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Jada Watson holds a Ph.D. in musicology from Université Laval (2015) and a Master of Information Studies (2011) from the University of Ottawa. Her teaching interests include bibliographic research, research methodologies, music information retrieval, music video analysis, data mining, and digital curation. She teaches for the School of Music and the Digital Humanities Minor.
Jada Watson’s research focuses on country music and geography, with an interest issues related to identity, gender, class and the environment. Her current research program seeks to undertake data-driven analyses of country music’s geo-cultural history through the use of bibliographic metadata. The database and dataset in development for this project will serve as the foundation of a long-term research program that seeks to use computational techniques to frame musicological inquiries about country music’s geo-cultural history, as well as issues regarding gender representation and changes in musical style.
Watson, J. “‘If they blow a hole in the backbone’: Sarah Harmer’s Campaign to Protect the Niagara Escarpment.” MUSICultures, Special Issue on Singers & Songs of Social Protest (forthcoming, 2017).
Watson, J. “Country Music and Geography: Constructing ‘Geo-Cultural’ Identities.” In Oxford Handbook to Country Music, edited by Travis D. Stimeling, 95-116. New York: Oxford University Press, 2017.
Watson, J. “‘This is My Prairie’: Corb Lund and the Albertan Fossil Fuel Energy Debate.” American Music 34, no. 1 (2016): 43-86.
Watson, J. “My Tennessee Mountain Home: Region and Identity in Dolly Parton’s Songwriting.” In Cambridge Companion to the Singer-Songwriter, edited by Justin A. Williams and Katherine Williams, 120-30. Cambridge: Cambridge University Press, 2016.
Watson, J. “Dixie Chicks’ ‘Lubbock or Leave it’: Negotiating Identity and Place in Country Song.” Journal of the Society for American Music 88, no. 1 (2014): 49-75.
Burns, L.; Watson, J. “Spectacle and Intimacy in Live Concert Video: Lyrics, Music, Staging, and Film Mediation in P!nk’s Funhouse Tour (2009).” Music, Sound and the Moving Image 7, no. 1 (2013): 103-40.
Watson, J.; Burns, L. (2010). “Resisting Exile and Asserting Musical Voice: The Dixie Chicks are ‘Not Ready to Make Nice’.” Popular Music 29, no. 4: 325-50.
Burns, L.; Watson, J. “Gendered Perspectives Through Word, Image and Sound: Narrative Agency and Embodiment in the Dixie Chicks’ Video ‘Top of the World’.” Music, Sound & the Moving Image 4, no. 2 (2010): 3-37. Reprinted in Popular Music and Multi Media, edited by J. McQuinn, 331-366. Surrey, UK: Ashgate Publishing Group, 2011.