SynkroTakt is a tool to stream many audio tracks to multiple mobile devices in synchronized playback. In the Fall of 2015, Nick Saney, Richard Saney, Jake Reeves, and I began thinking about an audio technology that would incorporate audience devices playing a collection of tracks in time with live musicians on stage, as well as the spatialization of those tracks throughout the audience via their devices. The technology to achieve this was not readily available, and thus, SynkroTakt was born, kick started by funding from ICE (Ideas for Creative Exploration) at the University or Georgia. SynkroTakt will soon be available for use by the general public.
Music Research Interests
My research over the past year and half has been at the intersection of electronic media, live performers, sound spatialization, and audience interaction, manifested in compositions written using SynkroTakt. I became interested in the way in which we are slaves to our phones, tablets, and other devices, and I've sought to tap into this addiction and try to use it for musical purposes. We Could Live Forever Tonight, Rationalize, and Honeycomb utilize the SynkroTakt technology to harness the "instrument" that is in everyone's pockets. A chapter in my forth-coming dissertation document will be cast as a practical guideline for composers, sound artists, and audio engineers who intend to or have interest in composing for a network streamed audio devices, providing considerations and strategies for successful and effective music.
Outside of that intersection, I am also interested in polytemporality and phasing music. Despite the popularity and iconic nature of Reich's phasing works, there a clear chasm in the repertoire of contemporary classical music for works with gradual phase and multiple tempos. Admiration for and interest in works with gradual phase and multiple concurrent tempi have lead me to compose Rainbow Gravity and Triple Helix, that both use multiple different and changing tempi. These two works in the minimalist tradition owe a great deal to Reich's aforementioned early works, but they both explore completely new areas of interest, building outwards in directions previously unexplored.
I currently teach composition, music theory, and music appreciation at Reinhardt University. As a teaching assistant at the University of Georgia, I have assisted faculty in classroom and lab settings for teaching electronic music composition, in addition to teaching aural skills to first year music students. Outside of academia, I teach composition and guitar (acoustic, electric, or classical), as well as summer camp classes for theory and composition.