Hostname: page-component-586b7cd67f-gb8f7 Total loading time: 0 Render date: 2024-11-27T15:36:58.619Z Has data issue: false hasContentIssue false

A diachronic study of change in juju music

Published online by Cambridge University Press:  11 November 2008

Extract

Juju music, popular in Nigeria, first emerged in the island city of Lagos during the third decade of this century. Since its beginning, however, the music has undergone changes in both concept and practice as might be expected of any dynamic musical style. These changes have arisen not only through cultural contact and creative musical innovations, but also through the musical consequences of social, political, economic and other changes in contemporary Nigerian society and culture. This article seeks to identify and evaluate the change in juju music from two vantage points: (1) that of style which identifies it and provides a foundation against which continuity or stability through time can be measured; and (2) that of innovation whose creation and diffusion are examined diachronically against the contexts of society and culture.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alaja-Browne, Afolabi. 1985. ‘Juju Music: A Study of Its Social History and Style’, unpublished Ph.D thesis, University of Pittsburgh, pp. 1449Google Scholar
Babalola, Adeboye. 1975. ‘The delights of ijala’, in Yoruba Oral Tradition: Poetry in Music, Dance and Drama, ed. Abimbola, Wande (Department of African Languages and Literatures: University of Ife, Ile-Ife), pp. 631–76Google Scholar
Blacking, J. 1978. ‘Some problems of theory and method in the study of musical change’, Yearbook of the International Folk Music Council, 9, pp. 1819Google Scholar
Bucknor, Segun. 1976. ‘The big battle: pop vs. juju’, Drum, (Nigeria) (09), p. 20Google Scholar
Collins, J. and Richards, P. 1982. ‘Popular music in West Africa – suggestions for an interpretative framework’, in Popular Music Perspectives, ed. Horn, D. and Tagg, P. (Goteborg and Exeter: IASPM), pp. 111–41Google Scholar
Etzkorn, K. Peter. 1964. ‘The relationship between musical and social patterns in American popular music’, Journal of Research in Music Education, 12 (Winter), pp. 279–86CrossRefGoogle Scholar
Martins, L. 1966. ‘Tunde King – real exponent of juju music’, Afrobeat (Lagos) (12), p. 30Google Scholar
Nketia, J. H. Kwabena. 1978. ‘Tradition and innovation in African music’, Jamaica Journal, 11 (03), p. 30Google Scholar
Nketia, J. H. Kwabena. 1982. ‘Interaction through music: the dynamics of music making in African societies’, International Social Science Journal, 34, pp. 639–56Google Scholar
Omibiyi, M. A. 1981. ‘Popular music in Nigeria’, Jazz Forschung/Jazz Research, 13, pp. 151–72Google Scholar
Roberts, John Storm. 1972. Black Music of Two Worlds (New York: Praeger)Google Scholar
Vidal, Tunji. 1983. ‘Three decades of juju music among the Yoruba people’, Paper presented at the 1982–83 Seminar Series of the Department of Music, University of Ife,Ile-Ife,30 MarchGoogle Scholar