and orchestra. Two overarching principles are identified: the organisation of the pieces’ sounds into clearly differentiated categories, which can also overlap in different ways, and the use of a phrase-based logic in the pieces’ formal construction. Alongside the timbral construction, stable pitches acquire formal significance by virtue of their rarity and conspicuousness. I also elaborate on the ways in which perceptual ambiguity is fruitfully exploited in these works.

中文翻译：

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丽贝卡·桑德斯的作曲风格中基于音色的作曲、多视角和模棱两可

本文采用 Rebecca Saunders 对音色在她的工作中的重要性的评论，为她的两首作品开发一种以音色为中心的分析技术，愤怒（2012），为大提琴和合奏，和仍然(2011)，为小提琴和管弦乐队而作。确定了两个总体原则：将乐曲的声音组织成明显不同的类别，这些类别也可以以不同的方式重叠，以及在乐曲的形式结构中使用基于短语的逻辑。除了音色结构之外，稳定的音高还因其稀有性和显着性而具有形式意义。我还详细阐述了在这些作品中有效利用感知模糊性的方式。