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Other titles in the Chicago Studies in Ethnomusicology series:
Juju : a Social History and Ethnography of an African Popular Music (90 Edition)by Christopher A. Waterman
Synopses & ReviewsPlease note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.
Now known internationally through the recordings of King Sunny Ade and others, juju music originated more than fifty years ago among the Yoruba of Nigeria. This history and ethnography of juju is the first detailed account of the evolution and social significance of a West African popular music. Enhanced with maps, color photographs of musicians and dance parties, musical transcriptions, interviews with musicians, and a glossary of Yoruba terms, Juju is an invaluable contribution to scholarship and a boon to fans who want to discover the roots of this vibrant music.
"What's most impressive about Juju is how much Waterman makes of his purism. By concentrating on one long- lived, well-defined genre, he helps the Western reader experience 'rock' the way any proud Yoruba would—as a tributary of African music rather than vice versa."—Robert Christgau, The Village Voice
The companion cassette tape contains examples of the music discussed in the text. The music examples are primarily from commercial recordings from the 1930s to the 1980s.
AcknowledgmentsTechnical Notes1. Introduction2. Sakara, Asiko, Highlife, and Palmwine: Lagosian Popular Music between the World Wars3. Early Juju Music (1932-1948)4. The Development of Modern Juju (1948-1982)5. The Social Organization and Contexts of Juju Performance in Ibadan6. The Aesthetics and Social Dynamics of Juju Performance at the Yoruba Ariya7. Juju Music and Inequality in Modern Yoruba SocietyAppendix: Roster of Ibadan-Based Juju and Fuji BandsNotesGlossary of Yoruba TermsBibliographyIndex
This is the first book to provide a detailed account of the evolution and social significance of a West African popular music. The author describes the origins of Juju in the colonial capital of Lagos during the early 1930's and follows its development through Nigerian independence and the oil boom years of the early 1980's.
Includes bibliographical references (p. 247-261) and index.
Table of Contents
2. Sákárà, Asíkò, Highlife, and Palmwine: Lagosian Popular Music between the World Wars
3. Early Jùjú Music (1932-1948)
4. The Development of Modern Jùjú (1948-1982)
5. The Social Organization and Contexts of Jùjú Performance in Ibadan
6. The Aesthetics and Social Dynamics of Jùjú Performance at the Yoruba àríyá
7. Jùjú Music and Inequality in Modern Yoruba Society
Appendix: Roster of Ibadan-Based Jùjú and Fuji Bands
Glossary of Yoruba Terms
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