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How Yoruba traditional music fed sakara, apala, waka, juju, fuji, highlife, Afrobeat and contemporary Afrobeats, traced through named musicians and specific musical mechanisms rather than gestures at influence.

Túndé King and the invention of jùjú, Ayìndé Bákàrè, I. K. Dàiró, Harúnà Iṣọ̀lá and àpàlà, Ebenezer Obey and King Sunny Adé, and the fújì line from Ṣikirú Ayìndé Barrister to K1.

How the oral genres feed juju, fuji, ewi and Afrobeats, how film and theatre use them, what is actually being lost, and what archives and projects exist to hear the material.

An analysis of colonial and missionary vocabulary shifts, examining how European terms like fetish and juju, alongside translated Yoruba concepts like Èṣù, Òrìṣà, and Olódùmarè, were reconfigured during nineteenth-century religious encounters.

A historical and organological clarification of the five major modern Yorùbá popular and neo-traditional musical genres, tracing their distinct religious roots, instrumental configurations, and social trajectories.