▁material ▁and ▁a ▁wide ▁bread th ▁of ▁tim br al ▁complexity . ▁She ▁is ▁fasc in ated ▁with ▁reson ance ▁and ▁extr aneous ▁noise ▁created ▁by ▁instrument al ists , ▁such ▁as ▁the ▁scratch ▁of ▁a ▁bow ▁change , ▁the ▁th ud ▁of ▁the ▁ped als ▁of ▁a ▁piano ▁or ▁har p , ▁and ▁the ▁t aps ▁and ▁sl ides ▁of ▁the ▁left ▁hand ▁on ▁a ▁string ▁instrument ’ s ▁finger board . ▁Due ▁to ▁the ▁subt let ies ▁and ▁specific ity ▁of ▁the ▁sounds ▁she ▁creates , ▁Sau nd ers ▁includes ▁length y ▁text ual ▁explan ations ▁in ▁many ▁of ▁her ▁scores ▁to ▁describe ▁each ▁effect ▁that ▁she ▁wishes ▁the ▁perform er ▁to ▁produce . ▁ ▁Much ▁of ▁Sau nd ers ’ s ▁music ▁is ▁based ▁upon ▁a ▁single ▁pitch , ▁or ▁sometimes ▁a ▁small ▁collection ▁of ▁pitch es ▁which ▁govern ▁large ▁sections ▁of ▁music . ▁Therefore , ▁development ▁and ▁elabor ation ▁are ▁determined ▁more ▁by ▁son or ity ▁and ▁texture ▁rather ▁than ▁traditional ▁voice ▁leading . ▁However , ▁she ▁does ▁sometimes ▁include ▁“ qu asi - di at onic ” ▁pitch ▁collections , ▁which ▁suggest ▁a ▁more ▁traditional ▁context ▁than ▁that ▁of ▁her ▁music ▁based ▁on ▁single ▁notes . ▁ ▁Reb e cca ▁Sau nd ers ▁has ▁also ▁expl ored ▁physical ▁space ▁in ▁her ▁music . ▁In ▁an ▁interview ▁for ▁the ▁Hud ders field ▁Contempor ary ▁Music ▁Festival , ▁she ▁described ▁her ▁music ▁thus : ▁ ▁By ▁describing ▁the ▁“ mass ▁and ▁weight ” ▁of ▁her ▁music , ▁and ▁comparing ▁her