The music of Rebecca Saunders (b. 1967) is all but absent from theoretical and musicological discourse with the notable exceptions of two recent publications: Dubiel’s (2017) analysis of Crimson and McMullan-Glossop’s (2017) application of color theory terminology to describe Saunders’ timbral and textural approach to composition. An active composer since the early 1990s and the 2019 recipient of the Von Siemens Prize, Saunders’ work is written in a distinct idiom, drawing equally upon “postwar German fastidiousness and expressionism and experimental, Cageian concentration…” (Service, 2012). Her music is marked by the exploration of noise, pitch, and silence, the use of extended instrumental techniques, and uncommon combinations of instruments. Traditional music theoretical analytic techniques are insufficient to fully describe the prominent features of Saunders’ music: timbre, texture, noise, and silence.