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One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú music. This genre has continued to enjoy patronage among the lower and middle classes, as well as the elites. The trend in which Jùjú is performed specifically among young musicians of today, premised on the practice which this study refers to as eclecticism. The paper therefore, examines this practice in Abiodun Awesola (Awesome tones’ band)’s live performance and its synchronization within the performance practice in which Jùjú music is known. This is with a view to establishing this practice as a recurrent medium of combining diverse genres in a live performance within the ambience of Jùjú music. The study employs oral interview and participant observation method, while relevant books, journal article and the Internet were also consulted. Data collected were analysed through descriptive method. Findings show that people (both young and old) tend to enjoy this practice especially during ceremonies, as it serves as a reminder of historical events which took place when such music played was released. The study also shows this practice, as a means for satisfying the audiences with varieties of genres in a live performance within the purview of Jùjú being a panegyric and commemorative music. The study concludes that in spite of the fusion of these diverse genres for the enjoyment of its enthusiasts, the traits with which Jùjú music is known remain a dominant factor in its performance delivery.
Keywords: Jùjú, ‘Gbogbo eléré’ ‘DJ (Disc Jockey)’, Eclecticism, Polystylicism