JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; and Take A Wild Guess (2007) for saxophone quartet and soundtrack. In addition, chapter 5 provides a detailed analysis of JacobTV’s composition Pimpin’ and offers further insight into his “avant-pop” compositional style.

Ultraprecision single point diamond turning is required to produce parts with sub-nanometer surface roughness and sub-micrometer surface profiles tolerances. These parts have applications in the optics industry, where tight form accuracy is required while achieving high surface finish quality. Generally, parts can be polished to achieve the desired finish, but then the form accuracy can easily be lost in the process rendering the part unusable. Currently, most mid to low spatial frequency surface finish errors are inspected offline. This is done by physically removing the workpiece from the machining fixture and mounting the part in a laser interferometer. This action introduces errors in itself through minute differences in the support conditions of the over constrained part on a machine as compared to the mounting conditions used for part measurement. Once removed, the fixture induced stresses and the part’s internal residual stresses relax and change the shape of the generally thin parts machined in these applications. Thereby, the offline inspection provides an erroneous description of the performance of the machine. This research explores the use of a single, high resolution, capacitance sensor to quickly and qualitatively measure the low to mid spatial frequencies on the workpiece surface, while it is mounted in a fixture on a standard ultraprecision single point diamond turning machine after a standard facing operation. Following initial testing, a strong qualitative correlation exists between the surface profiling on a standard offline system and this online measuring system. Despite environmental effects and the effects of the machine on the measurement system, the capacitive system with some modifications and awareness of its measurement method is a viable option for measuring mid to low spatial frequencies on a workpiece surface mounted on an ultraprecision machine with a resolution of 1nm with an error band of ±5nm with a 20kHz bandwidth. / Thesis / Master of Applied Science (MASc)